[Miya] MUCC Sound Creation Guide + Guitar Gear & Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Miya, the guitarist of MUCC, is one of the key figures who has supported the visual kei scene since the 1990s. His playing style spans a wide range, from intense loud rock riffs to emotional clean tones, and even experimental noise sounds.

The greatest characteristic of Miya’s sound is his “diverse tonal palette and meticulous construction ability.” For example, in “Ranchuu,” heavy riffs coexist with sharp cutting tones, while “Flight” showcases transparent clean tones and spatial sounds created through skillful use of delay effects. In recent works, his use of 7-string guitars has notably enhanced the powerful low-end sound creation.

In live performances, just as in studio recordings, “tone switching” is heavily emphasized. He employs large effect boards and multiple amplifiers, meticulously crafting sounds for each song. Therefore, tracing his gear evolution provides a direct insight into MUCC’s sonic development.

This article will thoroughly examine the guitars, amps, and effects that Miya actually uses, providing detailed explanations of his tone-crafting secrets. We’ll particularly focus on the EQ settings and effects usage necessary to recreate his sound, making this content valuable for guitarists from beginners to advanced players.

MUCC’s music encompasses everything from hard loud rock to delicate ballads, and even electronic elements. Therefore, pursuing Miya’s sound directly translates to learning versatile tone creation across various genres. Understanding his approach will surely introduce new ideas to your own playing and composition.

Below, we’ll start with detailed explanations of amps and guitars, followed by effect boards, EQ setting techniques, and affordable alternative gear for beginners. Please read through to the end and apply these insights to your own tone creation.

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List of Amplifiers and Features [MUCC・Miya]

Miya, MUCC’s guitarist, uses multiple amplifiers in combination to express everything from loud guitar riffs to delicate clean tones. Mesa Boogie’s Rectifier series has been a long-standing staple, forming the core of his tone creation. The representative model is the “Dual Rectifier Road King II Head,” which fully utilizes its 4-channel configuration to switch between clean, fuzz-like distortion, tight distortion, and sustaining lead sounds for different sections. Furthermore, he alternates between EL34 and 6L6 tubes, fine-tuning tones according to the song’s atmosphere and tour performance environments.

Additionally, he operates a “Dual Rectifier Road King II 2×12 Combo” as a backup, ensuring stable sound delivery when the main head malfunctions or during small venue performances. Previously, he also used the “Mesa Boogie Triple Rectifier Solo Head” as his main amp, which provided more aggressive and heavy distortion, making it indispensable for early to mid-period MUCC sounds.

For cabinets, he adopts the “Bogner 412SL 4×12 Cabinet,” modified to 16Ω. Compared to Marshall cabinets, this provides tighter and clearer sound quality, making it easier to maintain clarity when emphasizing low frequencies with 7-string guitar riffs or layering complex delay and reverb effects. The adoption of Bogner cabinets is considered a choice not only for loud songs requiring sound pressure but also for highlighting delicate clean tones.

Furthermore, recent interviews and social media confirm the introduction of the digital amp simulator “KEMPER Rack & Head.” This offers the advantage of bringing studio-crafted tones directly to live performances, presumably utilized to enhance tone reproducibility during overseas tours or short-term sessions.

Overall, Miya’s amp selection balances “raw power from tube amps” with “reproducibility and convenience from digital technology.” He continues to seek optimal solutions for both live and recording situations, flexibly adapting his gear according to specific tours and album productions, as presumed.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Notes
Mesa Boogie Dual Rectifier Road King II Head	Mesa Boogie	Search on Amazon	MUCC	Miya	Main amp. 4CH configuration for diverse distortion and clean switching.
Mesa Boogie Dual Rectifier Road King II 2×12 Combo	Mesa Boogie	Search on Amazon	MUCC	Miya	Backup amp. For small venues and troubleshooting.
Mesa Boogie Triple Rectifier Solo Head	Mesa Boogie	Search on Amazon	MUCC	Miya	Former main amp. More powerful distortion supporting early-mid MUCC sound.
Bogner 412SL 4×12 Cabinet	Bogner	Search on Amazon	MUCC	Miya	Modified to 16Ω. Tighter and clearer output than Marshall.
KEMPER Rack & Head	Kemper	Search on Amazon	MUCC	Miya	Digital amp capable of reproducing studio sounds live.

Types of Guitars Used and Features [MUCC・Miya]

Miya, MUCC’s guitarist, utilizes an extremely diverse guitar collection to handle genreless and varied sounds. His main guitar is known to be the Japanese-made custom dragonfly, including both 6-string and 7-string models. The 7-string model particularly excels in heavy low-end riffs. The clear output characteristic of dragonfly guitars ensures they don’t get buried in loud ensembles and suits expansive playing with delay and reverb effects.

Recently, the German-made Hapas Guitars SLUDGE 727 has been frequently used in live performances. This Telecaster-style 7-string guitar has an interesting backstory of Miya falling in love at first sight via social media, and he’s known to own multiple units. Its unique design and tight low-end significantly contributes to modern metal and loud rock-oriented sounds.

The British-made MAYBURY Guitars UPSCALER RAM features a unique body construction using reclaimed wood, producing distinctive harmonics and depth. He owns numerous Fender instruments, alternating between models like the “Made in Japan Modern Telecaster HH,” “Fender Limited Ken Stratocaster Experiment #1,” and “Fender Gold Foil Telecaster.” The Ken and Gold Foil models have been modified for high-frequency adjustment and half-tone expression, optimized for both loud distortion and clean tones.

Additionally, the “Gibson 1987 Les Paul Standard,” though borrowed, has been used for years and is essential to MUCC’s history. It features pickup swaps to Seymour Duncan JB and Fishman Fluence Classic, making it capable of handling both loud distortion and modern clean tones.

His first 7-string guitar, the “Brian Moore Guitars i2000 i7,” became recording-only equipment after extensive live use, supporting an important turning point in his career. The “Sugi Guitars DH500C” features Fishman Fluence Classic pickups, emphasizing a more modern and loud-oriented sound character.

Among more unusual guitars, he also uses the Osaka-made handcrafted semi-hollow “B by W BW-910,” YAMAHA Revstar series (RSP02T, RSP20CR), and PRS SE Paul’s Guitar on stage and in recordings. These are selected when classic nuances, P-90’s characteristic bright tone, or stable tonal qualities are required.

Overall, Miya’s guitar selection aims to “express different worldviews for each song through the guitar,” designed to handle everything from loud rock’s weight to transparent ballads and experimental effect sounds, as presumed.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Guitar Type	Notes
dragonfly (6-string/7-string)	dragonfly	Search on Amazon	MUCC	Miya	Custom including order-made	Long-time main guitars. Handles clean to loud tones.
Hapas Guitars SLUDGE 727	Hapas Guitars	Search on Amazon	MUCC	Miya	7-string Telecaster-style	Love at first sight via social media, owns multiple. Tight low-end characteristic.
MAYBURY Guitars UPSCALER RAM	MAYBURY Guitars	Search on Amazon	MUCC	Miya	Telecaster-style	Unique construction using reclaimed wood. Rich in harmonics.
Fender Made in Japan Modern Telecaster HH	Fender	Search on Amazon	MUCC	Miya	Modern Telecaster	Equipped with locking tuners. Wiring modifications applied.
Fender Limited Ken Stratocaster Experiment #1	Fender	Search on Amazon	MUCC	Miya	Stratocaster	L’Arc~en~Ciel Ken model. Used without modifications.
Fender Gold Foil Telecaster	Fender	Search on Amazon	MUCC	Miya	Telecaster	Capacitor replacement for high-frequency adjustment.
Gibson 1987 Les Paul Standard	Gibson	Search on Amazon	MUCC	Miya	Les Paul	Borrowed instrument. Pickup swapped for modern specification.
Brian Moore Guitars i2000 i7	Brian Moore	Search on Amazon	MUCC	Miya	7-string Guitar	First 7-string. Recording-only after live usage.
Sugi Guitars DH500C	Sugi	Search on Amazon	MUCC	Miya	Modern Guitar	Equipped with Fishman Fluence Classic. Loud-oriented.
B by W BW-910	B by W	Search on Amazon	MUCC	Miya	Semi-hollow	Osaka-made handcrafted. Classical playing feel.
YAMAHA Revstar RSP02T	YAMAHA	Search on Amazon	MUCC	Miya	Revstar Series	P-90 type pickup equipped. From backstage use to stage use.
YAMAHA Revstar RSP20CR	YAMAHA	Search on Amazon	MUCC	Miya	Revstar Series	Beloved for both appearance and sound.
PRS SE Paul’s Guitar	PRS	Search on Amazon	MUCC	Miya	PRS SE Series	Stable tone that blends well with programmed tracks.

Effects and Pedalboard Setup [MUCC・Miya]

Miya, MUCC’s guitarist, is known for skillfully alternating between an enormous effects collection in live performances and recordings. The scale is overwhelming, with multiple main boards of various sizes, plus rack-mounted and tech boards. This enables precise tone calling for each individual song.

On the large main board, signal management is thoroughly handled centered around FREE THE TONE’s JB-82S and ARC series. These function as switching systems and signal junctions, enabling smooth transitions between complex effect groups. Building on this foundation, he utilizes distinctive distortion and modulation effects like JHS Muffuletta, JHS The VCR, and Guyatone FL-2 to create texture for each song.

Additionally, his frequent use of EarthQuaker Devices’ Rainbow Machine, Organizer, and Disaster Transport, which enable unique sound creation, is characteristic. These are important elements supporting the psychedelic and fantastical atmosphere pervading MUCC’s music, representing how he achieves the balance of “loud + experimental.” Furthermore, longtime favorites like BOSS CE-1, DM series, and Digitech Whammy are also set up, covering everything from traditional sounds to cutting-edge effects.

The compact board is assembled more simply, centered around TC Electronic Nova Reverb and MXR M108 EQ, ensuring responsiveness and mobility in live settings. Meanwhile, rack-mounted and tech boards incorporate high-quality boosters and compressors like Leqtique ProVoost and Vemuram Jan Ray, plus cutting-edge reverbs like Chase Bliss Audio CXM 1978, capable of handling the latest studio work.

Overall, Miya’s effect boards represent a style fusing “traditional standards + experimental individualists,” supporting MUCC’s broad musicality. Therefore, even with the same board configuration, usage changes according to songs, enabling expression of sounds with different characters each time. This is Miya’s unique sound approach and the key point for understanding the essence of his tone creation, as presumed.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Effect Type	Notes
FREE THE TONE JB-82S	FREE THE TONE	Search on Amazon	MUCC	Miya	ジャンクションボックス	Signal junction. Controls complex wiring.
FREE THE TONE ARC-3	FREE THE TONE	Search on Amazon	MUCC	Miya	スイッチングシステム	Enables free switching between multiple effects.
JHS Muffuletta	JHS Pedals	Search on Amazon	MUCC	Miya	ファズ	Recreates classic Big Muff. Heavy distortion.
EarthQuaker Devices Rainbow Machine	EarthQuaker Devices	Search on Amazon	MUCC	Miya	ピッチシフター	Unique modulation and harmonic effects.
BOSS CE-1	BOSS	Search on Amazon	MUCC	Miya	コーラス	Classic analog chorus. Warm modulation.
Digitech Whammy Pedal	Digitech	Search on Amazon	MUCC	Miya	ピッチシフター	Freely changes pitch. Frequently used in solos and phrases.
MXR M108 10Band EQ	MXR	Search on Amazon	MUCC	Miya	イコライザー	Fine frequency band adjustment. Active in low-end emphasis.
Chase Bliss Audio CXM 1978	Chase Bliss Audio	Search on Amazon	MUCC	Miya	リバーブ	Studio-quality spatial effects. Latest introduced gear.
Vemuram Jan Ray	Vemuram	Search on Amazon	MUCC	Miya	オーバードライブ	Natural distortion. Also serves as booster.
Leqtique ProVoost	Leqtique	Search on Amazon	MUCC	Miya	ブースター	Transparent clean boost.

Tone Settings, EQ, and Mixing Approaches [MUCC・Miya]

Miya of MUCC takes an extremely meticulous and experimental approach to guitar tone creation. The foundation of this approach is the perspective of “how to manifest a song’s worldview through guitar.” Rather than simply adding distortion, he designs sound holistically, including EQ, effects, amp channel switching, and even microphone placement techniques.

Regarding amplifier settings, when using the Mesa Boogie Dual Rectifier Road King II as the foundation, CH1 is set for clean tones with restrained gain while maintaining sufficient midrange to create transparency that doesn’t get buried in the band sound. CH2 handles fuzz-like distortion, avoiding excessive low-end emphasis by slightly cutting lows and gently boosting highs to ensure presence within the ensemble. CH3 and CH4 separate distortion and lead, where distortion maintains solid lows while boosting high-mids, and lead emphasizes sustain with midrange-focused EQ settings.

EQ techniques are particularly important, using the MXR M108 10Band EQ to control low frequencies around 60-120Hz while gently boosting 250-400Hz to emphasize guitar body resonance. Furthermore, emphasizing 2-4kHz ensures good presence even with distortion. High frequencies (8-16kHz) are lightly boosted to a degree that doesn’t become excessive, creating airiness while remaining moderate.

The use of spatial effects is also skillful, combining TC Electronic Nova Reverb and EarthQuaker Devices Disaster Transport with clean tones to form a spacious sound image with depth. Delays are often set in stereo, particularly using different delay times for left and right spatial channels to create three-dimensional spread. For example, setting the rhythm guitar side to 350ms and lead side to 450ms adds depth while maintaining rhythmic clarity.

Additionally, the use of noise reduction and gating is characteristic. Utilizing BOSS SE-70 and Drawmer DS201, he minimizes noise even with loud distortion while achieving tight, powerful sound. This prevents sound contours from collapsing during sharp cutting or high-speed riffs.

In mixing, there’s a strong awareness of optimizing guitar sounds not as standalone elements but within the “overall sound image” including drums, bass, and synthesizer sounds. For instance, when using 7-strings, guitar frequencies below 250Hz are boldly cut to avoid overlap with bass low frequencies, creating tightness while entrusting the weight to bass. Conversely, emphasizing midrange (1-3kHz) allows the guitar to fulfill its role of driving the entire band forward.

In recording, microphone selection is also refined, using Royer R-121 ribbon mics to capture cabinet warmth, combined with Shure Beta 56 and Sennheiser Black Fire 521 to reinforce attack qualities, building sound in multiple layers. This enables loud expression in live settings while achieving meticulous and three-dimensional sound in recordings.

Overall, the essence of Miya’s tone creation lies in “balancing complexity with clarity.” While utilizing heavy riffs and experimental effects, everything is meticulously adjusted to ensure guitar fulfills its proper role within band ensembles. These techniques cannot be reproduced simply by gathering equipment; they can only be approached by being conscious of EQ, spatial processing, and overall mix balance, as presumed.

Affordable Alternatives to Recreate the Tone [MUCC・Miya]

Miya’s gear centers around high-end guitars like dragonfly and Hapas, and expensive effects from FREE THE TONE and Chase Bliss, making it difficult to acquire everything. However, by understanding characteristic sound tendencies and selecting alternative gear, it’s possible to approximate his tone at relatively affordable prices. Here we introduce models with high reproducibility in price ranges accessible to beginners and intermediate players (around 10,000-50,000 yen, with an upper limit of approximately 100,000 yen).

Starting with guitars, introducing a 7-string guitar is the first step in reproducing Miya’s low-end riffs. YAMAHA Revstar and Ibanez 7-string series can achieve tight low-end at affordable price points, making them recommended choices. Particularly, Ibanez RG series 7-strings are widely used in loud bands, and with pickup modifications, they can approach MUCC-like modern tones.

Regarding amplifiers, while Mesa Boogie is expensive, BOSS and Line 6 amp simulators can serve as alternatives. The BOSS Katana series covers a wide range from distortion to clean with extensive EQ adjustment range, enabling some recreation of the thick Rectifier-style distortion that Miya frequently uses. Line 6 POD Go and HX Stomp also feature Mesa-style amp modeling and easy combination with spatial effects.

For effects, it’s important to cover the key elements of his board: “fuzz,” “pitch shifter,” and “spatial effects.” Fuzz can be substituted with BOSS FZ-5 or Electro-Harmonix Big Muff Nano. For pitch shifting, BOSS PS-6 Harmonist offers excellent cost-performance, creating Whammy-like phrases and chorus-style harmonies. For spatial effects, BOSS DD-8 (delay) and TC Electronic Hall of Fame (reverb) are effective, enabling construction of simple yet deep tones.

Since MXR’s 10Band EQ is expensive, BOSS GE-7 becomes a realistic choice. By boosting midrange and controlling lows, you can create Miya’s characteristic “loud yet clear sound.” Additionally, adding BOSS CS-3 as a compressor enables both tight riffs and stable clean tones.

Overall, assembling the combination of “7-string guitar + Mesa-style modeling amp + spatial effects and fuzz/pitch shifter” is the shortcut to reproducing MUCC’s sound while keeping costs down. Even postponing high-end gear acquisition, covering these basic configurations will sufficiently approach Miya-like tones.

Type	Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Notes
Guitar (7-string)	RG Series 7-string	Ibanez	Search on Amazon	MUCC	Miya	Standard 7-string that easily reproduces low-end riffs. Relatively affordable.
Amp Simulator	Katana-50 MkII	BOSS	Search on Amazon	MUCC	Miya	Entry-level amp capable of reproducing Mesa-style thick distortion.
Amp Simulator	HX Stomp	Line 6	Search on Amazon	MUCC	Miya	Features Mesa Boogie Rectifier modeling.
Fuzz	Big Muff Nano	Electro-Harmonix	Search on Amazon	MUCC	Miya	Optimal affordable alternative to JHS Muffuletta.
Pitch Shifter	PS-6 Harmonist	BOSS	Search on Amazon	MUCC	Miya	Can substitute as Whammy-style special effect.
Delay	DD-8 Digital Delay	BOSS	Search on Amazon	MUCC	Miya	Stereo-compatible delay for reproducing spatial effects.
Reverb	Hall of Fame 2	TC Electronic	Search on Amazon	MUCC	Miya	Can be used as affordable version of Nova Reverb.
Equalizer	GE-7 Equalizer	BOSS	Search on Amazon	MUCC	Miya	Affordable introduction alternative to MXR 10Band.
Compressor	CS-3 Compression Sustainer	BOSS	Search on Amazon	MUCC	Miya	Enhances clean stability and tightens loud riffs.

Summary and Conclusion [MUCC・Miya]

Looking back at Miya’s tone creation approach for MUCC, the core essence lies in “the fusion of diversity and precision.” His guitar sound spans widely from loud and heavy riffs to transparent clean tones, and further into experimental and creative effect sounds. Supporting this is his vast collection of gear and thoroughly refined setting techniques.

In guitar selection, he alternates between individualistic brands like dragonfly and Hapas, to standards like Fender, Gibson, and YAMAHA Revstar according to each song. This flexible selection enables tonal expression matched to song atmospheres. Regarding amplifiers, centered around Mesa Boogie, he uses Rectifier’s thick distortion as the foundation while incorporating digital equipment like Kemper to balance reproducibility and convenience.

Furthermore, his effect boards, under the management system centered on FREE THE TONE, boldly combine fuzz, pitch shifters, and spatial effects to support the “coexistence of intensity and fantasy” essential to MUCC’s sound. This approach is uniquely distinctive compared to other guitarists, representing one reason why Miya is evaluated as a “sound creator with experimental spirit.”

EQ and mixing techniques are also important elements. To clearly secure guitar’s place within the band’s overall sound image, he frequently employs adjustments that boldly organize lows while boosting mids to high-mids. This achieves tight sound where even 7-string heavy low-end riffs don’t muddy, coexisting with bass and drums. Additionally, by utilizing spatial effects to create three-dimensional presence, he constructs consistently present guitar from clean to distortion.

Overall, the essence of Miya’s tone creation lies not in “quantity of gear” but in “thorough selection and adjustment according to purpose.” In other words, when wanting to reproduce his sound, the shortcut is to start by introducing 7-string guitars and Mesa-style amp modeling, then consciously adjust midrange with EQ. Building upon that foundation, adding spatial effects and pitch shifters will approach MUCC’s characteristic expansive and experimental tones.

“Balancing weight with transparency” and “combining aggression with fantasy” – this duality is the greatest characteristic of Miya’s tone creation and the element that makes MUCC’s music special. Rather than mere copying, considering how to apply this philosophy within your own tone creation can greatly expand your expressive range as a guitarist.