[Hatake] How to Recreate the Sharan Q Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hatake, the leader and guitarist of Sharan Q, has been a cornerstone of the band’s sound since its inception. His guitar tones have graced some of the biggest hits of the 1990s J-Pop scene, including “Zuruinona” and “Single Bed.”

Hatake’s sound is characterized by a balance between pop, catchy melodies, and a strong rock backing, which is evident in both his rhythm and lead playing. His clean tones resonate with the clarity of a Roland JC series amp, while his distorted tones evoke the thick midrange associated with Marshall and Mesa/Boogie amplifiers. The powerful distortion heard in “Zuruinona” and the expansive clean tones in “Single Bed” left a lasting impression on young listeners of that era.

His signature guitar, the Bill Lawrence BL-3MSTR, features a striking red and gold design that commands attention on stage. With an HSH pickup configuration and coil-splitting capabilities, it allows for a wide range of sounds, catering to the diverse musical styles of Sharan Q.

Sharan Q’s songs often revolve around themes of love, supported by catchy melodies, but it is the “sound design” behind the guitar that adds depth to their music. Hatake’s tones are not just flashy; they are crafted to blend seamlessly into the overall production of the songs, showcasing his ability to create sounds that enhance the musical narrative. This focus on the role of sound within the ensemble is a significant aspect of his appeal.

More than just technical phrases, Hatake’s sound is a study in “the presence of tone and its role within the ensemble,” making it a subject of study and emulation even today. In the following section, we will delve into the amplifiers he has used (or is assumed to have used) in detail.

▶ Search official YouTube videos of Sharan Q

List of Amplifiers and Features

Hatake’s choice of amplifiers for both stage and recording aligns closely with the standard models used by rock bands in Japan during the 1990s. Based on live photos and the tonal characteristics of his sound, it is likely that he utilized high-gain head amplifiers such as the Marshall JCM800 and JCM900. These amps are known for their pronounced midrange distortion, which supports the powerful riffs and prominent solos found in songs like “Zuruinona.”

Typically paired with a Marshall 1960 series 4×12 cabinet, this configuration is evident in stage photos featuring Hatake’s black and gold head and cabinet. While it may not be possible to pinpoint the exact models used, this setup is the most natural assumption. Additionally, using a booster with JCM series amps likely contributed to a tighter, more cutting sound.

Furthermore, the Mesa/Boogie Dual Rectifier, which gained popularity in the late 1990s J-Rock scene, is also a plausible choice. Known for its rich low-end response, it is well-suited for powerful riffs and thick backing. If Hatake had embraced the trends of that era, he likely experimented with this amp in studios and on larger stages. The Dual Rectifier’s hard-hitting, tight muted sound would have matched well with Sharan Q’s band sound.

For clear clean tones, the Roland JC-120 cannot be overlooked. Commonly found in rehearsal studios and live venues, it was likely used for practical clean parts. The wide, chorus-enhanced clean tones were essential in supporting Sharan Q’s more subdued ballads.

In summary, Hatake’s amplifier setup can be envisioned as three pillars: “Marshall for a robust rock foundation,” “Mesa/Boogie for modern thickness,” and “JC-120 for clean transparency.” All these models were standard choices among Japanese rock bands of the time, making them a natural fit when compared to the tones in recordings and live footage. While definitive evidence from photos or testimonies is lacking, it is reasonable to conclude that these amplifiers were central to shaping Hatake’s sound.

Types of Guitars Used and Features

When thinking of Hatake, the striking red body adorned with gold hardware of the Bill Lawrence BL-3MSTR signature model comes to mind. This bold visual presence on stage has become one of the defining elements of Sharan Q’s image. The pickup configuration is HSH (Seymour Duncan SH-6n / SSL-3 / SH-6b), featuring a master volume, master tone, a 5-way selector, and a coil-split switch for the humbucker. This allows for a wide range of tones, from thick, distorted rock sounds to delicate single-coil cleans.

The neck is made of hard maple, with a maple fingerboard, combined with an alder body to achieve a bright and clear tone. The grip is a hybrid between U and V shapes, accommodating fast playing and chord work. The compound radius (240-305R) fingerboard ensures playability from low-position chord playing to high-position leads, emphasizing practicality in its design. The bridge is an ESP Fixed Bridge, and the tuners are GOTOH SG360-07, ensuring durability and stability for live performances.

This model is well-known for being Hatake’s long-time favorite, confirmed through live footage and photos. The red and gold design not only makes a visual impact but also resonates with the visual kei elements prevalent in the 90s music scene. The frets show significant wear, indicating it has been actively used in performances. Minor modifications, such as replacing the mini switch from black to chrome, reflect his personal attention to detail.

As a secondary option, the “ESP SNAPPER Hatake Custom” exists, though specific details about its specs remain unclear. The SNAPPER series is based on a traditional Strat-style model, likely offering simpler operation and cleaner tones compared to the BL-3MSTR. It may have been used for nuances in songs or for specific recording needs.

Overall, Hatake’s guitar selection can be seen as a combination of “a versatile signature model capable of a wide range of tones” and “a more traditional Strat-style guitar for supplementary use.” As the band leader responsible for producing the overall sound, his choices reflect a balance of versatility and visual impact. The primary guitars used are the two mentioned above, with variations depending on the time period and context.

Effects and Pedalboard Setup

Hatake’s pedalboard likely follows a typical configuration for 90s Japanese rock guitarists. While there are not many live photos documenting his exact setup, analyzing the tonal tendencies and standard pedals of the time reveals a foundation built on distortion, wah, modulation, and delay effects.

For distortion, it is assumed that he used BOSS SD-1 and OD-3 pedals in front of his Marshall amp as boosters. This setup would enhance the midrange push of the JCM series amps, resulting in a tight and punchy distortion. Additionally, using the BOSS DS-1 as a standalone distortion pedal would allow for a more aggressive texture, particularly useful in tracks requiring a strong guitar presence like “Zuruinona.”

The Dunlop Cry Baby wah pedal is likely a staple in his setup, used for emphasizing formants during solos or creating tonal shifts through sustained use. This technique was common among guitarists in the 90s, and Hatake was no exception.

In terms of modulation, BOSS CE-2 and CE-5 chorus pedals would have been prominent, used in conjunction with the Roland JC-120’s stereo chorus to add depth to the clean tones in ballads. The BF-2 flanger could also have been employed to create a spatial and distinctive sound characteristic of the 90s. These modulation effects played a crucial role in enhancing the pop-oriented songs of Sharan Q.

For spatial effects, it is likely that BOSS DD-3 or DD-5 digital delays were utilized. Applying a light delay of around 300-400ms to lead solos would create a sense of depth, effectively enhancing phrases in songs like “Single Bed.”

Additionally, it is assumed that Hatake used the BOSS TU series tuner for reliable tuning management during live performances. The TU-2 was a standard in live settings, ensuring stable tuning was a necessity for professional setups.

In summary, Hatake’s pedalboard can be conceptualized as a combination of “distortion boost + standard distortion,” “expression through Cry Baby,” “spatial enhancement with chorus and flanger,” and “light delay for lead reinforcement.” While the exact pedal arrangement cannot be definitively stated, it is reasonable to assume that he adhered to the classic combinations favored in the rock scene of that era.

Tone Settings, EQ, and Mixing Approaches

Hatake’s sound design is characterized by practical settings that consider the entire band’s ensemble, rather than just flashy looks or guitars. As the band leader, he played a crucial role in determining the direction of the songs, ensuring that his guitar always supported the music.

For his distortion settings, it is assumed that he based his sound on the Marshall JCM800/900, keeping the gain around 5-6 to emphasize the midrange. By combining this with the BOSS SD-1 as a front boost, the attack is enhanced, resulting in a clear and punchy distortion. In songs like “Zuruinona,” this midrange push allows the guitar to provide thickness behind the vocals while maintaining its presence.

When adjusting EQ, it is likely that he avoided excessive low-end, keeping the lows subdued. This approach helps to differentiate the guitar’s role from the bass and drums, allowing the overall band sound to remain clear. Treble settings around 5-6 and slightly lower presence create a smooth, non-piercing clarity.

For clean tones, he likely leveraged the characteristics of the Roland JC-120, applying a flat amp setting with a light chorus to create spaciousness and transparency. In “Single Bed,” the guitar transcends mere accompaniment, playing a vital role in shaping the song’s atmosphere. A subtle delay of around 300ms would naturally extend the sound, enhancing the integration with the vocals.

During solos, it is assumed that he often engaged the Cry Baby wah to emphasize formants, highlighting the emotive lead lines and creating a call-and-response effect with the vocals. Additionally, keeping the delay feedback short and the mix level moderate would ensure that the solos are prominent yet blend seamlessly into the overall mix.

In studio recordings, it is likely that he employed a technique of panning the guitar tracks to create width, using two tracks to add thickness. One side would feature a heavily distorted guitar, while the other would have a slightly cleaner tone with emphasized mids, resulting in a three-dimensional mix that supports Sharan Q’s catchy pop-rock sound. For ballads, single-coil pickups may have been used to harmonize with acoustic instruments and synths.

During live performances, it is assumed that he skillfully switched between clean and distorted channels on his amp, utilizing the HSH pickup configuration and coil-splitting to cover a wide range of tones with a single guitar. This flexibility reflects not only his role as a guitarist but also his responsibilities as the band leader.

In summary, the essence of Hatake’s sound design lies in “EQ that considers the balance of the entire band” and “flexibility to select appropriate tones for each song.” His approach ensures that the guitar does not overshadow the vocals but supports them while enhancing the rhythm section, maintaining his presence. This sense of balance is a significant factor that characterizes the sound of Sharan Q. While achieving an exact replication of these settings may be challenging, careful adjustments to amp EQ and effects combinations can yield a similar sound.

Affordable Alternatives to Recreate the Tone

While achieving Hatake’s guitar sound ideally requires the signature BL-3MSTR model and large Marshall amps, this may not be practical for beginners or those looking to keep costs down. Here, we present options available for around $100 to $500 (up to $1,000) that can help recreate a “Sharan Q Hatake-style sound.”

For an alternative guitar, the Yamaha Pacifica series is highly recommended. Particularly, models with HSS or HSH configurations can replicate the versatile tones of Hatake’s BL-3MSTR. Choosing a model with coil-tap functionality allows for easy switching between clean and distorted tones, accommodating sounds from the transparent tones of “Single Bed” to the rock sound of “Zuruinona.”

Regarding amplifiers, acquiring large Marshall or Mesa/Boogie models may be challenging, so modeling amps or amp simulators are more realistic options. The BOSS Katana series can cover a range from British drive reminiscent of the JCM800 to the clean tones of the JC-120, all at a beginner-friendly price point. Its versatility makes it ideal for both practice and live settings, offering excellent cost performance.

For effects, a multi-effects unit that encompasses Hatake’s assumed setup is convenient. For instance, the BOSS GT-1 can be purchased for around $200 and includes overdrive, distortion, chorus, flanger, delay, and more. A built-in wah can effectively substitute for the Cry Baby. If opting for individual pedals, focusing on classic options like BOSS SD-1 and DS-1 will yield a solid foundation.

To recreate the clean tones found in ballads, a compact combo amp like the Roland JC-22 is also a viable option. It offers the chorus and transparent clean tones of the JC-120 in a more manageable size, allowing for easy enjoyment of Hatake’s clean sound.

In summary, to achieve a “Hatake-style sound,” the most efficient combination would be: 1) an HSH configuration guitar (or a model with coil-tap), 2) a modeling amp (like the BOSS Katana or Roland JC series), and 3) a multi-effects unit (such as the GT-1). By assembling these elements, even beginners can approach the sound of Sharan Q at a relatively low cost.

Summary and Conclusion

In summarizing Hatake’s sound design for Sharan Q, it is clear that his approach is characterized by “practical and versatile tone control that supports the entire band” and “a visually striking and unique appearance.” The BL-3MSTR, with its red body and gold hardware, not only makes a visual impact but also achieves a flexible sound through its HSH pickup configuration and coil-tap functionality. This is a logical choice for a band like Sharan Q, which performs a diverse range of songs from pop to rock and ballads.

In his choice of amplifiers and effects, Hatake focused more on “enhancing the songs and vocals” rather than asserting his own sound. The midrange-heavy distortion from the Marshall JCM series supports the vocals while providing the core of the song, while the transparent cleans from the Roland JC-120 beautifully enhance ballads. Furthermore, the expressive use of the Cry Baby wah and the combination of classic BOSS effects allow for dynamic expression tailored to each musical context.

The essence of his sound design also lies in the “aesthetic of subtraction.” By avoiding excessive low-end and emphasizing midrange settings, he ensures clarity in the overall ensemble, maximizing the band sound. Even in solos, he maintains a balanced use of effects, integrating wah and delay to deliver memorable phrases to the listener. This sense of balance is Hatake’s greatest strength as a guitarist, reflecting his producer-like perspective.

Additionally, the context of the 90s cannot be overlooked. During this time, CD sales were at their peak, and the sound design of bands was heavily influenced by how they would be perceived on television and radio. Hatake’s sound was “accessible rock guitar” that seamlessly blended into pop, allowing Sharan Q’s music to resonate with a wide audience, which is why their songs continue to be celebrated today.

For beginners aiming to emulate Hatake’s sound, while acquiring the signature model may be challenging, combining an HSH configuration guitar, a modeling amp, and classic BOSS effects can yield a similar vibe. The key lies not in the gear itself but in “understanding the role of sound and setting it accordingly.” Studying Hatake’s sound design offers valuable insights, not just in copying his tone but in learning how to support the entire band musically.

Overall, Hatake’s sound design represents a symbolic style of 90s J-Pop rock that balances “flashiness” with “practicality.” Pursuing his guitar tones is not merely an exercise in gear research but a journey into understanding “the role of guitar in supporting the music.” When covering Sharan Q’s songs, be sure to focus on this essence in your sound design.