[Koichi Kawasaki] – How to Recreate the THE BAND APART Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Koichi Kawasaki, guitarist of THE BAND APART (often called “Banapa”), is known for his unique chord work and tone-making approach, crossing the borders of Japanese rock, alternative, and jazz-funk styles. His guitar tone is mellow yet tight and full-bodied, creating a three-dimensional presence in the ensemble that is essential to the band’s sound.

On representative tracks such as “Snowscape,” “Eric.W,” and “Castaway,” his sense of balancing clean and distorted tones shines through. Within the rhythm-focused ensemble style of the band, Kawasaki’s phrasing alternates between lead and harmonic roles, always maintaining the core groove.

The foundation of his sound is a custom Mosrite-based guitar, Orange amplifiers emphasizing low-mid frequencies, and a dual-board system centered around original effects made by A.S.W. In live shows, he separates clean and drive systems, switching pedals and settings with precision to build the optimal sound image for each song.

On his Instagram, Kawasaki often shares his devotion to guitars and behind-the-scenes live shots, making him a figure of great interest among fans and guitar players alike.

The essence of his sound is “low-mid emphasis” and “division of roles between clean and distortion.” Understanding this philosophy is the key to recreating Banapa’s tone.

▶ Search official YouTube videos of THE BAND APART

List of Amplifiers and Features [THE BAND APART・Koichi Kawasaki]

One of the most defining features of Koichi Kawasaki’s guitar sound is his use of two large Orange tube amp heads. Specifically, he relies on the GRO100 for clean tones and the OR120 for distortion, both driving into the PPC412 cabinet.

While Orange amps are often associated with “British high-gain” sounds, Kawasaki’s setup focuses more on producing a fat, low-mid-heavy tone. He has clearly stated in interviews: “Since the overall band sound tends to lean towards the highs, I choose pedals and amps purely to push out the low-mids.” This mindset is directly reflected in his rig choices.

The GRO100 is used as the clean system, providing a solid tone with minimal unwanted compression or breakup. Its cleans remain thick and full, perfect for funk/soul-inspired rhythm cutting and harmonically rich arpeggios. On the other hand, the OR120 is known for its strong, mid-focused distortion with a sticky, sustained feel, making it his go-to for drive sections and lead playing.

Each amp head operates as an independent output path, switched on and off live through his pedalboard system. The PPC412 cabinet, loaded with four 12-inch speakers, delivers a full-range and dynamic projection on stage. Kawasaki is also known for his meticulous mic placement and amp positioning to maximize room ambience and spatial width in live environments.

In studio recordings, such as on the album Scent of August, Kawasaki has been observed to largely follow the same setup as his live rig, further underlining the consistency of his tone design.

Below is a summary table of the amplifiers he has actually used:

Gear	Brand	Amazon Link	Artist	Guitarist	Notes
GRO100	Orange	Link	THE BAND APART	Koichi Kawasaki	Used for clean tones. Low-mid focused settings.
OR120	Orange	Link	THE BAND APART	Koichi Kawasaki	Main drive amp. Known for its sticky midrange distortion.
PPC412	Orange	Link	THE BAND APART	Koichi Kawasaki	Used with both heads as the output cabinet. Standard for both live and studio setups.

From these details, we can conclude that Kawasaki’s amplifier setup is deliberately designed to emphasize the low-mid spectrum, ensuring that his guitar remains present in the mix without clashing with vocals or higher-register instruments. This dual-amp approach balances clarity and punch, which defines much of THE BAND APART’s signature guitar sound. These choices, while firmly documented, also suggest he may experiment with variations in different eras, but the Orange rigs remain his mainstay.

Types of Guitars Used and Features [THE BAND APART・Koichi Kawasaki]

Koichi Kawasaki’s longtime main guitar is the Mosrite Mark-I Orange Custom Model. This instrument is based on a 1964 Mosrite Mark-I, customized in detail to match his playing style and sonic goals. His choice of Mosrite is deeply personal—his father was a devoted fan of The Ventures, and Kawasaki grew up hearing Mosrite tones at home. This heritage became a cornerstone of his musical identity.

The Mosrite features the signature “German carve” basswood body design, combined with a bolt-on maple neck. The distinctive asymmetrical headstock and top-mounted jack are classic hallmarks of vintage Mosrite construction. Kawasaki’s modifications include reshaping the originally slim neck to a slightly thicker profile, providing greater grip and stability for intricate fingerings during live performance.

The bridge is a Roller Saddle paired with a Vibramute system, though Kawasaki removes the tremolo arm for improved tuning stability and to suit his style. On stage, he most often uses the orange-finished model, but he also keeps a black-bodied Mosrite as a backup. This switching ensures stability in sweaty, high-energy performances and shows his professional-level approach to maintenance and reliability.

The sonic character of his Mosrite guitars is clear and three-dimensional, with a balanced compression and punchy midrange that brings out cutting rhythm work and nuanced chord voicings. Video footage reveals that Kawasaki actively manipulates pickup balances and volume knobs for tonal variation, using the guitar’s natural response rather than relying on drastic pedal changes.

While the orange model is his primary stage instrument, the black Mosrite Custom often appears in live photos, strongly suggesting it is his main spare guitar. Both embody the same core tonal philosophy—strong mids, clarity without harsh highs, and a vintage-modern balance.

Below is a table summarizing the guitars confirmed in his setup:

Gear	Brand	Amazon Link	Artist	Guitarist	Type	Notes
Mosrite Mark-I Orange Custom Model	Mosrite	Link	THE BAND APART	Koichi Kawasaki	Solid Body	Main live guitar. Customized neck and bridge. Signature orange finish.
Mosrite Mark-I Black Custom Model (Backup)	Mosrite	Link	THE BAND APART	Koichi Kawasaki	Solid Body	Used as a spare when the orange model becomes unstable (e.g., sweat during live shows).

From these instruments, it is clear that Kawasaki’s guitar choice is not about sheer variety but about refining a single sonic identity through subtle variations and customization. His Mosrite-based philosophy is central to the Banapa sound, and while other guitars may appear occasionally, the Mosrite Mark-I series remains his undisputed weapon of choice.

Effects and Pedalboard Setup [THE BAND APART・Koichi Kawasaki]

Koichi Kawasaki’s pedalboard is massive and highly organized, built on a dual-board system that separates clean and drive signal paths. This allows him to control the texture of each song with remarkable precision. Both boards are unified and stabilized through A.S.W. switchers and buffers, ensuring consistent signal quality despite the complexity of the routing.

The right-side board focuses on the clean chain. At the input sits the A.S.W AGDR-401 Buffer, which stabilizes the guitar signal. From there, the chain includes a Jim Dunlop Cry Baby wah, an A.S.W × Yamaboshi switcher, and a tc electronic Polytune tuner. A clean compressor, the A.Y.A R-Comp, provides light compression to shape the clean tone, before sending the signal into delay pedals located on the drive board.

The left-side board handles the drive chain. It contains the A.S.W AGDR-101 Overdrive and A.S.W AGDR-102 Distortion, which form the backbone of Kawasaki’s gain stages. Alongside these, he employs modulation and filter effects such as the A.S.W Delay, Electro-Harmonix POG2 (octave), moogerfooger MF-101 (Lowpass Filter), and moogerfooger MF-103 (12-Stage Phaser). These pedals give him deep control over spatial and harmonic textures.

Both boards are powered by A.S.W power supplies, minimizing noise and ensuring reliable operation. A key philosophy in his setup is maintaining the integrity of his midrange-focused tone—effects are used to support the band’s ensemble sound, not to overwhelm it. Each pedal is engaged only when necessary, reinforcing his minimalist-yet-precise style of expression.

In the studio, such as during the recording of Scent of August, Kawasaki has been observed using a more streamlined pedalboard. This included the Jim Dunlop Cry Baby GCB-95, a BOSS TR-2 Tremolo, and the MAD PROFESSOR Sweet Honey Overdrive, all controlled through a simple loop box. This demonstrates his adaptability—paring down his rig for focused studio applications while retaining the essential tonal philosophy.

Below is a categorized table of effects confirmed in his rig:

Gear	Brand	Amazon Link	Artist	Guitarist	Effect Type	Notes
AGDR-401	A.S.W	Link	THE BAND APART	Koichi Kawasaki	Buffer	Placed at the start of the clean board to stabilize signal.
Cry Baby	Jim Dunlop	Link	THE BAND APART	Koichi Kawasaki	Wah Pedal	Used both live and in studio. GCB-95 confirmed in sessions.
Polytune	tc electronic	Link	THE BAND APART	Koichi Kawasaki	Tuner	Part of the clean board setup.
R-Comp	A.Y.A Tokyo Japan	Link	THE BAND APART	Koichi Kawasaki	Compressor	Shapes the clean signal before delay routing.
AGDR-101	A.S.W	Link	THE BAND APART	Koichi Kawasaki	Overdrive	Main source of overdrive in the drive system.
AGDR-102	A.S.W	Link	THE BAND APART	Koichi Kawasaki	Distortion	Secondary gain stage for heavier sections.
POG2	Electro-Harmonix	Link	THE BAND APART	Koichi Kawasaki	Octave	Used for adding harmonic richness and thickness.
MF-101 Lowpass Filter	moogerfooger	Link	THE BAND APART	Koichi Kawasaki	Auto-Wah / Envelope Filter	For adding spatial movement and tonal shifts.
MF-103 12-Stage Phaser	moogerfooger	Link	THE BAND APART	Koichi Kawasaki	Phaser	Used to create depth and stereo width.
SWEET HONEY OVERDRIVE	MAD PROFESSOR	Link	THE BAND APART	Koichi Kawasaki	Overdrive	Confirmed in use during the Scent of August sessions.
TR-2	BOSS	Link	THE BAND APART	Koichi Kawasaki	Tremolo	Typical settings: RATE at 12 o’clock, WAVE just before 3 o’clock, DEPTH just before 3 o’clock.
TU-2	BOSS	Link	THE BAND APART	Koichi Kawasaki	Tuner	Used primarily during studio recordings.

In summary, Kawasaki’s pedalboard is not about overwhelming complexity but about precise control. His gear choices reflect his commitment to tone balance, ensuring his guitar supports the band’s overall sound while still retaining individuality. Even with alternate studio setups, the underlying philosophy remains consistent: clarity, midrange focus, and functional integration.

Tone Settings, EQ, and Mixing Approaches [THE BAND APART・Koichi Kawasaki]

The foundation of Koichi Kawasaki’s sound-making is striking a delicate balance: never buried in the ensemble, but never overpowering either. This philosophy leads to his reliance on mid-to-low-mid frequencies and a clear separation of clean and drive channels. Both systems are crafted to perform distinct roles, ensuring that every layer of the music has space.

Kawasaki has explicitly stated, “Since our band’s sound tends to lean toward the highs, I only focus on bringing out the low-mids.” This guiding principle dictates his amp EQ, pedal usage, and mixing strategies. On his Orange GRO100 (clean) and OR120 (drive), he keeps treble settings restrained and emphasizes the 400–800Hz range. This gives body to his tone without creating harshness or shrillness.

EQ approach: On the OR120, his drive amp, gain is typically kept at moderate levels. Treble is rolled back to just below noon, bass is set around 1–2 o’clock, and mids are boosted aggressively past 2 o’clock. This produces a tone that is thick, vocal, and punchy—cutting through without excessive brightness. The GRO100 clean amp is dialed flatter, with minimal coloring, letting the guitar’s natural voice and player dynamics take control.

Clean tone strategies: For cleans, Kawasaki adds just a touch of compression via the A.Y.A R-Comp. This gently tames dynamics while preserving pick attack, ensuring clarity in fast chord voicings or arpeggios. He often adds light delay from his A.S.W unit, giving subtle depth without overwhelming the dry signal. The result is a clean sound that’s not sterile, but rather alive and three-dimensional.

Drive tone layering: His overdrive (A.S.W AGDR-101) is often engaged as a base level of grit, providing warmth and punch. For heavier passages or leads, he stacks the AGDR-102 distortion on top, producing greater saturation without losing note separation. This two-tier gain staging approach means he doesn’t rely on extreme settings, but instead builds tone in layers, which is particularly effective in live environments where consistency matters.

Modulation and texture: Modulation is not treated as mere decoration in Kawasaki’s rig. His moogerfooger MF-101 filter and MF-103 phaser are deployed to add depth and shifting movement to parts of the arrangement, creating a sense of space. Likewise, the Electro-Harmonix POG2 adds weight and harmonic content, especially during choruses or unison sections, thickening the band’s overall mix without overshadowing the vocals.

Mixing perspective: In studio production, Kawasaki’s guitar is rarely pushed forward as the dominant element. Instead, it is panned slightly left or right of center, positioned to support the vocal line. EQ carving often involves rolling off low-end below 80Hz to avoid clashing with bass and kick, and naturally fading the top end above 1kHz to prevent harshness. The key is always preserving the character of the mids—the frequency band that defines his presence.

For recording, engineers working with Kawasaki often describe his tone as “pre-mixed.” Because of his careful EQ and pedalboard discipline, very little corrective EQ is needed at the mixing desk. His tone already sits neatly in the mix, demonstrating how much of his “mixing work” is done at the performance level, not left to engineers afterward.

Dynamic use of settings per song: On more melodic tracks like “Snowscape,” his cleans are spacious with more delay and subtle compression, while distortion is dialed back for clarity. On heavier songs like “Castaway,” the OR120’s mids are pushed harder, with stacked overdrive and distortion for a dense wall of sound. This adaptability shows how his tone choices aren’t static presets, but dynamic tools matched to the band’s arrangements.

Another important observation is his resistance to overusing reverb. Instead, he relies on natural room sound and delay for space. This prevents the guitar from getting “washed out” and ensures rhythmic tightness—an essential quality for a band like THE BAND APART, which thrives on intricate rhythm interplay.

Ultimately, Kawasaki’s EQ and tone philosophy boils down to one principle: create a guitar tone that strengthens the song rather than dominates it. By emphasizing low-mids, carefully managing gain staging, and placing effects in service of ensemble clarity, he crafts a sound that is unmistakably his own. From both a guitarist’s and a sound engineer’s perspective, his approach is a masterclass in role-conscious tone building.

While details may vary from era to era, the consistent thread is his meticulous attention to mids and ensemble balance. Even when trying to replicate his tone, it’s this mindset—not just the gear—that brings players closest to the authentic Banapa sound. Thus, his tone settings can be described as intentional, pragmatic, and above all, musical in their construction.

Affordable Alternatives to Recreate the Tone [THE BAND APART・Koichi Kawasaki]

Koichi Kawasaki’s rig involves custom Mosrite guitars, boutique A.S.W pedals, and large Orange tube amps—an impressive but expensive setup that is not easy for beginners to replicate. However, by focusing on his tonal philosophy—low-mid emphasis, layered gain stages, and functional use of space and modulation—players can recreate much of his sound with more affordable, widely available gear.

Guitars: For those unable to obtain a Mosrite, Japanese brands such as Greco MR-1000 or Fillmore Mosrite-style models provide a close alternative. These instruments share similar pickup positions and neck profiles, producing the mid-pushed, harmonically rich cleans that Kawasaki relies on. Especially in the used market, these models offer excellent value and tone authenticity.

Amplifiers: The Orange OR120 and GRO100 are iconic but costly. A practical alternative is the Orange Crush Pro 120 Head or even the compact VOX MV50 Rock. The MV50 in particular delivers strong midrange punch and enough stage volume for small to mid-sized venues, while being far more affordable and portable. These amps may not have the same tube warmth, but they capture much of the Orange-style grit and presence.

Overdrive and Distortion: Instead of boutique A.S.W drives, consider the BOSS SD-1 Super OverDrive for its mid-boosting qualities, or the JHS Angry Charlie V3, which emulates the sticky distortion of Orange amps. Both pair well with Mosrite-style guitars, giving players the layered gain approach Kawasaki employs without losing note clarity.

Delay and Modulation: A subtle delay is essential for Kawasaki’s clean tone. The BOSS DD-3T or tc electronic Flashback provide affordable, versatile delay options. For modulation, the BOSS PH-3 Phaser includes a 12-stage mode, reminiscent of the moogerfooger MF-103. Similarly, the Electro-Harmonix Small Stone offers a warm, classic phaser tone. These units deliver depth and movement without excessive cost.

Octave: For approximating the Electro-Harmonix POG2, the BOSS OC-5 is a reliable choice. It has strong polyphonic tracking and works equally well for thickening riffs or adding weight during chorus sections.

By combining these alternatives, players can achieve a convincing Banapa-inspired rig on a budget. The key lies in using EQ consciously and deploying effects only where musically necessary, rather than stacking pedals for their own sake. Below is a table of suggested gear:

Category	Gear	Brand	Amazon Link	Artist	Guitarist	Notes
Mosrite-style Guitar	MR-1000	Greco	Link	THE BAND APART	Koichi Kawasaki	Japanese Mosrite copy. Mid-heavy voicing captures Kawasaki’s signature tone.
Amp Head	MV50 Rock	VOX	Link	THE BAND APART	Koichi Kawasaki	Compact hybrid amp. Midrange punch approximates Orange-style distortion.
Overdrive	SD-1 Super OverDrive	BOSS	Link	THE BAND APART	Koichi Kawasaki	Mid-pushed overdrive. Affordable substitute for A.S.W AGDR-101.
Distortion	Angry Charlie V3	JHS Pedals	Link	THE BAND APART	Koichi Kawasaki	Orange-inspired distortion. Captures sticky, vocal midrange drive.
Octave	OC-5	BOSS	Link	THE BAND APART	Koichi Kawasaki	Reliable octave pedal with polyphonic tracking. Affordable POG2 alternative.
Phaser	PH-3	BOSS	Link	THE BAND APART	Koichi Kawasaki	12-stage phaser mode replicates MF-103-style swirling movement.
Delay	DD-3T	BOSS	Link	THE BAND APART	Koichi Kawasaki	Classic delay with simple controls. Recreates his subtle spacious clean tones.

These alternatives may not replicate every nuance of Kawasaki’s custom boutique setup, but they capture the spirit of his tone design: strong mids, layered gain, and careful modulation. Importantly, they keep costs within the $100–$500 range per item, making them accessible for beginners and intermediate players seeking a Banapa-inspired sound.

Summary and Conclusion [THE BAND APART・Koichi Kawasaki]

Koichi Kawasaki’s approach to guitar tone goes far beyond simply changing sounds with pedals. His entire setup is based on a structural and philosophical design: using tone as an architectural element within the band’s music. Instead of forcing the guitar forward, he focuses on the role of sound within the ensemble. This is why his mid-to-low-mid emphasis becomes so crucial—it forms the foundation on which vocals, bass, and drums can lock in and breathe.

His choice of gear reflects this philosophy. By sticking to his customized Mosrite guitars, he builds on the tonal DNA of The Ventures while making it his own. By splitting duties across two Orange amp heads (GRO100 and OR120), he ensures that clean and drive tones are never blurred but always serve distinct purposes. And by organizing his pedals into two separate boards—one for clean, one for drive—he brings precision to what could otherwise be chaotic signal paths.

On stage, Kawasaki treats sound switching as part of the performance itself. Moving seamlessly between clean, drive, modulation, and octave effects, he creates dynamic textures that change with each song. In the studio, he applies the same philosophy but pares down to essentials, ensuring that the guitar sound integrates with the mix without unnecessary clutter. This adaptability proves that his artistry is not tied to specific gear but to a mindset of balance and intentionality.

What sets Kawasaki apart is his restraint. Even with a sophisticated rig, he uses effects only when they serve the music. This makes his tone reliable, functional, and always supportive of the band’s unique rhythmic and melodic interplay. Fellow guitarists admire his ability to combine technical precision with musical sensitivity, crafting a sound that’s both personal and band-conscious.

The essence of his sound design can be summed up as “refined balance and structural clarity.” By studying his approach, guitarists can learn to think of tone not just as a matter of taste but as a way of positioning the instrument within a mix. It’s less about chasing pedals and more about understanding the role of sound within a musical conversation.

For players aiming to recreate Kawasaki’s tone, gear certainly helps—but what matters more is the perspective he embodies: deciding where your sound should sit, how much space it should take, and when it should shine or step back. Embracing this mindset can transform not just your guitar tone, but your band’s overall cohesion and dynamics.

Ultimately, Koichi Kawasaki shows us that the guitar is not only about individual expression, but about building sound structures that elevate the music as a whole. Emulating his tone is not simply copying his gear—it’s learning to listen, adapt, and design tone as an architect of the band’s sonic space.