[Tomo Katsurada] How to Recreate the Kikagaku Moyo Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tomo Katsurada, the guitarist of Kikagaku Moyo, is highly regarded by fans both domestically and internationally for his psychedelic and drone-based tones. His sound transcends mere riffs and chord work, utilizing fuzz and reverse delay to warp space and lead the entire composition into a trance-like state. Particularly in a twin-guitar setup, his role is to create “waves of sound,” expanding the sonic field to envelop the lead and riffs of the other guitarist.

Iconic tracks such as “Dripping Sun” and “Smoke and Mirrors” showcase a fantastical sound where reverb and fuzz intertwine. In live performances, he captivates audiences with a simple yet overwhelmingly powerful sound that draws them into a vortex of sound. He favors a limited selection of amplifiers and guitars, focusing on extracting the full potential of these chosen models without unnecessary options.

The reason this approach to sound creation garners attention is not merely that he uses vintage equipment, but rather that his playing style and the unique characteristics of his gear align perfectly. His analog, natural fluctuations and the incorporation of noise as part of the music embody the essence of psychedelic rock.

For guitarists aspiring to create a “Kikagaku Moyo-like sound,” understanding Tomo’s gear configuration and settings is crucial. This article will thoroughly explain the guitars and amplifiers he has been confirmed to use, the assumed effects, and the EQ and mixing techniques that contribute to his unique sound.

▶ Search official YouTube videos of Kikagaku Moyo

List of Amplifiers and Features

Tomo Katsurada’s amplifier of choice is the classic Fender Twin Reverb, a staple for many guitarists since the 1960s. The reason for its enduring popularity lies in its “clean and expansive sound.” In Kikagaku Moyo’s music, a clean tone forms the foundation of the spatial guitar sound, and the Twin Reverb’s wide range and bright highs are essential for psychedelic performances.

Live photos and articles from music magazines confirm that he uses the Twin Reverb on stage, demonstrating its high reproducibility. Kikagaku Moyo frequently tours internationally, and it is likely that they specify this model when renting equipment abroad. The Twin Reverb is commonly available in rental facilities worldwide, allowing for consistent sound reproduction, which is a significant advantage.

The sound of the Twin Reverb is crystal clear on its own, but when Tomo layers fuzz and reverse delay, it transforms into a “psychedelic swell.” This means the amplifier does not overly color the sound but acts as a “canvas” that accommodates the tonal shaping done by pedals. This choice reflects a rational decision typical of psychedelic guitarists who utilize a variety of effects.

Moreover, the Twin Reverb maintains a clear headroom even in loud live environments, ensuring that the separation of sounds is preserved. Kikagaku Moyo’s ensemble features a complex interplay of drums, sitar, bass, and synthesizers, and the Twin Reverb’s ample clean output allows the guitar to maintain its presence without getting buried.

While other amplifiers, such as the Fender ’65 Deluxe Reverb, may be considered alternatives, the Twin Reverb remains central due to its volume and range. Thus, it is reasonable to conclude that “an amp with clean transparency and ample headroom” is at the core of Tomo Katsurada’s sound, forming a unique sonic space when combined with fuzz and delay.

Types of Guitars Used and Features

The guitar that Tomo Katsurada uses in Kikagaku Moyo is the simple yet highly distinctive Gibson Les Paul Junior Special (with two P-90 pickups). This model has a tradition dating back to the 1950s and is characterized by its use of single-coil P-90s, differing from the typical humbucker-equipped Les Paul. Tomo’s use of this guitar as his “one and only” has been confirmed in multiple interviews and music magazines.

The Les Paul Junior Special delivers a strong midrange presence, producing a rough yet clearly defined tone that pairs exceptionally well with fuzz. The “roaring yet delicate sound” heard in Kikagaku Moyo’s tracks can be attributed to this P-90 configuration. Particularly in Tomo’s rhythm guitar role, the gritty texture of the P-90 provides a midrange that does not get buried under the bass and drums.

The choice of this guitar is not only about tone but also reflects a conscious decision to maintain “balance within the overall band sound.” Kikagaku Moyo’s complex rhythms from sitar and drums, along with psychedelic synth sounds, can muddy the mix if the guitar has excessive thickness. In this regard, the Junior Special is ideal as it does not carry unnecessary low frequencies, creating “space” within the band’s overall ensemble.

Additionally, the Les Paul Junior Special’s simple appearance and vintage feel align perfectly with the band’s psychedelic aesthetic. Live photos and music videos consistently show this model, with few instances of him switching to other guitars. This indicates that for Tomo Katsurada, this guitar embodies his belief in “expressing everything with one instrument.”

There have been no significant changes in the guitar used over the years, as this model has remained the mainstay from the band’s inception to its dissolution. There are no records of other guitars being introduced as secondary options, suggesting that he has focused on refining his sound with this one instrument. This minimalist gear setup, combined with unique nuances and playing techniques, defines Tomo’s style.

Effects and Pedalboard Setup

A notable aspect of Tomo Katsurada’s gear is that the details of his pedalboard are rarely disclosed publicly. Official interviews and music magazines do not specify the exact models he uses. However, live footage on YouTube reveals that he employs reverse delay and fuzz to construct a drone-like, spatial guitar sound.

First and foremost, fuzz pedals are an indispensable element of Tomo’s sound. They create a roaring yet harmonically rich wall of sound. While the specific model is unknown, the tonal quality suggests possibilities such as the Electro-Harmonix Big Muff or modern fuzz from EarthQuaker Devices. The thickness that fills the band’s overall sound can be attributed to this fuzz presence.

Next, reverse delay is crucial. Unlike standard delay, which repeats sounds, reverse delay adds an intriguing echo that plays back in reverse. Tomo skillfully utilizes this in his compositions to create a floating sensation and psychedelic atmosphere. Possible models include the Electro-Harmonix Memory Man or the BOSS DD series (with reverse functionality).

Additionally, it is presumed that he combines reverb with the built-in spring reverb of the Twin Reverb. This deep spatial reverb serves as a foundation for his sound creation, playing a role that goes beyond mere echo to “shake the sound.”

These effects are not used in a way that feels like “gimmicks,” but rather function as essential tools for creating a trip-like experience throughout the entire song. Listening to Kikagaku Moyo’s performances, one can discern how the combination of fuzz and reverse delay creates a psychedelic experience that distorts the perception of time.

Therefore, while there are no definitive pedal names that can be confirmed for Tomo Katsurada at this time, it is safe to assume that fuzz + reverse delay + reverb form the basic set. These elements align perfectly with his musical philosophy and are essential for crafting his unique sonic world. Ultimately, while the specifics of the pedalboard remain unclear, the direction of his sound is evident: “the layering of fuzz and spatial effects” is at the core of Tomo’s sound creation.

Tone Settings, EQ, and Mixing Approaches

The key point in Tomo Katsurada’s sound creation is his thorough utilization of spatial effects and amp EQ within a simple gear setup. He builds his unique psychedelic sound on the foundation of a Gibson Les Paul Junior Special and Fender Twin Reverb, layering fuzz and reverse delay.

1. Amp EQ Settings
The basic settings for the Twin Reverb are often speculated to be low bass (around 3-4), midrange (around 5-6), and treble (above 6). This approach aims to leverage the thick midrange of the Junior Special (P-90) while emphasizing the highs to prevent the overall ensemble from getting muddy. Raising the bass too much could muddy the low end from the bass, drums, and sitar, making subtractive EQ crucial.

2. Balance Between Fuzz and Clean Tone
Tomo’s fuzz sound is always aggressive, yet it retains its core clarity. This is likely because he carefully maintains the clean tone of the amp while avoiding excessive gain on the fuzz settings. Even when considering models like the Big Muff or Memory Man, keeping the gain at around 70-80% and controlling the volume balance through the amp output allows for a roaring sound that still retains definition.

3. Use of Reverse Delay
Reverse delay is not applied constantly but is often used during song transitions or sonic breaks. This creates a peculiar spatial sensation that gives listeners a sense of tripping. Specifically, setting the delay time to around 400-600ms and keeping feedback below 50% helps produce a “reverse playback-like echo” without excessive muddiness.

4. Depth of Reverb
The spring reverb built into the Twin Reverb is primarily utilized, typically set to a depth of around 4-6. This allows the guitar to blend into the overall band while creating a unique floating sensation. Additionally, in studio recordings, it is likely that external reverb processing is added, with panning to spread the sound across the stereo field.

5. Mixing Techniques
Listening to Kikagaku Moyo’s recordings, Tomo’s guitar is often panned to one side, enhancing the stereo effect with the other guitarist. This creates an experience where “waves of sound” wash over the listener, providing a psychedelic trance sensation. EQ processing likely boosts the 2kHz-4kHz range to emphasize attack while cutting below 100Hz to avoid muddiness in the low end.

6. Differences Between Live and Studio
In live settings, the Twin Reverb’s raw clean sound serves as a foundation, with effects set to “stronger” levels. In contrast, studio recordings are likely more precisely processed, allowing reverse delay and fuzz to blend organically within the mix. This difference suggests that live performances prioritize sound pressure and immersion, while studio recordings focus on depth in the listening experience.

In summary, Tomo Katsurada’s sound creation centers around “subtractive EQ,” “balance between fuzz and clean,” “spatial accents from reverse delay,” and “floating sensations from reverb.” By combining these elements, he recreates the unique drone-like and psychedelic auditory experience characteristic of Kikagaku Moyo.

Affordable Alternatives to Recreate the Tone

To fully replicate Tomo Katsurada’s sound, high-end gear like the Gibson Les Paul Junior Special and Fender Twin Reverb is necessary. However, there are more affordable options available for beginners and intermediates looking to approximate his psychedelic sound. Here, we will introduce commercially available gear priced between $100 and $500 that can help mimic Tomo’s tone.

1. Alternative Guitar Options
The midrange push provided by the Junior Special’s P-90 pickups is crucial. If you’re looking to save on budget, the Epiphone Les Paul Special VE (P-90 model) is recommended. Priced around $300-$500, it can reproduce the rough tones that Tomo achieves. The gritty texture characteristic of P-90s pairs well with fuzz.

2. Alternative Amp Options
The Fender Twin Reverb is quite expensive, often exceeding $2,000 new. As an alternative, the Fender Champion 40 or BOSS Katana series are suitable choices. The Champion 40, in particular, offers excellent clean tones and includes reverb functionality, making it easier to express psychedelic sounds.

3. Fuzz Pedal Selection
The core of Tomo’s sound lies in fuzz. A budget-friendly yet classic choice is the Electro-Harmonix Big Muff Pi, priced around $150-$200, capable of delivering a roaring, harmonically rich fuzz sound. Pairing this with a guitar equipped with P-90s will allow you to experience the wall-like sound typical of Kikagaku Moyo.

4. Reverse Delay Recreation
While dedicated reverse delay pedals are rare, the BOSS DD-8 Digital Delay features a reverse mode. Priced around $200-$300, it can create the reverse playback-like space needed to mimic Kikagaku Moyo’s floating sensation.

5. Reverb Selection
While built-in reverb from an amp is sufficient, for deeper spatial expression, pedals like the TC Electronic Hall of Fame 2 are recommended. This can help supplement the depth characteristic of the Twin Reverb.

By selecting the Epiphone for the guitar, Champion or Katana for the amp, Big Muff for fuzz, and DD-8 for delay, you can approximate Tomo Katsurada’s sound for under $1,000. The key is to focus on the three elements: “midrange of the P-90,” “roaring fuzz,” and “floating sensation from reverse delay.” By keeping these in mind, you can easily recreate the trip-like sound of Kikagaku Moyo.

Summary and Conclusion

Reflecting on Tomo Katsurada’s sound creation, the core philosophy is to “extract maximum expression from a select few pieces of gear.” With a single Gibson Les Paul Junior Special, a Fender Twin Reverb, and a limited selection of fuzz and reverse delay, he supports the psychedelic sound world of Kikagaku Moyo.

This rigorous minimalism paradoxically fosters “freedom.” It demonstrates that one can create an overwhelmingly unique sound without an extensive array of equipment; rather, it is about how sounds are produced and combined. Indeed, his sound encompasses everything from roaring tones to delicate arpeggios and even ambient floating sensations.

Listening to Kikagaku Moyo’s live performances and recordings, Tomo’s guitar always exists as “waves of sound.” As one half of the twin-guitar setup, he sometimes supports rhythm and at other times resonates to fill the space. His role transcends that of a mere guitarist; he is a “sound manipulator.” The way he employs fuzz and reverse delay is his hallmark, distorting perceptions of time and space, embodying the essence of psychedelic rock.

For guitarists aiming to replicate this sound, it is crucial to understand that “how to resonate” is more important than “what gear to gather.” By subtracting unnecessary low frequencies in EQ settings, ensuring the guitar finds its place within the band, utilizing fuzz not just as distortion but as a “wall of sound,” and incorporating reverse delay as a fundamental element rather than a gimmick, one can approach the Kikagaku Moyo sound regardless of gear price or brand.

Another significant lesson from his sound creation is the idea of “turning limitations into strengths.” With one guitar, one amp, and a few effects, the challenge lies in how much one can expand the sound within these constraints. This pursuit has resulted in Tomo Katsurada’s one-of-a-kind sound. By choosing to simplify rather than complicate, he enhances the musical purity and persuasiveness of his work.

In conclusion, the essence of Tomo Katsurada’s sound creation lies in “painting infinite soundscapes with simple gear.” For those captivated by Kikagaku Moyo’s music who wish to recreate that atmosphere in their own environments, it is not about gathering expensive equipment but rather understanding and practicing this philosophy. By doing so, your sound can also become part of “Kikagaku Moyo,” inviting listeners on a sonic journey.