[Yuho Kitazawa] How to Recreate the the peggies Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yuho Kitazawa, the guitarist and vocalist of the band the peggies, captivates listeners with her powerful yet delicate guitar play. Her wide-ranging expressiveness spans from energetic pop-rock to emotional ballads, characterized by a sound that is both simple and deep.

In iconic tracks like “Centimeter” and “Kimi no Sei,” her driving chord work is complemented by distorted lead tones, creating a strong yet clear guitar sound that shines during live performances. She primarily uses a Gibson Les Paul and ES-335, combining unique amplifiers like the SHINOS AMP RED and Marshall Astoria to craft a rich sound palette, skillfully employing effects such as fuzz and delay to achieve diverse sonic expressions.

Kitazawa’s sound is optimized for a style that overlays strong emotional expression on simple chord progressions, allowing fans to feel “moved while listening.” To replicate her sound, it is crucial to understand the character of both the guitar and the individuality of the amplifier.

This article will thoroughly explain Yuho Kitazawa’s gear (guitars, amplifiers, and effects), detailing methods for achieving a high level of sound reproduction and suggesting beginner-friendly alternative equipment.

▶ Search official YouTube videos of the peggies

List of Amplifiers and Features

When discussing Yuho Kitazawa’s sound, the choice of amplifiers is essential. Since the early stages of her career, she has used distinctive amplifiers in both live and studio settings, consciously balancing “backing that supports the vocals” with “lead tones that enhance the emotion of the songs.”

One standout is the SHINOS AMP RED, a model made by a Japanese amplifier manufacturer. Its striking red casing is confirmed in live photos. This model offers a vintage-like warmth while being versatile enough to handle a range from clean to crunchy tones. In interviews, Kitazawa has commented that it produces a sound that “blends well with her voice,” making it a key element in achieving the warmth and punch found in the peggies’ music. It is also assumed that this may be a custom model based on the SW-1, contributing to a highly original sound.

Additionally, she refers to the Marshall Astoria Custom AST2C (red model) as “the first amp I ever bought.” This model reinterprets classic British tones for modern use, providing excellent clarity whether clean or distorted, making it suitable for live performances. It has been confirmed that this amplifier was used on stage during tours from 2017 to 2019.

Both amplifiers prioritize “balancing vocals and guitar,” making them well-suited for Kitazawa’s playing style. The SHINOS supports softer expressions, while the Marshall excels in powerful riffs and rock numbers, suggesting she chooses between them based on the song and stage size. It is also assumed that she may use different amplifiers or simulators during studio recordings, indicating a flexible approach to her sound.

In summary, Kitazawa’s sound design is based on “maintaining the quality of the vocals” while utilizing the individuality of the amplifiers.

Thus, Kitazawa’s amplifier choices are structured around “matching her voice” and “ensuring clarity according to genre.”

Types of Guitars Used and Features

Kitazawa’s sound is symbolized by a rich array of Gibson guitars and unique custom models. Numerous instances of her using these guitars can be seen in live performances and music videos, demonstrating her ability to choose the right instrument for each playing style and song.

One of the most notable is the black Gibson Les Paul Standard, which has a thick and core sound that is frequently used in the peggies’ powerful rock tracks. Next is the Gibson ES-335 (Vintage Ebony), known for its semi-hollow depth and airiness, which shines in ballads and mid-tempo songs. Additionally, the Gibson SG Pelham Blue (with Maestro Vibrato) stands out during live performances, offering vibrant stage presence and a lively sound.

She also uses the classic black SG, which is believed to support the thickness of the band sound. The Flying V (Aged Cherry, 1995 model, and a white model) has also been confirmed, matching its sharp looks and powerful mid-range with aggressive tracks.

Another notable guitar is the Solid T-Line (Turquoise Metallic, with F-holes) from the domestic custom brand psychederhythm, which is known for its transparent cleans and jangly cutting, adding color to Kitazawa’s delicate playing.

Moreover, she has commented on the Fender Stratocaster as “the first guitar I bought,” marking it as a significant part of her journey as a guitarist. Recently, she has shown interest in the Fender Telecaster, which may appear in future live performances or recordings.

In terms of acoustic guitars, the Gibson J-45 (cherry red finish) has been confirmed for live performances, supporting warm chord strumming. The YAMAHA FGX730SC, featuring a cutaway design and A.R.T. pickup, has also been used as a practical live guitar.

In summary, Kitazawa’s guitar selection balances “visual impact” with “sound character suited to the song,” allowing her to choose the optimal guitar for each situation.

In this way, Kitazawa’s collection of guitars embodies “strength,” “delicacy,” and “stage presence,” supporting her musicality across a wide spectrum.

Effects and Pedalboard Setup

The presence of her effects board is crucial in shaping Yuho Kitazawa’s sound. Her playing is characterized by a simple yet emotionally rich guitar sound, achieved through the use of multiple distortion pedals, spatial effects, wah, and compressors.

In terms of distortion, she primarily uses overdrive pedals like the Maxon Overdrive Pro OD820 and One Control Fluorescent Orange AIAB, combining them with fuzz pedals like the EarthQuaker Devices Hoof and electro-harmonix Little Big Muff Pi as needed. This allows for a wide range of expressions, from “lightly driven chord sounds” to “piercing lead tones with massive fuzz,” depending on the song.

For spatial effects, the BOSS DD-500 (delay) and EarthQuaker Devices Dispatch Master (reverb + delay) play significant roles. This setup enables her to create clear delays for upbeat songs and deep reverberations for ballads, tailoring the sound to fit each scene. The addition of the VIZION Analog Rich Chorus enhances the thickness and brilliance through a combination of chorus, delay, and enhancer.

Kitazawa uses Morley’s 20/20 Classic Switchless Wah and Mini Maverick Switchless Wah for wah pedals, favoring intuitive operation during live performances. Furthermore, she employs the Carl Martin Compressor/Limiter to stabilize the attack of chords and maintain consistent sound pressure.

The integration of her effects board includes the One Control Xenagama Tail Loop 2 (switcher), allowing for quick pedal switching during live performances. Additionally, she uses Xotic Super Clean Buffer (SCB) and VITAL AUDIO power supplies (VA-08 Mk-II and VA-05ADJ) to minimize noise while providing stable power, which is another noteworthy aspect.

This configuration indicates that Kitazawa is pursuing a “guitar sound that directly conveys emotion.” Her board is not merely a collection of effects but can be seen as “sound design that integrates with her vocals.” Overall, it is assumed that she layers multiple distortion effects while effectively utilizing spatial effects to enhance live reproducibility.

In this way, Kitazawa’s effects configuration can be described as “minimal yet practical choices to expand expressive range.” This setup is assumed to support her emotionally rich sound in both live and recording contexts.

Tone Settings, EQ, and Mixing Approaches

Yuho Kitazawa’s sound is not limited to equipment selection; it also acquires a unique texture through “settings,” “EQ,” and “mixing techniques.” The peggies’ songs range from fast-paced guitar rock to sing-along ballads, and she skillfully controls the tone for each.

The basic principle of her EQ is to “focus on the mids.” Guitars like the Les Paul and SG tend to emphasize mid-range frequencies, which can overlap with the vocals. Kitazawa is believed to lower the treble on her amp, set the mids around 12 to 1 o’clock, and keep the bass moderate to create a sound that cuts through without clashing with the vocals. Particularly with the Marshall Astoria, it is essential to keep the gain low while raising the volume to achieve a “crunchy drive feel.”

On the other hand, with the SHINOS AMP RED, the setting is centered around a warm clean tone, with distortion added via pedals. It is assumed that she lightly applies the Maxon OD820 or One Control AIAB to “maintain chord clarity while adding thickness,” adjusting the amount of distortion dynamically according to the song’s dynamics. This method allows her to push the guitar’s presence forward without interfering with the vocals during live performances.

Fuzz pedals (Big Muff, Hoof) are primarily used during song climaxes or riffs, with gain not set to full and tone slightly cut to create a thick sound that is not harsh on the ears. For lead lines, the delay (DD-500) is likely set to a delay time of around 300-450ms, with shorter feedback to maintain clarity.

Reverb is adjusted with the EarthQuaker Dispatch Master or MAD PROFESSOR ONE 1 to provide a “thin spread.” Depending on the song, it may be applied more deeply to create a dreamy atmosphere, but generally, it is assumed that she maintains a balance that does not disrupt the vocal-centric ensemble.

In mixing, it is often assumed that the PA engineer lightly compresses the guitar peaks to ensure a uniform attack during chord strumming, making it easier to blend into the overall mix. The use of the Carl Martin Compressor/Limiter helps to achieve this uniformity. Additionally, the guitar’s positioning is often spread across L/R, with Kitazawa’s parts placed closer to the center to create a sense of unity with the vocals.

Looking at specific songs, “Kimi no Sei” emphasizes the drive from the Marshall with reverb to enhance the sense of speed, while “Centimeter” uses fuzz and delay to create a climactic effect in the chorus, showcasing her adeptness in using different settings for each song. Ultimately, the foundation of her sound design lies in the coexistence of “vocals and guitar,” with meticulous attention to EQ, gain adjustments, and spatial processing.

Overall, it is assumed that Kitazawa’s sound design is built on “EQ that utilizes the mid-range,” “pedal-based distortion control,” and “spatial processing that does not disrupt the vocals.”

Affordable Alternatives to Recreate the Tone

Many of the gear used by Yuho Kitazawa, such as Gibson and SHINOS, are professional-grade and can be challenging for beginners to acquire all at once. However, understanding the essence of sound design makes it entirely possible to approach her sound using relatively affordable gear. Here, we will introduce recommended equipment that is accessible for beginners to intermediate players (around $100-$500) with high reproducibility.

For guitar alternatives, Epiphone models of Les Paul or SG types are strong candidates. As a brand directly associated with Gibson, they offer similar tonal characteristics and can achieve a sound with thick mids. For example, the “Epiphone Les Paul Standard” and “Epiphone SG Standard” provide authentic tones while keeping costs down.

Regarding amplifiers, while the SHINOS and Marshall Astoria that Kitazawa uses are expensive and hard to come by, the BOSS “Katana series” is highly recommended for its sound reproduction. The BOSS Katana-50 MkII, in particular, can handle a wide range from clean to crunch and distortion, and its built-in effects function as both an amp and a multi-effects unit.

For distortion, instead of the Maxon OD820 or One Control AIAB, the BOSS SD-1 or BD-2 are strong alternatives. These are affordable and easily accessible, capable of reproducing mid-focused tones and amp-like drive sensations. If you want to experience fuzz, the smaller “Nano Big Muff” is a cost-effective option that captures the character without breaking the bank.

For spatial effects, since the BOSS DD-500 and EarthQuaker Devices Dispatch Master that Kitazawa uses are high-priced, alternatives like the “BOSS DD-8 (Delay)” or “TC Electronic HOF Mini Reverb” are recommended. They are compact and user-friendly, capable of adequately reproducing necessary spatial processing.

For wah pedals, you don’t have to stick to Morley’s switchless models; classic models like “VOX V845” or “Cry Baby GCB95” can achieve a sufficiently similar sound. For compressors, the “Xotic SP Compressor” or “BOSS CS-3” are excellent choices in terms of cost performance.

Finally, while VITAL AUDIO’s power supplies are high-quality, beginners can substitute with lower-priced multi-power supplies like “Caline CP-05” or “Mooer Micro Power.” Ensuring stable power reduces noise and brings you closer to a professional sound.

In summary, by combining “Epiphone Les Paul/SG types,” “BOSS Katana amps,” and “BOSS compact effects,” it is possible to recreate the essence of Kitazawa’s sound at an accessible price point.

With these combinations, even beginners can approach the “powerful yet transparent sound” heard in the peggies’ songs.

Summary and Conclusion

As discussed, the core of Yuho Kitazawa’s (the peggies) sound design lies in “guitar sounds that complement rather than overshadow the vocals” and “flexible tone design that changes with each song.” As an artist who balances vocals and guitar, her approach to sound creation prioritizes “overall balance” over “self-assertion.”

Her choice of guitars ranges from thick and deep models like the Les Paul and ES-335 to aggressive instruments like the SG and Flying V, as well as domestic custom models like psychederhythm, allowing her to select the optimal guitar for each song and live performance. This enables her to skillfully manipulate completely different tones, from delicate arpeggios to powerful power chords.

Her amplifiers, primarily the SHINOS AMP RED and Marshall Astoria, are designed to “maintain the contour of the vocals while highlighting the presence of the guitar” by switching between warm cleans and crunchy tones. Furthermore, her effects are skillfully combined—distortion, spatial effects, wah, and compression—to add depth to simple song structures. Dynamic sound changes using fuzz and reverb strongly enhance the excitement during live performances.

In summary, the essence of her sound design can be distilled into three points: “EQ that utilizes the mid-range,” “gradual control of distortion through pedals,” and “spatial processing that merges with the vocals.” This means that even without using high-end professional gear, understanding this philosophy allows for the reproduction of her sound using affordable alternatives. By choosing Epiphone, BOSS compact effects, and Katana amplifiers, beginners can experience the essence of her sound.

Kitazawa’s sound design emphasizes “emotional resonance” rather than “technical flash.” Therefore, for readers looking to replicate her sound, it is crucial to focus on “how to blend with the vocals” and “what tones to choose for each song” rather than just equipment selection. This approach is what makes the music of the peggies truly unique.

If you want to get closer to her sound during home practice or live performances, consider the “mid-range that enhances the vocals,” “drive feel that is not overly distorted,” and “simple yet expressive spatial effects” when selecting your guitar and amplifier. This will be a step toward grasping the essence of Yuho Kitazawa’s sound design.