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

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Introduction (Overview of Tone)

Tatsumi Omura, the guitarist of Kururi, is known for being a fundamental part of the band’s diverse sound. His playing ranges from simple yet powerful riffs to ethereal arpeggios and unique chord strumming techniques, supporting the band’s musical breadth.

During the iconic periods of their albums “Antenna” and “NIKKI,” he skillfully alternated between alternative rock-style distortion and delicate clean tones, making Kururi’s sound truly unique. Not only does he play guitar, but he has also been seen playing keyboards (Nord Lead), showcasing his talent as a multi-instrumentalist.

There’s an anecdote from Shigeru Kishida, who mentioned that he thought Omura was a “dangerous person” when he saw him holding a Flying V guitar, indicating that his choice of gear highlighted his individuality. Omura’s sound creation is deeply rooted not just in gear selection but also in his expressive methods on stage and the overall balance of the band.

To recreate his sound, it’s crucial to consider not only the guitars and amplifiers but also how to convey the dynamics and atmosphere of each song.

Below, we will carefully explain the amplifiers, guitars, and effects that Tatsumi Omura has actually used, summarizing how they contributed to his sound creation.

▶ Search official YouTube videos of Kururi

List of Amplifiers and Features

In Tatsumi Omura’s sound creation, the choice of amplifiers is one of the key elements. From live footage and interviews in music magazines, it is confirmed that he primarily used Fender amps, along with the introduction of Bad Cat amps at certain times. These amplifiers are essential when discussing his sound.

The most representative amplifier is the Fender Twin Reverb. This classic amp, which has been around since the 1960s, is known for its bright clean tones and rich reverb sound. It pairs exceptionally well with the arpeggio phrases and open chord strumming that are prevalent in Kururi’s music, creating a transparent sound that enhances Omura’s playing style. Particularly in songs like “Bara no Hana” and “WonderVogel,” the Twin Reverb’s brilliance shines through, making the most of the spaciousness in the music.

On the other hand, during the “Antenna” period, Bad Cat amplifiers were also introduced. Bad Cat, a brand directly related to Matchless, is known for its warm vacuum tube sound and thick crunch tones. Compared to the brightness of the Twin Reverb, Bad Cat aims for a more alternative sound, characterized by a rough yet solid tone. For rock numbers that require distortion or aggressive live performances, it is assumed that the Bad Cat sound played a significant role.

Kururi’s music spans a wide range, from soft acoustic sounds to nearly thunderous alternative sounds. Therefore, flexibility in amplifier selection is crucial, and it is believed that Omura switched between Fender and Bad Cat amps depending on the song.

Additionally, regarding the EQ settings of the amps, it is likely that he emphasized Treble for clear sound separation while slightly reducing Mid to ensure his sound did not get buried within the band. In contrast to the bright characteristics of the Twin Reverb, it is assumed that he raised the gain and brought out the midrange with Bad Cat to adapt to different song styles.

Thus, Tatsumi Omura’s choice of amplifiers was a careful balance of “transparency” and “thickness.” By combining the clean tones of the Twin Reverb with the crunch and drive of Bad Cat, he supported Kururi’s diverse musicality.

Types of Guitars Used and Features

When discussing Tatsumi Omura’s sound, the guitars he has favored are indispensable. The selection of guitars, used in various scenes, vividly reflects his musicality and the overall direction of the band. The confirmed models include the Gibson Flying V, Fender Stratocaster, Fender Telecaster Thinline, Gibson Melody Maker, and Fender Jazzmaster.

First, the iconic Gibson Flying V stands out. Its unique V shape is visually striking on stage, and Kishida Shigeru mentioned that he thought Omura looked “dangerous” holding it. While the Flying V is often associated with metal and hard rock, Omura adapted it to alternative rock and indie sounds, producing a hard yet core distortion. This unexpected combination contributed to Kururi’s wide-ranging musicality.

Next is the Fender Stratocaster. The Strat is a versatile model that can handle everything from clean to crunch tones, making it invaluable for Kururi’s arpeggio-driven songs and those requiring transparency. The bright sound characteristic of single-coil pickups stands out even more when paired with the Twin Reverb, enhancing Omura’s delicate picking.

Additionally, the Fender Telecaster Thinline has been confirmed for use in live performances and recordings. This semi-hollow model is known for its airy and soft tone, making it well-suited for acoustic-oriented songs and plays combined with spatial effects. It is assumed that this Thinline produced a unique resonance in Kururi’s lyrical songs.

The Gibson Melody Maker is also used, known for its lightweight and simple structure. Its straightforward, lo-fi sound likely reinforced Kururi’s alternative side during their early to mid-period.

Furthermore, the Fender Jazzmaster has been confirmed as well. The Jazzmaster features a unique circuit structure and long scale, providing rich sustain, making it popular in alternative rock and shoegaze. Omura used it to create expansive soundscapes combined with deep reverb and delay.

In summary, Tatsumi Omura’s guitar selection was meticulously structured to accommodate a wide range from simple chord backing to experimental sound-making. The presence of the Flying V provided impactful distortion, while the Strat and Telecaster offered transparent cleans, and the Jazzmaster created expansive spatial expressions. Each guitar added new colors to Kururi’s songs.

Effects and Pedalboard Setup

The presence of effects is indispensable in Tatsumi Omura’s sound creation. Kururi’s songs range from clean, transparent sounds to thick tones that heavily utilize distortion and spatial effects, making the switching of effects crucial. Among them, the use of the Providence PEC-1 has been confirmed as a central part of his effects board.

The Providence PEC-1 is an effects controller that allows multiple effects to be connected in a loop and switched instantly. For a band like Kururi, which has a large setlist, the ability to smoothly change complex effects is a significant advantage. It is assumed that the PEC-1 played an important role, especially since the tonal colors change significantly from song to song.

The actual pedalboard setup likely consisted of a combination of distortion, spatial, and modulation effects. For distortion, overdrive and distortion pedals were likely used, and possibly fuzz pedals in certain cases. The intense distortion sound combined with the Flying V or Jazzmaster was essential for amplifying the impact during live performances.

When using the Strat or Telecaster, modulation effects like chorus and tremolo were likely added to enhance the clean tones, while spatial effects such as delay and reverb were utilized to create depth. Given the characteristics of Kururi’s songs, the combination of deep reverb and short delay was likely a standard setting.

Moreover, during live performances, the need to switch tones instantly based on the song’s progression likely led to the integration of various effects into the PEC-1, with presets prepared for each section. For example, a light crunch with subtle reverb for backing, and a distortion setting with emphasized delay for solos or guitar riffs.

Omura’s approach to effects work emphasizes harmony within the overall composition rather than flashy tones. Instead of overly emphasizing distortion, he focused on a balance that blended seamlessly with the band. Therefore, the well-coordinated effects board centered around the Providence PEC-1 can be considered a crucial system supporting “the essence of Kururi’s sound.” Overall, Tatsumi Omura’s effects setup is assumed to be a “collection of smart solutions for handling diverse tonal changes.”

Tone Settings, EQ, and Mixing Approaches

Tatsumi Omura’s sound creation is characterized not only by his choice of guitars and amplifiers but also by unique EQ and mixing techniques. Kururi’s songs range widely, from delicate and transparent ensembles like “Bara no Hana” to energetic rock numbers like “WonderVogel,” making tone adjustment extremely important.

Regarding amp settings, when using the Fender Twin Reverb, it is assumed that he set Treble around 5-6, slightly lowered Mid, and kept Bass around 4. This setup would allow for easy blending within the band while ensuring the guitar’s attack does not overpower the mix. Reverb was likely set deeper depending on the song, especially in arpeggio-driven pieces where it played a role in expanding the space.

Conversely, when using Bad Cat, it is assumed that he raised the gain and emphasized the midrange. In situations requiring a thick alternative rock sound, he likely boosted Bass and Mid while lowering Treble to produce a thick sound without being harsh.

Regarding effects, the PEC-1 system likely provided multiple tones for “backing,” “lead,” and “arpeggio.” For instance, the lead tone might feature overdrive plus delay (around 400ms for moderate repeats), while the backing tone could consist of light crunch plus spring reverb, and the arpeggio tone could be clean with reverb and light chorus.

Additionally, in studio recordings and live PA processing, Omura’s guitar often utilized panning to create a left-right positioning, allowing for differentiation from the other guitarist (Shigeru Kishida). This approach likely contributed to the unique “thick yet expansive guitar sound” characteristic of Kururi.

For EQ processing, it is assumed that he lightly boosted around 3kHz to emphasize attack while cutting low-end frequencies (below 100Hz) to separate from the bass and drums. It is also likely that he applied high-cut on reverb to prevent the reverberation from becoming harsh on the ears.

Especially in live settings, flexibility in adjusting to the band’s overall dynamics was essential. For ballad-like songs, he likely emphasized reverb and clean tones, while for upbeat songs, he brought forward distortion and midrange thickness.

In summary, Tatsumi Omura’s sound creation prioritized “how to coexist within the band’s overall sound,” focusing on EQ and mixing techniques that emphasized ensemble harmony rather than flashy solo tones or extreme distortion. As a result, his sound supported the diverse expressions of Kururi’s music. It is assumed that his sound creation was established through a balance of technical ingenuity and musical sensibility.

Affordable Alternatives to Recreate the Tone

While ideally, to recreate Tatsumi Omura’s sound, one would gather the actual guitars and amplifiers he used, many of these can be expensive and hard to obtain. Therefore, for beginners or those looking to save costs, we will introduce relatively affordable alternative gear that can help achieve a similar sound. Here, we focus on products available in the price range of approximately $100–500.

For amplifiers, to easily recreate the clean tones of the Fender Twin Reverb that Omura used, the Fender Champion 40 or Boss Katana series would be optimal. The Champion 40 is priced around $300-$400 and offers the bright clean tones characteristic of Fender, along with built-in reverb and chorus. The Boss Katana 50 MkII features multi-functionality, capable of handling a wide range from clean to crunch, making it versatile for practice and live performances.

Regarding guitars, while models like the Flying V and Jazzmaster can be expensive, there are many accessible models from Epiphone and Squier. The Epiphone Flying V can be obtained for around $600-$800, providing a similar look and sound to the Gibson version at a lower cost. The Squier Classic Vibe Jazzmaster is available for around $500-$600 and fits well with Kururi’s sound, especially when combined with spatial effects. For a Telecaster Thinline alternative, the Squier Telecaster Thinline is suitable, capable of recreating the airy semi-hollow sound.

For effects, there is no need to immediately invest in an expensive switching system like the Providence PEC-1. Instead, BOSS multi-effects units (GT-1 or ME-80) are recommended for beginners. These can be found for $100-$300 and cover essential effects like overdrive, delay, reverb, and modulation. Particularly, the GT-1 is lightweight and user-friendly, making it convenient for live and studio practice.

Additionally, for distortion pedals, the BOSS SD-1 (overdrive) is a classic that can be found in the used market for $20-$30. For delay, the BOSS DD-3T or DD-7, and for reverb, the TC Electronic HOF Mini are good choices. Combining these affordable options without needing a switcher like the PEC-1 can still get you close to Omura’s sound.

In summary, the key points for recreating Kururi’s sound affordably are “bright clean tone amplifiers,” “single-coil guitars,” and “the use of spatial effects.” By focusing on these aspects when selecting gear, you can get significantly closer to Tatsumi Omura’s sound.

Summary and Conclusion

Reflecting on Tatsumi Omura’s sound creation, it is clear that his sound is not reliant on flashy techniques or effects, but rather on a balanced approach that prioritizes how to support the music. The impactful riffs from the Flying V, the delicate arpeggios from the Strat and Telecaster, and the expansive spatial sounds created with the Jazzmaster all played significant roles in supporting the world of each song.

In terms of amplifiers, the use of the Fender Twin Reverb for its bright clean tones and the thick crunch of the Bad Cat allowed him to adapt to the band’s wide-ranging repertoire. Coupled with the effects system centered around the Providence PEC-1, he could smoothly execute complex tonal changes during live performances, reflecting his sincere approach to sound creation.

What characterizes his sound is not the “assertiveness of the tone,” but rather the constant consideration of “the place of the sound.” Subtle EQ adjustments, the spatial effects of reverb and delay, and the positioning in the mix—all these elements naturally blended into Kururi’s sound, fulfilling the role of delivering comfort to listeners.

Moreover, Omura’s gear selection shows a sense of “playfulness” and “flexibility.” The unexpected choice of the Flying V creates a strong presence on stage, while the more traditional models like the Strat and Thinline resonate with beautiful tones. This balance between extremes adds depth to Kururi’s musicality.

Overall, the essence of Tatsumi Omura’s sound creation lies in “the flexibility to support the overall sound of the band” and “the ingenuity to accurately express the atmosphere of each song.” Even for beginners aiming to emulate his sound, it is not necessary to gather all expensive gear; focusing on “the beauty of clean tones,” “the use of spatial effects,” and “the clever switching of tones for each song” can yield a close approximation of his nuances.

The process of trying to recreate Omura’s sound for those captivated by Kururi’s music will deepen their understanding of his sound and enrich their musical experience. Tatsumi Omura’s tones can be seen as the crystallization of a “sincere approach to music” rather than merely the result of “gear.”