Eriko Hashimoto (Chatmonchy) Guitar Sound Guide: Creating That Distinctive Tone + Complete Gear Setup

Introduction: The Distinctive Sound of Eriko Hashimoto

Eriko Hashimoto, the guitarist and vocalist of Japanese girls rock band Chatmonchy, carved out a unique presence in the indie rock scene with her distinctive guitar approach. Her sound masterfully blends straightforward rock energy with delicate melodic sensibilities, featuring a calculated roughness beneath what might initially seem like simple garage rock aesthetics.

In Chatmonchy’s signature tracks like “Shangri-La,” “Hirahira Hiraku Himitsu no Tobira,” and “Sekai ga Owaru Yoru ni,” Hashimoto’s sharp yet melodious cutting and powerful distortion tones create unforgettable sonic landscapes. Her later-period setup, combining the clean tones of a Divided by 13 amplifier with Providence overdrive, achieved a sophisticated sound that maintained her characteristic edge while adding an alluring sophistication that captivated listeners worldwide.

Her early work featured aggressive distortion from pedals like the RAT2 and BD-2 (Keeley MOD), along with atmospheric delays like the RE-20, demonstrating her creative ability to expand sonic possibilities within a simple band arrangement. This approach showcased her talent for maximizing musical impact through thoughtful gear choices rather than complex setups.

This comprehensive guide explores the amplifiers, guitars, and effects that shaped Hashimoto’s iconic sound, drawing from live performances and studio recordings to provide detailed insights into her tone-crafting approach.

▶ Search for Chatmonchy official music videos on YouTube

Amplifier Selection and Characteristics

Eriko Hashimoto’s amplifier choices evolved alongside her musical development, reflecting the band’s changing needs and her maturing artistic vision. During Chatmonchy’s early period, she relied heavily on a MATCHLESS DC-30, which provided the aggressive, edgy garage rock foundation that defined their initial sound. This amplifier was customized with “CHATMONCHY” lettering on the front panel, making it a distinctive part of her stage setup.

From 2008 onward, the Divided by 13 JRT 9/15 became her primary amplifier, offering smooth tones from clean to crunch that perfectly complemented the Providence SOV-1 overdrive. This combination became the cornerstone of Chatmonchy’s later sonic identity. The Divided by 13’s open-back cabinet design contributed to the airy, dimensional quality that became characteristic of their mature sound.

For live performances and recordings, she also utilized Roland JC-120 and VOX AC15C1 amplifiers in various combinations. The JC-120 served as a pristine clean tone foundation, while the AC15 provided midrange warmth and natural tube saturation. When Chatmonchy transitioned to a two-piece format, Hashimoto employed signal splitting to run multiple amplifiers simultaneously, creating the sonic depth needed to fill the space left by the departing bass player.

Additional amplifiers including the Fender Hot Rod Deville 410 and Marshall JCM800 appeared in specific recordings and performances, with the JCM800 particularly useful for songs requiring more aggressive, hard rock tones.

Equipment	Manufacturer	Amazon Link	Artist	Guitarist	Notes
JRT 9/15	Divided by 13	Link	Chatmonchy	Eriko Hashimoto	Primary amp from 2008, paired with open-back cabinet
JC-120	Roland	Link	Chatmonchy	Eriko Hashimoto	Clean tone foundation, loop output for two-piece setup
AC15C1	VOX	Link	Chatmonchy	Eriko Hashimoto	Midrange reinforcement and crunch, used with JC-120
DC-30	MATCHLESS	Link	Chatmonchy	Eriko Hashimoto	Early period main amp, custom specification
Hot Rod Deville 410	Fender	Link	Chatmonchy	Eriko Hashimoto	Supplementary amp for specific applications
JCM800	Marshall	Link	Chatmonchy	Eriko Hashimoto	Recording use for harder rock songs

Guitar Selection and Characteristics

The foundation of Eriko Hashimoto’s distinctive sound lies primarily in her choice of Fender Telecaster guitars. During Chatmonchy’s three-piece era, she favored the Fender American Telecaster (3-Color Sunburst) and a 1983 Standard Telecaster, both perfectly suited to her sharp chord cutting and aggressive strumming style. These guitars delivered the bright, cutting tone that defined early Chatmonchy classics like “Shangri-La” and “Ren’ai Spirits.”

The transition to a two-piece format brought the Fender Telecaster Thinline (Black with humbuckers) into prominence as her main instrument. This semi-hollow construction provided the rich midrange frequencies needed to fill the sonic space in the bass-less arrangement. Combined with the Divided by 13’s natural clean and crunch tones, this guitar achieved the perfect balance of solid attack and warm resonance that characterized their later period.

Additional Telecaster variants included the Fender Road Worn ’50s Telecaster (2008 model), which added vintage character to her sound, and a Custom Shop gold Telecaster that served both sonic and visual purposes during live performances. Her guitar collection also featured more unique instruments like Psychederhythm’s Standard-T and Journeyman STV-AML, demonstrating her appreciation for both sound quality and visual aesthetics.

Other notable guitars in her arsenal included a 1957 Fender Duo-Sonic used for half-step down tunings on tracks like “Kaze Fukeba Koi” and “Somaru yo,” Gibson Les Paul Special and Custom models, and Tom Holmes’ BG Standard with its distinctive silver sparkle finish.

Equipment	Manufacturer	Amazon Link	Artist	Guitarist	Guitar Type	Notes
Telecaster Thinline	Fender	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	Black body, dual humbuckers, primary guitar for two-piece era
American Telecaster	Fender	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	3-Color Sunburst, main guitar during three-piece era
Standard Telecaster (1983)	Fender	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	Thick, punchy tone, heavily used live
Road Worn ’50s Telecaster	Fender	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	Vintage aesthetic, transition period guitar
Telecaster Custom Shop	Fender	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	High-end specification, used in live performances
Duo-Sonic	Fender	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	1957 model, used for half-step down tuning
Les Paul Custom	Gibson	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	Yellow finish, used through mid-period
BG Standard	Tom Holmes	Link	Chatmonchy	Eriko Hashimoto	Electric Guitar	Silver sparkle finish, distinctive visual appearance

Effects Pedals and Pedalboard Configuration

Eriko Hashimoto’s effects setup evolved significantly throughout Chatmonchy’s career, but consistently focused on three core elements: distortion/overdrive, spatial effects, and signal routing. Her early pedalboard centered around aggressive pedals like the Pro Co RAT2 and BOSS BD-2, creating the raw garage rock distortion heard on tracks like “Ren’ai Spirits” and “Tokyo Hachimitsu Orchestra.”

The mid-to-late period saw Providence pedals become central to her sound, particularly the SOV-1 and SOV-2 overdrives. These pedals provided natural, musical gain that complemented her clean amplifier approach, creating the sophisticated yet edgy tones that defined Chatmonchy’s mature sound. The Providence HBL and later HBL-4 distortion pedals handled lead tones and emotional passages requiring additional saturation.

Spatial effects played a crucial role in creating Chatmonchy’s atmospheric soundscapes. Early setups featured the SIB! MR ECHO for warm analog delay, while later configurations included the BOSS DD-5, RE-20, and Line6 DL4. The RE-20 was particularly important for its tempo sync capabilities, creating the rhythmically locked delays heard on tracks like “Mayonaka Yuenchi.”

Special effects and song-specific sounds came from pedals like the Death By Audio Supersonic Fuzz Gun, BOSS BF-3 flanger, and various VOX wah pedals. More esoteric choices like the Human Gear VIVACE and Keeley-modified BD-2 demonstrated her attention to sonic detail and willingness to explore unique tonal options.

Signal routing became increasingly important as Chatmonchy evolved, with FREE THE TONE signal splitters and Providence PEC-2 switching systems enabling complex multi-amplifier setups while maintaining live performance reliability.

Equipment	Manufacturer	Amazon Link	Artist	Guitarist	Effect Type	Notes
SOV-2	Providence	Link	Chatmonchy	Eriko Hashimoto	Overdrive	Core of later period sound with Divided by 13
HBL-4	Providence	Link	Chatmonchy	Eriko Hashimoto	Distortion	Lead tones and chorus emphasis
MR ECHO	SIB!	Link	Chatmonchy	Eriko Hashimoto	Echo	Warm analog-style echo
DD-5	BOSS	Link	Chatmonchy	Eriko Hashimoto	Delay	Standard digital delay, used through mid-period
RE-20	BOSS	Link	Chatmonchy	Eriko Hashimoto	Delay	Tempo sync for spatial arrangements
Supersonic Fuzz Gun	Death By Audio	Link	Chatmonchy	Eriko Hashimoto	Fuzz	Noisy, distinctive expression capability
RAT2	Pro Co	Link	Chatmonchy	Eriko Hashimoto	Distortion	Center of early signature sound
RC Booster	Xotic	Link	Chatmonchy	Eriko Hashimoto	Booster	Consistent use from early period, enhances presence
PEC-2	Providence	Link	Chatmonchy	Eriko Hashimoto	Switching System	Stable live performance operation

Tone Shaping, EQ Settings, and Mix Considerations

Eriko Hashimoto’s approach to tone shaping adapted intelligently to Chatmonchy’s evolving lineup, with guitar settings adjusted to serve the overall ensemble needs. During the three-piece era, her EQ emphasized low-mid thickness to interact effectively with bass and drums, using saturated pedals like the RAT2 and BD-2 (including Keeley modifications) to cut through the mix.

The early MATCHLESS DC-30 and JC-120 combination provided midrange presence with exceptional clarity, allowing aggressive chord cutting to project without excessive gain. Typical amplifier EQ settings during this period favored bass at 5, midrange at 7, and treble at 6, with the midrange emphasis creating the thick, punchy character that defined their early garage rock aesthetic.

The transition to the Divided by 13 JRT 9/15 marked a shift toward edge-focused clean and crunch tones, with Providence SOV-1/SOV-2 overdrives providing natural saturation. This setup emphasized midrange density while maintaining spatial awareness and cut. Amplifier EQ typically featured increased treble settings, with guitar tone controls around 6-7 to balance brightness and warmth.

The two-piece period required guitar to provide the entire harmonic foundation, leading to the implementation of FREE THE TONE splitters for dual-amplifier setups using JC-120 and VOX AC15. This configuration provided simultaneous clean and crunchy elements, maintaining sonic density despite the absence of bass guitar.

Delay and echo settings utilized tempo-synchronized pedals like the RE-20, with BPM-matched delays that integrated with the song’s groove structure. Analog delays like the MR ECHO provided atmospheric feedback effects for ethereal passages, adding textural depth to arrangements.

Mix philosophy prioritized ensemble integration over individual guitar presence, with studio recordings often combining amplifier speaker capture with direct recording techniques. Guitar positioning varied between center and stereo spread depending on the song’s rhythmic and melodic requirements, creating three-dimensional soundscapes that served the music rather than showcasing technical prowess.

This approach exemplifies Hashimoto’s musical maturity, prioritizing composition, space, and nuance over flashy effects or technical displays, creating her distinctive sound through thoughtful arrangement and sonic consideration.

Budget-Friendly Alternatives for Achieving Similar Tones

While Eriko Hashimoto’s professional setup represents the pinnacle of tone crafting, achieving similar sounds doesn’t require identical (and expensive) gear. The following alternatives can help guitarists approximate her “transparent yet substantial” sound quality and “ensemble-supporting presence” at more accessible price points.

Category	Equipment	Manufacturer	Amazon Link	Artist	Guitarist	Notes
Overdrive	BOSS BD-2 Blues Driver	BOSS	Link	Chatmonchy	Eriko Hashimoto	Used in early period. Covers clean to lead with similar gain character. High reproduction accuracy.
Overdrive	JHS 3 Series Overdrive	JHS Pedals	Link	Chatmonchy	Eriko Hashimoto	Natural midrange and moderate gain similar to Providence SOV series at accessible price.
Delay	NUX Time Core Deluxe	NUX	Link	Chatmonchy	Eriko Hashimoto	Multi-delay with RE-20-style settings possible. Excellent cost-performance ratio.
Clean Amp	Roland JC-22	Roland	Link	Chatmonchy	Eriko Hashimoto	JC-120’s smaller sibling. Maintains clean transparency and stereo chorus in compact format.
Guitar	Squier Classic Vibe Telecaster Thinline	Squier	Link	Chatmonchy	Eriko Hashimoto	Budget version of Fender Telecaster Thinline. Lightweight semi-hollow construction with similar appearance and tone.
Booster	Xotic EP Booster	Xotic	Link	Chatmonchy	Eriko Hashimoto	Perfect for Hashimoto-style aggressive chord strokes. Improves presence and brightness.
Multi-Effects	Zoom G3n	Zoom	Link	Chatmonchy	Eriko Hashimoto	Handles spatial, distortion, and tuner functions in one unit. Good sound quality with excellent value.

These alternatives provide pathways to Hashimoto’s core sonic qualities—”substantial transparency” and “ensemble-supporting presence”—at budget-friendly prices. The combination of Telecaster-style guitars with clean-to-natural overdrive tones and spatial delays represents the heart of the Chatmonchy sound, making it accessible to developing guitarists.

Conclusion: The Essence of Eriko Hashimoto’s Guitar Approach

Eriko Hashimoto’s guitar work with Chatmonchy exemplifies the power of restraint and musical intelligence. Rather than pursuing technical flash or effects-heavy soundscapes, her approach consistently served the song and the band’s emotional impact. This philosophy created music that resonates directly with listeners while maintaining sophisticated sonic craftsmanship.

The evolution from aggressive early distortions to the refined Providence overdrive and Divided by 13 combination demonstrates artistic growth guided by musical needs rather than gear acquisition for its own sake. Her adaptation from three-piece to two-piece arrangements—employing signal splitting, multiple amplifiers, and expanded effects—shows creative problem-solving in service of musical expression.

Her Telecaster preference, spanning from vintage Fender models to modern Thinlines and boutique alternatives, reflects an understanding that different tools serve different musical moments while maintaining tonal consistency. This flexibility within focus characterizes mature musicianship.

For guitarists seeking to emulate Hashimoto’s approach, the key lies not in exact gear replication but in understanding the principles: clarity of purpose, ensemble awareness, and emotional authenticity. Her sound teaches us that the most powerful guitar tones emerge from musical conviction rather than technical complexity.

The lasting impact of Eriko Hashimoto’s guitar work demonstrates that true artistry lies in knowing what to leave out as much as what to include. Her legacy encourages guitarists to develop their musical voice through thoughtful restraint, technical competence in service of emotion, and unwavering commitment to the song’s needs above personal display.

Most importantly, her approach reminds us that great guitar tone begins with musical intent. While gear matters, the foundation remains the guitarist’s musical vision and emotional commitment to communicating that vision to listeners. This timeless lesson transcends any specific equipment setup and speaks to the heart of what makes guitar music meaningful.