Tetsuya Miwa – How to Recreate the Spitz Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Tetsuya Miwa, guitarist of Spitz, holds a truly unique presence in the Japanese rock scene. Known as a master of arpeggios, he often mentions that after the hit single “Robinson,” he gained confidence in his arpeggio playing. His style is therefore centered around delicate and beautifully articulated arpeggio work.

The most distinctive aspect of Miwa’s sound lies in his wide dynamic range, from clean to light overdrive, combined with his masterful use of spatial effects to create dreamlike tones. In iconic songs such as “Robinson,” “Sora mo Toberu Hazu (I Think I Can Fly),” and “Cherry,” one can hear his warm Gibson Les Paul tone blended with chorus and delay, resulting in a floating, ethereal soundscape.

His guitar choices are diverse—Les Pauls, Jazzmasters, Mustangs, and more—used depending on the song and arrangement. For example, from around 2023, he began using a Les Paul Deluxe extensively, showing his willingness to introduce new gear at different times as he continues to search for fresh sounds.

The reason his tone garners such attention is his commitment to expressing the atmosphere of the song itself rather than relying on technical showmanship. Instead of flashy guitar solos, he focuses on building an overall mood that enhances the song’s world, making his style a valuable model for many guitarists.

▶ Search official YouTube videos of Spitz

List of Amplifiers and Features

Tetsuya Miwa’s amplifier choices are carefully made to achieve the delicate and warm sound that defines Spitz’s music. In recent years, his main amplifiers have included the Kemper Profiling Amplifier, Divided by 13, and the MATCHLESS DC-30. Each amplifier serves a different musical purpose in his setup.

The Kemper Profiling Amplifier is the amp Miwa most frequently uses in live performances. This digital modeling amp faithfully reproduces the characteristics of tube amps and allows him to switch instantly between multiple amp sounds, making it ideal for the diverse repertoire of Spitz. Its reliability and consistency on nationwide tours are particularly valued, and the ability to store and recall optimized settings for each song makes it indispensable for a band with such a wide setlist.

Divided by 13, a boutique American amplifier, is often used by Miwa in studio recordings. Known for its stunning clean tones and natural transition from light to medium overdrive, it perfectly complements Miwa’s arpeggio-based style. Each note is delivered with exceptional clarity, making it highly suited to Spitz’s intricate arrangements.

The MATCHLESS DC-30, a renowned British boutique amplifier, is another key piece in Miwa’s rig. With 30 watts of power and a brilliant clean tone reminiscent of the Vox AC30, it helps create the shimmering, floating quality of Spitz’s sound. Its synergy with modulation and spatial effects such as chorus and reverb makes it a vital component in realizing Miwa’s signature expansive tone.

Considering his amplifier history, Miwa has clearly prioritized flexibility—using Kemper for live reliability, Divided by 13 for high-definition studio tones, and MATCHLESS for its sparkling British clean sound. These choices indicate his pursuit of tonal clarity and warmth tailored to the unique requirements of Spitz’s music. Based on available evidence, these can be considered his core amplifier selections, though variations across different periods may exist.

Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Notes
Kemper Profiling Amplifier	Kemper	Amazon Search	Spitz	Tetsuya Miwa	Main live amp. Offers stability and versatile tone switching
Divided by 13	Divided by 13	Amazon Search	Spitz	Tetsuya Miwa	Favored in studio recordings. Known for crystal-clear clean tones
MATCHLESS DC-30	Matchless	Amazon Search	Spitz	Tetsuya Miwa	British boutique amp with Vox AC30-like brilliance. Works well with spatial effects

Types of Guitars Used and Features

Tetsuya Miwa’s guitar collection reflects the wide musical variety of Spitz. Among his many instruments, the Gibson Les Paul series—particularly the Les Paul Deluxe that he began using more heavily around 2023—stands out as his most frequently played guitar.

The Gibson Les Paul Deluxe is an especially important guitar in Miwa’s arsenal. Equipped with mini-humbuckers, it produces a brighter and more articulate tone compared to standard humbuckers. This clarity is perfect for Spitz’s delicate arpeggio-driven passages, allowing the guitar to cut through the mix while maintaining warmth. The vintage nature of this model, likely from the 1970s, also contributes to its distinctively aged tonal character.

The Fender Jazzmaster 1960 has long been one of Miwa’s iconic guitars, appearing in both early and later works. Its offset body and unique pickup layout give it a sound character very different from a Les Paul. The transparent single-coil clean tones are particularly effective in songs such as “Robinson” and “Sora mo Toberu Hazu,” adding to the band’s ethereal atmosphere.

Other vintage Les Pauls, such as the Gibson Les Paul Gold Top 1968 and Gibson Les Paul 1968, also play key roles. These late-1960s models offer tonal warmth and depth distinct from modern Les Pauls, with humbuckers delivering the low-mid richness that underpins Spitz’s warm band sound.

Equally notable is the Sago Curious Shinon, a custom-built guitar developed in collaboration with Sago New Material Guitars. Designed specifically for Miwa, this instrument embodies his ideal tone and personal playing style, showcasing his openness to innovation.

Additional guitars, including the Gibson SG, Gibson Flying V, Fender Mustang, and Gibson Melody Maker, appear in his rotation depending on the arrangement. The Fender Mustang, for instance, with its short-scale neck and dynamic vibrato, provides a unique tone and feel that Miwa applies selectively in certain songs.

Miwa’s guitar selection highlights his flexibility—switching between Les Paul warmth, Jazzmaster clarity, and custom designs to match the expressive needs of each song. While the Les Paul Deluxe and Jazzmaster have become most iconic, his use of multiple guitars shows his ongoing pursuit of fresh and song-appropriate tones. These are believed to be his key instruments, though specific usage may vary across time periods.

Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Type	Notes
Gibson Les Paul Deluxe	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Les Paul	Started using around 2023. Mini-humbuckers deliver bright, cutting tones
Fender Jazzmaster 1960	Fender	Amazon Search	Spitz	Tetsuya Miwa	Jazzmaster	Frequently used in signature songs. Known for transparent single-coil cleans
Gibson Les Paul model 1954	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Les Paul	Vintage 1950s Les Paul model
Gibson Les Paul Gold Top 1968	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Les Paul	Late-1960s model with warm vintage tone
Gibson Les Paul Custom (2 Humbuckers)	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Les Paul	Equipped with two humbuckers
Gibson Les Paul Custom (3 Humbuckers)	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Les Paul	Rare model with three humbuckers
Sago Curious Shinon	Sago	Amazon Search	Spitz	Tetsuya Miwa	Original/Custom	Co-developed with Sago to reflect Miwa’s ideal sound
Gibson SG	Gibson	Amazon Search	Spitz	Tetsuya Miwa	SG	Lightweight, easy to play
Gibson Flying V	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Flying V	Distinctive body shape with aggressive tone
Fender Mustang	Fender	Amazon Search	Spitz	Tetsuya Miwa	Mustang	Short scale with dynamic vibrato system
Gibson Melody Maker	Gibson	Amazon Search	Spitz	Tetsuya Miwa	Melody Maker	Simple entry-level model

Effects and Pedalboard Setup

Tetsuya Miwa’s pedalboard is meticulously designed to deliver the dreamy, atmospheric soundscapes that define Spitz’s music. Built as a custom board by Free The Tone, it houses carefully selected high-quality effects that meet his musical demands. This setup is an essential part of how Miwa shapes his unique tone both on stage and in the studio.

The MXR K.KING LTD Q-ZONE plays a vital role in Miwa’s tone-shaping. Acting as a graphic EQ, it allows him to fine-tune specific frequency ranges so that his guitar sits perfectly in the band mix. With Spitz’s arrangements, vocal balance is crucial, and this pedal helps carve out space for the guitar without overwhelming the vocals.

Pete Cornish CC-1 and ST-2 are custom boutique pedals handmade by the legendary British builder Pete Cornish. The CC-1 serves as a clean booster, raising the guitar’s signal level without degrading sound quality, while the ST-2 is an overdrive designed to provide the natural, nuanced breakup Miwa prefers. Together, they allow him to cover the full range from crystal clean to light, expressive overdrive.

The K&R Groove Comp is an essential compressor for Miwa’s arpeggio work. It smooths out differences in picking dynamics, ensuring that each note rings out evenly. This is particularly critical in songs like “Robinson,” where the arpeggio’s clarity defines the track’s emotional impact.

The ORANGE Bax Bangeetar, both a preamp and overdrive, gives Miwa the warm, mid-rich distortion characteristic of Orange amps. It allows him to replicate his studio amp tones in a live setting, particularly where a thick, organic overdrive is needed.

The Strymon BigSky Reverb is a centerpiece of Miwa’s ambient sound. Known as one of the best reverb units available today, it offers 12 algorithms and deep parameter control. Miwa uses it to create lush, expansive reverb spaces, which can be heard in songs like “Sora mo Toberu Hazu.” Its Hall and Plate modes, combined with carefully set pre-delay, give his guitar an immense yet clear presence.

The Strymon Mobius and Strymon OB-1 expand his modulation and dynamics capabilities. The Mobius offers a wide range of effects—chorus, flanger, phaser, and more—allowing Miwa to switch textures depending on the song. The OB-1 is an optical compressor that delivers a smoother, more musical compression, often used in combination with other pedals for nuanced tone shaping.

The Strymon El Capistan is Miwa’s choice for tape-style delay. Its warm repeats and subtle pitch variations mimic vintage tape echo machines, creating an organic sense of depth. He often uses it for solo parts or climactic moments, where it adds richness without overwhelming the rhythm.

The Free The Tone Flight Time is another delay pedal, customized specifically for Miwa. Designed to deliver precise delay sounds tailored to his needs, it enhances the layered textures of Spitz’s arrangements and is often used to provide subtle doubling and rhythmic depth.

The DigiTech Whammy adds pitch-shifting capabilities. Used sparingly, it introduces octave shifts and harmony effects, adding dramatic flair to certain tracks without overshadowing the core guitar sound.

The Roger Mayer 456 Stereo, built by the legendary engineer known for his work with Jimi Hendrix, provides stereo output for wider soundscapes. This pedal supports Miwa’s pursuit of three-dimensional guitar tones, spreading his sound across the stereo field for a more immersive live experience.

Altogether, Miwa’s pedalboard blends boutique craftsmanship with modern digital precision. Each effect is chosen not for show but for how it serves the song, ensuring that his guitar supports the vocal melodies and overall atmosphere of Spitz’s music. Based on current evidence, these pedals are considered part of his primary rig, though exact usage may vary across different live tours and recording sessions.

Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Effect Type	Notes
MXR K.KING LTD Q-ZONE	MXR	Amazon Search	Spitz	Tetsuya Miwa	Equalizer	Used for tone-shaping and ensuring clarity in band mix
Pete Cornish CC-1	Pete Cornish	Amazon Search	Spitz	Tetsuya Miwa	Booster	High-end clean booster. Amplifies without degrading tone
Pete Cornish ST-2	Pete Cornish	Amazon Search	Spitz	Tetsuya Miwa	Overdrive	Provides natural, nuanced overdrive
K&R Groove Comp	K&R	Amazon Search	Spitz	Tetsuya Miwa	Compressor	Essential for arpeggios, evens out note dynamics
ORANGE Bax Bangeetar	Orange	Amazon Search	Spitz	Tetsuya Miwa	Preamp/Amp Simulator	Recreates warm Orange amp distortion
Strymon BigSky Reverb	Strymon	Amazon Search	Spitz	Tetsuya Miwa	Reverb	12 reverb types for expansive, atmospheric tones
Strymon Mobius	Strymon	Amazon Search	Spitz	Tetsuya Miwa	Modulation	Versatile modulation effects (chorus, flanger, phaser, etc.)
Strymon OB-1	Strymon	Amazon Search	Spitz	Tetsuya Miwa	Compressor	Optical compressor with natural musical compression
Strymon El Capistan	Strymon	Amazon Search	Spitz	Tetsuya Miwa	Delay	Faithful tape echo emulation. Warm, organic repeats
Free The Tone Flight Time	Free The Tone	Amazon Search	Spitz	Tetsuya Miwa	Delay	Custom-designed delay tailored to Miwa’s needs
DigiTech Whammy	DigiTech	Amazon Search	Spitz	Tetsuya Miwa	Pitch Shifter	Octave and harmony effects. Adds dramatic flair
Roger Mayer 456 Stereo	Roger Mayer	Amazon Search	Spitz	Tetsuya Miwa	Modulation	Stereo output for wide, immersive sound

Tone Settings, EQ, and Mixing Approaches

The essence of Tetsuya Miwa’s tone creation lies in his delicate sense of balance, ensuring that the sound never overshadows the atmosphere of Spitz’s songs. His setups are not aimed at flashy tones but instead at harmonizing beautifully with Masamune Kusano’s vocals, reinforcing the overall world of each track.

In his amplifier settings, Miwa generally bases his tone around clean channels, often adding just a touch of crunch to add warmth. With the Kemper Profiling Amplifier, he frequently uses profiles modeled after the MATCHLESS DC-30 or Divided by 13 depending on the song. For clean settings, treble is often around 1 o’clock, mids at noon, and bass around 11 o’clock. This EQ balance ensures that each arpeggiated note is clear without becoming piercing, resulting in a smooth, ear-pleasing tone.

EQ adjustments through pedals like the MXR K.KING LTD Q-ZONE play a critical role. For example, cutting slightly around 2.5 kHz helps avoid clashing with vocal frequencies, while lightly boosting 4–6 kHz ensures the guitar maintains presence in the mix. Low-end frequencies below 100 Hz are typically rolled off to separate the guitar from the bass line and preserve ensemble clarity.

When it comes to compression, Miwa alternates between the K&R Groove Comp and the Strymon OB-1 depending on the song. For arpeggio-heavy pieces, he often applies stronger compression to even out note dynamics, while for strumming parts, he prefers lighter settings to maintain natural dynamics. Typical ratio settings hover around 3:1 to 4:1, with slower attack times to preserve the natural pick attack while evening out sustain.

Spatial effects are where Miwa’s sound shines most clearly. With the Strymon BigSky Reverb, he often employs the Hall or Plate algorithms, adjusting reverb time between 2 and 4 seconds depending on the tempo. In “Sora mo Toberu Hazu,” for instance, he uses about 80 ms of pre-delay, creating separation between the dry signal and the reverb tail, which produces a three-dimensional soundscape.

Delay settings are equally important. Using the Strymon El Capistan, Miwa often syncs delay time to eighth notes or dotted eighth notes, with feedback set modestly around 20–30% to avoid muddying the rhythm. The Free The Tone Flight Time is sometimes set to shorter delay times for doubling effects, adding body and richness to the guitar tone without overwhelming the mix.

In studio recordings, Miwa carefully pans guitars slightly left and right rather than dead center, ensuring that vocals remain clear and dominant in the middle. Multi-track layering is also common—arpeggio tracks are often doubled with lightly overdriven harmony tracks, as heard in “Robinson,” where the layered approach heightens the chorus’s emotional impact.

For live PA setups, Miwa often blends the direct amp output with a DI signal, adjusting balance according to the acoustics of the venue. In larger halls, high frequencies tend to dissipate, so he works closely with sound engineers to lightly boost 6–8 kHz, ensuring his guitar reaches the back of the venue with clarity. This collaborative approach between guitarist and engineer reflects his professional precision in tone control.

Ultimately, Miwa’s EQ and mixing philosophy centers on serving the music rather than spotlighting the guitar. His deliberate settings and nuanced use of effects highlight the band’s lyrical atmosphere, showing that careful restraint can often achieve more powerful emotional resonance than technical showmanship. These practices are considered representative of his approach, though minor adjustments may vary depending on tours and recording sessions.

Affordable Alternatives to Recreate the Tone

If you want to capture Tetsuya Miwa’s sound on a budget, the key is to focus on the essence of his tone rather than acquiring expensive boutique pedals or rare vintage guitars. By carefully choosing cost-effective gear, it is entirely possible to approximate the warm cleans, subtle overdrive, and spacious effects that define the Spitz sound.

For guitars, the Epiphone Les Paul Standard is a practical and affordable choice. As the lower-cost sibling of the Gibson Les Paul, it retains the fundamental tonal character—particularly the warmth and fullness of humbuckers. This makes it suitable for recreating Miwa’s Les Paul-driven tones. Priced around $400, it is accessible to beginners while still being capable of professional-level performance when properly set up.

The Squier Classic Vibe ’60s Jazzmaster is another excellent option for those seeking the ethereal, clean textures heard in many Spitz songs. With its offset body and unique pickup configuration, it produces bright, airy cleans distinct from a Les Paul. At around $350, it is a great way to experience the classic Jazzmaster vibe that Miwa often draws upon in songs like “Sora mo Toberu Hazu.”

For amplifiers, the BOSS Katana-50 MkII stands out as one of the best budget-friendly solutions. Despite being priced under $400, it offers versatile amp modeling that spans clean to light overdrive. Its clean channel is particularly impressive for the price, delivering tones that mirror Miwa’s emphasis on clarity and warmth. Built-in effects also provide essential spatial tools like reverb and delay, reducing the need for multiple pedals.

On the effects side, the BOSS CS-3 Compression Sustainer provides reliable compression at an entry-level price of around $100. While not as refined as Miwa’s boutique compressors, it effectively evens out arpeggios and smooths dynamics, making it a strong tool for beginners and home recording.

For reverb, the BOSS RV-6 Reverb offers high-quality ambient sounds at around $150–$200. Its Hall and Plate modes can emulate the spacious textures Miwa achieves with the Strymon BigSky, while additional modes like Shimmer add creative flexibility. This makes it a versatile and affordable substitute for lush soundscapes.

The BOSS DD-7 Digital Delay is another practical option at around $120–$150. With up to 6.4 seconds of delay time and multiple modes—including tape echo emulation—it allows players to practice the same rhythmic delay settings that Miwa often employs. It provides plenty of flexibility for both live and studio use.

As for overdrive, the BOSS SD-1 Super Over Drive is a remarkably effective choice. Priced around $50, it delivers natural overdrive reminiscent of Pete Cornish’s boutique ST-2 pedal. Combined with a Les Paul-style guitar, it provides a convincing approximation of Miwa’s warm, expressive crunch.

For players seeking an all-in-one solution, multi-effects units such as the BOSS GT-1000 or Line 6 HX Stomp are highly recommended. At $600–$900, they represent a bigger investment than single pedals but cover nearly every effect Miwa uses. With amp modeling and cabinet simulations included, they are especially useful for live performances where portability and quick setup are priorities.

In summary, while Miwa’s actual rig includes boutique pedals and vintage guitars, his sound philosophy can be effectively recreated with smart, affordable choices. Emphasis should be placed on warm cleans, tasteful use of reverb and delay, and subtle overdrive, all of which can be achieved without spending thousands of dollars. Please explain in English why this affordable gear can achieve a similar tone: because each suggested piece captures the fundamental tonal quality—be it humbucker warmth, airy Jazzmaster cleans, or rich spatial effects—allowing guitarists to approximate Miwa’s sound in a cost-effective way.

Category	Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Notes
Guitar	Epiphone Les Paul Standard	Epiphone	Amazon Search	Spitz	Tetsuya Miwa	Affordable version of the Gibson Les Paul. Warm humbucker tone around $400
Guitar	Squier Classic Vibe ’60s Jazzmaster	Squier	Amazon Search	Spitz	Tetsuya Miwa	Delivers bright, airy Jazzmaster cleans. Ideal for ethereal Spitz tones
Amp	BOSS Katana-50 MkII	BOSS	Amazon Search	Spitz	Tetsuya Miwa	Versatile modeling amp under $400. Strong cleans with built-in effects
Effect	BOSS CS-3 Compression Sustainer	BOSS	Amazon Search	Spitz	Tetsuya Miwa	Budget compressor (~$100). Smooths arpeggios and balances dynamics
Effect	BOSS RV-6 Reverb	BOSS	Amazon Search	Spitz	Tetsuya Miwa	High-quality reverb (~$180). Hall and Plate modes emulate spacious tones
Effect	BOSS DD-7 Digital Delay	BOSS	Amazon Search	Spitz	Tetsuya Miwa	Flexible delay (~$130). Includes tape echo-style repeats
Effect	BOSS SD-1 Super Over Drive	BOSS	Amazon Search	Spitz	Tetsuya Miwa	Classic overdrive (~$50). Natural crunch reminiscent of boutique tones
Multi-Effect	BOSS GT-1000	BOSS	Amazon Search	Spitz	Tetsuya Miwa	All-in-one solution (~$900). Covers amps and effects used by Miwa
Multi-Effect	Line 6 HX Stomp	Line 6	Amazon Search	Spitz	Tetsuya Miwa	Compact pro-level unit (~$700). Includes modeling and IR cab sims

Summary and Conclusion

When analyzing Tetsuya Miwa’s tone in depth, one discovers a consistent philosophy: his music always prioritizes the atmosphere of the song over technical display. His guitar work and gear selection are not about showing off but about supporting and coloring the poetic world created by Masamune Kusano’s lyrics and melodies.

From a gear perspective, his warm Gibson Les Paul tones combined with high-quality spatial effects like those from Strymon define Spitz’s floating, dreamy soundscapes. Yet the essence of his tone is not the gear itself—it is how he uses it. Even when playing expensive boutique pedals and vintage instruments, Miwa always sets them with restraint, ensuring they act as supporting characters rather than competing with the lead vocals and melodies.

His arpeggio-based style is another hallmark. Rather than pursuing technical precision alone, Miwa focuses on conveying emotional nuance. In signature songs such as “Robinson” and “Sora mo Toberu Hazu,” his playing prioritizes resonance with the listener’s emotions over sheer accuracy. This makes his style a valuable guide for guitarists seeking expression rather than technical bravado.

His EQ and effect settings also reflect this mindset. Adjustments are made not to push the guitar forward but to find balance within the ensemble. Cutting frequencies that interfere with vocals, rolling off lows to leave space for bass, and using reverb and delay to build atmosphere—each choice is rooted in an awareness of the overall band sound. Miwa’s approach teaches us that great tone comes from understanding the mix, not just the instrument.

For those looking to recreate his sound, the most important lesson is to understand his musical philosophy. Simply copying his pedals or guitars will not capture the essence unless one adopts his sensitivity toward balance, restraint, and service to the song. Conversely, even with modest gear, a guitarist with the right approach can build a sound reminiscent of Spitz.

Another key takeaway from Miwa’s rig is flexibility. He doesn’t stick to one sound but adapts his guitars, effects, and settings to suit the demands of each song. This adaptability requires both technical knowledge of gear and musical judgment, highlighting a deeper skill beyond simple replication of tones.

Ultimately, the heart of Tetsuya Miwa’s tone lies in a humble, music-serving attitude. His ability to fully utilize the guitar’s potential while always prioritizing the completeness of the song has allowed Spitz to maintain their distinctive sound for more than three decades. By studying his methods, guitarists can not only improve their technical skills but also cultivate a deeper appreciation for music itself. That mindset, more than any single pedal or guitar, is the true secret to his enduring sound.