[Kazuma Okazawa] How to Recreate the Kyuso Nekokami Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kazuma Okazawa, the guitarist of Kyuso Nekokami, is known for his impactful guitar playing that not only supports the band’s sound but also slices through the music with sharp riffs and intricate cutting techniques. His style is characterized by the precision of his riffs and the clever use of spatial effects.

In their iconic songs, he blends explosive distortion with a unique sense of floating ambiance created by reverb and chorus, merging the “Kyuso Nekokami vibe” with modern sound design. Particularly in live performances, he utilizes a switcher for complex effect changes and exploits the diverse sound variations of his Sago Sonia custom model, allowing him to transition from aggressive leads to clean, sparkling arpeggios.

Okazawa’s sound design balances “momentum” with “organized soundscapes.” By layering thickness with distortion and fuzz while creating depth with spatial effects, he supports the aggressive yet playful musicality of Kyuso Nekokami.

This article will meticulously explain the amplifiers, guitars, and effects he actually uses, along with tips for settings and recreating his sound.

▶ Search official YouTube videos of Kyuso Nekokami

List of Amplifiers and Features

Kazuma Okazawa primarily uses Orange amplifiers, specifically heads and cabinets from the Rockerverb series (likely Rockerverb 50 or Rockerverb 100) based on live photos and knob configurations. The thick midrange and robust tone characteristic of Orange amps align perfectly with the aggressive sound of Kyuso Nekokami.

The Rockerverb series is notable for its high-gain capabilities while maintaining surprisingly clear clean tones with a wide range. For a guitarist like Okazawa, who employs a variety of effects, the quality of the clean tone is crucial as it serves as a foundation for seamlessly integrating delay, reverb, and chorus effects.

It’s also possible that he switches between the Rockerverb 50 and 100 depending on the venue size. The 50W head is typically used in smaller venues, while the 100W model is favored for arena-class or large-scale events. Both models exhibit the dynamics inherent to tube amplifiers, naturally enhancing picking nuances and booster responses.

Choosing an amp that emphasizes “momentum and aggression” is likely a top priority for him. Unlike Marshall or Fender, Orange amps push the midrange strongly, ensuring that the guitar maintains its presence even in noisy environments. This characteristic supports Okazawa’s thick distortion and fast-paced playing style.

Some photos and social media posts suggest that he has experimented with other series of Orange amps during the same period, but it is assumed that the Rockerverb is his main choice.

Types of Guitars Used and Features

Kazuma Okazawa prefers custom models over standard production guitars, showcasing his strong commitment to sound and playability. His main guitar, often seen in live performances and photos, is the Sago brand’s custom model “Sonia,” alongside the Classic Style JM Custom.

Specifically, the Sago Sonia -Okazawa Custom- features unique specifications tailored for him. The 3TS model combines Seymour Duncan SHPR-1n and L(x) Custom pickups, equipped with special wiring and a Kill switch for instant tone switching. This guitar is designed to respond quickly to the intense dynamics of his songs, significantly aiding his stage performance.

On the other hand, the D.W. Paisley model employs Bare Knuckle Mississippi Queen pickups, delivering a fatter, midrange-heavy tone. It excels in arpeggios and clean parts, maintaining clarity even when distorted. This allows him to switch guitars within the same band, clearly distinguishing the character of the sound from song to song.

Additionally, the Classic Style JM Custom is utilized, featuring an anodized gold pickguard and Offset Vibrato bridge. This model evokes vintage Jazzmaster aesthetics while providing modern stability and a wide sound range. It serves effectively in creating airy cleans and shoegaze-like textures during songs.

All these guitars are based on Alder bodies, with modifications such as block swaps and special switching. This indicates that his choices are not merely based on aesthetics or brand, but rather on “instant responsiveness on stage,” “sound clarity,” and “expressiveness.”

Okazawa’s guitar sound varies significantly due to the pickup configurations and switching, making it often seem like effects are responsible for the sound when, in fact, much depends on the guitar itself. Comparing live footage and MVs, you can see him switching between different models for different songs, playing a crucial role in broadening the band’s sound. Therefore, when attempting to replicate his sound, it is essential to consider not just the effects but the individuality of the guitar itself.

Effects and Pedalboard Setup

Kazuma Okazawa’s pedalboard is centered around the One Control Chamaeleo Tail Loop MkII, incorporating a wide range of effects from distortion to spatial effects and boosters. The use of a switcher to manage complex tone changes during live performances exemplifies his playing style.

For distortion, he combines pedals like the Maxon DS830, Chocolate Electronics Chocolate Drive, and ProCo Rat, creating a multi-layered distortion sound. The newly introduced Mad Professor New Fire Red Fuzz adds a powerful presence for solos, enhancing the explosive impact.

The spatial effects are particularly rich, utilizing BOSS DD-3, Strymon BigSky, and Electro-Harmonix Holy Grail to craft a three-dimensional sound. The Strymon BigSky reverb significantly contributes to the expansiveness of clean tones and shoegaze-like textures, adding depth without compromising the overall sound pressure of the band.

In terms of modulation, he employs Electro-Harmonix Small Clone and Digitech Whammy 5, with the Whammy providing bold pitch shifts that support Kyuso Nekokami’s humor and playfulness in live performances. Additionally, incorporating a POG (Polyphonic Octave Generator) allows for thick octave sounds and synth-like expressions.

For boosters, he uses Xotic EP Booster and One Control Granith Grey Booster, elevating the original sound without losing nuance. This enables him to control dynamics flexibly according to the song’s progression.

These effects are all strong individual models, but the use of the One Control switcher organizes them neatly, allowing for a balance of momentum and precision that is characteristic of Okazawa’s sound. This setup has been confirmed in live videos and magazine articles, serving as the heart of his sound.

Tone Settings, EQ, and Mixing Approaches

In Kazuma Okazawa’s sound design, the most crucial elements are the balance between “dynamic distortion” and “organized soundscapes.” His playing style features powerful riffs and power chords while achieving a transparent tone during clean parts, facilitated by the settings of his amp and effects.

Regarding EQ settings, it is assumed that he emphasizes the midrange. By leveraging the midrange push characteristic of the Orange Rockerverb series, he keeps treble slightly subdued. This approach maintains the guitar’s presence when mixed with other instruments while avoiding overly piercing tones. The bass is not excessively boosted, likely to maintain a balance with the bass guitar that supports the overall low end of the band.

For distortion effects, he primarily uses the Maxon DS830, occasionally combining it with ProCo Rat or Chocolate Drive to add thickness and nuance to his tone. The fuzz pedal, Mad Professor New Fire Red Fuzz, is utilized for solos and highlighted sections of new songs, amplifying presence significantly. These distortions are not used in isolation; they are boosted with pedals like the Xotic EP Booster and Granith Grey Booster to create a sound that cuts through the overall band volume.

During clean or arpeggio parts, the Electro-Harmonix Small Clone and Strymon BigSky play significant roles. The BigSky, in particular, alters the quality of reverb dramatically, switching between hall and plate reverbs to create resonances that suit the live space. This results in a soundscape that is not merely clean but possesses a “floating quality.”

The BOSS DD-3 delay is often used in a short delay manner, synchronized with the tempo to enhance the presence of lead phrases. Furthermore, incorporating the Digitech Whammy and POG allows for bold pitch changes, enhancing the entertainment value of the band. The addition of an octave below via the POG effectively thickens the sound, especially in a three-piece band setup.

In terms of PA and mixing, the guitar is likely processed to be positioned slightly off-center, expanding its width. Given the heavy use of spatial effects, adjustments to the wet components of reverb and delay on the PA side are necessary to ensure it blends well with other instruments. Particularly in live settings, where competition for sound pressure with drums and synths is common, balancing the midrange of the guitar with spatial effects achieves Okazawa’s characteristic “thick yet clear sound.”

Moreover, organizing the effects’ on/off states per song prevents muddiness, emphasizing spatial effects only when necessary. Despite using a variety of pedals, the clarity of the sound is maintained through precise control via the switcher and thorough EQ adjustments. Thus, when attempting to replicate his sound, the essence lies in “leveraging the midrange while organizing the integration of spatial effects.”

Affordable Alternatives to Recreate the Tone

While Kazuma Okazawa’s pedalboard features high-end gear, beginners or intermediate players looking to achieve a similar sound do not need to acquire everything. Here, we introduce relatively affordable gear (around $100–500, with a maximum of $1,000) and explain how they can approximate Okazawa’s tone.

For distortion, classic options like the BOSS DS-1 or BOSS DS-2 are strong candidates. They can replicate the roughness and power of the Maxon DS830 or ProCo Rat, achieving the “dynamic sound” needed for live performances. Additionally, combining it with the BOSS BD-2 Blues Driver can yield nuances similar to the Chocolate Drive, making it versatile for both backing and lead parts.

If you want to experiment with fuzz, the Electro-Harmonix Big Muff is an excellent choice. While not as expensive as the Mad Professor Fire Red Fuzz, it delivers a sufficiently thick and aggressive fuzz sound, perfect for experiencing the punch and explosiveness of solos.

For spatial effects, the BOSS DD-7 or DD-8 are recommended as expanded versions of the DD-3. They offer a wider range of delay times and include tap tempo functionality, making it easier to replicate the tempo-based delays Okazawa frequently uses. For reverb, the BOSS RV-6 is versatile, providing hall, plate, and modulation reverb in one unit, though it lacks the extensive modes of the Strymon BigSky.

In modulation, opting for the BOSS CE-2W (Waza Craft version) instead of the Electro-Harmonix Small Clone allows for the recreation of vintage analog chorus textures. For octave effects, the Electro-Harmonix Nano POG serves as an ideal budget alternative to the full-sized POG, providing thick octave sounds affordably.

For boosters, using the BOSS GE-7 (equalizer) as a substitute for the Xotic EP Booster can also be effective. It not only boosts but also allows for frequency adjustments, emphasizing the “midrange push” that Okazawa aims for.

Finally, for those wanting to try multiple effects at once, compact multi-effects units like the Line 6 HX Stomp or BOSS GT-1000 CORE are recommended. While it may be challenging to gather all the individual gear, a multi-effects unit can cover distortion, spatial effects, and modulation, simulating Okazawa’s diverse sound in live or practice settings.

By utilizing these alternative pieces of gear, you can experience the “momentum and depth characteristic of Kyuso Nekokami” on a relatively low budget. Beginners can start by simply acquiring a BOSS distortion, delay, and reverb to get significantly closer to the sound.

Summary and Conclusion

In summary, Kazuma Okazawa’s sound design revolves around achieving a balance between “dynamic distortion” and “organized spatial processing.” His playing captivates audiences with powerful riffs and power chords while resonating delicate, ethereal tones during clean parts. To seamlessly switch between these two aspects, a combination of special wiring in his Sago custom model, multiple distortion pedals, and spatial effects like reverb and delay is essential.

Moreover, his sound is not merely about “being loud.” His amp settings emphasize midrange, and the use of boosters elevates sound pressure without losing nuance. This ensures that even in the loud environments of live venues, the guitar maintains its presence and cuts through the overall band sound. It is impressive how he maximizes the characteristics of Orange amps to fulfill his role as a guitarist.

Another distinctive feature is his playful approach to sound. Bold pitch shifts with the Whammy and synth-like expressions with the POG highlight a sound design that transcends traditional rock guitar boundaries, emphasizing the unique personality of Kyuso Nekokami. This attitude directly translates into engaging live performances that make Okazawa’s playing one-of-a-kind.

For readers aiming to replicate his sound, understanding “the role of sound in music” is more important than merely gathering gear. In rhythm-supporting sections, aim for thickness and power; in expansive sections, seek transparency; and in playful moments, utilize bold effects. By consciously switching the character of sound for each song, you can get closer to Kazuma Okazawa’s sound.

Overall, Okazawa’s sound design is built on three elements: “momentum,” “organization,” and “playfulness.” Beginners should start with simple BOSS distortion, reverb, and delay, while intermediate players can add boosters and octave effects. Remember, the essence lies not in the gear used but in the ability to adapt tones to fit the music.

His sound embodies the momentum of Kyuso Nekokami’s music, achieving a high level of sound design to entertain audiences. Those aiming to replicate it should focus not just on copying gear but on understanding “how to contribute to the music.”