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To Aru Sunda Haru no Asa ni — gibkiy gibkiy gibkiy1 / 2
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To Aru Sunda Haru no Asa ni Guitar Tone Settings

gibkiy gibkiy gibkiy · 2010s+ · rock

studio

Original Recording

Guitar
Unknown (exact model not found, likely a Fender Stratocaster or similar S-style guitar based on genre and era)
Pickups
Single-coil pickups (exact model unknown, inferred from typical clean tone and genre)
Amp
Unknown (exact model not found, likely a Fender or Roland clean amp based on Japanese alternative/rock studio conventions)
Pickup Position
Neck pickup (likely, for warmth and clarity in clean passages)

No direct sources found for this specific recording. Studio version, released in the 2010s+. Gear inferred from genre, era, and typical Japanese alt-rock production. No evidence of live-specific gear.

Amp Settings

Mids
6
Bass
5.5
Gain
0
Reverb
4.5
Treble
6.5
Presence
5.5

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Tone Character

  • crystal-clear clean
  • chimey and articulate
  • slight shimmer from reverb
  • bright but not harsh
  • open and airy
  • dynamic response to picking
  • full-bodied chords
  • studio-polished clarity
  • no audible overdrive
  • natural sustain

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct sources found for the exact guitar, amp, or pedal models used on this recording.
  • ⚠️All gear and settings are estimated based on genre (Japanese alternative/rock), era (2010s+), and typical production practices.
  • ⚠️No evidence found for specific pedal models; effects inferred from audio and genre conventions.
  • ⚠️If more specific information becomes available (e.g., studio notes, interviews), update this entry.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The riff section features a crunchy, mid-forward tone typical of Japanese alt/prog rock, with moderate gain, balanced low end, and slightly boosted mids for presence in the mix. The production is modern but not overly processed, with subtle reverb and a clear, articulate attack, matching the band's usual amp settings and genre conventions.

Sources