[Matsuo Munenori] How to Recreate the ZIGGY Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Munenori Matsuo, the guitarist of ZIGGY, has been a leading player in the Japanese rock scene since the late 1980s. His playing style is characterized by a raw yet vibrant sound rooted in British rock, captivating many fans with sharp guitar riffs and soulful phrases.

In iconic songs like “GLORIA” and “STAY GOLD,” he showcases a simple yet impactful guitar sound that supports the band’s overall groove. The essence of his tone reflects the spirit of blues and rock ‘n’ roll, utilizing vintage Fender and Gibson guitars to create a unique sonic identity.

Additionally, Matsuo’s guitar sound is notable for not solely relying on amp distortion; he skillfully manipulates picking nuances and volume control. His use of a wireless system during live performances allows him to move freely across the stage while maintaining a stable tone, which is quite impressive.

This article will detail the amplifiers, guitars, and effects used by Munenori Matsuo (ZIGGY) and explain how his sound is constructed.

▶ Search official YouTube videos of ZIGGY

List of Amplifiers and Features

Matsuo’s amplifier selection embodies classic rock tones. The main amplifier he uses is the Marshall 1959 (1969 model), known as a high-wattage model from the Plexi era. This amp’s drive and wide range are essential for supporting ZIGGY’s flamboyant live performances and robust sound.

He also utilizes the current model Marshall JCM1959, which is praised for its stability and ease of use in live settings. Depending on the song, he combines it with the Fender Deluxe Reverb and Fender Super Twin Reverb, showcasing a broad spectrum of sounds from clean to crunchy. The Deluxe Reverb, in particular, is known for its transparent clean tone, making it ideal for highlighting guitar arpeggios and riffs.

Furthermore, smaller amps like the Greco GVA CUSTOM are likely used for studio work or smaller venues. This 5W full-tube amp, equipped with 6V6 and 12AX7 tubes, offers a warm sound despite its low output.

Overall, Matsuo’s choice of amplifiers reflects a balance between “robust rock sound” and “transparent clean,” which together construct the dynamic guitar sound found in ZIGGY’s music.

Types of Guitars Used and Features

Matsuo’s guitar collection is a crucial element in shaping ZIGGY’s “robust riffs” and “emotional leads.” He is known for his love of vintage guitars, which lend credibility to his sound in both live and recording settings. A standout is the FERNANDES Firebird, recognized as his main instrument and a cornerstone of ZIGGY’s loud rock sound.

Additionally, he frequently uses the Gibson Les Paul Junior (1960 model) and Les Paul Special (1956 model), both equipped with simple P-90 pickups. These guitars provide a gritty distortion and a thick midrange, ideal for his bluesy phrases. The Special, finished in TV Yellow, even shows signs of a Bigsby installation, adding to its vintage appeal during live performances.

Fender guitars are also actively incorporated, with the 1973 Stratocaster featuring a large headstock typical of the ’70s, offering a slightly hard attack. The 1957 Telecaster is equipped with a 1958 P.A.F. pickup in the front and was set up in an “Mick Jagger” style by removing the sixth string and tuning to open G. This setup, inspired by Keith Richards of the Rolling Stones, aims to recreate the quintessential rock ‘n’ roll sound.

Moreover, he sometimes uses a Gibson Firebird (1976 model) as a secondary guitar, allowing for tonal variety in his performances. He also owns a 2004 Zemaitis, featuring a pearl front design and an acoustic Z-JHW limited model, which helps achieve a distinctive sound even in acoustic settings.

The essence of Matsuo’s guitar selection lies in “capturing the essence of rock ‘n’ roll while expressing his individuality.” Each instrument stands out with its vintage character, combining stage presence and musical credibility. By utilizing these guitars, ZIGGY’s sound achieves a unique and powerful identity.

Effects and Pedalboard Setup

One of the crucial elements supporting Matsuo’s sound is his effects setup. ZIGGY’s music possesses a simple rock ‘n’ roll structure, yet cleverly employs delay and distortion effects to create depth and space. Notably, during live performances, he utilizes three delay systems to control the sound field, differentiating between deep echoes for solos, light spatial processing for riffs, and adding thickness to rhythm guitar.

For distortion, the MXR M104 Distortion+ has been confirmed as part of his setup. This classic pedal, beloved by rock guitarists since the 1970s, is known for its simple yet powerful drive. It serves as a fundamental distortion pedal for ZIGGY’s aggressive guitar riffs and fast-paced solos.

To enhance stage performance flexibility, multiple wireless systems have been integrated, with at least four units reported. This setup aims to ensure smooth transitions when switching guitars and to avoid potential issues, a clever adaptation for ZIGGY’s large arena and hall tours.

While detailed photos of his pedalboard are scarce, it is clear that the setup is simple, focusing on “distortion + spatial effects.” The effects are used to complement the guitar’s inherent character, enhancing the overall sound without overshadowing it.

Tone Settings, EQ, and Mixing Approaches

Matsuo’s sound crafting in ZIGGY is characterized by a style that emphasizes the guitar’s inherent character while minimizing amp and effect settings. During live performances, he primarily uses the Marshall 1959, leveraging its Plexi-like wide range and thick midrange to highlight each guitar’s individuality.

Regarding EQ, he tends not to make extreme adjustments, valuing a natural range. Specifically, when using the Marshall, he sets the BASS around 4-5 to avoid excessive low-end, while MID is set higher at 7-8 to emphasize the guitar’s thickness. The TREBLE is around 5, and PRESENCE at about 6, achieving an attack without being harsh on the ears. This setup allows the brightness of Strats and Telecasters to shine while enhancing the thickness of Les Pauls and Firebirds.

When using Fender amps, the settings change; for the Deluxe Reverb, he likely adjusts BASS to 3 and TREBLE to 6 to bring out clean arpeggios and chord work. The Super Twin Reverb takes advantage of its high output to create a wide clean range, working well with distortion pedals for a variety of tones.

The use of effects is straightforward, with the MXR Distortion+ providing the necessary grit while respecting the guitar and amp’s original tones. For delays, he likely uses the three systems to differentiate settings, with solo delay times set to 400-500ms for longer echoes, while riffs utilize shorter delays around 200ms. Clean parts may receive a light delay for spatial enhancement, ensuring the guitar remains prominent and resonates in a three-dimensional balance.

In mixing, Matsuo’s guitar is not overly centered but panned to one side to maintain balance with other guitars and vocals. For example, in “GLORIA,” the sharp Strat riff is positioned to the left, complementing the other guitar and adding thickness to the band’s sound. During solo sections, the panning returns to center, emphasizing the delay for a more prominent presentation.

Moreover, the approach differs between live and studio settings. In the studio, he likely experiments with mic placement to control tone. Recording closer to the speaker cap yields a brighter sound, while positioning near the edge emphasizes softer mid and low frequencies. By selecting the appropriate placement for each song, he tailors the recording sound to fit the character of the track.

In summary, Matsuo’s sound crafting is based on three pillars: “utilizing the guitar’s inherent charm,” “centering around natural amp distortion,” and “minimizing effects for spatial enhancement.” Despite a simple setup, his approach highlights the dynamics of his playing and the individuality of vintage guitars, directly contributing to the persuasive sound of ZIGGY.

Affordable Alternatives to Recreate the Tone

Munenori Matsuo’s gear consists of many vintage guitars and Plexi-style Marshalls, which can be quite expensive and hard to find. Therefore, for general players or those looking to recreate ZIGGY’s sound, here are some relatively affordable alternatives. Each option is practical, aiming for a budget of around $500.

For distortion, the current model of the MXR Distortion+ is ideal for approximating his sound. Priced in the low $100 range, it offers a gritty midrange and rough distortion, perfect for replicating ZIGGY’s riffs. The BOSS DS-1 is also recommended, providing a linear distortion typical of ’80s rock, which pairs well with Marshall-style amps to create a hard-edged tone reminiscent of ZIGGY.

Regarding amplifiers, vintage models like the Marshall 1959 are unrealistic for most players, making the current Marshall DSL series a valid alternative. Particularly, the DSL20HR and DSL40CR models capture the Plexi vibe while being reasonably priced. By boosting the midrange on the crunch channel, players can achieve a tone similar to ZIGGY’s guitar sound. The BOSS Katana series is also practical, offering amp modeling and built-in effects that cover a wide range of sounds from clean to distortion, making it suitable for practice and live settings.

For guitars, original Firebirds or Les Paul Juniors can reach hundreds of thousands of yen in the vintage market. As alternatives, the Epiphone Les Paul Junior and Epiphone Firebird are recommended, available for around $500-$700, allowing players to experience the P-90 equipped models and the unique sound of Firebirds. For those looking to replicate Fender tones, the Squier Classic Vibe series Stratocaster and Telecaster offer excellent cost performance. The Telecaster, when tuned to open G, can closely resemble the tone influenced by Keith Richards.

For spatial effects, while implementing three delay systems can be challenging, a multi-delay like the BOSS DD-8 is convenient. This single unit can cover short to long delay settings, making it easy to differentiate between uses for solos and riffs. Additionally, incorporating a multi-effect unit like the BOSS GT-1 allows for easy management of distortion, delay, and reverb, making it simple to experiment with ZIGGY-style sound creation.

In summary, combining “Epiphone or Squier guitars,” “Marshall DSL or BOSS Katana amps,” “MXR Distortion+ or BOSS DS-1 for distortion,” and “BOSS DD-8 or multi-effects for spatial effects” can help players experience Matsuo’s sound at a relatively affordable price. Utilizing these options, one can effectively recreate ZIGGY’s “raw yet soulful rock ‘n’ roll” sound.

Summary and Conclusion

Reflecting on Matsuo Munenori’s sound crafting for ZIGGY, the essence can be summarized as “simplicity” and “vintage character.” His sound relies heavily on the player’s expressive capabilities rather than extravagant effects or complex processing. This is why each note carries weight, creating a robust sound that inherits the essence of rock ‘n’ roll.

His gear includes the FERNANDES Firebird, Gibson Les Paul Junior/Special, Fender Stratocaster, and Telecaster, all of which have strong personalities and high vintage value. By combining the explosive drive of the Marshall 1959, the transparency of the Fender Deluxe Reverb, and the gritty distortion of the MXR Distortion+, he skillfully achieves the balance of “roughness and luster” necessary for ZIGGY’s music.

Moreover, an important aspect of Matsuo’s sound crafting is the awareness of “how to present the song.” The use of three delay systems is not merely for show; it is a thoughtful approach to providing appropriate spatial depth for riffs, solos, and clean parts. This enhances the overall thickness of the band’s sound, resonating as an impactful guitar line for listeners.

For beginners looking to recreate his sound, combining affordable guitars from Epiphone or Squier, modern amps like Marshall DSL or BOSS Katana, and classic effects like BOSS DS-1 or MXR Distortion+ is a practical approach. The key is to “trust the character of the guitar and avoid excessive processing.” This is the shortcut to achieving a sound that is distinctly Matsuo Munenori.

In conclusion, Matsuo Munenori’s sound crafting is a deep exploration of “the essence of rock.” What we can learn from his playing is the importance of “how to make it sound” beyond the gear itself. By leveraging the allure of vintage instruments while always keeping the song and the overall band in mind, he embodies the true essence that supports ZIGGY’s sound.