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

関連記事

[Atsushi Horie] How to Recreate the Straytenner Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

[Matsuri] – How to Recreate the Hanabie Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Takuya Sato] How to Recreate the androp Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

Introduction (Overview of Tone)

Katsuya, the guitarist of UVERworld, plays a crucial role in supporting the band’s rich and vivid sound. His playing style is characterized by meticulously structured riffs and a wide range of tonal variations that adapt to the songs.

In iconic tracks like “Hakanakumo Eien no Kanashi” and “CORE PRIDE,” he alternates between thick chord strumming and sharp cutting, creating an ensemble that complements vocalist TAKUYA∞’s voice. By skillfully manipulating sounds that range from clear tones without excessive distortion to modern high-gain, Katsuya adds a unique dimensionality to UVERworld’s music.

Moreover, Katsuya’s guitar transcends the traditional rock guitarist’s framework. By utilizing boutique amplifiers and high-end guitars like PRS, he pursues the optimal tone for each song. His seamless transitions between clean and crunch tones in live performances, particularly with spatial soundscapes created through delay and modulation, leave a lasting impression.

The reason his sound garners attention is not merely due to the luxuriousness of his gear, but rather his consistent approach of prioritizing the enhancement of the song. As a result, the guitar beautifully complements UVERworld’s grand and dramatic worldview.

In the following sections, we will delve into the amplifiers, guitars, and effects that Katsuya actually uses, exploring how he achieves his distinctive sound.

▶ Search official YouTube videos of UVERworld

List of Amplifiers and Features

When discussing Katsuya’s sound design, the choice of amplifiers is indispensable. He prefers boutique amplifiers known for their resolution, dimensionality, and responsiveness, rather than just loudness. This choice supports the unique scale of UVERworld’s sound.

The foundation of his live sound is the “THE VALVE 3/100,” a model from an Italian boutique brand that is extremely difficult to obtain in Japan. This vacuum tube amplifier combines warmth with a modern wide range, drawing out the guitar’s inherent character while highlighting Katsuya’s tight picking style.

Additionally, he uses modern high-gain amplifiers like the “Diezel Herbert MKⅡ” and “Diezel VH4.” The VH4, in particular, features four channels, allowing for a wide range from clean to heavy high-gain, making it invaluable for UVERworld’s diverse setlists. It is essential for supporting heavy, sharp riffs.

For clean and crunch tones, the “Two-Rock Studio Pro 35” and “Two-Rock K&M Jade” have been confirmed. Two-Rock is a brand favored by artists like John Mayer, known for its rich overtones and exceptional resolution. Katsuya’s clean parts stand out even when layered with the band’s synths and vocals, largely due to the performance of this amplifier.

As a result, Katsuya balances the use of boutique and high-gain amplifiers, achieving both “clean tones that support the vocals” and “aggressive leads/riffs.” In some songs, he switches amplifier channels or uses multiple units simultaneously, suggesting a meticulous sound design process.

In this way, Katsuya uses amplifiers as a “canvas for tone,” constructing the band’s grand worldview. Future live settings and changes in new songs will continue to be points of interest.

Types of Guitars Used and Features

Katsuya of UVERworld does not compromise on guitar selection, pursuing tones that fit the band’s sound. In live performances and recordings, he primarily uses Paul Reed Smith (PRS) guitars along with high-end and custom models from both domestic and international brands, creating different expressions for each song.

Notable models include the “PRS Custom 24 / Custom 22.” PRS is known for combining the thickness of Gibson with the sharpness of Fender, making it a versatile model that can handle everything from clean to high-gain. Katsuya has long favored this guitar, using it as his main instrument to support live performances. The pickups feature unique designs that can produce transparent cleans and thick distortions.

Another model is the “PRS McCarty Soapbar,” equipped with P-90 type pickups, emphasizing a strong midrange sound. This guitar is invaluable for adding thickness to the band’s sound, forming the backbone of UVERworld’s tight riffs.

For acoustic parts in live performances, the “PRS NAMM Custom Acoustic (Tonare Grand)” is featured. Its beautiful wood and high-precision craftsmanship add depth and dimension to the songs, making it an essential part of UVERworld’s dramatic soundscape.

Additionally, models like the “Dean Hard Tail” and “David Thomas McNaught Vintage Double Cut” are used for high-gain scenarios, delivering powerful sounds in louder tracks. The “dragonfly B6” allows for stable tension even in down-tuning, particularly for songs that drop to B. This model is often chosen for such tracks.

For clean tones, the “Godin A6” and “Gretsch White Falcon” are also significant. The Godin A6 is a thin-bodied electro-acoustic guitar that offers electric-like playability, making it convenient for switching. Meanwhile, the Gretsch White Falcon features a stunning appearance and rich clean tones, adding unique color to the songs.

Overall, Katsuya has established a style of “centering around versatile PRS while using high-end guitars tailored to each song.” This results in a consistently high level of sound reproduction in both live performances and recordings.

In this way, Katsuya creates optimized tones for each song by skillfully selecting high-end guitars according to the situation. His dedication is evident through live footage and interviews.

Effects and Pedalboard Setup

One of the defining elements of Katsuya’s sound is his pedalboard, which is simply yet meticulously constructed. Unlike many professional guitarists who build complex systems, he carefully selects a minimal number of effects, creating a diverse range of sounds through their combinations.

The core of his distortion is the “FREE THE TONE Red Jasper RJ1V.” This low-gain pedal features a vintage-style natural drive, enhancing the amp’s inherent character while adding punch to the midrange. The reason Katsuya’s guitar does not overshadow the vocals yet maintains its presence is largely due to the characteristics of this pedal.

For boosting, he uses the “Suhr Booster.” This pedal not only increases volume but also adds drive without altering the tone, making it ideal for emphasizing solo parts and riffs. In clean sections, he employs the “Empress Effects Compressor,” which helps equalize the attack and enhances the clarity of chord strumming and arpeggios.

In terms of spatial effects, he utilizes multifunctional delays like the “Eventide TimeFactor” and “BOSS DD-20 Giga Delay.” The TimeFactor boasts a vast number of presets and precise tempo synchronization, contributing to the grand spatial effects essential to UVERworld’s music. The BOSS DD-20 serves as a supplementary tool for clean short delays, emphasizing the guitar’s outline.

For modulation effects, the “Eventide ModFactor” and “BOSS HF-2 Hi Band Flanger” play significant roles. The HF-2, in particular, is a high-frequency flanger that creates a brilliant tone that does not get lost in the thick band ensemble. This modulation is crucial in creating UVERworld’s expansive soundscape.

Additionally, the “DigiTech Whammy” is incorporated, capable of pitch shifting chords, allowing for bold pitch shifts and tonal changes during live performances. This enables UVERworld’s music to achieve a more futuristic and dramatic expression.

Thus, Katsuya’s pedalboard is characterized by its “simplicity yet diversity.” By centering around distortion and spatial effects while adding boost or pitch shifts only when necessary, he achieves complex sound creation with a minimal number of pedals.

Tone Settings, EQ, and Mixing Approaches

Katsuya’s sound design is not merely a binary of “distorted/clean,” but rather supported by delicate settings and EQ adjustments tailored to each song. Whether in live performances or recordings, his guitar never overshadows the vocals while maintaining its presence. Let’s take a closer look at the reasons behind this.

Starting with amplifier settings, it is assumed that for the Diezel Herbert and VH4, the EQ for the clean channel is often set with a moderate bass (4-5), slightly elevated mids (6-7), and treble around 5-6. This allows the bass and drums to handle the low-end frequencies while ensuring the guitar’s presence in the midrange. For the high-gain channel, the gain is kept moderate (around 5-6), with the attack reinforced by a compressor or booster.

For Two-Rock amplifiers, the settings typically involve taking advantage of their rich overtones and wide range while slightly reducing the highs (4-5) and boosting the mids. This provides a clear outline that does not get lost even in clean settings. This EQ is essential for UVERworld’s songs, which frequently utilize “clean + delay + modulation.”

In terms of effects, it seems he often keeps the Red Jasper RJ1V engaged. This overdrive is ideal for providing a light compression to the amp’s clean tone, adding thickness. When necessary, he pushes it further with the Suhr Booster for solos and riffs.

For delay settings, it is speculated that when using the Eventide TimeFactor for leads or arpeggios, he sets the delay time to around 400-600ms, keeping the mix at about 20-25%. Conversely, the BOSS DD-20 is set for short delays (around 80-120ms), used almost like reverb to create spatial effects. This dual structure further emphasizes the dimensionality of the songs.

In modulation, the HF-2 Hi Band Flanger is kept at a lower mix level to color only the brilliant high frequencies without burying the overall sound. Additionally, the ModFactor is switched between chorus-like expansion and phaser-like movement for each song, contributing to a cohesive sound with the synths.

In mixing, it is assumed that the engineer boosts the midrange frequencies around 2-4kHz while cutting the low-end. This approach ensures that the guitar functions as a “supporting sound” behind TAKUYA∞’s vocals in UVERworld. If the low frequencies overlap, the sound becomes muddy, so the guitar is prioritized for a slightly high-mid presence.

Looking at specific songs, “Hakanakumo Eien no Kanashi” features a clean + delay for transparency, “CORE PRIDE” delivers powerful riffs with high gain, and “Ittuki no Eikyou” showcases an expansive ensemble with acoustic guitar. All of these are achieved through a combination of gear, EQ, and effects.

Overall, Katsuya’s sound design is fundamentally about “always supporting the vocals,” while adjusting the necessary spatiality, thickness, and drive for each song. Rather than aiming for flashiness in the guitar alone, his approach considers the balance of the entire band, which is his most significant characteristic.

Affordable Alternatives to Recreate the Tone

Katsuya’s gear includes many high-end models like PRS, Two-Rock, and Diezel, which can be quite inaccessible for beginners or amateurs. However, it is entirely possible to approach the tonal direction and character with relatively affordable gear available on the market. Here, we introduce “Katsuya-style sound recreation items” that can be obtained for around $100-$500.

First, for overdrive, the BOSS BD-2 Blues Driver is a classic choice that can achieve a character similar to Katsuya’s main distortion, the Red Jasper RJ1V. Its ability to maintain a clean tone while providing light compression aligns closely with Katsuya’s sound design, and further modifications (like Keeley Mod) can refine it to a more natural low-gain sound.

For clean + boost, the BOSS GE-7 Equalizer serves as an effective substitute for the Suhr Booster. While it is primarily an equalizer, boosting the level can allow it to function as a booster, enhancing specific frequency ranges to bring the guitar forward. Boosting the midrange (800Hz-1.6kHz) can help approach Katsuya’s signature tone.

In terms of spatial effects, the BOSS DD-8 Digital Delay is versatile. This multifunctional delay can handle a wide range of delay times from around 400ms for long delays to about 100ms for short delays, making it a sufficient alternative to the TimeFactor or DD-20. Additionally, using the Mod Delay mode can create a modulated sense of expansion.

For modulation effects, the BOSS CH-1 Super Chorus or BOSS BF-3 Flanger are practical choices. The BF-3, in particular, can be set to emphasize high frequencies, allowing for the recreation of Katsuya’s HF-2-like brilliant flanger sound. These options are reasonably priced and ideal for live or studio practice.

Regarding amplifiers, while Two-Rock and Diezel are expensive, alternatives like the Roland JC-40 (Jazz Chorus series) or BOSS KATANA series are viable options. The JC-40 excels in clean resolution and dimensionality, and when combined with delay and chorus, it can replicate Katsuya’s spatial sound. The KATANA series features diverse amp modeling and built-in effects, allowing beginners to switch between “clean to high-gain” effortlessly, making it perfect for recreating UVERworld’s music.

For guitars, the PRS SE Custom 24 series is an accessible alternative to the PRS Custom 24. Priced around $500, it closely follows the tonal tendencies of the higher-end models. Its rich midrange and versatile character align well with Katsuya’s playing style.

Thus, by understanding the essence of Katsuya’s sound design—focusing on “midrange-heavy EQ,” “combining spatial delay,” and “utilizing clean-friendly low-gain drive”—it is possible to achieve a similar sound even with affordable gear. The key is not to gather high-end equipment but to emulate the thought processes and combinations.

Summary and Conclusion

When looking at Katsuya’s sound design in UVERworld, its essence lies in “sound design that prioritizes enhancing the song.” Rather than merely emphasizing distortion, he optimizes the guitar’s role to support the overall dimensionality and scale of the band’s sound.

Regarding guitars, he centers around the main PRS Custom 24/22 while diversifying with various high-end models to provide tones tailored to each song. The inclusion of acoustic and semi-acoustic guitars adds depth and expression to the music, showcasing his approach of “deriving optimal solutions for each song.”

In amplifiers, he employs boutique models like Two-Rock and Diezel, known for their resolution and power, balancing clean transparency with the punch of riffs. The EQ is designed to suppress low frequencies while emphasizing mids, ensuring the guitar maintains its presence within UVERworld’s unique heavy sound. This philosophy is consistent in both live and recording settings.

The effects are simple yet sufficient. By centering around the Red Jasper RJ1V and combining it with a compressor, booster, and delay, he constructs a “sound without waste.” His use of spatial effects is also exquisite, ensuring that the guitar does not dominate but rather plays a role in creating the overall soundscape.

Furthermore, the fact that Katsuya’s sound can be recreated with relatively affordable gear demonstrates that his sound design does not rely on the luxury of equipment. Instead, the core aspects are rooted in “EQ usage,” “leveraging clean tones,” and “balancing spatial effects.”

In summary, when attempting to replicate Katsuya’s sound design, it is crucial to maintain an awareness of the entire song and accurately add the necessary sounds. UVERworld’s grand and dramatic worldview is established not through flashy guitar work but through meticulous design. Therefore, beyond merely gathering equipment, embracing this “philosophy of enhancing the ensemble” is the most important perspective for recreating Katsuya’s sound.