[Yuu Hasebe] How to Recreate the Kroi Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Keiichi Suzuki] How to Recreate the MOONRIDERS Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.18

Kazuki Isogai Sound Guide: Recreating His Tone with Creepy Nuts – Gear, Effects & Amp Settings

2025.06.132025.09.04

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

2025.09.132025.09.13

Introduction (Overview of Tone)

Kroi’s guitarist, Yuu Hasebe, has garnered attention for his ability to traverse genres, blending funk, soul, and R&B with rock and pop influences. His guitar sound is characterized by a unique tone that combines sharp cutting and groove with both softness and edge.

In the iconic track “Funky GUNSLINGER,” Hasebe employs a deep spring reverb setting on his amp while delivering sharp, cutting rhythms using the bridge pickup. Conversely, his clean tones and cutting techniques with a Stratocaster showcase a pursuit of delicate yet pronounced sounds, highlighting his flexible sound design in studio recordings.

The reason his sound stands out is not merely due to genre imitation; it lies in his ability to fuse vintage nuances with contemporary funk sounds. His guitar approach intricately weaves with the groove-driven bass and drums, playing a crucial role in tightening the overall sound of Kroi.

Moreover, his choice of gear reflects a commitment to achieving the right sound for each performance, as evidenced by his use of the Gibson Les Paul Standard (1958 Reissue, Murphy Lab) introduced for his Budokan solo concert. It is anticipated that new gear and approaches will continue to emerge in his future works and live performances.

To explore the relationship between his sound and playing, check out his official music videos.

▶ Search official YouTube videos of Kroi

List of Amplifiers and Features

The centerpiece of Yuu Hasebe’s amplifier setup is the Fender Hot Rod DeVille. He has publicly stated that it was the first amp he ever purchased, and it continues to be a staple in both his recordings and live performances. This amp produces a rich clean tone and harmonic complexity when overdriven, making it ideal for funk and R&B cutting tones.

In “Funky GUNSLINGER,” he utilizes the built-in spring reverb of the DeVille, dialing back the treble and emphasizing the bridge pickup to achieve a thick, sticky cutting tone. This setup allows his guitar to stand out in the mix, enhancing the groove alongside the rhythm section.

Additionally, the DeVille features four 10-inch speakers, providing a quick response and a low-end presence that helps the guitar maintain its clarity in a groove-focused sound like Kroi’s.

While there is currently limited confirmed information on other amplifiers he may use, it is reasonable to assume that he might rent a Fender Twin Reverb or similar clean amps for live performances, given their commonality in funk and soul settings, which aligns with the tone he aims for.

Notably, Hasebe’s approach emphasizes the clean tone of the amp and light crunch rather than relying heavily on distortion from effects. It is likely that he employs a booster or low-gain overdrive as needed, allowing the amp’s inherent sound to shine through.

Thus, it can be inferred that Yuu Hasebe’s amplifier choices center around “Fender-like cleans with reverb,” optimized for funk and soul guitar sounds.

Types of Guitars Used and Features

The cornerstone of Yuu Hasebe’s sound lies in his diverse guitar collection. To match Kroi’s genre-spanning music, he selects the optimal tone for each song. Among his most important instruments is the Gibson 1958 Les Paul Standard “Lemon Burst / Green Lemon” Light Aged (Murphy Lab), which he introduced for his Budokan solo concert.

This model, described by Hasebe as a “lightweight” with a “great rear pickup sound,” showcases its strong presence in live settings. It balances vintage-like tones with modern playability, accommodating everything from Kroi’s groovy cuts to solos.

Another notable guitar is the Gibson SG, which he acquired in 2021. This guitar has accompanied the band during their growth phase. The SG’s lightweight and crisp mid-high frequencies complement Hasebe’s funky cutting style, making it particularly easy to handle on stage.

He also owns a Gibson ES-335 (1970s vintage), which he has confirmed as part of his collection. The warm tone typical of semi-hollow guitars enhances his expressive capabilities in soulful phrases and ballads. The rounded midrange of the 335 is particularly effective in creating mood within Kroi’s sound.

Furthermore, the Fender Stratocaster plays a crucial role in his setup. Although he hasn’t specified a particular model, he has mentioned in interviews that he “tries it on almost every song” and primarily uses it for cutting. The sharp, quick attack of single coils is ideal for funk and R&B rhythms, tightening the overall groove of the tracks.

Additionally, he has been seen trying out guitars from the Epiphone Inspired by Gibson Custom series and the Fender Acoustasonic Player Telecaster. He has praised the Acoustasonic, stating it can handle live performances on its own, indicating its potential for future use on stage.

In summary, Hasebe’s guitar selection allows him to adeptly utilize the “thickness of the Les Paul,” the “sharpness of the Strat,” and the “warmth of the semi-hollow” to cater to Kroi’s diverse repertoire. His style of choosing guitars based on the song or time period is central to his sound design.

Effects and Pedalboard Setup

Currently, there is no specific information or photographic evidence regarding Yuu Hasebe’s pedalboard setup. However, based on his sound tendencies and interviews, it can be inferred that he utilizes a simple yet practical board optimized for funk and R&B.

One key component is the built-in spring reverb of his amp. In “Funky GUNSLINGER,” he applies this reverb heavily to extend the resonance of his cuts. The ability to create a distinctive sound without relying on external reverb pedals is a hallmark of his Fender amp-centric approach.

Next, a compressor is likely employed to ensure even dynamics in his rhythm playing. Funk-oriented cuts can often produce volume disparities, so a compressor would help to level the sound and maintain clarity. Classic models like the Keeley Compressor or BOSS CS series are natural assumptions for his setup.

Additionally, it is reasonable to assume that he lightly adds a booster/low-gain overdrive to control the sound’s contour. This approach allows him to push the amp’s clean tone while adding a bit of punch, a common technique among funk and soul guitarists.

Depending on the song, a wah pedal may also be incorporated. In Kroi’s groove-centric tracks, using the wah in sync with the rhythm can produce a more dynamic and funky sound.

For spatial effects, a subtle use of delay may be present. This would add depth during solos or arpeggios, enhancing the three-dimensional quality of the sound. However, since reverb is the primary focus of his sound, delay is likely used as a supplementary effect.

Finally, essential components include a tuner and a power supply. Reliable power is crucial in professional settings, and a tuner is indispensable for maintaining stable pitch during live performances.

In summary, Yuu Hasebe’s effects setup can be characterized as “simple yet essential,” maximizing the inherent qualities of his amp and guitar while supplementing functionality with a minimal number of pedals.

Tone Settings, EQ, and Mixing Approaches

Yuu Hasebe’s sound design maximizes Kroi’s unique groove by combining a minimal setup of amp, guitar, and effects. Central to this is the clean tone and spring reverb of the Fender Hot Rod DeVille. As he has mentioned in interviews, he lowers the amp’s treble while boosting the mid and low frequencies, striking the strings hard with the bridge pickup to create a punchy funky cut.

For EQ settings, he typically sets the amp’s treble around “4,” mids at “6-7,” and bass at “5-6.” This configuration helps to suppress piercing highs while ensuring the guitar remains prominent within the band’s overall sound. It is likely that he avoids emphasizing presence too much, focusing instead on functioning as part of the rhythm.

In cutting-oriented tracks, he keeps the pickup selector on the bridge while adjusting the guitar’s tone knob to avoid excessive reduction. This is a common setting among funk players, maintaining clarity while preserving the rhythm’s sharpness. Conversely, for ballads or soulful songs, he switches to the ES-335 with a front pickup setting, creating a warm and airy tone.

In recordings, he frequently employs the Stratocaster, actively utilizing the sharp attack of single coils. As he stated, “I usually cut with the Strat,” indicating his efforts to leverage the raw texture of single coils, ensuring the guitar stands out in the mix and emphasizes the rhythm’s outline.

Regarding mixing, it is assumed that he applies light compression to even out volume disparities while avoiding excessive EQ processing, preserving the guitar’s inherent nuances. Notably, he actively uses the built-in spring reverb during recording rather than digital processing, capturing its unique fluctuations in the sound source.

Differences between live and recording settings are also noteworthy. Live, he tends to boost highs slightly to ensure clarity within the rhythm, while in recordings, he adjusts settings to favor low-mid frequencies, emphasizing thickness and warmth.

Since Kroi’s music is driven by the rhythm of the bass and drums, it is essential for the guitar not to overpower. Therefore, Hasebe typically avoids heavy distortion, remaining within clean to crunch territory except during solos.

In conclusion, Yuu Hasebe’s sound design revolves around “building on a clean tone, organizing unnecessary frequencies with EQ, and creating space with reverb.” His approach prioritizes a carefully selected combination of guitars and amps, shaping Kroi’s urban and funky sound.

Affordable Alternatives to Recreate the Tone

Attempting to replicate Yuu Hasebe’s sound directly would require expensive vintage gear, such as the Murphy Lab Les Paul or a 70s ES-335, which may not be practical for beginners. However, by focusing on the fundamental elements, it is possible to approximate the “Hasebe sound” with more affordable equipment.

The core of his sound lies in “clean and articulate tones,” “responsive cutting,” and “deep spring reverb.” Therefore, beginners and intermediate players should consider the following gear to enhance their sound replication.

For guitars, if Gibson or Fender’s main models are out of reach, options like Epiphone or Squier become viable. The Epiphone Les Paul Standard offers a thick sound and simple operation, making it ideal for learning the Les Paul tone. Additionally, the Squier Classic Vibe series Stratocaster provides an affordable experience tailored for cutting sounds with single coils.

For amplifiers, the BOSS KATANA series is recommended for easily achieving Fender-like tones. The KATANA-50 MkII, in particular, features an excellent clean channel, making it easy to adjust reverb and EQ for practice or small gigs. The Fender Champion 40 is also an attractive option in the same price range, offering the bright and sparkling clean tones characteristic of Fender amps.

For effects, introducing the BOSS CS-3 (compressor) will facilitate the recreation of funk-oriented cutting sounds. Furthermore, the BOSS SD-1 (overdrive) is perfect for light boosting, effectively pushing the amp’s clean tone. A standard wah pedal like the Dunlop Cry Baby can enhance funky phrases.

By combining these components, it is possible to get quite close to Yuu Hasebe’s sound for under $1,000. The key lies not in the price of the gear but in learning to manage “clean tones with rhythm-focused EQ and reverb handling.”

Summary and Conclusion

Reflecting on Yuu Hasebe’s sound design, its essence lies in the “aesthetic of subtraction.” Rather than relying on flashy distortion or complex effects, he maximizes the potential of the guitar and amp, meticulously controlling the atmosphere with EQ and reverb. This approach emphasizes the rhythmic feel and groove essential to Kroi’s music while allowing his sound to blend seamlessly into the overall mix.

Notably, he skillfully alternates between the thick resonance of the Les Paul and the sharp cuts of the Strat, while incorporating the warmth and midrange of the ES-335 to enrich the band’s overall color. His choice of gear leans towards vintage, yet his application is modern, showcasing flexibility in providing the appropriate character for each song.

His amplifier settings also reflect a clear direction of “suppressing highs while creating thickness with mids and lows,” revealing his sound design philosophy. In funk and R&B-oriented cuts, he applies compression and uses a booster to maintain the clean core. For soul and ballads, he employs semi-hollows or front pickups to produce warm, deep tones. This balance is a significant aspect of Hasebe’s appeal as a guitarist.

For beginners and intermediates aiming to emulate his sound, it is not necessary to invest in expensive guitars or amps. The focus should be on settings based on clean tones, rhythm-conscious playing, and reinforcing the sound with minimal effects. For instance, combining affordable staple pedals like the BOSS CS-3 and SD-1 with a Fender-style amp (or simulator) can effectively recreate Hasebe’s funky tone.

Ultimately, Yuu Hasebe’s sound design is characterized by “creating sounds that enhance the band’s overall groove.” Rather than achieving a standalone sound, he emphasizes the relationship with the rhythm section and vocals, ensuring his tone functions as a “piece of the whole.” This philosophy shapes Kroi’s urban and soulful sound.

In essence, to mimic Yuu Hasebe’s sound, what is needed is not “expensive gear” but “an understanding of rhythm and EQ.” By focusing on these aspects, your playing can become much more refined and aligned with Kroi’s distinctive sound.