[Yoshiki Mizuno] How to Recreate the Ikimonogakari Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yoshiki Mizuno, the guitarist of Ikimonogakari, is a crucial sound maker that supports the band’s musicality. He often focuses on rhythm guitar, emphasizing chord backing and arpeggios rather than flashy lead playing, which is a notable characteristic of his style.

In iconic songs like “Blue Bird” and “HANABI,” he highlights the band’s rock side with a well-distorted sound, while in ballads like “Arigatou,” he showcases a clean and warm tone using Telecasters and semi-hollow guitars. His settings typically avoid excessive distortion, prioritizing the original sound, allowing him to vividly express the character of each song through guitar changes and amp settings.

During live performances, his pedalboard appears simple, often consisting of just a Providence PEC-2 and a tuner, but he actually employs a large rack system behind him, utilizing professional-grade amps and processors like Diezel and Kemper. This seemingly simple setup, backed by a sophisticated system, contributes to the convincing quality of his sound.

Ikimonogakari’s music spans a wide range of genres, and Mizuno uses a variety of guitars, including Telecasters, Stratocasters, Les Pauls, and semi-hollows. This versatility allows him to adapt flexibly to pop, rock, and ballads, showcasing his strength as a guitarist.

Therefore, studying his sound creation provides significant insights not just for replicating gear but for understanding the importance of tailored tone creation for each song.

▶ Search official YouTube videos of Ikimonogakari

List of Amplifiers and Features

Yoshiki Mizuno’s amplifier system is a large and robust configuration typical of a professional. His main amplifiers include the Diezel VH4 and Herbert, known for producing thick and powerful distortion. While Diezel amps are often used by metal guitarists, Mizuno tends to use them with settings that avoid excessive distortion, providing a “core distortion” that supports the overall sound of the band.

For clean and crunch tones, the VOX AC30 plays a vital role. The AC30 is known for its bright and shimmering clean tone, creating a transparent resonance in arpeggios and ballads. Live photos confirm the presence of the AC30 alongside the Diezel in his setup.

Additionally, he has been seen using MATCHLESS DC-30 amps, which have a character similar to VOX but with a richer midrange. By selecting MATCHLESS for certain songs, Mizuno adds thickness to the band’s sound. There have also been instances of Fender amps being used in previous live performances, suggesting that he utilized Fender tones for clean-focused songs.

All these amplifiers are integrated with a rack system, allowing for instant switching via a foot controller. The division of roles—Diezel for distortion, VOX for clean, and MATCHLESS for thick crunch—demonstrates the thoughtful approach Mizuno takes to cover the diverse songs of Ikimonogakari as a single guitarist.

Overall, Mizuno’s choice of amplifiers reflects a conscious effort to create a diverse sound that can cover the wide-ranging genres of Ikimonogakari’s music. Confirmed information includes the use of Diezel and VOX amps, while the MATCHLESS and Fender amps are assumed based on live performance observations.

Types of Guitars Used and Features

Yoshiki Mizuno’s guitar selection is extensive, designed to accommodate the diverse genres present in Ikimonogakari’s music. The Fender Telecaster is frequently used as his main guitar. The Telecaster, with its simple structure, excels in cutting and backing, making it well-suited for pop and rock with its crisp tone, aligning perfectly with Mizuno’s playing style. His use of the Telecaster is often confirmed in live footage and magazine interviews.

On the other hand, the Fender Stratocaster is also utilized depending on the song. The Stratocaster is ideal for clean tones and bright sounds in arpeggios, particularly effective in songs that emphasize transparency, such as “Arigatou” and “Kaze ga Fuiteiru.”

Moreover, Mizuno has been seen using Gibson Les Paul guitars, which provide a thick midrange and sustain for more rock-oriented songs. In energetic tracks like “Blue Bird” and “HANABI,” the weighty tone of the Les Paul enhances the band’s dynamic sound.

He also employs Gibson ES-335 semi-hollow guitars, which deliver warmth and depth in ballads and mid-tempo songs. The airy sound characteristic of semi-hollows contributes to a pleasant space within the band’s ensemble.

Mizuno switches guitars for each song, achieving a “seemingly simple yet intricate sound design.” Unlike many guitarists who manage with one or two guitars, his professional approach seeks the best tone for each track. Live photos show multiple models, including Stratocasters, Les Pauls, Telecasters, and semi-hollows, arranged on stage.

In summary, Mizuno’s style balances the use of Fender single-coil pickups and Gibson humbuckers, forming the core of the sound that colors Ikimonogakari’s music. While the Telecaster is confirmed as a primary choice, it is assumed that the Stratocaster, Les Paul, and semi-hollow guitars are also utilized as needed.

Effects and Pedalboard Setup

Yoshiki Mizuno’s pedalboard may appear very simple at first glance. However, it is actually equipped with high-quality effects primarily from Providence, integrated with a large rack system for a professional setup. His pedalboard usually contains just a tuner and a switcher, along with a minimal booster, giving the audience a straightforward impression. Yet, numerous effects are incorporated within the rack, controlled via the Providence PEC-2.

For distortion effects, Mizuno utilizes a range of pedals including the Providence Overdrive MD-1, SONIC DRIVE SDR-5, HEAT BLASTER, and FINAL BOOSTER. By using these pedals interchangeably for different songs, he can achieve thick distortion for rock numbers and natural crunch for ballads. The BOSS FB-2 is set up as a booster and feedbacker, likely used to enhance sound during solo parts or climactic moments in songs.

For fuzz, he employs the Providence ZEAL FZ-1, which is used to achieve edgy distortion when needed. Additionally, the Providence DUSH DS-1 is included as a distortion option, allowing him to switch between various distortion characters. The compressor used is the Providence VELVET COMP, which helps refine the clarity of clean tones.

In terms of spatial effects, the Eventide PitchFactor is utilized, providing pitch shifting and harmonizing functions that add depth to the music. This effect enhances arpeggios and chorus sections, creating a three-dimensional guitar sound even in pop-oriented songs.

For tuning, he uses the BOSS TU-2, which offers reliable performance in a simple design. Recently, he has also been seen using multi-effects units like the Line6 HX Effects and BOSS GT-1000 as alternative setups, suggesting he incorporates compact systems for rehearsals and sessions.

The entire setup is controlled by the Providence RX-L1 loop system and PEC-2 floor switcher, allowing for complex combinations of effects to be accessed with a single touch. Thus, Mizuno’s board exemplifies a style of “minimalism at the feet, with a thoroughly professional setup in the rack,” ensuring sound stability and reproducibility. While there may be slight variations in configuration over time, it is assumed that the core remains centered around Providence’s distortion, compression, and spatial effects.

Tone Settings, EQ, and Mixing Approaches

Yoshiki Mizuno’s sound design is characterized by being “seemingly simple yet actually intricate.” Ikimonogakari’s music encompasses a wide range of styles, including pop, rock, ballads, and acoustic arrangements. Thus, his guitar sound is designed to “utilize the original sound while adding distortion and spatial processing as needed,” seamlessly blending into the overall band sound.

Regarding amp settings, even when using the Diezel, it is speculated that he keeps the gain at around 60-70%, avoiding excessive boosting. The low end is not overly pronounced, and the midrange is slightly elevated, allowing him to maintain a prominent position within the band sound without overshadowing vocals or keyboards. Treble adjustments vary by song, but generally, it is raised within a range that does not become harsh, maintaining a natural resonance with a sense of attack.

When using the VOX AC30 or MATCHLESS, he emphasizes the clarity of clean tones and crunch. Particularly in songs like “Arigatou” and “Kaze ga Fuiteiru,” which focus on vocals, he adds a compressor to the clean channel to enhance clarity, ensuring that each note of the arpeggio is distinctly heard. The EQ settings typically involve cutting some lows and slightly boosting highs to achieve a broader sound.

The use of distortion effects is also highly calculated. When using the Providence MD-1 or SDR-5, it is likely that he lightly layers distortion onto the amp’s clean channel, increasing sound pressure while preserving the original tone. In instances where he employs the HEAT BLASTER or DUSH DS-1, he adds stronger distortion on top of the Diezel settings, emphasizing presence during choruses or climactic moments in the songs. Boosters like the FINAL BOOSTER and BOSS FB-2 are used during solos or moments when the guitar needs to stand out, temporarily elevating volume and sound pressure.

Fuzz (ZEAL FZ-1) and the Eventide PitchFactor are used for special effects, enhancing accents and depth within the songs. The harmonizer function of the PitchFactor plays a crucial role in adding dimension during arpeggios or clean sections.

In mixing, Ikimonogakari’s sound is designed to center around vocals, often placing the guitar as a supportive element within the band. EQ processing tends to involve cutting around 200Hz while emphasizing the midrange around 300-500Hz, creating a foundation for the vocals while keeping the sound clear. Additionally, lightly boosting around 2-3kHz ensures that the guitar’s attack is prominent.

Spatial processing typically involves minimal reverb and delay, keeping the effects to a necessary minimum. This approach results in a clear guitar sound that does not interfere with lyrics or melodies, ensuring high clarity in pop music. In ballads, light plate reverb may be applied, but the focus remains on a dry and tight sound.

In summary, Mizuno’s sound design emphasizes “not over-distorting,” “preserving the original tone,” and “supporting the vocals.” While the grandeur and number of his gear may attract attention, the essence lies in achieving maximum effect with simple operations. While confirmed settings are limited, considering these characteristics suggests that such EQ and distortion balancing is employed.

Affordable Alternatives to Recreate the Tone

Yoshiki Mizuno’s sound is supported by high-end amps like Diezel and MATCHLESS, along with a professional-grade pedalboard centered around Providence. However, it is quite challenging for beginners or amateurs to replicate the same environment. Therefore, the focus shifts to how one can approach a similar sound using more affordable gear. Here, we introduce equipment that can be purchased for around $100 to $500, which can effectively recreate Mizuno’s tone heard in live performances.

First, regarding amplifiers, directly acquiring Diezel or MATCHLESS is not realistic. Therefore, affordable tube amps like the VOX AC15 or Fender Blues Junior serve as viable alternatives. The VOX AC15, being a smaller sibling of the AC30, features a bright clean tone, making it suitable for arpeggios and clean backing, allowing for sounds close to those in “Arigatou.” The Fender Blues Junior excels in warm cleans, pairing well with semi-hollows or Strats to recreate the transparency found in “Kaze ga Fuiteiru.”

For distortion effects, since Providence products tend to be on the pricier side, the BOSS series presents strong alternatives. Particularly, the BOSS SD-1 (overdrive) is effective for adding light distortion to a clean amp while preserving the original tone, resembling the nuances of the MD-1 or SDR-5. The BOSS DS-1 and BOSS BD-2 are also budget-friendly options that can deliver a range of distortion suitable for rock sounds like those in “Blue Bird” and “HANABI.” Additionally, the BOSS OS-2 allows for blending overdrive and distortion, approximating the thick distortion of the Providence HEAT BLASTER.

For compression, the BOSS CS-3 is a stable choice. It helps refine the clarity of clean tones and enhances the presence of arpeggios, similar to the VELVET COMP. Setting the sustain longer allows for extended resonance in ballads.

In terms of spatial effects, the BOSS DD-8 digital delay or Electro-Harmonix Holy Grail Nano (reverb) are recommended. While high-end harmonizers like the PitchFactor may be out of reach, using the BOSS PS-6 Harmonist can simply add harmony, bringing the ensemble closer to a three-dimensional sound.

Multi-effects units are also an option. Equipment like the Line6 HX Stomp or ZOOM G5n can cover multiple distortions and spatial effects in one unit, making them suitable for band practice or small gigs. Since Mizuno himself occasionally uses HX Effects or GT-1000, incorporating such gear can create a practical and affordable system.

Finally, regarding guitars, Fender Japan’s Telecaster or Stratocaster are relatively accessible in the used market, allowing for cost-effective approaches to Mizuno’s sound. For Gibson models, Epiphone’s Les Paul Standard or ES-335 can recreate sufficient tonal characteristics at a lower price point.

In conclusion, to closely approach Yoshiki Mizuno’s sound affordably, combining “VOX or Fender combo amps,” “BOSS distortion, compression, and delay,” and “Epiphone or Fender Japan guitars” is the most realistic strategy. One can achieve a sound reminiscent of Ikimonogakari without needing a large rack or high-end boutique pedals, as creativity and resourcefulness can lead to a satisfying result.

Summary and Conclusion

In summarizing Yoshiki Mizuno’s sound design, the phrase “seemingly simple yet profoundly deep” fits perfectly. On stage, it may appear that he only has the PEC-2 and a tuner at his feet, but in reality, he combines a rack system and high-end amplifiers, utilizing a professional setup centered around Providence distortion, compression, and Eventide spatial effects. This “simple facade, meticulously detailed behind the scenes” style supports the stability and persuasiveness of his sound.

Regarding guitars, he primarily uses the Fender Telecaster while also selecting the Stratocaster for clarity, the Les Paul for thickness, and the semi-hollow for warmth, tailoring his tone for each song. This approach is essential for addressing the wide-ranging genres of Ikimonogakari’s music, demonstrating a professional’s mindset to not rely on a single instrument but to have a rich palette of tones to choose from for each track.

His amplifiers generate a powerful distortion core with Diezel, complemented by VOX, MATCHLESS, and occasionally Fender amps, producing a diverse range of tones. This allows him to express thick and sharp rock sounds in songs like “Blue Bird” and “HANABI,” while delivering clear clean arpeggios in “Arigatou.” The consistent focus on not over-distorting and valuing the original sound reflects a conscious effort to blend into the band’s ensemble centered around vocals.

Moreover, the effects setup emphasizes a “quality over quantity” approach. By centering around Providence distortion and boosters while adding depth only when necessary with the Eventide PitchFactor, Mizuno maintains a balanced sound that does not become overly flashy. This is not about seeking mere sonic extravagance but rather about maximizing the song’s inherent qualities.

Overall, the essence of Mizuno’s sound design lies in “selecting the right sound for each song” and “designing with simplicity while ensuring intricacy.” While he may not often stand out with flashy lead guitar work, his careful selection of tones and settings is meticulously crafted. When attempting to replicate Ikimonogakari’s music, it is crucial to approach with the mindset of “what sound is needed for which part,” rather than merely copying the gear.

While it may be challenging for beginners or amateurs to fully recreate the same environment, combining a Telecaster, VOX amp, and BOSS overdrive can bring one sufficiently close to the Ikimonogakari sound. It is essential to focus on the fundamental principle of “sound that enhances the music,” rather than getting lost in the grandeur of gear. This mindset is the most significant hint for replicating Yoshiki Mizuno’s sound.