[HIROKI] How to Recreate the Dragon Ash Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

HIROKI, the guitarist of Dragon Ash, is known for his ability to navigate between the band’s loud sound and beautiful clean tones. His sound, rooted in the Fender Stratocaster since the indie days, is a core element of Dragon Ash’s identity.

His approach to sound design is characterized by a balance between “heavy distortion and a clean tone that does not disrupt the overall groove of the band.” Iconic tracks like “Fantasista” and “Grateful Days” showcase powerful riffs and cutting tones, captivating fans with a sound that stands out without overshadowing the ensemble.

HIROKI holds the philosophy that “an expensive guitar does not necessarily mean good sound,” and he has expressed a preference for the Fender Mexico Stratocaster over the USA-made models. This emphasis on individual characteristics and adjustments is evident in his choice of gear and settings.

In live performances, he utilizes amplifiers like MESA/Boogie and Roland JC-120, sometimes relying solely on simple BOSS Overdrive and Delay setups, demonstrating his flexibility in adapting to different scenes. As a player who balances simplicity and diversity, he has garnered support from many guitarists.

Overall, HIROKI’s sound is “robust and groovy, maximizing the band’s color,” making it a significant element in supporting Dragon Ash’s sound.

▶ Search official YouTube videos of Dragon Ash

List of Amplifiers and Features

HIROKI has used a wide range of amplifiers in Dragon Ash, from the loud and powerful MESA/Boogie to the clean-sounding Roland JC-120. Notably, after joining Dragon Ash, he famously introduced the “MESA/Boogie Single Rectifier Series 2 Solo Head 50” in a three-stack configuration, achieving an explosive drive sound.

The MESA/Boogie Single Rectifier is a representative high-gain amplifier, known for its thick distortion and tight low-end. HIROKI utilizes this in large-scale live performances to create a sound pressure that elevates the entire band. However, he has mentioned that “high-output amps do not shine in smaller venues,” indicating his emphasis on adapting to the environment.

Additionally, he frequently uses the Roland JC-120, particularly favoring the older pin-switch model, which provides a sharp and responsive clean tone that matches Dragon Ash’s hip-hop-oriented tracks and ballads. He also incorporates Marshall amplifiers as part of the house equipment, integrating the classic British drive sound.

Interestingly, he has been known to use Ampeg bass amplifiers for guitar, emphasizing a unique low-end character. This approach aligns with HIROKI’s philosophy that “the characteristics of the equipment matter more than the price,” adding a new thickness to the overall mix of the band.

In summary, HIROKI’s choice of amplifiers reflects a pursuit of “presence that stands out even in loud rock scenes” and “clean, transparent tones,” indicating that he selects the most suitable amplifier for each situation.

HIROKI appears to mix standard equipment with unique ideas, selecting amplifiers based on the scale of the stage and the specific songs.

Types of Guitars Used and Features

At the center of HIROKI’s sound design is always a Stratocaster-type guitar. The “Fender USA Stratocaster,” which he has loved since his indie days, fits his playing style perfectly and has supported Dragon Ash’s live performances and recordings to this day. Notably, using a model equipped with humbucker pickups allows for a wide range of tones, from powerful drive sounds to delicate clean tones.

He also rejects the notion that “expensive guitars are better,” stating that he felt the “Fender Mexico Stratocaster Relic” was superior to the USA model. This statement reflects his philosophy as a guitarist, emphasizing the importance of parts selection and adjustments to maximize the appeal of each individual guitar.

Records show that he used an ESP Strat-type guitar during his indie days and has also favored a blue Schecter SSH model. His collaboration with Schecter focused on painting, parts, and settings, customizing the guitar to fit his playing style. Additionally, he owned an expensive Stratocaster dedicated to clean tones at one point, but it is said to be no longer in use.

HIROKI’s guitar selection embodies characteristics such as “versatility for live performance,” “adjustments that leverage individual differences,” and “prioritizing sound over brand,” forming the backbone of Dragon Ash’s diverse musical styles.

HIROKI’s choice of guitars embodies his playing style and philosophy, ultimately shaping Dragon Ash’s unique sound.

Effects and Pedalboard Setup

HIROKI’s sound design relies on a simple yet practical pedalboard setup. From his indie days to the support period, he constructed his sound using only the “BOSS Overdrive” and “BOSS DD-5 Digital Delay,” combining them with the house Roland JC-120 to produce a straightforward rock sound characteristic of Dragon Ash. He has stated that “minimal is sufficient,” showcasing his approach of relying on his playing style and amplifier rather than excessive effects.

However, in recent years, as the band’s musical range has expanded, he has significantly increased the number of pedals to incorporate diverse expressions. His main distortion remains the “BOSS SD-2 Overdrive,” which has been a long-time companion. He adds unique distortions like the “Mad Professor Sweet Honey Overdrive” and “HUMAN GEAR FINE Overdrive,” switching textures according to the song.

For spatial effects, he uses the “BOSS DD-5 Digital Delay” along with the “TC Electronic Hall of Fame 2 Reverb,” creating a dreamy depth and spaciousness. Additionally, he incorporates the “JIM DUNLOP EP101 Echoplex Preamp” for an analog warmth. In the modulation category, he adds texture with the “MXR EVH90 Phase 90” and introduces octaves and pitch shifts with the “ELECTRO-HARMONIX MICRO POG” and “Digitech Whammy DT,” allowing for modern and aggressive sounds.

To enhance live stability, he has implemented the “CUSTOM AUDIO JAPAN RS616 Programmable Switcher,” enabling quick switching between complex effect chains. For compression, he uses the “CMAT MODS SIGNA COMP,” adjusting attack and sustain to stabilize both cutting and lead play.

HIROKI has evolved from a simple setup to utilizing nearly 20 different pedals, demonstrating a rich and diverse effects board. His sound embodies the flexibility of being “sufficient with minimal but expansive when necessary.”

By combining these effects, HIROKI adapts to Dragon Ash’s diverse sound, creating both simple and elaborate sonic landscapes.

Tone Settings, EQ, and Mixing Approaches

HIROKI’s sound design cleverly draws out the individuality of his amplifiers and guitars while seamlessly integrating into the overall sound of Dragon Ash. With the MESA/Boogie Single Rectifier, he sets the gain to the mid-high range and slightly reduces the lows to achieve a distortion that is “clear yet not squashed.” His EQ settings tend to suppress bass, maintain mids, and adjust treble to avoid interfering with the overall mix.

Specifically, it can be assumed that his settings are as follows:
・Bass: 4-5 (tight without excessive low-end)
・Middle: 6-7 (maintaining guitar presence)
・Treble: 5-6 (providing a moderate attack)
・Presence: around 5 (ensuring brightness without being harsh)
HIROKI places particular emphasis on the middle frequencies, ensuring that the rhythm of Dragon Ash, which has strong hip-hop elements, does not overshadow the guitar.

For clean tones, he often uses the Roland JC-120, setting the amp’s EQ to nearly flat and adding spatial effects through pedals. HIROKI lightly applies delay and reverb to create a three-dimensional clean sound, taking on the role of a “supporting tone” behind vocals and raps.

Moreover, he utilizes multiple distortions for different songs on his pedalboard. For example, in the band’s early loud tracks, he primarily uses the BOSS SD-2 to construct a direct and thick drive. In contrast, for songs that juxtapose “calm and movement,” he adds natural distortion with Sweet Honey Overdrive and FINE Overdrive, allowing the guitar’s inherent resonance to shine.

His handling of spatial effects is also distinctive, frequently using the BOSS DD-5 for tempo-synced short delays to emphasize the backing rhythm, ensuring it naturally intertwines with rap and programmed beats. The reverb is set lightly with the Hall of Fame 2, adjusted according to the venue’s acoustics. In larger live settings, he opts for deeper reverb, while in smaller venues, he nearly cuts it out, demonstrating his adaptability.

On the mixing side, engineers carefully organize the guitar’s frequency range to avoid overlap with the bass and drums’ low-end. Given that Dragon Ash’s music incorporates hip-hop elements, the low-end is left to the bass and kick drum, while the guitar primarily occupies the midrange. Additionally, during lead parts, EQ adjustments boost the mid-high frequencies, allowing the guitar to stand out from other parts.

In live settings, HIROKI actively utilizes channel switching on his amps. He often switches between clean and lead channels on the MESA/Boogie, while consistently using the clean channel on the JC-120 with added spatial effects. Furthermore, phrases using the Whammy and POG are specially processed in the mix, contributing to the overall depth and expansiveness of the sound.

Overall, HIROKI’s settings reflect a constant awareness of “sound that shines within the song,” avoiding excessive flamboyance while maintaining a balance that allows for powerful presence when necessary. This adaptability supports the wide-ranging genre of Dragon Ash.

Affordable Alternatives to Recreate the Tone

To fully replicate HIROKI’s sound from Dragon Ash, one would typically need MESA/Boogie amplifiers, custom Stratocasters, and a rich array of effects. However, for beginners or intermediate players, assembling an identical setup can be challenging. Therefore, here are some relatively affordable (around $100-$500) options that can closely approximate HIROKI’s sound.

For distortion, since his long-time mainstay “BOSS SD-2 Overdrive” has been discontinued, viable current alternatives include the “BOSS SD-1 Super OverDrive” or “BOSS OD-3 OverDrive.” Both of these have a midrange focus, allowing players to achieve HIROKI’s preferred “straight distortion that doesn’t get buried in the band” easily.

For spatial effects, the “BOSS DD-8 Digital Delay” serves as an excellent substitute for the DD-5. It features tempo synchronization and various modes, making it capable of replicating HIROKI’s rhythm-focused delay sound. Additionally, for reverb, the “TC Electronic Hall of Fame Mini” is recommended. It is compact and affordable, yet it incorporates algorithms similar to the Hall of Fame 2, aligning closely with his spatial processing approach.

Regarding guitars, the “Fender Player Stratocaster (Mexico)” is the most realistic option. This line is similar to the Mexico Stratocaster that HIROKI himself rated higher than the USA models. Choosing an SSH configuration can also cater to the image of his Schecter blue model. Furthermore, it offers ample room for modifications, allowing players to experience his philosophy of “leveraging individual differences.”

As for amplifiers, investing in a MESA/Boogie may be cost-prohibitive, so options like the “Marshall CODE 50” or “BOSS Katana-50 MkII” modeling amps are recommended. These models include simulations of the JC-120 and high-gain amplifiers, covering a wide range of Dragon Ash’s sounds in one unit. The BOSS Katana, in particular, strikes a good balance between price and usability, making it a popular choice for many beginner guitarists.

In summary, to get closer to HIROKI’s sound, beginners can start with a set of four key items: the “Fender Mexico Strat,” “BOSS SD-1/OD-3,” “BOSS DD-8,” and a “modeling amp.” This combination allows for a relatively affordable recreation of the “robust and midrange-clear sound” and the “simple yet integrated tone” that he has established.

By acquiring this equipment, even beginners can experience HIROKI’s sound approach relatively affordably, making it easier to recreate Dragon Ash’s music at home or in live venues.

Summary and Conclusion

HIROKI, the guitarist of Dragon Ash, has consistently focused on creating sounds that “support the song while maintaining presence.” The essence of his sound lies not merely in the combination of equipment but in the attitude of “leveraging individual differences and deriving optimal solutions based on the situation.” His story of favoring a Mexico-made Strat over a USA model symbolizes this philosophy.

In terms of amplifier selection, he effectively utilizes high-gain MESA/Boogie for large-scale performances while mastering house equipment like Roland JC-120 and Marshall in smaller venues. This reflects a mindset of “maximizing sound according to the environment,” demonstrating a professional attitude that adapts to the band’s desired sound.

Regarding effects, he initially stated that a minimal setup of “BOSS Overdrive + Delay + JC” was sufficient, yet he has evolved to incorporate nearly 20 different pedals. His ability to switch between simplicity when needed and complexity when required supports his sound design. This balance of “functioning with minimal yet not breaking with maximum” is one of HIROKI’s strengths.

Dragon Ash’s music spans rock, hip-hop, and electronic genres. Within this, HIROKI’s guitar consistently fulfills roles such as “supporting the groove in the midrange,” “adding thickness to the song,” and “changing timbre according to the scene.” Thus, the core of his sound design can be described as “genre-less adaptability” and “presence that leverages midrange.”

For readers looking to replicate HIROKI’s sound, it is crucial to focus on “switching between simplicity and complexity according to the situation” rather than merely “copying the gear.” While using the SD-2 or Mexico Strat is one approach, the essence lies in the mindset of “how to support the song.” This is where the secret to HIROKI’s sound, embodying Dragon Ash’s music, is hidden.

Ultimately, HIROKI’s sound design can be summarized as a “fusion of philosophy and flexibility.” Through his guitar, Dragon Ash has maintained consistency across diverse songs, creating a unique band sound.