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

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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 diverse 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 supports vocalist TAKUYA∞. By skillfully manipulating sounds that range from clear tones without excessive distortion to modern, high-gain settings, Katsuya adds a unique dimensionality to UVERworld’s music.

Moreover, Katsuya transcends the traditional rock guitarist mold by utilizing boutique amplifiers and high-end guitars like PRS, pursuing the optimal tone for each song. His seamless transitions between clean and crunch tones during live performances, especially with spatial soundscapes created through delay and modulation effects, leave a lasting impression.

The reason his sound garners attention lies not merely in the luxuriousness of his gear but in 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 that excel in resolution, dimensionality, and responsiveness, rather than just loudness. This choice supports the unique scale of UVERworld’s sound.

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

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, models like 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 harmonics and exceptional resolution. Katsuya’s clean parts stand out even when overlapping with the band’s synths and vocals, largely due to the performance of this amplifier.

As a result, Katsuya effectively combines boutique and high-gain amplifiers to achieve both “clean tones that support the vocals” and “aggressive leads/riffs.” There are instances where he switches channels or uses multiple amplifiers for specific songs, indicating a meticulous sound design process.

In this way, Katsuya utilizes 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, like with his amplifiers, 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.

Notably, he uses 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 relied on this guitar as his main instrument, which supports the foundation of his live performances. Its pickups are uniquely designed to produce transparent cleans and thick distortions effortlessly.

Additionally, the “PRS McCarty Soapbar,” equipped with P-90 type pickups, emphasizes mid-range tones. This guitar is invaluable for adding thickness to the band’s sound, forming the backbone of UVERworld’s tight riffs.

For acoustic parts during live shows, Katsuya uses the “PRS NAMM Custom Acoustic (Tonare Grand, etc.).” With beautiful wood and high precision, it adds depth and dimension to the songs, transcending mere accompaniment. The presence of such acoustic guitars is essential to UVERworld’s dramatic soundscape.

Other models like the “Dean Hard Tail” and “David Thomas McNaught Vintage Double Cut” cater to high-gain needs, producing powerful sounds for louder songs. The “dragonfly B6” features an ultra-long scale, maintaining stable tension even in down-tuning, especially 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 electric-acoustic guitar that offers electric-like playability, making it convenient for switching. Meanwhile, the Gretsch White Falcon adds a unique flair with its dazzling appearance and rich clean tones.

Thus, Katsuya has established a style of using versatile PRS guitars as a foundation while selecting high-end guitars tailored to each song. This results in a consistently high level of sound reproduction in both live and recording settings.

In this way, Katsuya’s ability to select high-end guitars according to the situation allows him to create tones that are always optimized for the songs. His dedication is strongly reflected in live footage and interviews.

Effects and Pedalboard Setup

One of the defining elements of Katsuya’s sound is his simply yet meticulously constructed effects board. Unlike many professional guitarists who build complex systems, he carefully selects a minimal set 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, vintage-style natural drive enhances the amp’s inherent character while adding punch to the mid-range. The reason Katsuya’s guitar does not overshadow the vocals while maintaining 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 compromising tone, making it ideal for emphasizing solos and riffs. In clean sections, he employs the “Empress Effects Compressor,” which helps to even out attack and enhance the clarity of chord strumming and arpeggios.

In terms of spatial effects, he uses 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 in UVERworld’s music. The BOSS DD-20 serves as a supplementary clean short delay, 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 buried in the thick band ensemble. This modulation is crucial in UVERworld’s grand soundscapes.

Additionally, the “DigiTech Whammy” is also included, which can handle pitch shifting for chords. During live performances, bold pitch shifts and tonal changes allow the guitar to take on a synth-like role, making UVERworld’s songs more futuristic and dramatic.

Thus, Katsuya’s effects board is characterized by its “simple yet diverse” nature. By centering on distortion and spatial effects while adding boosts or pitch shifts only when necessary, he achieves complex sound design 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 is supported by delicate settings and EQ adjustments tailored to each song. In both live and recording contexts, his guitar never overshadows the vocals while maintaining a strong presence. Let’s take a closer look at the reasons behind this.

Starting with amplifier settings, for the Diezel Herbert and VH4, it is assumed that the EQ on the clean channel is often set with low-end kept modest (4-5), mid-range slightly elevated (6-7), and treble around 5-6. This approach allows the overall low frequencies to be managed by the bass and drums while ensuring the guitar’s presence in the mid-range. On the high-gain channel, the gain is likely kept moderate at around 5-6, with the attack reinforced by a compressor or booster.

For Two-Rock amplifiers, the settings typically leverage their rich harmonics and wide range while keeping highs slightly rolled off (4-5) and raising the mids. This ensures a clear outline that does not get buried even in clean settings. This EQ is essential for UVERworld’s songs, which frequently utilize “clean + delay + modulation.”

In terms of effects, it appears that Katsuya often keeps the Red Jasper RJ1V on almost constantly. This overdrive is ideal for adding a light compression to the amp’s clean tone, enhancing thickness. When needed, he pushes it further with the Suhr Booster for solos and riffs.

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

In modulation, the HF-2 Hi Band Flanger is set conservatively in the mix to highlight only the brilliant high frequencies, ensuring the overall sound does not get buried. Additionally, the ModFactor is switched between chorus-like expansiveness and phaser-like movement for each song, contributing to a cohesive sound with the synths.

From a mixing perspective, it is assumed that the engineer boosts the mid-range frequencies around 2-4kHz while cutting the low-end when processing Katsuya’s guitar. This adjustment is crucial in UVERworld, where the guitar functions as a supportive sound behind TAKUYA∞’s vocals. If the low frequencies overlap, the sound can become muddy, so the guitar emphasizes a slightly high-mid presence.

Looking at specific songs, “Hakanakumo Eien no Kanashi” employs clean tones with delay for transparency, “CORE PRIDE” features powerful riffs with high gain, and “Hitotsubu no Eikyou” showcases expansive ensembles 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 song,” adjusting the necessary spatiality, thickness, and drive for each track. Rather than aiming for flashy guitar tones alone, his sound design considers the balance of the entire band.

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 possible to approach the tonal direction and character using relatively affordable gear available on the market. Here, we introduce “Katsuya-style sound recreation items” that can be obtained for around $100 to $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 adding light compression aligns closely with Katsuya’s sound design, and further modifications (like Keeley Mod) can enhance its natural low-gain sound.

For clean + boost, the BOSS GE-7 Equalizer is an effective alternative to the Suhr Booster. While it is primarily an equalizer, boosting the level can serve as a booster, allowing specific frequency ranges to be elevated to bring the guitar forward. Boosting the mid-range (800Hz-1.6kHz) can get you closer to Katsuya’s characteristic 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 to 100ms, making it a sufficient alternative to the TimeFactor and DD-20. Additionally, using the Mod Delay mode can create a modulation-like spaciousness.

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

While amplifiers like Two-Rock and Diezel are expensive, alternatives like the Roland JC-40 (Jazz Chorus series) and 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, making it perfect for switching between clean and high-gain tones for UVERworld’s songs.

For the guitar itself, the PRS SE Custom 24 series serves as an accessible alternative to the PRS Custom 24. Priced around $500, it closely follows the tonal tendencies of its higher-end counterparts. Its rich mid-range character aligns well with Katsuya’s playing style.

Thus, even with affordable gear, understanding the essence of Katsuya’s sound design—emphasizing mid-range EQ, combining spatial delays, and utilizing clean-friendly low-gain drives—can allow for a sufficiently similar sound. The key is not merely acquiring high-end gear but rather mimicking the thought processes and combinations that define his sound.

Summary and Conclusion

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

Regarding guitars, he primarily uses the PRS Custom 24/22, complemented by a variety of high-end models to provide tones tailored to each song’s individuality. The incorporation of acoustic and semi-acoustic guitars adds depth and expression to the music, showcasing his approach of “finding the optimal solution for each song.”

In terms of amplifiers, he employs boutique models like Two-Rock and Diezel, known for their resolution and power, achieving a balance of transparent cleans and impactful riffs. The EQ is designed to suppress low-end frequencies while emphasizing the mid-range, ensuring that the guitar maintains its presence within UVERworld’s unique heavy sound. This philosophy is consistent in both live performances and recordings.

His effects are simple yet sufficient. Centered around the Red Jasper RJ1V, he combines compressors, boosters, and delays to construct 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 space within the band.

Moreover, the fact that Katsuya’s sound can be recreated with relatively affordable gear indicates that his sound design does not rely on the opulence of equipment. Instead, it is the understanding of “EQ usage,” “leveraging clean tones,” and “balancing spatial effects” that forms the core of Katsuya’s sound.

Ultimately, when attempting to replicate Katsuya’s sound, it is essential to maintain an awareness of the entire song and accurately add the necessary elements. UVERworld’s grand and dramatic worldview is established not through flashy guitar tones alone but through meticulous design. It is this “philosophy of enhancing the ensemble” that is the most important perspective for recreating Katsuya’s sound.