[Katsuko Misawa] How to Recreate the Paspie Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

【Takuya Yamanaka】How to Recreate THE ORAL CIGARETTES Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.04

【Daisuke Komura】How to Recreate the NICO Touches the Walls Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.04

[Tomomi Shiinoki] – How to Recreate the My Hair is Bad Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

Introduction (Overview of Tone)

Katsuko Misawa, the guitarist for Paspie, plays a crucial role in supporting the band’s pop yet intricate sound. His guitar playing spans a wide range, from sharp cutting to unique chord work, and even effective soundscapes, defining the color of their music.

In iconic songs like “Chinatown” and “Tokinowa,” he creates an ethereal sound by layering clean tones with delay and reverb. In contrast, tracks like “MATATABISTEP” and “Jutsu-chu Hack” showcase a thick, driven sound characteristic of Orange amplifiers, which enhances the energy of their live performances.

His sound design combines a clear tone centered around a Fender Custom Shop Telecaster with the robust sound of an ORANGE Rockerverb 100 mkII, perfectly balancing pop and rock elements. Moreover, he employs a complex effects board, utilizing spatial and pitch effects to achieve a unique sonic approach not commonly found among other guitarists.

This distinctiveness in sound is deeply tied not only to his choice of gear but also to his playing style and the way he constructs phrases. His rhythmically strong chord work, reminiscent of jazz and funk elements, along with meticulously crafted effects, make Paspie’s music truly one-of-a-kind.

Understanding these elements can provide valuable insights into recreating Katsuko Misawa’s sound.

▶ Search official YouTube videos of Paspie

List of Amplifiers and Features

The main amplifier used by Katsuko Misawa is the ORANGE Rockerverb 100 mkII, paired with the ORANGE PPC212 cabinet. This combination, introduced around 2015, has thickened the band’s sound, especially solidifying its place as the primary gear following overseas performances. ORANGE amplifiers are known for their characteristic midrange punch, covering a wide range from clean to drive while maintaining a strong harmonic presence.

The Rockerverb 100 mkII combines the warmth and responsiveness typical of tube amps, enhancing the clarity of Misawa’s Fender Telecaster. When distorted, it transforms into a loud and edgy sound. Particularly in live performances of explosive tracks like “Jutsu-chu Hack,” the powerful Orange sound shines through, perfectly matching his playing style.

Conversely, it is rumored that during recording and rehearsals, he has used Fender amplifiers (such as the Twin Reverb or Hot Rod series). For songs focusing on clean tones and heavy use of spatial effects, he likely opted for the more transparent sound of Fender amps.

Recently, it is also speculated that he may have used a Roland JC-120 as a secondary studio amp. The JC-120 is a staple clean amp that excels in creating expansive sounds when layered with delay and reverb, suitable for achieving the ethereal quality found in Paspie’s music. However, this information lacks confirmation and is largely inferred from live tour photos and magazine articles.

In summary, the main setup for live performances consists of the ORANGE Rockerverb 100 mkII + PPC212, with the occasional use of Fender amps or Roland JC-120 to balance thickness and transparency depending on the context. This flexibility allows for a seamless blend of the “pop” and “rock” elements required for each song.

Types of Guitars Used and Features

The core of Katsuko Misawa’s sound lies in his carefully selected guitars. His main instrument, the Fender Custom Shop Telecaster, features a unique finish of white with a hint of lavender and a birdseye maple neck. He has replaced the saddles on strings 3 to 6 with stainless steel for improved intonation stability and a brighter harmonic response. This versatile guitar is frequently used for both live performances and recordings, adeptly handling everything from clean to distorted tones.

Another notable guitar is the Fender Jazzmaster × Squier Bass VI Double-Neck, crafted by a repairman. This custom model, featured in a Guitar Magazine special and seen in the music video “Tsukurihajime,” is used in live performances of “Jutsu-chu Hack.” It symbolizes Misawa’s experimental sound approach by integrating guitar and bass.

As a backup guitar, he also uses the Fender USA Eric Clapton Signature Stratocaster. He has removed the mid-boost circuit from this model to pursue the bright single-coil sound typical of Stratocasters. It serves as a backup in case of issues with the Telecaster and provides tonal variation when needed.

For songs requiring a heavier sound, the Gibson Les Paul Custom makes an appearance. This model’s characteristic thickness and sustain are utilized, creating a luxurious and thick rock sound when paired with the Orange amplifier.

Depending on the period, he flexibly combines the Telecaster with the double-neck or Les Paul, adapting to the song or live performance structure. This diverse selection of guitars likely enables Paspie to achieve the wide soundscapes required in their music.

Effects and Pedalboard Setup

Katsuko Misawa’s sound design heavily relies on his effects board. Central to his setup is the Free The Tone ARC-3, designed for efficient switching among a vast array of pedals. The ARC-3 acts as a programmable switcher, managing complex signal chains and allowing him to instantly access the optimal sound for each song during live performances.

The range of effects is extensive, including staples like the Jim Dunlop Cry Baby GCB95 wah pedal, as well as pitch shifters like the Digitech Whammy 5 and Electro-Harmonix Pitch Fork. These enable him to create unique pitch variations and ethereal phrases. Additionally, he skillfully layers overdrive using the Ibanez TS-9 Tube Screamer (KAGETSU ROCK MOD) and Alairex HALO Jr., allowing him to control the nuances of each song effectively.

For distortion, he employs the BOSS DA-2 Adaptive Distortion, which naturally alters its tone based on his playing dynamics. Furthermore, the Maxon FWA10 fuzz adds a raw tone, enhancing the diversity of distortion textures across different tracks.

His effects board is also rich in spatial effects, utilizing the Strymon blueSky Reverb and Electro-Harmonix Holy Grail to add depth to the sound, while the BOSS DD-20 Digital Delay and tc electronic ND-1 NOVA DELAY create rhythmic delays. For modulation, he uses the LINE6 MM4, employing chorus and flanger effects to achieve unique undulations.

These numerous effects are powered by the EX-Pro PS-1 power supply, with high-quality cables from Free The Tone CU-416, CAJ, and KAMINARI ensuring stability. He favors Jim Dunlop Tortex Triangle 0.88 picks, which provide a non-slip surface for stable picking during live performances. This combination of gear contributes to the complex and rich sound that defines Paspie.

Tone Settings, EQ, and Mixing Approaches

Katsuko Misawa’s sound design goes beyond mere gear selection; it intricately weaves together amp settings, EQ adjustments, and creative approaches during recording and mixing. Here, we delve into his specific methods.

1. Amp Settings and Channel Switching
The main ORANGE Rockerverb 100 mkII is utilized with distinct clean and overdrive channels. The clean channel is set with a moderate bass and emphasized midrange, highlighting the Telecaster’s clear attack. Treble is kept low to avoid excessive brightness. In the overdrive channel, he often maintains moderate gain, frequently pushing it with boosters or overdrive pedals. This technique ensures that the distortion remains refined, allowing for clarity within the band ensemble.

2. EQ and Song-Specific Adjustments
The EQ balance during live performances and recordings varies according to the song’s characteristics. For example, in clean-tone-centric tracks like “Chinatown” and “Tokinowa,” he applies a strong low-cut, bringing out the mid-high frequencies to clarify rhythmic articulation. In contrast, for more intense songs like “Jutsu-chu Hack,” he retains low-end presence while slightly boosting the 500Hz to 1kHz range, emphasizing the amp’s thickness and the guitar’s prominence.

3. Combining Effects
Misawa is known for layering multiple effects rather than applying them individually. For instance, he sets a rhythmic delay with the BOSS DD-20 while adding hall reverb from the Strymon blueSky, and lightly enhancing depth with the Electro-Harmonix Holy Grail. This multi-layered spatial processing creates a three-dimensional resonance, even for simple phrases.

4. Pitch Shifters and Modulation
A significant aspect of Misawa’s sound is his proactive use of pitch effects. Utilizing the Digitech Whammy and EHX Pitch Fork, he adds pitch fluctuations to chords and riffs, creating a dreamy and experimental atmosphere. Additionally, the LINE6 MM4 introduces chorus and flanger effects, ensuring that the overall tone possesses a constant undulation, contributing to a unique floating quality.

5. Mixing Techniques
From a PA and engineering perspective, care is taken to ensure that the guitar frequencies do not overlap with those of synths or vocals. Given that Paspie’s arrangements often feature prominent keyboards, the guitar typically has a reduced low-end, focusing on midrange edges for presence. During recording, stereo delay is often panned, allowing lead phrases to spread across the stereo field, ensuring clarity even amidst a dense mix.

6. String and Pick Considerations
He uses D’Addario EXL110 (.010–.046) strings, which provide a standard gauge with stable tension, suitable for expressing subtle nuances. The Jim Dunlop Tortex Triangle 0.88 picks are favored for their non-slip texture, ensuring stable picking during live performances. These meticulous choices collectively influence the overall sound design.

Overall, Katsuko Misawa’s sound design is characterized by “layered effects combinations” and “frequency organization through EQ and amp settings,” meticulously crafted to fit seamlessly within the gaps of each song, whether clean or distorted. This accumulation supports the unique pop yet profound sound that defines Paspie.

Affordable Alternatives to Recreate the Tone

While professional gear can be expensive and complex, beginners and intermediate players can still get close to Katsuko Misawa’s sound using relatively affordable options. Here, we introduce commercially available products priced between $100 and $500, explaining how they can achieve similar nuances.

1. Amp Alternatives
The ORANGE Rockerverb 100 mkII, which Misawa primarily uses, is costly; however, the Orange Crush 35RT is a recommended alternative. Although solid-state, it captures the characteristic midrange punch of Orange amps, allowing for easy switching between clean and distorted tones. It’s suitable for home practice and small gigs, providing a good approximation of Misawa’s sound.

2. Overdrive and Distortion
Instead of the pricier MOD versions like the TS-9 or Alairex HALO Jr., the BOSS SD-1 Super OverDrive or BOSS OD-3 OverDrive are effective alternatives. Both offer midrange-focused sounds that, when paired with a Telecaster or Stratocaster, yield a sticky drive feel. Additionally, the BOSS DS-1 Distortion is affordable yet delivers a well-defined distortion, broadening the range of tones available for various songs.

3. Pitch Shifter Alternatives
As a cost-effective substitute for the Digitech Whammy or EHX Pitch Fork, the BOSS PS-6 Harmonist excels in performance. It allows for octave shifts and harmony generation, effectively recreating the floating phrases Misawa frequently employs. Its compact design also makes it easy to integrate into a pedalboard.

4. Spatial Effects Alternatives
For reverb, the BOSS RV-6 Reverb serves as a suitable alternative to the Strymon blueSky or Holy Grail. It features multiple reverb types, including hall and shimmer modes, enabling expansive spatial expressions. For delay, the BOSS DD-8 Digital Delay is versatile enough to replace the DD-20 or NOVA DELAY, offering ample functionality.

5. Modulation Alternatives
As an affordable alternative to the multi-functional LINE6 MM4, the NUX Mod Core Deluxe includes a variety of chorus, flanger, and phaser effects, allowing for the expression of Paspie’s characteristic undulation.

6. Tuner and Power Supply
Since the tc electronic PolyTune is somewhat expensive, opting for a standard tuner like the BOSS TU-3 can help save costs. For stable power supply, the One Control Iguana Tail Power Supply strikes an excellent balance between cost and performance.

By combining these pieces of gear, players can achieve a sound direction similar to Katsuko Misawa’s without needing to invest in a complex professional system. Particularly, focusing on overdrive, pitch shifters, and reverb/delay will make it easier to recreate the essence of his music.

Summary and Conclusion

Katsuko Misawa’s sound design in Paspie transcends simple band sound, elevating the guitar to “more than just an instrument” within intricate arrangements. His selection of guitars centered around the Fender Custom Shop Telecaster provides a clear and defined tone, while the inclusion of unique instruments like the Jazzmaster × Bass VI double-neck and Les Paul Custom adds character to each song.

His main setup consists of the ORANGE Rockerverb 100 mkII + PPC212, which forms a thick foundation of British sound. However, he also demonstrates flexibility by incorporating Fender and Roland JC-120 amps as needed. This adaptability ensures a broad expressive range, balancing pop and transparent tones with more aggressive rock elements.

Notably, his effects system is remarkable. Integrating a variety of pedals such as the Free The Tone ARC-3, Cry Baby, Whammy, TS-9 MOD, blueSky, DD-20, and MM4, he skillfully manages a complex signal chain. By heavily utilizing spatial and pitch effects, he transforms the guitar into an “additional synth” that expands the overall sound of the band, rather than merely serving as a backing instrument.

In terms of mixing, he collaborates closely with the PA and engineering teams to ensure that guitar frequencies do not clash with synths or vocals, often focusing on midrange clarity while using delay and reverb to create depth. This meticulous adjustment allows the guitar to maintain its presence even within the dense arrangements typical of Paspie’s music.

In conclusion, the essence of Katsuko Misawa’s sound design lies in “layered effects utilization,” “flexible gear selection based on context,” and “frequency design mindful of the entire ensemble.” By understanding these principles, one can glean insights into recreating his sound without needing to acquire every piece of gear. It’s not just about having the same equipment but understanding “how to leverage what you have in different situations,” which is the most crucial point in experiencing Misawa’s sound.