[Sakai Mitsuki] How to Recreate the Kiryuu Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Sakai Mitsuki, the guitarist of Kiryuu, is known for his unique sound that elevates the band’s overall sonic landscape with elements of traditional Japanese aesthetics. His playing style is characterized by heavy riffs utilizing a seven-string guitar, combined with delicate and emotional melodic lines.

In songs like “Kyubi” and “Utsusemi,” the powerful low-end riffs are complemented by lead guitar lines that incorporate Japanese melodies, creating a striking impression. Moreover, during live performances, he employs effects to craft a fantastical and deep soundscape, which serves as the core of the Kiryuu sound.

Mitsuki’s sound design strikes a delicate balance of “not overly distorted, yet with a strong core.” By combining the power of Marshall-style amplifiers with the digital versatility of the Axe-Fx, he creates tones that support the band’s Japanese elements. As a result, his sound embodies both weight and luster, radiating a unique presence.

The appeal of Mitsuki’s sound lies not only in its heaviness but also in his ability to “depict the scenery of the entire song through guitar.” By enveloping the audience with low-end pressure and utilizing harmony and spatial effects, he enhances the narrative quality of the music, making the song’s world more three-dimensional.

As a guitarist, his charm lies in the coexistence of “intensity and delicacy,” and his unique guitar play, which incorporates elements of traditional Japanese instruments, has influenced many listeners and aspiring guitarists.

▶ Search official YouTube videos of Kiryuu

List of Amplifiers and Features

The amplifier system that supports Sakai Mitsuki’s sound is characterized by a fusion of analog power and digital flexibility. Notable equipment includes Marshall-style tube amplifiers, a digital modeler integrated into a rack system, and sound reinforcement equipment adapted for live settings.

At the core of his setup is the Marshall JCM2000. Known as a staple for rock and metal, this amp head produces a thick distortion and powerful attack sound. It functions as the foundation supporting the low-end riffs in Kiryuu’s songs and has been a long-time favorite in live performances.

In recent years, he has centered his live and recording setups around the Fractal Audio Systems Axe-Fx III, sending signals to a power amplifier. This system allows Mitsuki to manipulate a variety of amp models and effects, enabling him to switch tones instantly for each song.

For clean tones and bluesy sounds, he uses the Suhr Bella combo amplifier. This amp has a wide range from clean to light crunch, and when combined with the Axe-Fx, it creates a thick and three-dimensional sound image.

Additionally, to stabilize sound on stage, he incorporates Red Plate cabinets and the Deeflexx Aura, which improves sound directionality by placing it in front of the speakers. This ensures that sound reaches the audience evenly, conveying Kiryuu’s world without compromise.

His rack also includes a SHURE UR4S+ wireless receiver, ensuring performance reliability on stage. Furthermore, he has previously used the Marshall JMP-1 preamp and the Marshall EL34 100/100 power amp, indicating an evolution in his sound design over the years.

Overall, Sakai Mitsuki’s amplifier environment can be described as “a robust rock sound based on Marshall with added digital flexibility to highlight Japanese elements.” He skillfully differentiates between live and recording needs, balancing Kiryuu’s power and delicacy, as is assumed.

Types of Guitars Used and Features

Sakai Mitsuki’s guitar collection embodies the “heaviness,” “beauty of Japanese aesthetics,” and “expressiveness” that characterize Kiryuu’s music. His main instruments are original models from ESP and Alien Soundworks, along with various guitars from Fender, Fernandes, and Guild used in past activities and demo recordings.

In recent live performances, the primary guitar is the ESP Original Model No. 2. Its striking appearance, unified in red from the fingerboard to the pickups, symbolizes Kiryuu’s “Japanese” aesthetic and stands out on stage. It maintains clarity even under powerful distortion, supporting the low-end riffs in intense songs.

Another important guitar is the Alien Soundworks Solarian7. This seven-string model features an Evertune bridge and Bare Knuckle Juggernaut pickups, providing stability in the low-end and a modern sound. This allows for the coexistence of “Japanese melodies + heavy riffs” required in Kiryuu’s music.

Additionally, the ESP HORIZON-III (Majora Color) served as a main guitar during the early years of Kiryuu, symbolizing the band’s inception. Currently, an original model of the ESP HORIZON III shape (with kanji inlays) has also emerged, balancing visual impact with sound stability.

As backup instruments, the ESP FOREST-GT and the original model No. 1 have been confirmed, ensuring readiness for any issues during tours and live performances. For recording and demos, the Fender USA CUSTOM SHOP Ken Stratocaster Galaxy Red Masterbuilt and Guild Acoustic have also been utilized, pursuing a diverse range of tones.

Moreover, unique models such as the FERNANDES LA-240KK (red) used during high school and a sunburst SCHECTER seven-string guitar (with bass pickups) have been documented. These variations reflect his quest for sound design.

In summary, Sakai Mitsuki’s choice of guitars consistently supports “the visual and acoustic representation of Kiryuu’s world,” maintaining a direction that balances aesthetic beauty with sonic heaviness.

Effects and Pedalboard Setup

Sakai Mitsuki’s effects environment is a practical setup centered around a multi-effects unit, complemented by numerous individual pedals. The Fractal Audio Systems Axe-Fx III functions as the core of his sound design, managing the necessary amp simulations and spatial effects for both live and recording purposes.

To operate the Axe-Fx, he uses the Fractal Audio Systems FC-12 foot controller, ensuring convenience when switching tones for different songs. Additionally, the FAT 820L expression pedal allows for real-time control, while the Lehle Little Dual manages input switching and sound quality adjustments, providing modern and flexible live adaptability.

His pedalboard includes the ONE CONTROL Crocodile Tail Loop OC10, enabling instantaneous switching of effects. For tuning, he uses the Peterson Strobo Rack and Peterson Stomp Classic, enhancing live stability.

Among the individual pedals, he employs the ONE CONTROL Granith Grey Booster for boosting, the BJFE Model R for distortion, the BJFE Pine Green Compressor for compression, the BJFE Honey Bee for overdrive, and the BJFE Dyna Red Distortion for high-gain sounds. Furthermore, he utilizes the NEUNABER Slate for reverb, the FREE THE TONE Flight Time Digital Delay for delay, and the STRYMON Mobius for modulation, all contributing to the depth of his sound.

Additionally, he incorporates the MORPHEUS DT-1 (octaver) for pitch effects and thickness according to the song’s needs. In the past, he has also integrated the Marshall JMP-1 preamp and the Marshall EL34 100/100 power amp into his system, indicating an evolution in his sound design.

In summary, Sakai Mitsuki’s effects setup represents a “hybrid of multi-effects and individual pedals,” providing flexibility to respond to Kiryuu’s diverse songs while ensuring meticulous control over sound.

Tone Settings, EQ, and Mixing Approaches

Sakai Mitsuki’s sound design is built on the premise of Kiryuu’s heavy and emotionally resonant sound. In addition to the choice of amplifiers and effects, EQ balance and spatial processing play a crucial role. His settings showcase efforts to maintain the power of low-end riffs while highlighting Japanese melodies.

Regarding amp EQ, he typically sets the low frequencies thicker while keeping the 80-120Hz range subdued to avoid interference with the bass. He emphasizes the midrange around 700Hz-1.2kHz to ensure lead phrases and Japanese melodies remain prominent. The high frequencies are not overly boosted, with a moderate lift around 3kHz to maintain attack and clarity.

For distortion settings, he bases his sound on Marshall-style amp modeling within the Axe-Fx III, aiming for a region that is “thick yet clear” without excessive gain. The BJFE distortion and overdrive pedals are set for boosting, serving a corrective role to elevate midrange during solos.

The Pine Green Compressor is applied lightly to refine the articulation of chords without compromising the drive of the riffs. Additionally, he uses a booster to correct volume differences, enhancing dynamics according to lead play and song transitions.

His spatial processing is characterized by the combination of delay and reverb. The Flight Time Digital Delay often features tight settings synchronized with the rhythm, adding depth to lead parts. The NEUNABER Slate reverb is kept at a level that provides “a sense of depth” without being overly pronounced, ensuring harmony with the band’s traditional instruments and vocals.

In terms of mixing, he likely employs a technique of double-tracking the guitars, EQing one side slightly lower and the other mid to high, achieving both stereo width and presence for the Japanese melodies. Furthermore, spatial effects are centered to maintain the “majestic quality of the Japanese aesthetic” throughout the band.

During live performances, he uses the Deeflexx Aura to enhance the spread of sound from the speakers, ensuring an even delivery to the audience. The use of a wireless system also contributes to the stability of his guitar tone on stage.

In conclusion, Sakai Mitsuki’s sound design is completed through meticulous adjustments of equipment and EQ, focusing on “the power of low-end,” “clarity of Japanese melodies,” and “spatial depth.” His settings allow for the expression of delicacy amidst heaviness, which is a significant charm of the Kiryuu sound, as is assumed.

Affordable Alternatives to Recreate the Tone

Sakai Mitsuki’s sound design is supported by professional-grade equipment such as original guitars from ESP and Alien Soundworks, the Fractal Audio Axe-Fx III, and BJFE pedals. However, the high cost can be a barrier for beginners and intermediate players. Therefore, here are some relatively affordable alternatives that can help achieve a similar sound. The price range is set around $100-$500 (up to $1,000) with a focus on reproducibility and cost performance.

For amplifiers, the BOSS Katana series is an excellent choice for capturing the Marshall character. By setting the gain lower and thickening the mids, you can recreate Mitsuki’s robust sound. The Katana also includes a variety of effects, making it ideal for simple rehearsals or home recording environments.

As an alternative to ESP and Alien Soundworks guitars, the Ibanez RG series (7-string model) is recommended. Known for its thin neck and stable bridge structure, it can effectively support low-end riffs, similar to Mitsuki’s Solarian7. Choosing finishes in red or black can also enhance stage presence.

For effects, multi-effects units like the BOSS GT-1000CORE or Line 6 HX Stomp can simplify Mitsuki’s complex system. These units cover everything from amp simulations to reverb, delay, and modulation, allowing you to recreate his diverse sound design.

For individual pedals, using the BOSS DS-1W (Waza Craft) or MXR Distortion+ as alternatives to BJFE can yield a hard-edged and articulate distortion. Pairing the TC Electronic Spark Booster for boosting and the MXR Dyna Comp for compression will help achieve a more Mitsuki-like dynamic range.

In terms of spatial effects, the BOSS DD-8 (delay) and Electro-Harmonix Holy Grail Nano (reverb) are accessible and high-quality options. The DD-8, in particular, features a tap tempo function for easy synchronization with rhythms, ensuring practicality similar to the Flight Time Delay.

By combining these alternative pieces of equipment, you can experience a “low-cost and highly reproducible” version of Mitsuki’s sound. The key is not just to gather the gear but to incorporate the concepts of EQ and spatial processing. By doing so, you can infuse your playing with the “heaviness and delicacy of Japanese aesthetics” characteristic of Kiryuu.

Summary and Conclusion

Sakai Mitsuki’s sound design transcends the realm of high-gain metal, characterized by a harmony of “Japanese aesthetics” and “heaviness” that supports the band’s world view. Utilizing original guitars from ESP and Alien Soundworks, he achieves a balance of low-end power and clarity in Japanese melodies that sets him apart from other guitarists.

In terms of amplifiers and effects, he combines the robust sound of Marshall with a flexible digital environment centered around the Fractal Audio Axe-Fx III. This allows him to maintain consistent sound quality during live performances and recordings while instantly recalling the necessary tones for each song. Additionally, by incorporating unique individual pedals from BJFE and Strymon, he achieves nuanced sound details.

The essence of Mitsuki’s sound design lies in the balance between “the weight of the low-end” and “the delicacy of melodies.” His EQ settings emphasize the midrange to bring Japanese melodies forward while keeping the low-end thick without clashing with the bass. Furthermore, by placing reverb and delay subtly, he creates a sense of depth without compromising the majestic atmosphere characteristic of Kiryuu.

For beginners pursuing Mitsuki’s sound, it is not necessary to acquire all the equipment. Simply having a Marshall-like amp such as the BOSS Katana series, an Ibanez RG seven-string model, and staple effects like the BOSS DD-8 or MXR Dyna Comp can bring you closer to a “Mitsuki-like sound.” The key lies not in the equipment itself but in the approach to emphasizing specific frequency ranges and applying spatial processing.

In summary, Sakai Mitsuki’s sound is inseparable from Kiryuu’s musicality, and his choice of equipment and settings aims to “embody the beauty of Japanese aesthetics in guitar sound.” Therefore, when attempting to replicate his sound, it is crucial to go beyond mere equipment copying and consider how to express “Japanese aesthetics” in your playing style, which will be a significant step toward achieving that sound.