Introduction (Overview of Tone)
Takumi Kitamura is known as the guitarist for DISH//, playing a crucial role in the band’s musical identity. His sound is characterized by an emotional and powerful playing style, which stands out particularly during live performances. Iconic songs such as “Neko” and “Bokutachi ga Yarimashita” showcase how his guitar sound greatly enhances the atmosphere of the tracks.
His approach to sound design features a combination of vintage guitars and tube amplifiers, allowing for a wide range from warm clean tones to driven rock sounds. Additionally, his unique sense of using effects enables him to select the appropriate tone for each song.
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List of Amplifiers and Features
| Gear | Brand | AmazonURL | Band | Guitarist | Notes |
|---|---|---|---|---|---|
| Marshall JCM800 | Marshall | link | DISH// | Takumi Kitamura | An amp suited for hard rock sounds, confirmed to be used in live performances. |
| Fender Hot Rod Deluxe | Fender | link | DISH// | Takumi Kitamura | A versatile amp excellent for clean sounds and light drive. |
Kitamura emphasizes sound pressure and dynamics in his live performances, utilizing these amplifiers. The Marshall JCM800 is frequently used for hard rock and emo tracks, while the Fender Hot Rod Deluxe is well-suited for clean and lightly driven sounds, accommodating a wide range of genres.
Types of Guitars Used and Features
| Gear | Brand | AmazonURL | Band | Guitarist | Type | Notes |
|---|---|---|---|---|---|---|
| Fender Jazzmaster | Fender | link | DISH// | Takumi Kitamura | Vintage | Used due to admiration for Hisako Tabuchi of NUMBER GIRL. Pairs well with MATCHLESS DC-30. |
| Fender Custom Shop Vintage Custom 1950 Double Esquire | Fender | link | DISH// | Takumi Kitamura | Vintage | Main guitar as of 2022, characterized by a simple yet robust sound. |
| Fender Stratocaster | Fender | link | DISH// | Takumi Kitamura | Stratocaster | A highly versatile guitar suitable for a wide range of genres. |
| Fender Telecaster | Fender | link | DISH// | Takumi Kitamura | Telecaster | Purchased with a sense of destiny. Same model as used by Toshi Abe of THEE MICHELLE GUN ELEPHANT. |
| Gretsch G6659T Players Edition Broadkaster Jr. | Gretsch | link | DISH// | Takumi Kitamura | Full Acoustic | Used for clean and warm sounds. |
| Danelectro 59M N.O.S.+ KEEN GREEN | Danelectro | link | DISH// | Takumi Kitamura | Vintage | Confirmed through photos. Used for a unique look and sound in live and recording settings. |
| Taylor 214ce | Taylor | link | DISH// | Takumi Kitamura | Acoustic Guitar | Offers a balanced sound, used in acoustic arrangements. |
Kitamura utilizes these guitars in both live performances and recordings, choosing each based on the song’s atmosphere and genre. Vintage guitars provide a warm sound, while the Fender Stratocaster and Telecaster offer versatility across various genres. The Gretsch full acoustic guitar is particularly suited for songs requiring clean and warm tones.
Effects and Pedalboard Setup
| Gear | Brand | AmazonURL | Band | Guitarist | Effect Type | Notes |
|---|---|---|---|---|---|---|
| Line 6 Stompbox Modeler M9 | Line 6 | link | DISH// | Takumi Kitamura | Multi-Effects | Primarily used for spatial effects like delay and reverb, allowing for diverse sound switching during live performances. |
In live and recording settings, Kitamura uses the Line 6 M9 to achieve a simple yet versatile sound design. By employing spatial effects such as delay and reverb, he creates different atmospheric expressions for each song. The ability to switch tones flexibly while leveraging the characteristics of the amp and guitar is a key aspect of his sound.
Other assumed effects are not yet confirmed, but past live photos and MVs suggest the use of a volume pedal and compressor as well.
Tone Settings, EQ, and Mixing Approaches
Kitamura’s sound design begins with maximizing the individuality of each guitar. For instance, the Fender Jazzmaster is known for its clean and soft tone, which, when paired with the MATCHLESS DC-30, provides warm overtones suitable for jazz and pop songs. On the other hand, the Fender Custom Shop Vintage Custom 1950 Double Esquire is often used for its simple yet robust sound, frequently featured in rock riffs.
In EQ settings, he tends to keep the low frequencies slightly subdued while emphasizing the mid-high frequencies to ensure the guitar’s outline remains clear and does not get buried in the band sound. He switches guitar channels and effects on and off as needed for each song, instantly recreating the desired tone. The depth of reverb and delay is fine-tuned according to the tempo and spatial feel of the song, naturally enhancing the track’s atmosphere. During mixing, he sometimes layers multiple guitar sounds, adjusting the EQ of each track to avoid interference.
Live, he utilizes volume pedals and M9 presets to smoothly transition between tones between songs. This allows him to control the attack, sustain, and resonance of the sound, balancing visual performance with acoustic impact. As a result, Kitamura’s guitar sound is thought to maintain a delicate balance that highlights his individuality without disrupting the song’s world.
Affordable Alternatives to Recreate the Tone
| Type | Gear | Brand | AmazonURL | Band | Guitarist | Notes |
|---|---|---|---|---|---|---|
| Multi-Effects | BOSS GT-1 | BOSS | link | DISH// | Takumi Kitamura | Can achieve sounds similar to the Line 6 M9. Easy for beginners to recreate spatial effects with presets. |
| Amp Simulator | ZOOM G3Xn | ZOOM | link | DISH// | Takumi Kitamura | Includes multiple amps and effects, making it easy to recreate tones for live or home recording. |
| Overdrive | JHS Morning Glory | JHS | link | DISH// | Takumi Kitamura | Ideal for achieving a light drive sound that complements the clean tones of vintage guitars. |
By using this gear, it is possible to achieve a sound close to Kitamura’s at a relatively low cost. Particularly, the BOSS GT-1 and ZOOM G3Xn offer versatility suitable for live use, allowing users to recreate spatial sounds similar to the M9 without needing to consider complex effects combinations. For beginners, the ease of use and high sound reproduction make these alternatives a great resource for learning Kitamura’s sound design.
Summary and Conclusion
The essence of Takumi Kitamura’s sound design lies in maximizing the individuality of the guitar while accurately expressing the spatial qualities of each song. By combining vintage guitars with Class A amplifiers, he achieves a warm and core sound, and with the Line 6 M9 and preset effects, he can switch between diverse tones instantly, providing a consistent sound in both live and recording settings.
Notably, he skillfully selects guitars and amplifiers according to the genre and arrangement of the songs, along with meticulous EQ adjustments and adept use of spatial effects. This allows Kitamura’s guitar sound to stand out within the overall band sound while maintaining a balance that does not compromise the song’s atmosphere. When aiming for replication, understanding the choice of guitar types, amplifier characteristics, appropriate effect settings, and mixing perspectives is crucial.
Moreover, Kitamura’s sound design reflects a philosophy of “simplicity yet expressiveness.” His main guitar, the Fender Custom Shop Vintage Custom 1950 Double Esquire, requires minimal effects, allowing the guitar’s inherent tone to shine. In live settings, subtle changes in string selection and pickup switching create nuanced tonal variations, enriching the dynamics of the songs.
For acoustic songs and ballads, using the Taylor 214ce and Gretsch Broadkaster Jr. ensures a soft and warm sound. By slightly boosting the mid-low frequencies while keeping the highs subdued, he achieves a natural resonance that balances with the vocals. These adjustments are optimized according to the acoustic environment during PA or mixing, enhancing the reproducibility in recordings and live performances.
On the effects side, utilizing the Line 6 M9 and adding delay or reverb as needed creates spatial depth and expression for the songs. Particularly in lead or arpeggio sections, adjusting the timing of reverb and delay to match the song’s tempo balances transparency and richness in the sound. The fusion of Kitamura’s sensibility and technique forms a unique sound characteristic of DISH//.
Overall, Kitamura’s sound design is based on the philosophy of “enhancing the natural sound of the instrument while making minimal corrections to suit the song’s expression,” indicating that achieving a highly reproducible sound requires a comprehensive understanding of the elements of guitar, amplifier, effects, EQ, and mixing. This enables the guitar’s presence in DISH//’s music to be maximized.
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