[Koichi Watanabe] How to Recreate the Good Morning America Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Koichi Watanabe, the guitarist of Good Morning America, has supported the band’s sound with a passionate yet delicate guitar tone. His playing style combines melodic phrases with the energy of rock, showcasing a remarkable versatility that allows him to navigate everything from fast-paced tracks to lyrical ballads.

In iconic songs like “Copy-Paste” and “Future Spiral,” listeners can hear the thick, warm clean tones characteristic of semi-hollow guitars, alongside the sharp overdrive sounds produced by Marshall amplifiers. Watanabe’s guitar riffs and chord work not only tighten the overall composition but also radiate a unique presence that defines his charm.

During live performances, he impressively switches between various effects, skillfully adapting the tone for each song. The clean tones enhanced by chorus and tremolo create an ethereal quality, while intense overdrive adds punch, and the use of delay and octave effects enriches the overall sound, elevating the band’s dynamics.

Watanabe’s sound design goes beyond mere equipment selection; he adeptly utilizes EQ and compression tailored to each song, ensuring that his unique style integrates seamlessly into the band’s sound without losing individuality. Thus, even when using the same gear, his playing style and phrasing become significant factors in achieving his signature nuances.

In summary, Koichi Watanabe’s sound in Good Morning America is a unique fusion of the rich resonance of semi-hollow guitars and the power of high-gain amplifiers. The following sections will delve into the actual amplifiers, guitars, and effects he uses, revealing the secrets behind his sound.

▶ Search official YouTube videos of Good Morning America

List of Amplifiers and Features

Koichi Watanabe primarily uses the Marshall JVM210H paired with a 1960B cabinet. This versatile head can handle a wide range of sounds from classic rock to modern high-gain tones. With a two-channel design, each channel offers three modes, allowing for flexible transitions between clean, crunch, and heavy drive sounds.

In Good Morning America’s music, the need for powerful drive sounds suitable for strong riffs and backing is paramount, making the JVM210H’s rich gain stages invaluable. For fast-paced songs, he likely relies on the crunch mode as a base, while using a higher gain setting for lead play, supporting the dynamism of the compositions.

The 1960B cabinet features Celestion G12T-75 speakers, known for their tight, punchy low end and clear mid-high frequencies. This choice is essential for ensuring presence and clarity in live settings. When paired with Watanabe’s Gibson ES-355, it produces a tone that is thick and warm yet distinctly defined, allowing him to stand out in the band’s sound.

Additionally, it has been suggested that during studio sessions or rehearsals, he may also use smaller Marshall amps or the Roland JC-120, which specializes in clean tones. The JC-120 is particularly noted for its compatibility with chorus effects, making it a strong candidate for supporting Watanabe’s transparent clean tones.

At times, he has also rented equipment for festivals or television appearances, indicating that he hasn’t exclusively relied on the JVM210H. However, considering the consistency of his tone and playing style, it is assumed that his foundational sound design is built around Marshall amplifiers.

Overall, Watanabe’s choice of amplifiers embodies “live power,” “flexibility tailored to songs,” and “a broad range from clean tones to high gain,” making it a crucial element that supports Good Morning America’s sound.

From the above, it is assumed that Watanabe’s amplifier setup centers around the Marshall JVM210H and 1960B, with the occasional use of the Roland JC-120 depending on the situation.

Types of Guitars Used and Features

Watanabe’s main guitar is the Gibson ES-355. This semi-hollow model is a higher-end version of the ES-335, featuring block inlays, a varitone switch, and gold hardware. Its sound is characterized by a core that is sweet and warm, allowing it to resonate richly within Good Morning America’s fast-paced tracks without getting lost, enveloping the band in harmonics.

The unique “box resonance” of this semi-hollow body adds depth to Watanabe’s melodic guitar phrases. For instance, in signature tracks like “Future Spiral” and “Copy-Paste,” the drive sound is not just distortion but carries a unique warmth. Unlike solid-body guitars with single cutaways, the rich overtones and rounded tone response make it suitable for supporting vocals in ensemble settings.

His use of the ES-355 is frequently seen in live performances and media appearances, making it a cornerstone of the “Watanabe sound.” However, it is also possible that he has used other semi-hollow guitars (like the ES-335) or Les Paul types as backup, selecting them for songs that require a tighter and more powerful sound.

The choice of guitar is influenced by the need for a wide range of tonal possibilities and visual presence. The large body of the semi-hollow guitar looks impressive on stage, suitable for conveying the power of a rock band. Combined with Marshall amplifiers, it can handle a wide range from jazz-like warm tones to strong rock drive sounds, adapting flexibly to Good Morning America’s diverse musical styles.

Furthermore, factors like strap positioning and neck thickness are crucial for playability, ensuring stability during long live performances. Considering these aspects, Watanabe’s choice of the ES-355 goes beyond mere tonal preference; it reflects a conscious decision to enhance stage presence and maintain the overall tonal balance of the band.

In summary, Watanabe’s guitar setup embodies “the rich overtones unique to semi-hollows,” “the powerful distortion from Marshall amplifiers,” and “a visually striking presence,” all of which strongly reflect his musical individuality.

From this, it is assumed that Watanabe’s main guitar is the Gibson ES-355, with the occasional use of the ES-335 or Les Paul types depending on the situation.

Effects and Pedalboard Setup

Another key element of Watanabe’s sound is the configuration of his effects pedalboard. He employs a variety of effects to meticulously control the tones for each song. Particularly in live settings, the ability to transition between fast-paced tracks and clean tones for ballads requires a broad sound palette that combines drive, modulation, and spatial effects.

Starting with drive effects, he utilizes a range of overdrives including the Greer Amps Lightspeed Organic Overdrive, BOSS BD-2W Blues Driver, and ARC EFFECTS KLONE. The Lightspeed provides a natural distortion that enhances the overtones of the ES-355, while the BD-2W delivers a bluesy, edgy sound. The KLONE, a Klon-style booster/overdrive, is likely used to emphasize clarity during solos.

For modulation effects, he employs the ARION SCH-Z (Chorus), BOSS TR-2 (Tremolo), and MR.BLACK Gilamondo (Phaser). The SCH-Z is a classic loved by many guitarists since the 1980s, adding depth to clean tones with its unique modulation. Tremolo and phaser effects play crucial roles in altering the atmosphere of songs, effectively enhancing the sense of space even in fast-paced tracks.

In terms of spatial effects, the Strymon Timeline Delay is prominently featured. This high-quality multi-delay allows for thickening riffs with short delays or creating ambient atmospheres with longer delays. Additionally, the Electro-Harmonix POG2 (Octaver) and DigiTech Whammy (Pitch Shifter) are used to add thickness to the sound, with the POG2 providing lower octaves for depth and the Whammy offering bold pitch shifts for impactful solos.

Moreover, the MAD PROFESSOR New Forest Green Compressor helps to manage the overall dynamics of the sound, while the VHT VALVULATOR (Tube Buffer) prevents signal degradation across the lengthy signal chain. Such buffers and compressors, while not flashy, are essential for achieving stable tones.

Thus, Watanabe’s pedalboard functions not merely as a means of “changing tones,” but as an expressive tool that supports the overall atmosphere of the songs, highlighting the importance of his meticulous sound design.

From this, it is assumed that Watanabe’s effects board incorporates “natural overdrive,” “diverse modulation,” and “high-quality delay,” along with unique effects like octavers and pitch shifters, allowing him to manipulate tones freely according to the song.

Tone Settings, EQ, and Mixing Approaches

One of the most critical aspects of Watanabe’s sound design is “building a sound that utilizes the rich overtones of the semi-hollow while ensuring it doesn’t get lost within the band.” The Gibson ES-355 provides a rich mid-low range, while the Marshall JVM210H can output punchy high-mids, making the synergy between these two elements crucial to his sound.

As an example of amp settings, the clean channel is set with a slightly lower bass (around 3-4), emphasizing the mids (around 6-7), and raising the treble moderately (around 5-6) to create a three-dimensional sound that blends well with the band. On the drive channel, he likely sets the gain higher (around 7) while being cautious not to lower the mids too much, achieving a prominent rock sound. For lead solos, he boosts the sound with the KLONE or BD-2W to enhance clarity.

Regarding EQ adjustments, the ES-355’s characteristics lead to rich low-end resonance, which can clash with other instruments if the bass is boosted too much. Therefore, it is assumed that he tightens the low end on the amp and uses a compressor (New Forest Green Compressor) to refine the attack, making it easier for the sound to blend into the overall mix. Depending on the size of the venue, the PA engineer may also cut the lows and slightly boost the highs for correction.

For song-specific adjustments, in fast-paced tracks (e.g., “Future Spiral”), he likely sets a light gain with a shorter delay to emphasize the riffs. Conversely, for ballad-style songs, he combines clean tones with chorus and tremolo to create a sense of depth and transparency. The adjustment of delay times using the Strymon Timeline is directly related to the atmosphere of the song, and it is likely that he switches settings in milliseconds according to the tempo.

In terms of mixing techniques, unlike bands with two guitars, Watanabe’s guitar carries both “thickness” and “movement” throughout the song, which means that the sound design through effects is emphasized on stage. The octave effects from the POG2 and Whammy not only enhance the thickness of lead parts but also serve to support the bass line with just one guitar. This allows for a three-dimensional sound that fills the gaps typical of a trio setup.

Additionally, passing through a compressor helps to even out the sound’s clarity while maintaining dynamics based on the intensity of play, ensuring a natural balance between “foreground sounds” and “background support sounds” when heard as a band. Effects like phaser and tremolo are used selectively, not constantly on, to highlight specific phrases or developments within songs.

In summary, Watanabe’s sound design revolves around “EQ that enhances the natural resonance of semi-hollows,” “dynamic effect usage tailored to each song,” and “mixing considerations that account for the overall band sound,” suggesting a comprehensive approach that goes beyond mere equipment configuration.

Affordable Alternatives to Recreate the Tone

Given that Watanabe’s gear includes high-end semi-hollow guitars and professional-grade effects, acquiring all of it can be challenging. However, it is entirely possible to approximate his sound using relatively affordable commercial models and multi-effects. Here, we will introduce gear that is beginner to intermediate-friendly and explain their similarities in tone.

As guitar alternatives, while the Gibson ES-355 is expensive, models like the Epiphone ES-335 Pro or Dot series are semi-hollow alternatives available for around $500. These guitars are perfect for experiencing the box resonance and richness of overtones, especially when paired with the right amplifier to get closer to Watanabe’s warm tone.

For amplifiers, while the Marshall JVM210H is a professional-grade and costly option, the BOSS Katana series (especially the Katana-50 or 100) can cover a wide range of genres, offering clean to high-gain expressions. The built-in effects also make it easy to recreate the atmosphere of tremolo and delay that Watanabe uses.

In terms of overdrive, while the BD-2W Blues Driver is relatively pricey, the standard BOSS BD-2 can be purchased for around $100, providing a similar type of distortion. Since Greer Amps and KLONE are on the pricier side, alternatives like the BOSS SD-1 or Electro-Harmonix Soul Food offer excellent cost performance. These options provide good clarity and can achieve a live-sounding tone when paired with Marshall-style amplifiers.

For spatial effects, while the Strymon Timeline is quite expensive, alternatives like the BOSS DD-8 or NUX Atlantic Delay & Reverb in the $100-$200 range can serve as substitutes. By adjusting delay times and modes, you can create a three-dimensional guitar sound similar to Watanabe’s. Additionally, for the POG2 octave effect, alternatives like the Electro-Harmonix Nano POG or octave functions in Zoom multi-effects can also capture the essence.

Introducing a multi-effects unit is also a convenient method. Devices like the Zoom G3n or Line 6 HX Stomp come equipped with multiple overdrives, modulation, delay, and pitch shifters, allowing you to simulate Watanabe’s board. The HX Stomp, in particular, features excellent amp simulation capabilities, making it versatile for both home practice and live performance, enabling you to grasp his sound direction with just one unit.

In summary, the key points for recreating Watanabe’s sound affordably are “semi-hollow style guitars,” “amplifiers that lean toward Marshall tones,” and “a combination of overdrive and spatial effects.” By focusing on these aspects, beginners can enjoy a sound reminiscent of Good Morning America.

From this, it can be concluded that a realistic approach to getting closer to Watanabe’s sound involves a combination of “Epiphone ES-335 Pro + BOSS Katana + standard overdrive/delay,” allowing beginners to enjoy a sound reminiscent of Good Morning America.

Summary and Conclusion

Reflecting on Koichi Watanabe’s sound design, its essence can be distilled into the fusion of “the warmth of semi-hollows and the power of Marshall, adorned with appropriate effects for each song.” Good Morning America’s tracks range from fast-paced rock anthems to lyrical ballads, and his unwavering presence is maintained through his meticulous attention to sound design.

His choice of the Gibson ES-355 as the main guitar is particularly symbolic, providing rich overtones that a solid guitar cannot express. Combined with the Marshall JVM210H, it achieves a balance of thick, expansive mid-range and tight attack, allowing him to navigate both powerful riffs and delicate phrases with ease.

The ingenuity of his pedalboard is also noteworthy. By combining multiple overdrives, he can select the drive feel suited to each song. Adding modulation effects like chorus, tremolo, and phaser enhances his expression beyond that of a typical rock guitarist. The use of spatial effects like the Timeline and POG2, along with the Whammy, creates a sound that exceeds the expectations of a single guitar.

Moreover, his sound design reflects a consistent awareness of the overall band sound. He does not merely create pleasant tones in isolation; he sets them with consideration for the balance with bass, drums, and vocals. EQ adjustments and the introduction of compressors are part of this approach, resulting in a cohesive sound unique to Good Morning America.

For beginners or fans wanting to emulate Watanabe’s sound, there is no need to invest in expensive gear. The key is to focus on “the resonance of semi-hollows,” “the punchy mid-range of Marshall,” and “the nuanced use of effects.” By using affordable alternatives or multi-effects, one can capture the nuances of his sound.

In conclusion, Watanabe’s sound design is a high-level fusion of “the player’s individuality” and “the equipment’s character.” His guitar sound amplifies the message of the songs, directly conveying emotions to listeners. Behind this lies a thorough dedication to research and exploration as an artist, making his sound a special element of Good Morning America’s music.

For those starting to play guitar or struggling with sound design, Watanabe’s approach offers significant insights. “Looking at the overall song and maximizing the role of the guitar”—this perspective is at the core of his sound design.