[Shinya Hori] How to Recreate the Crystal Lake Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shinya Hori, the guitarist of Crystal Lake, is known for his powerful and sharp sound that embodies modern metalcore. His playing style ranges from low-end riffs using a 7-string guitar to melodic phrases and clean tones, making him a crucial element in shaping the band’s sonic identity.

In iconic tracks like “Apollo” and “True North,” tight and aggressive riffs intertwine with spacious clean tones, earning high praise at international festivals. Notably, his use of the Axe-Fx II XL+ as a central part of a modern digital system allows for consistent sound creation in both live and studio settings.

Moreover, Hori’s sound incorporates the typical drop tuning and heaviness associated with 7-string guitars but transcends mere low-end heaviness to achieve a bright and three-dimensional guitar tone. This balance elevates Crystal Lake to a unique status both domestically and internationally.

His sound design offers valuable insights for fans across genres like metalcore, deathcore, and post-hardcore, particularly highlighting the stability provided by modern multi-effects and Evertune-equipped guitars.

In the following sections, we will explore the confirmed amplifiers, guitars, and effects used by Shinya Hori, detailing how he crafts his formidable sound.

▶ Search official YouTube videos of Crystal Lake

List of Amplifiers and Features

Shinya Hori’s amplifier setup primarily revolves around the Fractal Audio Systems’ digital amp simulator, the Axe-Fx II XL+, rather than traditional tube amplifiers. This was clearly confirmed during the Resurrection Fest EG in 2019 (around 22:52), showcasing its ability to deliver stable sound in live settings. This choice is particularly advanced among metalcore bands, allowing for consistent tone reproduction across varying live environments.

Additionally, he utilizes the MFC-101 MIDI Foot Controller from the same company, facilitating smooth preset switching during performances. Compared to traditional amp and pedal combinations, this setup is more compact and efficient, providing a significant advantage for a band that tours frequently.

However, it has been suggested that he may have previously used Marshall or EVH amplifiers, particularly in studio settings where the warmth characteristic of tube amps was desired. Nonetheless, it is believed that the Axe-Fx simulation is predominantly used on the main stage for Crystal Lake.

The reason for this is the Axe-Fx’s ability to meet the demands of metalcore, providing “tight low-end” and “high-gain noise control.” Traditional tube amplifiers tend to increase noise as gain is raised, but the Axe-Fx maintains clarity while preserving dynamics, making it particularly compatible with 7-string guitars and drop tunings.

Thus, it is assumed that Hori’s current amplifier system is centered around the Fractal Audio Axe-Fx II XL+, achieving a unified tone for both live and recording purposes.

Types of Guitars Used and Features

Shinya Hori’s choice of guitars emphasizes “tuning stability” and “cutting sound even at high gain,” essential for modern metalcore. A notable model is the ESP E-II TE-7 SW, equipped with an Evertune bridge. This 7-string model is confirmed in the music video for “True North” (around 0:10), showcasing its ability to maintain pitch even during low-end drop-tuned riffs. The stability provided by the Evertune is invaluable in genres with intense riffing like metalcore and deathcore.

Additionally, Hori has been seen using the Fender Jim Root Telecaster (White), which is a signature model of Slipknot’s guitarist Jim Root, featuring EMG pickups designed for modern metal. His choice of this model further illustrates his pursuit of an aggressive and tight sound.

The distinction between these two guitars is crucial for both live and recording settings. The E-II TE-7 is primarily used for low-end riffs and breakdowns, while the Jim Root Telecaster shines in 6-string-based songs and clean tone scenarios. Furthermore, live footage and social media posts often highlight the ESP models, indicating that the E-II TE-7 is Hori’s “go-to” gear for performances.

Moreover, some fan sites and social media posts suggest that he may have used other ESP custom models or Jackson guitars in the past. However, the official confirmation remains centered on the aforementioned two models, with the current main setup likely revolving around the ESP and Fender signature models.

Ultimately, Hori’s guitar selection balances “stability to support intense tuning and loud sound pressure” with “modern and cutting tone,” forming the core of his sound.

Effects and Pedalboard Setup

Shinya Hori’s pedalboard is not arranged in the traditional manner of individual pedals but is instead centered around a digital multi-effects unit, creating a simple yet efficient setup. The core of this system is the Fractal Audio Systems’ Axe-Fx II XL+, which covers nearly all aspects from amp simulation to spatial and modulation effects.

In the Resurrection Fest 2019 footage (around 21:58), he is seen using the MFC-101 MIDI Foot Controller to switch presets, indicating that he employs a preset-based approach rather than real-time effect manipulation during performances. This allows for immediate recall of optimized tones for each song while minimizing the risk of noise or technical issues.

The main effects built into the Axe-Fx likely include high-gain preamps/amp simulations, delay and reverb for spatial effects, and booster settings. Particularly in metalcore performances, delay for lead parts and reverb for clean sections are essential, playing a significant role in Hori’s sound.

For certain tracks, tight noise cuts or gate processing before breakdowns are necessary, suggesting that he utilizes the “noise reduction” and “compressor” functions within the Axe-Fx. This enables a clear sound even in the ultra-low frequency range.

Choosing the integrated system of the Axe-Fx over traditional distortion and spatial effect pedals makes sense for a band like Crystal Lake, which tours frequently, as it avoids equipment troubles and allows for quick setups. This configuration balances “efficiency” and “reproducibility,” serving as a reference for modern professionals.

Ultimately, Shinya Hori’s effects system is assumed to be a “digital-complete” setup centered around Fractal Audio, forming the foundation for a noise-free and diverse palette of sounds.

Tone Settings, EQ, and Mixing Approaches

Shinya Hori’s sound design is characterized by the essential balance of “tight and heavy low-end” and “piercing high-mid presence” crucial for modern metalcore. Therefore, thorough frequency control is likely employed during amp simulation and EQ processing. In particular, low-end riffs utilizing 7-string guitars see the low frequencies around 100Hz tightened to avoid boominess, while ultra-low frequencies around 70Hz are reserved for the bass in the mix.

Conversely, the core of the riffs, situated in the 250Hz to 400Hz range, is slightly boosted, and the high-mids around 2kHz to 4kHz are emphasized to ensure clarity even amidst intense backing. This high-mid presence is particularly aggressive in the guitar riffs of “Apollo” and “True North,” allowing them to cut through the mix.

For clean tones, settings often suppress the lows while focusing on the 1kHz to 2kHz range to achieve transparency. The Axe-Fx presets frequently utilize “Shimmer reverb” and “stereo delay” to create spatial expansiveness. For instance, in tracks like “Aeon” and “Six Feet Under,” a sound combining clarity and resonance is evident, contributing to the dramatic dynamics in Crystal Lake’s music.

Additionally, in distortion settings, rather than excessively raising the gain, Hori tends to keep it at a moderate level while applying a booster (modeled after OD/TS within the Axe-Fx) to achieve a tight and noise-free sound. This approach preserves the attack of the picking and the sharpness of rhythms, accommodating the fast riffs typical of metalcore.

His live sound design is also distinctive, with a focus on collaborating with the PA to ensure “separation between guitar and bass frequencies.” By avoiding ultra-low frequencies (50Hz to 70Hz) covered by the bass, the guitar is constructed around a tight low-end centered around 80Hz to 120Hz, resulting in a sound with clear separation. This ensures that even in large festival settings, the guitar’s contours remain intact, delivering both power and clarity.

Beyond EQ, lightly applying a compressor helps to even out the performance’s articulation, while a precisely set noise gate emphasizes the tightness during breakdowns. Particularly with a drop-tuned 7-string, if the gate is too loose, the sound muddies, and if too tight, nuances are lost, indicating that extremely careful adjustments are likely made.

In mixing, the foundation is built on double-tracking two guitars hard-panned left and right, with the lead guitar positioned closer to the center, utilizing spatial effects as needed to create depth. This approach avoids mid-range saturation even in heavy riffs while amplifying the overall sound pressure of the band.

Overall, Shinya Hori’s sound design revolves around “thorough organization through EQ and gate processing,” “emphasizing mid-range and high-mid presence,” and “using spatial effects to enhance clean parts.” These elements combine to create a uniquely balanced sound within the metalcore genre.

Affordable Alternatives to Recreate the Tone

While Shinya Hori’s sound is supported by high-end gear like the Fractal Audio Axe-Fx II XL+, it’s true that these can be expensive and pose a high barrier to entry for beginners and intermediate players. Therefore, when selecting more affordable equipment to recreate his sound, it’s essential to focus on “maintaining tightness even at high gain,” “creating spatial effects for expansiveness,” and “ensuring tuning stability.”

For an amp simulator/multi-effects unit, the BOSS GT-1000CORE is highly recommended. Priced under $1,000, it can replicate high-quality amp simulations and spatial effects, making it user-friendly for both live and recording scenarios. Its easy preset switching aligns closely with Hori’s actual performance style.

Additionally, entry-level models like BOSS GT-1 or are also viable options. These can be acquired for under $500 and allow intuitive handling of high-gain sounds and spatial settings, making them suitable for practicing or covering metalcore bands. Line 6, in particular, has a strong reputation in the modern metal scene for its high fidelity.

If opting for individual pedals, the BOSS MT-2 Metal Zone (Waza Craft recommended) stands out as a cost-effective choice for distortion. By dialing back the gain and emphasizing the mids, surprisingly tight metalcore sounds can be achieved. To recreate spatial expansiveness in clean parts, combining it with spatial pedals like BOSS DD-8 Digital Delay or is effective.

For tuning stability, while implementing an Evertune bridge is ideal, it can be costly. Beginners might consider using or to maintain consistent pitch.

In conclusion, for beginners and intermediates aiming to replicate Shinya Hori’s sound affordably, the most efficient approach is to “invest in multi-effects units like the BOSS GT-1000CORE or Line 6 POD Go, utilizing distortion and spatial effects.” This will bring them closer to achieving a heavy and sharp sound reminiscent of his style.

Summary and Conclusion

Shinya Hori’s sound design serves as a valuable reference for guitarists in metalcore and loud rock. The foundation of his sound lies in “stability” and “sharpness,” achieved through the use of the Evertune-equipped ESP E-II TE-7, which maintains pitch even in demanding live environments while delivering intense riffs accurately. Additionally, incorporating signature models like the Fender Jim Root Telecaster allows him to utilize different character sounds.

On the amplifier and effects front, his digital-complete system centered around the Fractal Audio Axe-Fx II XL+ provides consistent tone for both live and recording situations, making it an indispensable part of Crystal Lake’s international activities. The combination with the MFC-101 MIDI Foot Controller enhances professional efficiency by enabling smooth sound transitions for each song.

The essence of his sound design lies in EQ processing that tightens the low-end while emphasizing mid-range and high-mid presence. This approach ensures that the guitar stands out in any large festival environment, avoiding low-end saturation while delivering power and clarity. Furthermore, utilizing built-in delay and reverb from the Axe-Fx allows for seamless transitions between heavy riffs and transparent clean tones.

For those aspiring to emulate Shinya Hori’s sound, it’s crucial to focus not just on copying the gear but on understanding his sound design philosophy, which emphasizes:

• Ensuring tuning stability
• Balancing low-end and high-mid presence for sound pressure and clarity
• Building an efficient setup adaptable to live environments

Moreover, for beginners and intermediates, using accessible multi-effects units like the BOSS GT-1000CORE or Line 6 POD Go can bring them closer to achieving Hori’s sound. Even when assembling individual pedals, focusing on distortion and spatial effects can yield powerful tones.

In summary, Shinya Hori’s sound design embodies a refined approach to modern metal guitar. At its core lies the technical demands of the genre and the practicality needed to compete on a global scale, all of which are reflected in his gear choices and setups. By adopting this philosophy, readers can take a step closer to achieving a robust and beautiful sound akin to that of Crystal Lake.