[Junji Ishiwatari] How to Recreate the Supercar Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Junji Ishiwatari, the guitarist of Supercar, has made a name for himself not only as a musician but also as a lyricist. His guitar sound is a crucial element that supports the band’s cool and ethereal world. Ishiwatari’s playing style emphasizes creating an overall atmosphere rather than flashy speed picking or technical riffs.

In iconic songs like “STROBOLIGHTS” and “YUMEGIWA LAST BOY,” he utilizes simple yet effective guitar phrases combined with spatial effects to construct a captivating soundscape. His approach to sound design focuses on harmonizing the guitar with synthesizers and rhythm tracks, rather than placing the guitar’s presence at the forefront.

With a relatively restrained level of distortion, he bases his tone on a clean to crunch texture, enhancing the depth with effects like delay and flanger. Ishiwatari’s guitar sound plays a “colorful role that supports the overall texture of the band,” making the equipment and settings he chooses a focal point for understanding his sound design.

Understanding his sound design can deepen your appreciation of Supercar’s musicality.

▶ Search official YouTube videos of Supercar

List of Amplifiers and Features

During his time with Supercar, Ishiwatari is confirmed to have used the Fender Hot Rod DeVille and Tech 21 NYC Trademark 60. Both amplifiers were widely used in the Japanese rock/pop scene from the late 90s to the 2000s and are essential to discussing his guitar sound.

The Fender Hot Rod DeVille is a tube amplifier known for its traditional Fender clean tones, complemented by a boosted distortion. It is believed that this amp was chosen to express the delicate clean to crunch textures in Supercar’s music. Its ability to maintain clarity even with effects like delay and flanger makes it a perfect match for the band’s ethereal sound. The amp also boasts stable output on stage, suggesting that Ishiwatari prioritized live performance reliability.

The Tech 21 NYC Trademark 60 is a solid-state amp featuring analog circuitry for amp simulation. It offers warmth akin to tube amps while being easy to handle, making it suitable for studio and live settings. Its expressive distortion section and sound separation fit well with Supercar’s minimalistic and refined ensemble, allowing the guitar to blend harmoniously with synthesizers and rhythms.

Both amplifiers share the characteristic of being straightforward, making them conducive to spatial effects. Ishiwatari’s sound retains its core even with deep delays and flangers, maintaining overall tonal balance. The Trademark 60’s lightweight and user-friendly design likely made it a favorite for rehearsals and smaller gigs.

From these choices, it is evident that he valued “transparency and spatial expansion” over mere “rock guitar power.” His amplifier selections reflect a strategic decision to create Supercar’s unique ethereal sound. For modern setups, choosing similar Fender clean amps or amp simulators would be a shortcut to achieving a comparable tone.

In summary, Ishiwatari appears to have chosen amplifiers that support the overall sound rather than assert themselves as dominant elements.

Types of Guitars Used and Features

Junji Ishiwatari is known for using the Mosrite Signature Model as his main guitar. Mosrite guitars have a unique presence, widely used from 60s surf rock to garage rock, and they pair well with fuzz and distortion while producing a distinct brightness and sharp attack in clean tones.

In Supercar, a unique sound was crafted based on this Mosrite. For example, in the iconic tracks “cream soda” and “Lucky,” the high frequencies characteristic of Mosrite stand out, contributing to the band’s ethereal soundscape.

The Mosrite features a slim neck profile and lower frets, providing a unique playing feel. Its pickups are somewhat high-gain, producing a more edgy tone compared to typical Fender or Gibson guitars. This allows for maintaining clarity when combined with delay and flanger effects, ensuring the overall sound image remains clear.

Additionally, the Mosrite’s visual impact is significant, with its streamlined body shape and distinctive headstock design making a strong statement on stage. Ishiwatari’s signature model is said to have been modified to suit his playing style, becoming a symbolic presence supporting the band’s sound.

While there are suggestions that he may have used Fender or Gibson models as secondary guitars, photographic evidence and official interviews primarily confirm the Mosrite as his main choice. Thus, the association of Ishiwatari with the Mosrite has become firmly established among fans.

Today, acquiring a Mosrite can be challenging, but alternatives from domestic brands or alternative guitars like the Jazzmaster can serve as substitutes. The Jazzmaster, in particular, is well-suited for replicating the high-frequency clarity and unique modulation.

Overall, Ishiwatari’s guitar serves not as a lead instrument but as a supportive element for the band’s overall sound, with the Mosrite being its symbol.

Effects and Pedalboard Setup

Listening to Supercar’s music reveals that Ishiwatari’s guitar sound is not simply direct from the amp but features a three-dimensional soundscape created through spatial and distortion effects. Notably, the Roland GP-100 has been confirmed as part of his setup, serving as a preamp and multi-effects unit crucial for both live performances and recordings.

The Roland GP-100 is a rack-mounted preamp/multi-effects processor widely used by artists of that era. Ishiwatari primarily utilized amp simulation and spatial effects, generating a soft crunch and delay that blended seamlessly with the band’s overall sound. While individual playing habits can affect the tone, this unit is essential for recreating the atmosphere.

Delay is another indispensable element in his playing. For instance, using a digital delay like the BOSS DD-7 allows for easily recreating the “echo effect” heard in Supercar’s signature riffs. Setting a shorter delay time rhythmically enables the guitar to intertwine with drums and synths, forming a unique groove.

Moreover, the “swirling” effect heard in the chorus and bridge sections is likely produced by flanger/phaser effects. The flanger creates a low-end undulating effect, while the phaser adds a light high-end modulation, suggesting that he used both depending on the song. These effects allow the guitar to blend into the spatial sound, enhancing Supercar’s unique ethereal quality.

Regarding distortion, he alternates between overdrive/distortion, using pedal distortion for the intro riffs and accent parts while relying on the amp’s natural drive for sections mixed with bass and synth. Rather than applying excessive gain, he focuses on “distortion that aligns with the overall texture of the song,” which is a key aspect of his sound design.

In summary, his effects board likely consisted of “GP-100 at the center, supplemented by delay, modulation, and distortion.” For modern recreation, combining a multi-effects unit with delay and flanger/phaser would be effective.

Thus, Ishiwatari’s effects are positioned not to assert themselves but to create a balanced overall sound.

Tone Settings, EQ, and Mixing Approaches

Ishiwatari’s sound design goes beyond amp and effect settings; it is built upon the overall mix balance of the band. Supercar frequently employs synthesizers and samplers, making it crucial for the guitar to possess a texture that can coexist with synths and beats rather than standing out on its own.

EQ Settings
When using the Hot Rod DeVille, it is believed that he set the BASS to 5-6, MID to 3-4, and TREBLE to 6-7. This approach slightly reduces the midrange to avoid clashing with the synth frequencies while enhancing the brightness in the high end. With the Trademark 60, he likely emphasized PRESENCE to highlight clarity while keeping the overall volume subdued.

Distortion Adjustments
Distortion was kept at a crunch to light drive level without excessively raising the amp’s gain. This allows for clarity even when layering delay and flanger, ensuring the guitar resonates transparently within the overall song. For example, in “YUMEGIWA LAST BOY,” a light delay over a crunchy tone creates a simple yet three-dimensional sound image.

Delay and Spatial Effects Usage
Delay was often set rhythmically at 300-400ms for short delays, utilizing the repeating echoes in riff sections. Keeping the repeat count to 2-3 helps maintain clarity, allowing the sound to function as part of the rhythm. Flangers and phasers appear in the chorus, enhancing the song’s ethereal quality with wide modulation effects.

Song-Specific Usage
In “STROBOLIGHTS,” a tight delay synced with the beat and a clean tone were prioritized for cohesion with the synth. In “cream soda” and “Lucky,” a heavier application of flanger/phaser was used to elevate the intensity in the choruses. This nuanced adjustment of effect depth for each song clearly delineates transitions.

Mixing and PA Techniques
In live performances and recordings, the guitar was not centered but slightly panned to avoid interfering with the synth and vocal frequencies. Given the heavy use of spatial effects, the PA and engineers likely avoided excessive reverb, ensuring that delay and flanger effects remained prominent with dry components retained.

Moreover, recording techniques often involved mic placement that captured the core sound while incorporating room mics to create depth. This approach resulted in a guitar sound that is both ethereal and well-defined in CD recordings.

Summary
The essence of Ishiwatari’s sound design lies in “transparency without excessive self-assertion” and “ethereal quality that blends into the overall song.” EQ is used to organize the midrange while ensuring high-end clarity. Distortion is kept minimal to enhance spatial effects. Delay and flanger create a three-dimensional expansion. All these elements serve the role of a guitar that coexists with synths and beats, culminating in the unique Supercar sound.

Affordable Alternatives to Recreate the Tone

While replicating Junji Ishiwatari’s sound may require the original Mosrite and Roland GP-100, these can be difficult to obtain or expensive today. Therefore, for beginners or those on a budget, here are some relatively affordable alternatives that can be acquired for around $100-$500. These products make it easier to recreate the ethereal quality and transparency characteristic of Supercar.

Guitar Alternatives
As substitutes for the Mosrite, the Fender Jazzmaster or Squier J Mascis Jazzmaster are excellent choices. They can somewhat replicate the unique brightness and tonal variations achieved by switching between pickups. The Squier model, in particular, offers great cost performance and is beginner-friendly.

Amplifier Alternatives
The Fender Champion 40 and Boss Katana-50 MkII provide beautiful clean tones and excellent compatibility with spatial effects. While they may lack the tube warmth of the Hot Rod DeVille, they can produce sufficiently similar sounds using digital processing.

Effect Alternatives
For delay, the BOSS DD-8 and TC Electronic Flashback 2 are budget-friendly options. They can easily recreate the short delay effects Ishiwatari frequently used, ensuring that the sound does not get buried. For flanger and phaser effects, the BOSS BF-3 and PH-3 are reliable choices, known for their stability and high fidelity.

Multi-Effects Alternatives
While the Roland GP-100 has become pricey in the used market, current models like the BOSS GT-1 or Line 6 POD Go can serve as excellent substitutes. They integrate amp simulation and spatial effects, allowing for a simple board setup to achieve a Supercar-like quality. For beginners, having “this one unit” is an attractive feature.

By acquiring these alternative pieces of gear, you can somewhat replicate the unique high frequencies of the Mosrite and the clean tones of the amplifier, allowing you to enjoy the “Supercar-like ethereal quality” at a relatively affordable price.

Summary and Conclusion

Junji Ishiwatari’s guitar sound is not merely a backdrop or decoration; it is a significant element that embodies the “ethereal” and “transparent” qualities of Supercar’s music. With a unique tone centered around the Mosrite, the clean to crunch foundation provided by the Hot Rod DeVille and Trademark 60, and the three-dimensional spatial processing achieved through the GP-100 and delay/flanger effects, all these aspects combine to form a truly unique band sound.

Notably, his sound design emphasizes “subtlety over self-assertion.” While typical rock guitarists aim for prominent lead play, Ishiwatari consistently prioritizes “overall harmony.” As a result, his guitar may sound subdued when listened to in isolation, yet it exudes a powerful presence when experienced within the context of the entire song. This philosophy underpins Supercar’s “cool and urban sound.”

When aiming for replication, it is crucial to focus on “not burying the sound but allowing it to blend into the space.” Organizing the midrange with EQ while ensuring high-end clarity, keeping distortion minimal, and effectively layering spatial effects are key points. Conversely, excessive distortion or over-layering effects can disrupt the delicate balance he aimed for.

Moreover, it is entirely feasible to experience “Supercar-like sounds” using relatively affordable alternative gear. The key is to maintain a mindset of how to coexist with synths and rhythms in your playing environment. Rather than pushing the guitar forward, the mindset should be to integrate it with other instruments, which is the most faithful method of recreation.

In summary, the essence of Ishiwatari’s sound design lies in the awareness of “designing the overall sound image of the band.” Instead of showcasing individual personality as a guitarist, he meticulously selects only the sounds necessary to enhance the song’s completeness. This approach is what makes Supercar’s sound unique and continues to influence many listeners and artists today.