[Kuwata Keisuke] How to create a Southern All Stars (KUWATA BAND) style sound

Introduction: Versatile Guitarist behind Southern All Stars

While Keisuke Kuwata is widely known as the charismatic frontman, songwriter, and vocalist of Southern All Stars, his role as a guitarist is often underestimated. Yet, he is a key architect of the band’s iconic sound, bringing a unique tonal and textural depth to each track through his guitar work.

Kuwata’s approach to guitar is not about flashy solos or technical virtuosity. Instead, it’s about flexibility, musical storytelling, and thoughtful arrangement. His playing style adapts to the mood and narrative of each song, switching effortlessly between electric and acoustic guitars, Stratocasters and hollow bodies, Telecasters and Les Pauls. This adaptive mindset aligns him more with a musical arranger than a conventional guitarist, showing a deep understanding of rhythm, tone, and atmosphere.

For instance, in upbeat tracks like “Kibou no Wadachi,” Kuwata utilizes low-position chord cutting on a Strat-style guitar for a crisp, breezy feel. In contrast, on heavier songs like “ROCK AND ROLL HERO,” he opts for a Gibson SG or Les Paul with saturated distortion tones, adding power and grit.

His live gear choices also reflect an attention to aesthetics—PRS S2 models or vivid red Telecasters often appear during encores, serving both sonic and visual purposes aligned with each performance’s tone.

Even when it comes to acoustic guitars, Kuwata shows a discerning taste. Models like the Martin HD-28V and K. Yairi BL-150SP are frequently used, chosen not only for their sonic quality but also for their visual presence. He often switches between different acoustic instruments depending on whether he’s performing solo or with a full band.

What defines Kuwata’s guitar sound is not an obsession with signature tone, but a clear, purposeful approach to “sound selection that serves the song.” This ethos—prioritizing the track’s mood over the player’s ego—is the core of his guitar philosophy.

This minimalist yet intentional attitude has helped support and shape the massive body of work Southern All Stars has created over the decades.

▶ Search for official Southern All Stars music videos on YouTube

Amplifier Gear and Tonal Approach

Compared to other prominent guitarists, information about Keisuke Kuwata’s amplifier setups is relatively scarce. However, through concert footage, studio sessions, and music videos, we can identify several key amps he has relied on over the years.

In recent years, Kuwata has gravitated toward amplifiers that emphasize clarity and tonal neutrality, allowing the natural character of each guitar to shine through. His choices are always pragmatic—selecting gear that complements the song rather than defines it.

One of his most frequently used amps is the Roland JC-120. Renowned for its pristine clean tones, the JC-120 is ideal for Kuwata’s broad genre-crossing repertoire. Its shimmering chorus and transparent sound make it a perfect match for clean arpeggios and rhythmic strumming, as heard in tracks like “Naminori Johnny” and “TSUNAMI.” It has been a core part of his live clean tone rig for years.

For tracks requiring a bit more grit or overdrive, he has occasionally turned to tube amps like the Fender Twin Reverb and VOX AC30. These amps are prized for their responsive midrange and dynamic punch, which pairs well with Kuwata’s chord-heavy rhythm style.

In no-audience livestream concerts and studio sessions post-2020, there are indications that digital amp modeling units like the Kemper Profiling Amp and Line 6 Helix have also made their way into his rig. These tools help maintain consistent sound quality and stage volume control—especially when paired with modern guitars like his Schecter prototype.

Overall, Kuwata’s amplifier philosophy emphasizes utility, consistency, and compatibility rather than flamboyance. His amps serve as clean platforms that adapt to the guitar and musical context at hand.

Model	Brand	Amazon Link	Artist	Guitarist	Notes
JC-120	Roland	Link	Southern All Stars	Keisuke Kuwata	Essential clean tone amp used for arpeggios and strumming
Twin Reverb	Fender	Link	Southern All Stars	Keisuke Kuwata	Rich mids, excellent for rhythm and mild lead tones
AC30	VOX	Link	Southern All Stars	Keisuke Kuwata	Used for tracks like “Eikou no Otoko”; great British crunch
Kemper Profiling Amp	Kemper	Link	Southern All Stars	Keisuke Kuwata	Used in recent livestreams; models heavy gain tones with Schecter guitars

Guitar Collection & Notable Models

Keisuke Kuwata is not just a singer-songwriter—he’s also a guitarist with a wide-ranging and versatile collection. His approach to guitars reflects his multi-genre songwriting, adapting to each song’s mood with thoughtful guitar choices.

From powerful humbucker-equipped rock guitars to delicate acoustic strummers, Kuwata blends stage presence with tonal intention. His guitar selection is not about brand loyalty but about sound, style, and the role each guitar plays in the music.

Among his long-time electrics is the Paul Reed Smith Standard 24, which was spotted during the 1996 “The Girls at Manza Beach” performance. He’s also seen with a PRS S2 Singlecut in music videos like “Soreyuke Baby!!” and “1,000,000 Years of Happiness.” These PRS models offer rich sustain and modern clarity that fits well in polished pop-rock settings.

His Fender arsenal is extensive, including Custom Shop Stratocasters from the 1960s, a 1968 Paisley Red Telecaster, and various Telecaster Customs. The flashy visuals of some models—like the red Tele—are chosen intentionally to match live show aesthetics.

One fan-favorite is the yellow PGM Telecaster Custom with a black pickguard, often used on songs like “Kibou no Wadachi.” It delivers bright, snappy tones ideal for low-position chord work and clean strumming.

For heavier songs such as “CRY Ai CRY” or “Rikidouzan,” Kuwata has used a Schecter AC-KK/SIG prototype. Its flashy blue finish and high-output pickups make it a perfect fit for modern distorted tones.

He also explores rich semi-hollow and full-hollow body guitars. Models like the Gibson Les Paul Standard/Custom, SG, ES-330, ES-335, and Epiphone Casino are staples in more laid-back or blues-inspired arrangements.

On the acoustic side, the Martin HD-28V is a cornerstone in Kuwata’s solo sets. Other favorites include the Gibson J-200, J-160E, Dove, Hummingbird, and models from K. Yairi and Guild, carefully chosen for both tone and visual character.

Songs like “Tokyo Victory” and “Ashita Hareru Kana” feature his use of warm, full-bodied acoustic tones—another layer in his dynamic musical palette.

Model	Brand	Amazon Link	Artist	Guitarist	Type	Notes
PRS S2 Singlecut Standard Satin	PRS	Link	Southern All Stars	Keisuke Kuwata	Electric Guitar	Featured in “Soreyuke Baby!!” MV and often used live
Telecaster Custom	Fender	Link	Southern All Stars	Keisuke Kuwata	Electric Guitar	Used during “ROCK AND ROLL HERO” recording sessions
AC-KK/SIG	Schecter	Link	Southern All Stars	Keisuke Kuwata	Electric Guitar	Heavy-sounding prototype for distortion-heavy songs
Martin HD-28V	Martin	Link	Southern All Stars	Keisuke Kuwata	Acoustic Guitar	Mainstay in acoustic performances like “Tokyo Victory”
Dove	Gibson	Link	Southern All Stars	Keisuke Kuwata	Acoustic Guitar	Known for warm chords and distinctive live visuals

Effects & Pedalboard Setup

Keisuke Kuwata’s pedalboard is a thoughtful blend of classic Japanese pedals and modern digital processors, designed to support a diverse range of styles—from jangly clean tones to searing leads. His choices reflect a balance between analog warmth and live practicality.

Over the years, Kuwata has been seen using staples like the BOSS BD-2 Blues Driver, a favorite for organic overdrive tones, and the DS-1 for a tighter, more aggressive distortion. These pedals are often paired with chorus and delay effects to fill out the mix, particularly in ballads and live versions of tracks like “I Love You wa Utawanai.”

His modulation setup frequently includes the BOSS CE-2 Chorus, known for its lush analog swirl, and occasionally the Line 6 DL4 for delay presets. These allow him to switch between slapback delays, ambient echoes, and rhythmic textures during more progressive or experimental pieces.

Interestingly, in solo tours and high-production Southern All Stars concerts, Kuwata has employed multi-effects units such as the LINE6 POD series or Zoom G5n for portability and streamlined control. These units are especially useful for switching between vastly different tones mid-set, without needing multiple stompboxes.

For EQ and tone shaping, compact graphic EQs like the GE-7 have been spotted, as well as reverb units to add extra dimension in quieter songs.

Effect	Brand	Amazon Link	Artist	Guitarist	Type	Notes
BD-2 Blues Driver	BOSS	Link	Southern All Stars	Keisuke Kuwata	Overdrive	Warm, responsive tone ideal for both rhythm and lead work
DS-1 Distortion	BOSS	Link	Southern All Stars	Keisuke Kuwata	Distortion	Classic orange pedal for punchy, consistent crunch tones
CE-2 Chorus	BOSS	Link	Southern All Stars	Keisuke Kuwata	Modulation	Smooth analog chorus often used in ballads
DL4 Delay Modeler	Line 6	Link	Southern All Stars	Keisuke Kuwata	Delay	Allows multiple delay presets—great for live flexibility
GE-7	BOSS	Link	Southern All Stars	Keisuke Kuwata	EQ	Essential for tone sculpting across diverse setlists
Zoom G5n	Zoom	Link	Southern All Stars	Keisuke Kuwata	Multi-effects	Used for compact touring rigs; versatile and reliable

While many fans associate Kuwata with vintage-style music, his use of digital gear shows a forward-thinking approach—always adapting to performance needs without compromising tone.

Sound Design, EQ & Mixing Philosophy

Keisuke Kuwata’s guitar sound philosophy is deeply rooted in subtlety and musicality. Rather than aiming to dominate the mix with flashy solos or aggressive textures, his tone is sculpted to complement the vocals and serve the song’s emotional intent.

At its core, his tone is shaped around a midrange-focused, natural EQ curve. In live settings, engineers often attenuate the 3–5kHz range to avoid clashing with vocals, while gently boosting 500Hz–1.5kHz to maintain body and presence. This lets the guitar “breathe” behind the mix, offering a sonic foundation rather than competing for the spotlight.

When using clean amps like the JC-120 or Fender Twin Reverb, the guitar’s onboard tone controls are typically set around 6–7, keeping the treble in check. Pickup selection also plays a key role—especially with Fender Telecaster Custom types—where Kuwata alternates between the warmth of the neck pickup and the bite of the bridge depending on the song’s mood.

For tracks like “Kibou no Wadachi,” a mild compression or clean boost is likely applied to enhance chord clarity at lower positions. In contrast, songs such as “CRY Ai CRY” that lean on power chords tend to feature mid-heavy distortion settings, dialed to add depth without sacrificing articulation.

Ambience is another key element in Kuwata’s tone. Chorus and soft delay effects are subtly applied to evoke nostalgia or warmth, particularly in ballads or reflective tracks. These effects are typically routed through send/return channels in the mixing stage, keeping them separated from the dry signal and preserving clarity.

Instead of relying heavily on gain, Kuwata opts for clean amp channels combined with boost pedals to achieve a responsive drive. This keeps dynamic control in his picking hand and prevents over-compression—crucial for nuanced strumming and fingerwork. During modern streaming concerts or TV appearances, he is also believed to switch between multiple preset EQ curves using digital modelers like Kemper or Helix, depending on the song.

In the mix, panning is deliberately used to separate his guitar from his own centered vocals, often placing guitar parts slightly off-center (L or R) to create stereo space. Compression is applied minimally to retain the instrument’s natural attack and preserve feel.

All in all, Kuwata’s sound design reflects a composer-producer mindset. His setups are not simply about tone—they’re about sculpting space, guiding emotion, and supporting the entire musical experience with restraint and intention.

Affordable Gear Alternatives – Reproducing Kuwata’s Sound on a Budget

If you’re a guitarist aiming to capture the essence of Keisuke Kuwata’s guitar tone without investing in high-end gear, you’re in luck. Kuwata’s sound philosophy revolves around versatile clean-to-crunch tones, flexible guitar choices, and tasteful ambient effects. Here are some budget-friendly gear options that stay true to his musical aesthetic while being accessible to a broader audience.

Category	Model	Brand	Amazon Link	Artist	Guitarist	Notes
Electric Guitar	PACIFICA112V	YAMAHA	Link	Southern All Stars	Keisuke Kuwata	Equipped with SSH configuration and coil tap, this guitar can emulate Strat and Tele tones with great value.
Electric Guitar	TE-200	ESP LTD	Link	Southern All Stars	Keisuke Kuwata	Dual humbuckers and a Tele-style shape make this an ideal alternative to PGM Telecaster customs for heavier tracks.
Acoustic Guitar	FG830	YAMAHA	Link	Southern All Stars	Keisuke Kuwata	Offers warm, rich tones reminiscent of the Martin HD-28V. Great for fingerpicking and unplugged-style performances.
Multi-Effects / Amp Simulator	G3Xn	Zoom	Link	Southern All Stars	Keisuke Kuwata	Highly flexible with numerous amp/cab models. Ideal for switching between clean, crunch, and ambient tones.
Reverb Pedal	RV-6	BOSS	Link	Southern All Stars	Keisuke Kuwata	Multi-mode reverb with rich textures—perfect for the subtle ambiance Kuwata uses to enhance his chord work.
Overdrive Pedal	BD-2 Blues Driver	BOSS	Link	Southern All Stars	Keisuke Kuwata	Responsive and warm, this drive pedal mimics the crunch used in tracks like “CRY Ai CRY.”
Delay Pedal	DD-3T	BOSS	Link	Southern All Stars	Keisuke Kuwata	Classic digital delay with tap tempo—ideal for subtle rhythmic echoes found in Southern All Stars ballads.

By combining the gear listed above, guitarists can achieve a close approximation of Kuwata’s multi-faceted tone palette for under ¥100,000 (approx. $700 USD). In particular, BOSS pedals are reliable, versatile, and suitable for both studio and live use, making them an excellent starting point for replicating his sound.

Final Thoughts – The Essence of Keisuke Kuwata’s Guitar Philosophy

Keisuke Kuwata’s guitar work embodies a profound sensitivity to the music as a whole. Rather than chasing flashy solos or aggressive riffs, he constructs guitar tones that gently yet unmistakably reinforce the emotional landscape of each song. This subtle yet sophisticated approach has been a cornerstone of the Southern All Stars’ enduring appeal.

At the heart of Kuwata’s playing lies a core principle: “the right tone at the right moment.” Whether it’s a bright Telecaster rhythm or a warm hollow-body lead, he selects his gear based on the mood and message of the song, not on brand loyalty or technical specs. His use of gear is practical, expressive, and purpose-driven—much like an arranger or producer rather than a traditional guitarist.

Effects-wise, he maintains a minimalist rig. Ambient effects like delay and chorus are used with restraint, and distortion is applied with subtlety to avoid overpowering the vocals. This restrained use of effects is not a limitation but a statement—one of “subtraction as an art form.”

Visually, Kuwata’s gear choices also enhance the live experience. His use of eye-catching red Telecasters or custom guitars for encores and stage-specific numbers reflects a performer’s understanding of stagecraft, not just soundcraft.

For musicians and gear enthusiasts, studying Kuwata’s approach offers valuable insights: it’s not just about sounding like someone—it’s about understanding why a particular tone is chosen. Asking questions like “What tone supports the vocals best here?” or “Which frequencies will enhance the atmosphere of this passage?” leads to deeper, more intentional playing and mixing.

In summary, Keisuke Kuwata’s guitar tone is not just a sound—it’s a philosophy rooted in musical empathy, tonal nuance, and the power of subtlety. His legacy as a guitarist lies in his ability to serve the song first, making every note count without ever overshadowing the message of the music.