[Kato Taro] How to Recreate the BEAT CRUSADERS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kato Taro, the guitarist of BEAT CRUSADERS, plays a crucial role in supporting the band’s pop-punk and alternative sound. His guitar tone is energetic yet filled with a pop sensibility, harmonizing beautifully with the catchy melodies of the band.

In iconic songs like “Hit in the USA” and “Tonight, Tonight, Tonight,” powerful riffs and lively chord work stand out. He utilizes amps such as the EVH 5150III and Marshall DSL100 during live performances, expressing a wide range from strong distortion to clean, crisp cuts depending on the situation.

A significant aspect of his sound design is his focus on creating a “simple and clear sonic image.” He keeps his effects to a minimum, primarily using practical gear like delays and boosters. This approach enhances the momentum and groove of his playing while amplifying the unique “fun” characteristic of BEAT CRUSADERS.

For beginners looking to replicate his sound, it’s essential to adopt the mindset of “not overcomplicating the tone.” Kato Taro’s playing relies on the sharpness of chord strokes and riffs, as well as the lively response of his amps, rather than flashy techniques.

In the following sections, we will introduce the actual amps, guitars, and effects he uses, along with tables detailing how he constructs his sound.

▶ Search official YouTube videos of BEAT CRUSADERS

List of Amplifiers and Features

When discussing Kato Taro’s sound, the amplifiers used in live performances and recordings are indispensable. He seeks a straightforward rock sound, primarily relying on high-gain amps while selecting different models based on the context.

The most iconic of these is the EVH 5150III. Developed with Eddie Van Halen’s involvement, this amp is known for its high-gain, punchy distortion, which is essential for modern rock. Kato Taro uses this head during live performances, pairing it with an EVH cabinet to produce a thick yet articulate sound.

Another notable amp is the Marshall JCM2000 DSL100, which he has used for many years. This amp features the characteristic mid-range fullness and drive that Marshall is known for, dating back to the ’80s. Kato Taro combines this amp with an Orange cabinet (owned by bassist Masahiko Kubota), adding a unique character to his sound. This combination produces a hard yet warm tone, fitting perfectly with the diverse songs of BEAT CRUSADERS.

His choice of amps likely varies depending on the venue size and acoustic environment. For large festivals or halls, he prioritizes the powerful output of the EVH 5150III, while in clubs or medium-sized venues, he tends to base his sound around the Marshall DSL100 to maintain balance with the overall band sound.

His amp selection reflects his philosophy of “clearly resonating guitar riffs while maintaining the lightness of pop-punk,” ensuring that he doesn’t overdo the high gain. In fact, he likely sets the high-gain channel of the EVH to allow for picking nuances to shine through.

Kato Taro’s amp choices demonstrate a careful balance between “aggressiveness” and “listenability,” making them a significant element in supporting the band’s sound. While definitive statements are challenging, it can be assumed that his live sound heavily relied on the aforementioned gear.

Types of Guitars Used and Features

Kato Taro’s guitar sound is defined by his beloved custom model. The most iconic is the FRANKEN GUITARS EVH type, featuring a red body with black and white stripes, paying homage to Eddie Van Halen’s “Frankenstein” guitar. This guitar has been confirmed in live photos and magazine interviews, serving as Kato Taro’s main instrument for many years.

This guitar typically features a single humbucker configuration, characterized by its simple design that eliminates unnecessary circuitry. This allows for a powerful and direct sound, reflecting the character of the amp and effects directly. The piercing distortion sound heard in BEAT CRUSADERS’ signature songs like “Hit in the USA” and “DAY AFTER DAY” likely stems from the combination of this custom guitar and the EVH amp.

While Kato Taro may have used other guitars depending on the situation, the EVH striped model is overwhelmingly confirmed in live footage and photos. Thus, it can be said that this guitar symbolizes “his sound.”

The choice of guitar stems from the need for an “aggressive and clear sound, ideal for pop-punk and alternative rock.” Franken-type guitars generally have a simple structure, minimizing potential issues and ensuring stable performance during live shows. Furthermore, his individuality as a player influenced by Eddie Van Halen is vividly reflected in both the look and sound.

While there isn’t much discussion about variations for a secondary guitar, the impression remains strong that he “continued to fight with this one” throughout his time with BEAT CRUSADERS, showcasing his commitment as a guitarist. Consequently, it can be assumed that Kato Taro’s sound design is fundamentally based on this guitar.

Effects and Pedalboard Setup

Kato Taro’s pedalboard is characterized by a simple and practical setup. He accurately positions the necessary elements for live performances without overcomplicating things, aiming for a stable sound. BEAT CRUSADERS’ songs are fast-paced, focusing on riffs and cuts, so the gear is centered around “enhancing” rather than “processing” the sound.

One of the key components is the MXR Micro Amp. This classic booster is used by Kato Taro to increase the volume during solos and enhance the overall push of the sound. It is also effective in thickening the tone when using high-gain amps. Despite its simplicity, it is a highly practical unit for live use.

The Peterson Virtual Strobe Tuner allows for highly accurate tuning. Given that the groove of BEAT CRUSADERS’ songs is crucial, even slight tuning discrepancies can disrupt the performance. This indicates a meticulous approach to tuning management.

The DigiTech Whammy is used as a pitch shifter/octaver, introduced to create unique phrases in certain songs during live performances. While Kato Taro’s sound is straightforward, the Whammy adds an accent to the songs.

The BOSS DD-20 Giga Delay is utilized as a delay for live performances. With stereo capabilities and a wealth of delay times and presets, it can flexibly adapt to the variations of each song. It is an essential element for adding depth to guitar solos and lead parts.

Additionally, Kato Taro used the Jim Dunlop ZW-44 Zakk Wylde Overdrive around 2005, achieving a punchy overdrive when combined with the Marshall DSL100. The Custom Audio Electronics + MXR Booster was reportedly used in recordings for more precise tone control.

For power, he uses the VOODOO LAB Pedal Power 2 Plus, ensuring stable power supply. Furthermore, he incorporates the EVH 5150III amp channel switch to facilitate smooth channel switching on stage.

Thus, his pedalboard adheres to a “minimum necessary” structure, focusing on bringing out the characteristics of the guitar and amp rather than processing the sound. It can be assumed that he prioritized stability and reproducibility in his sound design during live performances.

Tone Settings, EQ, and Mixing Approaches

Kato Taro’s sound design appears simple at first glance, yet it is based on highly calculated settings. Listening to live footage and recordings reveals that he consistently aims for a “sound that cuts through the band” and “maintains a sense of speed.”

When using the EVH 5150III, it is speculated that he sets the gain around 6-7 instead of maxing it out. This allows for a setting that avoids excessive distortion while maintaining clarity in chord work. The EQ settings are likely as follows:

• Bass: 4-5 (adjusted to avoid excessive boominess)
• Middle: 6-7 (emphasized to avoid being buried in the band sound)
• Treble: around 6 (to ensure clarity in riffs)
• Presence: 5-6 (adjusted based on venue acoustics)

Conversely, when using the Marshall DSL100, the mid-range naturally comes out more, so the Middle is often set flatter, with Treble slightly raised for clarity. By cranking up the classic gain channel of the DSL and lightly boosting it with the ZW-44, he likely achieves a crisp punk sound.

Regarding effects, it seems he doesn’t keep the delay (BOSS DD-20) deeply engaged at all times, using it primarily to expand the space during lead phrases or memorable sections. The delay time is often set around 400ms, serving more to “add depth” rather than rhythmically matching the delay.

The MXR Micro Amp is used to instantaneously raise the volume during solo or phrase transitions. Given the need for speed in Kato Taro’s playing, he has likely implemented strategies to maintain the band ensemble without disrupting the flow.

In terms of mixing and PA processing, it was crucial not to overemphasize the low end of the guitar while preserving the bass frequencies. Especially since BEAT CRUSADERS’ songs are built around two guitars and bass, the PA likely involved cutting the lows and lightly boosting around 2-3kHz to enhance clarity.

In recordings, it is possible that he used the Custom Audio Electronics + MXR Booster to correct clarity during line or mic recordings. This symbolizes his stance of “going bold in live performances while being meticulous in recordings.”

Overall, Kato Taro’s settings are based on the philosophy of “not overdoing distortion,” “emphasizing the mid-range,” and “keeping spatial effects to a minimum.” While the sound itself is simple, the balance of EQ, amp channel selection, and collaboration with the PA culminated in the piercing guitar sound of BEAT CRUSADERS.

Affordable Alternatives to Recreate the Tone

Kato Taro’s gear, including the EVH 5150III and custom guitars, can be somewhat expensive and challenging for beginners to acquire. However, the essence of his sound lies in “straightforward and clear distortion,” “simple boosts and delays,” and “a balance that emphasizes live energy.” It is possible to achieve these characteristics with more affordable, commercially available gear.

For amps, the BOSS Katana series or Marshall CODE series are highly recommended as alternatives to the EVH 5150III. The Katana, in particular, is a modeling amp that responds naturally and can replicate the drive sounds of EVH and Marshall, making it suitable for everything from home practice to small gigs.

While acquiring a custom model like FRANKEN GUITARS is difficult, entry-level models from Charvel or EVH (such as the EVH Striped Series) offer a similarly simple design with a single humbucker, allowing players to experience the “straightforward EVH sound.” The appearance is also close to Kato Taro’s Franken design, which can boost motivation.

For effects, combining a BOSS SD-1 Super OverDrive or BOSS DS-1 Distortion with a Marshall-style amp can create punchy distortion similar to the ZW-44. Additionally, the TC Electronic Spark Booster is an excellent choice for a cost-effective booster.

As for delays, since the DD-20 is discontinued, alternatives like the BOSS DD-8 or TC Electronic Flashback are readily available and can be used for similar purposes. Both options are user-friendly for live settings and offer clear sound quality.

For power supplies, alternatives to the VOODOO LAB Pedal Power include the One Control Minimal series or Caline CP-05, which provide stable power supply at a lower cost.

In summary, when attempting to replicate Kato Taro’s sound, it is not necessary to start with the same high-end gear. Instead, focusing on “creating straightforward distortion, enhancing with boosts and delays” will allow players to achieve a sound close to his with more affordable equipment. Beginners can experience his tone by assembling the following gear.

Summary and Conclusion

Kato Taro’s guitar sound embodies a powerful individuality and live energy within its simplicity. Analyzing his sound design reveals three pillars: “eliminating unnecessary complexity,” “prioritizing mid-range EQ balance,” and “reinforcing with minimal effects.”

First, the main guitar, the FRANKEN GUITARS EVH type, serves as a symbol of his identity. Its striking appearance and simple structure allow the character of the amp and effects to shine through. In other words, “the guitar itself does not assert its character but rather emphasizes the player’s performance and the amp’s resonance.”

He skillfully alternates between the EVH 5150III and Marshall DSL100, adjusting the thickness and clarity of sound based on the venue size and acoustics. The EVH provides modern high gain and sharp attack, while the Marshall adds warmth and mid-range fullness. This flexibility in using both amps is a significant factor supporting his sound.

His effects are minimal, primarily centered around staples like the MXR Micro Amp and BOSS DD-20. While he also incorporates the DigiTech Whammy for special effects, the core focus remains on “reinforcing the sound of the amp and guitar.” During live performances, he ensures that the energy of his playing reaches the audience directly without losing momentum.

Summarizing the essence of his sound design, it revolves around “not overcomplicating things, while showcasing the player’s passion and groove.” This aligns perfectly with the style of BEAT CRUSADERS, which is to “deliver fun and energy wholeheartedly.” It is no wonder that his guitar creates an overwhelming presence through simplicity rather than flashy techniques.

For readers wanting to get closer to Kato Taro’s sound, there is no need to start with the same gear. Instead, focusing on “not overly deepening distortion,” “emphasizing the mid-range for clarity,” and “reinforcing the sound with simple boosts and delays” is crucial. By grasping these points, one can achieve a sound remarkably close to his with relatively affordable gear.

In summary, Kato Taro’s sound design philosophy lies in “simplicity to maintain enjoyment.” This is why his sound continues to resonate with many fans, and every time we listen to BEAT CRUSADERS’ songs, that piercing guitar riff comes to life again. Experiencing his sound is not merely about mimicking gear but rather embodying the mindset of a guitarist who conveys enjoyment wholeheartedly.