[Eijun Suganami] – How to Recreate the THE BACK HORN Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Eijun Suganami, the guitarist who serves as the musical backbone of THE BACK HORN, continues to captivate fans in the Japanese rock scene with his distinctive approach to sound. His guitar style is characterized by a wide range of dynamics, spanning from aggressive distortion tones to delicate clean sounds. In representative songs such as “Cobalt Blue” and “Hanamizuki,” he showcases a perfect blend of emotional melodic lines and powerful riff work.

One of the most remarkable aspects of Suganami’s playing style is his precise tonal shifts that match the progression of each song, combined with phrasing rich in emotional expression. In ballad-like tracks, he often starts with transparent clean tones and shifts to intense distortion in the chorus. He also incorporates an alternative rock approach, sometimes experimenting with creative uses of effects.

What makes his sound so noteworthy is not just his technical proficiency, but also his deep understanding of each song and his ability to choose tones that directly resonate with listeners. Since the lyrical world of THE BACK HORN plays a vital role in their music, Suganami’s guitar tones function as the emotional and musical support for that world. His ability to balance perfectly with Masashi Yamada’s vocals is an element many guitarists aspire to emulate.

In recent live performances and recordings, he has embraced more modern approaches while still maintaining the emotionally charged sound that defines THE BACK HORN. From amp selection to his choice of effects, each piece of gear contributes to shaping his unique sound character.

▶ Search official YouTube videos of THE BACK HORN

List of Amplifiers and Features [THE BACK HORN · Eijun Suganami]

Eijun Suganami’s choice of amplifiers is carefully tailored to express the wide dynamic range of THE BACK HORN’s music. His main amplifier for many years has been the Marshall JCM800 series, particularly the 2203 model (100W head), which has been confirmed in numerous live shows and recordings. This model, highly regarded in the 1980s–90s hard rock and heavy metal scene, provides the powerful midrange and clear, tight low end that Suganami seeks.

The hallmark of the JCM800 lies in its unique midrange punch. For Suganami’s style—especially in expressing the emotional climaxes of songs—the amp’s natural compression and sustain work effectively. In tracks such as “Hanamizuki,” the shift from the clean channel in the verses to the overdrive channel in the chorus exemplifies how the tonal contrast of the JCM800 contributes directly to the song’s dramatic structure.

For live setups, he typically pairs the JCM800 with a Marshall 1960A cabinet (4×12). This cabinet, loaded with Celestion Vintage 30 speakers, offers a balance of crisp high-mid projection and tight low-end response, ensuring sound projection across venues ranging from small clubs to large arenas.

In more recent tours and recordings, Suganami has also been seen using the Mesa/Boogie Dual Rectifier. Known for its high-gain capabilities, the Dual Rectifier delivers a heavier and more modern distortion, well-suited for THE BACK HORN’s more recent tracks that lean toward a heavier sonic approach. Its defining characteristics—massive gain and deep low end—help create the weighty, aggressive tones present in newer material.

For studio work, Fender-style amps have also been reported, particularly the Twin Reverb. The Twin Reverb’s pristine clean tones and excellent compatibility with effects make it a go-to choice for recording ballads or arpeggiated passages. The versatility of his amp selection demonstrates a highly professional approach, with each piece chosen to best serve the character of the song.

Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Notes
JCM800 2203	Marshall	Amazon Search	THE BACK HORN	Eijun Suganami	Main amplifier used for many years. Strong midrange and clear low end for expressive dynamics
1960A Cabinet	Marshall	Amazon Search	THE BACK HORN	Eijun Suganami	Paired with JCM800. Equipped with Vintage 30 speakers for cutting mids and tight low-end projection
Dual Rectifier	Mesa/Boogie	Amazon Search	THE BACK HORN	Eijun Suganami	Used in recent tours. Provides heavy, modern high-gain tones suited for aggressive tracks
Twin Reverb	Fender	Amazon Search	THE BACK HORN	Eijun Suganami	Used in studio. Famous for beautiful cleans and excellent compatibility with effects

From these details, it can be assumed that his amplifier setup is a carefully balanced selection of classic and modern models, optimized for both live performance and recording.

Types of Guitars Used and Features [THE BACK HORN · Eijun Suganami]

Eijun Suganami’s guitar selection plays a crucial role in supporting the musical identity of THE BACK HORN. His most iconic main instrument is the Gibson Les Paul Standard, especially late-1990s to early-2000s models. The Les Paul’s thick tone and rich sustain maximize the emotional expressiveness of THE BACK HORN’s music. The warm, midrange-focused character produced by the mahogany body and maple top perfectly complements his playing style.

The Les Paul is equipped with humbuckers (likely Gibson ’57 Classics), offering both power and subtlety, making them suitable for everything from cleans to high-gain tones. Suganami often manipulates the volume and tone knobs during songs, creating expressive tonal changes. In “Cobalt Blue,” for example, he shifts from a volume-rolled-back crunch to a powerful lead sound at full output, which leaves a strong impression.

As a secondary guitar, he has also been seen using Fender Stratocasters. The Strat’s single-coil pickups produce a bright, cutting tone, which works well in THE BACK HORN’s lighter or pop-oriented tracks, particularly for rhythm cutting and funk-inspired textures. The tremolo arm adds vibrato effects, expanding his expressive range further.

In more recent performances and recordings, Suganami has been reported using the Gibson SG Standard. With its lightweight body and easy access to high frets, the SG is well-suited for technical passages and long live sets. Its sharp high-mid character cuts well through the band mix, making it especially effective in arrangements with dual-guitar textures.

A unifying trait across his choices is the reliance on classic, reliable models. This reflects his musical philosophy of valuing honesty and expressiveness over novelty or flash. Each guitar is carefully selected for its inherent character and used in a professional manner depending on the demands of the song.

For strings, he generally uses Ernie Ball Regular Slinky (.010–.046), balancing playability and tension. His default tuning is standard E (E-A-D-G-B-E), with occasional use of drop D for certain songs. Action is set relatively low to allow both technical phrases and emotional bends. In recent tours, Epiphone models have also been employed as backups, chosen to match the tonal character of his main instruments while serving as reliable substitutes in case of technical issues.

Altogether, Suganami’s guitar arsenal demonstrates his commitment to delivering tones that faithfully serve THE BACK HORN’s musical needs, combining classic reliability with nuanced personal setup.

Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Type of Guitar	Notes
Les Paul Standard	Gibson	Amazon Search	THE BACK HORN	Eijun Suganami	Electric Guitar	Main guitar. Late 1990s–early 2000s model. Known for thick tone and sustain
Stratocaster	Fender	Amazon Search	THE BACK HORN	Eijun Suganami	Electric Guitar	Secondary guitar. Bright, cutting tone with single-coils. Used in poppier tracks and for rhythmic cutting
SG Standard	Gibson	Amazon Search	THE BACK HORN	Eijun Suganami	Electric Guitar	Used in recent live shows. Lightweight, high fret access, and sharp high-mid character
Les Paul Standard	Epiphone	Amazon Search	THE BACK HORN	Eijun Suganami	Electric Guitar	Backup guitar. Chosen for tonal similarity with his main Les Paul, reliable for live use

From these details, it can be assumed that Suganami’s guitar selection reflects a professional approach rooted in tradition and reliability, carefully matched to the expressive demands of each song.

Effects and Pedalboard Setup [THE BACK HORN · Eijun Suganami]

Eijun Suganami’s pedalboard is an essential part of shaping THE BACK HORN’s diverse and expressive sound. His selection of effects is highly practical yet carefully chosen to meet the musical demands of each track. At the core of his board lies the Ibanez Tube Screamer TS9, one of the most iconic overdrive pedals in rock history. The TS9’s signature midrange boost and tight low end pair perfectly with the Marshall JCM800, producing the aggressive yet controlled distortion that defines much of Suganami’s tone.

Among distortion pedals, the Boss DS-1 Distortion is also a confirmed part of his setup. As a staple Japanese-made pedal known worldwide, the DS-1 adds sustain and punch, especially in lead passages. For heavier and more modern sounds, Suganami also uses the Boss MT-2 Metal Zone. Switching between the DS-1 and MT-2 allows him to craft distortion characters suited to the dynamics of each song.

In terms of spatial effects, the Boss DD-3 Digital Delay has long been his go-to delay. Known for its crystal-clear repeats and straightforward controls, the DD-3 is often used during breaks or solos to enhance depth. In ballads like “Hanamizuki,” the delay creates a spacious and emotional atmosphere. Delay times are carefully set to match the song’s tempo, often using quarter or eighth notes to complement the groove naturally.

For reverb, the Boss RV-3 Reverb/Delay has been reported in his rig. This versatile pedal can combine reverb and delay, with plate-style settings adding subtle depth and dimension. Suganami tends to keep his reverb settings relatively modest, focusing on clarity and avoiding muddiness in the band mix—a thoughtful choice that ensures the guitar remains present and defined.

Among modulation effects, the Boss CH-1 Super Chorus is a staple in his clean sound arsenal. The CH-1 adds richness and width, particularly in arpeggiated or rhythm passages, complementing the lyrical quality of THE BACK HORN’s music. His chorus settings are generally kept natural and subtle, providing depth without overpowering the tone.

In more recent live shows, he uses the Boss TU-3 Chromatic Tuner, ensuring reliable tuning stability during performances. Power is supplied via Boss PSA-120 AC adapters, securing consistent operation for all pedals. His pedalboard itself appears to be a Pedaltrain-style board, allowing for tidy cable management and portability.

The typical signal chain follows the classic order: Guitar → Tuner → Overdrive/Distortion → Modulation → Delay → Reverb → Amplifier. He operates pedals directly with foot switches rather than through switching systems, emphasizing hands-on, intuitive control while minimizing potential technical issues. This setup highlights his commitment to a straightforward and reliable approach, balancing expressive flexibility with road-ready dependability.

Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Type of Effect	Notes
Tube Screamer TS9	Ibanez	Amazon Search	THE BACK HORN	Eijun Suganami	Overdrive	Main overdrive. Mid boost and tight lows make it an ideal match with Marshall amps
DS-1 Distortion	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Distortion	Used for sustain and punch in leads. A classic Japanese-made distortion pedal
MT-2 Metal Zone	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Distortion	Provides modern high-gain tones. Alternates with DS-1 depending on the track
DD-3 Digital Delay	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Delay	Main delay. Bright and clear repeats used for spaciousness in ballads
RV-3 Reverb/Delay	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Reverb	Combines reverb and delay. Plate settings create natural depth without muddying the mix
CH-1 Super Chorus	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Chorus	Used with clean tones. Adds richness and width, particularly in arpeggios
TU-3 Chromatic Tuner	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Tuner	Ensures accurate tuning on stage with a bright, reliable display

From these details, it can be assumed that Suganami’s pedalboard reflects a balance between classic reliability and musical versatility, perfectly tailored to the dramatic shifts in THE BACK HORN’s songs.

Tone Settings, EQ, and Mixing Approaches [THE BACK HORN · Eijun Suganami]

Eijun Suganami’s approach to EQ and tone settings is carefully crafted to maximize the dynamics and emotional power of THE BACK HORN’s songs. When using the Marshall JCM800, his typical EQ settings are Treble: 7, Middle: 6, and Bass: 5. This configuration delivers a punchy midrange, shimmering highs, and a controlled low end. These settings prevent the guitar from being buried in the mix while still leaving space for vocals, bass, and drums.

Gain levels vary depending on the song’s mood. For clean sections, such as ballads, gain is set low around 2–3, emphasizing picking nuances and clarity. In choruses or lead passages, gain is raised to around 6–7, often boosted further with the Ibanez Tube Screamer TS9. Typical TS9 settings include Drive: 4, Tone: 6, and Level: 7, which provide midrange punch and synergy with the JCM800, enhancing sustain without overwhelming the mix.

Song-specific examples highlight these adjustments. In “Cobalt Blue,” the overdrive is kept natural and warm to preserve the song’s emotional depth. Presence is lowered to around 4, reducing harsh high frequencies. In more aggressive songs, Presence is pushed to 6–7, creating a sharper, modern rock tone with strong attack.

Studio techniques also play a vital role. Microphone placement often involves a Shure SM57 positioned slightly off the speaker cone center to balance attack with warmth. A Neumann U87 condenser mic may be used as a room mic, capturing natural ambience and preventing recordings from sounding overly sterile. The blended signals are fine-tuned during mixing for depth and clarity.

EQ processing in mixing focuses on careful frequency separation. Low frequencies below 100Hz are rolled off with a high-pass filter to avoid clashing with the bass. Boosts around 2–3kHz emphasize presence while leaving the 1kHz range—important for vocals—relatively restrained. Subtle shelving boosts above 10kHz add airiness and counteract the closed-off feel often associated with digital recordings.

Compression is used sparingly. Hardware units like the API 2500 or Empirical Labs Distressor are applied with light ratios (around 3:1). Attack settings are left slower to preserve pick attack, while release is adjusted to match the song’s tempo, ensuring a natural dynamic flow. This subtle compression keeps notes even without diminishing emotional intensity.

Spatial effects are also blended carefully in mixing. Delays are rolled off slightly with a low-pass filter to sit naturally behind the dry guitar. Reverb is typically plate-style with decay times around 1.5 seconds, adding width without muddying the arrangement. High frequencies in the reverb are often attenuated to maintain clarity across the mix.

For live performance, PA adjustments depend on venue size. In mid-sized clubs, low frequencies under 200Hz are reduced to prevent boominess, while the 3–4kHz range is boosted for articulation in the audience mix. In larger venues or arenas, engineers often add more reverb and delay, using the venue’s natural acoustics to create a grander, immersive sound.

Altogether, Suganami’s tone strategy reflects a professional and thoughtful balance: preserving emotion, maintaining clarity, and adapting settings for each song’s needs. From amp EQ to PA adjustments, every step ensures his guitar serves the song and the band as a whole. From these details, it can be assumed that his EQ and mixing techniques are aimed at maintaining expressive control while allowing THE BACK HORN’s music to fully resonate with the audience.

Affordable Alternatives to Recreate the Tone [THE BACK HORN · Eijun Suganami]

To recreate Eijun Suganami’s sound from THE BACK HORN on a budget, it is essential to understand the core elements of his tone and then find cost-effective gear that captures similar characteristics. For amplifiers, an excellent option is the Marshall DSL40CR. As a modern production model inspired by the JCM800, the DSL40CR’s Classic Gain channel can deliver the same midrange punch and crunchy dynamics that Suganami relies on. Priced at around $700–$800, it is far more affordable than a vintage JCM800 while still versatile enough for home practice, studio sessions, and small to medium-sized gigs.

For overdrive, the Boss SD-1 Super Over Drive is a superb budget-friendly alternative to the Ibanez Tube Screamer TS9. The SD-1 produces a similarly warm, mid-boosted character that pairs exceptionally well with Marshall-style amps. At a price of roughly $50, it provides excellent value while remaining a professional-level pedal used by countless guitarists worldwide. This makes it one of the most accessible ways to capture Suganami’s expressive overdrive tones.

When it comes to distortion, Suganami’s actual pedals—the Boss DS-1 and MT-2—are already among the most affordable classic effects on the market. Beginners can purchase these directly for under $100 each, achieving authentic distortion tones nearly identical to his live setup. For an even more cost-efficient approach, the Boss OS-2 Over Drive/Distortion combines overdrive and distortion in a single unit. Its Color control allows players to seamlessly transition between smooth overdrive and aggressive distortion, mirroring Suganami’s tonal shifts across songs.

For spatial effects, the Boss DD-8 Digital Delay stands as a modern upgrade to the DD-3, offering a wide variety of delay types while preserving the bright, clear repeats characteristic of Suganami’s delay usage. At around $120, it provides a faithful recreation of his delay textures. For reverb, the Boss RV-6 serves as the successor to the RV-3, with higher-quality algorithms and natural-sounding plate and hall settings, allowing players to replicate the subtle depth in his tone.

On the guitar front, the Epiphone Les Paul Standard 50s is the most practical substitute for Suganami’s Gibson Les Paul Standard. Produced under Gibson’s supervision, this model faithfully captures the tonal warmth and sustain of its higher-priced sibling at a fraction of the cost (around $500–$600). Its humbuckers deliver the thick midrange essential to THE BACK HORN’s emotional sound, making it an excellent choice for players seeking his style. Paired with an affordable Stratocaster or SG-style guitar, this combination covers the tonal palette Suganami is known for.

For players seeking an all-in-one solution, the Boss GT-1000 multi-effects processor is a highly effective option. Containing modeled versions of many of Suganami’s actual pedals—such as the DS-1, Tube Screamer-style overdrive, DD delays, CH chorus, and RV reverbs—it can replicate his pedalboard within a single unit. It also includes amp modeling of the Marshall JCM800, allowing guitarists to get close to his sound even with headphones or direct recording. At around $900–$1,000, it may appear costly, but it offers tremendous value compared to purchasing each piece of gear separately.

For a more budget-conscious multi-effects approach, units like the Boss GT-100 or Zoom G5n offer solid recreations of the essential overdrive, distortion, delay, reverb, and chorus effects. The Zoom G5n, in particular, costs around $250–$300 while providing surprisingly high-quality algorithms, making it a cost-effective gateway to Suganami’s sonic palette.

Type	Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Notes
Amp	DSL40CR	Marshall	Amazon Search	THE BACK HORN	Eijun Suganami	Modern Marshall amp modeled after the JCM800. Provides similar crunch and midrange punch at a lower price
Guitar	Les Paul Standard 50s	Epiphone	Amazon Search	THE BACK HORN	Eijun Suganami	Affordable version of Gibson Les Paul. Warm midrange and sustain ideal for Suganami’s sound
Overdrive	SD-1 Super Over Drive	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Alternative to TS9. Midrange-focused and natural-sounding overdrive. Around $50
Distortion	OS-2 Over Drive/Distortion	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Covers both overdrive and distortion. Flexible Color control mimics tonal variety
Delay	DD-8 Digital Delay	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Modern replacement for DD-3. Versatile modes with clear digital repeats
Reverb	RV-6 Reverb/Delay	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Successor to RV-3. Natural-sounding reverb with improved algorithms
Multi-Effects	GT-1000	Boss	Amazon Search	THE BACK HORN	Eijun Suganami	Includes modeled versions of Suganami’s pedals and JCM800 amp sim. Professional all-in-one option
Multi-Effects	G5n	Zoom	Amazon Search	THE BACK HORN	Eijun Suganami	Budget multi-effects (around $300). Recreates core effects chain at low cost

From these details, it can be assumed that even budget-conscious players can achieve a close approximation of Suganami’s tone by selecting cost-effective yet sonically faithful alternatives.

Summary and Conclusion [THE BACK HORN · Eijun Suganami]

Analyzing Eijun Suganami’s guitar sound as a whole, its essence lies in one central principle: serving the song. Every piece of gear and every tonal decision is made to bring out the emotional and dynamic qualities of THE BACK HORN’s music, rather than to showcase technical ability or personal indulgence. This attitude is perhaps the most important lesson other guitarists can learn from him.

The first defining characteristic of his tone is its emotional depth. Suganami’s guitar playing is more than technical execution—it is a translation of the story and feeling embedded in each song. The warm midrange of his Gibson Les Paul, the powerful drive of the Marshall JCM800, and the precise tonal shaping with BOSS pedals all combine to create sounds that resonate directly with listeners on an emotional level.

The second defining trait is his reliance on practicality and reliability. The gear he chooses—Marshall, Gibson, BOSS, Ibanez—are all established brands with decades of professional use. This is not a conservative choice, but a deliberate strategy to ensure his tone remains consistent and dependable in both live and studio contexts. These choices reflect the balance of sound quality and trustworthiness that define a professional setup.

The third trait is his awareness of the band ensemble. Suganami’s guitar never seeks to overshadow but rather to complement the vocals, bass, and drums. His EQ decisions and tonal balance are carefully designed to leave space for Masashi Yamada’s vocals and to blend harmoniously with Shinji Matsuda’s bass and Mitsuru Okamine’s drums. This shows a strong sense of responsibility, where the guitar becomes one voice within a larger musical dialogue.

To truly recreate Suganami’s sound, one must focus not only on collecting similar gear but also on understanding the flow of emotion and structure in THE BACK HORN’s songs. His tone changes are often dictated by dynamics: when to switch from clean to overdrive, when to add delay or chorus, when to cut through with presence. These decisions are inseparable from the composition itself.

His guitar technique also highlights the importance of balance. He does not aim for flashy virtuosity, but instead uses vibrato, bending, picking dynamics, and movement across the fretboard with precision and purpose. Likewise, his tone shaping relies on basic but effective tools: classic amps, straightforward effects, and carefully chosen EQ. The simplicity of the setup allows him to fully explore musical expression without distraction.

The most universal lesson from Eijun Suganami’s approach is the importance of knowing one’s musical role and committing fully to it. As a guitarist within THE BACK HORN, he defines his role as supporting the song’s narrative and energy, and his gear choices and technical style are aligned to that mission. For guitarists of any level—from beginners to professionals—this is a powerful reminder that music is not a contest of technical superiority but a medium for emotional communication.

In summary, Suganami’s tone embodies honesty, balance, and dedication to the band’s collective voice. By understanding these principles, players can move beyond mere imitation of his gear and begin to channel the deeper essence of what makes THE BACK HORN’s sound so impactful.