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

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Introduction (Overview of Tone)

As a singer-songwriter, miwa is widely recognized for her clear high-tone voice and sound centered around acoustic guitar. Her guitar playing spans a wide range, from solo performances to full band arrangements, seamlessly blending the warmth of acoustic tones with pop arrangements.

In her representative songs such as “don’t cry anymore,” “Hikari e,” and “Reboot,” the clear and impactful sound based on acoustic guitar is particularly striking. During live performances, she plays guitar for nearly all her songs, showcasing her strong identity as a guitarist.

Her sound design features a warm resonance centered around the Gibson J-45 series, while also incorporating modern acoustics like the YAMAHA LL36ARE as needed. Additionally, she enhances the depth of her songs by integrating electric guitars and mandolins during band performances.

Moreover, miwa places a high emphasis on sound reproduction during live performances, utilizing capos and high-precision tuners to optimize the key and resonance for each song. The role of the guitar is significant in supporting her colorful and diverse stage presentations.

In summary, to recreate miwa’s sound, the main themes are “reproducing the acoustic resonance” and “utilizing practical accessories for live performances.” This article will delve into these details from the perspectives of guitars, amplifiers, and effects.

▶ Search official YouTube videos of miwa

List of Amplifiers and Features

A distinctive feature of miwa’s sound design is that it primarily focuses on capturing acoustic sounds through studio and recording techniques, rather than relying heavily on traditional guitar amplifiers. The sounds of her acoustic guitars, particularly the Gibson J-45 and YAMAHA LL36ARE, are often sent directly to the PA system via devices like the L.R. Baggs Anthem or Para Acoustic D.I., ensuring a stable sound that retains the nuances of the natural tone.

In past live performances, it has been noted that she mainly used preamps and DI setups, with amplification serving primarily as monitoring or being used selectively during specific stage setups. For example, during early acoustic events and TV recordings, she reportedly used standard acoustic amplifiers such as the Roland AC-60 and Fender Acoustasonic. These amplifiers are effective in settings like small live houses or radio program recordings, where portability and ease of setup are essential.

When using electric guitars, it is said that she has employed clean-tone amplifiers like the Fender Twin Reverb and Roland JC-120 during band performances. miwa’s electric sound is characterized by a style that does not heavily rely on distortion, instead focusing on clarity and rhythm enhancement to complement the band sound.

Overall, miwa’s amplifier selection can be summarized as “acoustic guitars sent directly to the PA via preamps, with acoustic amplifiers used as needed” and “clean combo amplifiers for electric guitars.” This reflects her sound philosophy of prioritizing practical choices that support the songs.

In conclusion, miwa’s sound design is centered around preamps and PA systems rather than dedicated amplifiers, utilizing Fender and Roland amplifiers as needed.

Types of Guitars Used and Features

The core of miwa’s sound is undoubtedly her acoustic guitars. She has been using the Gibson J-45 series since before her debut, making it a significant part of her identity. The 2000 model J-45 Rosewood NA was passed down from her guitar teacher and is affectionately referred to as “husband” due to the years of playing. With rosewood sides and back, it features powerful bass and sparkling overtones, frequently appearing in her live performances and signature songs.

She also owns a 2003 model of the same type, which is often set up for live use. Additionally, the Gibson J-45 CUSTOM equipped with an L.R.Baggs Anthem pickup is designed for stage use, retaining its natural resonance even when connected to the PA. She utilizes a variety of models within the Gibson brand, including a sunburst J-45 and a vintage Gibson B-25 (1969 model), as well as the visually striking Gibson Hummingbird.

On the other hand, the YAMAHA LL36ARE is frequently used on stage. She started using it after being introduced by ISEKI from the band Kimaguren, and it has become a main acoustic guitar alongside the J-45 in recent performances. The unique ARE processing by YAMAHA allows it to achieve a vintage-like resonance as if it has been played for years.

miwa also owns a variety of acoustic guitars, including the handcrafted Terry’s Terry TJ-80, the stable electric acoustic Takamine DMP541 DBS, and the high-end American brand Collings D2H. Additionally, the compact and charming Martin LXM has been confirmed for use in rehearsals and TV recordings, enabling a diverse sound palette.

In her live performances and recordings, she sometimes incorporates mandolins and semi-acoustic guitars, with the Gretsch G9320 New Yorker Deluxe mandolin noted for adding color to band arrangements. This allows her to create a richness that cannot be achieved with acoustic guitars alone.

Regarding electric guitars, she uses distinctive models such as the Gibson Joan Jett Signature “Black Heart” Melody Maker, Bacchus Flying-V, and Gretsch White Falcon Jr. Particularly during TV appearances and arena-scale performances, she incorporates simpler and more manageable models like the Fender Telecaster and Les Paul Junior Special. These are suited for clean tones and light drive rhythm playing, complementing miwa’s vocals.

In summary, miwa’s guitar lineup is structured around “the Gibson J-45 as the core, supplemented by YAMAHA and domestic brands” and “the incorporation of mandolins and electric guitars based on the song.” While the proportion of acoustic guitars is overwhelmingly high, her ability to adapt to a wide range of musical styles from pop to rock is a key aspect of her appeal.

As seen, miwa selects her guitars to enhance her voice, skillfully switching between acoustic and electric guitars based on the scale of the performance and the style of the song.

Effects and Pedalboard Setup

In miwa’s sound, the role of effects is not about flashy sound design but rather “ensuring tuning accuracy” and “reinforcing the acoustic sound.” Since she primarily performs with acoustic guitars, her setup is characterized by a focus on practicality with minimal effects.

First and foremost is the tuner. miwa uses various capos during live performances, making tuning accuracy crucial. Her main tuner is the TC Electronic PolyTune (pedal type), which is highly visible on stage and allows for quick checks. Additionally, she uses compact tuners like the TC Electronic PolyTune Clip and KORG PB-AD for TV recordings and casual performances, showcasing her adaptability.

For preamps/DI, it is known that she introduced the L.R.Baggs Para Acoustic D.I. in her early live performances. This device helps prevent feedback and allows for EQ adjustments, proving very useful when connecting directly to the PA. In recent years, she has used guitars equipped with the L.R.Baggs Anthem pickup, ensuring a natural and stable line sound.

As for spatial effects, the Line 6 Echo Park has been noted. This delay pedal is utilized to enrich the guitar’s resonance during solo performances and ballads, providing a soft echo that harmonizes with miwa’s clear voice. Furthermore, when using electric guitars, she employs the BOSS SD-1 for a light overdrive, enhancing the rhythm without overshadowing her vocals.

Thus, miwa’s pedalboard setup is not a complex combination of various pedals like many rock guitarists but rather a practical set designed to achieve maximum effect with minimal components. The basic flow during live performances is “tuner → preamp/DI → delay,” with the addition of overdrive as needed.

Overall, miwa’s effects board is simple yet practical, serving as a “support for the vocals.” It is assumed that a minimal setup supporting a transparent sound based on acoustic elements is chosen for live performances.

Tone Settings, EQ, and Mixing Approaches

The most significant characteristic of miwa’s sound design is the effort to ensure that the guitar serves as an accompaniment to her vocals without compromising the natural resonance of the acoustic guitar, while also standing out in a band context. For singer-songwriters who primarily perform with acoustic instruments, the guitar sound is not merely accompaniment but also “another voice,” requiring meticulous balance adjustments.

Her EQ tendencies emphasize the natural sound of the acoustic guitar while lightly cutting the low frequencies to highlight the mid and high ranges. The Gibson J-45 tends to produce rich lows, so during live PA setups, it is common to lightly reduce frequencies around 80–120Hz and boost the 2–4kHz range, allowing for clearer articulation of strumming and arpeggios. This creates a pleasant blend of miwa’s clear vocals and the guitar’s attack.

When using preamps/DI, adjustments are made with the L.R.Baggs Para Acoustic D.I. or guitars equipped with the Anthem pickup to suppress feedback and adjust the mid-low frequencies. If the natural resonance of the acoustic guitar is captured directly by the PA, the low end can easily become bloated. It is assumed that the PA engineer carefully adjusts the EQ considering the balance between stage monitors and the audience, often suppressing 200–300Hz and adding a bit of presence around 5kHz.

There is also a clear distinction in her approach based on the song. For example, in pop songs like “don’t cry anymore” and “Hikari e,” she uses a capo to play in higher keys, emphasizing a bright tone. Conversely, in ballads like “Aiokuri” and “Kataomoi,” she controls the dynamics of fingerpicking and strumming, lightly adding delay from the Echo Park to enhance the emotional impact of the lyrics.

During electric guitar performances in a band context, she typically applies a light overdrive with the BOSS SD-1 without excessive distortion, focusing on a clean sound. In this case, the amp EQ is set with low frequencies kept low (2–3), mids boosted (5–6), and highs slightly elevated (6–7), ensuring a strong presence as a rhythm guitar while not overshadowing the vocals.

Furthermore, in the overall live mix, she is conscious of the “placement of the guitar.” In solo performances, the guitar is positioned closer to the center, while in band settings, it is slightly panned to one side of the stereo field, keeping the vocals as the focal point. This PA processing is a result of both her intentions and the engineer’s experience, making it evident that the guitar and vocals blend seamlessly during miwa’s live performances.

Additionally, since miwa uses multiple acoustic guitars during live shows, it is assumed that each guitar has finely tuned EQ settings based on differences in tuning and capo positions. For instance, the YAMAHA LL36ARE, which has a brighter sound profile, may have its highs reduced, while the Gibson J-45 is set to organize the lows and bring the mids forward.

In summary, miwa’s sound design is based on the concept of “the guitar as another voice supporting the vocals,” meticulously adjusted through EQ, capo use, and playing dynamics. By leveraging the natural sound while compensating with PA and effects, she optimizes the resonance to fit the song’s atmosphere. This is at the core of what defines miwa’s unique sound.

Affordable Alternatives to Recreate the Tone

While miwa’s sound is established through high-end acoustic guitars and meticulously crafted sound design, beginners can achieve a similar nuance using commercially available gear. Here, we introduce practical alternative equipment that can help recreate a miwa-like sound on a budget.

Starting with acoustic guitars, miwa’s beloved Gibson J-45 is quite expensive, but an entry-level to mid-range model that shares a similar sound character is the Epiphone Inspired by Gibson J-45. Being a direct brand of Gibson, it offers a warm and rich tone for under $1,000. As an alternative to the YAMAHA LL36ARE, the lower models in the same series, such as the YAMAHA LL6 ARE or FGX5, are recommended for experiencing a vintage-like resonance at a reasonable price.

For tuners, miwa’s main choice, the TC Electronic PolyTune, is priced around $100, but more affordable alternatives like the BOSS TU-3 or KORG Pitchblack mini offer sufficient accuracy and visibility for live use.

Regarding preamps/DI, while the L.R.Baggs Para Acoustic D.I. used by miwa is professional-grade and somewhat pricey, alternatives like the ZOOM AC-2 Acoustic Creator or Fishman ToneDEQ are viable options. These can be found in the $100–300 range and naturally correct the line sound of acoustic guitars, featuring user-friendly interfaces suitable for beginners.

For effects, since the Line 6 Echo Park is discontinued, alternatives such as the BOSS DD-8 or TC Electronic Flashback 2 are recommended. They can handle a wide range of sounds from natural reverb to ethereal spatial effects, making them highly compatible for solo performances and acoustic sets. The BOSS SD-1 is originally an affordable option, available for around $50, and is ideal for creating a clean, light drive sound that matches miwa’s electric guitar style.

In summary, for those looking to recreate miwa’s sound affordably, a setup of “Epiphone J-45 series + mid-range YAMAHA + BOSS TU-3 or Pitchblack tuner + budget-friendly acoustic preamp + standard delay” offers the best cost-performance ratio and is practical for beginners.

By incorporating such a setup, one can closely approach the “acoustic guitar sound supporting clear vocals” that miwa expresses, allowing beginners to achieve a satisfying sound for live performances and solo acts.

Summary and Conclusion

Looking at miwa’s sound design as a whole, its essence lies in the “acoustic guitar sound that maximizes the potential of her vocals.” While many guitarists pursue technical effects and amplifier sounds, miwa remains committed to her role as a singer-songwriter, treating the guitar as an “accompaniment instrument.” Therefore, her equipment choices emphasize practicality and reliability over flashiness.

Specifically, she centers her sound around the resonance of Gibson J-45 acoustic guitars, adding variety with guitars from YAMAHA and Martin. She reinforces the natural sound with preamps and DI, ensuring consistent quality even in live settings. This approach offers valuable insights for both beginners and aspiring professional players.

Moreover, her use of capos and thoughtful playing techniques generates rich expressiveness even in simple chord progressions. For instance, in “don’t cry anymore” and “Hikari e,” she creatively adjusts capo positions to emphasize bright tones, while in live performances, she lightly adds delay to create an airy atmosphere.

When using electric guitars, she adopts a clean-focused setup with light overdrive from the BOSS SD-1, ensuring that the guitar supports rather than overshadows the vocals in band ensembles. This balance reflects miwa’s unique sensibility.

For beginners looking to emulate miwa’s sound, it is not necessary to invest in high-end gear. Affordable products like the Epiphone J-45, YAMAHA LL series, BOSS TU-3, and DD-8 can effectively recreate the essence of “miwa’s sound.” The key lies in being mindful of how the guitar and vocals harmonize, supported by minimal effects.

In summary, the characteristics of miwa’s sound design can be distilled into three key points:

• Warm and natural acoustic sound centered around the Gibson J-45.
• Practical and stable live setups with minimal effects and preamps.
• Thoughtful use of capos, EQ adjustments, and dynamic playing to enhance her vocals.

By keeping these in mind, one can achieve a “heartfelt sound where guitar and vocals are integrated” similar to miwa’s. It is the sincere and simple sound design that forms the source of miwa’s appeal, continuously attracting many listeners.