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

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Introduction (Overview of Tone)

Kazuki is the lead guitarist of Crossfaith, known for his overwhelming high-gain sound and sharp riffs that form the core of the band. Crossfaith’s music, which blends metalcore, electronic, and industrial elements, showcases his ability to achieve both heaviness and brilliance in his guitar work, earning high praise at major festivals and world tours.

In iconic tracks like “Monolith” and “Jägerbomb,” Kazuki delivers aggressive, chugging riffs alongside clear, cutting solos. More recent songs such as “Devil’s Party” and “Rx Overdrive” highlight his use of down-tuning for deep, powerful riffs, combined with futuristic sounds created through digital effects.

A significant aspect of Kazuki’s sound design is his use of long-scale guitars and EMG active pickups, which help create a tight and punchy tone. He consistently combines this with the Krank Revolution 1 high-gain amplifier and Marshall 1960B cabinet, maintaining a heavy sonic presence both on stage and in the studio.

Additionally, Kazuki employs wireless systems and signature picks during live performances, ensuring that his aggressive style does not compromise the quality of his playing. The synergy of sound and movement on stage is a defining feature of Kazuki’s appeal.

For guitarists looking to recreate Crossfaith’s sound, Kazuki’s approach to tone is a valuable reference point.

▶ Search official YouTube videos of Crossfaith

List of Amplifiers and Features

Kazuki’s primary amplifier is the Krank Revolution 1, known for its aggressive sound among high-gain amplifiers. This model is favored by metalcore and deathcore guitarists for its sharp midrange and tight low-end response. Particularly effective for drop-tuned riffs, it maintains clarity and delivers a powerful, modern texture.

Complementing this is the classic Marshall 1960B cabinet, a 4×12 configuration that provides a solid foundation of traditional British sound while pairing excellently with high-gain amps. In Crossfaith’s live performances, the explosive gain of the Krank Revolution 1 combined with the rich resonance of the Marshall cabinet creates a massive sound pressure and clear definition.

It is also possible that Kazuki has used alternative equipment in studio settings or during international tours, with reports suggesting he has utilized Mesa/Boogie or Peavey 5150 series amplifiers at various times. These models are also known for their high-gain capabilities, indicating a flexible approach to gear depending on the live environment or rental situations.

In terms of setup with the PA and engineers, it is speculated that Kazuki slightly cuts the mids characteristic of the Krank while boosting the lows on the cabinet side. Listening to live recordings from Crossfaith, it becomes evident that the guitar maintains its tight and powerful sound, even when mixed with other electronic sounds and synths.

Thus, Kazuki’s amplifier selection reflects a focus on being “aggressively punchy while cutting through the ensemble.” While specific settings may vary by time and environment, the combination of high-gain and classic cabinets is fundamental to his sound.

Types of Guitars Used and Features

Kazuki’s choice of guitars is designed to withstand Crossfaith’s unique down-tuning and intense stage performances. The primary guitar he uses is the Schecter Hellraiser Extreme C-1. With an arched maple top and mahogany back, along with EMG active pickups (81/85), this model offers overwhelming high-gain capability. It is prominently featured in the music videos for “Monolith” and “Jägerbomb,” making it an iconic instrument for Kazuki during Crossfaith’s early to mid-career.

Additionally, he uses the Japanese brand FgN’s JIL-ASH-DE664-M/TWF, which appears in the music video for “Devil’s Party.” This model features a long-scale design (664mm) that maintains string tension for low-end notes, even in drop tuning. The ash body enhances attack, making it essential for modern riffs that blend with recent digital sounds.

In the music video for “Rx Overdrive,” Kazuki can also be seen using the FgN EFL-DE664/MBK Proto. This prototype features a mahogany body and neck with a rosewood fingerboard, equipped with EMG 81TW and EMG 81 pickups. It also includes GOTOH hardware for stable tuning and sustain, reflecting Kazuki’s desired sound and durability.

Throughout his career, Kazuki has also used a variety of guitars, including the Schecter Hellraiser C-1 and Caparison TAT, indicating a flexible approach to gear selection based on the live performance or song requirements. All these guitars share high durability, stability, and the ability to handle high-gain situations due to their active pickups.

Overall, Kazuki focuses on guitars that feature “long scale + EMG active pickups + robust construction,” ensuring that he maintains clarity and tightness even in modern metal, which often relies heavily on low-end strings. While there may be slight variations in gear over time, the core of his sound design remains consistent.

Effects and Pedalboard Setup

Kazuki’s sound design is characterized by a streamlined approach to effects, enhancing freedom during live and recording settings while relying heavily on the high-gain amp. Most effects depend on the amp’s distortion, with the pedalboard primarily featuring noise processing and spatial effects.

Notably, he incorporates wireless equipment, specifically the OYAIDE Elec. WL-606, which is known for its durability, ensuring stable signal transmission even during intense live performances. The band also utilizes the Audio-Technica System 10 Stompbox (digital wireless/stompbox receiver), as confirmed by Kazuki himself. This setup allows for mobility while integrating into the effect chain.

For distortion, Kazuki emphasizes the direct sound from the amp, suggesting that overdrive and distortion pedals are used sparingly. Instead, noise reduction is essential for highlighting tight riffs, along with delay and reverb effects for spatial enhancement during songs.

In recent years, there is a possibility that he has reduced the number of pedals in his live setup, opting for digital multi-effects or preamp/amp simulators. Given Crossfaith’s incorporation of synth and electronic elements, Kazuki’s guitar sound is treated as part of the overall sound design of the band, rather than just a guitarist’s pedalboard.

The types of pedals may vary over time, but the core focus remains on “live reliability,” “tight noise processing,” and “simple spatial effects.”

Tone Settings, EQ, and Mixing Approaches

Kazuki’s sound design is built with consideration for the overall sound design of the band. Crossfaith’s music fuses heavy metal sounds with elements of synth and electronica, where the guitar is not just distorted but is designed to dominate specific frequency ranges within the mix.

Starting with the amp settings, Kazuki’s sound based on the Krank Revolution 1 features high gain without excessive distortion, creating a tight and cutting tone. The EQ settings likely emphasize the low-end to ensure clarity in drop tuning, while avoiding excessive low frequencies that could clash with the bass or kick drum. It is assumed that frequencies below 100Hz are kept in check, with a boost around 150Hz to 200Hz.

The midrange is slightly cut to emphasize the sharp contours characteristic of the Krank, but not entirely removed; frequencies around 800Hz are retained to ensure attack. The high frequencies are adjusted to avoid clashes with synths and vocals, likely involving a slight reduction above 5kHz to eliminate harshness while boosting around 3kHz to highlight picking attack.

In live environments, the focus is not just on the guitar’s sound pressure but on how it fits into the overall sound image. It is speculated that the PA engineer applies light compression to even out the performance and adjusts the balance with kick and synths in a sidechain manner. Especially for a band like Crossfaith with many tracks, the guitar’s role in the mix is dual: supporting low-end riffs and delivering lead lines in the mid-high range.

Moreover, the use of specific tones for different songs is crucial. For example, in “Monolith,” the emphasis on low frequencies creates a heavy wall of sound, while in “Devil’s Party,” the ash-bodied guitar’s attack is enhanced to ensure it cuts through the mix. In “Rx Overdrive,” the switching of the EMG 81TW allows for quick transitions between clean tones and intense high-gain parts.

On the effects side, adding a touch of delay to lead parts creates depth, while reverb is used on clean sections to blend with synths. During riff sections, unnecessary spatial effects are minimized, and noise reduction is applied more heavily to achieve a tight, consistent sound.

In summary, Kazuki’s settings are built around three pillars: “clarifying low-end and attack,” “differentiating from synths and electronic sounds,” and “thoroughly eliminating noise.” This approach is not just about creating a high-gain metal sound but involves precise tuning to coexist with electronic elements, including considerations at the PA and mixing stages. While specific values may vary by tour or song, this direction is key to recreating Kazuki’s sound.

Affordable Alternatives to Recreate the Tone

Kazuki’s gear primarily consists of professional-grade equipment from brands like Schecter and FgN, with amplifiers from top-tier brands like Krank and Marshall. Therefore, acquiring all of this gear can be costly. However, for beginners and intermediate players looking to experience a “Crossfaith-like sound” at home or in the studio, selecting more affordable equipment is practical. Here are some alternative gear options in the price range of $100 to $500 that can help achieve a similar tone to Kazuki’s.

For guitars, models equipped with EMG active pickups are a top priority. Schecter’s lower-end models and the ESP LTD series offer guitars with EMG 81/85 pickups at more accessible price points, allowing for a relatively inexpensive recreation of Kazuki’s tight and aggressive sound. The LTD EC-401 series and Schecter Omen Extreme series are particularly suitable for beginners.

Regarding amplifiers, directly acquiring the Krank Revolution 1 is not realistic, so the BOSS KATANA series or Line 6 Spider V are recommended. These amplifiers feature high-gain channels and are capable of crafting tight low-end and mid-range attack. They are versatile enough for home practice and small gigs, allowing users to simulate a Crossfaith-like sound with proper EQ settings.

Additionally, a noise suppressor like the BOSS NS-2 is essential. To achieve tight riffs like Kazuki, noise processing is crucial, and adding this pedal can significantly tighten up the sound. For spatial effects, incorporating the BOSS DD-8 (delay) or Electro-Harmonix Holy Grail (reverb) can help recreate depth in lead and clean parts.

Lastly, signature picks are an affordable item to consider. The MASTER 8 JAPAN Kazuki model is available on Amazon and can directly influence the attack feel of riffs and solos. A small investment here can greatly enhance both sound and playability, making it a must-have item for anyone looking to get closer to Kazuki’s tone.

In summary, using “active pickup-equipped models” for guitars, “modeling high-gain amps like BOSS KATANA,” and “noise reduction plus spatial effects” will allow players to recreate Kazuki’s sound affordably. By combining this gear, even beginners can experience the unique blend of modern metal and electronic elements that define Crossfaith’s sound.

Summary and Conclusion

Reflecting on Kazuki’s guitar sound, its essence lies in the balance of “aggressiveness and precision.” Centered around high-gain amplifiers and guitars equipped with EMG active pickups, he maintains tightness in the low-end while ensuring the attack remains prominent in the overall ensemble, a crucial element that supports Crossfaith’s musical identity.

His sound design transcends mere metal guitar tones, as it is meticulously crafted to define “which frequency range to dominate” within a band that intertwines synth and digital sounds. As a result, he overwhelms audiences with powerful riffs during live performances while achieving a guitar sound that intricately melds with electronic elements in recordings. This “understanding of roles in sound design” is the hallmark of Kazuki’s sound.

On the equipment side, the robust guitars from Schecter and FgN, combined with the powerful Krank Revolution 1 and Marshall cabinet, form the core of his setup. By incorporating minimal noise reduction and spatial effects, he achieves a sharp, refined tone. Furthermore, the inclusion of wireless systems and signature picks demonstrates a thoughtful approach to live performance, directly linking gear selection to staging.

If readers wish to replicate Kazuki’s sound, it is essential to focus not only on acquiring equipment but also on understanding “one’s place within the ensemble.” Overemphasizing low frequencies can clash with the bass, while excessive highs may interfere with synths and vocals. Thus, his sound design is built on a continuous process of “retaining necessary elements while eliminating unnecessary frequencies.”

In conclusion, the essence of Kazuki’s sound design is the “guitar functioning as part of the overall band sound design,” which is consistent across gear selection, EQ settings, and live performance strategies. By keeping this in mind, one can not only recreate a heavy high-gain sound but also express a “stage where sound and energy are unified,” much like Crossfaith.