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Haruka Kanata Guitar Tone Settings — Asian Kung-Fu Generation
Asian Kung-Fu Generation · 2000s · rock
studio
Original Recording
Guitar
Gibson Marauder
Pickups
Stock Gibson single-coil (neck) and humbucker (bridge)
Amp
Fender Vibro-King Custom
Pickup Position
Bridge pickup
Studio recording, 2002-2003 era, as used on the 'Hōkai Amplifier' EP. Gotoh Masafumi is documented using the Gibson Marauder for this era and album, and the Vibro-King is confirmed as his main studio amp for heavy tracks including 'Haruka Kanata'.
Amp Settings
Mids6
Bass5
Gain6
Reverb2
Treble6
Presence6
Effects Chain
- Ibanez TS9 Tube Screamer · overdrive
Guitar → Ibanez TS9 Tube Screamer (if used) → Fender Vibro-King Custom (spring reverb on low)
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Tone Character
- punchy and mid-forward
- tight and articulate
- slightly compressed
- dynamic pick attack
- full-bodied mids
- bright but not harsh
- percussive palm-muting
- focused drive
- classic J-rock crunch
- not scooped, retains clarity
Notes & Caveats
- No direct studio amp knob photos for 'Haruka Kanata'; settings estimated based on cited Vibro-King settings for Gotoh's heavy tones from the same era.
- Pedal use for this specific recording is not explicitly confirmed; Tube Screamer is suggested for heavier tracks but not definitively documented for this riff.
- Guitar model confirmed for era and album, but pickup selector position inferred from typical rhythm/bridge tone.
- Presence setting inferred based on typical Vibro-King use for clarity in heavy rhythm.
- No evidence of modulation or time-based effects (delay, chorus, flanger, etc.) in the riff section; only amp reverb is likely.
- Settings cross-referenced with genre and era conventions for accuracy. Haruka Kanata's riff features a tight, punchy high-gain rock tone with prominent mids and treble for clarity and aggression, typical of Masafumi Gotoh's Marshall-style amp settings in early 2000s J-rock. Bass is kept tight to avoid muddiness, presence is boosted for cut, and reverb is minimal for a dry, upfront mix.