[Masamune Kusano] How to Recreate the Spitz Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masamune Kusano, the frontman and guitarist of the Japanese rock band Spitz, captivates fans not only with his unique vocal style but also with his delicate and layered guitar sound. While Spitz’s music may seem simple at first listen, it is underpinned by meticulously crafted guitar arrangements that blend transparency with a rock essence.

In iconic songs such as “Sora mo Toberu Hazu,” “Cherry,” and “Robinson,” Kusano maintains a delicate balance between clean tones and crunch, utilizing arpeggios and cutting techniques to shape the band’s musical world. In recent works like “Samenai,” “Mikke,” and “Himitsu Studio,” he has showcased a modern sound by alternating between acoustic and electric guitars, demonstrating an evolution that aligns with contemporary trends.

Kusano’s playing style emphasizes supporting the overall sound of the band rather than flashy solos, with his chord work and arpeggios shining through. His choice of pickups and switching guitars for different songs adds distinct color, making it a captivating element for listeners.

To recreate Masamune Kusano’s sound, one must focus on three key elements: “cleaner tones,” “jangly brightness,” and “acoustic-like naturalness.” Despite a simple gear setup, the clever utilization of different guitar characters leads to the signature sound of Spitz.

This article will thoroughly summarize the amplifiers, guitars, and effects used by Masamune Kusano, along with key settings and affordable alternatives that beginners can use to approach his sound. Explore the secrets behind Spitz’s transparent sound and apply them to your own music production.

▶ Search official YouTube videos of Spitz

List of Amplifiers and Features

Masamune Kusano has not used a vast array of amplifiers in his live performances and recordings, but the amplifiers he has chosen play a crucial role in his sound creation. Spitz’s sound relies more on subtle nuances between clean and crunch tones rather than heavy distortion, and his amplifier choices reflect this approach.

One of the most notable amplifiers is the Laney VC30. This British amp is characterized by its pronounced midrange and natural crunch sound, making it an excellent match for Spitz’s transparent arpeggios and cutting techniques. The light resonance heard in songs like “Cherry” and “Sora mo Toberu Hazu” is largely attributed to this amp’s character. It is worth noting that Tamio Okuda also uses Laney, suggesting that Kusano may have been influenced by him.

Additionally, the use of the KEMPER Profiling Amplifier is noteworthy. In recent recordings and live performances, the KEMPER has been actively utilized for its stable tones and convenience. Kusano owns both the white KEMPER head and power rack, making it indispensable for reproducing sounds for different songs. It is assumed that since the release of “Himitsu Studio,” the KEMPER’s diverse amp simulations have played a significant role in his sound.

In the past, he also used a rack system featuring the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (stereo power amp), indicating a focus on the thick sound characteristic of tube amplifiers. By combining the punchiness of Marshall with the naturalness of Laney, he was able to express different nuances depending on the song.

Furthermore, to enhance live performance convenience, he has integrated systems like the FREE THE TONE / Input Selector and SHURE / AD4D Wireless Receiver, achieving both stability and reproducibility. This allows Kusano to move freely on stage while maintaining the nuances of his guitar performance.

Overall, Masamune Kusano’s amplifier selection emphasizes “simplicity and stability,” “natural expression from clean to crunch,” and “reproducibility for each song.” It is assumed that in recent years, the use of KEMPER has enabled him to recreate past amp sounds flexibly.

Types of Guitars Used and Features

At the core of Masamune Kusano’s sound creation is a rich variety of guitars. While he is not known for flashy technical playing, he enhances the overall sound by selecting guitars that match the world of each song, making the guitar’s presence significant in Spitz’s music. His individuality as a guitarist directly translates into the atmosphere of the songs.

In recent years, the original models from Sago Custom have been central to his electric guitar choices. Notably, the “Charm Custom” was used during the “3050” period and made a reappearance at the 2024 summer festival, being a unique design by Kusano himself. Additionally, he possesses multiple Strat-style guitars from the Sago Classic Style S custom line in white, black, blue, and yellow, frequently appearing in live performances from different eras, utilizing SSH and SSS pickup configurations for nuanced sound shaping.

From the late 90s to the early 2000s, he frequently used the Bill Lawrence BM-1M CR (commonly known as Cyclone). This model features Suhr single coils and TOM HOLMES humbuckers, symbolizing the thick guitar sound of the “Mikazuki Rock” and “Sazanami CD” periods. Although its use has diminished in recent years, it remains popular among fans to the point of becoming a signature model.

Furthermore, he owns traditional models like the Mustang and Les Paul. During the “Hayabusa” period, he was seen using a Fender Mustang, while a Gibson Les Paul Standard and ES-335 were confirmed during the “Utsukushii Hi” period. Additionally, a Crews SG-type guitar appeared during the “Samenai” period, making a striking impression in music videos and tours. Kusano’s approach to using unique models for each song is distinctly his own.

His acoustic guitar collection is also impressive, with the main model being the Martin D-45. He has long cherished a custom version labeled “Masamune,” which is indispensable in acoustic arrangements during live performances. He also owns a range of smaller models like the D-76, which he purchased during the production of “Fake Fur,” and the 000-ECHF and LXM, which are used in recent recordings, showcasing the beauty of acoustic guitar tones as a vital element of Spitz’s sound.

Kusano’s guitar selection emphasizes “how to express the world of the song” over appearance or brand. As a result, he maintains a flexible style, using the same guitars for extended periods while incorporating new models as needed. The tones produced by these guitars are assumed to support Spitz’s transparent sound.

Effects and Pedalboard Setup

Masamune Kusano’s effects board may not be flashy, but it is structured to accurately enhance the necessary tones. Spitz’s songs often require natural seasoning added to clean or crunch tones rather than aggressive distortion, which is reflected in the simplicity and practicality of his board. The essence of the sound relies on the guitar and amp, with effects serving as supportive enhancements.

One of the key pedals is the Ibanez TS9. This classic overdrive pedal is used to add a slight drive to a clean amp or to warm up arpeggios. It is thought to directly contribute to the subtle nuances of distortion heard in songs like “Robinson” and “Sora mo Toberu Hazu.”

Additionally, the use of the Black Cat OD-1, which possesses fuzz-like qualities, is unique. Unlike the typical BOSS OD-1, this pedal can produce rough distortion and fuzz, allowing for an edgy sound in certain songs.

To enhance live reproducibility, he has also incorporated feedback pedals such as the BOSS FB-2 Feedbacker/Booster and Digitech FreqOut. These allow for natural sustain and simulated feedback, making it possible to recreate studio nuances during live performances.

Moreover, to combat noise, the BOSS NS-2 Noise Suppressor is included to maintain sound clarity. For tuning, high-precision models like the Peterson Strobo Stomp HD and Sonic Research ST-200 are employed to ensure accurate pitch management. The entire board is controlled using the FREE THE TONE ARC-3, which enables stable live performance through a switching system.

Kusano’s effects board is characterized by a style that focuses on “maximizing the clean sound while seasoning it as needed” rather than simply adding distortion. As a result, he is able to maintain a simple yet unwavering Spitz sound while bringing out the character of the guitar for each song.

Tone Settings, EQ, and Mixing Approaches

Masamune Kusano’s guitar sound emphasizes “transparency,” “sustain,” and “backing that supports vocals” over flashy distortion or rapid playing. Therefore, his sound creation approach is straightforward: adjusting with minimal EQ and compression while preserving the guitar’s inherent character rather than over-manipulating the amp and effects.

For example, when using the Laney VC30, the basic EQ settings involve keeping the bass low, emphasizing the mids, and slightly boosting the treble. This results in a clean yet substantial tone. In songs centered around arpeggios, like “Robinson” and “Sora mo Toberu Hazu,” raising the treble slightly enhances overtones, ensuring the guitar sound stands out within the band ensemble.

In recent live performances and recordings using the KEMPER, it is assumed that he frequently switches between profiles based on Marshall and Fender amps for different songs. For instance, in sections where an edge is desired, he might use a profile based on the Marshall JMP-1, while for a more acoustic feel, he would call up a clean profile from a Fender Deluxe Reverb. The KEMPER’s advantage lies in its high reproducibility through preset management, allowing for consistent sound delivery throughout tours.

Regarding effects, even when lightly applying the TS9, it is likely that the gain is set quite low, often used more as a booster. The feedback functions of the FB-2 and FreqOut are also used sparingly, limited to “parts where sustain is needed in live performances.” This approach ensures that the natural flow of the song is maintained without disrupting its atmosphere.

In mixing, Kusano’s guitar often plays a significant role in supporting the vocals, so it tends to be placed closer to the center rather than spread widely across the stereo field. When playing both acoustic and electric guitars simultaneously, the acoustic is typically panned wider while the electric is centered to achieve balance. Reverb and delay are kept minimal, just enough to enhance the ambiance.

As for EQ processing, it is crucial not to overemphasize the lows. Kusano’s guitar is adjusted to avoid interfering with the bass and drums, with a tendency to cut back on the lows while gently boosting the 2-3kHz range to highlight the brilliance of arpeggios. During recording, a light touch of compression is applied to maintain a natural dynamic range without overly suppressing it.

When examining specific songs, “Haru no Uta” features a subtle delay for added depth, while “Cherry” layers acoustic and electric guitars to emphasize the beauty of overtones. In “Utsukushii Hi” and “Mirai Mirai,” he uses SG and Les Paul guitars to bring a thicker midrange to the forefront, adding depth to the songs.

In summary, Masamune Kusano’s sound creation can be distilled into three key points: “respecting the inherent sound of the guitar,” “cutting unnecessary lows with EQ while enhancing overtones,” and “avoiding excessive distortion to maintain transparency.” This approach is assumed to shape the unique and simple yet profound sound of Spitz.

Affordable Alternatives to Recreate the Tone

Reproducing Masamune Kusano’s sound completely can be challenging for beginners due to the involvement of high-end gear like Sago’s custom models and KEMPER. However, by capturing the elements of “transparent clean,” “light crunch,” and “backing that highlights acoustic resonance,” it is possible to achieve a similar vibe with commercially available, budget-friendly equipment.

For guitars, a Strat-style model is ideal. While Kusano frequently uses the white Strat from Sago Custom, beginners might consider the Squier Classic Vibe Stratocaster or YAMAHA Pacifica. The characteristic chime of single coils matches Spitz’s arpeggios well and is suitable for clean-focused playing. Choosing a model with an SSH configuration allows for added thickness with a humbucker, getting closer to the nuances of the Bill Lawrence Cyclone period.

For amplifiers, it is not necessary to stick to tube types; selecting a transistor amp with beautiful clean tones is advisable. For instance, the Roland JC-22 delivers classic clean tones, making it easier to recreate Spitz’s jangly texture. Additionally, the BOSS Katana 50 MkII offers excellent cost performance, easily simulating Laney and Fender sounds. While it may not match the KEMPER, it is quite useful for live performances and home practice.

Regarding effects, the Ibanez TS9 overdrive is essential for recreating Kusano’s sound. The Ibanez TS MINI serves as a budget-friendly alternative, capable of handling light crunch and boosts effectively. For noise management, the BOSS NS-2 is a reliable choice. If looking for a boost with feedback characteristics, the BOSS BD-2 Blues Driver pairs well. While delay and reverb are not strictly necessary, using affordable spatial effects like the BOSS DD-8 or NUX Atlantic can create the spaciousness found in songs like “Haru no Uta.”

In conclusion, a simple setup of a Strat-style guitar, a clean-focused amp, and a light overdrive can help you get closer to the transparent and light sound characteristic of Masamune Kusano. The key to reproduction lies in maintaining a light tonal center and subtly distorting the clean sound.

Summary and Conclusion

The essence of Masamune Kusano’s sound creation lies not in a complex gear setup but in a simple philosophy: “building on a foundation of transparent clean tones while utilizing the unique character of each guitar for different songs.” His guitar work is characterized by supporting roles in arpeggios, cutting, and chord work rather than flashy solos or technical speed, creating a softness and universality that envelops Spitz’s entire repertoire.

Moreover, his gear selection showcases a blend of “commitment” and “flexibility.” Long-time favorites like the white Strat from Sago and the Martin D-45 coexist with new guitars and the latest gear like the KEMPER and ARC-3, supporting his unique evolution. In other words, he maintains the essential elements he needs while flexibly incorporating new possibilities.

Additionally, Kusano’s sound creation philosophy emphasizes respecting the inherent tone of the guitar without over-manipulating effects or EQ. While he uses supplementary effects like the TS9 and FB-2, he avoids excessive distortion, allowing the character of the guitar and amp to shine through, clearly defining the sound’s contours. This approach enables him to maintain a guitar sound that complements the vocals without overshadowing them while still being present.

For beginners aiming to approach Kusano’s sound, it is not necessary to acquire expensive custom models. By focusing on a Strat-style guitar, a clean-oriented amp, and light overdrive, one can effectively recreate the signature sound of Spitz. Ultimately, the key lies in the mindset of “removing” rather than “adding,” organizing excess distortion and low frequencies while maintaining transparency.

In summary, Masamune Kusano’s sound creation embodies a “simple yet profound” approach. His dedication to how the guitar resonates and how that sound blends with the band has shaped the universal sound of Spitz. In striving for reproduction, it is more important to embrace the awareness of “allowing the guitar to sing” and to value simplicity rather than merely copying his gear.