[Keiichi Suzuki] How to Recreate the MOONRIDERS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Keiichi Suzuki, the leader and guitarist of MOONRIDERS, is an innovative figure in the Japanese rock and pop scene. Since the late 1970s, he has consistently presented new music characterized by a sound that transcends genres and an experimental spirit.

A significant feature of Suzuki’s guitar sound is his “flexibility in blending different musical styles.” He skillfully navigates a wide range of tones, from folk-inspired acoustic sensibilities to soundscapes reminiscent of new wave and ambient music, and at times, even loud distortion.

Iconic examples of his sound can be heard in MOONRIDERS’ tracks like “Scarlet’s Oath” and “The Sea of Jellyfish in September,” showcasing the edgy yet clean tones of the Jazzmaster. In recent live performances and recordings, his use of effects to create ambient soundscapes and the warm resonance of classical gut strings have also left a lasting impression.

The reason he stands out is due to his extensive gear selection and thoughtful setups, which elevate him beyond the mere label of a rock guitarist to that of a “sound artist.” His sense of gear selection and practical approach to combining them provide valuable lessons for many guitarists.

This article will systematically outline the amplifiers, guitars, effects, and settings used by Keiichi Suzuki (MOONRIDERS) to thoroughly explain his sound creation.

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List of Amplifiers and Features

Keiichi Suzuki’s choice of amplifiers consistently emphasizes “the clarity of clean tones.” A long-time staple in his setup is the Fender Twin Reverb. Its sparkling and wide-ranging clean tones are perfectly compatible with his effects and pedalboard, forming the foundation of his diverse sound creation.

MOONRIDERS’ sound often highlights the unique characteristics of the guitar, such as the slightly hard-edged clean of the Jazzmaster or the modern wide range of the Suhr Thinline. Therefore, the amplifier must possess the ability to faithfully reproduce the original sound. In this regard, the Twin Reverb is ideal, allowing for distortion and spatial effects from pedals without muddying the tone, resulting in a three-dimensional sound.

Especially in live settings, even when heavily applying spatial and modulation effects, the core of the sound remains intact, ensuring it does not get lost in the overall band mix. The sound of the Twin Reverb, when mic’d for recording, has also received high praise from engineers.

However, throughout MOONRIDERS’ long career, there have been suggestions that other amplifiers may have been used. Depending on the studio or event, it is believed that Marshall-type amplifiers were sometimes selected, or jazz-oriented tones were created in conjunction with rosewood guitars. Nevertheless, the Twin Reverb remains the clearly confirmed centerpiece, establishing it as his “standard amplifier.”

In summary, Suzuki’s amplifier selection appears to be flexible for different scenes while centering around the Twin Reverb, aiming to “maximize the individuality of the guitar and effects.”

Types of Guitars Used and Features

Keiichi Suzuki’s guitar selection is characterized by the diverse models he uses, reflecting the breadth of his musicality. He not only acts as a singer-songwriter but also as a sound artist, pursuing the appropriate tones for each song.

First and foremost, his long-time main guitar is the Fender Jazzmaster (Japanese model, 1989-90 J serial). This guitar has undergone numerous modifications, resulting in a wider range than a standard Jazzmaster, tailored for compatibility with effects. The characteristic hard clean and ethereal tones of the Jazzmaster are ideal for MOONRIDERS’ new wave and post-punk sound.

For songs requiring a jazzy nuance, he utilizes the Sadowsky Jim Hall model, which produces semi-acoustic sounds that resonate delicately with jazz chords and arpeggios. This choice adds color to MOONRIDERS’ sound, which incorporates folk and classical elements.

In more rock-oriented numbers, the Gibson Les Paul Goldtop is also employed, known for its warm and thick midrange, providing a solid foundation for the band’s overall sound.

In recent years, he has also incorporated the Suhr Thinline, which boasts a lightweight and wide-ranging tone, effectively contributing to ambient and post-rock elements.

For acoustic-oriented tracks, he chooses the José Ramírez gut guitar, producing a classical and deep tone. This choice symbolizes Suzuki’s identity as a singer-songwriter.

Additionally, a crucial part of his experimental sound creation is the Fender “Blackie” Eric Clapton Signature Stratocaster. This guitar offers a sharp tone typical of Stratocasters and a wide range of expression due to its active circuitry, frequently used in live settings.

Thus, Suzuki’s guitar selection reflects not just instrument choice but a commitment to “continuously searching for the optimal tone for each song.” Centered around the modified Jazzmaster, he skillfully navigates from jazz to rock and ambient, adapting different characters for each context.

Effects and Pedalboard Setup

The most significant element supporting Keiichi Suzuki’s sound creation is his unique pedalboard. In MOONRIDERS’ sound, which actively incorporates synthesizer and programmed elements, his pedal configuration plays a crucial role in treating the guitar as more than just a string instrument.

One of the standout features is the MOTU ZBox, an impedance-matching device that ensures compatibility between the guitar and interface or multi-effects, drawing out a natural and dynamic response. It provides a stable signal in both studio and live settings, maximizing the effects’ impact.

Next, the Electro-Harmonix Mel9 symbolizes his experimental spirit. This pedal simulates the sound of a Mellotron, allowing him to produce string and flute-like sounds while playing guitar. It creates impressive effects in tracks like “Skeleton Moon” and recent ambient pieces.

Additionally, the Zoom G5 is a staple in his setup, serving as a multi-effects unit that covers a wide range of applications, including distortion, tremolo, and looping, enhancing versatility during live performances. Combined with the Line 6 DL4, it enables the construction of loops and the creation of echoes through delay.

In recent live shows, the Empress Effects ZOIA has been introduced, a modular multi-functional pedal that has been confirmed in use for “SKELETON MOON,” contributing to synth-like sound creation and ambient processing.

Further enhancing his uniqueness is the Nivram Howling Fuzz, crafted by engineer Tsuyoshi Shigenaga. Unlike standard fuzz pedals, it intentionally generates howling sounds, allowing for noise music expressions. This pedal reflects Suzuki’s philosophy of pursuing sounds that transcend traditional pop and rock boundaries.

Finally, the Electro-Harmonix Oceans 12 is a stereo reverb pedal featuring various reverb algorithms, including hall and spring reverb. It is essential for creating Suzuki’s three-dimensional soundscapes.

Overall, Suzuki’s pedalboard combines “efficiency through multi-effects” with “expansibility through experimental pedals,” allowing for flexible approaches tailored to each song. This setup exemplifies his attitude of treating the guitar as part of an orchestration.

Tone Settings, EQ, and Mixing Approaches

Keiichi Suzuki’s sound creation is characterized by the close relationship between “individual guitar sound crafting” and “the overall soundscape design of the band.” Rather than simply switching between clean tones and distortion, he actively utilizes effects and EQ to construct different sound images for each song.

When using the Fender Twin Reverb, the typical amp settings involve a bass level of 4-5, mids around 5, and treble slightly raised to 6-7. This adjustment enhances the slightly harder high frequencies of the Jazzmaster while ensuring that guitars with rich midrange, like the Suhr Thinline and Les Paul, do not get buried. The reverb from the amp’s spring is rarely used; instead, external pedals like the Oceans 12 are relied upon to create a more controllable three-dimensional reverb space.

Regarding EQ adjustments, he compensates for different frequency ranges depending on the guitar. For example, with the Jazzmaster, he aims to boost the low frequencies to avoid a hollow sound, while with the Les Paul Goldtop, he slightly cuts the low frequencies to balance the ensemble’s weight. When using the acoustic-oriented José Ramírez gut guitar, he often removes the “muddiness” around 200Hz and boosts the 4-6kHz range to emphasize attack.

In terms of effect usage, a versatile sound creation based on the Zoom G5 is complemented by experimental pedals like Mel9 and ZOIA as needed. When using the Mel9, care is taken to prevent the original guitar sound from being buried, often employing compressor-like settings and ensuring high frequencies remain through amp EQ. The ZOIA is used to add rhythmic pulses and synth-like filters, showcasing his challenge to express beyond traditional guitar sounds.

For mixing approaches per song, there is a noticeable overarching sound design throughout MOONRIDERS’ tracks. For example, in songs like “Scarlet’s Oath,” where the band intertwines, the guitar’s positioning is panned left and right, with a light delay applied to the clean tone to create depth. Conversely, in experimental tracks like “SKELETON MOON,” the guitar is centered, layering sounds with reverb and looping to make it a core part of the orchestration.

In terms of live performance techniques, he often uses the looper on his pedalboard to build layers, expanding the sound on the spot. In this case, to avoid muddying the overall PA, he tends to cut frequencies below 100Hz with a high-pass filter, emphasizing the mid and high ranges. Additionally, in the overall band mix, the guitar is not positioned as the “star” but rather as a “part of the texture,” with intentional EQ adjustments to pull back the midrange.

Overall, Suzuki’s sound creation emphasizes “preserving the original sound while transforming the acoustics through effects and mixing for each context.” His approach of boldly processing the sound according to the song’s context while maintaining the individuality of the guitar is characteristic of his unique sound aesthetic.

Affordable Alternatives to Recreate the Tone

Keiichi Suzuki’s sound creation includes many hard-to-obtain gear, such as specialized guitars and custom fuzz pedals. However, there are ways for beginners and intermediate players to approximate his sound at relatively affordable prices. Here, we will introduce commercially available products and explain why they can achieve similar nuances.

1. Amp Simulator for Clean Foundation
High-end and large amplifiers like the Fender Twin Reverb can be challenging to acquire or transport, but modeling amps such as the BOSS Katana series or Fender Mustang LT can handle a wide range of tones from clean to distortion and reverb at a reasonable price. The Katana, in particular, is known for its transparent clean tones and compatibility with spatial effects, making it easier to replicate Suzuki’s “foundational sound.”

2. Reproducing Mellotron-like Sounds
While the Mel9 is unique, it comes at a higher price point. Alternatives like the Electro-Harmonix C9 and BOSS SY-1 are effective substitutes. The C9 provides organ-like sounds, adding an ambient quality. The SY-1, while compact, allows for synth-like expressions, achieving sound creation that resonates with Suzuki’s experimental nuances.

3. Multi-Effects Units
As alternatives to the Zoom G5, the Zoom G3Xn or BOSS GT-1 are recommended. Priced around $200-300, these units cover a wide range of effects, including distortion, delay, tremolo, and looping, replicating the diverse sound palette seen in Suzuki’s live performances.

4. Delay/Looper
While the Line 6 DL4 is a classic, its prices are rising in the second-hand market. Alternatives like the BOSS DD-7 or TC Electronic Flashback are viable options. Both offer delay and looper functions, allowing users to experience the “layering of sounds” that Suzuki frequently employs in live settings.

5. Reverb
The Oceans 12 is high-functioning but may be overkill for beginners. Alternatives like the Electro-Harmonix Oceans 11 or TC Electronic Hall of Fame are user-friendly and can easily create the “three-dimensional space characteristic of MOONRIDERS.”

6. Fuzz/Distortion
The custom Nivram fuzz is hard to come by, but the BOSS FZ-5 or Electro-Harmonix Big Muff Nano are affordable recommendations. While replicating the howling elements may be challenging, they can produce thick fuzz sounds that bring you closer to Suzuki’s noise-oriented experimental sound.

By combining these pieces of gear, it is entirely possible to experience a “Keiichi sound” for under $1,000. The key is to establish a solid “clean foundation” while layering sounds with spatial effects and looping as needed. By keeping this mindset, even affordable gear can express the sonic world of MOONRIDERS.

Summary and Conclusion

Reflecting on Keiichi Suzuki’s sound creation, its essence lies in “constructing soundscapes optimized for each song.” It goes beyond mere guitar playing and gear selection; he perceives the guitar as a “texture,” painting a spatial and experimental sound world.

From his main guitar, the Jazzmaster, to the Les Paul, Suhr Thinline, and the classical José Ramírez gut guitar, his approach of using diverse models according to the context symbolizes his flexible musical outlook. The combination with the Twin Reverb is crucial, producing clean tones that maintain fidelity to the original sound while layering spatial effects without muddiness.

Moreover, his choice of effects demonstrates a balance between “experimentation” and “responsiveness.” By basing his setup on standard multi-effects and loopers like the Zoom G5 and DL4, and combining them with unique pedals like the Mel9, ZOIA, and Nivram fuzz, he achieves sound expressions that are difficult for other guitarists to replicate. This flexible pedalboard construction serves as a hint for beginners aiming to recreate Suzuki’s sound.

Additionally, the ingenuity in EQ and mixing should be noted. Rather than simply controlling tone, he adjusts frequency ranges with an awareness of the PA and engineering perspectives, clearly defining the guitar’s role within the overall band sound. By intentionally positioning the guitar as a “supporting role” rather than the “star,” he upholds the overall world of the song—this philosophy is quintessentially Suzuki’s.

For readers aspiring to approximate his sound, the key is not to simply acquire expensive gear but to learn the “thought process behind sound creation.” For instance, establishing a solid clean foundation and adding spatial effects and looping as needed. This flexible mindset is essential for recreating Keiichi Suzuki’s sound.

Keiichi Suzuki’s sound aesthetic, cultivated over MOONRIDERS’ long career, continues to inspire many music fans across generations and genres. His role as an artist who designs the overall sound of the band, rather than merely a guitarist, serves as a guiding principle for many players.