[Masatoshi Mashima (Marcy)] – How to Recreate the THE BLUE HEARTS Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Masatoshi Mashima, widely known as “Marcy,” has been a legendary guitarist leading the Japanese rock scene from THE BLUE HEARTS to his current band, The Cro-Magnons. His influence and presence remain unmatched, inspiring generations of musicians.

Marcy’s guitar tone is characterized by its simplicity, raw power, and emotional intensity. Rather than relying on complex technical tricks, he values sincerity toward the music and a direct, soul-stirring guitar sound. His playing style embodies the essence of straightforward rock.

In iconic songs such as “Linda Linda,” “TRAIN-TRAIN,” and “Passion’s Rose,” one can clearly hear the thick, powerful tone of his Gibson Les Paul blending perfectly with the gritty distortion of Marshall amplifiers. This combination defined what many consider to be the archetypal sound of Japanese rock guitar.

Perhaps the most remarkable aspect of Marcy’s approach is his minimal use of effects. He relies almost entirely on the guitar and amp combination. With The Cro-Magnons, his current live setup consists of just one pedal—the MAXON OD808. Despite its simplicity, it produces a massive sound that overwhelms the audience with raw energy.

Why has his tone continued to resonate with so many listeners? The answer lies in his philosophy: Marcy values “soul” over technical perfection. His guitar sound, though stripped down, strikes directly at the heart. This balance of simplicity and depth makes him a living textbook of Japanese rock guitar.

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List of Amplifiers and Features [THE BLUE HEARTS – Masatoshi Mashima]

Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Notes
JCM2000 TSL100	Marshall	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Main amp in current Cro-Magnons era. Three-channel design covering clean to high gain tones.
1960A Cabinet	Marshall	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Paired with JCM2000. Equipped with Celestion speakers.
DR103	HIWATT	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Main amp during THE BLUE HEARTS era. Known for shimmering cleans and refined distortion.
Mark IV	Mesa Boogie	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Used for high-gain tones. Often paired with Roland SDE-3000 in the effects loop.
Twin Reverb	Fender	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Mainly for 12-string guitar. Preferred the silver panel model.
AC-30	VOX	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Used during THE BLUE HEARTS years. A classic British rock staple amp.

Marcy’s amplifier choices have shifted significantly over the years, reflecting both musical and practical needs. In the early BLUE HEARTS period, he frequently combined HIWATT DR103 and Mesa Boogie Mark IV amps. The HIWATT provided crystalline cleans, which paired beautifully with his 12-string guitars. Meanwhile, the Mark IV offered then-unusual high-gain tones, enhanced further by routing a Roland SDE-3000 digital delay through its effects loop. This setup created the atmospheric depth that defined tracks like “TRAIN-TRAIN.”

In the current Cro-Magnons era, his mainstay is the Marshall JCM2000 TSL100, a versatile three-channel tube head. Marcy tends to rely on the crunch channel, boosting it with the MAXON OD808 to craft his trademark powerful lead tones. Paired with the Marshall 1960A cabinet, this rig delivers an unmistakable punch that cuts through any live mix.

The Fender Twin Reverb and VOX AC-30 also played supporting roles in his career. The Twin was favored when handling 12-string parts, offering sparkling articulation, while the AC-30 brought in a touch of British chime during live and studio sessions. These amps demonstrated his flexibility in adapting classic tones to suit each song’s needs.

Ultimately, his amp selection reflects a balance between practical live performance requirements and tonal depth. Marshall stacks are road-proven and deliver the muscular midrange that fits Japanese live houses perfectly. This explains why Mashima has kept returning to Marshall over the decades. His overall philosophy emphasizes straightforward but commanding tones, designed to drive songs with energy rather than clutter them with excessive processing. These choices can be considered the backbone of his career sound, though some details remain subject to interpretation and evolving usage.

Types of Guitars Used and Features [THE BLUE HEARTS – Masatoshi Mashima]

Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Type of Guitar	Notes
Les Paul Junior TV Yellow	Gibson Custom Shop	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Electric Guitar	Main guitar in recent years. Single cutaway model, modified with a Badass bridge for improved sustain.
Les Paul Special TV Yellow	Gibson	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Electric Guitar	1958 model, acquired around debut. Used in recording the first four albums, including all early hits.
Stratocaster	Fender	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Electric Guitar	Hybrid build with 1963 body and 1961 neck. Tremolo springs set to straight 3-spring configuration.
SG Standard	Gibson	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Electric Guitar	Cherry Red, estimated 1968 Vibrola-equipped model with large pickguard.
RL-70P	Greco	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Electric Guitar	Rickenbacker-style 12-string used during the “Dekoboko Tour.”
HD-35	Martin	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Acoustic Guitar	Acquired around 1992. More often played by Hiroto, while Marcy stuck to electric guitars.

Marcy’s guitar arsenal demonstrates his uncompromising taste, especially his devotion to Gibson Les Paul models. His current mainstay, the Gibson Custom Shop Les Paul Junior TV Yellow, exemplifies stripped-down rock tone. Outfitted with a Badass bridge, it offers enhanced sustain and quicker note attack, perfectly suited to his direct playing style.

The single most important instrument in his history is undoubtedly the 1958 Gibson Les Paul Special TV Yellow. This guitar shaped the sound of the early BLUE HEARTS era, powering recordings of “Linda Linda,” “TRAIN-TRAIN,” “Aozora,” and “Passion’s Rose.” Its P-90 pickups deliver the thick, punchy sound that became Marcy’s sonic fingerprint, marrying rawness with clarity in a way that defined an era of Japanese rock.

The Fender Stratocaster also played a vital role. His custom 1963 body/1961 neck hybrid, with tremolo springs configured straight, allowed for subtle but expressive tremolo use. It shined particularly in melodic passages and clean-toned textures, offering a contrast to the aggressive bark of his Les Pauls.

Meanwhile, the Gibson SG Standard brought a different dimension. Its lightweight design and resonant cherry-red body provided a livelier, more agile tone than his Les Pauls. Likely a late-60s Vibrola-equipped model, it proved highly practical for energetic live shows where comfort and maneuverability mattered just as much as tone.

Expanding into 12-string territory, Marcy turned to the Greco RL-70P, a Rickenbacker-inspired guitar. Its chiming, layered sound added shimmer and width, especially during the “Dekoboko Tour.” This sparkle contrasted beautifully with his otherwise raw and straightforward tones.

Though primarily focused on electrics, he occasionally used acoustic guitars. The Martin HD-35, purchased in the early 1990s, saw more frequent use by vocalist Hiroto, but still became part of the band’s broader sonic palette. Its warm dreadnought resonance provided depth when needed, though Marcy generally preferred his electrics live.

Across decades, his guitar choices reflect both continuity and evolution. At the core is the belief that simplicity paired with strong emotional resonance matters more than flashy gear. This ethos has remained consistent whether wielding a TV Yellow Les Paul, a Stratocaster, or even a 12-string. It can be assumed that his enduring focus is on guitars that reinforce direct, soulful communication through sound.

Effects and Pedalboard Setup [THE BLUE HEARTS – Masatoshi Mashima]

Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Type of Effect	Notes
OD808	MAXON	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Overdrive	Currently the only pedal used live with The Cro-Magnons. Nicknamed “Kaeru-chan” (Little Frog).
SD-1	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Overdrive	Used during THE BLUE HEARTS era as a booster for guitar solos.
SDE-3000	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Delay	Connected through the effects loop of the Mesa Boogie Mark IV.
DD1000	MAXON	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Delay	Digital delay used during THE BLUE HEARTS years to add space and depth.
Double Sound SD5	MAXON	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Wah Pedal	A wah/fuzz combo unit, famously used on “Silent Phone Blues.”
CS-505	MAXON	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Compressor	A long-time favorite since The High-Lows era, shaping clean tones and chord clarity.

Marcy’s approach to effects could be summed up as “less is more.” In the Cro-Magnons era, his entire pedalboard consists of a single MAXON OD808. Despite the minimalism, this pedal is central to his sound. Nicknamed “Kaeru-chan” (Little Frog), it acts primarily as a booster, tightening the low end and emphasizing the midrange when pushing his Marshall JCM2000. The result is a roaring yet articulate lead tone.

During THE BLUE HEARTS period, his pedalboard was slightly more populated. The BOSS SD-1 Super OverDrive played a crucial role in boosting solos. On songs like “TRAIN-TRAIN,” engaging the SD-1 gave solos the extra volume and edge they needed to stand out against the driving rhythm guitars.

Spatial effects were also part of the palette at the time. The BOSS SDE-3000, connected through the effects loop of his Mesa Boogie Mark IV, added digital delay that created a strikingly modern sense of depth for the era. Meanwhile, the MAXON DD1000 served as another digital delay option, further broadening his arsenal of echo and ambience for ballads and moodier tracks.

Among his rarer tools was the MAXON Double Sound SD5 — a hybrid wah and fuzz unit. This quirky pedal allowed him to generate gnarly, psychedelic textures, most notably on the track “Silent Phone Blues.” It stands as proof that, while Marcy was minimalist at heart, he wasn’t afraid to experiment when the music called for it.

The MAXON CS-505 compressor has been a consistent presence from The High-Lows days through to The Cro-Magnons. By evening out dynamics, it lends clarity to his arpeggios and chord cutting, ensuring that even delicate clean passages carry weight and presence in a live setting.

What ties all of these choices together is philosophy. Marcy avoids overcomplication, preferring to keep the guitar-to-amp signal path as pure as possible. Effects are used sparingly, almost like spices — added only when they enhance the song. This restraint underscores his dedication to music’s emotional core rather than technical flash, and it can be assumed that his pedal choices will remain minimal yet intentional.

Tone Settings, EQ, and Mixing Approaches [THE BLUE HEARTS – Masatoshi Mashima]

The essence of Masatoshi Mashima’s tone is maximizing the natural voice of the guitar. His foundation, especially with The Cro-Magnons, is straightforward: Marshall JCM2000 TSL100 on the crunch channel, boosted by a MAXON OD808. The simplicity hides a deep attention to detail in EQ, gain staging, and live balance.

Typical amp EQ settings can be estimated as Bass around 6, Middle around 7, and Treble around 6. The midrange emphasis ensures his guitar slices through a dense mix, while keeping lows and highs controlled for balance. Gain is generally kept moderate, around 5–6, to preserve note clarity. This restraint allows pick dynamics to shine through, ensuring that soft strumming and aggressive downstrokes both translate with precision.

On the OD808, the controls are generally set for boost rather than distortion: Gain very low (0–2), Level around 7–8, and Tone around 5–6. This pushes the amp’s front end without muddying the sound, lifting the mids so the guitar doesn’t get buried in a full-band context. It’s less about adding dirt and more about sharpening presence.

Song-specific variations matter too. For high-energy numbers like “Linda Linda,” the OD808 is left on throughout, adding urgency and bite. On more contemplative songs such as “Aozora,” he’ll often switch the pedal off, relying purely on the amp’s organic crunch for a warmer, more open sound. The ability to shift between these textures helps songs breathe and keeps performances dynamic.

Channel switching is another key tactic. Mashima often begins verses on the clean channel, saving the crunch or lead channel for choruses and climaxes. On “TRAIN-TRAIN,” this contrast enhances the emotional lift, with the chorus exploding thanks to the crunch channel’s fullness. The decision is less about technical complexity and more about storytelling through sound.

In mixing and live sound, engineers tend to emphasize the 1–3 kHz midrange band, which is critical for guitar presence. Since this is also where vocals live, careful EQ carving ensures guitars and vocals complement rather than fight each other. Low-end below 100 Hz is typically rolled off to prevent clashes with bass guitar. This approach leaves Mashima’s guitar sounding bold but never boomy.

Spatial effects are restrained. Long reverb washes or heavy delays are avoided, keeping the guitar dry and immediate. However, in ballads, a short slapback or subtle delay (80–120 ms) is occasionally used to add dimension. This is especially effective in tracks where the guitar must sustain emotional weight without overpowering the vocals.

From a PA engineer’s perspective, Mashima’s rig is a dream. With few pedals in the signal path and natural amp drive, the tone is already balanced before hitting the mixing board. This allows live engineers to integrate the guitar smoothly with drums and bass. His philosophy ensures his sound “sits in the mix” without constant tweaking, proving the effectiveness of simplicity.

Recording sessions reinforce this purist mindset. Rather than relying on line-outs or amp sims, his tones are usually captured by direct miking. A Shure SM57 dynamic mic placed about 30 cm from the speaker cone is a common setup, balancing attack with body. This old-school approach ensures authenticity in recorded sound, aligning with the straightforward live ethos.

Underlying all of this is a philosophy: the guitar’s role is to support the song. Tone is never crafted to dominate but to enhance. Mashima’s EQ and mixing strategies always prioritize vocal clarity and song emotion. The guitar serves as a partner, amplifying lyrical meaning rather than competing with it. While exact settings shift between venues and songs, the guiding principle remains constant — minimal gear, balanced EQ, and emotional resonance. It can be assumed that this philosophy is what makes his tone timeless.

Affordable Alternatives to Recreate the Tone [THE BLUE HEARTS – Masatoshi Mashima]

Category	Gear Name	Manufacturer	Amazon Lowest Price URL	Artist	Guitarist	Notes
Guitar	Les Paul Studio	Epiphone	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	A budget-friendly option that recreates the fullness of a Gibson Les Paul. Humbuckers provide a fat, warm tone similar to Marcy’s setup.
Guitar	Les Paul Special VE	Epiphone	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Equipped with P-90 style pickups, delivering tones reminiscent of Marcy’s legendary 1958 Les Paul Special.
Amp	CODE50	Marshall	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Digital amp that emulates classic Marshall tones, including JCM2000-style crunch, with versatility and Bluetooth features.
Amp	DSL20HR	Marshall	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	20-watt tube head offering genuine Marshall drive and cleans. Great for home use while staying authentic to Marcy’s tone.
Effect	OD-3	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	An affordable overdrive with midrange focus, capable of functioning as a booster similar to the MAXON OD808.
Effect	Super OverDrive SD-1	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	The very pedal Marcy used in THE BLUE HEARTS era. Ideal for boosting solos with bite and sustain.
Effect	CS-3 Compression Sustainer	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Alternative to the MAXON CS-505. Smooths note dynamics and strengthens clarity for arpeggios and clean chord work.
Effect	DD-3 Digital Delay	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	A simple delay pedal, standing in for the SDE-3000 or DD1000 used in the BLUE HEARTS era. Perfect for subtle ambiance.
Multi-Effect	GT-1	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Compact multi-effects unit with Marshall amp sims and OD808-style drives. A great all-in-one practice and stage tool.
Multi-Effect	Katana-50	BOSS	Amazon Search	THE BLUE HEARTS	Masatoshi Mashima	Combo amp with built-in effects. Offers Marshall-inspired tones and integrated overdrive for an easy, affordable setup.

For players seeking Marcy’s tone without breaking the bank, there are excellent alternatives. On guitars, Epiphone models provide the closest match. The Epiphone Les Paul Studio delivers the fat humbucker-driven roar characteristic of Gibson, while the Les Paul Special VE captures the P-90 bite reminiscent of Marcy’s 1958 TV Yellow Special. Both options cost a fraction of their Gibson counterparts, making them beginner-friendly yet stage-ready.

On the amplifier side, Marshall’s CODE50 offers a wide palette of classic tones digitally, including the signature JCM2000 crunch. Its price-to-performance ratio is outstanding, with modern conveniences like USB and Bluetooth. If tube warmth is desired, the DSL20HR is a great choice: small enough for home, yet powerful enough to replicate Marcy’s live tones. It delivers the organic sag and response that characterize vintage Marshall circuits.

When it comes to effects, BOSS shines as the go-to brand. The OD-3 is a budget-friendly stand-in for the MAXON OD808, capable of pushing amp mids into focus. The SD-1 Super OverDrive is historically accurate, being part of Marcy’s own rig during THE BLUE HEARTS era. Both cost around $50–70, proving that authentic tone doesn’t require high-end pedals.

A compressor like the BOSS CS-3 fills the role of the MAXON CS-505, ensuring consistent dynamics and enhancing chord clarity. For delay, the DD-3 is simple yet effective, perfect for short repeats that add space without clutter. These basic effects cover the essentials while maintaining Marcy’s philosophy of minimalism.

For guitarists seeking a single, versatile solution, multi-effects gear like the BOSS GT-1 or the BOSS Katana-50 are excellent picks. Both feature amp modeling, overdrives, delays, and more. The Katana-50, in particular, integrates amp and effects, creating a plug-and-play rig that nails rock tones reminiscent of THE BLUE HEARTS.

With a total investment under $1,000, it’s possible to get remarkably close to Marcy’s live and studio tones. The key is to focus less on owning identical gear and more on embracing his ethos: simplicity, sincerity, and tone that supports the song. These affordable tools make that philosophy accessible to any guitarist, from beginners to gigging players.

Summary and Conclusion [THE BLUE HEARTS – Masatoshi Mashima]

After exploring Masatoshi Mashima’s sound in detail, the essence becomes clear: it is not about complex equipment or dazzling technique. His signature tone rests on three core principles — simplicity, sincerity, and emotional expression. This philosophy makes his sound timeless and universally resonant.

In today’s Cro-Magnons era, his live rig is distilled to its purest form: a Gibson Les Paul Junior, a Marshall JCM2000, and a single MAXON OD808. Three simple tools, yet capable of producing a sound that moves thousands of fans night after night. This proves that what matters most is not the number of pedals or the rarity of gear, but the honesty in how the guitar supports the song.

Marcy’s understanding of music’s core sets him apart. Rather than chasing the latest gear trends, he leans on guitar tone, amp drive, and above all, an attitude of playing “in service to the song.” His tones are powerful not because they are polished to perfection, but because they breathe with the same passion as his performance. This makes his sound unforgettable, whether in “Linda Linda,” “TRAIN-TRAIN,” or “Passion’s Rose.”

The fact that those classic songs were recorded on a single 1958 Gibson Les Paul Special TV Yellow underscores an important lesson: deep connection with an instrument outweighs price or novelty. For Marcy, that guitar became a partner in storytelling, its P-90 voice inseparable from his artistic identity. This bond illustrates the idea that musical meaning comes not from excess, but from consistency and intimacy with one’s tools.

His approach to effects and setups also reflects a “less is more” ethos. By relying almost exclusively on the direct guitar-to-amp signal path, he demonstrates how creativity flourishes within constraints. This philosophy embodies the artistic principle that restriction can inspire innovation. In his case, the limitation amplifies the rawness and immediacy of his rock sound.

For younger guitarists, the takeaway is profound: chasing Mashima’s tone is not about replicating every detail of his gear. Instead, it is about learning how to make your own gear sing with sincerity. What matters is whether your playing connects emotionally with listeners. Even basic gear can carry this spirit if used with intention and honesty.

Practicing with this philosophy means focusing less on memorizing technical licks and more on understanding chord progressions, song dynamics, and emotional impact. Mashima’s playing may seem technically simple, but it is always laser-focused on what the song needs. This economy of notes — a kind of “subtractive beauty” — is his true hallmark.

Ultimately, the pursuit of tone should be a journey of discovery. Mashima’s path shows that simplicity is powerful, restraint is expressive, and authenticity is everything. As you explore your own guitar sound, remember that the most important element is not pedals, amps, or pickups — it is the human connection. Your guitar tone can be the voice that comforts, encourages, and inspires. Like Masatoshi Mashima, play with love, honesty, and the courage to let simplicity speak louder than complexity.