[Kawatani Enon] How to Recreate the Gesu no Kiwami Otome.・indigo la End・Jenny High Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Enon Kawatani is the frontman of several bands, including Gesu no Kiwami Otome, indigo la End, and Jenny High. He is known for his unique worldview and distinctive guitar sound. His sound is characterized by a “crunchy yet light tone,” a “versatile playing style that switches between multiple sounds,” and a “broad expressive range from backing to lead.”

In particular, Gesu no Kiwami Otome features clean guitars that incorporate elements of jazz and funk, with impressive cutting techniques that complement complex chord progressions. In indigo la End, he explores a more delicate and mellow sound, while Jenny High showcases playful and experimental tones.

Kawatani’s sound design is known to change significantly from live performance to tour, and during the 2024 tour, he utilized a two-tiered effects board, combining multiple boosters and delays to express a variety of tones. This flexibility and curiosity highlight his appeal as a guitarist.

For example, in the song “Watashi Igai Watashi Janai no” (Gesu no Kiwami Otome), the crisp cutting and lead work drive the track, while “Natsu Yoru no Magic” (indigo la End) features deep reverb and delay that create a fantastical atmosphere. In Jenny High’s “Kata Me de Ijou ni Koishiteru,” a funky and humorous tone is showcased, demonstrating his ability to adapt his sound for each band.

Thus, Kawatani’s sound design is not merely about gear selection but is based on a strategic approach to maximize the concept of the song and the expressiveness in live performances. Below, we will delve into the actual amplifier, guitar, and effects configurations to summarize tips for recreating his sound.

▶ Search official YouTube videos of Gesu no Kiwami Otome

▶ Search official YouTube videos of indigo la End

▶ Search official YouTube videos of Jenny High

List of Amplifiers and Features

Enon Kawatani’s choice of amplifiers for live performances and recordings spans a wide range, from classic British sounds to modern high-end amps. His primary focus is on achieving a crunchy sound while creating clear and vibrant clean tones or a solid distortion for leads, depending on the song.

A prominent amplifier often seen in his setup is the HIWATT CUSTOM HIWATT 100. This model, emblematic of British rock, is known for its powerful clean headroom and punchy sound. Kawatani uses it during live performances with Gesu no Kiwami Otome, obtaining a clean tone that is ideal for crisp cutting and arpeggios.

He also employs the ORANGE PPC-412 cabinet, which enhances the low-end thickness of his sound. The NAYLOR SUPER-DRIVE SIXTY SD-60 is another model that produces an American drive sound, matching the mellow crunch tones used in indigo la End.

Moreover, Kawatani emphasizes the three-dimensionality of sound by incorporating amps like Divided by 13 and MAGNATONE Super Fifty-Nine M-80 (BECKTONE specification). These are renowned high-end studio amps known for their rich harmonics and glossy tones. In experimental projects like Jenny High, he often alters the amp itself as part of his sound design.

Other amps like the SHINOS LUCK 6V Head White and Bogner Ecstasy 101B have also been confirmed in his rig, indicating that he switches between different amps based on the stage or tour. This approach allows Kawatani’s sound to adapt flexibly to the world of each song or project, rather than relying on a single amp.

Overall, Kawatani’s amplifier selection emphasizes “a large clean headroom,” “a three-dimensional range,” and “versatility to respond to various genres.” Official interviews and live footage suggest that he is always experimenting with multiple amps, introducing the best equipment for the moment, as is assumed.

Types of Guitars Used and Features

Enon Kawatani’s guitar collection boasts an overwhelming number and variety, with his main instrument changing depending on the period and band. Overall, he seeks a “crunchy yet vibrant sound” and “good response suited for chord-based playing,” utilizing a wide range of pickups including P-90s, single coils, and sometimes humbuckers.

The most representative main guitar is the fano guitars Alt De Facto GF6. He owns multiple colors, including red and black-red, and is equipped with two Lollar P-90 type pickups. He often uses it in a fixed mix position of rear + front, making it suitable for both cutting and arpeggios. This guitar frequently appears in live performances with Gesu no Kiwami Otome, making it a trademark of his sound.

From the fano series, he also uses the Jazzmaster-style Alt De Facto JM6, the light blue SP6, and the two-tone sunburst PX6. Live photos and interviews confirm that he switches between these depending on the setlist and tour. Additionally, he loves the unique Novo Guitars SECTIS (Red & White) and the distinctive American Showster AS-57, which features a tail lamp that lights up, drawing attention with its unique look and sound.

In terms of vintage guitars, he uses a Fender Stratocaster 1971 (white with a rosewood fretboard), a Fender Jazzmaster 1962, and a Fender ’69 Telecaster Thinline. In indigo la End, the warm clean tones produced by these Fender guitars shine through. He also incorporates classic Gibson models like the Gibson Les Paul Custom 1975 and Gibson Firebird Non-Reverse 1966, which are often utilized for lead and distortion parts.

Furthermore, he owns multiple Psychederhythm Psychomaster guitars in various colors, including Cattleya Mica Metallic, See-Through Blue, and Reddish Purple Mica Metallic, which frequently appear in live performances. This visually complements Kawatani’s pop and colorful worldview.

For acoustic guitars, he most often uses a Gibson J-50 from 1956, confirmed to have Elixir NANOWEB strings. He also uses the Beffnick Brace Work’s Homie Cut and a Yamaha classical guitar. In indigo la End’s ballads, the acoustic sound plays a crucial role.

In 2023, he gained attention on social media for purchasing beginner-friendly models like the Yamaha Pacifica 112V and a red Telecaster, showcasing not only practicality but also a playful musical spirit. Overall, Kawatani’s choice of guitars is centered around “flexibility to match the world of each song or band,” allowing him to achieve a diverse range of sounds without being tied to a specific instrument.

Effects and Pedalboard Setup

Enon Kawatani’s effects board is notable for its significant changes depending on the band or tour. He often employs a two-tiered board, allowing for quick transitions between clean cutting, thick leads, and even experimental tones. His basic setup typically involves “boosters for volume and tone adjustments, with delays and reverbs to color the space,” while sometimes incorporating bold pitch shifts and fuzz.

During the Gesu no Kiwami Otome era, his representative setup utilized multiple boosters like the Providence FBT-1 FINAL BOOSTER and Union Tube & Transistor More Clean Booster to achieve gradual volume control. He also alternated between the BOSS DD-6 and TC Electronic FLASHBACK DELAY, changing the quality of repeats for each song. Additionally, he used the Electro-Harmonix POG and Digitech Whammy to add unique octave shifts and pitch effects.

In indigo la End, he introduced more delicate and profound effects, incorporating studio-like pedals such as the Roger Mayer RM 58 Limiter and Umbrella Company EQ-201 PREAMP to emphasize nuanced details. He also utilized the Strymon DECO and BOSS VB-2 Vibrato to create spatial fluctuations.

Jenny High showcases a playful board, featuring unique pedals like the Wren and Cuff THE CAPRID (a Big Muff-style fuzz) and Mantic Effects Flex. This setup aligns with the band’s experimental color palette. In the latest 2024 “Reverence Tour,” he combined multiple overdrive pedals like the Bondi Effects Del Mar Overdrive mk2 and Ceriatone Centura, along with EarthQuaker Devices Avalanche Run and Strymon blueSky to create a three-dimensional reverb.

Thus, Kawatani’s effects configuration is characterized by “flexibility customized for each song or project.” Rather than relying on a fixed board, he frequently swaps pedals to pursue the best sound for each performance, leading to new discoveries in every live show.

Tone Settings, EQ, and Mixing Approaches

Kawatani’s sound design is characterized by “a light crunch distortion while maintaining the flexibility to switch between different tones for each song.” He does not rely solely on the direct amp sound; instead, he utilizes boosters, EQ, and spatial effects to fine-tune nuances. In live performances, he often prepares at least three different sounds (backing, lead, solo) within a single song, frequently switching using loopers and switchers.

EQ adjustments typically involve bringing the mids forward for clean to crunch settings, keeping the low end tight, and slightly brightening the highs. This approach ensures that the guitar sound does not get buried when mixed with keyboards or bass. For instance, in “Watashi Igai Watashi Janai no” by Gesu no Kiwami Otome, it is believed that he boosts around 3kHz to emphasize the attack needed for cutting, while cutting low frequencies below 80Hz.

Using boosters effectively is also crucial. He layers boosters like the Providence FBT-1 and Union Tube & Transistor More to not only adjust volume but also shape tone. For example, during lead solos, he lightly boosts to push the midrange forward, while keeping it as a clean boost during backing to maintain balance with other instruments.

For amp channel switching, he primarily uses clean amps like the HIWATT, gradually adding distortion with overdrive pedals. He rarely pushes for high gain, always aiming for a level of distortion that does not muddy the chord work. Especially in indigo la End, where delicate arpeggios are common, he tends to avoid deep distortion, favoring boutique pedals to adjust texture.

In terms of spatial effects placement, he typically uses two or more delays. The BOSS DD-6 is used for short delays to add thickness to phrases, while the TC Electronic FLASHBACK DELAY and EarthQuaker Devices Avalanche Run serve as long delays for creating a fantastical reverb. He primarily uses the Strymon blueSky for reverb, selecting hall or plate reverb based on the song.

His approach to mixing is also notable. He often collaborates with the PA engineer to position the guitar closer to the center rather than spreading it wide, allowing it to coexist with vocals. However, he expands the returns of delays and reverbs in stereo, achieving a “centered core with lateral expansion” structure. This setup results in Kawatani’s unique sound, which is “ethereal yet well-defined.”

Specific settings (estimated) might include:

• Amp EQ: Bass 4 / Middle 6 / Treble 6 / Presence 5
• When booster is ON: +2 to 3dB in midrange
• Delay: Short (about 250ms, 2 repeats), Long (600-800ms, 4 repeats, mix 25%)
• Reverb: Hall or Plate, mix 20-30%

These settings allow for a range of sounds, from jazz-influenced transparent chord work to the expansiveness of lead solos. Listening to live recordings, one can notice how the sound pressure naturally rises at the moment a guitar solo enters, showcasing presence without excessive distortion.

Overall, Kawatani’s sound design is characterized by a “balance-oriented approach that always considers the song and the overall ensemble.” His EQ and effect settings are not aimed at flamboyance but are designed to support the structure of the music. It is assumed that he flexibly constructs settings optimized for the band’s sound at any given moment, whether in live or recording contexts.

Affordable Alternatives to Recreate the Tone

While Enon Kawatani’s gear often includes boutique pedals and vintage guitars that can be quite expensive, it is possible for beginners and intermediate players to recreate similar nuances by combining commercially available equipment. Here, we will introduce alternative gear that can be obtained for around $100 to $500, focusing on the key points of his sound design.

The basic concepts are as follows:

• Base on light crunch to clean tones (adjustable via amp settings and overdrive)
• Layer multiple boosters/overdrives to switch tones
• Use both short and long delays to create depth
• Add airiness with reverb and vibrato

For example, instead of high-end boosters like Providence or Union Tube & Transistor, using the BOSS SD-1 or Electro-Harmonix Soul Food can achieve a similar texture. For spatial effects, the BOSS DD-8 is multifunctional, covering both short and long delays. For reverb, options like TC Electronic Hall of Fame Mini or BOSS RV-6 can easily recreate the fantastical echoes of indigo la End.

Regarding the guitar body, while it may be difficult to gather vintage Fenders or fano models, the Squier Classic Vibe series or Yamaha Pacifica series can capture the essence well. Notably, the Pacifica 112V was purchased by Kawatani himself in 2023, making it an excellent choice for beginner to intermediate practice.

If assembling a complex two-tier board is challenging, utilizing a multi-effects unit like the BOSS GT-1 or ZOOM G5n is also recommended. These units include boosters, overdrives, delays, reverbs, and modulation, allowing for a comprehensive recreation of Kawatani’s sound in one device.

In summary, the essence of Kawatani’s sound lies in “the flexibility to switch between multiple sounds,” “dynamics control using boosters,” and “the ethereal quality created by spatial effects.” Therefore, beginners should start by acquiring a set of boosters, delays, and reverbs to capture the core of his sound.

Summary and Conclusion

In summarizing Enon Kawatani’s sound design, it becomes clear that he is not merely a gear enthusiast or a guitarist reliant on effects, but rather a practical guitarist who selects the most suitable sound for the concept of each song and ensemble. His willingness to switch guitars, amps, and effects flexibly to express the unique world of each band embodies his musical philosophy.

In Gesu no Kiwami Otome, he frequently employs sharp cutting techniques based on clean to crunch tones, leveraging his roots in funk and jazz. In indigo la End, he focuses on delicate arpeggios accompanied by ethereal reverbs and delays. In Jenny High, he expresses a playful and experimental sound, actively incorporating fuzz and pitch shifts for quirky tones.

The essence of Kawatani’s sound lies in the “layering of tones and instant switching.” By consistently incorporating multiple boosters and utilizing both short and long delays, he crafts different soundscapes for various moments. This technique aligns perfectly with the complex intertwining of melody, rhythm, and harmony in his song structures.

Moreover, his approach not only to gear but also to EQ and collaboration with the PA is crucial for maintaining presence without being buried. Rather than aiming for flashy guitar tones, he aspires to create sounds that resonate within the entire ensemble, resulting in an impression that “the entire song comes at the audience as a single large sound image.”

For beginners attempting to emulate Kawatani’s sound, there is no need to gather expensive fano or vintage Gibson models. Instead, starting with a set of crunch amps, boosters, delays, and reverbs will suffice to capture the essence. By focusing on clean chord resonance and transitioning to boosted solos, one can approach the core of his sound.

In conclusion, Kawatani’s sound design exemplifies a delicate balance between “the aesthetics of subtraction” and “the addition of playfulness.” By stripping away excess, he reveals a clean resonance that is sometimes enhanced with bold effects, creating a unique sound. His flexibility and diversity showcase a rare presence in the modern Japanese pop-rock scene, and studying his sound design offers valuable insights for many guitarists.