【Masaki Shirai】How to Recreate the Alexandros Sound + Guitar Gear and Tone Settings【Effects & Amps】

Introduction (Overview of Tone)

Masaki Shirai (affectionately known as “Ma-kun”), the guitarist of Alexandros, supports the band’s sound with his delicate yet aggressive guitar playing. His tone crafting involves utilizing vintage guitars, amplifiers, and a diverse array of effects to create optimal tones for each song.

Particularly, his gear setup centered around BOSS effects and Marshall amplifiers forms the core of his signature sound. This article provides detailed explanations of Masaki Shirai’s equipment and settings based on actual usage information.

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List of Amplifiers and Features【Alexandros・Masaki Shirai】

Masaki Shirai primarily uses vintage Marshall amplifiers. He particularly favors classic models like the 1959 Super Lead and JTM45 Offset reissue, which support his thick, warm sound signature.

For recording and home practice, he utilizes YAMAHA’s THR series, appreciating their compact size while delivering high-quality sound. The Marshall 1959 Super Lead serves as his main live amplifier, providing the foundational tone that defines Alexandros’ guitar sound. This legendary amp head delivers the classic British rock tone that cuts through the mix while maintaining musical warmth.

The JTM45 Offset reissue adds a different character to his sound palette, offering more vintage warmth and natural tube compression. This amplifier is often used to add “color” and depth to his tone, particularly in studio settings. The YAMAHA THR series, while more modern, provides excellent amp modeling and effects for practice and recording situations where portability and versatility are key.

His amplifier choices reflect a preference for vintage British tones with modern reliability, though the specific usage may vary across different recording sessions and tour periods, as is assumed from available information.

Equipment Name	Manufacturer	Amazon Search URL	Artist	Guitarist	Notes
1959 Super Lead	Marshall	Amazon Search	Alexandros	Masaki Shirai	Main amplifier used for live performances
JTM45 Offset reissue	Marshall	Amazon Search	Alexandros	Masaki Shirai	Used to add warmth and character to the sound
THR10	YAMAHA	Amazon Search	Alexandros	Masaki Shirai	Used for recording sessions
THR5	YAMAHA	Amazon Search	Alexandros	Masaki Shirai	Used for practice during tours

Types of Guitars Used and Features【Alexandros・Masaki Shirai】

Masaki Shirai primarily uses Gibson semi-acoustic guitars, with a diverse collection that includes various models suited for different musical situations. His main axes include vintage ES-335 models from 1967 and 1978, as well as the ES-345TDC with its distinctive Varitone switch.

The Gibson ES-335 serves as his primary guitar, offering the perfect balance between the warmth of a hollow-body and the feedback resistance of a solid-body guitar. The vintage 1967 and 1978 models each bring their own character – the ’67 offering classic PAF humbucker tones, while the ’78 provides a slightly different midrange response characteristic of that era’s pickups.

The ES-345TDC adds versatility with its built-in Varitone circuit, allowing him to shape his tone with different frequency responses. This feature is particularly useful for achieving specific sounds that complement different songs in Alexandros’ repertoire.

For more aggressive passages and specific song requirements, he utilizes a Gibson Flying V, which provides a more cutting, rock-oriented tone with its solid mahogany construction and humbucker pickups. The Fender Stratocaster in his collection offers single-coil clarity and versatility, particularly useful for cleaner passages and specific textural needs.

His guitar selection demonstrates a preference for versatile instruments that can handle both clean and driven tones effectively, with each guitar serving specific roles in the band’s sonic palette, as is assumed from available information.

Equipment Name	Manufacturer	Amazon Search URL	Artist	Guitarist	Guitar Type	Notes
ES-335 (1967, 1978)	Gibson	Amazon Search	Alexandros	Masaki Shirai	Semi-Acoustic	Owns multiple vintage models
ES-345TDC	Gibson	Amazon Search	Alexandros	Masaki Shirai	Semi-Acoustic	Features Varitone switch
Flying V	Gibson	Amazon Search	Alexandros	Masaki Shirai	Solid Body	Confirmed usage in live performances
Stratocaster	Fender	Amazon Search	Alexandros	Masaki Shirai	Solid Body	Used according to song requirements

Effects and Pedalboard Setup【Alexandros・Masaki Shirai】

Masaki Shirai’s pedalboard features a diverse array of effects centered around BOSS pedals. During live performances and recording sessions, he meticulously switches between effects according to each song, masterfully manipulating distortion, spatial effects, and modulation elements.

The BOSS BD-2 Blues Driver serves as his primary overdrive, providing the foundational driven tone that characterizes many Alexandros tracks. This pedal is renowned for its ability to maintain guitar dynamics while adding musical saturation. The DD-7 Digital Delay is frequently used to create spatial depth and rhythmic interest, particularly evident in songs like “Wataridori” where delayed passages create atmospheric textures.

The Roland/BOSS RE-20 Space Echo is a crucial component for achieving vintage-style echo and reverb effects. This digital recreation of the classic Roland RE-201 tape echo provides the warm, musical repeats that add dimension to his playing without overwhelming the mix.

The Eventide H9 Harmonizer represents the high-end digital processing in his rig, offering everything from pitch shifting to complex modulation effects. This versatile unit allows him to access sounds that would otherwise require multiple specialized pedals, making it invaluable for live performance efficiency.

The BOSS NS-2 Noise Suppressor plays a crucial role in maintaining signal clarity, especially when using high-gain settings with the BD-2 and amplifier distortion. This pedal ensures that unwanted noise doesn’t interfere with the musical content, particularly important in live settings with high stage volumes.

His effects philosophy emphasizes enhancing the natural guitar tone rather than masking it, with each effect serving a specific musical purpose rather than mere sonic decoration, as is assumed from available information.

Equipment Name	Manufacturer	Amazon Search URL	Artist	Guitarist	Effect Type	Notes
BD-2 Blues Driver	BOSS	Amazon Search	Alexandros	Masaki Shirai	オーバードライブ	Confirmed usage in live performances
DD-7 Digital Delay	BOSS	Amazon Search	Alexandros	Masaki Shirai	ディレイ	Essential for spatial effects and sonic width
RE-20 Space Echo	Roland/BOSS	Amazon Search	Alexandros	Masaki Shirai	エコー	Used for vintage-style echo and reverb
H9 Harmonizer	Eventide	Amazon Search	Alexandros	Masaki Shirai	ギター用マルチエフェクター	Covers multiple effects in one unit
NS-2 Noise Suppressor	BOSS	Amazon Search	Alexandros	Masaki Shirai	ノイズリダクション	Used with distortion effects to control noise

Tone Settings, EQ, and Mixing Approaches【Alexandros・Masaki Shirai】

Masaki Shirai’s tone crafting demonstrates meticulously calculated settings that complement his playing style perfectly. His approach to sound design reflects both technical precision and musical sensitivity, creating tones that serve the song rather than overwhelming it.

On the amplifier side, he typically aims for settings that fall between clean and driven territories. With the Marshall 1959 Super Lead, his settings often feature Volume at 4-5, Treble at 6-7, Middle at 5-6, and Bass conservatively set around 3-4. This configuration brings forward a solid midrange presence while maintaining the warm characteristics of his guitars. The midrange emphasis ensures his guitar cuts through the mix without becoming harsh or overly aggressive.

The slight bass reduction prevents muddiness, especially important when playing semi-acoustic guitars that naturally have more low-end response. The treble setting provides clarity and definition without sacrificing warmth, while the middle setting gives his tone the necessary body to compete with Alexandros’ dense arrangements.

Regarding his pedal settings, the BD-2 is typically set with moderate gain, functioning more as a crunch-oriented overdrive than a heavily saturated distortion. This approach maintains note definition and playing dynamics while adding the necessary drive for rock passages. The Level control compensates for any volume differences between clean and driven sounds, ensuring seamless transitions during performance.

His spatial effects – the RE-20 and DD-7 – are carefully calibrated with relatively short decay times to avoid cluttering the mix. This approach ensures that the effects enhance the music without overwhelming other instruments. The RE-20’s intensity and repeat settings are typically moderate, providing vintage warmth without excessive self-oscillation.

The DD-7’s feedback and time settings vary by song, but generally favor shorter delays (100-300ms) that create rhythmic interest rather than long ambient washes. This choice supports Alexandros’ pop-rock arrangements where clarity and punch are prioritized over atmospheric textures.

Digital effects from the H9 are employed strategically, with multimode pitch shifting and modulation effects creating unique textures for specific songs. Tracks like “Wataridori” and “Kick&Spin” showcase impressive spatial awareness in their delay and reverb applications, creating three-dimensional soundscapes that enhance the emotional impact of the music.

From a mixing perspective, Shirai’s guitars are typically positioned slightly right of center in the stereo field, creating spatial interest and stereo separation. This positioning allows his parts to breathe while maintaining focus and clarity. The frequency response is carefully shaped to avoid conflicts with the bass guitar, typically involving gentle low-midrange cuts around 200-400Hz while boosting presence frequencies around 3-5kHz for cutting power.

EQ processing often includes subtle high-frequency roll-offs to prevent harshness while maintaining brilliance, and careful attention to the 1-2kHz range where guitar fundamentals reside. These mixing decisions support the overall band arrangement while ensuring each guitar part serves its specific musical function, as is assumed from available information.

Affordable Alternatives to Recreate the Tone【Alexandros・Masaki Shirai】

For reproducing Masaki Shirai’s sound with more accessible equipment, several cost-effective alternatives can deliver surprisingly similar results. The key is understanding the fundamental characteristics of his tone and choosing gear that captures those essential elements without breaking the budget.

The Marshall DSL20HR represents an excellent alternative to the 1959 Super Lead, offering similar tube saturation and British rock character in a more affordable and practical package. This 20-watt tube head provides both clean and driven channels, allowing players to achieve the sweet spot between clean and overdriven sounds that characterizes much of Shirai’s playing. The DSL20HR’s power scaling features also make it suitable for both home practice and live performance.

Why the DSL20HR works as a substitute: It utilizes the same basic tube circuitry principles as vintage Marshall amplifiers, featuring EL34 power tubes and 12AX7 preamp tubes that generate the characteristic British midrange growl. The amp’s gain structure allows for the edge-of-breakup tones that are fundamental to Alexandros’ sound, while the built-in reverb eliminates the need for additional spatial processing in simpler setups.

For guitar alternatives, the Epiphone ES-335 provides remarkable value and authentic semi-acoustic character. This guitar captures the essential tone and feel of Gibson’s ES series while remaining accessible to budget-conscious players. The Epiphone version features similar construction methods, including a laminated maple body with center block and humbucker pickups that deliver warm, full-bodied tones.

The ES-335’s effectiveness as an alternative stems from its identical basic design philosophy – the semi-acoustic construction provides the warm, woody resonance of Shirai’s guitars while the center block prevents excessive feedback. The stock humbuckers deliver rich, musical tones that respond well to both clean and driven amplifier settings, making it possible to achieve similar dynamics and tonal variations.

The BOSS GT-1 serves as an excellent entry point for recreating the effects portion of Shirai’s sound. This compact multi-effects unit includes digital models of many classic BOSS pedals, including the BD-2 Blues Driver, various delay algorithms, and noise reduction capabilities. While not identical to the individual pedals, the GT-1 provides surprisingly authentic recreations that capture the essential character of each effect.

The GT-1’s value proposition lies in its comprehensive effects library and ease of use. Players can create patches that combine overdrive, delay, and reverb effects in ways that approximate Shirai’s live setup, while also having access to additional effects for experimentation. The unit’s amp modeling capabilities can also supplement or replace external amplification in practice situations.

Additional budget-friendly options include the BOSS SD-1 Super Over Drive as an alternative to the BD-2, offering similar mid-forward character at a lower price point. The BOSS DD-3 Digital Delay provides basic delay functionality that, while simpler than the DD-7, captures the essential rhythmic and spatial elements of Shirai’s delay usage.

For players just starting their journey toward recreating this sound, beginning with one or two key pieces – such as the Epiphone ES-335 and BOSS BD-2 – can provide immediate access to the fundamental tone characteristics. These pieces can then be expanded over time as budget and needs allow, creating a path toward more comprehensive sound reproduction, as is assumed from available information.

Type	Equipment Name	Manufacturer	Amazon Search URL	Artist	Guitarist	Notes
Amplifier	DSL20HR	Marshall	Amazon Search	Alexandros	Masaki Shirai	Recommended as 1959SLP alternative with similar tube character
Guitar	ES-335	Epiphone	Amazon Search	Alexandros	Masaki Shirai	Highly rated as Gibson alternative with authentic semi-acoustic tone
Multi-Effects	GT-1	BOSS	Amazon Search	Alexandros	Masaki Shirai	H9 alternative ideal for beginners with comprehensive effects

Summary and Conclusion【Alexandros・Masaki Shirai】

Masaki Shirai’s approach to tone crafting embodies the principle that sophistication often lies in simplicity executed with precision. His sound philosophy centers on enhancing the natural characteristics of his instruments rather than masking them with excessive processing, creating a signature tone that serves the music while maintaining distinct personality.

The essence of his sound lies in the careful balance between vintage warmth and modern clarity. His choice of semi-acoustic guitars provides the foundational character – woody resonance combined with controlled feedback resistance – while his amplifier settings maintain dynamic response that allows his playing technique to shine through. This approach ensures that subtle playing nuances translate effectively to the listener, making each performance feel intimate and expressive.

His effects usage demonstrates restraint and musical purpose, with each pedal serving a specific role rather than adding generic enhancement. The BD-2’s moderate overdrive provides musical saturation that enhances rather than dominates, while the spatial effects create depth and dimension without cluttering the sonic landscape. This disciplined approach to effects processing ensures that the guitar remains the focal point while benefiting from subtle enhancement.

What makes Shirai’s tone particularly effective within Alexandros’ context is its ability to provide both rhythmic foundation and melodic interest without overwhelming the vocal-centric arrangements. His guitar work supports the band’s pop sensibilities while maintaining enough edge and character to satisfy rock audiences, demonstrating the versatility that comes from thoughtful tone construction.

For aspiring players, the most important lesson from Shirai’s approach is that great tone begins with solid fundamentals: good instruments, appropriate amplification, and restrained effects usage. While his actual gear represents significant investment, the principles behind his sound can be applied at any budget level.

The key to recreating this type of tone lies in understanding that each component serves the greater musical purpose. Rather than chasing individual gear pieces, focus on how each element contributes to the overall sonic picture. Start with the basics – a good guitar and amplifier combination that provides clean headroom and natural overdrive characteristics – then add effects that enhance rather than transform the fundamental tone.

As you develop your own interpretation of this sound, remember that the goal is musical communication rather than exact replication. Use Shirai’s approach as inspiration while allowing your own musical personality to emerge through the tonal choices you make. The best tribute to any guitarist’s sound is understanding their musical intent and applying those principles to your own creative expression, as is assumed from the essential nature of musical interpretation and personal expression.