[Morissy] – How to Recreate the Awesome City Club Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Morissy (Kiyotaka Mori), guitarist of Awesome City Club, is widely recognized as one of the most refined voices in the modern Japanese guitar scene. His style blends elements of soul, pop, and rock, creating a sense of “euphoria” that underpins the band’s music. His phrasing and sound design serve not only as accompaniment but as an extension of the vocals themselves.

Morissy often describes his guitar as “part of the song,” crafting interplay that feels inseparable from the melody. Influenced heavily by John Mayer, he approaches solos as if they were vocal lines, consciously making the guitar “sing” in live settings.

What sets his tone apart is his commitment to breaking away from tradition. A prime example is his use of the Strymon Iridium for amp-less recording, favoring direct-in approaches over the classic amp-and-mic method. This shift reflects a modern digital standard, perfectly suited to today’s production environments where guitars must blend seamlessly with programmed beats.

He almost exclusively relies on Telecasters for recording sessions, targeting sharp and cutting tones that slice through dense arrangements. On the other hand, he complements this with vintage-inspired effects such as the TB-2W, DUMBLOID, and Soundtoys Radiator, striking a delicate balance between analog warmth and digital clarity.

In tracks like “Wasurena” (“Wasurena”), “On Your Mark,” and “Life still goes on,” his use of distortion, wah effects, and EQ adjustments highlight a meticulous approach. Rather than just a pop guitarist, Morissy embodies a wide tonal palette that keeps the guitar present and expressive in every mix.

This article dives into Morissy’s gear choices, tone-shaping philosophy, EQ and mixing strategies, and even budget-friendly alternatives for beginners. From live rigs to home-studio techniques, we’ll explore how you can recreate the sonic world of Morissy with your own gear.

▶ Search official YouTube videos of Awesome City Club

List of Amplifiers and Features [Awesome City Club · Morissy]

The most remarkable aspect of Morissy’s approach to amplification is his deliberate choice to move away from traditional amps altogether. While most guitarists rely on tube amplifiers or high-end digital amps in both studio and live settings, Morissy has embraced a more unconventional solution: the Strymon Iridium amp and cab simulator as the core of his setup. This allows him to achieve consistent tone across recording and live environments without relying on bulky hardware.

This choice is closely tied to the sonic requirements of Awesome City Club’s music. Since their songs are heavily built around programmed beats, synth layers, and polished pop textures, a conventional amp sound—often full of room ambience and dynamic fluctuations—can clash or get buried in the mix. The Iridium solves this by offering highly focused frequency control, producing a guitar sound that is both polished and easy to place in dense mixes, especially in home-studio environments.

Morissy frequently uses the Deluxe Reverb-style mode within the Iridium, pairing it with his Telecasters to achieve bright, snappy tones that cut through electronic beats. In addition, he incorporates plug-ins such as the Soundtoys Radiator to add harmonic saturation and warmth, effectively bringing analog-like character into a digital context. This duality—digital precision with analog coloration—is one of the hallmarks of his sound.

On stage, he often expands his setup by running the Iridium in conjunction with the Line 6 HX Effects, enabling him to layer amp-like drive tones, spatial effects, and flexible modulation within one streamlined rig. This modular approach means that even without a physical amp head behind him, his guitar maintains presence, expressiveness, and flexibility.

Earlier in his career, Morissy occasionally paired Fender Jazzmasters with tube amplifiers. However, in recent years he has completely shifted toward modeling and simulation. This shift reflects his desire to prioritize “clarity” and “euphoria” in his sound design, aligning with the aesthetic vision of Awesome City Club’s music. His amp choices are less about tradition and more about adapting to the modern production landscape, where the guitar must coexist with layers of electronics and pop arrangements.

From these elements, it can be assumed that Morissy’s amplifier philosophy is less about stage volume or vintage tone nostalgia, and more about crafting a versatile, mix-ready signal chain that delivers consistent results in any context.

Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Notes
Strymon Iridium	Strymon	https://www.amazon.com/s?k=Iridium+Strymon&tag=toneguitarblo-20	Awesome City Club	Morissy	Used extensively in recording sessions; essential for balancing guitars with programmed beats.
Soundtoys Radiator (plug-in)	Soundtoys	https://www.amazon.com/s?k=Radiator+Soundtoys&tag=toneguitarblo-20	Awesome City Club	Morissy	A saturation plug-in often paired with DUMBLOID; adds analog warmth and harmonic richness.
Line 6 HX Effects	Line 6	https://www.amazon.com/s?k=HX+Effects+Line+6&tag=toneguitarblo-20	Awesome City Club	Morissy	Multi-effects processor with amp-like drive options; highly practical for live use.

Types of Guitars Used and Features [Awesome City Club · Morissy]

Among Morissy’s gear choices, guitars hold the central place in his creative philosophy. For the majority of Awesome City Club’s recordings, he has consistently relied on Fender Telecasters, cementing them as the core of his sonic identity. The sharp attack and cutting clarity of the Telecaster make it ideal for weaving through dense arrangements filled with beats and synth layers.

His main workhorse is the Fender American Professional II Telecaster, a versatile modern Tele that offers both clarity and presence. Morissy has chosen this model specifically because it produces tones that will not get buried under programmed rhythms. Its snappy response and strong projection make it his go-to instrument both in studio and on stage.

In addition to his main Tele, he also employs a Fender 1978 Telecaster, which delivers a mellower and warmer tone. This vintage instrument is used in songs where a softer, rounder sound is required. With its lower tonal center and nuanced clean character, it allows Morissy to bring a more emotional and intimate voice to certain tracks.

For the song “Color,” Morissy used an Epiphone Casino. This semi-hollow guitar provides airy midrange resonance and a vintage vibe that stands out in the recording. The Casino’s semi-acoustic structure adds harmonic overtones that complement the brightness of the overall track while providing a distinctly retro character.

Morissy also makes careful distinctions when it comes to acoustic guitars. In the track “Yukidoke” (“Snowmelt”), he used a Taylor AD17e, while for “Rumble” he played a Crews Maniac Sound EG-1500C. Both are electro-acoustics, recorded at his home studio using a dual-mic setup (AT4050 and Starlight) to capture both the resonance of the body and the crisp attack of the strings. This meticulous approach results in natural and three-dimensional acoustic textures.

In earlier phases of his career, Morissy often favored the Fender Jazzmaster as his main guitar. Today, however, it is mostly reserved as a backup instrument in live performances. He has even stated that the Jazzmaster represented a time when he “wasn’t as particular about guitars,” reflecting his evolving pursuit of refined sound design.

Beyond these, his collection also includes a Fender American Elite Stratocaster, a Vintera ’50s Telecaster, and the hybrid Fender Acoustasonic Telecaster, allowing him to match the instrument’s tonal character to the needs of each track. This flexibility ensures that each song benefits from the most appropriate tonal palette, reinforcing his meticulous approach to guitar-based soundscapes. From this broad range, it can be assumed that Morissy’s philosophy toward guitars is rooted in intentional diversity, carefully tailoring the instrument to the emotional context of each piece.

Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Type of Guitar	Notes
American Professional II Telecaster	Fender	https://www.amazon.com/s?k=American+Professional+II+Telecaster+Fender&tag=toneguitarblo-20	Awesome City Club	Morissy	Solid-body	Main guitar for live and recording. Sharp tone that cuts through programmed beats.
1978 Telecaster	Fender	https://www.amazon.com/s?k=1978+Telecaster+Fender&tag=toneguitarblo-20	Awesome City Club	Morissy	Solid-body	Used for warmer, vintage-leaning tones; ideal for mellow, expressive songs.
Casino	Epiphone	https://www.amazon.com/s?k=Epiphone+Casino&tag=toneguitarblo-20	Awesome City Club	Morissy	Semi-hollow	Featured only in “Color.” Distinct midrange resonance and retro flavor.
AD17e	Taylor	https://www.amazon.com/s?k=AD17e+Taylor&tag=toneguitarblo-20	Awesome City Club	Morissy	Electro-acoustic	Used in “Yukidoke.” Captured with dual-mic setup for natural acoustic presence.
EG-1500C	Crews Maniac Sound	https://www.amazon.com/s?k=EG-1500C+Crews+Maniac+Sound&tag=toneguitarblo-20	Awesome City Club	Morissy	Electro-acoustic	Used in “Rumble.” Mic’d with AT4050 and Starlight for stereo image.
Jazzmaster	Fender	https://www.amazon.com/s?k=Jazzmaster+Fender&tag=toneguitarblo-20	Awesome City Club	Morissy	Solid-body	Former main guitar; now used as a live backup.

Effects and Pedalboard Setup [Awesome City Club · Morissy]

Morissy’s pedalboard is designed around two central ideas: distortion texture and control over tonal character. Within Awesome City Club, where vocals, synths, and rhythm tracks are often polished and tightly arranged, his guitar needs to provide warmth, grit, and organic air. To achieve this, he mixes boutique-level pedals with more accessible workhorses, carefully selecting each piece to match the band’s sonic needs.

A standout in his drive section is the Studio Daydream KCM-OD Gold V9.0, a “Klon Centaur-style” overdrive with a special Fat Mode. This feature boosts the low-mids without muddying the overall tone, resulting in warm yet articulate drive. It can be heard clearly in tracks such as “Rakuen” and “Rumble,” where it provides a strong, vocal-like body to his guitar lines.

Another crucial element is the Shin’s Music DUMBLOID Twin, which Morissy used notably in the intro of “On Your Mark.” This high-end boutique pedal emulates the legendary Dumble amplifier, known for its rich harmonic overtones and dynamic response. Morissy has commented that pushing the drive to maximum settings creates a sharp, cutting sound, making this pedal one of the defining tools of his recent recordings. To add even more density, he often pairs it with the Soundtoys Radiator plug-in, blending analog-style saturation into the mix.

For fuzz textures, he turns to the BOSS TB-2W Tone Bender, a limited-edition Waza Craft pedal based on the classic British fuzz. It made its way into the solo of “Life still goes on,” where Morissy used it to add a raw, commanding presence that stands out even in dense arrangements. This decision was influenced by his experience working on “Wasurena,” where he felt the need for a more powerful fuzz tone.

The Vemuram Jan Ray also plays an important role in his sound. Known for its wide dynamic range and transparent overdrive, it gives Morissy the flexibility to move between clean and crunch tones while maintaining clarity. This pedal is highly valued across genres, and for Morissy it functions as an always-reliable option that adapts to diverse performance contexts.

Spatial and modulation effects are primarily handled by the Line 6 HX Effects, which allows him to consolidate multiple pedals into one streamlined unit. For example, in “Ikisasete,” the HX Effects was used to process solos with multiple time-based effects simultaneously. This approach simplifies his rig without sacrificing depth or tonal variation.

A key part of Morissy’s live identity is the BOSS PW-3 Wah. Unlike traditional wah pedals, this unit offers both vintage and modern voicings, letting him sculpt phrasing with unique accents. His wah phrasing often pays homage to Takahiro Matsumoto of B’z, one of his influences, adding a personal touch to his solos.

Lastly, Morissy also employs the BOSS DD-6 Digital Delay. He enjoys the experimental Warp Mode, which creates shifting, atmospheric layers. This effect often acts as a “special weapon” in his setup, introducing unexpected sonic textures when needed.

Together, these pedals highlight his philosophy: using distortion and texture not just for volume or aggression, but as tonal colors that interact with the rest of the arrangement. From boutique drives to experimental delays, Morissy’s pedalboard reflects a deep awareness of how guitar tones should serve the song.

Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Type of Effect	Notes
KCM-OD Gold V9.0	Studio Daydream	https://www.amazon.com/s?k=KCM-OD+Gold+Studio+Daydream&tag=toneguitarblo-20	Awesome City Club	Morissy	Overdrive	Used in “Rakuen” and “Rumble.” Fat Mode adds strong low-mid punch.
DUMBLOID Twin	Shin’s Music	https://www.amazon.com/s?k=DUMBLOID+Shin’s+Music&tag=toneguitarblo-20	Awesome City Club	Morissy	Overdrive	Featured in “On Your Mark.” Paired with Radiator for saturated harmonics.
TB-2W Tone Bender	BOSS	https://www.amazon.com/s?k=TB-2W+Tone+Bender+BOSS&tag=toneguitarblo-20	Awesome City Club	Morissy	Fuzz	Used in “Life still goes on.” Adds raw, vintage fuzz character.
Jan Ray	Vemuram	https://www.amazon.com/s?k=Jan+Ray+Vemuram&tag=toneguitarblo-20	Awesome City Club	Morissy	Overdrive	Transparent, dynamic overdrive. Adaptable across styles.
HX Effects	Line 6	https://www.amazon.com/s?k=HX+Effects+Line+6&tag=toneguitarblo-20	Awesome City Club	Morissy	Multi-effects (for guitar)	Handles multiple time-based effects; used in “Ikisasete.”
PW-3 Wah	BOSS	https://www.amazon.com/s?k=PW-3+Wah+BOSS&tag=toneguitarblo-20	Awesome City Club	Morissy	Wah Pedal	Switches between vintage and modern voicings. Inspired by Tak Matsumoto.
DD-6	BOSS	https://www.amazon.com/s?k=DD-6+BOSS&tag=toneguitarblo-20	Awesome City Club	Morissy	Delay	Warp Mode for experimental, atmospheric tones.

Tone Settings, EQ, and Mixing Approaches [Awesome City Club · Morissy]

The essence of Morissy’s sound design lies in how he blends the guitar with programmed elements. Awesome City Club’s songs are often rich with electronic beats, synth layers, and vocal-driven textures. In such contexts, a conventional guitar tone risks becoming masked or muddy. Morissy addresses this challenge by combining amp-less setups, precise EQ strategies, and carefully engineered mic techniques, ensuring the guitar remains clear and emotionally impactful.

At the heart of his setup, the Strymon Iridium allows precise control of the guitar’s frequency balance during recording. Using its Deluxe Reverb-style profile, he often shapes the signal by trimming the low end around 60–200 Hz and boosting the presence range around 300–800 Hz. This EQ contour ensures the guitar avoids clashing with bass and kick drum frequencies while standing out in the mix. The result is a guitar tone that is both snappy and harmonically rich, perfectly suited for programmed pop contexts.

His overdrive pedals also contribute significantly to tonal shaping. With the Studio Daydream KCM-OD Gold V9.0 in Fat Mode, Morissy strengthens the low-mid region while emphasizing upper midrange (around 800 Hz to 1.2 kHz). This combination produces a tone that projects clearly without overpowering other instruments. Meanwhile, the DUMBLOID Twin adds sustain and harmonic complexity, functioning almost like a compressor when pushed. This results in a thicker, more saturated guitar sound that blends organically with synth pads and layered beats.

One of his signature tricks is pairing pedals with the Soundtoys Radiator plug-in. By adding analog-style harmonic saturation, Morissy thickens his drive tones, creating the illusion of a vintage amp being recorded in a high-end studio. This subtle use of digital processing mirrors the warmth of analog hardware, adding both density and ear-pleasing harmonics that elevate his tone.

For acoustic recordings, Morissy employs dual-mic setups to achieve depth and natural dimension. On “Yukidoke,” his Taylor AD17e was captured with an Audio-Technica AT4050 positioned near the upper bout and an Aston Starlight closer to the sound hole. This technique combines a bright, articulate perspective with resonant body tones. Preamp coloration from the Focusrite Red 7 adds warmth and slight compression, producing a professional-grade acoustic texture. A similar setup was used on “Rumble” with the Crews Maniac Sound EG-1500C, with EQ adjustments around 2.5–5 kHz to emphasize clarity while cutting nasal frequencies around 1–1.5 kHz.

In live performance, his tonal shaping extends beyond EQ into expressive use of the BOSS PW-3 Wah. By leaving the wah half-open, Morissy accentuates midrange frequencies in a filter-like way. This technique was showcased in “Natsu no Gogo wa Cobalt,” where his intro solo stood out with focused intensity. Such creative filtering highlights his philosophy of using effects not merely for color, but for enhancing clarity in complex mixes.

Even in rhythm parts, Morissy emphasizes melodic movement. He often describes his guitar role as “part of the singing,” meaning his comping lines weave alongside the vocals rather than simply filling chords. To make space for this interplay, he cuts frequencies below 500 Hz and emphasizes the 2 kHz region, ensuring the guitar floats alongside the vocal instead of competing with it. This approach also allows his lines to remain clear even in densely layered productions.

Ultimately, Morissy’s EQ and tone-shaping philosophy reflects a holistic view: the guitar is never an isolated element but always part of the larger sonic canvas. By strategically balancing frequencies, blending analog-style saturation, and tailoring each performance to the arrangement, he achieves tones that are modern yet emotionally resonant. From this perspective, it can be assumed that his sound design is less about individual gear settings and more about designing a cohesive musical experience centered on clarity, warmth, and the feeling of “euphoria.”

Affordable Alternatives to Recreate the Tone [Awesome City Club · Morissy]

Morissy’s gear choices often include boutique pedals and advanced amp simulators, which can be quite costly. However, for beginners or hobbyists looking to capture his tone without breaking the bank, there are plenty of affordable alternatives available in the $100–$500 range. These budget-friendly tools can provide a surprisingly close approximation of his sound if used thoughtfully. Below, we’ll explore some recommended options and explain why they work as substitutes.

For amp simulation, the NUX Amp Academy is an excellent alternative to the Strymon Iridium. It offers impulse response (IR) support and intuitive controls, including Fender Deluxe Reverb-inspired models. This makes it easy to achieve the same sharp, cutting tones that Morissy favors in his Telecaster recordings. Its ability to sit well in a mix also makes it particularly suited for home recording, much like Iridium.

When it comes to overdrive, the JHS 3 Series Overdrive is one of the best cost-effective choices. While it doesn’t perfectly replicate the Studio Daydream KCM-OD or the Vemuram Jan Ray, it delivers a transparent and versatile overdrive that leans toward Morissy’s style. Its gain range can cover subtle boosts to mid-gain crunch, with a slight emphasis on the midrange that helps the guitar avoid getting lost in dense arrangements.

If you’re aiming for the saturated, Dumble-inspired tones of the DUMBLOID, pedals like the MOORE Rumble Drive or Caline Medusa are worth considering. The Rumble Drive, in particular, provides sticky sustain and harmonic richness for under $200, making it a budget-friendly way to get closer to Morissy’s thick, singing lead tones.

For wah effects, the VOX V847A Wah is a reliable and affordable option. While Morissy uses the BOSS PW-3 for its dual voicing, the V847A offers smooth operation and a classic character. By leaving the pedal in a half-open position, players can mimic Morissy’s filter-style midrange boosts for solos and accent phrases.

To replicate his multi-effects workflow, the ZOOM G3Xn or BOSS GT-1 are strong entry-level choices. These compact multi-effects units allow players to combine delay, reverb, modulation, and drive within a single rig, echoing the flexibility of the HX Effects at a fraction of the cost. They are particularly useful for players who want a simplified setup for live gigs or practice sessions.

For acoustic recording, while Morissy uses high-end mics like the AT4050 and Aston Starlight, affordable condenser mics such as the Audio-Technica AT2020 or Behringer C-1 can still provide clean, transparent acoustic tones. By applying EQ and reverb in a DAW, players can approximate the dimensional quality of Morissy’s acoustic recordings without investing in expensive studio gear.

These alternatives highlight a core lesson: achieving Morissy’s tone is less about owning the exact same gear and more about understanding how he balances frequencies, saturation, and presence. With these affordable options, even beginner guitarists can capture a strong sense of his tonal palette and start developing their own version of that “euphoric” sound.

Category	Gear Name	Manufacturer	Amazon URL	Artist	Guitarist	Notes
Preamp/Amp Simulator	Amp Academy	NUX	https://www.amazon.com/s?k=Amp+Academy+NUX&tag=toneguitarblo-20	Awesome City Club	Morissy	Affordable alternative to Iridium. IR support with Fender-style sounds.
Overdrive	3 Series Overdrive	JHS Pedals	https://www.amazon.com/s?k=3+Series+Overdrive+JHS&tag=toneguitarblo-20	Awesome City Club	Morissy	Transparent and versatile drive. Similar character to Jan Ray and KCM-OD.
Overdrive	Rumble Drive	MOORE	https://www.amazon.com/s?k=Rumble+Drive+MOORE&tag=toneguitarblo-20	Awesome City Club	Morissy	Dumble-inspired sustain and saturation. Budget-friendly at around $100–$150.
Wah Pedal	V847A Wah	VOX	https://www.amazon.com/s?k=V847A+Wah+VOX&tag=toneguitarblo-20	Awesome City Club	Morissy	Classic wah character. Suitable for half-open filter-style phrasing.
Multi-effects (for guitar)	G3Xn	ZOOM	https://www.amazon.com/s?k=G3Xn+ZOOM&tag=toneguitarblo-20	Awesome City Club	Morissy	Entry-level multi-effects unit; replicates HX Effects workflow affordably.
Condenser Microphone	AT2020	Audio-Technica	https://www.amazon.com/s?k=AT2020+audio-technica&tag=toneguitarblo-20	Awesome City Club	Morissy	Cost-effective mic for acoustic guitar recording. Clear and transparent sound.

Summary and Conclusion [Awesome City Club · Morissy]

Breaking down Morissy’s tone reveals a consistent thread of intentional design, technical precision, and emotional resonance. His guitar is never just background accompaniment or a vehicle for solos—it becomes part of the song’s voice, an instrument for expressing emotion alongside the vocals. This integration is one of the defining features of his playing style.

Philosophically, his approach reflects the influence of John Mayer while also staying rooted in the unique landscape of Japanese pop. Within Awesome City Club, he has carved out a distinct identity: a guitar tone that embodies the band’s signature “euphoria.” Every note carries a lightness and positivity that naturally uplifts listeners, contributing to the band’s emotional impact.

From a technical perspective, his choices show a deep awareness of the modern production environment. By using tools such as the Strymon Iridium and Soundtoys Radiator, he has embraced a digital workflow that prioritizes clarity and consistency, breaking free from the traditional amp-and-mic paradigm. At the same time, boutique pedals like the DUMBLOID and KCM-OD bring in analog warmth, harmonic richness, and tactile dynamics. This balance between digital precision and analog character is the essence of the “Morissy sound.”

His guitar selection reflects a similar philosophy of intentionality. Whether it’s the snappy Telecaster cutting through dense mixes, the mellow vintage 1978 Telecaster adding warmth, or the acoustic textures captured with dual-mic setups, every choice is tailored to serve the emotional core of the music. This meticulous approach makes his setup a valuable reference for guitarists seeking inspiration for their own tone design.

For beginners or intermediate players aspiring to recreate his sound, the lesson is clear: it’s not necessary to own the exact same boutique gear. Affordable alternatives, combined with thoughtful EQ shaping and an awareness of frequency balance, can get you surprisingly close. The key lies in understanding why Morissy makes the choices he does—prioritizing clarity, carving out space in the mix, and enhancing the emotional character of each song.

Ultimately, the essence of Morissy’s tone is about perspective. He approaches guitar not as a standalone instrument but as part of a bigger sonic ecosystem, asking: “How does this sound affect the overall feeling of the song?” This focus on emotion, clarity, and cohesion transforms his guitar into something more than notes—it becomes a voice of “happiness” and “resonance.” By adopting this mindset, any guitarist can move closer to expressing their own version of that euphoria through their instrument.