[TUBE] A summary of the equipment used by Michiya Haruhata [amps, guitars, effects]

During his childhood, he learned classical piano and developed perfect pitch, acquiring musical knowledge at an early age.

As a child, she asked her parents if she could learn piano, and began attending the Yamaha music school.

She stopped playing piano when she was in the sixth grade of elementary school because "piano is something girls do, and boys play baseball." However, in junior high school, a classmate who found out that Haruhata could play the piano invited her to join a band, and she began playing the piano again.

However, when performing on stage, he was dissatisfied with the fact that his keyboard was located at the edge of the stage, while the guitarist at the front of the stage attracted attention, so he started playing the guitar.

It wasn't until I was in high school that I picked up my father's acoustic guitar at home and actually bought an electric guitar of my own.

The band he formed with his friends in the same year in junior high school was called "Rainbow." The band consisted of five members.

The band is made up of lead guitar, rhythm guitar, bass, drums and keyboards, with Michiya Haruhata playing lead guitar. Haruhata's guitar technique was already outstanding when he was in his first year of junior high school.

He was a member of several amateur bands, including "Rainbow" and the amateur band "Backing M" listed below.

While attending Tokyo Metropolitan High School, they reformed "Backing M". With Haruhata Michiya (G) from Tadao High School, Tanaka Minoru (G), Nomura Akihiko (B), Mogaki Wami (Vo) and Arima Takuro (Dr) from Nogawa High School as the main members, they aimed to make a professional debut, wrote many original songs, auditioned for various auditions, and performed live many times. Their signature song is "One More Time", with lyrics written by Wami.

Guitarists who influenced him during this period include Jeff Beck, Eric Clapton, and Ritchie Blackmore, and he built the foundations of his own style.

After graduating from high school, he tried out for live music venues and auditions with the aim of going professional, and in 1984 he won the Best Guitarist Award at the Silk Road Music Festival.

Through this competition, he met Maeda Nobuteru, who would later become the vocalist of TUBE, and they hit it off.

He formed a band called "Pipeline" with Hideyuki Kadono (bass) and Reiji Matsumoto (drums), and made his major debut the following year in 1985 as "TUBE."

Initially, they had a strong image as a "summer band," but with the addition of melodic and technical arrangements brought about by Haruhata's guitar playing, TUBE's musicality was further elevated.

From then on, Haruhata became the core member of the band and composed numerous hit songs.

Michiya Haruhata, who has composed many of TUBE's songs, is also highly regarded as a composer.

From hit tunes such as "Season in the Sun" and "Ah, Summer Vacation" to instrumental songs and ballads on the album, the band demonstrates a wide range of musicality across genres.

In the 1990s, in addition to his band activities, he also began providing songs to other artists as a composer and arranger.

As a guitarist, he is also able to express a wide range of sounds, from surf-like sounds to bluesy tones and wailing lead melodies, with his high-end setup centered around a Stratocaster.

He continues to add improvisational arrangements to his live performances, creating performances that capture the hearts of his audiences.

"J'S THEME," performed at the J.League opening ceremony in 1993, became a representative work that made the band's name known throughout Japan.

The song is a guitar instrumental written with the scale of a stadium in mind, and its ability to create a frenzy with just one guitar led to greater acclaim for him as an instrumental guitarist.

He subsequently went on to compose many songs, such as "Jaguar," as theme songs for television sports broadcasts, and his melodic style came to be highly regarded in the instrumental music world.

They also regularly release instrumental albums, and their 2020 release "Continue" includes many songs that incorporate a modern approach.

His attitude as an artist who continues to push the boundaries of what is possible with guitar instrumentals continues to influence many guitarists today.

In 2002, he signed an endorsement contract with Fender.The first Japanese Fender signature guitaristHe released a signature model as a

Since then, Michiya Haruhata has released several Stratocasters, including custom shop and Japanese models, which he uses in his own live performances and recordings.

In addition to guitars, he also pays close attention to detail with effects, amplifiers, cables, and picks, and has even produced straps and cables that he has personally supervised.

He is frequently featured in guitar magazines and equipment-related media, and his gear commentary from a nerdy perspective is popular with many readers.

In 2015, to coincide with the 30th anniversary of TUBE's debut, Haruhata released the solo song "Blue In Summer," on which he himself provided vocals.

Not only was she a performer, but she also showed her side as a singing artist, becoming a hot topic among fans.

From 2022 to 2023, he will be touring around the country and is also actively working under his solo name.

Even now at the age of 60, his playing, composing ability, and musical sense are all top-notch, and he continues to have a major presence as a role model for the next generation of guitarists.

The Michiya Haruhata signature model "Michiya Haruhata Ⅲ Stratocaster Trans Pink" created by Fender Custom Shop master builder Jason Smith is faithfully reproduced in the Made in Japan line.

We have succeeded in creating a model that is affordable and has specifications that meet the high demands of Michiya Haruhata, one of Japan's leading technical players and the first Japanese to have a signature model produced by Fender.

The eye-catching ash body with flame maple top painted in a vibrant translucent pink color has no pickguard, enhancing its sophisticated elegance.

The 3-inch scale satin-finished Michiya Haruhata Soft V maple neck was reproduced via a 25.5D scan of the artist's actual guitar, and features black dot position marks. The distinctive reverse large head is equipped with a locking nut for stable tuning.

To support Haruhata's hard and emotional sound, the HSH pickup configuration features a DiMarzio® Air Norton™ DP193 humbucker in the neck position for rich sustain, a DiMarzio® Fred® DP153 in the bridge position for a tight and bright sound, and a Custom Shop Texas Special™ Single-Coil Strat® that covers everything from crystal clear highs to tight lows. All of these pickups are directly mounted to the body, just like the original model.

The Master Tone with push-push function faithfully reproduces the unique function that allows you to turn the neck pickup on and off. The bridge uses a double locking tremolo system that maintains tuning stability, maintaining accurate tuning even during aggressive playing. Michiya Haruhata, who has shown his talent through various activities such as TUBE and solo work, has created a new model that is packed with his diverse ideas and supports a wide range of expression.

Title: Ash
ボディフィニッシュ：Gloss Polyester
ボディシェイプ：Stratocaster
Name: Maple
Neck Finish: Satin Polyurethane
Neck shape: Michiya Haruhata Soft V
Scale: 25.5″ (648 mm)
フィンガーボード：Maple
Fingerboard Radius: 9.5″ (241 mm)
Number of frets: 22
Frets Size: Medium Jumbo
Nut: Lock Nut
Nut width: 1.675″ (42.5 mm)
ポジションインレイ：Black Dot
Bridge pickup: DiMarzio® Fred® DP153
Middle pickup: Custom Shop Texas Special™ Single-Coil Strat®
Neck pickup: DiMarzio® Air Norton™ DP193 Humbucking
Controls: Master Volume, Middle Pickup Volume, Master Tone with Push-Push Switch for Neck Pickup ON/OFF
Pickup Switch: 5-Position Blade: Position 1. Bridge Pickup, Position 2. Bridge and Middle Pickup, Position 3. Middle Pickup, Position 4. -Middle and Neck Pickup, Position 5. Neck Pickup
Pickup configuration: HSH
Bridge: Double Locking Tremolo System
ハードウェアフィニッシュ：Nickel/Chrome
Tuning Machines: Fender® Vintage “F” Stamped
Description: None
コントロールノブ：Knurled Flat-Top

The base of the "MICHIYA HARUHATA STRATOCASTER®" is the "MICHIYA HARUHATA STRATOCASTER® III" released by Fender's top brand "FENDER CUSTOM SHOP" in 2011. This guitar, packed with various ideas and featuring a Caribbean blue body with a quilted top reminiscent of the beautiful Caribbean Sea, has an iconic presence through various activities such as TUBE and Michiya Haruhata's solo work.

In 2017, a project to develop a model with uncompromising specifications but at a reasonable price was started for Haruhata, who had long wanted to develop his own signature model at an affordable price. In order to achieve both quality that Haruhata could accept and an attractive price, the model was developed on a Japanese-made line that achieved significant quality improvements under the supervision of senior master builder Chris Fleming.

It is equipped with all the ideas packed into the "MICHIYA HARUHATA STRATOCASTER® III" such as a reverse large head, unique and functional control system, double locking tremolo system, etc. The HSH pickup configuration of DIMARZIO DP193 in the front, Texas Special in the center, and DIMARZIO DP153 in the rear is directly mounted on the body unlike a normal Stratocaster®, realizing a powerful and clear sound that doesn't get drowned out.

The neck shape is the "MICHIYA HARUHATA SOFT V," a precise reproduction of the actual guitar used by Haruhata himself, based on a 3D scan. In early May this year, Haruhata checked out the completed prototype during stage rehearsals for TUBE's national tour, instantly fell in love with it, and used it on stage as is. He has continued to play the guitar since then, proving its high quality and that it lived up to Haruhata's expectations.

Michiya Haruhata is one of Japan's leading guitarists, who is active as a solo artist and guitarist in a wide range of fields. In 2002, he signed an endorsement contract with Fender and released the "MICHIYA HARUHATA STRATOCASTER?", the first signature model by a Japanese guitarist, from the custom shop. Since then, he has released many popular models. In January 2018, Haruhata had a remote meeting with master builder Jason Smith, and the latest model, completed at the end of 1, will now be reproduced with the same quality as his own model as the "MICHIYA HARUHATA STRATOCASTER HEAVY RELIC? by JASON SMITH".

The theme of this time is "Vintage Spec Heavy Relic". While retaining the common features of the Haruhata model, such as the reverse large headstock, the on/off of the neck pickup with a push/push pot, and the 22 fret specification, it features a combination of two-color sunburst and ash body that strongly reminds of the 50s, and his first heavy relic. The one-piece maple neck, which is finished a little thin based on the Mid 2's Big V, allows for very smooth playability, combined with the 50-inch radius fingerboard and narrow tall frets. The pickups are Vintage Noiseless?, which can output the traditional single coil sound noiselessly, and DIMARZIO DP9.5, which Jason selected in response to Haruhata's request to "carve out heavy riffs". In order to output Haruhata's free and rich expression as if he were singing, this is the best hybrid guitar presented by the custom shop that brings together Jason Smith's technology.

Body: Lightweight Ash 2P
Body Finish: Lacquer
Neck: Quarter Swan Maple
Neck Finish: Lacquer
NeckShape: Michiya Haruhata Original
Fingerboard: Maple / 1P
Radius/Fret: 9.5/6105
Pickups: Vintage Noiseless ×2 / Dimazio DP155Black “F”Spacing
Control: 5way / Same control as MICHIYA

The first signature guitar that Michiya Haruhata acquired after signing with Fender was a Stratocaster, the first Master Built (serial number 1) made by the late John English.

This commemorative model was released in 2002 as the first Japanese guitarist to be endorsed by Fender, and it had a luxurious look with a white-blonde painted swamp ash body and a gold anodized pickguard.

The large reverse headstock and unique control arrangement (master volume + front pickup volume + master tone (push/push to turn on neck PU)) were perfected in this #001 model, and have been passed down to subsequent Haruhata signature models.

The plate on the neck joint is engraved with "Custom Built For Michiya Haruhata John T. English," making it a very special guitar for him.

It is still in extremely good condition and is carefully stored and used, and is still featured on special occasions at live performances.

For example, in recent years, a cool touch has been added to the song "John English," which is based on a John English Strat, in which John English himself plays #001.

In addition to being a skilled electric guitarist, Michiya Haruhata is also a master of the acoustic guitar.

During live performances, I sometimes use a custom model of electric guitar (nylon-string guitar) called the K.Yairi CE-3D.

This guitar is based on the "CE-3D," which has a slightly deeper body than the regular CE-3, and is a special model with beautiful curly maple applied to the sides and back of the body and the head top.

The top (soundboard) is made of solid spruce, the neck is made of mahogany, and the fingerboard is made of ebony, all very luxurious materials used for a classical guitar.

The pickup is an LRBaggs Element VTC (under-saddle piezo), which allows for clear and natural amplification of the live sound during live performances.

In fact, Haruhata makes use of this elegant instrument in ballads and quiet songs, delivering delicate and emotional performances.

On stage, I use a tc electronic Polytune Clip (clip-on tuner) attached to the headstock to control tuning, and a dedicated effects board (described below) is placed at my feet to apply reverb and other effects.

He played this guitar during the intros to "God bless you!" and "J'S THEME," captivating the audience with its soft tone.

Divided By 13's flagship model and the pinnacle of guitar amps! The ultimate model with astonishing response: the FTR37

The power section is equipped with four 6V6 tubes, and while it is based on an American sound, it also incorporates the best of the British sound, and by mixing in Fred's know-how, it creates the ultimate guitar tone!

Haruhata connects the FTR37 head to a 2x12" cabinet (a cabinet with two speakers) made by Custom Audio Amplifiers.

The cabinet speakers are presumably Celestion Vintage 30s, which provide a thick, clear midrange.

The amp itself is set on the clean side, and Haruhata's style is to create distorted tones mainly with pedals.

Even during live performances, he doesn't turn up the amp volume too much to keep it nice and clean, and he uses multiple overdrive/boosters to create distortion that suits the song.

The FTR37 responds excellently to picking nuances, and Haruhata seems to be impressed by how quickly it responds the moment the strings are plucked.

The clean tones have a pleasant compression feel and rich harmonic content, producing a sound that stands out without getting lost in the band.

In addition, just before the amp, we have a booster with equalizer called the Free The Tone CC-1B “Crunchy Chime” (currently in the prototype stage) that is always turned on to fine-tune the basic sound of the amp.

This booster corrects the high and mid ranges and evens out the differences in volume and tone between guitars, thereby maintaining a consistently ideal clean sound.

For example, when switching guitars, the tech (roadie) was seen using the knob on this booster to fine-tune the high-frequency output.

In other words, by adding flavor with boosters and various effects on top of the amp-to-cab foundation, Michiya Haruhata is able to create a wide range of sounds that are unique to him.

■37 Watts, Class AB1/A
■2 Discreet Channels
■CH 1: Volume, Treble, Bass, Reverb
■CH 2: Volume, Click
■Push/Pull Mid/Gain Boost
■Reverb
■Half Power Switch (18 Watts) (Can reduce output to 18W)
■Tube Rectified (5AR4/GZ34)
■Power Section: 4 x 6V6 GT
■Preamp: 12AX7, 5879
■4, 8, 16 Ohm output
■Dimensions: 692W x 286H x 203Dmm / 19.5k

Michiya Haruhata is the flagship model of Hughes & Kettner.TriAmp Mark 3I love the . This amp boasts a maximum output of 150W with an all-tube construction and has six independent channels. This allows me to freely control a wide range of tones, from clean to modern high gain sounds.

The TriAmp Mark 3 has three amp sections (AMP3, AMP1, AMP2), each with two channels (A & B). Each channel is equipped with independent gain, master, and 3-band EQ, allowing guitarists to finely adjust the sound character they desire. In addition, you can freely select and combine power tubes such as EL2 and 3L34GC, and program up to 6 types of amp sounds.

Haruhata uses the TriAmp Mark 3 for live performances and recordings, taking advantage of its diverse tones and high operability to create the perfect sound for each song. In particular, the excellent response to picking nuances, the transparency of the clean tone, and the powerful sound of the distortion match his playing style.

La Grange is designed to recreate the tone of famous British Plexi amps played by legendary guitarists.

Using the provided switches and controls, it offers a wide range of exquisite rock sounds, from the crunch of the 60s and 70s to the hot distortion of the 80s and 90s.

Unlike the Ecstasy and Uberschall pedals, the La Grange has a separate boost that can also be used as a volume boost for leads.

Haruhata said thisCrunch - The foundation of the leadIt has a wide gain range, and can be used to create anything from a crisp crunch like a vintage Marshall to a sticky lead tone with the boost switch turned on. It's a reliable pedal that gives you the fatness of power chords in riffs and a relaxed sustain in solos.

One of the classic overdrive pedals. It's a natural distortion that doesn't impair the guitar's original nuances, and it's turned on when you want to bring out the crunch. It has a wide range of effects from clean boost to mid-gain, and is also suitable for blending with other drive pedals.

【Feature】

HP: Set up at High Peak for a more British sound with an amplified bottom end, increased distortion at all corners of the Drive knob range, more volume, and a slight boost in the upper mids (3.5Khz range).
・LP: When set up to low peak, you can get the original sound of the guitar amp with amazing accuracy, and it is ideal if you are looking for a tone like an old black face or tweed amp when you turn up the volume or clean boost. Contrary to HP, if you are not looking for a British type sound, we recommend setting it up to LP.
- This is an excellent product that brings out all the brilliant tones and rich overtones that Class A amplifiers inherently have. The dynamic range is slightly wider, and the difference between picking softly and picking hard actually produces a wider range of distortion and output than the distortion caused by clipping a normal diode. It also does not impair the original tone of any amplifier or guitar. And by making full use of the guitar's volume control, it brings out a wide range of tones in a spectacular way.

An overdrive with a unique mirror-finished body. Designed as a transparent clean-leaning OD, Haruhata uses it when he wants to add a little shine to a clean sound or when he wants to add a slight drive to arpeggios, etc.

The tone is not muffled and the high frequencies come out crisply, which helps to improve the sound clarity even when playing backing tracks.

The moment you connect your instrument to BigSky, your sound will be taken far up into the stratosphere. The scenery below you will recede further and further away, and you will be invited into the blue light of the reverb. The BigSky project required a huge amount of engineering and artistic imagination to create a natural, beautiful, and enveloping reverb. First, we studied the reverb techniques that have been studied over the past 50 years, guided by the fundamentals of acoustics, and scientifically analyzed them again. As a result, we captured the essence of classic reverb sounds and built a vision of the future of reverb from there. BigSky offers 12 studio-level reverbs. Each machine has simple, yet powerful controls for sound-making. The new reverb was developed with the goal of reaching a whole new level. Using meticulous attention to detail, innovative analog circuit design, powerful SHARC processors, and the finest parts, we have succeeded in putting audio quality that surpasses rack-mounted equipment into a pedalboard size.

Strymon releases a new studio-class modulation pedal!

It has 12 different modulation sounds with great tones and feelings.
200 different presets and MIDI control are possible.

From studio-quality, glittering chorus sounds to powerful, explosive sounds,
It is equipped with a wide range of modulation sounds that will stimulate the player's creative sensibilities.

This is the 11th new product from the Strymon brand (including the Favorite switch), so it's definitely one to check out!

主な特徴とサウンドデザイン
- 12 studio-class modulation algorithms with detailed and nuanced tones
- Seven types of knob control allow for a wide range of sound making.

ハードウェアとコントロール
・豊富なプリセットをベースに書き換えセーブが可能
・LEDディスプレイがプリセット、 BPM/タイム、パラメーターを表示
MIDI file download
- Metal foot switch for preset selection, effect bypass, and tap tempo

A newcomer to the board in recent years, the overdriveDumble ampsThis pedal aims to reproduce the lustrous sound of the OverdriveLand. Haruhata uses the OverdriveLand for a "thick, singing lead sound." When you increase the gain, it applies smooth compression, giving you a full-bodied lead tone just like the classic Dumble.

Classic British Rock sound!

As a project to celebrate the 15th anniversary of FREE THE TONE, we have started the development project for the "Integrated Series" based on the concept of "creating the ideal sound" by selecting and integrating all the elements that make up an effector, making full use of the abundant knowledge and experience we have cultivated so far, as well as our solid technical capabilities and sense. The first product in the commemorative "Integrated Series" is the "Drive Pedal."

Overwhelming dynamic range, sparkling overtones, long sustain, a fat tone with a fast sound, and most importantly, a clean drive sound. In order to realize all of these, we thoroughly examined all elements related to the sound, such as the electric circuit and electric parts, as well as the material, mass, and magnetic field of the case and knob, and after repeated prototyping over several years, we completed the "STRING SLINGER" and "FIRE MIST". When we think of the ideal drive sound, two things come to mind: the American blues sound symbolized by the Black Face era, and the British rock sound represented by golden plexi panels.

"FIRE MIST" reproduces the ideal British rock sound. Its outstanding response and edgy sound create the classic British rock sound.

The moment you play "FIRE MIST" you will experience the true meaning of the word "amp like."

Classic British Rock sound!

As a project to celebrate the 15th anniversary of FREE THE TONE, we have started the development project for the "Integrated Series" based on the concept of "creating the ideal sound" by selecting and integrating all the elements that make up an effector, making full use of the abundant knowledge and experience we have cultivated so far, as well as our solid technical capabilities and sense. The first product in the commemorative "Integrated Series" is the "Drive Pedal."

Overwhelming dynamic range, sparkling overtones, long sustain, a fat tone with a fast sound, and most importantly, a clean drive sound. In order to realize all of these, we thoroughly examined all elements related to the sound, such as the electric circuit and electric parts, as well as the material, mass, and magnetic field of the case and knob, and after repeated prototyping over several years, we completed the "STRING SLINGER" and "FIRE MIST". When we think of the ideal drive sound, two things come to mind: the American blues sound symbolized by the Black Face era, and the British rock sound represented by golden plexi panels.

"FIRE MIST" reproduces the ideal British rock sound. Its outstanding response and edgy sound create the classic British rock sound.

The moment you play "FIRE MIST" you will experience the true meaning of the word "amp like."

The world's first real-time BPM analyzer and high-quality digital delay with delay time offset function, FLIGHT TIME, has evolved even further!

The FT-2016Y (FLIGHT TIME) was sadly discontinued in 1. In response to enthusiastic requests from players around the world, it will be revived as the FT-2Y.
For the release of the FT-2Y, we have redesigned not only the analog and power circuits, but also the digital circuits and firmware to dramatically improve the sound quality. As for the specifications, we have kept the functions of the FT-1Y (the world's first real-time BPM analyzer function and delay time offset function, etc.) as they are, but have further evolved both in terms of sound quality and functionality, such as by adding instrument/line level switching and more preset switching modes. The FLIGHT TIME FT-2Y is an unparalleled delay effect that pursues sound quality, is easier to use, and brings together the latest developments from FREE THE TONE.
Please come and experience this sound.

Note 1) If the tempo information tapped differs from the actual performance by more than ±20% in BPM, it will not be automatically adjusted.
Note 2) There are cases where the real-time BPM analyzer cannot recognize the BPM, such as performances that incorporate odd time signatures, or performances by an orchestra or piano.

Characteristics
- World's first real-time BPM analyzer function (according to our research as of September 2014)
- World's first delay time offset function (according to our research as of September 2014)
- Equipped with 32-bit high-precision DSP
- Built-in HTS circuit and analog mixer.
- Instrument/Line input level switching function
･ HPF (high pass filter), LPF (low pass filter) functions
- Modulation function
- Sound Hold function
･ REC & REPEAT function
･ DELAY PHASE function
･ MIDI function
・Trail function
- Tap input function

Main Specifications
●Number of presets: 99 (Number of user presets: 90, Number of factory presets: 9)
Input impedance: 500KΩ or more
Output load impedance: 1kΩ or more
Maximum input level: INST +2dBm / LINE +13dBm
Connectors: 1/4 inch standard phone jack (IN, OUT, HOLD)
Power supply: DC12V, center negative (FA-1220D-JA recommended)
●Current consumption: DC12V approximately 400mA (Max)
●Size: 146(W) x 120.5(D) x 57(H)mm (including protrusions such as jacks)

There's no wrong way to go about the tremolo/reverb sound of a Fender amp.
This fresh and dynamic effect has influenced all kinds of music.
The Tre-Verb puts independent tremolo/reverb effects right at your feet in a compact, easy-to-use pedal.
Based on the famous spring reverb units of the '63 and '65, with multiple tremolo modes, it includes traditional reverb voicings to ensure you get the sound you need.
A wide range of features, such as tone shaping controls with tap tempo function, make this pedal extremely flexible.
Stereo input/output allows for easy connection to any pedal board or amplifier.

Designed by our in-house team of experts, the Tre-Verb is a completely original Fender circuit.
To ensure the pedal was performance-ready, we had real musicians use it, get their feedback and refine it.
The housing is constructed from lightweight, durable anodized aluminum, and the LED-illuminated knobs make control settings visible at a glance, even on a dark stage.

Add some classic Fender amp effects magic to your sound with the Tre-Verb.

Material: Anodized Aluminum
Power Requirements: 9-Volt DC Negative AC Adapter
Features:
- Designed based on Fender's most advanced DSP
- Equipped with independent tremolo/reverb with 3 voices
- Tremolo with tap tempo function
・ステレオ入出力
・LED backlit knob

There's no wrong way to go about the tremolo/reverb sound of a Fender amp.
This fresh and dynamic effect has influenced all kinds of music.
The Tre-Verb puts independent tremolo/reverb effects right at your feet in a compact, easy-to-use pedal.
Based on the famous spring reverb units of the '63 and '65, with multiple tremolo modes, it includes traditional reverb voicings to ensure you get the sound you need.
A wide range of features, such as tone shaping controls with tap tempo function, make this pedal extremely flexible.
Stereo input/output allows for easy connection to any pedal board or amplifier.

Designed by our in-house team of experts, the Tre-Verb is a completely original Fender circuit.
To ensure the pedal was performance-ready, we had real musicians use it, get their feedback and refine it.
The housing is constructed from lightweight, durable anodized aluminum, and the LED-illuminated knobs make control settings visible at a glance, even on a dark stage.

Add some classic Fender amp effects magic to your sound with the Tre-Verb.

Material: Anodized Aluminum
Power Requirements: 9-Volt DC Negative AC Adapter
Features:
- Designed based on Fender's most advanced DSP
- Equipped with independent tremolo/reverb with 3 voices
- Tremolo with tap tempo function
・ステレオ入出力
・LED backlit knob

This device is called a programmable switcher, and allows you to switch the ON/OFF states of multiple effects as presets. Haruhata has the main effects connected in a loop to the ARC-4, and has the optimal combinations memorized for each song. With a single press of the footswitch, he can instantly switch between, for example, "Distortion + Chorus + Delay ON/Others OFF," allowing him to concentrate smoothly on playing even during live performances that require complex effect operation.

Number of loops: 8 (series loops: mono loops: 5 / stereo loops: 2 total 1, separate loop: XNUMX)
- Number of presets: 200 banks x 10 presets, total 2000 presets
Control terminals: 4 systems (switchable between latch and momentary)
Input impedance: 1MΩ (HTS-IN)
・Output load impedance: 10kΩ or more (HTS-OUT / OUT-A / OUT-B)
Boost range: 0 to +14dB
- Power supply: DC12V dedicated AC adapter (FA-1220D-JA)
Current consumption: Approx. 750mA
- Size: 386(W) x 152(D) x 81.5(H) mm (including protrusions such as foot switch and jack)
Weight: Approx. 2.1kg (excluding accessories)

This junction box, made by Free The Tone, consolidates the inputs and outputs of your effects board in one place, providing both sound quality and convenience.

Haruhata has used the JB series for both his electric and acoustic guitar boards, and during live performances he sets them up under the stage to make it easier to manage and replace cables.

In particular, the JB-82 is stereo compatible and allows routing to separate and combine the left and right L/R signals, making it an ideal configuration for players like Haruhata who make use of spatial effects with stereo out.

In addition, it has a built-in high-quality buffer amplifier that prevents signal degradation, and is designed to ensure that the attack and range of the original sound is not compromised even when connected using a cable of 20 ft (approximately 6 m) or more.

By connecting the beginning and end of the signal chain (guitar → pedal board → amp) at this junction, problems with connecting and disconnecting cables and noise interference are avoided, and it also greatly contributes to shortening the time required for setting up and rehearsals.

Haruhata decided to use the JB series with the PA and roadie staff in mind, and this can be seen as part of his equipment selection, which prioritizes the reproducibility and robustness required in professional environments.

JB-41C
Terminals: 1 x 4/8 inch standard phone jacks (6 x mono, 2 x stereo), 7 x DIN 2-pin connectors (for MIDI/ARC series LINK)
Size: 120(W) x 74(D) x 34(H)mm (including protrusions such as jacks)
Weight: about 340g

JB-82C
Terminals: 1 x 4/16 inch standard phone jacks (12 x mono, 4 x stereo), 7 x DIN 4-pin connectors (for MIDI/ARC series LINK)
Size: 120(W) x 74(D) x 56(H)mm (including protrusions such as jacks)
Weight: about 510g

This is an acoustic preamp/equalizer. It adjusts the signal from the K.Yairi electric guitar to the optimal line level and adjusts the frequency response. It is used to send the sweet tone of the nylon strings to the PA system while suppressing the body resonance and feedback that are unique to electric guitars. Haruhata basically uses it with a flat setting, fine-tuning the low and high as needed.

【Feature】

●The equalizer circuit (including the input/output section) through which the instrument signal passes is composed entirely of analog circuits, while the parameter control section is composed of digital circuits, making this a groundbreaking product that, despite being an analog effector, also allows presets and real-time control via MIDI.

●The HTS circuit, one of the major features of FREE THE TONE products, has been renewed. It comprehensively manages guitar and bass signals from input to output in an even higher quality state, maintaining the same sound quality whether the effect is on or off.

●The 10-band equalizer has separate frequencies for guitar, bass, and acoustic, and the frequencies and equalizer curves are optimized for each instrument. This makes it easier to use and allows for more detailed adjustments.

●99 presets can be instantly recalled via MIDI signal control.

●It can be used not only as an equalizer effector, but also as a preset volume that manages the volume for each preset. It is effective when you want to increase the volume during solo playing, or when you want to even out the individual differences in output levels when switching between multiple guitars or basses.

Michiya Haruhata prefers high-quality straps that don't tire him out even when playing for long periods of time, and don't interfere with the sound of his guitar.
The reason why Haruhata decided to release his own signature strap with Fender is because of his favorite strap that he has been using for over 10 years.

It was a non-sale leather strap that came with a Fender Custom Shop guitar, and Haruhata felt that it was so soft and fit the body well that "there is no better strap than this."
However, there was no equivalent product on the market, so we decided to make it ourselves, and developed the Michiya Haruhata Signature Strap in collaboration with Fender.

The signature strap is made from soft, high-quality leather with a pleasant-to-the-touch lining.
It is wide and prevents the shoulders from digging into it, but it is lightweight so it doesn't put any strain on your shoulders.
Also, at Haruhata's request, blue stitching (sewing thread) has been added as an accent, and the blue lines and "MH" logo stand out against the black background.

Haruhata said, "I don't like hard materials or straps that rub against the body and hurt, so I used very soft leather," which shows that comfort was a top priority when making the product.
In fact, he started using this strap during his solo tour in February 2023, and commented, "I really like how it feels to use."

A strap lock (a metal fitting to prevent the strap from falling off) is attached to the end of the strap to support your precious guitar.
This strap is the perfect match for the Haruhata model guitar, and you can see in the live photos how the blue stitching stands out against the black strap.

Haruhata is very particular about cables, as they are an important factor that affects the sound.
In 2023, he released his first signature shielded cable, the Michiya Haruhata Signature Cable, from Fender.

There are two types of this cable: a standard model for stage use (2 ft = approximately 10 m, black/blue braided coating) and a higher-end model specialized for studio work, "Made in Japan Limited" (the same length, but the cable itself has a more refined structure and materials, and is distinguished by a blue braided coating).

Haruhata said, "Each cable has its own personality," and commented that he tuned his signature cable to have "brightness, good sound projection, and a flashy sound with a good punch."
After using it live, he said, "The sound is powerful and has a fast response, and I'm very satisfied with it."

This is believed to be the result of reducing the attenuation of high frequencies and minimizing transmission loss by reducing the cable's capacitance and selecting conductor materials.
And as a product of his own hands-on approach, it was apparently completed after repeated testing and refinement, and this simple-looking cable is packed with Haruhata's ideal tone.

The standard model is designed to be durable and easy to handle, and features a braided jacket that won't get tangled even when you're running around wildly on stage.
The Limited model is designed for studio recording, providing a wider range and higher resolution sound.

The price range is quite different, with the regular version priced at 7,700 yen (tax included) and the limited edition at 33,000 yen (tax included), but this is due to differences in the materials used and manufacturing processes.
Haruhata said he was "very excited" about developing his first signature cable as an endorser, and he seems very pleased with the finished product.

It is said that Haruhata previously used cables from reliable domestic and international manufacturers such as D'Addario and Providence/Free The Tone, but he has now switched to a signature cable that he has designed himself.
His unwillingness to compromise even on a single cable supports the "clear, punchy sound" he desires.

The pick is an important item that determines the picking nuances of Haruhata's sound.
For many years, he has searched for a pick of the right thickness and material for him.

As a result, I ended up using Clayton picks, and I use ones that are about 0.72mm thick (medium).
Clayton picks are made from polyacetal (a Delrin-like material) and have a moderate roughness on the edge, which Haruhata likes as it feels "just right" when it touches the strings.

He originally started using them after Michael Landau recommended them to him when he exchanged picks with him, and he has been using the same type ever since.

With a guitarist as experienced as Haruhata, even the force and angle of picking are calculated, but this pick doesn't bend too much even when played hard, and responds well even when played softly, making it easy to create dynamics.

Fender has now released the "Artist Signature Pick Michiya Haruhata," a model that features his signature logo printed on a commercially available Fender celluloid pick (351 shape).
However, the material is polyacetal, which is similar to the Kraton pick that was previously used, and the specifications are almost the same as for a medium-thickness pick.

It comes in a variety of colors, including white and black, and all have a matte finish that makes them easy to grip and less slippery.

Haruhata prefers to play crisply with a harder pick, and chose this thickness to minimize loss of pick flexibility even when playing delicate phrases.

On the other hand, when it comes to strings, he uses either the 09-42 or 10-46 set, and sometimes changes the gauge depending on the songs being played on tour.
Taking these fine adjustments into account, the pick settled on a medium flex with an exquisite level of flexibility.

As Haruhata Michiya himself says, "The edge is nice and rough, making it easy to vary the dynamics," and this pick supports Michiya Haruhata's expressiveness behind the scenes.