[K-A-Z] How to Recreate the SADS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

K-A-Z, the guitarist of SADS, stands out as a unique player in the Japanese heavy rock and loud rock scene. His guitar playing is characterized by the use of multi-string guitars, such as 7-string and 8-string models, which allow him to achieve a powerful low-end while maintaining a clear sound even at high gain levels.

In the iconic song “EVIL,” he utilizes an 8-string guitar to create heavy riffs, while in “Forgotten Sky,” his sharp cutting and speedy lead work shine through. His sound embodies the overwhelming power of modern metal while incorporating melodic elements typical of pop music, forming the foundation of the SADS sound.

K-A-Z skillfully switches between multiple 7-string and 8-string guitars, including his Schecter signature model “Spacious AC-KZ,” to adapt the sound character for each song. His rig, centered around Hughes & Kettner amplifiers, provides a stable tone for both live performances and recordings, capable of handling a wide range of styles from hard rock to metal and electronic elements.

His sound design is not merely about pursuing heaviness; it reflects a meticulous control of space with just one guitar. Notably, his clever use of EMG pickup coil tapping allows him to achieve the thickness of a humbucker during leads while providing single-coil clarity for backing parts, making this a significant weapon in his arsenal.

Therefore, studying K-A-Z’s sound design is not just about creating heavy sounds but also about learning the balance between thickness and clarity. This article will thoroughly explain the guitars, amplifiers, and effects K-A-Z actually uses, along with insights into his sound design techniques and affordable alternatives for beginners to get closer to his tone.

▶ Search official YouTube videos of SADS

List of Amplifiers and Features

Another significant element supporting K-A-Z’s sound is his amplifiers. He has long favored the German-made Hughes & Kettner, known for its crystal-clear yet powerful high-gain sound. Notably, he uses different models tailored to the needs of live performances and recordings.

His main amplifier is the “Hughes & Kettner CORE BLADE.” This amp features a 4-channel configuration, allowing for a wide range of tones from clean to ultra-high gain. The powerful low-end provided by the 6L6 tubes supports the heavy bass of 7-string and 8-string guitars while maintaining clarity in chord separation. Additionally, its built-in digital effects and MIDI compatibility offer flexibility for quick changes during live performances.

K-A-Z also utilizes the compact “Hughes & Kettner GrandMeister 36,” which combines portability with a variety of tones, making it ideal for smaller venues and handling clean to crunch tones. The “Tube Meister 5,” which supports silent recording, has also been prominently featured in his solo albums, making it a great choice for home or studio environments.

In the past, he primarily used the “Hughes & Kettner WARP X,” a model known for its extreme high-gain capabilities favored in modern metal. Transitioning to the CORE BLADE has led to a more balanced approach in K-A-Z’s sound design, allowing him to adapt to SADS’s diverse musical styles.

Overall, K-A-Z’s choice of amplifiers reflects a desire to produce a sound that emphasizes the low-end of multi-string guitars while ensuring it does not get buried in the overall mix. His playing style demands high resolution and quick response, making Hughes & Kettner amplifiers an ideal match. Based on these points, the following amplifier setup is assumed for K-A-Z.

Types of Guitars Used and Features

K-A-Z is known as a master of multi-string guitars, primarily using Schecter models. All of his guitars are made by Schecter, ranging from signature models to commercially available ones. He adeptly switches between 7-string and 8-string guitars to create the rich, clear sound characteristic of SADS’s music.

His main guitar is the “Spacious AC-KZ,” his signature model. It features an alder body and an H-S-H pickup configuration, with a Sustainiac in the front, a Seymour Duncan SSL-5 in the center, and a Seymour Duncan SH-4 in the rear. The coil-tap capability allows him to switch between the sharp clarity of single-coils and the thickness of humbuckers, making it a versatile instrument for both lead and rhythm parts during live performances.

K-A-Z also favors the Schecter Hellraiser series. The 7-string models like the “Hellraiser C-7 FR” and “CUSTOM C-7 FR” utilize EMG 707-TW pickups, which are crucial for his sound design. Additionally, he has custom models with Sustainiacs, which shine during solo play, emphasizing sustain. The V-shaped “Hellraiser V-7 FR” and “Hellraiser V-8” not only make a visual impact but also deliver overwhelming power, especially with the low F# riffs in “EVIL.”

In his early career, he was known to use the “Damien 7,” which later underwent modifications with Sustainiac and Duncan pickups. This model laid the groundwork for his current sound design. He is also known to own non-tremolo versions of the Hellraiser and Ibanez Steve Vai models, which he likely uses depending on the situation.

Overall, K-A-Z’s guitar selection emphasizes “powerful low-end,” “clear high-end,” and “sustain control,” aligning perfectly with Schecter’s modern design philosophy. The use of EMG pickups with coil-tap functionality allows him to cover a wide range of sounds from clean to heavy riffs and lead solos with just one guitar. Based on this, the following guitars are assumed to be in his collection.

Effects and Pedalboard Setup

K-A-Z’s sound is further characterized by a meticulously constructed effects board. While based on Schecter multi-string guitars and Hughes & Kettner amplifiers, the effects significantly expand his expressive capabilities. His pedalboard is designed around a programmable switcher to allow for quick changes and expression during live performances.

For switching systems, he uses the “Providence PEC-2,” which allows for seamless switching between multiple effects, ensuring stability during live shows. He utilizes both the “Morley Bad Horsie II” (Steve Vai model) and “Jim Dunlop Cry Baby 535Q” wah pedals, changing nuances based on the song. Additionally, the “Morley Little Alligator” serves as a volume pedal, enhancing his control over sound levels on stage.

To support the thickness of his sound, he employs the “MXR KFK 10-Band EQ,” which helps to clarify the low-end, ensuring that even multi-string guitars maintain a clear sound. The “Carl Martin Compressor/Limiter” is used to tighten the sound, while the “Carl Martin Classic Flanger” is employed in a chorus-like manner to create a sense of space. For pitch effects, he uses the “Digitech Whammy DT” for bold pitch shifts and drop-tuning effects, and the “Eventide PitchFactor” for harmonization.

In the past, he has also been reported to use the “BOSS SD-1” and “Sobbat Phase Breaker,” indicating that he initially incorporated simpler distortion and phaser tones. During recordings, he has been known to use amp simulators like the “Avid Eleven Rack,” showcasing his flexibility in using equipment for both studio and stage.

Overall, K-A-Z’s effects setup emphasizes “organizing sound amidst heavy distortion while expanding expressiveness.” He uses EQ and compression to balance thickness and clarity, adding color to each song with wah and pitch shifters. The Providence PEC-2 serves as the central hub for managing his live rig, streamlining equipment operation. Below is a summary of the effects he uses.

Tone Settings, EQ, and Mixing Approaches

K-A-Z’s sound design is built on Schecter multi-string guitars and Hughes & Kettner amplifiers, utilizing effects and EQ processing to blend seamlessly into the band while maintaining a distinct presence. His approach goes beyond simply “distorting for heaviness”; it focuses on achieving a meticulously balanced sound across low and high frequencies, which is his hallmark.

Regarding amplifier settings, he primarily uses the “CORE BLADE” with the high-gain channel, but he doesn’t crank the gain to the max, focusing instead on achieving a defined distortion. By slightly cutting the bass and reducing the lows, he ensures that the low F# and B notes from his 7-string and 8-string guitars remain clear and do not muddy the overall mix. He sets the treble and presence slightly higher to emphasize the attack characteristic of metal while retaining a solid midrange to maintain the guitar’s core.

For instance, in the song “EVIL,” he raises the bass slightly to highlight the 8-string’s low end while keeping the mids intact. Conversely, in a song like “Forgotten Sky,” which emphasizes riffs and speed, he cuts the bass and boosts the mids to create a tight rhythmic feel. This approach of adjusting the EQ focus for each song contributes to the dynamism of K-A-Z’s sound.

In terms of effects processing, he uses the MXR KFK 10-Band EQ to precisely control the frequency bands. By cutting low frequencies below 80Hz and boosting around 500Hz, he ensures that the guitar stands out without getting buried by the bass and drums. He often fine-tunes the EQ curve to match the venue’s characteristics during live performances, minimizing sound discrepancies across different stages.

The “Carl Martin Compressor/Limiter” is applied more heavily during riffs to tighten the sound, while he uses it lightly during lead solos to preserve nuance. By leveraging the Sustainiac pickups, he maintains sustain without relying heavily on delay or reverb, keeping spatial effects to a minimum. This results in a high-density sound that remains clear in the mix.

Pitch effects are used for dramatic effect, with bold pitch shifts from the “Digitech Whammy DT” often becoming highlights of live performances. Meanwhile, the “Eventide PitchFactor” is used for harmonization in recordings and specific songs, adding a thick chorus effect to lead parts.

In mixing, K-A-Z’s guitar tracks are often hard-panned left and right, with one track recorded with a single-coil-like tone and another with a humbucker-like tone, utilizing coil tapping for a three-dimensional approach. This technique results in a unique texture that combines heaviness with transparency in studio recordings.

In summary, K-A-Z’s sound design is constructed through a clear focus on “organizing low frequencies,” “maintaining midrange core,” and “emphasizing high-end attack,” achieved through thoughtful EQ and minimal effects processing. His ability to leverage the character of the guitar while optimizing for the overall mix supports his professional sound.

Affordable Alternatives to Recreate the Tone

K-A-Z’s sound design revolves around Schecter’s multi-string signature models and high-end Hughes & Kettner amplifiers, but beginners or players on a budget can still recreate a similar vibe using relatively affordable gear. Here, we will introduce equipment that can be obtained for around $100 to $500, explaining how they can achieve a similar sound.

Starting with guitars, multi-string guitars are essential for capturing K-A-Z’s sound. Schecter’s entry-level models, such as the “Schecter Omen Extreme-7” or “C-7 Deluxe,” can be found for under $500 and effectively reproduce the low-end characteristics of a 7-string guitar. While they may not have the power of EMG-equipped models, when paired with distortion pedals, they can deliver SADS-style riffs. Additionally, Ibanez’s RG series (7-string models) offers excellent cost-performance and is highly recommended as a substitute for K-A-Z’s sound.

Regarding amplifiers, while high-end Hughes & Kettner models are expensive, alternatives like the BOSS “Katana series” or Positive Grid “Spark” modeling amps are excellent choices. These amps can easily handle the low-end of multi-string guitars and simulate high-gain sounds. The Katana, in particular, offers great flexibility with gain and EQ, making it easier to achieve K-A-Z’s sound by preserving mids while organizing lows. Compact options like the Line 6 “POD Go” or “HX Stomp” can also provide a complete amp and effects solution, allowing for a professional setup at a lower cost.

For effects, wah and EQ alternatives are key. The Jim Dunlop “Cry Baby GCB95” is a classic wah pedal available for around $50, capable of replicating K-A-Z’s wah expressions. For EQ, while the MXR KFK 10-Band EQ is pricey, alternatives like the BOSS “GE-7” or Source Audio “EQ2” can effectively cut lows and boost mids, significantly enhancing the clarity of the guitar.

For compression, the BOSS “CS-3” or MXR “Dyna Comp” are recommended budget models. While simpler than the high-end Carl Martin, they are sufficient for tightening up riffs. For delay and spatial effects, affordable multi-effects pedals like the BOSS “DD-8” or “NUX Atlantic” can create the necessary depth during solos.

Pitch shifters and harmonizers can be costly, but options like the Digitech “Whammy Ricochet” or BOSS “PS-6 Harmonist” can serve as effective substitutes for the Whammy DT and Eventide PitchFactor. The PS-6, in particular, includes harmonization features, making it suitable for mimicking K-A-Z’s lead work.

In summary, when attempting to recreate K-A-Z’s sound, it is essential to focus on four elements: “multi-string guitars,” “high-gain capable amplifiers,” “sound organization through EQ and compression,” and “enhanced expressiveness with wah and pitch effects.” By assembling these components with affordable gear, beginners can easily experience the SADS sound.

Summary and Conclusion

Reflecting on K-A-Z’s sound design, the core lies in “dominating the low-end of multi-string guitars while maintaining clarity that does not get buried in the overall mix.” His choice of 7-string and 8-string guitars from Schecter, the high-resolution high-gain sound of Hughes & Kettner amplifiers, and the organization of sound through EQ and compression are intricately combined.

Notably, he consistently emphasizes “sound organization.” While multi-string guitars provide rich low-end, they also tend to muddy the sound. K-A-Z successfully creates a distinct sound image by cutting low frequencies and boosting midrange. This is not merely about equipment selection; it reflects a craftsman’s dedication backed by his ear and playing style.

Moreover, his active use of Sustainiac and coil tapping is characteristic. He utilizes infinite sustain during leads while opting for a sharp single-coil-like sound for backing. This versatility allows him to dramatically change the expression from song to song and part to part. His approach to effects is also minimal, yet he effectively uses wah and pitch shifters to amplify the impact of the songs.

In terms of mixing, his technique of “double tracking and utilizing coil tapping” stands out. By recording one track with a humbucker tone and another with a single-coil tone, he creates depth in the sound, adding dimension to SADS’s music. This approach proves highly effective in home recordings and band arrangements, providing significant learning opportunities for those studying K-A-Z’s sound design.

For beginners looking to approach this sound, combining affordable 7-string models from Schecter, BOSS’s Katana amp, GE-7 EQ, and CS-3 compressor is the most realistic option. The key is not to “completely copy the gear” but to replicate the mindset of “organizing sound” and “switching tones for different parts.” This is where the essence of K-A-Z’s sound truly lies.

In conclusion, K-A-Z’s sound design can be summarized by three points: “the balance of weight and clarity,” “maximum effect with minimal effects,” and “flexible settings according to the song.” Those looking to recreate the SADS sound should focus on this philosophy in their sound design efforts, gradually getting closer to the core of his sound.