[Hiroto] How to Recreate the Alice Nine Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Alice Nine’s guitarist, Hiroto, has been a driving force behind the band’s sound with his dazzling yet powerful guitar tones. Many of their songs revolve around the use of Stratocasters and Telecasters, often employing loud distortion and delay to create ethereal and floating soundscapes.

Iconic tracks like “RAINBOWS” and “the beautiful name” showcase his heavy sound through down-tuning, while “ASYLUM” highlights expansive tones that utilize spatial effects. The hard-hitting riffs in “極道極色極彩歌” demonstrate his versatility in sound creation. Hiroto’s guitar work consistently emphasizes the color of the songs, intertwining with vocalist Shou’s expressions to present a three-dimensional view of the band.

In interviews and his own writings, Hiroto has emphasized his focus on delay, indicating that the use of spatial effects is central to his sound. The combination of the shimmering tones from his Stratocaster with delay and reverb creates a transparent play style that embodies the world of Alice Nine.

Additionally, the use of custom guitars like the dragonfly BORDER 666 HIROTO CUSTOM, which features a unique scale, allows him to tackle heavy sound ranges. Extreme tunings such as two and a half steps down or drop A enable a distinctive playing style that is uniquely his own.

Thus, Hiroto’s sound design balances “brilliant clean tones” with “heavy drop sounds,” always accompanied by a sense of depth through spatial processing. Listening to live recordings and performances will reveal his philosophy in gear selection and sound creation more clearly.

The reason his sound garners attention is not merely due to his technical prowess as a guitarist but also his ability to “translate” the world of Alice Nine into tones. In ballads, he plays delicately, while in uptempo tracks, he unleashes explosive sounds, continuously supporting the band’s evolution through his mastery of tone.

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

▶ Search official YouTube videos of Alice Nine

List of Amplifiers and Features

When discussing Hiroto’s sound design, the choice of amplifiers is indispensable. The primary amplifiers confirmed in live and studio settings include the Fender Twin Reverb and various Marshall models, which support his clean to distorted sounds.

The Fender Twin Reverb is particularly chosen for its ability to produce a bright and wide clean tone when paired with a Stratocaster. In ballads and songs focused on clean tones, this transparent sound maintains the overall clarity of the band’s sonic image, supporting Hiroto’s unique floating play style.

On the other hand, the Marshall JCM900 and JCM800 are essential for rock-oriented tracks and heavy riffs. The JCM900 offers abundant gain, making it easy to create rich distortion, which pairs excellently with down-tuned guitars. The JCM800 leans towards a more classic rock sound, characterized by a pronounced midrange. By selectively using these amps for different songs, Hiroto achieves a diverse palette of tones.

Moreover, the Marshall Vintage Modern 2466 strikes a perfect balance between vintage-like thick tones and modern gain, producing lush crunch and substantial drive sounds. This amplifier is crucial for changing the character of the sound significantly, depending on whether it’s paired with a Stratocaster’s single coils or a Les Paul’s humbuckers.

Hiroto’s approach involves using Fender amps for clean tones and Marshall amps for drive, allowing him to create optimal tones for various situations. He not only relies on amplifiers but also alters his sound character through pedal combinations and guitar tunings, showcasing a flexible sound design that transcends a single tone.

This results in Alice Nine’s music being capable of expressing a wide range from clean to heavy, and the evolution of their sound across different performances is one reason fans hold them in high regard. Below is a table summarizing the confirmed amplifiers used.

As seen from the amplifier configuration, Hiroto primarily employs the classic combination of “clean from Fender, drive from Marshall,” while finely adjusting his choices for each song. It is assumed that these combinations contribute significantly to the diverse sound of Alice Nine.

Types of Guitars Used and Features

A significant factor supporting Hiroto’s tonal range is the types of guitars he uses and their tunings. Particularly in recent live sets, including the 2018 performance at Shinkiba STUDIO COAST, numerous Fender Custom Shop Stratocasters have been deployed, showcasing a style that employs different tunings for each song.

The Fender Custom Shop Japan Limited ’69 Stratocaster N.O.S is characterized by its vibrant clean tone and the sparkle typical of single coils, serving as his main guitar in standard tuning. It accommodates a wide range from delicate arpeggios to expansive chord work, adding transparency to the band’s sound.

Similarly, the Fender Custom Shop Time Machine ’56 Stratocaster is used in tracks like “ASYLUM,” featuring a vintage-like sound. Its prominent midrange and sweet tone allow for sound creation that highlights the essence of the Stratocaster.

In contrast, the Fender Custom Shop Stratocaster “Black×Brown” is used in “RAINBOWS” with drop C# tuning and in “the beautiful name” with half-step down tuning, providing a heavy yet expansive sound. Its striking appearance also makes it an iconic piece in live performances.

Furthermore, the Fender Telecaster Deluxe is employed in “極道極色極彩歌,” supporting riff work in drop D tuning. The Telecaster’s hard-hitting attack accentuates the intensity of the track.

Notably, the dragonfly BORDER 666 HIROTO CUSTOM stands out with its long scale of 666mm, providing stability for heavy tunings like two and a half steps down or drop A. This custom model is designed to accommodate the louder tracks of recent years, symbolizing a new direction in his sound.

Additionally, standard models like the Fender Stratocaster, Gibson Les Paul, and Gibson Flying V are used as needed. The Les Paul is expected to be used for its thick sustain, while the Flying V pairs well with metallic distortion, suggesting a strategic selection based on the song’s requirements.

In this way, Hiroto skillfully navigates the shimmering cleans of the Stratocaster, the hard rhythms of the Telecaster, and the low-end capabilities of the long-scale dragonfly. His criteria for guitar selection clearly focus on maximizing the world of each song rather than simply brand preference. Below is a table summarizing the guitars used.

This diverse lineup and strategic use of tunings allow Alice Nine’s music to showcase different expressions in various scenes. Hiroto’s ability to manipulate the brilliance of Stratocasters, the thickness of Les Pauls, and the low-end capabilities of long-scale guitars culminates in a sound that is uniquely his own.

Effects and Pedalboard Setup

At the core of Hiroto’s sound design is not just the combination of amps and guitars but also the presence of a rich array of effects. Notably, as he has mentioned in his writings, his pedalboard is centered around spatial effects, emphasizing delay.

The FREE THE TONE Flight Time FT-2Y has been confirmed for use in both live and recording settings as a digital delay. Its ability to finely adjust delay times and filters allows for depth in ballads and rhythmic repetitions in uptempo songs.

Similarly, the FREE THE TONE Red Jasper serves as an overdrive, naturally pushing the amp’s drive sound. It is particularly effective when wanting to bring out the single coils of a Stratocaster or add thickness with a Les Paul.

The Xotic SP Compressor provides natural compression, ensuring the clean tone remains uniform, enhancing the clarity of arpeggios and cutting. It acts as a supportive force behind Hiroto’s clean play.

The Strymon BigSky is a quintessential spatial effect that creates grand reverb sounds. It is likely used to craft dreamy and ethereal soundscapes or to enhance the grandeur of ballads.

MXR Phase 90, a classic phaser, adds color to arpeggios and solos with its simple yet effective presence. The Lovetone Meatball functions as an auto-wah/envelope filter, imparting a unique filtering effect that adds a groovy nuance to the sound.

These effects not only function independently but also exhibit their uniqueness through combinations. For instance, layering delay and reverb creates a spacious atmosphere, while adding compression maintains the sound’s outline without losing its ethereal quality.

When looking at the overall structure of his pedalboard, it consists of a compressor to refine the clean sound, overdrive to enhance distortion, delay and reverb to expand space, and modulation effects to add color, all supporting Hiroto’s multifaceted sound design.

Below is a table summarizing the effects used and their characteristics.

Considering this lineup, it can be said that Hiroto’s pedalboard is fundamentally based on “overdrive supporting the core of the sound + spatial effects creating a three-dimensional sound.” The depth of guitar tones heard on stage is likely produced by this balance.

Tone Settings, EQ, and Mixing Approaches

Hiroto’s sound design is characterized by an approach that goes beyond mere gear combinations, incorporating fine EQ adjustments, switching between amp channels, and considering mixing processes in PA and recording settings. Here, we will delve into his settings and techniques.

Starting with amp settings, when using the Fender Twin Reverb, he typically sets Treble to 5-6, Middle to around 4, and Bass to 4-5, aiming for a balance that emphasizes brightness while maintaining a clean tone. Especially in clean-centric songs, the basic structure involves lightly applying compression to refine the sound’s clarity, while adding delay and reverb for depth.

For Marshall amps, when using the JCM900, it is common to set Gain to 6-7, Treble to 5, Middle to 6, Bass to around 5, and Presence to 6. In drop-tuned songs, he emphasizes the midrange to ensure the guitar does not get buried, carefully managing the separation from the bass. Conversely, the JCM800 is set up with a more classic rock orientation, keeping the gain lower and using a booster to elevate the sound.

Collaboration with effects is also key. For instance, the FREE THE TONE Flight Time FT-2Y delay is typically set with a delay time of around 350ms and feedback of 3-4 repeats to create ambiance. In uptempo tracks, the time is adjusted to be shorter (200-250ms) to create rhythmic repeats that align with the tempo. By combining this with the Strymon BigSky’s hall reverb, a spacious and ethereal soundscape is achieved.

In terms of distortion, the FREE THE TONE Red Jasper is usually engaged lightly to enhance the Marshall drive sound. When aiming for presence in solos or riffs, he often adds a mid-boost to enhance clarity. Using it as a booster allows him to increase presence without compromising the amp’s inherent tone.

Additionally, regarding Hiroto’s handling of low-end frequencies, when using the dragonfly BORDER 666 HIROTO CUSTOM for ultra-low tunings like drop A, he tends to emphasize Mid-High while not overly suppressing Low. This approach retains the punch of the low end while ensuring clarity during live performances.

From a recording and PA perspective, a three-dimensional mix that utilizes left-right panning of guitars is often employed. One guitar is kept clean, while another emphasizes distortion, creating depth through the differences in spatial effects. This technique allows the overall band sound to become three-dimensional, making the guitars appear to spread out in the auditory space.

Furthermore, during live performances, the timing of switching effects on and off is crucial. For example, in “RAINBOWS,” delay is applied from the intro, while reverb is added during the chorus to enhance spaciousness. Conversely, in heavier tracks like “極道極色極彩歌,” distortion is emphasized while keeping spatial effects minimal to deliver a direct attack.

These settings and mixing techniques are not merely about “improving sound” but directly relate to “translating the themes and lyrics of the songs into sound.” Hiroto’s sound design is based on this philosophy and is one of the most important elements supporting the world of Alice Nine.

Affordable Alternatives to Recreate the Tone

The gear used by Hiroto, including Fender Custom Shop models, dragonfly custom guitars, and high-end effects from FREE THE TONE and Strymon, can be quite expensive for beginners and intermediates. However, by focusing on key elements, it is possible to recreate a Hiroto-like sound at a relatively affordable price.

For guitars, instead of opting for Fender Custom Shop, choosing Fender Japan or Squier series is more realistic. The Squier Classic Vibe Stratocaster, in particular, offers excellent cost performance and can achieve a shimmering clean tone. Pairing this with a clean amp can get you quite close to Hiroto’s signature transparent sound.

Regarding amplifiers, while the Fender Twin Reverb and Marshall JCM series are professional-grade, using modeling amps like the BOSS Katana or Marshall Code series can provide a wide range of tones at a lower cost. The BOSS Katana, in particular, can balance clean and distorted sounds, and its built-in effects make it a user-friendly option for beginners.

For effects, there is no need to invest in high-end gear like FREE THE TONE or Strymon. For delay, the BOSS DD-8 and for reverb, the BOSS RV-6 can adequately recreate spatial effects. The DD-8, especially, offers a wide range of delay times and modes, making it ideal for crafting depth in tone like Hiroto.

For overdrive, alternatives like the BOSS SD-1 or Ibanez Tube Screamer can replicate natural distortion. These options are budget-friendly and perfect for boosting amp drive.

For compression, the BOSS CS-3 is recommended as a substitute for the Xotic SP Compressor. It is accessible at around 10,000 yen and effectively fulfills the role of refining clean tone clarity.

In terms of modulation, the BOSS PH-3 is a safe choice as an alternative to the MXR Phase 90, offering a broader range of phase sounds suitable for various genres. Additionally, while the Lovetone Meatball is a rare auto-wah, the Electro-Harmonix Q-Tron serves as a viable substitute.

In summary, while it may be challenging to acquire all the original gear, combining affordable products at key points can bring you sufficiently close to achieving a “Hiroto-like sound.” Below is a table summarizing relatively affordable alternative gear.

By acquiring these items, you can approach Hiroto’s sound for under 100,000 yen. By focusing on the three pillars of “brilliant cleans,” “depth through spatial effects,” and “natural distortion,” even beginners can recreate the signature guitar tones of Alice Nine.

Summary and Conclusion

Reflecting on Hiroto’s sound design in Alice Nine, its essence lies in the coexistence of “brilliance and heaviness.” The clean tones centered around Fender Stratocasters possess transparency and sparkle, supporting the delicate aspects of the songs. Conversely, the heavy sounds achieved with custom guitars like the dragonfly BORDER 666 provide overwhelming power in intense tracks.

By utilizing the classic structure of “clean = Fender Twin Reverb” and “distortion = Marshall JCM series,” he crafts optimal tones for different scenarios. Additionally, the use of spatial effects like FREE THE TONE Flight Time and Strymon BigSky creates a sense of depth and expansiveness. This reflects his stated emphasis on “delay,” which is a hallmark of Hiroto’s sound.

Moreover, his sound design goes beyond mere gear selection, encompassing EQ balance and processing in PA settings. For clean tones, he organizes the midrange while emphasizing the highs, and in heavy tunings, he supports the low end while pushing the mids for presence. These techniques are rooted in a consistent philosophy of “how to convey the world of the songs.”

Another notable aspect is his use of various tunings for different songs. By employing a wide range of tunings—standard, half-step down, drop C#, drop D, two and a half steps down, and drop A—he tailors his sound to match the colors of each song. This flexibility is a key factor supporting the diverse sound of Alice Nine.

For beginners looking to emulate Hiroto’s sound, focusing on the three pillars of “brilliant cleans,” “natural distortion,” and “depth through spatial effects” is crucial. Even if acquiring high-end gear is challenging, leveraging affordable options from brands like BOSS and Squier can bring you close to achieving his sound.

Overall, Hiroto’s sound design stands out for its emphasis on “painting stories through sound” rather than mere technique. He envelops songs in shimmering cleans, overwhelms audiences with heavy riffs, and expands into ethereal realms with spatial effects. Each note breathes life into the world of Alice Nine’s music. Readers are encouraged to experiment with gear selection and settings to pursue their own version of the “Hiroto sound.”