[Akio Shimizu] How to Recreate the Anthem Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Akio Shimizu, the guitarist of Anthem, one of Japan’s leading heavy metal bands, has captivated fans since the late 1980s with his overwhelming riff work and sharp solos. His playing style draws from classical hard rock and heavy metal while incorporating modern tightness and aggression.

Listening to Anthem’s iconic songs such as “Bound to Break,” “Immortal Bind,” and their reunion tracks like “Black Empire” and “Engraved,” one can easily recognize that Shimizu’s guitar sound is consistently thick yet clear. His riffs stand out with tight low-end strings, while his solos achieve a balance of speed and melody.

Shimizu’s commitment to sound design is evident in his long-standing collaborations with guitar manufacturers like ESP and Schecter, where he has developed original models. In recent years, he has focused on Schecter’s signature models, utilizing the Hughes & Kettner TriAmp MKⅡ to craft a modern yet classic metal sound.

On the effects side, he centers his setup around the t.c. electronic G-System, incorporating classic overdrives like the Ibanez TS-9 and TS-808, alongside high-end pedals from Walrus Audio. This blend of modern and traditional gear allows him to maintain a powerful and stable sound pressure in both live performances and recordings.

For guitarists looking to replicate Anthem’s sound or aspiring to emulate Akio Shimizu’s playing, understanding the secrets behind his sound construction can provide significant insights.

Below, we will thoroughly explore the amplifiers, guitars, effects, and specific settings used by Akio Shimizu.

▶ Search official YouTube videos of Anthem

List of Amplifiers and Features

When discussing Akio Shimizu’s sound, his choice of amplifiers is indispensable. Anthem’s music consistently features a “tight and cutting metal sound,” with the core of this being the Hughes & Kettner and Marshall amplifiers.

The main amplifier he uses is the Hughes & Kettner TriAmp MKⅡ. This versatile amp has a three-channel configuration that covers a wide range of sounds, capable of handling everything from clean to high-gain tones. Shimizu primarily utilizes the high-gain channel for leads and riffs, achieving a tone that is both tight and expansive. He pairs it with the TriAmp’s dedicated cabinets, CC412AV and CC412BV, ensuring ample sound pressure and range on stage. This setup has become almost standard in live performances since he became an endorser for Hughes & Kettner.

In the 1990s and early 2000s, he also used the Marshall JCM2000 DSL-100 Limited Color. This amp is known for its bright and edgy sound, particularly characterized by its pronounced midrange. It has been confirmed in live performances shortly after Anthem’s reunion and during the “Immortal” album period, supporting a hard-hitting yet thick rhythm guitar tone.

The choice of these amplifiers reflects the need for both “sharp riffs” and “expansive lead tones” in Anthem’s music. The raw midrange of Marshall complements the modern, tight gain of Hughes & Kettner. By switching between these two characters according to the era and the songs, Shimizu has established a tone that consistently stands out within the band’s sound.

Recently, he has also incorporated IK Multimedia’s TONE-X, suggesting that he has developed a modeling environment for home and studio use. This style emphasizes the use of tube amps for live performances while supplementing with digital environments.

Overall, Akio Shimizu’s amplifier settings reflect a pursuit of “tight, clear, and powerful metal sound,” which is a crucial element supporting Anthem’s heavy riffs and emotive guitar solos.

Types of Guitars Used and Features

Akio Shimizu’s guitar selection embodies the “sharpness and thickness” that characterize Anthem’s sound. Throughout his long career, he has primarily used ESP and Schecter guitars, with this evolution closely linked to his musical style.

From the early years until around 2007, his main guitar was the ESP SEC-350DT (original custom model). This custom-built guitar was used extensively from the late 1980s to the mid-2000s, featuring the powerful sound and stability typical of ESP. It was known for its sharp riffs and the ability to cut through in solos, playing a significant role in songs during the reunion period, such as “Immortal.”

After 2007, he began collaborating with Schecter, introducing his signature model, the Schecter AC-AAG Akio Shimizu Signature PROTO. This model underwent a pickup upgrade to EMG85 around 2010, shifting towards a more modern and tight metal sound. It has been frequently used in live performances, supporting tight low-end and high-output solo tones.

In recent years, he has also utilized the 30th-anniversary models, AC-AAG-30th/SIG and AC-AAG-30th/SIG FRRD. The FRRD model features a Floyd Rose tremolo system, allowing for aggressive whammy techniques and precise tuning. The combination of Schecter’s stable playability and the modern output of EMG pickups forms the core of the latest Anthem sound.

His choice of guitars is always guided by three pillars: “stability in live performances,” “low-end support for heavy riffs,” and “expansive and melodic solos.” While the ESP era emphasized a hard and straightforward sound, the shift to Schecter has yielded a more modern and powerful sound pressure, reflecting an evolution that aligns with the times.

In summary, Akio Shimizu’s guitars are fundamental to Anthem’s structure, and the use of signature models is a testament to the design focused on the band’s sound.

Effects and Pedalboard Setup

Another significant element supporting Akio Shimizu’s sound is the configuration of his effects pedalboard. He skillfully combines modern digital gear with classic analog pedals to achieve stability and depth in both live performances and recordings, despite the seemingly simple riffs and solos.

The core of his system is the t.c. electronic G-System. This multi-effects unit and switcher allows for comprehensive management, including integration with amplifiers, enabling quick tone changes during live performances. By implementing this system, Shimizu has organized complex setups while maintaining control over modulation, delay, and reverb effects.

For distortion, he uses the classic Ibanez TS-9 and TS-808. These are employed to push the gain channels of Hughes & Kettner and Marshall, enhancing the clarity of riffs and extending sustain during solos. In high-gain metal sounds, the mid-boost characteristic of Tube Screamers is effectively utilized.

In recent years, he has also integrated digital units like IK Multimedia TONE-X and LINE6 HX Stomp into his setup, which are used for recording and home sound design. These units, equipped with amp simulation and IR capabilities, have become essential for maintaining a consistent sound outside of the stage.

Notably, he has incorporated high-end pedals from Walrus Audio, including the Voyager Preamp/Overdrive, EB-10, MAKO D1 (delay), and Julia (chorus/vibrato). These additions allow for fine-tuning of tones and spatial expansion, symbolizing the modern sound of Anthem and achieving expressive capabilities beyond mere metal guitar.

Additional gear includes the tuner KORG DT-10RW, the expression pedal BOSS EV-5 (used for wah), the MIDI controller HOTONE Ampero Control, and the wireless system SENNHEISER XSW-D. The introduction of wireless technology has significantly increased performance freedom on stage, supporting powerful staging.

Shimizu’s effects board represents a structure that balances “stable foundation + diverse expressiveness,” characterized by a blend of modern gear and traditional pedals. Overall, his choice of effects is assumed to focus on “balancing live and recording environments.”

Tone Settings, EQ, and Mixing Approaches

Akio Shimizu’s sound design is a meticulously calculated balance of “tightness and thickness.” Since Anthem’s music centers around riffs, the most crucial point is that the guitar’s low end is well-defined. Simultaneously, for solos and melodic parts, a soaring tone that evokes emotion is required, leading to consistent settings and adjustments for each song in both amplifiers and effects.

Amplifier Settings
When using the Hughes & Kettner TriAmp MKⅡ, the high-gain channel (CH3) is typically set with a GAIN of around 6-7, BASS at 4-5 to keep it slightly restrained, MIDDLE above 6 for thickness, and TREBLE at 5-6 for definition. The Presence is adjusted based on the venue but is usually kept around 5 to avoid harsh highs while maintaining clarity. When using the Marshall JCM2000 DSL-100, there is a tendency to push the MIDDLE forward to leverage its rough midrange.

Distortion and Boost
Instead of solely relying on the amp’s gain, he lightly pushes it with the TS-9 or TS-808. This approach helps to suppress any muddiness in the low end, creating a fast and tight metal riff sound. During solos, the Walrus Audio Voyager or EB-10 preamp further emphasizes the mids, showcasing the thick midrange unique to EMG85 pickups.

Spatial Effects
In Anthem’s music, the riffs maintain a dry sound with minimal reverb. For solos or clean parts, a delay from the Walrus Audio MAKO D1 is added to create depth. The delay time is typically set around 400-450ms with low feedback to maintain a “tightness without excessive echo.” The chorus (Julia) is subtly applied to clean tones to enhance depth.

EQ Techniques
In the overall band mix, care is taken to ensure Shimizu’s guitar does not dominate the low end. Since many Anthem songs feature prominent bass lines, the guitar’s low end is often cut below 100Hz. Instead, the midrange around 1kHz is boosted to ensure clarity in both riffs and solos. Additionally, a light boost around 3-4kHz emphasizes picking nuances.

Song-Specific Adjustments
For fast riff-centric songs like “Bound to Break” or “Running Blood,” distortion is slightly reduced, and mids are prioritized for tightness. In contrast, for heavier modern songs like “Engraved” or “Black Empire,” gain is increased, and lows are emphasized for added power. Solos often incorporate delay while emphasizing the mids on the amp to achieve an emotive tone.

Live vs. Recording Differences
In live settings, the focus is on sound pressure and clarity, relying on a direct amp sound with minimal effects. In recordings, EQ adjustments and reverb processing in the DAW create a more three-dimensional mix. Listening to actual tracks reveals increased depth in solo parts with delay and tight low cuts in rhythm guitars.

Overall, Akio Shimizu’s sound design is built upon three pillars: “tight low end for riffs,” “thick and soaring mids for solos,” and “minimal spatial effects tailored to the context.” This results in a guitar sound that embodies both clarity and power, essential to Anthem’s musical identity.

Affordable Alternatives to Recreate the Tone

While the ideal setup for replicating Akio Shimizu’s sound includes Schecter’s signature models and the Hughes & Kettner TriAmp MKⅡ, these can be a significant financial burden for beginners or intermediate players. Therefore, we will introduce relatively affordable gear (around $100-$500) that can help you achieve a similar “Anthem-like sound.” Here, we focus on readily available models that emphasize replicability.

Guitar Alternatives
While Schecter’s signature models are expensive, the company’s commercially available models like the “Schecter Omen Extreme” or “Schecter Demon” series are more budget-friendly, featuring EMG-style pickups and high-output sounds. This makes it easier to replicate Shimizu’s “modern and tight riffs.” Additionally, the Edwards series, a brand under ESP, offers many models suitable for hard rock and metal, providing options that closely match the sound profile.

Amplifier Alternatives
The high-end TriAmp MKⅡ is costly, but for beginners, the BOSS Katana series is highly recommended. The Katana excels in high-gain channels, and when paired with TS-style pedals, it can create the “tight and defined distortion” characteristic of Anthem. The LINE6 Catalyst series also offers flexible sound design within the same price range, suitable for practice and small gigs.

Effect Alternatives
For distortion, the Ibanez TS Mini (a budget version of the TS-9 or TS-808) is effective. Priced in the $100 range, it can push crunch to high-gain amps, making it easier to achieve Shimizu’s “defined riffs.” For delay, the BOSS DD-8 and for chorus, the BOSS CE-5 can provide a taste of the Walrus Audio pedals at a lower cost. Additionally, multi-effects units like ZOOM G5n or LINE6 HX One are also convenient options.

Wireless and System Alternatives
While SENNHEISER wireless systems are expensive, affordable options like the NUX B-2 can suffice for practice and small gigs. For those looking to simplify their entire system, introducing a compact multi-effects unit like the BOSS GT-1 can be effective, making it a practical choice for live settings.

In summary, to pursue Akio Shimizu’s sound, it’s essential to focus on “guitars with high-output pickups,” “distortion with pronounced mids,” and “appropriate delay and chorus effects.” By combining affordable gear that replicates these elements, you can effectively recreate the sharp riffs and emotive solos characteristic of Anthem.

Summary and Conclusion

Reflecting on Akio Shimizu’s sound design, it is clear that his approach is not merely about “high-gain metal” but rather a thorough commitment to balancing tight riffs and emotive solos. Anthem is a representative heavy metal band in Japan, and Shimizu understands better than anyone that the guitar’s role cannot be fulfilled by simply adding distortion.

On the gear front, he has transitioned from ESP to Schecter, developing his signature models to pursue his ideal sound. The inclusion of EMG85 pickups signifies his musical evolution towards a more modern and powerful direction. By centering his setup around the Hughes & Kettner TriAmp MKⅡ and utilizing traditional options like the Marshall DSL-100, he has adapted to Anthem’s diverse repertoire.

Regarding effects, he blends the t.c. electronic G-System with classic Ibanez TS series and high-quality pedals from Walrus Audio, merging the strengths of analog and digital. This allows him to maintain a consistent sound in both live and recording environments while facilitating flexible tone creation according to the situation.

The essence of sound design is based on the theory of “maintaining tightness while suppressing low frequencies and pushing mids for clarity.” This is essential for balancing with the rhythm section of Anthem and ensuring an engaging listening experience for the audience. In solos, he skillfully employs spatial effects to create memorable melodies rather than just fast playing.

For beginners and intermediate players aspiring to approach his sound, there is no need to rely solely on signature models or expensive amplifiers. By combining Schecter’s commercial models with BOSS Katana and TS Mini effects, one can experience the “Anthem-like sound” effectively. The key lies not in the gear itself but in the EQ focused on mids and a playing style that emphasizes tightness.

Ultimately, Akio Shimizu’s sound design is established through the triad of “technique, gear, and aesthetics.” Guitarists who admire his sound should first understand this philosophy and accumulate efforts to replicate it in their own environments. This process is the greatest joy in pursuing the Anthem sound.

If you wish to copy Anthem’s riffs and experience Akio Shimizu’s solos, please refer to the settings and alternative gear introduced in this article. By transcending mere imitation, you can elevate your sound design, experiencing Shimizu’s musical philosophy in the process.