[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 driving force in the Japanese rock scene since the late 1980s. His playing style is characterized by a raw yet polished sound rooted in British rock, captivating 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 foundation of his tone is infused with 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 its reliance not solely on amp distortion but also on the nuances of picking and volume control. His use of wireless systems during live performances allows him to move freely across the stage while maintaining a stable tone, leaving a lasting impression on audiences.

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

▶ Search official YouTube videos of ZIGGY

List of Amplifiers and Features

Munenori Matsuo’s amplifier selection embodies the essence of classic rock. His primary amp is the Marshall 1959, a high-wattage model from 1969, commonly referred to as a Plexi. This amp’s drive and wide range are essential for supporting ZIGGY’s flamboyant live performances and robust sound.

He also employs 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 Fender Deluxe Reverb and Fender Super Twin Reverb, allowing for a wide array of sounds from clean to crunch. 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 have been integrated into his setup, likely used for studio work or smaller venues. This 5W all-tube amp, equipped with 6V6 and 12AX7 tubes, offers warmth despite its low output.

Overall, Matsuo’s choice of amplifiers reflects a balance between a “solid rock sound” and “transparent cleans.” This combination is believed to construct the dynamic guitar sound found in ZIGGY’s music.

Types of Guitars Used and Features

Munenori Matsuo’s guitar collection is a crucial element in shaping the “solid riffs” and “emotional leads” that support ZIGGY’s rock ‘n’ roll sound. He has a penchant for vintage guitars, which lend credibility to his sound during both stage performances and recordings. A standout in his arsenal is the Fernandes Firebird, known as his main instrument and a cornerstone of ZIGGY’s loud rock sound.

He frequently utilizes simple P-90 equipped guitars, such as the Gibson Les Paul Junior (1960 model) and Les Paul Special (1956 model). These guitars are characterized by their aggressive distortion and midrange punch, well-suited for his bluesy phrases. The Special, finished in TV Yellow, even shows signs of a Bigsby installation, adding a vintage flair to his live presence.

Matsuo also actively incorporates Fender guitars, including a 1973 Stratocaster with a large headstock typical of the ’70s, known for its slightly hard attack. His 1957 Telecaster features a 1958 P.A.F. pickup in the front position and is set up in an “Mick Jagger style” with the sixth string removed for open G tuning, inspired by Keith Richards of the Rolling Stones.

Additionally, he sometimes uses a 1976 Gibson Firebird as a secondary option, allowing for a variety of tones depending on the song. His 2004 Zemaitis, featuring a pearl front design, and the acoustic Z-JHW limited model also contribute to achieving a distinctive sound 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 showcases vintage appeal and distinctiveness, combining stage presence with 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 Munenori Matsuo’s sound is his use of effects. ZIGGY’s music possesses a simple rock ‘n’ roll structure, yet the clever application of delay and distortion effects adds depth and expansiveness. Notably, during live performances, he utilizes three delay systems to control the sound field. This allows for deep reverberation during solos, light spatial processing during riffs, and thickness for rhythm guitar, suggesting a deliberate approach to sound differentiation.

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 intense drive while maintaining simplicity. It serves as a fundamental distortion pedal that supports ZIGGY’s aggressive guitar riffs and high-energy solos.

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

While detailed photographic documentation of his pedalboard is limited, it is clear that the configuration is simple yet centered around “distortion + spatial effects.” The effects are used to enhance rather than overshadow the guitar’s inherent character, suggesting a thoughtful approach to sound design.

Tone Settings, EQ, and Mixing Approaches

Munenori Matsuo’s sound design within ZIGGY emphasizes utilizing the guitar’s inherent character while minimizing amp and effect settings. During live performances, he primarily relies on the Marshall 1959, leveraging its Plexi-like broad range and thick midrange to highlight the individuality of each guitar.

When it comes to EQ settings, he tends to avoid drastic adjustments, valuing a natural tonal range. For instance, when using the Marshall, he sets the BASS around 4-5 to avoid excessive low-end, MID at 7-8 to emphasize the guitar’s sustain, and TREBLE around 5, with PRESENCE at about 6 to maintain attack without being harsh on the ears. This approach allows him to preserve the brightness of Strats and Teles while enhancing the fullness of Les Pauls and Firebirds.

Using Fender amps alters his settings; 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 utilizes its high output to expand the clean range, creating a wide palette of tones when combined with distortion pedals.

His use of effects is straightforward, supplementing distortion with the MXR Distortion+ while respecting the natural tone of the guitar and amp. For delays, he likely employs three systems, setting delay times of 400-500ms for solos to achieve longer reverberation, while using shorter delays of around 200ms for riffs, and applying a light delay for clean parts to create a spacious feel. This technique ensures that the guitar remains prominent and resonates in a three-dimensional balance within the music.

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

Moreover, he adapts his approach between live and studio settings, likely experimenting with mic placements to control tone. For instance, recording closer to the speaker cap yields a brighter sound, while positioning near the edge results in a softer tone with enhanced mid-lows. By selecting the appropriate mic placement based on the song’s character, he effectively shapes the recording sound.

In summary, Matsuo’s sound design is built upon three pillars: “leveraging the guitar’s inherent appeal,” “focusing on natural amp distortion,” and “using minimal effects to create space.” Despite its simplicity, his approach reveals a commitment to dynamic playing and the individuality of vintage guitars. This is what lends ZIGGY’s sound its compelling authenticity.

Affordable Alternatives to Recreate the Tone

Munenori Matsuo’s gear comprises many vintage guitars and Plexi-style Marshalls, which can be quite expensive and hard to acquire. Therefore, for average players or those looking to replicate ZIGGY’s sound, here are some relatively affordable alternatives. Each option aims to capture the essence of Matsuo’s rock ‘n’ roll sound, with a practical budget around $500.

For distortion, the current model of the MXR Distortion+ is an excellent choice to approximate his sound. Priced in the $100 range, it provides the aggressive midrange and gritty distortion needed to recreate ZIGGY’s riffs. The BOSS DS-1 is also recommended, offering a straightforward distortion that aligns well with Marshall amps, producing a hard-edged tone reminiscent of ZIGGY’s style.

Regarding amplifiers, acquiring a vintage Marshall 1959 is unrealistic, so the current Marshall DSL series serves as a viable alternative. Models like the DSL20HR or DSL40CR capture the Plexi vibe at a more accessible price point. By boosting the midrange on the crunch channel, players can achieve a tone reminiscent of ZIGGY’s guitar sound. The BOSS Katana series is also practical, providing amp modeling and built-in effects that cover a wide range of sounds from clean to distortion, making it suitable for practice and live performances.

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. These models offer P-90 equipped options and the robust sound characteristic of Firebirds. For those looking to replicate Fender tones, the Squier Classic Vibe series Stratocaster and Telecaster are cost-effective choices. The Telecaster, especially when tuned to open G, can closely emulate the tone inspired by Keith Richards.

In terms of spatial effects, while implementing three delay systems may be challenging, a multi-delay like the BOSS DD-8 is convenient. This single unit can handle both short and long delays, making it easy to differentiate between solos and riffs. Additionally, incorporating a multi-effect unit like the BOSS GT-1 allows for comprehensive management of distortion, delay, and reverb, making it easier to experiment with ZIGGY-style sound design.

In conclusion, 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 Munenori Matsuo’s sound affordably. Utilizing these options will enable them to effectively recreate ZIGGY’s “raw yet soulful rock ‘n’ roll” sound.

Summary and Conclusion

Reflecting on Munenori Matsuo’s sound design within ZIGGY, its essence can be distilled into “simplicity” and “vintage appeal.” His sound does not rely on extravagant effects or specialized processing but rather on the player’s expressive capabilities, including guitar and amp selection, as well as nuances in picking and volume control. This is why each note carries conviction, creating a robust sound that embodies the essence of rock ‘n’ roll.

His gear includes the Fernandes Firebird, Gibson Les Paul Junior/Special, Fender Stratocaster, and Telecaster, all of which possess strong individuality and high vintage value. By combining the explosive drive of the Marshall 1959, the clarity of the Fender Deluxe Reverb, and the gritty distortion of the MXR Distortion+, he skillfully balances the “roughness and sheen” necessary for ZIGGY’s music.

Moreover, a key aspect of Matsuo’s sound design is the awareness of “how to present the music.” The use of three delay systems is not merely for show but 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 aiming to replicate his sound, combining affordable guitars from Epiphone or Squier, modern amps like Marshall DSL or BOSS Katana, and classic effects such as BOSS DS-1 or MXR Distortion+ is a practical approach. The crucial takeaway is to “trust the character of the guitar and avoid excessive processing.” This mindset is the shortcut to achieving a sound reminiscent of Munenori Matsuo.

In conclusion, Matsuo’s sound design is a deep exploration of “the essence of rock.” What we can learn from his playing is the importance of “how to make the sound” beyond the gear itself. While leveraging vintage appeal, he consistently focuses on the song and the overall band sound—this is the true essence that has supported ZIGGY’s sound.