[Michiya Haruhata] – How to Recreate the TUBE Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Michiya Haruhata, the guitarist of TUBE, has been a prominent figure in the Japanese pop-rock scene since the late 1980s. Nicknamed “Haruhata,” his playing is admired for the perfect balance between technical brilliance and melodic sensibility, making him a guitarist that many aspire to emulate.

One of the most remarkable aspects of Haruhata’s sound is his ability to switch between a wide variety of tones. In TUBE’s iconic summer-themed songs such as “Natsu Da Ne,” “Season in the Sun,” and “Ah, Natsu Yasumi,” he moves seamlessly from sparkling clean tones to expressive lead tones full of melody. His chord work delivers a breezy openness, while his leads sing with emotion, perfectly complementing the band’s summer imagery.

Stylistically, Haruhata incorporates fusion-inspired techniques, yet always prioritizes the melodic line of the song. Even when he employs advanced techniques such as fast picking or tapping, they never come across as self-indulgent, but are woven carefully into the song’s flow. His versatility also extends to acoustic guitar, where he showcases a completely different dimension of his musicianship.

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List of Amplifiers and Features [TUBE・Michiya Haruhata]

Michiya Haruhata’s choice of amplifiers clearly reflects his dedication to tone and flexibility. His current main amplifier is the Divided by 13 FTR37, often considered a flagship model of the brand. Known for its warmth and clarity, this tube amp blends vintage character with modern articulation. Haruhata typically sets the FTR37 to a clean base tone, leaving the drive tones to be shaped by his pedals. This approach allows him to highlight the unique voices of each effect and respond flexibly to the diverse tonal demands of TUBE’s catalog.

By relying on the amp for clarity and headroom while letting pedals sculpt the overdrive, Haruhata achieves two goals: first, his clean tone remains full of shimmering highs and tight lows; second, he can easily adapt the drive sound depending on the song. The FTR37 also offers natural compression and fast response, making it ideal for capturing the delicate nuances of his picking dynamics and melodic phrasing.

In earlier years, Haruhata was strongly associated with the Hughes & Kettner TRIAMP MARK3. This three-channel amp was famous for its ability to cover a wide spectrum of tones—from glassy cleans to saturated high gain. During the period when Haruhata was using the TRIAMP, his live and studio tones carried a slightly more aggressive edge while still retaining the smoothness he is known for. Many fans still consider the TRIAMP era to be an important reference point when discussing Haruhata’s evolving sound.

The transition from the TRIAMP MARK3 to the Divided by 13 FTR37 reflects Haruhata’s shift toward a more pedal-driven approach, where the amplifier serves as a transparent foundation rather than the main source of distortion. This philosophy also allows him to emphasize clarity in ensemble settings—particularly important in TUBE’s bright, summer-themed pop-rock, where the guitar must enhance the melody rather than overpower it.

There are also occasional references online to Haruhata experimenting with other amps, including Fender and Mesa/Boogie models. However, these mentions are far less documented compared to the clear photographic and interview evidence of the FTR37 and TRIAMP MARK3. It is safe to say that these two amplifiers form the backbone of his rig history. The Divided by 13 remains his most reliable live choice in recent years, while the Hughes & Kettner TRIAMP represents his past era of multi-channel versatility. Both stand as important milestones in the development of his signature sound.

In practical terms, the FTR37 works particularly well for live stages due to its high headroom, ensuring that the guitar tone stays articulate even at loud volumes. On the other hand, the TRIAMP MARK3 offered him the convenience of channel-switching, making it useful in settings where quick transitions between clean and driven tones were essential. This contrast highlights Haruhata’s ability to adapt his gear choices to the musical and performance context. For fans aiming to capture his tone, studying these amps is essential, though it must be noted that Haruhata’s nuanced touch and approach to dynamics are just as crucial as the gear itself. His amp selection can therefore be summarized as both functional and expressive—geared towards versatility while always serving the song.

In conclusion, Haruhata’s amp setup shows a strong balance between modern flexibility and classic tonal richness. His philosophy of running the amp clean and shaping gain through pedals has become a defining feature of his sound. It allows him to maintain consistency while tailoring the fine details for each performance. Based on available evidence and documented sources, these amplifiers—particularly the Divided by 13 FTR37 and the Hughes & Kettner TRIAMP MARK3—represent the heart of Haruhata’s tone, or so it can be assumed.

Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Notes
FTR37	Divided by 13	Search on Amazon	TUBE	Michiya Haruhata	Main amplifier in recent years. Set clean while pedals provide drive. Known for warmth, clarity, and flagship-level tone.
TRIAMP MARK3	Hughes & Kettner	Search on Amazon	TUBE	Michiya Haruhata	Previously used. Three channels with wide tonal range. Strongly associated with Haruhata’s earlier sound.

Types of Guitars Used and Features [TUBE・Michiya Haruhata]

The most defining aspect of Michiya Haruhata’s guitar collection is his extensive use of signature models designed by Fender. He owns and plays multiple versions of the Fender Michiya Haruhata Stratocaster, each tailored to specific live and studio contexts. These guitars embody his years of experience, translating his exact requirements for tone, playability, and visual identity into professional-grade instruments.

Among his primary stage guitars are the Trans Pink finish Stratocaster and the Caribbean Blue Trans finish Stratocaster. Both maintain the traditional Stratocaster silhouette while incorporating modifications that meet Haruhata’s needs. Their tonal range allows him to cover everything from shimmering cleans to expressive leads, a necessity for TUBE’s summer-inspired pop-rock catalog. The visual aesthetics of these guitars also align perfectly with the band’s bright and uplifting image.

Another remarkable instrument is the Fender Custom Shop Michiya Haruhata Stratocaster Heavy Relic, crafted by master builder Jason Smith. One notable specimen (serial number MHPR001) pairs an ash body with a flame maple top, features a reverse large headstock, 22-fret maple fingerboard, and a Floyd Rose tremolo system. Its pickup configuration is also distinctive: DiMarzio Air Norton in the neck, Fender Texas Special in the middle, and DiMarzio Fred in the bridge. This versatile combination enables Haruhata to switch fluidly from sparkling cleans to high-gain sustain with precision. The Heavy Relic aesthetic further enhances its stage presence, representing both craftsmanship and Haruhata’s personal taste.

For domestic audiences, the Michiya Haruhata Stratocaster III is another important model. Produced for the Japanese market, some of these guitars even feature an EVH D-Tuna system, allowing Haruhata to instantly drop to lower tunings mid-performance. This highlights his commitment to practicality and flexibility, ensuring his instrument adapts seamlessly to diverse setlists.

Beyond his Stratocasters, Haruhata also incorporates special instruments into his collection. One such guitar is the Char Mustang – Zicca Limited Model, a gift from legendary Japanese guitarist Char. Finished in an elegant sumi-iro (“ink color”), this Mustang embodies simplicity with synchronized tremolo and minimal controls. While far from his main Stratocaster setup, it offers a refreshing tonal character and adds variety to his performances, underlining Haruhata’s multi-faceted style.

Acoustic playing is another vital part of Haruhata’s artistry. He frequently uses the K.Yairi CE-3D Custom, a deep-bodied custom variation of the CE-3. This guitar boasts curly maple on the sides, back, and headstock, with a spruce top, mahogany neck, and ebony fingerboard. Equipped with an L.R. Baggs Element VTC pickup system, it provides natural amplified tones ideal for live performances. Its combination of craftsmanship and tonal warmth makes it a trusted choice for unplugged segments of TUBE’s shows.

Altogether, Haruhata’s guitars reflect a dual focus: highly customized signature instruments optimized for his electric style, alongside refined acoustic models for broader expression. His consistent use of Stratocaster-based designs illustrates his loyalty to Fender, but his willingness to integrate unique models like the Char Mustang demonstrates his openness to fresh tonal colors. These instruments collectively form the palette that defines his expressive, melodic guitar voice—or so it can be assumed based on available evidence.

Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Type	Notes
Michiya Haruhata Stratocaster Trans Pink	Fender	Search on Amazon	TUBE	Michiya Haruhata	Electric Guitar	Main signature guitar with a striking Trans Pink finish. Bright, clear tone suited for summer-themed songs.
Michiya Haruhata Stratocaster Caribbean Blue Trans	Fender	Search on Amazon	TUBE	Michiya Haruhata	Electric Guitar	Signature model in Caribbean Blue, visually aligned with TUBE’s summer aesthetic. Tonally versatile.
Michiya Haruhata Stratocaster Heavy Relic	Fender Custom Shop	Search on Amazon	TUBE	Michiya Haruhata	Electric Guitar	Jason Smith-built model with Floyd Rose and DiMarzio/Fender pickups. Designed for wide tonal coverage.
Michiya Haruhata Stratocaster III	Fender	Search on Amazon	TUBE	Michiya Haruhata	Electric Guitar	Japan domestic model. Some units feature D-Tuna for instant drop tuning in live settings.
Char Mustang – Zicca Limited Model	Fender	Search on Amazon	TUBE	Michiya Haruhata	Electric Guitar	A gift from Char. Sumi-iro finish, minimal controls, and synchronized tremolo for unique tonal variety.
CE-3D Custom	K.Yairi	Search on Amazon	TUBE	Michiya Haruhata	Acoustic Guitar	Deep-bodied custom acoustic. Premium woods with L.R. Baggs pickup system for live amplification.

Effects and Pedalboard Setup [TUBE・Michiya Haruhata]

Michiya Haruhata’s pedalboard reflects the precision and professionalism required for large-scale live performances. At the core of his system lies the Free The Tone ARC-4 Audio Routing Controller, which manages multiple pedals seamlessly. This programmable switcher enables him to instantly switch complex signal chains, ensuring smooth transitions between tones within a single performance. Such a system is crucial for TUBE’s diverse setlist, where songs range from clean ballads to upbeat, overdriven anthems.

A unique highlight of his board is the use of two Bogner La Grange overdrives, one set for rhythm backing and the other for lead. This dual setup allows Haruhata to preserve consistency while optimizing each unit for its role: the rhythm pedal set with a light crunch for chord clarity, and the lead pedal dialed up for sustain and presence. This arrangement underlines his focus on subtle tone-shaping and versatility.

Other notable overdrives include the Fulltone OCD and DOD Looking Glass Overdrive, alongside additional Free The Tone overdrive pedals such as the Overdrive Land (ODL-1) and Fire Mist (FM-1V). Together, these provide Haruhata with a broad palette of gain textures—from transparent boost-like drive to rich, vintage-inspired saturation. Each is chosen not for excess, but for serving the song’s emotional impact.

For spatial effects, Haruhata relies heavily on strymon Big Sky for reverb and strymon Mobius for modulation. The Big Sky’s 12 algorithms allow him to craft hall-like spaces, plate reverbs, and shimmer textures that add dimension to TUBE’s lush arrangements. Meanwhile, the Mobius covers chorus, flanger, phaser, and more, offering flexibility without sacrificing quality. This combination ensures that Haruhata’s clean passages remain vivid while his solos gain an ethereal, atmospheric quality.

Free The Tone pedals play a major role in his setup. His board features the TRI AVATAR (TA-2H) Chorus, FLIGHT TIME (FT-2Y) Digital Delay, and AS-1R Ambi Space Reverb, among others. Known for pristine signal integrity and professional reliability, these pedals allow Haruhata to maintain tonal clarity across long performances. They are designed for minimal tone coloration, a quality he values highly given his pedal-driven approach to shaping drive tones.

Another notable detail is Haruhata’s division of his gear into separate boards for acoustic and electric use. On his acoustic board, tools like the PA-1QA Programmable 10-band EQ and Radial J48 Direct Box ensure precise tonal control tailored to acoustic instruments. This highlights his careful separation of tonal strategies depending on the instrument being played.

Additional pedals such as the BBE Ben Wah (wah pedal) and Vemuram Myriad Fuzz are connected externally, adding expressive flavor when needed. The wah provides vocal-like articulation for solos, while the fuzz introduces thick, textured drive for specific moments. A tc electronic Polytune ensures accurate tuning with polyphonic capability, making it practical for quick adjustments during live shows.

Haruhata also makes use of prototype gear, such as the Free The Tone CC-1B Crunchy Chime, an EQ-equipped booster often left on to refine his amp tone. By boosting treble or adjusting frequencies to match guitar swaps, his crew ensures tonal consistency across instruments. Such attention to detail reflects the depth of planning behind his pedalboard philosophy.

Altogether, Haruhata’s pedalboard exemplifies a balance between cutting-edge technology and expressive utility. Each pedal is chosen for its reliability and tonal character, not merely brand recognition. While many professional rigs are built for convenience, his board is designed to maintain the integrity of his clean amp base while sculpting expressive tones as needed. In summary, his effects setup is a masterclass in precision and versatility—or so it can be assumed.

Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Effect Type	Notes
La Grange	Bogner	Search on Amazon	TUBE	Michiya Haruhata	Overdrive	Two units used: one for rhythm, one for lead. Natural, amp-like drive.
OCD	Fulltone	Search on Amazon	TUBE	Michiya Haruhata	Overdrive	Powerful and dynamic overdrive. Adds grit while retaining clarity.
Looking Glass Overdrive	DOD	Search on Amazon	TUBE	Michiya Haruhata	Overdrive	Vintage-voiced drive, warm and characterful.
Big Sky	strymon	Search on Amazon	TUBE	Michiya Haruhata	Reverb	12 algorithms for lush ambient spaces. A central part of his sound.
Mobius	strymon	Search on Amazon	TUBE	Michiya Haruhata	Modulation	Chorus, flanger, phaser, and more in one unit.
Overdrive Land (ODL-1)	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Overdrive	Transparent and articulate, supports clean amp tone.
Fire Mist (FM-1V)	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Overdrive	Vintage-inspired overdrive, updated for modern reliability.
TRI AVATAR (TA-2H)	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Chorus	Multi-voice chorus with lush soundscape potential.
FLIGHT TIME (FT-2Y)	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Delay	Programmable digital delay, precise and transparent.
Tre-Verb	Fender	Search on Amazon	TUBE	Michiya Haruhata	Reverb	Combination of reverb and tremolo effects in one unit.
DVL-1 Direct Volume	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Volume Pedal	Maintains tone integrity while controlling live volume.
CC-1B Crunchy Chime	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Booster	Prototype booster with EQ. Often left on to adjust amp response.
Polytune	tc electronic	Search on Amazon	TUBE	Michiya Haruhata	Tuner	Polyphonic tuner. Quick live tuning across all strings.
AS-1R Ambi Space	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Reverb	Dedicated to acoustic board. Natural and refined reverb.
Ben Wah	BBE	Search on Amazon	TUBE	Michiya Haruhata	Wah Pedal	Expressive wah effect, connected externally.
Myriad Fuzz	Vemuram	Search on Amazon	TUBE	Michiya Haruhata	Fuzz	High-quality fuzz pedal for thick, saturated tones.
PA-1QA	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Equalizer	Programmable 10-band EQ for acoustic guitar rig.
ARC-4	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Switching System	Main audio routing controller. Central to the pedalboard.
ARC-3	Free The Tone	Search on Amazon	TUBE	Michiya Haruhata	Switching System	Programmable switcher for electric guitar board.
J48	Radial	Search on Amazon	TUBE	Michiya Haruhata	Direct Box	High-quality DI for acoustic setup. Phantom power compatible.

Tone Settings, EQ, and Mixing Approaches [TUBE・Michiya Haruhata]

The core philosophy behind Michiya Haruhata’s tone settings is simple but profound: the guitar sound must serve the song, not overshadow it. Rather than chasing extreme tones or hyper-processed effects, Haruhata maintains a disciplined approach, carefully sculpting his sound so that it enhances TUBE’s melodies and complements the band’s bright, summer-inspired identity. This perspective explains why his tone has remained beloved for decades—it consistently puts the music first.

Haruhata’s amplifier settings demonstrate this mindset. With the Divided by 13 FTR37, he typically runs the amp in a clean state, keeping the gain at around 2–3. This ensures plenty of headroom and dynamic response. EQ is balanced but slightly mid-forward: Bass around 5, Middle at 6, Treble at 7. This setup gives chords clarity without muddiness and allows leads to cut through without sounding harsh. By keeping the amp relatively neutral, Haruhata creates a solid platform for his pedals to define the color of the tone.

A critical aspect of his rig is the Free The Tone CC-1B Crunchy Chime Booster, often left engaged as a core part of his chain. Because it includes EQ controls, the CC-1B acts almost like a fine-tuning tool for the amp, helping compensate when Haruhata switches guitars. For example, when moving from his Heavy Relic Stratocaster with DiMarzio pickups to his Caribbean Blue Strat, the tonal differences are smoothed out with subtle EQ boosts—particularly in the high end—to keep the sound consistent in a live mix. This practice reflects not just Haruhata’s attention to detail but also the technical support team’s role in managing his tone mid-performance.

Drive tones are shaped almost entirely by pedals. For rhythm sections, one Bogner La Grange is set to a mild crunch (gain around 3–4). This setting maintains note separation in chords while adding body. For solos, the second La Grange is dialed up (gain 6–7) to deliver sustain and expressiveness. This dual-pedal method is far more nuanced than using a single drive with a boost, as each pedal is optimized for its role. In songs like “Season in the Sun,” this allows him to switch instantly from lush rhythm to soaring leads without compromise.

Reverb and delay are where Haruhata adds depth. On the strymon Big Sky, his presets vary by song type. For upbeat summer tracks, he favors Hall Reverb with decay around 3–4 seconds and mix at 25–30%, creating natural spaciousness without washing out the rhythm. For ballads, he employs Plate or Shimmer reverbs, adding a dreamlike quality. His Free The Tone FLIGHT TIME (FT-2Y) delay is typically set to dotted eighth or straight eighth notes, depending on the tempo. Feedback is modest (20–30%), with mix around 15–20%, ensuring the repeats stay supportive rather than dominating. The result is a three-dimensional space that gives his solos an expansive, yet controlled, atmosphere.

Chorus effects also play a key role, particularly for clean arpeggios and layered parts. The Free The Tone TRI AVATAR (TA-2H) is often run in Modern Chorus mode for rhythm textures and switched to Vintage Chorus mode during solos. Settings are usually subtle: rate around 0.5Hz, depth around 40%. Instead of overwhelming the signal, the chorus simply widens the stereo image, evoking the airy, breezy feel that defines much of TUBE’s summer imagery.

When it comes to mixing philosophy, Haruhata’s engineers often record both a mic’d amp signal and a DI track. The mic’d signal captures warmth and character from the FTR37, while the DI provides attack and clarity. These are blended during mixing to create a tone that is both full-bodied and articulate. EQ is used carefully: unnecessary lows are cut around 120Hz to prevent muddiness, and a gentle boost around 3kHz ensures his guitar pierces through the band mix without being harsh. This is especially important in TUBE’s arrangements, where multiple instruments compete for midrange frequencies.

Compression is used sparingly. Haruhata prefers natural dynamics, so compressors are typically set light—attack fast, release medium, ratio around 3:1. This enhances sustain slightly while preserving the nuances of his picking. For solos, compression is applied just enough to make his notes sing without choking the dynamics. This restraint separates him from players who rely on heavy compression to mask inconsistencies—Haruhata instead embraces dynamics as an expressive tool.

One fascinating aspect is how his live tone is adjusted song by song. His crew often tweaks the CC-1B booster EQ between songs, ensuring continuity as he switches guitars or tonal styles. This level of adaptability is rare and demonstrates how his rig operates like a collaborative system between guitarist and engineers. The consistency of his live sound, despite a complex setup, is the result of careful planning and meticulous detail.

Ultimately, Haruhata’s EQ and tone philosophy emphasizes subtlety and balance. Each component—amp, booster, overdrives, modulation, and spatial effects—plays a role in building a tone that is supportive, expressive, and unmistakably his own. Rather than relying on flashy extremes, his setup exemplifies discipline: the guitar should enhance the song’s mood, whether it’s the joy of a summer anthem or the intimacy of a ballad. Based on interviews, photos, and live recordings, this approach can be seen as the secret to why his tone has remained both relevant and iconic for over three decades—or so it can be assumed.

Affordable Alternatives to Recreate the Tone [TUBE・Michiya Haruhata]

Reproducing Michiya Haruhata’s sound with professional-grade gear like a Divided by 13 FTR37 or strymon pedals can be dauntingly expensive. However, it is possible to get remarkably close to his signature tone with affordable alternatives. The key lies in understanding the core of his sound: a clean amp foundation, transparent overdrives, and tasteful spatial effects. By carefully selecting budget-conscious equipment, even beginners can capture the warmth, clarity, and melodic expressiveness that define his playing.

For the amplifier, the BOSS Katana-50 MkII is one of the most cost-effective choices. Priced well below high-end tube amps, it delivers versatile amp models with surprisingly strong cleans. With settings such as Gain at 2, Bass at 5, Middle at 6, Treble at 7, the Katana can approximate the Divided by 13’s clean headroom. Built-in effects cover reverb, delay, and modulation, making it ideal for players who want a portable all-in-one solution. This is arguably the best starting point for achieving Haruhata’s shimmering clean base without breaking the bank.

On the overdrive side, the BOSS SD-1 Super Over Drive is a time-tested classic. With its midrange presence and transparent gain, it captures much of the same spirit as Haruhata’s Bogner La Grange, but at a fraction of the cost. When paired with the Katana, it delivers a crunchy rhythm sound reminiscent of Haruhata’s backing tones. For solos, adding an Ibanez Tube Screamer Mini provides the singing sustain and mid-boost that helps lead lines cut through the mix. This combination mirrors his dual-pedal setup, offering both rhythm clarity and lead presence on a budget.

Reverb is another cornerstone of Haruhata’s sound. While the strymon Big Sky is world-class, the TC Electronic Hall of Fame 2 Reverb stands out as a budget-friendly alternative. Its Hall and Plate modes deliver lush, natural decay, and the TonePrint function allows custom patches to be loaded—making it flexible enough to emulate the wide spaces Haruhata often employs. At around $150–200, it provides incredible value for players seeking ambient depth without investing in boutique pedals.

For modulation, the BOSS CE-5 Chorus Ensemble offers warm, subtle chorus that can emulate Haruhata’s TRI AVATAR tones. With Rate at minimum, Depth around 9 o’clock, and Filter at noon, the CE-5 produces the gentle widening effect he uses for cleans and arpeggios. While not as complex as Free The Tone’s flagship chorus, it captures the same spirit of airy spaciousness.

Delay duties can be handled by the BOSS DD-8 Digital Delay. With tap tempo, multiple delay modes, and clear repeats, it works perfectly for dotted eighth-note patterns and subtle solo enhancements. Its transparency ensures it supports rather than overwhelms the guitar tone—an approach aligned with Haruhata’s use of delay as an accent rather than a dominant voice.

On the guitar front, the Fender Player Stratocaster (around $700–800) is an excellent alternative to Haruhata’s custom signature models. Outfitted with Alnico 5 pickups, it provides authentic Stratocaster tones with plenty of brightness and balance. In positions 2 and 4, it easily recreates the clean, jangly tones Haruhata often employs. For those with a slightly higher budget, the Fender American Professional II Stratocaster brings even closer authenticity with upgraded V-Mod II pickups, offering both clarity and versatility suitable for Haruhata-style phrasing.

Another practical solution is the use of multi-effects units. The LINE 6 HX Stomp, while slightly more expensive, delivers professional-level amp and effect modeling in a compact package. It even includes models based on Divided by 13 amps and strymon-inspired effects, making it one of the most efficient ways to replicate Haruhata’s full rig in a single unit. Alternatively, the BOSS GT-1000 provides similar all-in-one functionality with flagship-level processing, offering a balance between quality and price.

In summary, budget players can capture Haruhata’s vibe by focusing on three priorities: (1) a clean amp model with strong headroom, (2) transparent overdrives for both rhythm and leads, and (3) lush but controlled reverb and delay for space. With the right gear, one can achieve tones that not only approximate his sound but also inspire the same melodic expressiveness he is known for.

Type	Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Notes
Amp	Katana-50 MkII	BOSS	Search on Amazon	TUBE	Michiya Haruhata	Affordable modeling amp with strong clean channel. Built-in effects cover core essentials.
Overdrive	SD-1 Super Over Drive	BOSS	Search on Amazon	TUBE	Michiya Haruhata	Classic overdrive with midrange emphasis. Emulates La Grange crunch at a fraction of the price.
Overdrive	Tube Screamer Mini	Ibanez	Search on Amazon	TUBE	Michiya Haruhata	Compact solo boost pedal. Mid-forward tone ideal for expressive lead lines.
Reverb	Hall of Fame 2 Reverb	TC Electronic	Search on Amazon	TUBE	Michiya Haruhata	Affordable alternative to Big Sky. Hall and Plate modes provide lush, natural ambiance.
Chorus	CE-5 Chorus Ensemble	BOSS	Search on Amazon	TUBE	Michiya Haruhata	Warm chorus with adjustable filters. Recreates airy TRI AVATAR textures affordably.
Delay	DD-8 Digital Delay	BOSS	Search on Amazon	TUBE	Michiya Haruhata	Versatile delay with tap tempo. Clear repeats suitable for solos and rhythm support.
Guitar	Player Stratocaster	Fender	Search on Amazon	TUBE	Michiya Haruhata	Entry-level Strat with Alnico 5 pickups. Delivers classic clean tones for Haruhata-style rhythm.
Guitar	American Professional II Stratocaster	Fender	Search on Amazon	TUBE	Michiya Haruhata	Upgraded option with V-Mod II pickups. Excellent for versatile, pro-level Strat tones.
Multi-Effects	HX Stomp	LINE 6	Search on Amazon	TUBE	Michiya Haruhata	Compact modeling unit covering amps and effects. Includes Divided by 13 and strymon-inspired tones.
Multi-Effects	GT-1000	BOSS	Search on Amazon	TUBE	Michiya Haruhata	Flagship multi-effects with AIRD technology. Flexible all-in-one solution for live and studio.

Summary and Conclusion [TUBE・Michiya Haruhata]

When we step back and look at Michiya Haruhata’s guitar sound as a whole, one truth becomes immediately clear: his tone is never about personal showmanship—it is about serving the music. For over three decades, he has provided the backbone of TUBE’s sound, shaping songs with tones that highlight melody, emotion, and atmosphere rather than simply flaunting technical skills. This commitment to the song’s spirit is what makes his tone not only recognizable but also timeless.

Technically, his approach is defined by a clean amplifier base and carefully chosen pedals. Using the Divided by 13 FTR37 in a clean configuration, Haruhata builds drive with multiple overdrives such as the Bogner La Grange. This ensures flexibility, allowing him to deliver everything from subtle crunch to soaring sustain, depending on the demands of each track. Layered on top are spacious effects like reverb, delay, and chorus, all dialed in tastefully. Rather than chasing extreme tones, he works with controlled, elegant settings that allow the guitar’s natural voice to shine.

His choice of gear also shows a deep sense of practicality and trust. Free The Tone pedals dominate his board, reflecting his preference for Japanese engineering precision and reliability. His Fender signature Stratocasters represent not only personal branding but also the culmination of decades of refinement. Even the acoustic side of his rig is treated with equal seriousness, ensuring that every performance—whether plugged or unplugged—retains clarity and balance.

For guitarists studying Haruhata’s sound, the lesson is clear: tone is not about owning the most expensive equipment, but about consistency, balance, and musicality. His settings are rarely extreme; instead, he crafts layers of subtlety. A gentle midrange boost here, a restrained chorus effect there—small details that, when combined, form a sound that resonates deeply with listeners. This philosophy is equally valuable for beginners, who can learn that careful adjustments matter more than dramatic changes.

Another important takeaway is his perspective on the guitar within the band context. Haruhata’s tones always leave space for bass, drums, and vocals. His solos are melodic rather than flashy, designed to sing over the arrangement rather than dominate it. This sensitivity to the ensemble is a major reason why TUBE’s music feels cohesive and uplifting. His sound was crafted not in isolation but in dialogue with his bandmates, a reminder that guitar tone is as much about collaboration as it is about personal expression.

Even with his sophisticated gear, Haruhata reminds us that equipment is a means, not an end. The soul of his tone lies not in boutique pedals or rare amplifiers, but in his hands, his phrasing, and his intention to communicate emotion through music. Understanding his mindset is just as important as understanding his rig. For fans and players alike, this outlook provides inspiration: tone is about honesty and service to the song, not ego.

Ultimately, Michiya Haruhata’s guitar sound stands as a model of musical maturity. His philosophy combines technical precision with emotional awareness, creating a style that has endured for decades and will continue to influence future generations. For anyone seeking to recreate his tone, the most valuable lesson may not be in copying his gear, but in embracing his discipline, subtlety, and deep respect for the music itself. That, more than any amplifier or pedal, is the true essence of Haruhata’s sound—or so it can be concluded.