[Suga Shikao] How to Recreate the Shikao Suga Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Koichi Kawasaki] – How to Recreate the THE BAND APART Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Hidetoku Mukai] How to Recreate the NUMBER GIRL Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.122025.09.12

[Jose] How to Recreate the TOTALFAT Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.142025.09.14

Introduction (Overview of Tone)

Suga Shikao’s guitarist, Shikao Suga, has been a vital presence on stage for many years. He skillfully alternates between acoustic and electric guitars, creating a unique mellow tone rooted in funk and pop styles. His signature sound is characterized by sharp cutting and slamming techniques, which are especially prominent in live performances of iconic songs like “Yozora no Mukou” and “Progress.” The lively cutting and warm acoustic guitar sounds significantly shape the atmosphere of his music.

His sound design balances “delicacy” and “aggression.” For acoustic performances, he often uses the Gibson Advanced Jumbo, which has been reinforced to allow for slamming techniques. In the studio, he frequently records with a 1974 Fender Telecaster Thinline, which contributes to over 90% of the album’s sound. Additionally, he showcases a thick tone with heavier guitars like the Jeff Beck Les Paul Oxblood, creating a sound that unmistakably identifies itself as Suga Shikao.

His choice of effects is equally distinctive, featuring iconic gear such as the Ibanez WH10 wah pedal and the YAMAHA DG-STOMP, a preamp and multi-effects unit. He also explores amp-less setups, using the UAFX DREAM / 65 Amplifier to maintain a stable and refined tone. These innovations support Suga Shikao’s groovy and urban sound.

Suga’s guitar playing goes beyond mere accompaniment; it shapes the “air” of the songs. His ability to lead the band with just an acoustic guitar while maintaining a convincing sound is a testament to his hybrid approach, which is one of the most appealing aspects of his sound design.

▶ Search official YouTube videos of Suga Shikao

List of Amplifiers and Features

Shikao Suga’s choice of amplifiers shines in both live and studio settings. His playing style requires a balance between acoustic and electric guitars, supporting everything from delicate arpeggios to slamming techniques and funky cuts. Therefore, he opts for models that can handle both the clarity of clean tones and the thickness of distorted sounds.

One amplifier frequently seen in his live performances is the REEVES CUSTOM 20 COMBO. This British-made amp aims to replicate vintage sounds and, despite its 20W power, delivers a powerful and present sound. Its clean tone is characterized by a bright mid-high range, beautifully resonating with Suga’s cutting and arpeggio techniques. Additionally, when paired with a booster or fuzz, it transforms into a thick drive sound, making it versatile enough for funk and rock.

Another staple amplifier is the Two Rock, which Suga has mentioned is the same model used by John Mayer. Its transparent clean sound and slightly compressed response make it easy to play. The urban and sophisticated atmosphere of Suga Shikao’s music is complemented by the Two Rock’s warm and expansive tone, which is essential for mellow tracks like “Yozora no Mukou” and “Gogo no Parade.”

In recent years, he has increasingly adopted amp-less setups, utilizing amp simulators like the UAFX DREAM / 65 Amplifier to ensure a consistent sound across various venues. This approach is not only practical for sound engineers but also reflects a modern, streamlined stage operation. While there are records of him using Fender amps in studio recordings, the primary focus seems to be on the REEVES and Two Rock amplifiers.

Overall, Suga’s amplifier selection emphasizes “a clean foundation with funky articulation,” “compatibility with effects,” and “stability in live settings.” Evidence from live performances suggests that his setup primarily consists of the REEVES, Two Rock, and amp simulators.

Types of Guitars Used and Features

Shikao Suga adheres to a unique rule of keeping no more than ten guitars on hand, skillfully alternating between acoustic and electric models. This results in a wide variety of guitars used in both live and recording settings, with each one playing a crucial role in his sound design. Below are some of the key models he employs.

For acoustic guitars, he uses a 1950s Gibson LG-2 for recording. Its small body provides a tight and cohesive sound, ideal for capturing delicate nuances during mic recordings. In live settings, he employs the Gibson Advanced Jumbo (2010) specifically for slamming techniques. This model has been reinforced on the back and features a pickup designed for percussive play, making it well-suited for Suga’s live style.

He also loves the Martin 000-28 (1993). Despite its small body, it has a balanced resonance and frequently appears on stage as a main acoustic instrument. Its warm sound matches the atmosphere of Suga Shikao’s music. In the past, he has used the Gibson B-25 and Taylor koa models, but he has now streamlined his collection to more practical models.

For electric guitars, he frequently uses the Gibson Jeff Beck Les Paul Oxblood (1954/V.O.S finish), known for its heavy sound due to its weight of approximately 4.8 kg. In the studio, he primarily records with the Fender Telecaster Thinline (1974), which features a dual humbucker setup and is said to account for over 90% of the recorded sounds on his albums. This guitar remains mostly unmodified, preserving its vintage tone.

Additionally, he has a unique SPIRAL Stratocaster, which he purchased second-hand and repainted with a Hawaiian design. This guitar is ideal for clean cutting and is chosen to evoke a sense of “lightness” in his songs. Some sources refer to it as “SPILAR,” suggesting they are the same model.

In summary, Shikao Suga’s guitar selection covers “precise resonance for recording,” “visual and percussive effects for live performances,” and “a balance between clean and distorted sounds.” Each guitar has a clear role, and by maximizing their unique characteristics, he creates the signature Suga Shikao sound.

Effects and Pedalboard Setup

When discussing Shikao Suga’s sound, one cannot overlook his diverse array of effects. Notably, he chooses gear that not only processes sound but also supports his playing style. His setup includes everything from distinctive wah and fuzz pedals to reliable preamps and multi-effects units.

A standout in his collection is the Ibanez WH10, a wah pedal also favored by John Frusciante, which is now discontinued. Suga loves this pedal so much that he has secured up to eight backups. It plays a crucial role in defining his sound, especially during funk-oriented cutting techniques.

Next is the YAMAHA DG-STOMP, a preamp and multi-effects unit that is invaluable for line recording and serves as a secondary tool during live performances. It can replicate multiple amp types, showcasing a modern approach that aligns with Suga’s “amp-less” operations.

The tc electronic PolyTune 3 is a staple tuner that ensures tuning stability during live shows. Additionally, the Vital Audio POWER CARRIER VA-05 ADJ serves as a power supply, providing a stable foundation for his entire effects board. Given Suga’s extensive use of effects, a reliable power source is essential.

He also incorporates multi-effects units like the VOX ToneLab ST and LINE6 LM4, covering a wide range of modulation and spatial effects.

To achieve a balance between acoustic and electric sounds, he utilizes the JOE MEEK Dual Studio Channel TwinQ. By connecting electric guitars to CH1 and acoustic guitars to CH2, he optimizes preamp processing for each, allowing him to fulfill multiple roles during live performances.

Additionally, he employs the Digitech JAMMAN STEREO as a looper, creating loops during performances that add depth to his sound.

A recent addition to his setup is the UAFX DREAM / 65 Amplifier, which serves as a preamp/amp simulator suitable for amp-less operations. It can reproduce stable Fender-style cleans even when connected directly to monitors or PA systems, making it ideal for modern stage environments.

In tracks like “Vanilla” and “Amai Kajitsu,” the HTJ-WORKS GOLD HAZE FUZZ is used, producing an analog fuzz sound that resonates throughout the performances.

Overall, his pedalboard is structured around wah, fuzz, preamps, and multi-effects, balancing “flexibility for live environments” with “individual sound characteristics for each song.”

Tone Settings, EQ, and Mixing Approaches

Shikao Suga’s sound design is not merely a combination of gear; it is supported by a meticulous process of crafting the “texture” of his songs. To adapt to the nuances required for different genres, such as acoustic, electric, funk, and ballads, he employs thoughtful EQ and mixing techniques.

For his acoustic guitar settings, he generally adopts a balance of slightly cutting the mids while boosting the lows and highs. This approach ensures that the percussive sounds during slamming techniques are clearly audible while maintaining an expansive atmosphere during strumming. Particularly with the Gibson Advanced Jumbo, he blends the pickup sound with a microphone, cutting lows on the PA side and adjusting the mids to enhance separation from other instruments.

In terms of electric guitar settings, he often bases his setup around the Fender Telecaster Thinline (1974), utilizing the pickup characteristics to maintain a clean tone. For amplifiers like Two Rock or REEVES, he typically sets the treble at noon, slightly lowers the mids, and sets the bass around 9-10 o’clock. This configuration ensures clarity for funk cutting while preventing muddiness in the overall sound.

When using fuzz or drive effects, he intentionally keeps the amp clean and shapes the texture using effects. With the HTJ-WORKS GOLD HAZE FUZZ, he sets the gain to a moderate level, leveraging the fuzz’s inherent compression while avoiding excessive squashing. In songs like “Vanilla,” he emphasizes the fuzz to create a lead guitar presence.

Regarding EQ processing and PA considerations, Suga places significant importance on both effects and engineering perspectives. By cutting lows on the acoustic guitar, he prevents interference with the bass and kick drum, while slightly boosting the 3-4 kHz range on the electric guitar enhances clarity. Spatial effects like reverb and delay are used sparingly to avoid overshadowing vocals.

During live performances, he sometimes employs different EQ settings for stage monitors and audience PA systems, prioritizing attack on monitors while focusing on balance for the audience side.

In terms of mixing techniques, utilizing the JOE MEEK TwinQ for “dual processing” is a crucial point. In songs featuring both electric and acoustic guitars, he applies independent EQ and compression to each, creating a three-dimensional feel as one guitarist fulfills two parts. This approach allows for the unique rhythm and harmony of Suga Shikao’s music to coexist.

Additionally, he frequently employs double tracking in recordings. By panning clean cuts left and right and placing acoustic or lead guitars in the center, he achieves a balance of depth and spaciousness. Rather than relying solely on the effects of individual pedals, adjusting the overall mix is central to Suga’s sound construction.

In summary, Shikao Suga’s settings can be distilled into four key elements: “a clean tonal foundation,” “the coexistence of acoustic and electric sounds,” “emphasis on funky rhythms,” and “ensuring separation through PA and mixing processes.” His sound design is characterized by a consistent philosophy that encompasses not only gear selection but also acoustic processing.

Affordable Alternatives to Recreate the Tone

The guitars and amplifiers that Shikao Suga uses are often vintage or high-end models, making it challenging for beginners to replicate his setup. However, fortunately, his sound can be approximated with relatively affordable gear by focusing on key characteristics such as “clean-cutting,” “funky rhythms,” and “percussive acoustic play.” Here, we introduce models that are accessible for beginners to intermediate players, typically ranging from $100 to $500.

For acoustic guitars, selecting a small-bodied model can help achieve Suga’s nuances. For example, the YAMAHA FS830 features a curvy, compact body that works well for both strumming and arpeggios. It captures percussive sounds effectively, making it easier to mimic Suga’s slamming techniques if you opt for an electric-acoustic version.

If you’re looking for a character similar to the Martin 000-28, the Seagull S6 Original, a North American small body, is also a great recommendation.

For electric guitars, to achieve a sound close to the Telecaster Thinline he frequently uses, the Squier Classic Vibe Telecaster Thinline is a strong candidate. Priced around $500, it features a humbucker model that can reproduce a thick yet clear tone, suitable for both cutting and lead playing.

Additionally, for clean-oriented cutting, the YAMAHA Pacifica 611VFM is also a good fit. With a single-coil and humbucker configuration, it allows for a low-cost realization of Suga’s “clean and distorted coexistence.”

For effects, the BOSS AW-3 Dynamic Wah is an excellent entry-level wah pedal. While it may not replicate the response of the Ibanez WH10, its auto-wah function can help mimic funk-style play. For fuzz, the BOSS FZ-5 is a high-quality option that simulates vintage fuzz, bringing you closer to the sounds in “Vanilla” and “Amai Kajitsu.”

If you’re exploring amp-less setups, affordable amp simulators like the NUX Solid Studio or BOSS IR-200 are convenient alternatives that can effectively replace the UAFX DREAM.

Finally, for amplifiers, the BOSS Katana-50 MkII offers excellent cost-performance for home practice or small gigs. Its clean channel provides high clarity, and by slightly reducing the mids on the EQ, you can achieve a sound reminiscent of Suga’s signature clarity. It also features built-in reverb and modulation, allowing for a wide range of expressions on its own.

In summary, to get closer to Suga Shikao’s sound at an affordable price, focusing on “small-bodied electric-acoustic guitars,” “humbucker-equipped Telecasters,” “wah and fuzz pedals,” and “low-cost amp simulators” is crucial. You can effectively recreate the essence of his sound without needing high-end gear.

Summary and Conclusion

Looking at Shikao Suga’s sound design as a whole reveals significant features such as “the duality of acoustic and electric guitars,” “funky rhythmic sensibility,” and “a rational approach that considers amp-less operations.” His equipment choices always have clear reasons, and each guitar has its designated role.

In acoustic guitars, he focuses on small-bodied models that can handle everything from delicate arpeggios to slamming techniques. Notably, the modifications on the Gibson Advanced Jumbo with reinforcement and a percussive pickup symbolize his live style. On the electric side, he uses distinctive models like the Fender Telecaster Thinline and Jeff Beck Les Paul Oxblood to showcase different expressions in album production and live performances.

His use of effects is also noteworthy, with wah play exemplified by the Ibanez WH10, song-specific coloring with the HTJ-WORKS GOLD HAZE FUZZ, and the dual preamp processing with JOE MEEK TwinQ to support his solo performances. Furthermore, while he primarily relies on high-quality models like REEVES and Two Rock, he has adapted to modern times with amp-less operations using the UAFX DREAM.

At the core of Suga’s sound design is the coexistence of “transparency and groove.” His sound is clean yet powerful, delicate yet aggressive. It may appear simple, but it is supported by meticulous EQ and mixing adjustments, reflecting a fusion of his experience as a player and his acoustic knowledge.

Thus, while perfectly replicating his sound is challenging, incorporating elements such as “small-bodied acoustic guitars,” “Telecaster-style electrics,” “wah and fuzz,” and “clean-oriented amp settings” can bring you significantly closer to his essence.

Finally, an essential aspect of emulating Suga Shikao’s sound design is the perspective of “designing the sound space.” Rather than merely listing gear, being mindful of the arrangement of acoustic and electric guitars, EQ band management, and the use of effects will lead to an urban and groovy sound reminiscent of his style. I encourage readers to experiment with their gear to approach the sound of Shikao Suga.