[Hayatosuke Kuroda] How to Recreate the sumika Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hayatosuke Kuroda, the guitarist of sumika, has captivated many listeners with his bright and expansive sound. His playing adds vibrant color to the band’s pop and danceable tracks, characterized by rhythmic guitar work focused on cutting and the expressive ability to switch seamlessly between clean and driven tones.

In iconic songs like “Fiction” and “Lovers,” Kuroda utilizes a wide range of tones, from transparent clean sounds to warm crunch tones, delivering memorable guitar riffs that resonate with listeners. His impressive ability to execute aggressive yet delicate phrases during live performances makes him a cornerstone of sumika’s overall sound.

The reason Kuroda’s sound design garners attention lies in its flexibility, transcending the typical “pop band guitar” framework to incorporate nuances of jazz and soul, while simultaneously embodying the strength of rock. Therefore, studying Kuroda’s setups and gear can provide valuable insights for guitarists performing pop and rock music.

In the following sections, we will delve into the amplifiers, guitars, and effects used by Hayatosuke Kuroda, uncovering the secrets behind his sound design.

▶ Search official YouTube videos of sumika

List of Amplifiers and Features

A significant aspect of Hayatosuke Kuroda’s sound is his choice of amplifiers. He utilizes multiple amps for live performances and recordings, with the combination of Marshall and Dr.Z being particularly distinctive for sumika’s sound.

First, the Marshall JCM900 4100 is a staple model for rock guitarists, known for its powerful distortion and solid sound. Kuroda primarily uses this amp for his driven sounds. Especially during arena shows and large festivals, the presence of Marshall’s sound pressure thickens the band’s overall sound.

On the other hand, the Dr.Z Mazerati is an American boutique amp that excels in producing clean and sparkling tones. Given that sumika’s songs often feature light guitar sounds that shine in clean to crunch transitions, Kuroda likely uses this amp for delicate chord work and cutting. Notably, in songs like “Negai” and “Traveling,” the clean tones layered with chorus and octave effects create a striking impression, showcasing the transparency of Dr.Z.

The choice of amplifiers is largely influenced by the need to switch sounds according to each song. Since sumika traverses a wide range of genres from pop to funk and rock, combining the strength of Marshall with the delicacy of Dr.Z allows the band to maintain a cohesive sound while gaining expressive capabilities tailored to each track.

It has also been observed that Kuroda sometimes sets up two amps in parallel, allowing for a mix of strength and transparency through the PA engineer’s mic placement and mixing.

The following table summarizes the amplifiers used by Hayatosuke Kuroda.

Through this amplifier configuration, it is assumed that Hayatosuke Kuroda achieves a flexible sound design that adapts to sumika’s diverse songs.

Types of Guitars Used and Features

When discussing Hayatosuke Kuroda’s sound, his extensive guitar collection is indispensable. sumika’s music incorporates a wide range of elements from pop to rock, and even jazz, with Kuroda selecting guitars that match the atmosphere of each song.

Among the guitars frequently seen in live performances and recordings are the Fender Mustang and Fender Stratocaster. The Mustang’s short scale provides a lively sound that excels in cutting and rhythmic play. In contrast, the Stratocaster offers an all-around performance, capable of handling a wide range from clean to crunch, with its transparent tone shining in sumika’s representative song “Fiction.”

Kuroda also favors jazz-style guitars such as the Gibson ES-335 and Gibson ES-175. These semi-hollow and hollow-body guitars produce a warm tone, with the ES-175 being a go-to model for jazz guitarists, likely used in ballads and more subdued tracks.

For more rock-oriented sounds, Kuroda opts for the Gibson Les Paul. The thick and sustaining tone characteristic of the Les Paul is well-suited for powerful songs, enhancing their presence.

One of Kuroda’s most distinctive guitars is the Japanese brand Psychederhythm. Specifically, the Psychomaster and Moderncaster T feature unique designs and sounds that embody sumika’s “stylish and urban atmosphere.” Psychederhythm guitars are popular among Japanese indie scene guitarists and symbolize Kuroda’s sound identity.

By switching guitars according to the song’s atmosphere, Hayatosuke Kuroda supports sumika’s colorful sound world. The following table organizes the guitars used.

By using these guitars in various contexts, Hayatosuke Kuroda not only supports the diversity of the songs but also establishes his own playing style. All of these instruments are assumed to be essential tools that embody sumika’s musical identity.

Effects and Pedalboard Setup

In Hayatosuke Kuroda’s sound design, effects are one of the most crucial elements. sumika’s music is characterized by its pop sensibility while paying attention to detail in sound creation, with the use of effects significantly influencing the atmosphere of each song. His live pedalboard features a wide range of effects, from standard distortion to boutique options, as well as multiple wah pedals and multi-effects units, all designed for easy switching according to the song.

For distortion, Kuroda combines the FULLTONE OCD, KLON KTR, and the legendary KLON CENTAUR. He utilizes the character of overdrive to express everything from sparkling crunch to sustaining tones. Particularly, the KLON pedals are known for pushing the guitar’s sound forward while blending well with the overall band sound, aligning perfectly with Kuroda’s playing style.

Additionally, he has a variety of distortions, including the Crowther Audio Hot Cake, BOSS OD-1X, and VEMURAM Jan Ray, indicating that he changes nuances according to each song. The custom Psychederhythm Matcha Drive is a signature piece for him, contributing significantly to the colorful tones in live performances.

In the modulation category, he uses the Providence Anadime Chorus to add a sense of movement to clean arpeggios. This is a crucial element that ensures the “transparency” in sumika’s music. Furthermore, the Electro-Harmonix Nano Pog adds thickness by processing octaves, creating a sound as if multiple guitar parts are present.

Kuroda’s extensive use of wah effects is also a notable characteristic. He employs the Snarling Dogs Wah pedal, Ibanez WH-10, and Area51 Vintage Italian Wah with Buffer to express a wide range from funk-infused cutting to emotive leads. His performances, especially live, often highlight the use of wah effects.

Moreover, he incorporates professional-grade pedals like the Pete Cornish SS-2 and Pete Cornish Gray Series SS-2 to ensure stable quality. This ensures that sound reproduction remains consistent even in challenging environments such as tours and festivals.

For managing his pedalboard, Kuroda relies on the Providence PEC-2 switcher, along with the FREE THE TONE JB-41S Junction Box and PT-1D Power Distributor, ensuring stable power supply and signal management. This setup allows for efficient control over dozens of effects.

For tuning, he uses the standard KORG Pitchblack series, particularly the Pitchblack Custom Black, known for its stage-friendly design and high accuracy.

Through this extensive array of effects, it is assumed that Hayatosuke Kuroda creates a sound that embodies the “colorfulness” and “expressiveness” required for sumika’s diverse pop music. The following table summarizes the effects used.

By utilizing this extensive array of effects, it is assumed that Hayatosuke Kuroda creates a sound that embodies the colorful and expressive nature required for sumika’s music.

Tone Settings, EQ, and Mixing Approaches

Hayatosuke Kuroda’s sound design transcends merely using “amps and effects,” reflecting meticulous planning in EQ balance and mixing. sumika’s music is rooted in the transparency of pop, yet it also incorporates the grooves of rock and funk, requiring the guitar’s presence to be finely balanced—never too prominent, yet never fading away.

The basic EQ settings for clean sounds involve slightly cutting the lows while boosting the mids and highs, allowing the chords to resonate more prominently. Particularly when using Stratocasters or Psychederhythm guitars, it is assumed that Kuroda focuses on the clarity of the mid-range. Conversely, when using Les Pauls or semi-hollows like the ES-335, he likely suppresses the low-end while enhancing the high-end sparkle to avoid overlapping with other instruments.

For distortion settings, Kuroda combines the FULLTONE OCD and KLON pedals, often using them as boosts without cranking the gain too high. This allows for easier expression through variations in picking strength, balancing the necessary “attack” and “thickness” that does not overshadow the vocals in pop music. He layers 2-3 types of overdrive, assigning roles for boosting, main distortion, and light crunch for funk.

In terms of song-specific sound design, for fast-paced tracks like “Fiction,” he utilizes a crunch sound with the Marshall amp that emphasizes the mid-range, while for ballads and pop songs like “Negai” and “Lovers,” he tends to layer chorus and reverb over clean settings based on the Dr.Z amp. The octave processing from the Nano Pog adds thickness, creating an effect as if a second guitar is present.

Regarding amp channel switching, it is assumed that Kuroda controls the Marshall JCM900 for drive and the Dr.Z for clean tones using the PEC-2 switcher. This setup allows for instant sound changes according to the song, achieving a level of fidelity close to the studio recordings during live performances.

Mixing techniques are also a crucial aspect of Kuroda’s sound. The guitar is often panned without spreading too wide, creating a “wall” behind the vocals. According to interviews with PA engineers, sumika’s guitars are intentionally emphasized in the mid-range to avoid clashing with the high frequencies of synths and pianos. Additionally, in certain live venues, reverb is applied more deeply to enhance the overall dimensionality of the songs.

Kuroda’s playing style itself is part of the sound design. He often employs settings where the nuances of picking directly influence the tone; playing harder increases distortion, while softer playing yields cleaner tones. This “dynamics-focused” approach is a significant reason why sumika’s songs feel naturally breathing.

In summary, Hayatosuke Kuroda’s settings are composed of elements like “mid-range emphasis,” “controlled gain,” “enhancing with spatial effects,” and “adding thickness with boosts,” which collectively create the colorful and urban sound of sumika.

Affordable Alternatives to Recreate the Tone

Hayatosuke Kuroda’s pedalboard contains many high-end professional gear, such as the KLON CENTAUR and Pete Cornish, which can be quite expensive. However, for guitarists aspiring to achieve a sumika-like sound, it is often challenging to replicate the same setup right away. Therefore, we will introduce some affordable alternative gear that beginners to intermediate players can acquire, typically ranging from $100 to $500. These alternatives can capture the essence of Kuroda’s sound design.

For distortion, the BOSS SD-1 Super OverDrive is a classic choice. It has a pleasant mid-range presence similar to the KLON and Jan Ray, suitable for light crunch and boosting. Additionally, the Electro-Harmonix Soul Food is well-known as a budget clone of the KLON, offering a character very close to Kuroda’s transparent distortion.

To add movement to clean sounds, the BOSS CE-2W Chorus and MXR M234 Analog Chorus are recommended. They can recreate the natural and three-dimensional spread of the Providence Anadime Chorus, allowing for the transparent arpeggios and chord work characteristic of sumika.

For wah pedals, the Dunlop Cry Baby GCB95 offers excellent cost performance. While it may not have the distinctive character of the WH-10 or Snarling Dogs, it is versatile enough for live and practice settings.

Furthermore, introducing multi-effects units like the BOSS GT-1 or ZOOM G3n allows players to access a range of effects, including distortion, chorus, delay, and reverb, making it a great first step in simulating Kuroda’s diverse effects work.

For amplifiers, if you’re practicing at home, the YAMAHA THR series or BOSS Katana are excellent recommendations. While they may not produce the same sound pressure as Marshall or Dr.Z, they can achieve similar nuances using built-in effects and EQ.

The following table summarizes cost-effective alternatives to help you get closer to Hayatosuke Kuroda’s sound.

By incorporating these pieces of gear, you can recreate Hayatosuke Kuroda’s “transparent clean” and “clear crunch” at an affordable price. Even beginners can get closer to sumika’s sound by simply combining overdrive and chorus.

Summary and Conclusion

Reflecting on Hayatosuke Kuroda’s sound design, it becomes clear that his sound is established through a combination of “optimized guitar, amp, and effect combinations for each song” and “meticulous adjustments in EQ and mixing.” sumika’s music may initially appear pop and catchy, but beneath the surface lies a carefully crafted guitar sound that supports the overall atmosphere of the band.

Specifically, for clean tones, Kuroda centers around Dr.Z amps and Strat-style guitars, enhancing the sound with sparkling choruses and octaves. In contrast, for more rock-oriented tracks, he employs Marshall amps and Les Pauls, constructing a crunchy sound with mid-range emphasis using OCD and KLON pedals. This switching creates the “colorful shades” of the band.

Moreover, the extensive use of effects is not merely to “enhance the sound” but to “enrich the song’s space.” The expressiveness of wah pedals and the thickness added by the Nano Pog are not just additional effects but choices made to reinforce the overall world of the song. The introduction of system gear from Providence and FREE THE TONE reflects Kuroda’s high professional standards, prioritizing live reproducibility.

For readers looking to replicate Kuroda’s sound, starting with a simple combination of clean + chorus + overdrive is advisable. The core of sumika’s sound lies in the “transparency” and “mid-range push that blends with the band.” Beginners can easily approach this sound with BOSS SD-1, CE-2W, and affordable multi-effects.

The essence of Hayatosuke Kuroda’s sound design does not lie in the luxurious gear itself but in the “flexibility to discern necessary tones and choose the optimal combinations for each song.” By referencing his playing, you can gain practical sound design insights applicable across a wide range of genres, not just pop and rock.

Finally, it is essential to emphasize that Kuroda’s guitar, which supports sumika’s sound, is built on a “balance of technique and sensitivity.” By listening closely to the nuances of phrases and the use of dynamics, you can get even closer to the distinctive sound of sumika.

By selecting points that are easy to incorporate into your own board and amp setup and gradually making adjustments, you can learn to play the “guitar that colors the songs” just like Hayatosuke Kuroda.