[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 multiple bands, including Gesu no Kiwami Otome, indigo la End, and Jenny High. He is known for his unique sound 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.” His approach to sound design is strategic, aiming to maximize the concept of the songs and the expressiveness during live performances.

In Gesu no Kiwami Otome, Kawatani often incorporates clean guitar tones influenced by jazz and funk, showcasing intricate cutting techniques that complement complex chord progressions. In indigo la End, he explores a more delicate and mellow sound, while in Jenny High, he employs playful and experimental tones.

Kawatani’s sound design is known to change significantly from tour to tour. For instance, during the 2024 Praise Tour, he utilized a two-tier effect board, combining multiple boosters and delays to express a wide variety of tones. This flexibility and curiosity highlight his appeal as a guitarist.

Examples of his iconic songs include “Watashi Igai Watashi Janai no” (Gesu no Kiwami Otome), which features crisp cutting and lead lines, and “Natsu Yoru no Magic” (indigo la End), where deep reverb and delay create a dreamlike 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 across different bands.

Thus, Kawatani’s sound design goes beyond mere equipment selection; it is based on a strategic approach to maximize the concept of the songs and the expressiveness during live performances. In the following sections, we will delve into the actual amplifiers, guitars, and effect configurations used by him, providing 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 sound is primarily based on a crunchy tone, aiming to create clear and brilliant clean tones or a solid distortion for leads, depending on the song.

One of the most commonly seen amplifiers 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 in live performances with Gesu no Kiwami Otome, achieving a clean tone ideal for crisp cutting and arpeggios.

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

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

Other amplifiers such as SHINOS LUCK6V Head White and Bogner Ecstasy 101B have also been confirmed, indicating that he switches between different character amps depending on the stage or tour. This approach allows Kawatani’s sound to be flexible and adaptable to the world of each song or project.

Overall, Kawatani’s amplifier selection emphasizes “ample clean headroom,” “dimensional range,” and “versatility to respond to various genres.” Official interviews and live footage suggest that he is always experimenting with multiple amplifiers, integrating the most suitable gear for the moment.

Types of Guitars Used and Features

Enon Kawatani’s guitar collection boasts an overwhelming number of instruments and variations, with his main guitar changing depending on the period and band. Overall, he seeks a “crunchy yet brilliant sound” and “responsiveness suitable for chord-based playing,” utilizing a wide range of pickups including P-90s, single coils, and occasionally humbuckers.

The most representative main guitar is the fano guitars Alt De Facto GF6. He owns multiple colors, including red and black-red, equipped with two Lollar P-90 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.

Within 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 quirky American Showster AS-57, which features a tail lamp that lights up, attracting fan attention with its distinctive look and sound.

In terms of vintage guitars, he utilizes the Fender Stratocaster 1971 (white with a rosewood fingerboard), Fender Jazzmaster 1962, and 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 used for leads and distorted parts.

Moreover, he owns multiple Psychederhythm Psychomaster guitars in various colors such as Cattleya Mica Metallic, See-Through Blue, and Reddish Purple Mica Metallic, frequently appearing in live settings. This colorful and pop-infused aesthetic complements his visual style.

For acoustic performances, he primarily uses the Gibson J-50 1956, confirmed to be strung with Elixir NANOWEB strings. He also employs 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 guitar selection revolves around “flexibility to match the world of each song and band,” allowing him to achieve a diverse range of sounds without being tied to a single instrument.

Effects and Pedalboard Setup

Enon Kawatani’s pedalboard configuration varies significantly from band to band and tour to tour. He often employs a two-tier board, allowing for quick transitions between clean cuts, thick leads, and even experimental sounds. His setup generally revolves around “boosters for volume and tone adjustments, with delays and reverbs to add spatial effects,” while sometimes incorporating bold pitch shifts and fuzz.

During the Gesu no Kiwami Otome era, his representative setup included multiple boosters like the Providence FBT-1 FINAL BOOSTER and Union Tube & Transistor More Clean Booster, achieving gradual control over volume. He also utilizes the BOSS DD-6 and TC Electronic FLASHBACK DELAY to vary the texture of repeats for different songs. Additionally, he employs the Electro-Harmonix POG and Digitech Whammy to create unique octave shifts and pitch effects.

In indigo la End, he introduces 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 subtle nuances. He also uses the Strymon DECO and BOSS VB-2 Vibrato to create spatial fluctuations.

In Jenny High, his board features playful elements, including the Wren and Cuff THE CAPRID (a Big Muff-style fuzz) and Mantic Effects Flex, showcasing unique sound design that aligns with the band’s experimental character. In the latest 2024 “Praise Tour,” he combined multiple overdrives 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 effect.

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, ensuring that each live performance offers new discoveries.

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 amp’s raw sound but uses 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 or switchers.

EQ adjustments typically involve slightly boosting the midrange for clean to crunch tones while keeping the low end tight and the high end bright. This approach ensures that the guitar sound does not get buried when mixed with keyboards and bass. For example, in “Watashi Igai Watashi Janai no” by Gesu no Kiwami Otome, it is likely that a boost around 3kHz is applied to emphasize the attack needed for cutting, while low frequencies below 80Hz are reduced.

Using boosters effectively is also crucial. Kawatani layers boosters like the Providence FBT-1 and Union Tube & Transistor More, not only for volume adjustments but also for tone shaping. For instance, during lead solos, he lightly boosts the midrange, while keeping the backing sound as a clean boost to maintain balance with other instruments.

Regarding amp channel switching, he primarily uses clean amps like HIWATT, gradually adding distortion with overdrive pedals. He rarely pushes for high gain, always ensuring that chord work remains clear. Particularly in indigo la End, where delicate arpeggios are common, he tends to avoid heavy distortion, favoring boutique pedals to adjust texture.

His spatial effects arrangement features the use of 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 to create ethereal echoes. Reverb is primarily handled by the Strymon blueSky, with hall or plate reverb selected according to the song.

Mixing approaches are also notable. In collaboration with PA engineers, Kawatani often opts to position the guitar closer to the center, coexisting with vocals rather than spreading it across the stereo field. However, he expands the returns of delays and reverbs in stereo, achieving a “center core with lateral expansion,” creating a two-layer structure. This setup results in a sound that is “ethereal yet distinctly defined,” characteristic of Kawatani’s style.

Specific settings (assumed) might include:

• Amp EQ: Bass 4 / Middle 6 / Treble 6 / Presence 5
• When Booster ON: Midrange +2 to +3dB
• 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 when a guitar solo enters, maintaining presence without excessive distortion.

Overall, Kawatani’s sound design is “balanced, always conscious of the song and the ensemble as a whole.” His EQ and effect settings are not aimed at flamboyance but are designed to align with the structure of the music. Whether in live performances or recordings, he is assumed to flexibly assemble settings optimized for the band’s sound at any given time.

Affordable Alternatives to Recreate the Tone

While Enon Kawatani’s gear includes many 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 the sound on a light crunch to clean (adjust with amp settings or overdrive)
• Layer multiple boosters/overdrives to switch tones
• Use both short and long delays to create dimensionality
• Add airiness with reverb and vibrato

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

While acquiring vintage Fenders or fano guitars may be challenging, models like the Squier Classic Vibe series or YAMAHA Pacifica series can capture the essence. Notably, the Pacifica 112V is a model Kawatani himself purchased in 2023, making it an excellent choice for beginners to intermediate players.

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

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

Summary and Conclusion

In summary, Enon Kawatani’s sound design reveals him to be not just a gear enthusiast or an effects-dependent guitarist, but rather a practical guitarist who meticulously selects sounds that best fit the concept of the songs and the ensemble. To express the different worlds of each band, he flexibly switches between guitars, amplifiers, and effects, embodying his musical philosophy.

In Gesu no Kiwami Otome, he utilizes sharp cutting techniques based on clean to crunch tones to leverage his roots in funk and jazz. In indigo la End, he focuses on delicate arpeggios accompanied by ethereal echoes, layering reverbs and delays with care. In Jenny High, he expresses an experimental and pop sound, actively incorporating fuzz and pitch shifts for quirky tones.

The essence of Kawatani’s sound lies in the “multilayered tones and instant switching.” By consistently layering boosters and using both short and long delays, he crafts different soundscapes for each scene, aligning perfectly with the complex structures of his songs.

Moreover, his approach to gear usage, along with EQ and collaboration with PA engineers, ensures that he maintains presence without being buried in the mix. Rather than making the guitar sound flashy on its own, he aims for a sound that resonates within the ensemble, giving the audience the impression that “the entire song comes at them as a single, large sound image.”

For beginners looking to emulate Kawatani’s sound, it is not necessary to acquire expensive fano or vintage Gibsons. Starting with a basic setup of crunch amp + booster + delay + reverb will allow you to capture the essence of his tone. By focusing on clean chord resonance and smoothly transitioning to boosted solos, you can get closer to the core of his sound.

Overall, Kawatani’s sound design embodies a beautiful coexistence of “minimalism” and “playfulness.” By stripping away unnecessary elements, he enhances the clean resonance, occasionally adding bold effects to create a unique sound. His flexibility and diversity showcase a rare presence in the contemporary Japanese pop-rock scene, and studying his sound design offers valuable insights for many guitarists.