[Curtis Nagata] How to Recreate the indigo la End Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist of indigo la End, Curtis Nagata, is known for his delicate and three-dimensional sound design. His guitar approach is emotional yet transparent, enveloping the vocals of Enon Kawatani.

His playing style masterfully controls the boundary between clean and distorted tones, allowing him to switch seamlessly according to the mood of each song. Iconic tracks like “Yoake no Machi de” and “Indigo Love Story” showcase his use of spatial effects to create ethereal arpeggios and jazzy chord work.

Furthermore, Curtis Nagata primarily uses Fender-style guitars, blending vintage tones with modern clarity. His sound maintains a clear outline even with deep reverb and delay, playing a crucial role in supporting the overall ensemble of the band.

indigo la End possesses a unique sound that drifts between J-POP and rock, with Curtis Nagata’s guitar accentuating its colors. Fans often describe his sound as “beautiful yet powerful” and “calculated down to the reverberation of the notes.”

In the following sections, we will introduce the amplifiers, guitars, and effects he actually uses, explaining how he crafts his unique sound.

▶ Search official YouTube videos of indigo la End

List of Amplifiers and Features

Supporting Curtis Nagata’s sound is a blend of clean amplifiers centered around Fender models and exquisite boutique amps. His guitar sound is transparent yet solid, and the secret lies significantly in his choice of amplifiers.

First and foremost, the Fender ’64 Custom Deluxe Reverb is a staple for live performances and recordings. This model is synonymous with Fender amps, known for its bright, fast-responding clean tones and lightly broken-up crunch sound. This amp accentuates arpeggios and backing, making it a perfect match for the delicate ensemble of indigo la End.

Additionally, the BAD CAT Black Cat Handwired Series has been confirmed to be used on occasion. This amp inherits the vintage VOX lineage and pairs excellently with single-coil guitars. It can handle everything from sharp cutting tones to deep crunch, supporting Curtis’s diverse expressions.

Moreover, the introduction of the Sinewave Zero Point is noteworthy for achieving a higher resolution tone. This amp carries the design philosophy of Two-Rock, featuring a sound that combines transparent cleans with thickness. It shines when playing jazz-like chord work or delicate arpeggios.

By utilizing these amplifiers, Curtis Nagata selects the optimal tone for each song, controlling the dynamics of the entire band. Based on live footage and gear interviews, it is assumed that his basic tone is crafted with Fender amps, while boutique amps add color to his sound.

These amplifiers are believed to be used according to the environment of live performances or recordings. Thus, it is assumed that they are chosen to maximize the individuality of each song.

Types of Guitars Used and Features

Curtis Nagata’s choice of guitars is a significant element that symbolizes the sound of indigo la End. He owns multiple Fender-style guitars and uses them according to the song or live situation.

One of his main guitars is the RS Guitarworks Workhorse. This guitar has been modified with a P90 in the front pickup and capacitor changes, achieving a vintage-like texture while maintaining modern clarity. This model frequently appears in live footage and social media posts, making it a true representation of Curtis’s tone.

Another noteworthy model is the RS Guitarworks SLAB BLACKGUARD. This high-end model replicates a 1951-54 Fender Telecaster, characterized by its dry attack and deep tone. It adds a vintage feel to the band’s delicate compositions.

Additionally, the classic Fender Telecaster is well-suited for cutting and lead playing due to its sharp attack and clarity. The unique sweetness of the Fender Jazzmaster pairs well with spatial effects, creating a shoegaze-like texture.

In recent years, the Fender Made in Japan Traditional series has also been widely used. The 50s Telecaster and 60s Stratocaster achieve bright, ringing tones, while the 70s Mustang offers a charming sound unique to short scales. By using these models, Curtis adds a wide range of expression to indigo la End’s music.

Furthermore, the Hybrid series Telecasters and Stratocasters combine modern specifications with classic sounds, enabling diverse sound creation during live performances.

This lineup indicates that Curtis Nagata is not the type to rely on a single guitar. Instead, he skillfully selects multiple guitars based on the nuances of the song or phrase, meticulously designing the overall sound of the band. By balancing the transparency of Fender guitars with the custom tones of RS Guitarworks, he achieves a sound that is uniquely his.

In this way, Curtis Nagata creates the diverse and beautiful sound world of indigo la End by using multiple guitars for each song.

Effects and Pedalboard Setup

Curtis Nagata’s pedalboard is characterized by a diverse yet organized setup. He bases his sound on clean to crunch tones while carefully using overdrive, fuzz, and spatial effects to create the atmosphere for each song.

For distortion, he frequently uses BONDI EFFECTS Sick As Overdrive, Del Mar Overdrive, and Paul Cochrane Timmy Overdrive, which are all natural overdrives. This allows him to push the amp’s characteristics forward while maintaining clarity. Additionally, fuzz/distortion pedals like Marshall Shred Master and Soul Power Instruments Spanking Purplins are used to create shoegaze-like textures and aggressive leads.

In terms of spatial effects, he combines high-quality models like STRYMON blueSky Reverb, EVENTIDE H9, BOSS DD-500, and Providence CHRONO DELAY DLY-4. Notably, he sometimes uses two Line 6 DL4s simultaneously, utilizing the looper function to construct unique phrases.

For modulation, he includes Suhr Alexa (2-channel chorus/vibrato), Electro-Harmonix Small Clone (chorus), and Electro-Harmonix Pulsar (tremolo). These are essential for emphasizing the ethereal quality of arpeggios and the fluctuations in the music.

Other pedals include booster types like xotic RC Booster and Maxon OD-9 Pro+, as well as pitch shifters like BOSS PS-6 Harmonist and DigiTech Whammy. These allow him to add thickness to lead lines or create unique harmonic textures.

For signal management, he uses PROVIDENCE PEC-2, enabling smooth switching of complex pedal chains during live performances. This setup allows him to instantly reproduce a wide variety of tones, which is a significant feature of his sound design.

In this way, Curtis Nagata balances distortion, spatial effects, and modulation, constructing a pedalboard that he skillfully switches according to the mood and phrases of each song. As a result, his unique “beautiful yet powerful” sound is created.

Tone Settings, EQ, and Mixing Approaches

Curtis Nagata’s sound cannot be replicated by merely lining up equipment. The key features are the “precision of EQ and settings” and the collaboration with the PA and engineer to craft different nuances for each song.

Starting with amp settings, it is assumed that when using the Fender ’64 Custom Deluxe Reverb, he slightly reduces treble while emphasizing midrange and keeping bass low. This achieves a transparent sound that rises above the ensemble without being harsh on the ears. The reverb is likely kept subtle, with the pedal side handling the spatial expansion.

When using the BAD CAT Black Cat or Sinewave Zero Point, he likely opens the highs slightly to take advantage of single-coil characteristics while tightening the lows to maintain clarity in chord sounds. This ensures that even complex chord work remains clear, preserving the refreshing quality unique to indigo la End.

Regarding distortion pedals, it is assumed that BONDI Sick As OD and Timmy OD are set closer to clean boost, pushing the amp’s sound forward. Gain is set around 9 to 11 o’clock, while volume is adjusted to push the amp, and tone is kept flat to slightly cut, resulting in a midrange-focused distortion that is easy on the ears.

On the other hand, fuzz pedals like Soul Power Instruments Spanking Purplins are used not to increase sound pressure but to add “texture” to the sound. Instead of creating a wall of sound within the band, they provide unique depth to arpeggios and leads.

For spatial effects, he uses STRYMON blueSky, BOSS DD-500, and EVENTIDE H9 interchangeably for different scenes. Delay times are often synced to the song’s BPM, with short delays (around 200ms) adding thickness to cutting and long delays (500-600ms) creating a dreamy atmosphere for leads. The mix level is adjusted to ensure the original sound remains prominent.

For modulation, he frequently switches between the two channels of Suhr Alexa, using one channel for light chorus to create depth and the other for vibrato to emphasize fluctuations. In particular, during indigo’s ballads, the chorus often sounds deeply applied, enhancing the emotionality of the songs.

From a mixing perspective, it is observed that the PA and engineer tend to EQ the midrange prominently. The low end is left to the bass and keyboards, while the guitar’s lows are cut to clarify the mid-high range, forming a sound that stands out within the overall mix. This approach aligns with Curtis’s direction of aiming for a transparent and three-dimensional sound, distinct from the overwhelming sounds typical of shoegaze.

For specific EQ examples during live performances, the combination of amp and PA settings might look like this:

• Bass: 3-4 (subdued)
• Middle: 6-7 (prominent)
• Treble: 5-6 (within a comfortable range)
• Presence: adjusted as needed (fine-tuned according to space)

Through such settings, Curtis Nagata accurately expresses “beautiful reverberating guitar,” “warm chord sounds,” and “sharp leads” for each song. As a result, he supports the delicate sound image of indigo la End while ensuring his presence is unmistakably felt.

Affordable Alternatives to Recreate the Tone

Curtis Nagata’s pedalboard features many boutique and high-end pieces, but it can be challenging for many to acquire all of them. Therefore, here we introduce alternative gear that beginners to intermediates can use to approach his sound at a relatively affordable price.

Starting with overdrive, while Curtis loves the BONDI Sick As and Timmy Overdrive, a more affordable alternative is the BOSS BD-2 Blues Driver. When set closer to clean boost, the BD-2 can naturally push the amp, replicating a similar transparent distortion. Additionally, modified versions (like the Weed Mod) improve midrange balance, allowing for a sound closer to Curtis’s.

For fuzz, the original Ram’s Head style can be hard to find, but the Electro-Harmonix Big Muff Pi is a classic choice. It is relatively inexpensive and can recreate a shoegaze-like thickness. By reducing the tone, it can be adjusted to achieve a deeper sound reminiscent of Curtis’s style.

In terms of spatial effects, since STRYMON blueSky and EVENTIDE H9 are pricey, alternatives like TC Electronic Hall of Fame Reverb and BOSS RV-6 are recommended. The RV-6, in particular, features modulation reverb and shimmer, making it easy to recreate the ethereal sound of indigo la End.

For delay, while BOSS DD-500 and Line 6 DL4 are expensive, the BOSS DD-8 and NUX Atlantic Delay & Reverb offer sufficient functionality at a reasonable price. By utilizing the tempo sync feature, you can create a sound closer to the actual songs.

In modulation, instead of the Electro-Harmonix Small Clone, the BOSS CE-2W Waza Craft or TC Electronic Corona Chorus are effective. Both allow for natural adjustments to the texture of the modulation, making them ideal for adding depth to arpeggios and chords.

Additionally, as a booster, using the BOSS GE-7 (Equalizer) instead of the xotic RC Booster is recommended. It can elevate specific frequency bands, highlighting solos and arpeggios.

In this way, with a budget of around $500, beginners can recreate a “transparent and three-dimensional guitar sound.” The key is to “run the amp clean and layer overdrive and spatial effects as needed.” By mastering this basic approach, you can get closer to the beautiful tones characteristic of indigo la End.

By creatively combining these commercially available models, you can approach Curtis Nagata’s “beautiful yet solid” sound.

Summary and Conclusion

We have unraveled Curtis Nagata’s sound design, and its essence lies in the “balance of transparency and three-dimensionality.” He builds his sound on Fender-style guitars and amps while skillfully using boutique pedals to delicately paint the colors of each song.

Regarding guitars, he primarily uses custom models like the RS Guitarworks Workhorse and SLAB BLACKGUARD, while also utilizing Fender Telecasters, Jazzmasters, and Stratocasters as needed. This results in a wide range of sounds that can express “jazzy sweetness,” “edgy cutting,” and “ethereal arpeggios” according to the song.

His amp setup is based on the classic sound of the Fender Deluxe Reverb, while boutique amps like BAD CAT and Sinewave Zero Point add color. This creates a clean to crunch sound that retains presence in both live and recording settings.

His pedalboard does not chase flashiness; instead, overdrives serve as a clean boost, fuzz adds textural depth, and reverb, delay, and modulation provide just enough spatial expansion as needed—a true “subtracting beauty.” Moreover, the efficient use of a switcher allows for seamless transitions between complex tones.

To replicate the essence of this sound design, it is crucial to focus not on “crafting sounds” but on “utilizing the spaces in the music.” By ensuring EQ adjustments prevent clashes with other instruments and integrating reverb and delay without overwhelming the mix, Curtis embodies the “transparent and delicate worldview” of indigo la End.

If readers wish to get closer to Curtis Nagata’s sound, it is more effective to combine a clean amp with simple overdrive and spatial effects rather than acquiring expensive gear. Focusing on practicing to beautifully resonate chords and arpeggios is the quickest path. The allure of his sound lies more in “how to handle the sound” than in the equipment itself.

In summary, Curtis Nagata’s sound can be characterized by “a beauty with substance,” “control of reverberation,” and “flexibility that supports the entire song.” By understanding this philosophy and experimenting with your own gear, you can surely bring the world of indigo la End to life through your guitar.