[Kishida Shigeru] How to Recreate the Quruli Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shigeru Kishida of Quruli stands out in the Japanese rock scene with his unique guitar playing style. His sound embodies a deep emotional resonance, balancing rawness and delicacy, which strongly supports the thematic world of Quruli’s music.

In the iconic song “Bara no Hana,” he showcases the light and airy tones characteristic of semi-hollow guitars. Conversely, tracks like “Wondervogel” and “Rock ‘n’ Roll” feature a robust rock tone achieved through the use of Telecasters and SGs. Kishida’s sound crafting shines during live performances, where he skillfully manipulates the guitar’s volume and tone directly through the amp, emphasizing dynamic expression without heavily relying on effects.

His choice of gear is notably relaxed and free-spirited, often borrowing a Stratocaster for performances. By combining British-style amps like the MATCHLESS DC-30 and VOX AC-30 with distortion pedals such as the Big Muff and Hot Cake, he creates a distinctive sound that is unmistakably his own.

The reason his sound garners attention lies in its “human-like fluctuations” and “guitar lines that complement the vocals.” Rather than showcasing flashy technical prowess, Kishida focuses on drawing out the emotional depth of the songs, resonating strongly with listeners.

In the following sections, we will delve into the amplifiers, guitars, effects, and sound crafting setups used by Shigeru Kishida.

▶ Search official YouTube videos of Quruli

List of Amplifiers and Features

The amplifiers that support Shigeru Kishida’s sound are primarily rooted in British-style classics, allowing for flexible use depending on the song and venue. He particularly favors renowned models like MATCHLESS and VOX, which provide rich clean tones and a smooth overdrive when pushed.

One of the most notable amps is the “MATCHLESS DC-30.” This amp has been confirmed to be used in recordings, characterized by its bright and spacious clean tone. When paired with the single-coil sound of Kishida’s Telecaster, it produces a clear and warm tone. Its versatility makes it suitable for both live and studio settings, aligning perfectly with Kishida’s diverse songwriting.

Next is the “VOX AC-30,” an amp beloved by many British rock bands, including The Beatles, and serves as a secondary option for Kishida. The unique shimmering high frequencies and soft midrange of the VOX complement Quruli’s pop-oriented songs beautifully.

Additionally, the “HIWATT STUDIO STAGE MK-II” has also been confirmed in his setup. HIWATT is a brand favored by guitarists from The Who and Pink Floyd, known for its wide-ranging sound. Kishida likely incorporates this amp in studio recordings and specific live performances to create a more three-dimensional sound image.

By utilizing these amplifiers, Kishida can support Quruli’s diverse musical styles—from soft folk tunes to robust rock numbers. Notably, he tends to create distortion primarily through the “guitar + amp” method during live performances, using effects pedals only as supplementary tools. He actively adjusts the amp’s volume and tone to alter the nuances of sound for each song.

Overall, it can be assumed that Kishida’s amp settings are based on “British clean tones as a foundation for musical distortion.”

Types of Guitars Used and Features

When discussing Shigeru Kishida’s sound, the choice of guitars is indispensable. He primarily uses several Telecasters, while also incorporating Stratocasters and SGs depending on the situation. Quruli’s music spans a wide range of genres from rock to folk and electro, and the individuality of his guitars significantly supports this diversity.

The most iconic of these is the “Fender Telecaster (1961 model).” Acquired around 2004, this guitar has been a long-time favorite, with Kishida stating, “No guitar can match this one.” The dry single-coil sound and moderate compression of this Telecaster form the core of Quruli’s sound, appearing in many songs during live performances.

Next is the “Fender Custom Shop Thinline Telecaster (Lake Placid Blue / Greg Fessler model).” This semi-hollow guitar features no F-holes, with a Hand-Wound ’63 Tele pickup on the bridge and a Seymour Duncan ’59 humbucker on the neck. This guitar is perfect for songs like “Bara no Hana,” which require a soft and expansive sound, providing a depth of resonance distinct from a Stratocaster.

Additionally, he also uses the “Fender Mexico Telecaster Thinline (Natural).” This model has been confirmed in recordings and specific songs, including “Bara no Hana,” where it contributes a light and airy sound.

Moreover, Kishida has been known to use a black Fender Stratocaster from the Custom Shop, which he borrowed for performances. This guitar is particularly useful in situations requiring a cleaner and more pronounced sound.

Lastly, the “Gibson SG” is employed for songs that demand a stronger rock presence and a thicker drive sound. Unlike the sharpness of the Telecaster, the SG produces a rich midrange and robust tone, making it ideal for powerful live performances.

Kishida skillfully selects from these guitars for each song, particularly centering around the Telecaster during live shows while adding variety to the sound to enrich the song’s atmosphere. His choice of guitars is not merely about selecting equipment; it reflects a perspective on “how to express the song.” Overall, his guitar selection can be assumed to be a quest for diverse tones centered around the Telecaster.

Effects and Pedalboard Setup

Shigeru Kishida’s pedalboard is simple yet plays a crucial role in his sound. He primarily relies on the direct sound from the amp, adding distortion and spatial effects as needed. Overdrive and fuzz pedals, in particular, contribute unique depth and grit to his guitar playing.

One essential pedal is the “BOSS BD-2 Blues Driver.” The Blues Driver is beloved by many guitarists, and Kishida is no exception. He has used a modified version known as the IZAC MOD, achieving a softer and thicker sound. It can handle a wide range from crunch to distortion, pairing excellently with the Telecaster.

He also favors the “KLON CENTAUR,” a legendary overdrive known for its high acclaim worldwide. Used as a booster, it enhances the natural sound of the Telecaster and Stratocaster, ensuring they stand out in the band mix.

Additionally, the “CROWTHER AUDIO HOT CAKE (3-knob version)” has been confirmed in his setup. This renowned pedal from New Zealand can create a wide range of distortion, adding thickness to the bright tones of the Telecaster and Thinline.

For fuzz, he uses the “Electro-Harmonix Big Muff Pi Russia (Sovtek).” Known for its unique sustain and thickness, it excels in loud and noisy arrangements. Similarly, he has a history of using the “DOD Grunge FX69B,” which brings out Kishida’s rough rock side.

In terms of spatial effects, he utilizes the “Line6 DL4 (Delay)” and “FREE THE TONE FF-1Y FUTURE FACTORY (Digital Delay / Modulation).” The DL4 is a long-time favorite, known for its looper function and analog-like delay, adding depth to the music. The Future Factory is a more recent addition, allowing for precise delay time settings and stereo effects.

For modulation, he employs the “MXR Phase 100,” “Ibanez Classic Phase,” and “Electro-Harmonix THE CLONE THEORY (Chorus / Vibrato).” These effects are used to enhance the mood of the songs, with the Clone Theory’s fluctuations being particularly suitable for ethereal tracks.

Additionally, he uses the “BOSS TR-2 (Tremolo).” This pedal is effective for adjusting the dynamics of a song or creating a floating rhythm. The “KORG DTR-1 (Rack Tuner)” is also included as an essential item for stable performances on stage.

Overall, Kishida’s effects board is built around “minimal distortion and spatial effects,” ensuring that the essence of the songs is preserved without excessive use of pedals. While certain tracks emphasize distortion, there are many instances where he relies solely on the amp and guitar, with effects serving as “supplementary flavor.”

Tone Settings, EQ, and Mixing Approaches

Kishida’s sound crafting philosophy revolves around “focusing on the guitar and amp, with minimal effects for color.” Therefore, his EQ and gain settings are straightforward, yet he makes meticulous adjustments for each song, showcasing a craftsman-like approach. Here, we will discuss specific settings, tendencies for different songs, and processing during the mixing stage.

In live settings, the foundation is a sound centered around clean to crunchy tones from the amp. For instance, when using the “MATCHLESS DC-30,” he sets the clean channel’s volume to around 6-7, achieving a natural compression while allowing the Telecaster’s clarity to shine. The EQ is balanced with Bass at 4-5, Mid at around 6, and Treble at about 5, focusing on the midrange to create a tone that supports the vocals without overpowering them.

When using the “VOX AC-30,” he raises the Treble slightly (to 6-7) to take advantage of its characteristic high-end sparkle while keeping the Bass lower (around 3-4). This setting is particularly effective for pop-oriented songs or when emphasizing an acoustic feel. For softer songs like “Bara no Hana,” this setup likely plays a significant role.

His use of distortion pedals is also distinctive. When using the BD-2 or HOT CAKE, he keeps the gain low (around 9-10 o’clock) and adjusts volume and tone accordingly. This results in a natural drive that feels like “the amp is slightly saturated.” In contrast, when using the Big Muff or DOD Grunge, he emphasizes a rough and noisy texture, enhancing the rock elements in his arrangements.

For song-specific applications, tracks like “Rock ‘n’ Roll” and “Wondervogel” feature stronger distortion, bringing the guitar to the forefront, while more lyrical songs like “Bara no Hana” and “Tokyo” utilize spatial effects extensively, incorporating delay and chorus for added depth. The Line6 DL4 delay is essential for live performances, whether adding thickness with short delays or layering improvisational phrases with the looper.

From a PA and mixing perspective, Kishida’s guitar is positioned to “color around the vocals,” with careful attention to placement and EQ processing. For example, in studio recordings, he spreads the guitar across the stereo field, placing one side with the clean Telecaster and the other with the warmth of a semi-hollow. This creates a rich soundscape with stereo depth. Additionally, tracks using fuzz or distortion are organized with low cuts to avoid interfering with the bass, showcasing his engineering-like adjustments.

Furthermore, controlling the guitar’s volume pot during live performances is crucial. Kishida manipulates the distortion level at his fingertips, allowing him to change the tone according to the song’s dynamics. This enables him to deliver a performance with ebb and flow without relying heavily on pedals. For the audience, this creates a sense of “deep expression from simple gear.”

In summary, Kishida’s sound crafting is built on three pillars: “midrange-focused EQ,” “natural distortion from the amp,” and “emotional coloring through spatial effects.” His mixing approach is dedicated to enhancing the vocals, ensuring that the guitar maintains a strong presence without overshadowing the song. Overall, it can be assumed that Kishida’s essence lies in a “simple approach that trusts the guitar and amp rather than relying on an abundance of gear.”

Affordable Alternatives to Recreate the Tone

Kishida’s sound is centered around high-end vintage gear and custom pedals, making it challenging to replicate fully. However, it is entirely possible to recreate the vibe using relatively affordable commercial gear. Here, we introduce alternative equipment that is accessible for beginners to intermediate players (priced around $100-$500) to help achieve a sound similar to Kishida’s.

For those looking to emulate the Telecaster tone, the Fender Player Telecaster (Made in Mexico) is a strong contender. While the original 1961 Telecaster is quite expensive, this series can be purchased for around $500-700. It possesses the sharpness and warmth characteristic of single-coil pickups, allowing players to capture the nuances of Kishida’s frequently used Telecaster.

In terms of amplifiers, instead of MATCHLESS or VOX, the VOX AC15C1 is recommended. This smaller sibling of the AC30 retains similar high-end sparkle and crunch, making it suitable for both live and studio use, priced under $1,000.

For distortion pedals, while the legendary KLON CENTAUR is prohibitively expensive and hard to find, the Electro-Harmonix Soul Food is a well-known budget alternative. It mimics the boosting characteristics and clarity of the KLON, effectively serving the role of a booster in Kishida’s sound.

Similarly, since the CROWTHER HOT CAKE is not widely available, the Fulltone OCD serves as an effective substitute. This overdrive pedal offers a wide range, accommodating everything from crunch to distortion, and pairs excellently with Telecasters and Strats.

For fuzz, while the Russian Big Muff has seen price increases, the Electro-Harmonix Big Muff Pi (current USA version) is a sufficient substitute. Its rich sustain and thick sound are ideal for recreating Quruli’s loud tracks.

For spatial effects, instead of the Line6 DL4, we recommend the BOSS DD-8. This multi-mode delay can handle everything from analog to digital and includes a looper function, making it highly versatile for both live and studio applications. Even if high-end gear like FREE THE TONE is out of reach, this pedal can effectively capture the desired atmosphere.

For modulation effects, MXR Phase 90 and BOSS CH-1 Super Chorus are solid choices. The Phase 90, a sibling to the Phase 100, features a simple one-knob design while still delivering classic modulation. The CH-1 offers a transparent chorus sound, making it a suitable alternative to the Clone Theory.

By assembling these alternative pieces of gear, players can recreate the structure of Kishida’s “guitar + direct amp sound + supplementary distortion and spatial effects.” The key is to keep pedal and amp settings simple while controlling the tone and volume through the guitar. This approach allows players to experience Kishida’s sound crafting philosophy firsthand.

Summary and Conclusion

Shigeru Kishida’s sound crafting is characterized by a simple yet profound philosophy. At its core is a natural tone produced by “guitar + direct amp,” enhanced by minimal effects to expand the thematic world of the songs. His choice of vintage Telecasters and the use of British-style amps for clean and crunchy tones form the foundation that supports his broad musicality.

What stands out is his emphasis on “the player’s manipulation” rather than the gear itself. During live performances, he does not frequently switch pedals but instead creates dynamics through the guitar’s volume and tone, controlling the atmosphere according to the song. This allows the audience to experience a sense of “different expressions from the same guitar” for each song.

Additionally, his flexibility in using different gear for both recording and live performances is remarkable. In the studio, he employs the MATCHLESS DC-30 and HIWATT to build a rich soundscape focused on the midrange. Meanwhile, he incorporates the VOX AC-30 as a secondary amp during live shows, adding clarity to pop songs. The contrast between the rawness of fuzz and overdrive and the ethereal quality created by chorus and delay contributes to the dimensionality of his music.

For beginners and intermediates, fully replicating his sound may be challenging. However, by acquiring Telecaster-style guitars, British amps like the VOX AC15, and pedals such as the Soul Food and Big Muff, one can sufficiently capture the essence of his sound. The key is not “what gear to use” but rather “how to express it.”

The essence of Kishida’s sound crafting lies in “guitar sounds that resonate with humanity and the heart of the song.” Instead of flashiness or speed, he focuses on tone control to enhance the songs. This approach serves as a valuable lesson for many guitarists and provides hints for discovering “one’s own sound.”

In summary, to recreate Kishida’s sound, the following three elements are crucial:

• Guitar selection centered around the Telecaster
• Midrange-focused settings using British-style amps
• Controlling atmosphere with minimal effects

By keeping these in mind and selecting gear that suits their environment, anyone can get closer to the warm sound characteristic of Quruli. Ultimately, the greatest lesson is experiencing Kishida’s philosophy that “the player’s sensitivity, not the abundance of gear, determines the sound.”