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

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Introduction (Overview of Tone)

Kazuyoshi Saito is a renowned singer-songwriter who has been active at the forefront of the music scene for many years. His sound is characterized by a warm acoustic tone, robust rock electric guitar, and sound design that supports his simple yet powerful vocal delivery.

In iconic songs like “Utautai no Ballad” and “Zutto Sukidatta,” he primarily uses the Gibson J-45 and his signature acoustic model, achieving a rich and deep acoustic sound. On the electric side, he employs models like the Gibson ES-330 and KS-330, which feature P-90 pickups, delivering a bluesy yet warm tone.

During his time with MANNISH BOYS, he utilized classic effects like the BOSS SD-1 and MT-2, creating a straightforward and intuitive sound. For acoustic performances, he integrates L.R. Baggs Lyric and Anthem systems to ensure the natural resonance of the guitar is preserved in live sound.

Thus, Saito’s sound design is rooted in a “simple expression that complements the song,” while also being flexible enough to adapt to different equipment and performance situations. His philosophy that “the guitar is a tool, and how to present the song is what matters” is strongly reflected in his sound creation.

To recreate his sound, it’s essential to consider not only the guitars and amplifiers but also a simple effects board and suitable acoustic preamps for PA systems. Notably, his distinct approaches to both acoustic and electric guitars set him apart from other guitarists.

In the following sections, we will delve into Kazuyoshi Saito’s amplifier, guitar, and effect choices, as well as detailed EQ and settings for sound creation, and introduce affordable alternatives to achieve a similar tone.

▶ Search official YouTube videos of Kazuyoshi Saito

List of Amplifiers and Features

Kazuyoshi Saito’s choice of amplifiers reflects a flexible approach that accommodates both acoustic and electric needs. His distinct use in live and recording settings is evident, with acoustic guitars often connected directly to PA systems, while vintage amplifiers are favored for electric performances.

For acoustic setups, it has been confirmed through official reviews that he utilizes the L.R. Baggs Lyric system in guitars like the Gibson J-160E, sending the output directly to the PA while simultaneously routing the P-90 pickup output to an amplifier. This dual setup allows for a natural line sound that captures the guitar’s resonance while providing an electric presence.

On the electric guitar front, he has been seen using the Fender Band-Master (1967 Blackface) during live performances around 2015, known for its clear and punchy clean tone, often enhanced with BOSS effects. Additionally, the Marshall “Lead & Bass” combo/head has been used to create a warm, bluesy tone that pairs excellently with his preferred P-90 equipped guitars.

This amplifier configuration suggests that in studio settings, a cleaner tone is favored, while live performances often emphasize the midrange frequencies. Particularly with the Marshall, a raw yet emotional sound is produced, highlighting blues and rock elements.

In summary, Kazuyoshi Saito’s amplifier sound is built on two pillars: the PA-connected acoustic guitar sound and the warm electric sound produced by vintage amplifiers.

Types of Guitars Used and Features

Kazuyoshi Saito’s guitar history reflects a strong commitment to both acoustic and electric guitars, with each choice aimed at achieving a “simple yet expressive sound.” His acoustic guitars play a crucial role throughout his career, with a diverse range of models used in both studio and live settings.

In the acoustic realm, he owns several models of the Gibson J-45, particularly a 1968 model known as “Number 1,” which is a staple for recording. Its powerful yet warm midrange is featured prominently in many of his hit songs. Additionally, his signature model, the Gibson Kazuyoshi Saito J-45 ADJ 2020 Edition, is a limited edition with a thermally aged top and L.R. Baggs Lyric, actively used in live performances.

Another signature model, the Gibson Kazuyoshi Saito J-160E, uniquely combines a P-90 pickup with the L.R. Baggs Lyric, allowing for both acoustic resonance and electric attack. In live settings, a dual output system is employed, sending the pickup to an amp and the Lyric to the PA. Furthermore, a J-35 signature model exists, known for its straightforward and direct sound.

On the electric side, he has long favored the Gibson KS-330 (with Bigsby and low-wound P-90s) and the ES-330TD. The semi-hollow body provides an airy quality, while the P-90s deliver a punchy, bluesy tone. Additionally, the Custom Shop Kazuyoshi Saito Les Paul VOS, introduced in 2012, features a single rear P-90 and a unique ES-295-style pickguard.

He also uses vintage Fender models, including a Stratocaster (1964) and Telecaster (1966), which add a sense of brightness and clarity to his sound in both live and recording contexts.

Overall, Kazuyoshi Saito’s guitar choices revolve around “the depth of acoustic sound” and “the bluesy electric tone centered around P-90s.” His signature models embody his musical philosophy, with each selection driven by the need to enhance the song. The distinct roles of these guitars in live and studio settings are clear, emphasizing a sound that complements simple and sincere compositions.

Effects and Pedalboard Setup

Kazuyoshi Saito’s effects board is characterized by its simplicity and practicality. Particularly during his time with MANNISH BOYS, he frequently used classic BOSS compact pedals, opting for an intuitive setup.

For overdrive, he employs the BOSS SD-1, providing a warm distortion typical of blues rock. In situations requiring a harder sound, he adds the BOSS MT-2, using its unique metal distortion sparingly to create a robust tone. In the modulation category, he incorporates the BOSS DC-2 (Chorus) and BF-2 (Flanger), which add depth and dimension to his sound. The BOSS DD-3 delay is a staple, giving solos and arpeggios a sense of space.

His acoustic chain is also quite distinctive. It begins with the standard BOSS TU-2 (Tuner), followed by the Electro-Harmonix Holy Grail for subtle reverb that maintains the natural sound of the guitar while adding ambiance. Finally, he routes the signal through the Pete Cornish Acoustic Preamp/DI/Mute to the PA, ensuring professional sound quality and management. This setup effectively softens the hard edges often associated with acoustic line sounds, creating a reliable environment for live performances.

Moreover, he utilizes various pickup systems such as L.R. Baggs Lyric, M-1, Anthem, and options like Fishman Rare Earth Blend and Ellipse Matrix Blend, adapting his combinations based on the song and performance context. These diverse setups enhance the reproducibility of his acoustic sound.

Overall, Kazuyoshi Saito’s effects environment is distinctly divided into two systems: “natural correction and line optimization for acoustic guitars” and “simple yet intuitive distortion, modulation, and spatial processing for electric guitars.” Each element is crucial in supporting the unique sound character of his performances.

Tone Settings, EQ, and Mixing Approaches

Kazuyoshi Saito’s sound design prioritizes “enhancing the song.” His settings are meticulously crafted to output the natural resonance and character of the guitar, with amplifiers and effects serving a supportive role.

Acoustic Guitar EQ
For acoustic guitars, he primarily uses the L.R. Baggs Lyric and Anthem. To suppress low-end feedback, a slight cut around 100Hz is common, while a boost in the midrange around 2-3kHz ensures the guitar stands out without clashing with the vocals. In ballads like “Utautai no Ballad,” a light reverb is applied to maintain a natural ambiance.

Electric Guitar EQ and Amp Settings
When using the Fender Band-Master, settings are likely Bass at 5, Mid at 6-7, and Treble at 4. This configuration emphasizes the midrange, providing a clean tone that supports the vocals. With the Marshall Lead & Bass, the drive is kept low to retain some roughness, while the presence is dialed back to avoid harshness, maximizing compatibility with P-90 equipped guitars.

Song-Specific Adjustments
For rock-oriented songs (e.g., “Zutto Sukidatta”), the SD-1 is lightly engaged to blend with the amp’s crunch, creating a warm and robust distortion that fits the overall band sound. Conversely, for ballads or acoustic-driven tracks, the Holy Grail adds a touch of reverb to enhance depth during solos and intros. The delay (DD-3) is typically set to a shorter time (around 300ms) to add subtle space.

Mixing and PA Techniques
In the PA setup, the acoustic guitar’s line sound from the Lyric is processed with a high-pass filter (cutting below 80Hz) to tidy up unnecessary low frequencies. A compressor may be applied lightly to even out volume differences. For electric guitars, mic placement is adjusted slightly off-center to avoid over-emphasizing midrange harmonics. These techniques collectively establish Kazuyoshi Saito’s “vocal-centered sound image.”

Rhythm and Ensemble Positioning
A key point is not to push the guitar too far forward in the mix. By aligning with the rhythm section, the acoustic strumming maintains a pleasant sound without harshness. Electric riffs and solos often feature a midrange presence that “speaks” naturally, allowing the vocals to fit seamlessly within the phrases.

Specific EQ Examples (Assumed)
– Acoustic: Low 100Hz -3dB cut, Mid 2.5kHz +2dB, High 8kHz +1dB, Reverb Mix 10-15%
– Electric (Band-Master): Bass 5, Mid 6.5, Treble 4, Presence 3
– Electric (Marshall Lead & Bass): Bass 6, Mid 7, Treble 5, Presence 2-3
– Delay (DD-3): Time around 300ms, Feedback 2-3, Level 20%

Overall, Kazuyoshi Saito’s sound design embodies a philosophy of “keeping EQ and effects minimal to allow the guitar and vocals to coexist naturally.” By valuing nuance over excessive processing, he establishes a unique presence.

Affordable Alternatives to Recreate the Tone

Kazuyoshi Saito’s sound is supported by vintage Gibsons, Custom Shop models, and professional-grade equipment from brands like Pete Cornish and L.R. Baggs. However, for beginners or those looking to approximate his tone, investing in high-end gear can be daunting. Here, we introduce commercially available equipment that can help recreate Kazuyoshi Saito’s sound at a more accessible price point (around $1,000 or less).

Acoustic Guitar Alternatives
While the genuine Gibson J-45 is expensive, the Epiphone “Inspired by Gibson J-45” is available for under $1,000. It effectively replicates the richness of the midrange and the thickness during strumming, making it suitable for live performances and practice. Adding entry-level pickups from Fishman or L.R. Baggs can ensure practical sound quality on stage.

Electric Guitar Alternatives
To achieve the warm, thick tone characteristic of P-90s, the Epiphone Casino or Epiphone ES-330 Pro are strong candidates. These models are close to the sound of Saito’s favored Gibson ES-330 and possess the airy quality of semi-hollow bodies. They can be found for around $700 to $900.

Amplifier Alternatives
While the Fender Band-Master is vintage and costly, combo amps like the Fender Blues Junior IV or Mustang GTX50 are available for $500 to $800. They provide a clean tone that pairs well with pedals, allowing for a warm clean sound similar to Saito’s. For Marshall tones, models like the MG series or DSL20CR can effectively replicate the distortion quality at a lower price point.

Effect Alternatives
BOSS’s SD-1 and DD-3 are easily accessible for around $100 each and are staples that Saito himself has used. For reverb alternatives to the Holy Grail, the Electro-Harmonix Oceans 11 or BOSS RV-6 are viable options. Acoustic DI alternatives like the L.R. Baggs Para Acoustic DI (around $400 to $500) or Fishman Platinum Pro EQ (around $500 to $600) can serve as effective substitutes without the high price tag.

Accessories
Shubb Capo (C-1) and Martin SP strings (phosphor bronze) are relatively inexpensive and readily available. Incorporating these can significantly enhance the resonance and playability, improving the chances of achieving a sound reminiscent of Kazuyoshi Saito.

In summary, a setup of “Epiphone + BOSS compact pedals + mid-range amplifier + L.R. Baggs or Fishman pickups/DI” offers a realistic option for those looking to capture Kazuyoshi Saito’s tone while keeping costs manageable.

Summary and Conclusion

Kazuyoshi Saito’s sound design may appear simple at first glance, but it is underpinned by a solid philosophy and experience. The essence of his sound lies in the perspective of “how to make the song resonate,” positioning the guitar merely as a tool to achieve that goal. This stance remains consistent across both acoustic and electric performances.

In the acoustic domain, he utilizes multiple signature models, including the Gibson J-45, to express depth and warmth that complements his vocals. By integrating L.R. Baggs Lyric and Anthem for line output, he ensures the richness of the guitar’s natural sound is reproduced on stage. On the electric side, he employs P-90 equipped guitars like the Gibson ES-330 and KS-330, as well as the custom Les Paul VOS, achieving a raw yet bluesy tone. Here too, he focuses on defining the sound range that should be emphasized, seamlessly blending with the overall band ensemble.

His choice of amplifiers, including the Fender Band-Master and Marshall Lead & Bass, supports a broad range from clean tones to crunch. Effects are kept minimal, primarily using BOSS compact pedals, with settings that do not compromise the nuances of his playing. For acoustic performances, he lightly employs DI and reverb to create depth, while electric performances utilize overdrive and delay for natural expansion. These combinations may not be flashy, but they function as “guitar sounds that do not interfere with the song” across all tracks.

Additionally, utilizing relatively affordable alternative gear (such as the Epiphone J-45 or Casino, Fender Blues Junior, and BOSS SD-1) allows beginners and intermediate players to get closer to the “Kazuyoshi Saito sound.” This indicates that his sound design does not solely depend on high-end equipment; rather, the focus on “which frequency ranges to preserve and how to play” is the key takeaway.

In conclusion, Kazuyoshi Saito’s sound design revolves around the concept of “how to make the guitar resonate to support the song.” The selection of gear and settings is an extension of this philosophy, resulting in sounds that are consistently simple and pleasant. When aiming to replicate this sound, it is essential to prioritize the perspective of “a guitar that complements the song” before investing in expensive equipment.

By understanding this approach and experimenting in your own way, you will surely find a touch of “Kazuyoshi Saito” in your music.