[Masaaki Iizuka] How to Recreate the GRANRODEO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masaaki Iizuka, known as e-ZUKA, is the guitarist for GRANRODEO, a prominent figure in the anime song scene. His sound is characterized by a blend of hard rock and heavy metal foundations, skillfully incorporating pop and fusion phrases to create thrilling and catchy guitar approaches. This unique style has made him one of the most technically proficient guitarists in the genre.

Iconic tracks such as “modern strange cowboy,” “Can Do,” and “RIMFIRE” showcase his high-gain lead tones and melodic solos. In various songs, he employs delay and chorus effects to create a spacious arrangement. Particularly in live performances, he captivates audiences with overwhelming sound pressure and technical phrases, while in studio recordings, the intricate nuances and spatial processing stand out.

e-ZUKA has a long-standing endorsement deal with ESP, releasing numerous signature models. Guitars affectionately known as “Koge-chaki” and “Nana-chaki” are famous among fans, and he has adapted his playing style according to their colors and specifications. These guitars symbolize his sound creation.

On the sound front, he primarily uses the Marshall DSL series amplifiers, along with a diverse array of effects from brands like Xotic, Ibanez, and BOSS, allowing him to switch the character of his tones effortlessly from song to song. As a result, he has established a sound that balances the flamboyance necessary for anime songs with the robust qualities of a rock band.

The reason his sound garners attention is not merely due to fast playing or technicality, but rather his approach to sound creation based on how the guitar asserts its presence within the overall composition. His lead tones shine on their own, while his rhythm guitar supports the band’s thickness, and his effective incorporation of spatial effects continues to charm many listeners.

▶ Search official YouTube videos of GRANRODEO

List of Amplifiers and Features

The most well-known main amplifier used by e-ZUKA is the combination of the Marshall JCM2000 DSL50 and the 1960B cabinet. He consistently uses this setup during GRANRODEO’s live performances, which serves as the foundation of his sound. He frequently utilizes the ULTRA GAIN channel of the DSL series, achieving a thick distortion and soaring lead sound. This allows him to express the flashy and clear sound characteristic of anime songs while also embodying the heaviness associated with hard rock and metal.

The Marshall DSL50 is known for its classic British sound while also being flexible enough to handle modern high-gain tones. e-ZUKA’s playing style involves frequent switching between rhythm and lead, making the DSL’s capability to cover a wide range from clean to crunch to high-gain ideal for his needs. Particularly in live settings, where he must produce sound pressure that matches the powerful vocals of KISHOW, the presence and push of the 50W tube amplifier’s midrange becomes indispensable.

Additionally, for secondary uses or studio work, he has been seen combining different Marshall models or pedal-type preamps like the Friedman BE-OD. The Friedman sound is more modern heavy with a stronger compression than Marshall, suggesting that it is used for specific songs or solo parts where he needs to push the sound forward.

There are also rumors that he may use amp simulators like the Kemper Profiler in environments where he cannot bring a full stack, such as live houses or television appearances. While definitive evidence is scarce, it is believed that he flexibly switches amplifiers based on the recording environment.

Overall, e-ZUKA’s choice of amplifiers emphasizes three key points: “presence in live settings,” “thickness that supports the entire band,” and “soaring leads.” His setup, centered around the Marshall DSL50, represents an evolved form of classic British sound. Thus, it can be assumed that his guitar sound in GRANRODEO’s music is completed by combining the Marshall sound with a variety of effects and preamps.

Types of Guitars Used and Features

When discussing e-ZUKA’s sound, it is essential to mention the numerous signature models produced by ESP. He uses different guitars with distinct characters for each GRANRODEO song, and these guitars are affectionately referred to by fans as “Koge-chaki” and “Nana-chaki.” These guitars are not merely variations; each carries a different sound character and is frequently swapped during live performances.

The first signature model, “RODEO holic (Koge-chaki),” serves as a cornerstone of his sound creation. It features an alder body and hard maple neck, combining single coils and humbuckers to accommodate a wide range from rock to clean tones. Subsequently, derivative models such as “Barachaki,” “Ore-chaki,” and “Aochaki” have been added, each pursuing playability and sound individuality through changes in color, scalloping, and pickup modifications.

Particularly noteworthy is the “7th SUPER NOVA (Nana-chaki)” series. This seven-string model features LED frets, allowing for modern and visually striking performances. Variants like “Aka-nanachaki” and “Midori-nanachaki” exist, and they are often used to support heavy riffs and thick chord work that leverage the low strings. This enables coverage of tonal ranges that traditional six-string models cannot achieve.

Commemorative models such as “RODEO DECADE” and “RODEO Phoenix” have also been released in limited quantities. These models are based on shapes like the Les Paul and Firebird, optimized for e-ZUKA’s playing style. Such special models are popular among fans and generate buzz whenever they are showcased in live performances.

Recently, models like the “SNAPPER e-ZUKA Custom ‘ZUKAPPER'” and its seven-string version “ZUKAPPER7” have emerged, adopting a Strat-style shape while incorporating modern elements. These guitars are lightweight and easy to handle, significantly contributing to e-ZUKA’s recent playing style.

Additionally, there is the “ESP AMOROUS-CTM (Rabuchaki),” a non-commercial signature model gifted by his fan club, which has also been used in live performances. Such guitars symbolize the relationship between him and his fans.

These signature models function not just as visual variations but as a “toolbox for sound creation” prepared to express the optimal sound for each song. Therefore, it can be assumed that the rich variety of ESP signature models is a crucial factor that allows e-ZUKA to produce a wide range of tones in GRANRODEO’s live and studio performances.

Effects and Pedalboard Setup

Another significant element supporting e-ZUKA’s sound creation is his extensive effects pedalboard. He consistently has numerous effects lined up at his feet, often rearranged for live performances and recordings, but fundamentally structured to express “clean backing,” “high-gain leads,” and “spatial expansiveness.”

Notably, he frequently employs booster and overdrive effects. Using Xotic BB Preamp, AC Booster, and Ibanez’s Tube Screamer series (TS9, Keeley Mod, etc.), he pushes the sound of the Marshall DSL50 further, achieving a clear sound during lead parts. Compressors like the Xotic SP Compressor and Providence VELVET COMP VLC-1 are also widely used, ensuring clarity and precision in fast playing and arpeggios.

His pedalboard is rich in modulation effects, with options like BOSS CH-1, ARION SCH-Z, Jim Dunlop UNI-VIBE, MXR PHASE90/Phase95, and Ibanez FLANGER Mini used as needed. In live settings, he often adds chorus or phaser effects during intros or bridges, creating a dreamy atmosphere and depth in the music. Octavers/pitch shifters like the electro-harmonix nano POG and DigiTech Whammy 5 are also incorporated, enhancing flashy solo parts or riffs.

For delay and spatial effects, Strymon El Capistan and MXR Carbon Copy Mini play central roles. El Capistan offers a warm, tape-echo-like quality, while Carbon Copy provides a natural, analog reverb. By varying how the sound lingers, he achieves a diverse range of effects for different songs. Additionally, switching systems like Providence PEC-2/PEC-4V allow for quick changes in sound even on large pedalboards.

Moreover, noise reduction is achieved through devices like the iSP DECIMATOR II and DECI-MATE, effectively cutting excess noise in high-gain sounds. This ensures a clear and tight sound during live performances. For power supply, he uses the VITAL AUDIO POWER CARRIER VA-08 MKII, providing stable power for multiple effects.

Thus, e-ZUKA’s pedalboard is designed to pursue “sound thickness,” “immediacy of tonal changes,” and “reliability in live settings,” resulting in a sound that balances the flamboyance and delicacy required for GRANRODEO’s music.

Tone Settings, EQ, and Mixing Approaches

e-ZUKA’s sound creation is characterized by a foundation of “Marshall’s robust sound,” enhanced by effects and EQ processing to produce a wide range of characters. He significantly differentiates between live and studio sound creation, prioritizing sound pressure and presence in live settings while pursuing intricate nuances and spatial expansiveness in recordings.

For basic amp settings, he centers around the ULTRA GAIN channel of the Marshall DSL50, with gain set high at around 7-8. This allows for long sustain on single-note leads and creates a powerful sound that doesn’t break off during fast playing. The EQ is adjusted to emphasize the midrange, with Treble and Presence set around 6-7 to ensure clarity. Bass is kept at around 4-5 to avoid muddiness in the overall band sound. By maintaining a thick midrange, he creates a guitar sound that stands out even against KISHOW’s vocals.

During solo parts, he engages boosters (Xotic BB Preamp or Ibanez TS9) to elevate the midrange further and bring the sound’s presence forward. Conversely, for rhythm guitar or arpeggios, he tends to use a compressor (SP Compressor) to align the sound’s clarity, emphasizing clean nuances. For clean tones, he switches to the Classic Gain channel and lightly applies chorus (BOSS CH-1 or ARION SCH-Z) to construct a transparent accompaniment.

He meticulously differentiates effects for each song. For example, in “Can Do” and “RIMFIRE,” where high-gain fast solos are prevalent, he combines pitch shifters (DigiTech Whammy 5) and octavers (nano POG) to create a flashy effect. In contrast, songs like “Hengei Jizai no Magical Star” and “The Other Self” utilize chorus and delay to create a dreamy and deep tone.

For delay, he uses El Capistan, setting a shorter delay time (around 300ms) and minimal feedback during solos to maintain clarity without muddiness. Carbon Copy adds natural reverb during transitional phrases or arpeggio sections, enhancing the overall thickness of the music. In terms of spatial effects, he keeps the delay mix level from becoming too pronounced, ensuring it blends naturally within the band sound.

The introduction of noise reduction (DECIMATOR II) is essential, especially for GRANRODEO’s live performances that frequently utilize high-gain sounds. This allows him to maintain sustain while cutting excess noise, ensuring that sound fades smoothly during solos or breaks. As a result, a “professional and clean guitar sound” is achieved.

In mixing, the guitar often spreads across the stereo field, utilizing double tracking to solidify the left and right channels, while solos are centered to enhance their presence. It is assumed that DI signals are blended with mic recordings during studio sessions to achieve a balance of thickness and definition in the sound.

Overall, e-ZUKA’s settings emphasize “midrange focus for clarity and the skillful use of effects tailored to each song.” His sound creation possesses a delicate balance that supports flashy anime songs without losing the powerful impact characteristic of hard rock.

Affordable Alternatives to Recreate the Tone

e-ZUKA’s sound creation is built around professional-grade equipment, such as the Marshall DSL50 and ESP signature models. However, for beginners or intermediate players, acquiring the same gear can be realistically challenging. Therefore, here are some options to get closer to his sound at a relatively affordable price. The key points are “emphasizing midrange high-gain,” “chorus and delay for clean tones,” and “noise reduction.”

For amplifiers, the Marshall DSL series currently offers models like “DSL20CR” and “DSL40CR,” which can be obtained for around $500 to $1,000. The DSL20CR, in particular, is manageable for home practice while effectively replicating e-ZUKA’s core British distortion. If you want to save more, modeling amplifiers like BOSS’s “Katana-50 MkII” are also strong contenders. Priced around $300 to $400, this amp can reproduce a variety of tones, including Marshall-style sounds, all in one unit.

Regarding effects, it may be difficult to directly incorporate high-end gear from brands like Xotic or Strymon, so BOSS pedals become a strong ally. For example, the “BOSS SD-1 Super OverDrive,” which has a character similar to the BB Preamp or Tube Screamer, can be acquired for around $70 and is ideal for boosting a Marshall amp. For chorus, the “BOSS CH-1 Super Chorus” is a staple and is also a model e-ZUKA uses. For delay, digital options like “BOSS DD-8” or “DD-200” are user-friendly and can easily replicate the smoothness needed for solos.

For noise reduction, while the iSP Decimator is ideal, a more affordable option is the “BOSS NS-2,” which can be purchased for around $100. It effectively suppresses noise in high-gain environments, making it highly practical for live use. Additionally, power supplies like “CAJ AC/DC Station” or “One Control Distro” can ensure stable power for multiple pedals.

When it comes to guitars, while ESP’s signature models can be expensive, alternatives from entry-level brands like “Edwards” or “GrassRoots” can be used. For instance, choosing a GrassRoots Strat-style or seven-string model can bring you closer to the playability and sound direction. Models like the Epiphone Les Paul or YAMAHA PACIFICA, priced around $500, can also achieve a sound reminiscent of e-ZUKA’s style if they are equipped with humbuckers.

In summary, to recreate e-ZUKA’s sound, it is essential to “base it on Marshall-style distortion,” “change the sound’s expression with boosters and chorus,” and “create depth with delay.” By assembling these elements with relatively affordable gear, even beginners can experience the e-ZUKA sound.

Summary and Conclusion

We have thoroughly examined the sound creation of GRANRODEO’s guitarist, Masaaki Iizuka (e-ZUKA), and its essence can be summarized as “building on the classic Marshall sound while coloring it with a variety of effects and dedicated signature guitars.” His sound is not a mere coincidence but is supported by meticulously chosen equipment and settings.

At the core is the amplifier setup centered around the Marshall DSL50, whose midrange push creates the “core” of GRANRODEO’s band sound. He then alters the sound character using boosters and overdrives from brands like Xotic and Ibanez, adding different textures to each song with chorus and delay. This balance allows him to achieve both the flamboyance required for anime songs and the heaviness necessary for a rock band.

The role of ESP’s signature models is significant, as each guitar contributes a unique tone tailored to the song’s world. The characters of guitars like “Koge-chaki” and “Nana-chaki” are not merely visual differences but essential choices that expand his sound creation. During live performances, he skillfully switches between these models, establishing his sound style that includes visual elements.

Moreover, a crucial aspect of his sound creation is “immediacy of tonal changes” and “reliability in performance.” The numerous pedals and switchers integrated into his pedalboard are designed for instant tonal changes throughout complex setlists, reflecting a strong commitment to “not compromising during live performances.” By incorporating noise reduction and ensuring stable power supply, he maintains a consistently professional sound.

For beginners looking to approach his sound, introducing Marshall-style amplifiers and affordable effects like BOSS SD-1 or CH-1 is the most realistic path. There is no need to acquire expensive signature models from the start; focusing on “midrange-oriented EQ,” “spatial effects during clean tones,” and “boosting during solos” can significantly bring you closer to the e-ZUKA sound.

In conclusion, the greatest charm of Masaaki Iizuka’s sound creation lies in its “diversity while maintaining a consistent core.” Whether in high-gain or clean tones, he never loses the presence that supports the entire band, balancing the necessary flamboyance and strength in his compositions. This demonstrates that he is not just a technically skilled guitarist but a sound creator with a perspective that encompasses the entire composition.

Readers are encouraged to reference his sound philosophy and experiment with their sound creation according to their playing environments. What matters most is not the equipment itself but the attitude of “how to utilize sound within the composition.” This is the best shortcut to recreating the e-ZUKA sound.