[Tatsuya Kitani] How to Recreate the Tatsuya Kitani Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tatsuya Kitani, a singer-songwriter, captivates many listeners with his unique sound, including the anime theme song “Ao no Sumika.” His guitar work stands out for its rhythmic precision, honed through his experience as a bassist, allowing him to create a compelling tone whether performing solo or with a band.

His playing style features clear, three-dimensional clean tones centered around a Stratocaster, alongside powerful drive sounds achieved through the use of the Quad Cortex amp simulation. He also incorporates an acoustic guitar (Taylor) for delicate arpeggios and chord work that enriches the overall musical texture.

In recent years, he has prominently used the Fender 70th Anniversary American Professional II Stratocaster, which he described as “perfect for high-fidelity songs,” and a Momose Stratocaster affectionately named “Ginji.” This diversity in tone is evident in his performances, where he opts for a modern setup that prioritizes sound consistency and reproducibility by sending signals directly from the Neural DSP Quad Cortex to the PA system, rather than using traditional amplifiers.

Kitani’s sound design revolves around the “modern multi-effects operation” and the “transparency of Stratocaster-type guitars.” His strength as a guitarist lies in his ability to approach sound design with a producer’s perspective, accurately crafting the necessary sonic images for his music.

▶ Search official YouTube videos of Tatsuya Kitani

List of Amplifiers and Features

Tatsuya Kitani’s approach to amplifiers in live and studio settings is distinct from traditional rock guitarists. In recent performances, he has adopted a fully digital setup centered around the Neural DSP Quad Cortex, foregoing physical amplifiers altogether.

This method allows for direct sending of amp simulations and cabinet modeling to the PA system, ensuring a stable sound. This is particularly advantageous in large venues or tours, where the on-stage acoustic environment may vary, yet a consistent tone can still be achieved. One example of the models he uses within the Quad Cortex includes the “Watt D103 Normal” (a Hiwatt-style amp) and the “412 Range PPC V30 ’02 cabinet,” as confirmed in a live patch introduction article by Guitar Magazine.

In studio recordings, he utilizes the presets and impulse responses (IR) of the Quad Cortex, enabling a wide range of sound creation from clean to drive. Compared to traditional Marshall or Fender amps, the digital approach offers precise reproducibility and quick switching, which are significant advantages.

While there are no clear records of specific physical amplifiers he has used in the past, it is suggested that he actively employs presets mimicking Marshall or Hiwatt sounds during sessions and live performances with supporting members. This reflects his philosophy of not being tied to physical amplifiers but rather freely designing the necessary sounds.

Thus, Kitani’s choice of amplifiers can be characterized as “modeling-centric rather than reliant on physical amps,” prioritizing consistency and versatility. It is assumed that he selectively uses Hiwatt and Marshall sounds while centering around the Quad Cortex.

Types of Guitars Used and Features

Tatsuya Kitani, while primarily a singer-songwriter, also makes a significant impact as a guitarist on stage, with his sound core being multiple Stratocasters and an acoustic guitar. His statements and social media posts reveal a clear distinction in the models he owns and uses over time, indicating a flexible approach based on his playing style and the direction of his songs.

Notably, in the fall of 2023, he revealed the purchase of a Fender Stratocaster, stating, “I own two Fender Stratocasters,” which has been seen in live performances. The clear sound characteristic of the Stratocaster shines particularly in high-fidelity songs like “Ao no Sumika.”

Additionally, he has mentioned the Fender 70th Anniversary American Professional II Stratocaster, noting that it is “perfect for high-fidelity songs,” suggesting its active use in current live performances. This model, released to commemorate Fender’s 70th anniversary, offers a clear tone profile and modern sound design appeal.

In 2019, he reported on social media the acquisition of a Momose Stratocaster, affectionately named “Ginji.” This instrument has supported his early career and has been frequently spotted in live shows and videos. Momose is a Japanese handmade brand known for its meticulous craftsmanship and rich resonance, which explains his fondness for it.

For acoustic guitar, he favors Taylor, mentioning in his posts that it “handles almost all of the acoustic parts in my songs.” While the specific model is not disclosed, the clear and balanced tone typical of Taylor guitars matches his delicate arrangements.

Overall, Kitani’s guitar selection emphasizes “clear and modern sonic images,” often choosing instruments that highlight the high-fidelity nature of his songs. It can be assumed that while he centers around Stratocasters, he flexibly incorporates acoustic guitars to express the emotional nuances of his music.

Effects and Pedalboard Setup

Tatsuya Kitani’s effects setup has recently transitioned to a digital-centric style centered around the Neural DSP Quad Cortex. This approach allows for a comprehensive management of amp simulations, cabinet modeling, and multiple effect chains, enabling him to express a wide range of tones in a simple yet versatile manner for both live and recording settings.

Notably, he operates both bass and guitar through the Quad Cortex. With a background as a bassist, he has previously incorporated bass effects such as the BOSS BC-1X and Stomprox Over Drive Black Label into his boards. This indicates a sound philosophy that emphasizes maintaining a high-fidelity tone while effectively controlling the low end.

Additionally, equipment like the Electro-Harmonix Micro POG and Darkglass Microtubes B7K V2 has been used during support performances for artists like Yorushika, serving roles in octave and preamp capacities to create a thicker sound. This versatility showcases his flexible sound design approach, not just as a guitarist but also as a sound producer.

The current mainstay, the Quad Cortex, simplifies equipment transport by consolidating amps, cabinets, and effects into one unit, maximizing reproducibility in both stage and studio environments. While the physical pedals have decreased compared to past setups, the principle of “accurately recalling necessary sounds digitally” remains consistent.

In summary, Tatsuya Kitani’s effects configuration is characterized by a “digital-centric foundation that incorporates analog elements as needed,” supporting the diversity and consistency of his music.

Tone Settings, EQ, and Mixing Approaches

Tatsuya Kitani’s sound design is characterized by its flexibility to adapt the sonic image according to the song. Therefore, specific EQ settings and amp simulation choices vary from track to track, but a common thread is the maintenance of a “high-fidelity and three-dimensional sound.”

Starting with EQ balance, for clean tones, he tends to keep the low end restrained, lightly cutting frequencies below 100Hz to clarify the sound’s outline. The mids are set with a slight boost (around 500Hz to 1kHz) to highlight the presence and articulation typical of Stratocaster single coils, while the highs are elevated around 5kHz to add brilliance. This approach ensures that the guitar remains distinct within the ensemble without overshadowing the vocals.

For drive sounds, he bases his settings on the “Watt D103 Normal” Hiwatt-style amp model within the Quad Cortex, setting the gain to a moderate level and applying light compression to maintain attack and definition. He is careful not to excessively boost the low end during drive, mindful of the bass guitar’s role. During riffs and solos, he often pushes the mids further to enhance presence.

When it comes to acoustic guitar (Taylor), he likely applies a moderate low-cut during recording to manage the low frequencies while boosting the mids and highs to emphasize the delicacy of strumming and arpeggios. As he mentioned, “my acoustic guitar handles almost all of my songs,” it can be inferred that he blends mic recordings with line signals to create a three-dimensional sound.

Mixing techniques are also noteworthy. He tends to apply delay and reverb sparingly, adding spatial depth while keeping the vocals prominent. In grand songs like “Ao no Sumika,” he sets the reverb deeper to provide a sense of scale, while in more band-oriented tracks, he finishes with a drier sound to enhance tightness and impact.

For live performances, he switches Quad Cortex presets for each song, optimizing the EQ, gain, and spatial effects balance to suit the song’s mood. This allows for seamless tonal transitions while maintaining overall sonic coherence. Additionally, his direct connection to the PA system ensures consistent sound across varying acoustic environments.

Overall, Tatsuya Kitani’s settings revolve around “organizing lows, emphasizing mids, and enhancing brilliance in the highs,” with fine adjustments made to match the atmosphere of each song. These techniques contribute to establishing a unique sound that balances delicacy and power in his music.

Affordable Alternatives to Recreate the Tone

Tatsuya Kitani’s sound design relies heavily on the modern digital system centered around the Neural DSP Quad Cortex. However, given that the Quad Cortex is a high-end piece of equipment (over $2000), it can be a barrier for beginners or those looking to learn sound design. Therefore, this section introduces alternative gear that can help achieve a similar sound at a more accessible price point (around $100-$500).

The essence of Kitani’s sound design lies in “high-fidelity and clear cleans,” “well-defined drive,” and the addition of reverb and delay for spatial depth. If you can incorporate these three elements, you can achieve a similar quality even with more affordable gear.

To recreate the basic electric guitar tone, the BOSS GT-1 multi-effects processor is highly recommended. This compact and lightweight unit covers amp simulations, EQ, and spatial effects like delay and reverb, accommodating a wide range of sounds from clean to drive. While it may not match the resolution of the Quad Cortex, it is sufficient for practice and small venue performances.

If you want to replicate overdrive or bass-oriented sounds, consider the “BOSS OD-200” or the more affordable “Darkglass Microtubes X,” which is a budget version of the Darkglass Alpha Omega Ultra. The OD-200, in particular, features detailed EQ and a variety of drive characters, making it capable of delivering powerful riffs reminiscent of “Ao no Sumika” when paired with a Stratocaster.

For acoustic-oriented sounds, multi-effects units like the ZOOM G3Xn, known for its excellent spatial effects, or the simple and user-friendly BOSS VE-8 Acoustic Singer, can be effective. While achieving the brilliance of a Taylor may be challenging, creative use of line recordings and reverb can bring you close to the desired atmosphere.

Finally, if you want to complete your sound design affordably, consider amp simulator-equipped multi-effects like the “Positive Grid Spark” or “Line6 POD Go.” These are popular for home practice and allow for detailed sound adjustments through app integration, making them ideal for experiencing Kitani’s philosophy of “designing sounds to fit the scene.”

In summary, by incorporating affordable multi-effects like the BOSS GT-1 or Line6 POD Go and focusing on clean tones, reverb, and moderate drive, you can get quite close to Tatsuya Kitani’s sound. His style of “freely designing sound” does not necessarily require expensive gear to experience.

Summary and Conclusion

Reflecting on Tatsuya Kitani’s sound design, its essence lies in the fusion of “sonic image design that aligns with the music” and “modern digital operation.” Unlike traditional rock guitarists who may cling to specific physical amplifiers or pedals, he thoroughly embodies an approach that flexibly constructs the necessary sounds for each scene.

Regarding his guitar choices, he primarily centers around Stratocasters, utilizing unique models like the Momose “Ginji” and the Fender 70th Anniversary Stratocaster. By incorporating a Taylor acoustic, he covers a wide musical spectrum from band sounds to solo performances. These instruments share a common axis of “clarity and high-fidelity,” allowing for diverse expressions while maintaining consistency across all songs.

In terms of effects and amplifiers, his setup revolves around the Neural DSP Quad Cortex, establishing a style that completes amp, cabinet, and spatial effects digitally. Particularly in live settings, sending signals directly to the PA system provides stable sound regardless of the environment, showcasing a modern equipment operation that balances “reproducibility” and “efficiency.”

His sound design philosophy centers on organizing lows, emphasizing mids, and enhancing brilliance in the highs. By adding reverb and delay judiciously, he creates soundscapes that support the atmosphere of each song. This extends beyond mere guitar sounds, reflecting a “producer’s perspective” that influences the overall arrangement and mix of his music.

Moreover, for beginners or fans looking to replicate his sound, it is not necessary to invest in expensive gear. By using affordable multi-effects like the BOSS GT-1 or Line6 POD Go, one can experience the essence of his sound design, characterized by “high-fidelity,” “clarity,” and “flexible tonal switching.”

In summary, Tatsuya Kitani’s sound design embodies the idea that “the sound itself expresses the worldview of the music.” Rather than relying on equipment, his flexibility in choosing the optimal means to match the desired sonic image makes his sound truly unique. This approach may well represent a new standard in modern music production.