[Nagata Curtis] How to Recreate the indigo la End Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Nagata Curtis, the guitarist of indigo la End, is known for his delicate and three-dimensional sound design. His approach to guitar playing is emotional yet transparent, enveloping the vocals of Enon Kawatani.

His playing style masterfully controls the boundary between clean and distorted tones, allowing him to switch seamlessly according to the mood of the song. Iconic tracks like “In the City of Dawn” and “Indigo Love Story” showcase his use of spatial effects, creating a floating sensation with arpeggios and jazzy chord work.

Furthermore, Curtis primarily uses Fender-style guitars, blending vintage tones with modern clarity. His sound features a distinct outline that remains clear even with heavy reverb and delay, playing a crucial role in supporting the band’s overall ensemble.

indigo la End possesses a unique sound that drifts between J-POP and rock, with Curtis’s guitar accentuating its colors. Fans often describe his sound as “beautiful yet powerful” and “calculated even in its echoes.”

In the following sections, we will explore the amplifiers, guitars, and effects he uses, detailing how he crafts his unique sound.

▶ Search official YouTube videos of indigo la End

List of Amplifiers and Features

The sound of Nagata Curtis is supported by a meticulous combination of clean amplifiers centered around Fender models and boutique amps. His guitar tone is transparent yet firm, and this is closely tied to his choice of amplifiers.

One of the staples in both live performances and recordings is the Fender ’64 Custom Deluxe Reverb. This model is synonymous with Fender amplifiers, offering bright, fast-responding cleans and a lightly broken-up crunch sound. This amp accentuates arpeggios and backing, making it a perfect match for the delicate ensemble of indigo la End.

Additionally, the BAD CAT Black Cat Handwired Series has been observed in use, showcasing a unique boutique amp character. This amp inherits the vintage VOX lineage and pairs excellently with single-coil guitars. It can handle everything from sharp cutting tones to deep crunch, supporting Curtis’s diverse expressions.

Notably, the introduction of the Sinewave Zero Point amp is also significant. This amp follows Two-Rock’s design philosophy, combining transparent cleans with a robust sound. Its strengths shine when Curtis plays jazz-like chord work or delicate arpeggios.

By skillfully switching between these amplifiers, Nagata Curtis selects the optimal tone for each song, controlling the overall dynamics of the band. Based on live footage and equipment interviews, it is assumed that his basic tone is built around Fender amps, enhanced with boutique amps for added color.

These amplifiers are likely used according to the live or recording environment, suggesting a selection aimed at maximizing the individuality of each song.

Types of Guitars Used and Features

Nagata Curtis’s choice of guitars is a significant element that symbolizes the sound of indigo la End. He owns multiple Fender-style guitars, using each according to the song or live situation.

His main guitar is the RS Guitarworks Workhorse, which frequently appears in performances. This guitar features a modified P90 in the front pickup and capacitor changes, achieving a vintage-like texture while maintaining modern clarity. It is often seen in live footage and social media posts, making it a defining instrument for Curtis’s tone.

Another noteworthy model is the RS Guitarworks SLAB BLACKGUARD. This high-end model replicates a 1951-54 Fender Telecaster, characterized by its dry attack and deep tone, adding a vintage feel to the band’s delicate arrangements.

The classic Fender Telecaster is also utilized for its sharp attack and clarity, making it suitable for cutting and lead play. Additionally, the unique sweetness of the Fender Jazzmaster pairs well with spatial effects, often chosen for its shoegaze-like texture.

In recent years, the Fender Made in Japan Traditional series has also been widely used. The 50s Telecaster and 60s Stratocaster provide bright, ringing cleans, while the 70s Mustang offers a cute sound characteristic of short scales. By using these models, Curtis adds a wide range of expression to indigo la End’s music.

Moreover, the Hybrid series Telecasters and Stratocasters blend modern specifications with classic sounds, enabling diverse sound creation during live performances.

This lineup indicates that Nagata Curtis is not the type to rely on a single guitar. Instead, he skillfully selects multiple guitars based on the nuances of the song or phrase, meticulously designing the overall sound of the band. By balancing the transparency of Fender guitars with the custom tones of RS Guitarworks, he achieves a sound that is uniquely his.

In this way, Nagata Curtis crafts the diverse and beautiful sound world of indigo la End by using multiple guitars tailored to each song.

Effects and Pedalboard Setup

Nagata Curtis’s pedalboard is characterized by a diverse yet organized setup. He primarily bases his sound on clean to crunch tones, skillfully using overdrive, fuzz, and spatial effects to create the atmosphere for each song.

For distortion, he frequently employs natural overdrives like BONDI EFFECTS Sick As Overdrive, Del Mar Overdrive, and Paul Cochrane Timmy Overdrive. This allows him to push the amp’s character forward while maintaining clarity. Additionally, fuzz and distortion pedals like Marshall Shred Master and Soul Power Instruments Spanking Purplins are used to create shoegaze-like textures and aggressive leads.

In terms of spatial effects, he combines several high-quality models, including STRYMON blueSky Reverb, EVENTIDE H9, BOSS DD-500, and Providence CHRONO DELAY DLY-4. Notably, he sometimes uses two Line 6 DL4s simultaneously, utilizing the looper function to construct unique phrases.

For modulation, he incorporates Suhr Alexa (2ch chorus/vibrato), Electro-Harmonix Small Clone (chorus), and Electro-Harmonix Pulsar (tremolo). These are essential for emphasizing the floating sensation of arpeggios and the undulation of the songs.

Additionally, he uses booster pedals like xotic RC Booster and Maxon OD-9 Pro+, as well as pitch shifters like BOSS PS-6 Harmonist and DigiTech Whammy. This allows him to add thickness to lead lines and create unique harmonic textures.

For signal management, he employs the PROVIDENCE PEC-2, establishing a system that allows for smooth switching between complex pedal chains during live performances. This innovation enables him to instantly recreate a wide variety of tones, which is a significant characteristic of his sound design.

In this manner, Nagata Curtis balances distortion, spatial effects, and modulation to construct a pedalboard that adapts to the mood and phrases of each song. As a result, his unique “beautiful yet powerful” sound emerges.

Tone Settings, EQ, and Mixing Approaches

The sound of Nagata Curtis cannot simply be replicated by lining up equipment. His greatest features are the “precision of EQ and settings” and the collaboration with the PA and engineer to craft different nuances for each song.

Starting with amp settings, it is assumed that when using the Fender ’64 Custom Deluxe Reverb, he slightly reduces the treble while emphasizing the mids and keeping the bass low. This achieves a clean tone that is not harsh on the ears, resulting in a transparency that stands out in the overall ensemble. Additionally, he likely keeps the reverb from the amp’s spring subtle, adjusting the spatial expansion primarily through pedals.

When using the BAD CAT Black Cat or Sinewave Zero Point, he probably opens the highs slightly to capitalize on the characteristics of single coils while tightening the lows to maintain clarity in chord sounds. This allows for complex chord work without muddiness, preserving the refreshing quality unique to indigo la End.

Regarding the use of distortion pedals, he likely sets the BONDI Sick As OD and Timmy OD to lean towards clean boost, pushing the amp’s sound forward. Gain is set around 9 to 11 o’clock, with volume adjusted to push the amp, and tone is kept flat or slightly cut to achieve a pleasant midrange-focused distortion.

On the other hand, fuzz pedals (like Soul Power Instruments Spanking Purplins and flying teapot Rum and Coke) are used not to gain sound pressure but to add “texture” to the sound. Rather than creating a wall of sound in the band, they enrich arpeggios and leads with unique depth.

For spatial effects, he uses STRYMON blueSky, BOSS DD-500, and EVENTIDE H9 interchangeably. Delay times are often synced to the song’s BPM, with short delays (around 200ms) adding thickness to cutting and long delays (500-600ms) creating a dreamy atmosphere for leads. The mix level is adjusted to ensure the original sound remains prominent.

For modulation, he frequently switches between the two channels of Suhr Alexa, using one channel for light chorus to create width and the other for vibrato to emphasize undulation. Particularly in indigo’s ballads, there are many instances where the chorus sounds deeply applied, enhancing the emotionality of the songs.

From a mixing perspective, it is observed that the PA and engineer tend to push the midrange forward in EQ processing. The low end is left to the bass and keyboards, while the guitar is adjusted to cut the lows and clarify the mid-highs, forming a sound that stands out in the mix. This approach aligns with Curtis’s direction of aiming for a transparent and three-dimensional sound, distinct from the heavy noise typical of shoegaze.

For specific EQ examples during live performances with amp + PA combinations:

• Bass: 3-4 (subdued)
• Middle: 6-7 (prominent)
• Treble: 5-6 (within a comfortable range)
• Presence: adjusted as needed (fine-tuned according to space)

Through these settings, Nagata Curtis accurately expresses “beautiful echoes,” “warm chord sensations,” and “sharp leads” for each song. This results in a balance that supports the delicate soundscape of indigo la End while ensuring his presence is unmistakable.

Affordable Alternatives to Recreate the Tone

Nagata Curtis’s pedalboard features many boutique and high-end pieces, making it challenging for many to replicate. Therefore, here are some alternative gear options that beginners to intermediate players can use to approximate his sound at a more accessible price point.

Starting with overdrives, while Curtis loves the BONDI Sick As and Timmy Overdrive, a more affordable alternative is the BOSS BD-2 Blues Driver. When set as a clean boost, the BD-2 can naturally push the amp, recreating a similarly transparent distortion. Additionally, modified versions (like the Weed Mod) improve midrange balance, yielding a sound closer to Curtis’s.

For fuzz, while the original Ram’s Head models are hard to find, the Electro-Harmonix Big Muff Pi is a classic choice. Its price is relatively low, and it can replicate the thickness associated with shoegaze sounds. By keeping the tone subdued, you can achieve a depth similar to Curtis’s sound.

In terms of spatial effects, while STRYMON blueSky and EVENTIDE H9 are pricey, alternatives like TC Electronic Hall of Fame Reverb and BOSS RV-6 are recommended. The RV-6, in particular, includes modulation reverb and shimmer, making it easy to recreate indigo la End’s ethereal sound.

For delay, while BOSS DD-500 and Line 6 DL4 are expensive, options like BOSS DD-8 and NUX Atlantic Delay & Reverb offer sufficient functionality at a reasonable price. Utilizing tempo sync features can help create atmospheres closer to actual songs.

For modulation, instead of the Electro-Harmonix Small Clone, the BOSS CE-2W Waza Craft or TC Electronic Corona Chorus are effective alternatives. Both allow for natural adjustments to the texture of the modulation, ideal for adding depth to arpeggios and chords.

Additionally, as a booster, using the BOSS GE-7 (Equalizer) instead of the xotic RC Booster is also advisable. It can elevate specific frequency bands, enhancing solos and arpeggios.

By creatively combining these commercially available models, beginners can approximate the “transparent and three-dimensional guitar sound” of Nagata Curtis with a budget of around $500. The key is to “play the amp cleanly and layer overdrive and spatial effects as needed.” Mastering this basic approach will bring you closer to the beautiful tones characteristic of indigo la End.

By creatively combining these commercially available models, you can get closer to Nagata Curtis’s “beautiful yet firm” sound.

Summary and Conclusion

We have unraveled the sound design of Nagata Curtis, whose essence lies in the balance of “transparency and three-dimensionality.” He builds his sound on Fender-style guitars and amplifiers while skillfully utilizing boutique pedals to delicately paint the colors of each song.

Regarding guitars, he primarily uses custom models like the RS Guitarworks Workhorse and SLAB BLACKGUARD, along with Fender Telecasters, Jazzmasters, and Stratocasters, adapting them to the situation. This results in a sound palette that allows for the expression of “jazzy sweetness,” “edgy cutting,” and “floating arpeggios” according to the song.

His amp setup is based on the classic sound of the Fender Deluxe Reverb, enhanced with boutique amps like BAD CAT and Sinewave Zero Point. This produces a clean to crunch sound that maintains presence in both live and recording settings.

The pedalboard does not chase flamboyance; rather, overdrives serve a boosting role to push the clean sound, fuzz adds texture, and reverb, delay, and modulation provide just enough spaciousness as needed. This reflects a “less is more” aesthetic. Furthermore, the efficient use of a switcher allows for seamless transitions between complex tones.

To replicate the essence of this sound design, it is crucial to focus on “utilizing the spaces within the music” rather than merely “crafting the sound.” By ensuring that EQ secures frequencies that do not clash with other instruments and keeping reverb and delay from overwhelming the mix, Curtis embodies the “transparent and delicate world” that indigo la End represents.

If readers wish to approach Nagata Curtis’s sound, it is more effective to combine a clean-setup amp with simple overdrive and spatial effects, focusing on practicing beautiful chord sounds and arpeggios. The allure of his sound lies more in “how the sound is handled” than in the equipment itself.

In summary, Nagata Curtis’s sound comprises “beauty with substance,” “control of echoes,” and “flexibility that supports the entire song.” By understanding this philosophy and experimenting with your own gear, you can surely bring the world of indigo la End to life through your guitar.