[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 worldview and playing style, characterized by a “crunchy yet light tone,” “versatile play style with multiple sound switches,” and “wide expressive range from backing to lead.” His sound is particularly notable for its clean guitar tones infused with elements of jazz and funk, especially in Gesu no Kiwami Otome, where intricate chord progressions are complemented by distinctive cutting techniques.

In indigo la End, Kawatani explores more delicate and mellow sounds, while in Jenny High, he employs playful and experimental tones. His sound design is known to change significantly from tour to tour, as evidenced by his use of a two-tiered effects board during the 2024 tour, combining multiple boosters and delays to create a rich palette of tones. This flexibility and curiosity are what make him an appealing guitarist.

Some representative songs include “Watashi Igai Watashi Janai no” (Gesu no Kiwami Otome), which features crisp cutting and leads that drive the song, and “Natsu Yoru no Magic” (indigo la End), where deep reverb and delay create a dreamy 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 to each band’s unique style.

Thus, Kawatani’s sound design goes beyond mere equipment selection; it is a strategic approach aimed at maximizing the concept of the songs and the expressiveness in live performances. In the following sections, we will delve into the actual amplifiers, guitars, and effects used, 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 spans a wide range, from classic British sounds to modern high-end models. His core sound is based on a crunchy tone, aiming to create clear and bright clean tones or punchy 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, achieving a clean tone ideal for crisp cutting and arpeggios.

He also employs the ORANGE PPC-412 cabinet, which reinforces the low-end thickness. The NAYLOR SUPER-DRIVE SIXTY SD-60 is another model that produces an American drive sound, fitting well with the smooth crunch tones in indigo la End.

Additionally, Kawatani values the dimensionality of sound, incorporating models like Divided by 13 and MAGNATONE Super Fifty-Nine M-80 (BECKTONE仕様). These are renowned high-end studio amplifiers known for their rich harmonic and lush tones. In experimental projects like Jenny High, he often alters the amplifier itself as part of the sound design.

Other models like the SHINOS LUCK6V Head White and Bogner Ecstasy 101B have also been confirmed, showcasing his ability to switch between amplifiers with different characters depending on the stage or tour. This flexibility allows Kawatani’s sound to evolve with the song or project, rather than relying on a single amplifier.

Overall, Kawatani’s amplifier selection emphasizes “large clean headroom,” “dimensional range,” and “variability to respond to diverse genres.” Official interviews and live footage suggest that he continuously experiments with multiple amplifiers, adapting his gear to the optimal setup for each period.

Types of Guitars Used and Features

Enon Kawatani boasts an impressive collection of guitars, with the main instrument varying by band and period. He generally seeks “crunchy yet bright sounds” and “responsiveness suitable for chord-based playing,” utilizing a wide range of pickups, including P-90s, single coils, and occasionally humbuckers.

His most iconic main guitar is the fano guitars Alt De Facto GF6. He owns several colors, including red and black-red, equipped with two Lollar P-90 pickups. He often uses it in a fixed mix position of rear and front pickups, 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.

Other guitars from the fano series include 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 enjoys the unique Novo Guitars SECTIS (Red & White) and the quirky American Showster AS-57, which features a lit tail lamp, attracting fan attention with its distinctive looks and tones.

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. These Fender guitars shine in indigo la End, producing warm clean tones. 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 several Psychederhythm Psychomaster guitars in various colors, such as Cattleya Mica Metallic, See-Through Blue, and Reddish Purple Mica Metallic, which frequently appear in live performances, visually complementing Kawatani’s pop and colorful aesthetic.

For acoustic performances, he primarily uses the Gibson J-50 1956, confirmed to have Elixir NANOWEB strings. He also utilizes the Beffnick Brace Work’s Homie Cut and a Yamaha classical guitar. Acoustic tones play a crucial role in indigo la End’s ballads.

In 2023, he made headlines on social media by purchasing beginner-friendly models like the YAMAHA Pacifica 112V and a red Telecaster, showcasing his practical yet playful approach to music. Overall, Kawatani’s guitar selection emphasizes “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-tiered board, allowing for quick transitions between clean cuts, thick leads, and experimental sounds. 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 featured multiple boosters like the Providence FBT-1 FINAL BOOSTER and Union Tube & Transistor More Clean Booster, enabling 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 adds unique octave shifts and pitch effects with the Electro-Harmonix POG and Digitech Whammy.

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

In Jenny High, his pedalboard showcases a playful side, featuring unique pedals like the Wren and Cuff THE CAPRID (Big Muff-style fuzz) and Mantic Effects Flex, aligning with the band’s experimental color. In the latest 2024 “Reverence Tour,” he combined multiple overdrives like the Bondi Effects Del Mar Overdrive mk2 and Ceriatone Centura, further enhancing the spatial reverb with EarthQuaker Devices Avalanche Run and Strymon blueSky.

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

Tone Settings, EQ, and Mixing Approaches

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

In terms of EQ adjustments, he tends to emphasize the midrange slightly for clean to crunch tones, keeping the low end tight while brightening the high end just a touch. This approach ensures that his guitar sound remains prominent even when mixed with keyboards and bass. For instance, in “Watashi Igai Watashi Janai no” by Gesu no Kiwami Otome, he likely boosts around 3kHz to enhance the attack needed for cutting, while reducing frequencies below 80Hz.

The use of boosters is also crucial. By layering pedals like the Providence FBT-1 and Union Tube & Transistor More, he not only adjusts volume but also shapes the 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.

Regarding amp channel switching, he primarily relies on clean amps like HIWATT, gradually adding distortion with overdrive pedals. He rarely pushes for high gain, ensuring that the chord work remains clear. Particularly in indigo la End, where delicate arpeggios are frequent, he avoids deep distortion, favoring boutique pedals for texture adjustments.

His approach to spatial effects involves using two or more delays. The BOSS DD-6 is employed for short delay effects, adding thickness to phrases, while the TC Electronic FLASHBACK DELAY and EarthQuaker Devices Avalanche Run serve as long delays, creating ethereal echoes. For reverb, he primarily uses the Strymon blueSky, selecting between hall and plate reverb based on the song.

Notably, his mixing techniques are evident in his collaboration with PA engineers, where he often opts to keep the guitar centered rather than spreading it across the stereo field, allowing it to coexist with vocals. However, by returning delays and reverbs in stereo, he achieves a “center core with lateral expansion,” creating a two-layer structure. This setup results in Kawatani’s unique sound, which is “ethereal yet clearly defined.”

Some specific settings (assumed) might include:

• Amp EQ: Bass 4 / Middle 6 / Treble 6 / Presence 5
• With 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 from jazz-influenced transparent chord work to the expansiveness needed for lead solos. Listening to live recordings, one can notice how the sound pressure naturally rises during guitar solos without becoming overly distorted.

Overall, Kawatani’s sound design embodies a “balance-oriented approach that always considers the song and ensemble.” His EQ and effect settings are not aimed at ostentation but rather serve to support 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 that moment.

Affordable Alternatives to Recreate the Tone

While Enon Kawatani’s gear often includes boutique pedals and vintage guitars, it is possible for beginners and intermediate players to recreate similar nuances with 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 light crunch to clean (adjust with amp settings and overdrive)
• Layer multiple boosters/overdrives to switch tones
• Use both short and long delays to create dimensionality
• Add atmosphere with reverb and vibrato

For instance, instead of high-end boosters like Providence or Union Tube & Transistor, using 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 Squier Classic Vibe series or YAMAHA Pacifica series can capture the essence. Notably, the Pacifica 112V is a model Kawatani purchased in 2023, making it ideal for beginners and intermediate players.

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

In summary, the essence of Kawatani’s sound lies in “the flexibility to switch between multiple sounds,” “dynamics control through boosters,” and “creating an ethereal quality with spatial effects.” Beginners should start with a set of boosters, delay, and reverb to grasp the fundamentals of his sound.

Summary and Conclusion

In summary, Enon Kawatani’s sound design reveals him not just as a gear enthusiast or an effects-dependent guitarist, but as a practical guitarist who meticulously selects sounds optimal for the concept of the songs and the ensemble. To express the distinct 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, leveraging his roots in funk and jazz. In indigo la End, he focuses on delicate arpeggios accompanied by ethereal reverbs and delays, while in Jenny High, he expresses playful and experimental sounds, actively incorporating fuzz and pitch shifts.

The essence of Kawatani’s sound lies in the “layering of tones and instant switching.” By continuously integrating multiple boosters and using both short and long delays, he crafts different soundscapes for various scenes, perfectly aligning with the complex structure of his songs, where melody, rhythm, and harmony intertwine.

Moreover, his approach to gear usage, along with EQ and collaboration with PA engineers, ensures that his sound remains prominent without being overshadowed. Rather than aiming for flashy guitar tones, he strives for a sound that resonates within the ensemble, providing the audience with the impression that “the entire song comes together as a single, powerful sound.”

For beginners aiming to emulate Kawatani’s sound, there is no need to acquire expensive fano or vintage Gibsons. Starting with a set of crunch amp + booster + delay + reverb will suffice to capture the essence. By focusing on achieving clean chord resonance while transitioning to boosted solos, one can get closer to the core of his sound.

Ultimately, Kawatani’s sound design exemplifies a delicate balance between “minimalism and playfulness.” By stripping away unnecessary elements, he creates a clean resonance that, when combined with bold effects, results in a unique sound. His versatility and richness make him a rare presence in the contemporary Japanese pop-rock scene, and studying his sound design offers valuable insights for many guitarists.