[SIAM SHADE] Summary of DAITA's equipment [Amps, Guitars, Effects]

DAITA first picked up the guitar when he was in his third year of junior high school. He was inspired by the hard rock that he was passionate about at the time, and taught himself how to play fast and tap. During his high school years, he actively participated in local events and contests, and practiced for more than eight hours a day, wanting to be able to "create sounds as you imagine them with your fingertips."

In 1993, he was invited by a friend to join a band (as a support member at the time), and this was the opportunity to begin his full-fledged professional career. In July of the same year, he officially joined the band, inspired by the enthusiasm of the other members who said, "After all, DAITA is the only one who can play guitar," and the band's name was changed to SIAM SHADE His fast phrasing and rich sense of melody quickly attracted attention, and his major label debut single "Rain" in 1995 made him famous nationwide.

"1/3 no Junjo na Kanjou," the theme song for a TV anime, made it into the Oricon Top 10, catapulting DAITA into the spotlight as a "singing, shrewd guitarist." The sticky lead tone he produced, combining a Mesa/Boogie Mark III with a Tom Anderson Drop Top, became his signature sound, supporting the song's sing-along chorus. Looking back on that time, DAITA said, "I boldly boosted the mid-range of the EQ to make the melody stand out."

SIAM SHADE disbanded in March 2002. DAITA immediately became the music director for the Japanese release of the film "Volcano High," and in December released his first solo instrumental album, "DIRECT CHORD." From this time on, he began to pursue "a sound that depicts a scene, not just technique," and actively introduced orchestration and odd time signatures.

He was a guest on Joe Satriani's "G3" tour in Japan, becoming the first Japanese person to perform on the G3 stage. He said that the experience of performing alongside Satriani and Steve Vai "extended my limits immensely." This led to him being praised as the "Japanese Guitar Wizard" by overseas magazines, and his fan base both in Japan and overseas expanded.

To create the ideal guitar, we created our own original brand. G-Life Guitars In the same year, he founded the rock band BINECKS He formed the band G-Life and debuted the limited edition "Blue Life" guitar at a concert at the Nippon Budokan. He describes the handmade G-Life guitar as "his most reliable companion on stage."

In the 2010s, he toured Japan at dome venues as Kyosuke Himuro's touring guitarist, while also supporting unique artists such as Momoiro Clover Z. In terms of equipment, he completed a wet/dry/wet system combining a Bogner Ecstasy and a Fractal Ax-Fx III, and says, "The time has come to combine the texture of vacuum tubes with the freedom of digital."

In recent years, he has released his latest solo album, "DIRECT WORD," and is also focusing on nurturing the next generation through online live streaming and guitar clinics. He regularly posts instructional videos and equipment reviews on YouTube, saying, "I want to share the appeal of melodic hard rock with the younger generation." At the same time, he is developing a new model of G-Life, and his commitment to further evolving his sound remains unchanged.

DIRECT WORD

Main artist: DAITA

2,000 JPY(TAX+) (As of 2026:05 on March 16, 10 | According to Amazon)

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G-Life Guitars is a guitar brand produced by DAITA himself. Founded after the disbandment of SIAM SHADE in pursuit of his ideal guitar, the brand offers meticulous models, each handcrafted by a craftsman. The first model was the "Blue Life." This memorable guitar debuted at SIAM SHADE's one-night reunion concert held at Nippon Budokan on November 1, 1, and was produced and sold in a limited edition of just 2007. Its deep blue body color and distinctive look are eye-catching.

While the Blue Life's body shape may appear to be a Telecaster, it features a Honduras mahogany body back, a maple neck, and a rosewood fingerboard, and its internal structure is nearly identical to that of a Les Paul. In other words, it was designed with the unique concept of "Telecaster look, Les Paul sound," combining the crispness of a single-cut pickup with the thick, supple sound of a humbucker. Its appeal lies in its versatile, deep tone, which can be used for a wide range of tasks, from heavy riffs to cutting vocals.

G-Life Guitars has also released other DAITA-designed models, such as the Cross Edge and DSG series. For example, the DSG Premium was produced in a special colorway when he supported the idol group Momoiro Clover Z, and its striking looks garnered much attention. In recent years, DAITA has primarily used G-Life guitars in live performances, and even used several G-Life guitars when he performed as a support guitarist for Kyosuke Himuro. As DAITA himself was involved in the development of the brand, it's safe to say it embodies the "guitars he truly wants to play." Models with piezo pickups are also available, offering a high level of expandability that can even cover clean acoustic sounds.

DAITA has long used custom guitars made by Tom Anderson as his main guitars. Models such as the Drop Top and Classic are particularly well-known as masterpieces that played a major role during SIAM SHADE's heyday. The Drop Top is a Super Stratocaster-style guitar featuring a superb quilted maple top, combining dazzling looks with exceptional sustain. Meanwhile, the Classic model retains the traditional Stratocaster style while providing a consistent sound thanks to its high-end parts and meticulous construction.

DAITA highly valued the outstanding playability and clear tone of these Tom Anderson guitars. They delivered excellent sound even during technical playing, such as fast playing and tapping, making them his trusted companions for both live performances and recordings. In fact, in footage from his time with SIAM SHADE, you can see DAITA playing many of his greatest hits with a beautiful sunburst Drop Top slung over his shoulder. Since his own brand, G-Life, didn't exist at the time, he likely relied on Tom Anderson guitars, highly regarded by professional guitarists around the world. They remain treasured in his collection to this day, and he occasionally plays them at milestone live shows.

The PRS (Paul Reed Smith) Custom 24 is another important guitar that DAITA has used on stage and in recordings. The Custom 24 is a modern electric guitar with 24 frets and an HH layout, and is a popular model worldwide for its versatile sound creation capabilities. DAITA used this PRS guitar to create thick, expansive lead tones on songs from the later years of SIAM SHADE and his early solo career.

The sweet, supple midrange of the PRS Custom 24 delivers a powerful presence that doesn't get lost even in hard tracks. DAITA also uses PRS guitars in tandem with Tom Anderson, switching between them depending on the style of the song. For example, he chooses the PRS for solo pieces that call for a more modern, thicker distortion sound, making the most of its sound character. He's even brought a PRS guitar to recent live shows, seemingly to accommodate set lists that require a diverse range of tones. Furthermore, PRS guitars are also distinctive in terms of appearance, with beautiful tops and bird inlays, making them stand out on stage, which is likely why DAITA favored them.

For a while after SIAM SHADE was first formed, DAITA also used a custom guitar made by ESP. ESP is one of Japan's leading custom guitar manufacturers, with many professionals having their own custom-made models made. It appears that DAITA also ordered an original model from ESP at the time and used it. The exact model name has not been made public, but it is assumed to have been a Super Stratocaster-type guitar with a Stratocaster shape and humbuckers.

This ESP Custom was the main guitar used in live shows around the time of SIAM SHADE's major label debut. Its sturdy construction allowed it to withstand intense arm-twitching and choking, and its powerful sound stood up to heavy riffs were distinctive features. For the young DAITA at the time, having a guitar that reflected his own ideas must have given him great confidence. The ESP Custom played well until he switched to Tom Anderson, and even after that it remained on standby as a sub. It is now sometimes displayed at live shows, making it a nostalgic treasure for fans.

E-DA-98This is DAITA's first official signature guitar, released under ESP's second line, Edwards. Featuring a unique Stratocaster shape, HSH, and pickguard, it has been described by DAITA as "a practical instrument that can handle both power chords and fast playing with just one guitar." The pickups are original, consisting of two humbuckers and one single-ended pickup. Featuring a Floyd Rose pickup and 1 frets, it was used on down-tuned tracks from SIAM SHADE's later albums.

ESP CustomThe prototype that became the basis for the E-DA-98. A superstrat with a black body and a single-size humbucker, it appeared in live footage from the early '90s. It paired well with the Mark III and Whammy, producing some of the sharp riffs of the early days.

Schecter guitars are also on DAITA's list of guitarists. Around 2000, he owned a 24-fret model like the Schecter SD-II-24, which he used on some of his songs. Schecter is known for its models equipped with high-output pickups called "Monster Tone," and the guitar DAITA used also featured Monster Tone pickups, which helped create a powerful and clear sound.

Although he didn't use Schecter guitars for long, there is information that they were highly valued as "all-purpose instruments that could be used in a wide range of genres." In fact, according to an article introducing the equipment used during the SIAM SHADE era, Schecter guitars were in the lineup alongside ESP, PRS, and Tom Anderson guitars. With their vivid sound and ease of use, Schecter played an important role in DAITA's sound creation for a time.

In search of a sound with a strong hard rock influence, DAITA also introduced Dean guitars. Two models in particular, the Time Capsule V and the Hard Tail, were guitars that stood out at live performances for a time. As the name suggests, the Time Capsule V is a reproduction of the classic Dean Flying V. The thick, edgy sound produced by the large V-shape was effective in heavy songs. The Hard Tail, on the other hand, is a single-cut model that can be considered the Dean version of a Les Paul, and is an all-purpose guitar that can handle everything from heavy riffs to leads.

It is believed that DAITA first picked up a Dean guitar around the time he was challenging himself with harder tunes in his solo career. Seeking a voluminous distortion sound and a powerful lead tone, he likely chose the distinctive Dean guitars. On stage, the flashy Flying V-style guitars made a big visual impact, highlighting his "guitar hero" presence. While he doesn't use them often these days, these Dean guitars remain treasured in DAITA's collection.

Among DAITA's guitars, the one that stands out is his Zemaitis electric guitar. It's an S-22ST W&B Edge model with a shell top (a top inlaid with a brass plate), and is known for its unique, beautiful decoration and bold sound. DAITA uses this Zemaitis on his solo track "Blue Passion," among other songs, captivating the audience with its brilliant tone.

Zemaitis is a legendary brand of handmade guitars originating in the UK, once favored by Ron Wood of the Rolling Stones and others. DAITA's Zemaitis is no exception, looking like a work of art and drawing attention on stage. Its rich tone, characterized by a rich, sweet mid-low range, made its presence felt in ballads and mid-tempo songs. While it wasn't used extensively from his time with SIAM SHADE to his solo career, it could be considered a hidden gem that he would use in crucial moments. It's also extremely rare, and is legendary among fans as a "mythical guitar."

DAITA calls the Mesa/Boogie Mark III head "the starting point of my career as a guitarist." He has been using this classic three-channel guitar, which first appeared in the late '80s, for over 3 years, with repeated overhauls.
　
For live performances, R1 is assigned for clean to crunch, R2 for rhythm, and Lead for lead, with the 5-band EQ set to a bold "M-curve." A significant boost around 750 Hz adds body and impact to the midrange. The key to the extended tone heard in the solo of "1/3 no Junjou na Kanjou" is the unique saturation achieved when this setting and the Simul-Class power stage are driven at a fixed 100 W.
　
During recording, he lightly boosts the amp by 1 kHz to emphasize the contours of the sound when recording multiple tracks. He says that this amp is still his go-to amp for the studio, as it can handle everything from clean brilliance to high-gain sharpness simply by switching channels.

His main high-gain pedal from the solo onwards is the Bogner Ecstasy 101B. It has a three-channel configuration with EL34 amps, and his standard setup is to use the Blue channel for hard riffs and the Red channel + Boost for leads.
　
DAITA turned down the Presence slightly to ensure a glossy sound that wasn't too harsh on the ears, and adjusted the amount of low frequencies with the Excursion switch. He says he likes the "heavy yet distinct" sound. In fact, on the tracks from his solo album "Melodicfall," he used this setting to get the low end on par with a 7-string while still preserving the definition of fast-playing phrases.
　
In recent years, he has adopted a wet/dry/wet configuration with two Ecstasy units on the left and right and a Mark III in the middle. The Ecstasy is driven by the return input exclusively for the stereo wet signal, creating a huge sound that doesn't lose its core even when spatial effects are added.

The Orange PPC cabinet is the perfect partner to maximize the amp head's potential. It features a PPC212 (2x12") in the top center, and PPC412 (4x12") on the bottom left and right. It employs a three-point stereo system, sending a dry signal to the center cabinet and a wet signal via the Axe-Fx to the left and right cabinets.
　
The thick mid-low range of the Vintage 30 speakers further enhances the tenacity of the Mark III and the power of the Ecstasy. On stage, a combination of SM57 and MD421 were used to individually mic each cabinet, with the wet/dry ratio adjusted at the PA console. DAITA is particular about being able to freely control the sound field to suit the size of the venue.
　
Furthermore, as he said, "Just seeing the orange wall go up gets me excited," the visual impact is also part of the performance. The huge rig, which combines sound and looks, instantly raises the expectations of the audience.

The Axe-Fx III is the centerpiece of the gigantic rack. The basic principle is to use digital for spatial effects and special tones, and vacuum tubes for the core distortion. It is inserted into the loop of the actual amplifier using the four-cable method, and presets for tape echo, 4-type delay, pitch shift, and more are managed.
　
The biggest advantage is that it can store all of the setups from tours throughout the years and reproduce the sound of those times with a single flick of a footswitch. At overseas festivals, I connect the Axe-Fx directly to the return terminal of a rental Ecstasy to reproduce the familiar spatial environment, reducing equipment transportation costs without compromising on sound.
　
DAITA describes the Axe-Fx III as "a notebook with infinite layers." He's constantly creating new presets and combining them with tube amps to expand the possibilities of the latest DAITA sound.

When it comes to Daita, many fans will associate him with his bold pitch-shifting techniques using Digitech's Whammy pedal. The familiar red whammy pedal is an effect that can raise or lower the pitch by stepping on it. Daita has been a fan of this pedal since his days with SIAM SHADE, and in solos on tracks like "Triptych" and "No Control," he skillfully incorporates octave-up and -down effects to create a unique sense of floating. Daita has a long history of using the whammy pedal, and it is one of the few pedals that has remained on his board from the band's early days to the present.

One notable use of the whammy pedal in DAITA's work is its ability to instantly shift pitch for added impact. It's used effectively at key points, from using the whammy pedal to sharply lower the pitch at the end of a fast phrase to tighten it up, to layering +1 octave harmonies on an arpeggio to add thickness. While the settings are typically +1 octave up or -1 octave down, depending on the song, he sometimes goes two octaves down, like in a Dive Bomb. Either way, it's an important secret weapon that adds a sense of floating and drama to DAITA's lead tones.

In the mid-1990s,SIAM SHADE's heydaySince then, DAITA has always had a Steve Vai signature guitar on hand as a "secret weapon." Morley Bad Horsie 2 Thanks to the optical sensor and switchless mechanism, the wah effect is applied only when you press the pedal, and automatically bypasses when you release your foot - you can add a pitch-shift-like undulation to ultra-fast phrases without killing the attack.Contour modeUtilizing the two-stage EQ (which allows for individual adjustment of frequency and level) to boost the mid-range, it creates a "roaring lead tone" that further pushes the mids of the Mesa/Boogie Mark III.

The latest version is placed on the left sub-board at the feet.Works with Digitech Whammy DT/RicochetIt instantly raises the pitch and creates a wah fill with just one action. As a result, he explained in an interview that the reason he chose it was because it gives you a "vocal-like singing" wah effect without sacrificing the clarity of your tapping. It remains on his board as a "trump card" for high-gain solos, and is synonymous with the DAITA sound.

DAITA, who prefers hand wah, chose this pedal because he wanted the "smoothness of a vintage VOX." Fulltone Clyde StandardCustom ICAR type inductors andVariable Buffer/BoostIt is equipped with a balanced output, and its feature is that the wire does not become thin even when cutting the cord. Since the mid-2010s, it has been placed on the right edge of the main board and is used for clean to crunch songs.Half-stop position boosts the midrangeThis creates a "singing wah" effect. In the 2019 performance of "THE GUITAR EMISSION - STRING ART," it was installed in slot (1) and used in combination with the Sho-Bud Volume to create a unique sound.

In June 2020, the live stream "COUNTER ROCKETS" Clyde Deluxe He upgraded to the 5s, and took advantage of the three-mode switch and input level adjustment to emphasize fifth harmonies with the "Whacked" setting. In other words, the Clyde Standard served as his "main wah for adding subtle expression," and later evolved into the Deluxe. Even today, the "Jimi" position (equivalent to the Standard) remains his standard tone, and he switches between "Wacked" and "Shaft" for each song, making it the core of DAITA's wah sound.

DAITA also produces effects pedals under his own brand, G-Life Guitars. The Gemini Booster is a prime example of this. The Gemini Booster is classified as a clean booster, and its distinctive feature is that it adds thickness and body to your sound without altering the tone. While DAITA has long used standard MXR and BOSS pedals as boosters, it's said that he personally developed the Gemini Booster in search of the ideal effect.

Currently, a Gemini Booster is installed in a drawer inside DAITA's rack, and is remotely controlled via an RJM switcher. It can be used in a variety of ways, from slightly increasing the volume and gain before a solo to leaving it on all the time to add body to a clean tone. It particularly contributes to improving the sustain of guitar solos, and also seems to have the benefit of making feedback control easier. The Gemini Booster is equipped with a unique control called "SPIRIT," which DAITA says is one of his favorite features, as it allows him to adjust the body of the sound.

Installed in the rack alongside the Gemini Booster is a distortion pedal called the Black Buster, also from the G-Life brand. The Black Buster is a high-gain distortion pedal that, as its name suggests ("black destroyer"), produces an intense distortion sound. It's said that Daita wasn't satisfied with existing distortion pedals, and personally pursued his ideal distortion sound, leading him to develop this pedal.

The Black Buster's distortion is characterized by its powerful presence, creating a truly impressive impact when playing power chord riffs. It also excels at noise reduction and sound separation, allowing even complex chords to sound crisp and clear. In DAITA's rack system, clean and crunch tones are typically achieved by switching between amp channels, with the Black Buster used for additional gain boost and solo lead tones. For example, adding the Black Buster to the distortion directly output by the amp to create a lead tone allows for a smooth, clear solo sound. This pedal truly is a secret weapon in the DAITA sound, supporting it behind the scenes.

The core of DAITA's recent systems is the Axe-Fx III from Fractal Audio Systems. The Axe-Fx III is a professional-grade multi-effects and amp simulator, a powerful rack-mounted processor that can reproduce countless amp models and effects in a single unit. DAITA began using the Axe-Fx in the late 2010s and now has it permanently installed in its rack.

The advantages of the Axe-Fx III are its portability and live reproduction. Even the delicate sounds you create in the studio can be saved as presets and recalled with a single button press. DAITA uses a hybrid setup that combines real amps with the Axe-Fx, relying on the Axe-Fx's modeling for clean tones and some special effect sounds, while using the sounds of real amps like the aforementioned Bogner for basic distortion tones. This results in a rich sound that retains the rawness of a tube amp while adding studio-quality delay, reverb, and pitch shifting from the Axe-Fx.

For example, during the guitar solo medley at the end of the live performance, DAITA makes full use of the Axe-Fx's built-in tape echo and reverb, creating a sound image in which the guitar dances amidst a fantastical reverberation. It's also been reported that some tracks use the Axe-Fx's amp models (such as Soldano and Marshall models) to create sounds in a multi-amp configuration. The Axe-Fx III is a top-class digital device that meets the strictest professional demands, and DAITA skillfully uses it to add a new dimension of breadth to his own sound.

A volume pedal is also installed on the effects board at his feet. DAITA had been using a vintage volume pedal made by the American company Sho-Bud for many years, but in recent years he has switched to the Japanese company Free The Tone's Direct Volume DVL-1. The Sho-Bud pedal, originally designed for pedal steel, had a unique feel and was a favorite of DAITA's. However, it had deteriorated over time with repeated tours and was in need of maintenance. So, it seems he switched to the latest model, the DVL-1, which has a reputation for reliability and sound quality.

The Direct Volume DVL-1 is an active volume pedal, characterized by its minimal sound loss and smooth feel. It allows for precise control of clean tone volume and volume before solos. While DAITA frequently reaches for his guitar's volume knob during songs, using it in conjunction with a foot-operated volume pedal allows for greater freedom in dynamic expression. For example, when transitioning from a clean arpeggio to a distorted backing, he skillfully uses the pedal to gradually increase the volume and distortion, adding emphasis to the song. Switching to the state-of-the-art DVL-1 provides smoother operation, further honing his expressive power.

Even now that the Axe-Fx III has become the leading space-based sound system, Fireworx's Vocoder / Formant Shifter / Freq-Shift The patch alone is irreplaceable. In the re-recording of "Triptych 2024 Ver.", the lead guitar is sent to Channel A, and the octave lower synth is sent to Channel B.Robotic unison with formant modulation from +3 to -3Although it's a piece of equipment from the 1990s, he describes it as "a magic box that still inspires creativity," and it still maintains its permanent place at the top of his rack.

A stereo 2023-Tap delay was added to the main board from the 8 tour. You can layer flanger and phaser on the warmth of tape echoes.Tapping unison from "Fingeroid" and "Goðafoss"It creates a cosmic reverberation effect. There are two presets: A: 80 ms x 600 taps (left/right ±XNUMX cent detune), and B: XNUMX ms Ping-Pong + Golden Ratio Feedback. It's incorporated into Loop ⑯ of the RJM Mini Effect Gizmo and set up so that it can be instantly recalled with the IA switch on the Ground Control Pro. It's a key piece in recent years, placed before the Axe-Fx III, offering both an "analog feel" and "digital resolution."

They have been using it since the SIAM SHADE reunion concert (2007), and highly praised it for its ability to visualize stroke volume even on a dark stage. For the 2024 set, the MIDI-EXP terminal was sent to the rack via a Kenton LNDR.Simultaneous morphing of the Axe-Fx III delay mix and TriAxis output levelIt also functions as a multi-function controller. A typical use is to add a "vi-volume"-like effect to clean arpeggios, gradually expanding the sound.

Active Volume/Booster. Visual Volume is responsible for dynamics management, while MVP is +20 dB push for solo popIt's a dedicated machine for creating wah-wah solos. By placing it before a Gemini Booster or Black Buster, it reduces noise while increasing the sense of gain, and combined with a Bad Horsie 2, it creates a howling wah-wah solo. Since its introduction in 2018, it has become a ritual that I always step on before a solo part.

This MIDI foot controller has been the command center of the DAITA rig since 2009. It can control up to 20 devices simultaneously.Presets + Instant Access (IA)It operates with a two-layer structure. In recent years, instantaneous effects such as Polymoon, Whammy DT, and Bad Horsie 2 have been assigned to the IA, and switching between TriAxis, X-99, and Axe-Fx is managed collectively on the preset side. The flow of "jumping into wah and back like singing" is now a one-button operation, dramatically reducing the strain on your feet during technical phrases.

Two vacuum tube MIDI preamps (12AX7 x 5) reside in a pair on the bottom shelf of the rack. They have been installed since 2012 with the aim of reproducing the Mark III's powerful mids in a rack.Rhythm: Mark IV mode, Lead: Mark IIc+ modeThe system is preset to 212mW and sent to the Ecstasy power stage to create a three-dimensional sound. At overseas festivals, the "light rig" is sometimes completed with just the TriAxis and two Orange PPCXNUMXs, and Mark himself has openly stated that it is "a lifeline at venues where we can't bring in a Mark."

It has been a permanent fixture since the late 2010s.
Eight fully isolated outputs cut off hum loops and can simultaneously drive high-current and low-current pedals such as the Whammy DT and Clyde Wah.
The SAG function on outputs 7-8 drives Ripple and Tremor at low voltage, creating a "dull vintage feel" only for songs where it's needed.
The unit also handles Visual Volume and Ground Control with 9 V/12 V switching, minimizing wiring.
The robust toroidal transformer is stable even in overseas 100-230 V environments, and DAITA says, "A power supply problem is the same as cutting out the sound, so it's a silent worker that is essential to have with you."

DAITA has been a long-time fan of Ernie Ball guitar strings. He primarily uses the standard electric guitar standard, a regular light gauge set (commonly known as "009-042") in the .09-.42 range. This provides just the right amount of tension while allowing for easy bending and fast playing. While standard tuning uses 09-42 strings, for songs tuned down a half step, he switches to a slightly thicker 6-09 set on the 46th string. For songs tuned down a whole step, he uses even thicker strings, such as 10-48. This allows for tension to be maintained even when tuning down, ensuring a comfortable feel and sense of pitch.

Previously, DAITA used GHS Boomers strings (09-42) at the recommendation of his beloved guitarist Kyoji Yamamoto, but it seems he has settled on his favorite Ernie Ball strings. He frequently changes his strings for live performances and recordings, always keeping them fresh and maintaining the best sound. Fans are also excited about the possibility of the G-Life brand releasing original strings in the future, and it's possible that his commitment to his work will lead to new products.

DAITA's attention to detail is also evident in his picks. In recent years, he has been using original picks from the G-Life Guitars brand, which he also sells as merchandise in his own online shop. When creating a new pick, he visits the factory in person, carefully analyzes the picks he has used in the past, and carefully selects materials to achieve the ideal sound. The resulting picks appear to have the attack sound and flexibility that DAITA is looking for.

The picks are triangular in shape, similar to a rice ball, and are somewhat thick, perhaps around 1.0mm. The material is said to be Ultem, chosen for its durability and excellent sound projection (commonly available products have a similar feel to Jim Dunlop's Ultex material). On stage, he can be seen using a blue pick with the DAITA logo. Incidentally, several of his picks are lined up on top of Orange's amp head, likely keeping a spare so he can easily pick one up if he drops one during a performance. His unwillingness to compromise on sound, even with a single pick, is truly something you'd expect from a top guitarist.