[Akiyama Kiro] How to Recreate the Akiyama Kiro Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Akiyama Kiro is an artist known for his unique sound that balances singer-songwriter individuality with a full band sound. His music prominently features guitar, but he also incorporates synthesizers and samplers to create layered arrangements.

His songs exhibit a wide range of expressions; for instance, in straightforward rock numbers, he employs aggressive distortion and fuzz, while in acoustic tracks, he showcases a delicate touch with a more restrained sound. Iconic songs like “Monologue” and “Identity” blend fuzzy textures with clear clean tones, creating a striking contrast in the soundscape.

On stage, he utilizes distinctive guitars such as Strandberg and Mosrite models, setting himself apart from other guitarists. As he has revealed in interviews and on social media, he aims to create a “band sound by himself” by combining guitar with synthesizers and vocal effects.

Thus, Akiyama Kiro’s sound design goes beyond the charm of the guitar alone; it reflects an integrated style that considers total arrangement. Understanding his approach to guitar effects, amplifiers, DAW, and microphone selection is the first step in recreating his sound.

▶ Search official YouTube videos of Akiyama Kiro

List of Amplifiers and Features

Akiyama Kiro uses a wide range of amplifiers, from rock-oriented tube amps to compact combo amps and even popular choices for home recording. His sound design is characterized by the careful selection of amplifiers for live performances and recording, achieving a balance between the detailed studio sound and the powerful stage presence.

The main amplifier confirmed is the MESA/BOOGIE Fillmore 100 Head + Cabinet. This versatile amp covers everything from classic clean tones to crunch and high gain, making it a favorite among modern rock musicians. The thick distortion and solid clean tones heard in Akiyama Kiro’s music align perfectly with this amp’s characteristics.

Additionally, he has been seen using unique options such as the Nancy Zinky NS-2 and Samamp CA 45 combo amps. These amps are known for their vintage-like warmth and are likely used in songs that require straightforward guitar sounds, making them valuable for live performances and studio sessions.

Another amp that has been confirmed is the Bad Cat Black Cat 1×12 Combo, which features a sharp tone and excellent response, allowing the nuances of Kiro’s dynamic strokes and riffs to shine through. This amp’s clarity complements his playing style effectively.

On the other hand, a unique choice is the PIGNOSE 7-100-25R, a compact and portable amp known for its distinctive low-gain crunch sound, likely used for home practice and recording. It is highly probable that this amp is utilized when Akiyama Kiro creates diverse arrangements at home.

For recording, he employs microphones such as the SHURE SM57 and SENNHEISER MD421-II for cabinet miking, ensuring solid and stable sound quality through classic miking techniques. The SM57, in particular, is a staple for guitar amp recording and is essential for reproducing Akiyama Kiro’s tone.

In summary, Akiyama Kiro primarily relies on versatile amplifiers like the MESA/BOOGIE while also incorporating combo and small amps for a wide range of sound creation. While there is a wealth of confirmed information, the specific use of each amplifier may vary by song and performance, making it advisable to check the latest tour or session footage for the most accurate details.

Types of Guitars Used and Features

Akiyama Kiro’s guitar collection is incredibly diverse, featuring a wide range of unique models alongside classic designs. His performances and music videos reveal a strong commitment to his choice of guitars.

Notably, he often uses the Strandberg Salen Jazz NX 6 Burgundy, known for its headless design and unique body shape, confirmed in the music video “Sonic Move.” This guitar offers modern playability and clear sound, perfectly matching Akiyama Kiro’s aggressive yet delicate phrasing.

He also frequently employs the Fender American Acoustasonic Telecaster, which allows seamless switching between acoustic and electric sounds. This guitar is particularly useful during live performances that require acoustic expressions and is likely used in studio recordings to expand his sound palette.

In the semi-hollow category, he owns multiple models equipped with Bigsby, such as the Epiphone ES-335 Cherry + Bigsby B7 and Epiphone Sheraton II PRO Ebony (purchased in 2023). These guitars are characterized by their sweet, sustaining tones and vibrato capabilities, making them ideal for backing vocal tracks.

Akiyama Kiro has a particular affinity for Telecasters, owning models like the Fender MIJ Telecaster + Bigsby B5, Fender Vintera 60s Telecaster Bigsby 3TS, and Fender American Professional II Telecaster Olympic White. He also uses signature and custom models, such as the INORAN model and Telemaster ACE, ensuring a diverse sound.

His collection also includes a variety of Jazzmasters, such as the Fender Jazzmaster and Fender INORAN Jazzmaster. The deep midrange and dreamy tones of these guitars significantly contribute to Akiyama Kiro’s ethereal soundscapes.

Additionally, he uses unique Mosrite models like the Mosrite Super Custom Type65 / SUPER EXCELLENT 65 and Black Cloud Mosrite. These guitars are known for their sharp attack and distinctive midrange, adding a raw edge to his rock sound.

He also enjoys high-end domestic guitars like the Sugi Guitars Stargazer (purchased in 2021) and Tokai ATH-GP AL. The Sugi offers precise and balanced sound, while the Tokai features a striking red body and Bigsby for a unique look and tone.

Classic models such as the Gibson SG Standard ’61 Maestro Vibrola and Fender MIJ Mustang Olympic White, along with quirky models like the Eastwood Hi-Flyer Sunburst, further enrich his sound across genres.

In summary, Akiyama Kiro’s guitar collection combines classic Fender and Gibson models with unique choices like Mosrite and Sugi, creating the perfect tones for each song. The specific guitars he uses may vary by song and performance, so checking the latest live footage or social media posts is the best way to stay updated.

Effects and Pedalboard Setup

Akiyama Kiro’s sound design goes beyond just the guitar; he combines numerous effects to create his unique sound. His pedalboard is highly diverse, utilizing multiple types of overdrive and distortion, as well as chorus, delay, and even a multi-processor for vocals.

For drive effects, he employs staples like the BOSS BD-2 and Ibanez TS9DX / Tube Screamer Mini, along with a variety of pedals such as the JHS Moonshine V2, VEMURAM Jan Ray, and MAXON OD808, each offering different nuances and textures. By selecting the optimal distortion for each song, he can express everything from straightforward rock sounds to delicate crunch tones.

In terms of distortion, he incorporates the BOSS DS-1X and SUHR Riot as staples, while also using alternatives like the Proco RAT2 and MI Audio Super Crunch Box V2 for more alternative textures. For fuzz, he utilizes the Electro-Harmonix Little Big Muff Pi and Dunlop Fuzz Face Mini, adding a raw expressiveness to his sound.

For modulation effects, he primarily uses the MXR M134 Stereo Chorus and BOSS CH-1, adding a sense of transparency and movement that complements his dreamy tracks. Delay effects are covered with the tc Flashback 2 and Line6 DL4, allowing for rhythmic phrases and spatial expansion. He also incorporates an octave pedal (BOSS OC-3) and EQ (MXR M108) to control frequency ranges and harmonics.

What stands out on Akiyama Kiro’s board is his use of multi-effects units like the Line6 HX Stomp and BOSS GT-1000 in conjunction with analog pedals. This combination enables him to achieve a compact setup that replicates the diverse tones of a studio environment during live performances. Additionally, he uses vocal multi-effects like the TC-HELICON VoiceLive 3 Extreme to integrate his voice and guitar seamlessly.

For power supply, he uses the Free The Tone ARC-4 and Vital Audio VA-05 ADJ, ensuring stable power delivery. Overall, his approach combines analog and digital elements, allowing for genre-crossing sound creation. While the pedalboard configuration may change depending on the song or performance, it is clear that he consistently aims for layered and creative sounds.

Tone Settings, EQ, and Mixing Approaches

Akiyama Kiro’s sound design emphasizes not only the guitar tone but also the total balance of amplifiers, effects, and mixing stages. Listening to his music reveals that even in rough rock sounds, the clarity and impact of the sound are maintained without being muddled.

Regarding amplifier settings, he primarily utilizes the MESA/BOOGIE Fillmore 100 for a wide range of tones from clean to crunch. In the clean channel, he keeps the gain low and sets the EQ to approximately low: 40-50% / mid: 60% / high: 50%, focusing on clarity for backing and arpeggios.

When using crunch or distortion, he raises the gain to nearly 70% and emphasizes the midrange to add thickness typical of rock music.

His approach to effects involves layering overdrive and distortion “per song.” For straightforward rock tracks, he might use the BOSS BD-2 or SUHR Riot upfront, adding fuzz like the Little Big Muff to enhance the sound pressure. Spatial effects are typically employed in cleaner tracks, combining chorus + delay for a three-dimensional expansion.

For EQ processing, in addition to the amp settings, he uses the MXR M108 10 Band EQ to boost or cut specific frequencies to optimize each song. He often emphasizes the midrange to support vocal presence while cutting low frequencies to avoid clashing with bass or kick drum.

In the mixing stage, he frequently employs double tracking, panning guitars left and right to create thickness and reproduce the power of studio recordings during live performances. In songs like “Identity,” he places a clean tone on the left and a crunch tone on the right, enhancing the spatial and dimensional feel.

Additionally, during recording, he likely uses SHURE SM57 and SENNHEISER MD421-II to capture the cabinet while recording room ambiance with a separate mic. This technique adds realism to the sound, recreating the airiness when listened to through headphones or speakers.

Another notable aspect is how he synchronizes vocal effects (like the TC-HELICON VoiceLive 3 Extreme) with guitar sound design. By matching the delay times of his voice and guitar, he emphasizes overall cohesion.

In summary, Akiyama Kiro’s sound design is built on the foundation of “midrange-focused guitar EQ” + “layered drive effects” + “spatial expansion with effects” + “double tracking.” While specific settings may vary by time and performance, understanding this core approach will help you closely approximate his sound.

Affordable Alternatives to Recreate the Tone

Akiyama Kiro’s gear primarily consists of high-end models from brands like Strandberg and Sugi Guitars, along with a professional setup of various pedals. However, it is entirely possible for beginners and intermediate players to achieve a similar sound using more affordable gear. Here, we introduce commercially available products that can be acquired for around $100 to $500, focusing on elements of his sound design.

For guitar selection, strong candidates include the Squier Classic Vibe Telecaster and Squier Jazzmaster, both of which can replicate the classic Fender tones Akiyama Kiro frequently utilizes. These guitars can achieve sounds similar to the Telecasters and Jazzmasters he often uses, with price ranges around $300 to $500. While finding models with Bigsby might be challenging, standard models can still effectively recreate the vibe.

For amplifiers, the BOSS Katana 50 MkII is highly recommended. It covers a wide range from clean to high gain and includes built-in effects, allowing for versatile sound creation akin to Akiyama Kiro’s. Its performance is also sufficient for home recording and practice.

In terms of effects, to get closer to the character of the distortions Akiyama Kiro uses, the BOSS BD-2 and Ibanez TS Mini are effective choices for overdrive. For distortion, the BOSS DS-1X provides a powerful approach, while the Electro-Harmonix Big Muff Nano is suitable for achieving fuzz tones.

For spatial effects, the tc electronic Flashback Mini Delay and BOSS CH-1 Super Chorus are ideal entry-level options. They can express the dreamy modulation Akiyama Kiro is known for at an affordable price, making them practical for live use. Additionally, for simple EQ processing, the MXR 6 Band EQ can help adjust the characteristics of the amp and guitar.

Furthermore, incorporating a multi-effects unit like the ZOOM MS-50G+ allows for the consolidation of delay, chorus, and EQ into one device. Given that Akiyama Kiro has been confirmed to use ZOOM products, this option represents a high-fidelity choice for recreating his sound.

In conclusion, even without assembling a professional-grade setup, selecting products from brands like Squier, BOSS, tc electronic, and ZOOM can help you approach Akiyama Kiro’s essence of “layered distortion,” “midrange-focused EQ,” and “spatial expansion” in sound design.

Summary and Conclusion

Akiyama Kiro’s sound design can be summed up as a “multi-layered sound with a focus on midrange that crosses genres.” By meticulously layering elements such as guitar types, amplifier choices, and effects combinations, he creates a unique and vibrant sound that stands out in the pop scene.

His guitar choices are primarily based on classic models like Telecasters and Jazzmasters, supplemented by unique options from Strandberg and Mosrite, achieving a sound that is “unforgettable after just one listen.” His willingness to switch between semi-hollow and acoustic guitars depending on the song further supports his broad musicality.

On the amplifier side, he centers his sound around the MESA/BOOGIE Fillmore 100, complemented by vintage-style combo amps like Nancy Zinky and Bad Cat. He also uses the compact PIGNOSE for home recording, demonstrating flexibility based on the context, balancing power for live performances with delicacy for studio recordings.

His effects board features multiple overdrive, distortion, and fuzz options, allowing him to select the “optimal distortion for each song.” He also creates spatial effects with chorus and delay, integrating multi-effects units for stability and expandability. The addition of vocal effects to unify voice and guitar creates a distinctive style not commonly found in other artists.

At the core of his sound design lies creativity in the mixing stage. He effectively boosts the midrange to blend with vocals and employs double tracking to ensure sound pressure. Additionally, his ambient-focused miking techniques create a three-dimensional sound that is optimized for the streaming era.

For readers looking to get closer to Akiyama Kiro’s sound, focusing on midrange-focused EQ and switching between clean and distorted tones is essential. Adding spatial effects will help create a dreamy atmosphere, allowing even simple phrases to have a strong presence. While acquiring all his gear may be challenging, understanding the concepts behind his sound makes it achievable.

Akiyama Kiro’s sound is not merely a collection of gear but rather an integrated sound design aimed at maximizing one’s voice, songs, and stage presence. Learning from his approach to sound design can offer insights not only into gear selection but also into how to maximize one’s expression.