[Horitaiga] How to Recreate the Singers High Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist of Singers High, Horitaiga, is known for his melodic yet aggressive guitar sound. His guitar work encompasses a wide range of expressions, from delicate clean tones to rough distortions, allowing him to stand out both in live performances and recordings.

In the iconic song “daybreak,” his solo play utilizes deep distortion and sustain from effects, adding emotional nuances to the fast-paced rhythm. Furthermore, in “Norus,” he employs a Momose ST-type guitar, which contributes sharp attacks and a modern tone, giving the song a fresh character.

Horitaiga’s beloved Gibson SG, affectionately named “Caucasian Rhinoceros,” is treated with great care as his main guitar for live performances. Its lightweight design and ease of play on higher frets enable stable performances even during extended sets.

The reason Horitaiga’s sound garners attention lies in his meticulously chosen gear and his relentless pursuit of different expressions for each song. Understanding his sound creation allows listeners to appreciate the passion embedded in Singers High’s music on a deeper level.

▶ Search official YouTube videos of Singers High

List of Amplifiers and Features

Horitaiga’s amplifier setup primarily consists of a combination of Bogner amps and Marshall cabinets. Bogner is highly regarded in modern rock for its rich harmonics and wide-ranging distortion. This setup is particularly ideal for lead guitar and solo sections, reflecting its characteristics prominently in Singers High’s live performances.

On the other hand, the Marshall cabinet is a staple of rock sound, effectively amplifying the output from the Bogner amp. This combination results in a guitar sound that boasts thick mid-lows and soaring highs, ensuring the guitar stands out within the band’s overall sound.

In songs like “daybreak” and “Norus,” the settings of this amp and cabinet allow for a clearly defined guitar sound amidst the rough distortions. Particularly in fast-paced riffs and emotional solos, the unique compression of the Bogner amp and the strong push from the Marshall cabinet intertwine beautifully, enhancing the overall sound.

Additionally, Horitaiga may use more manageable amps for rehearsals or smaller stages. While there are few clear mentions in guitar magazines or interviews, it is assumed that he might utilize Fender-style clean amps or studio-standard Marshall amps as secondary options.

Overall, his choice of amplifiers reflects a clear intention to create a thick rock sound while ensuring the guitar maintains its presence within the band ensemble. Thus, it is assumed that Singers High’s sound is supported by the strong mid-range core of the Bogner and Marshall combination, along with a powerful sound that spreads throughout the space.

Types of Guitars Used and Features

Horitaiga’s guitar selection is a crucial element that supports his musical breadth and expressiveness. His main guitar is the Gibson SG, which he affectionately calls “Caucasian Rhinoceros.” This guitar is lightweight and excels in playability on higher frets, directly contributing to the fast-paced sound of Singers High with its sharp mid-range and strong sustain.

In the song “Norus,” he uses a Momose ST-type guitar. This modern Strat-style sound achieves a bright and articulate tone. The precision craftsmanship of this domestic brand and its design suited for contemporary playing styles allow for standout riffs within the band ensemble.

Additionally, he opts for Savarez H50L (HEXAGONAL EXPLOSION LINE) strings. These strings are known for their bright and clear tone, capable of outputting delicate nuances. They emphasize brilliance in arpeggios and clean parts while maintaining attack even in driven sounds.

Horitaiga’s guitar choices are not merely based on aesthetics or brand preference but are grounded in a philosophy of accurately expressing the necessary sound character for each song. The switch between the classic rock sound of the SG and the modern, clear tone of the Momose creates a dynamic soundscape in Singers High’s music.

Furthermore, his choice of Savarez strings indicates a commitment to detail in sound creation. As a result, his guitar playing achieves a unique personality that balances strength and delicacy.

Effects and Pedalboard Setup

Horitaiga’s effects board is designed to facilitate a wide range of sounds, from thick distortion to delicate cleans. The primary focus is on the sound of the Bogner amp combined with the Marshall cabinet, with effects added as needed.

At the core of his distortion is the Bogner Ecstasy. Similar to the amp, it possesses a powerful drive and is utilized when he wants to thicken the distortion. This pedal is essential during lead parts and choruses in Singers High’s live performances.

Next, the Electro-Harmonix Little Big Muff provides a raw, fuzz-like strong distortion, known to have been used during the production of the hit song “daybreak.”

Additionally, the Mad Professor Sweet Honey Overdrive is employed for basic overdrive nuances, enhancing the natural distortion of the amp and often used for arpeggios or phrases requiring dynamics.

To ensure flexibility in sound creation, the BOSS MS-3 serves as a multi-effects switcher, allowing for quick changes between spatial effects (chorus, reverb, etc.) tailored to each song. The Jim Dunlop Cry Baby is included as a wah pedal, adding accents to solos and phrases.

Finally, the (Exotic) RC Booster is used to boost volume and presence, effectively emphasizing the clarity of solos and lead guitar lines. Horitaiga’s pedalboard is built on classic rock guitarist effects while being meticulously selected to align with his sound philosophy. This setup allows for simple yet flexible sound creation tailored to each song.

Tone Settings, EQ, and Mixing Approaches

Horitaiga’s sound creation involves more than just connecting gear; it encompasses amplifier settings, EQ adjustments, and mixing techniques in both live and recording contexts. His sound is characterized by a balance of “power” and “clarity.”

The Bogner amp is typically set with medium to high gain, boosting the mids to achieve a tone that doesn’t lose presence within the band. The treble is kept slightly subdued to maintain a bright quality without being harsh. Combined with the Marshall cabinet, this setup adds thickness to the mid-lows while achieving a pronounced attack.

In terms of EQ, emphasizing the guitar’s frequency range (especially around 2-4kHz) ensures that the sound cuts through without being buried by vocals or other instruments. To maintain presence while avoiding the low-end support from the bass and kick drum, a slight boost in the mid-range peak is characteristic.

When examining the use of effects, the Mad Professor Sweet Honey Overdrive adds light drive during arpeggios or quieter sections, enhancing the clean sound. Conversely, the Bogner Ecstasy and Little Big Muff come into play during solos and choruses, creating a thick distortion. This switching is executed swiftly using the BOSS MS-3, ensuring stable sound creation during live performances.

Moreover, the wah effect from the Jim Dunlop Cry Baby adds vitality to lead parts. By applying it according to the phrasing, he broadens the emotional expression of the same riff. The boost from the RC Booster is utilized to prevent the guitar from being buried in the mix, enhancing presence at crucial moments.

In recording, double-tracking the guitar increases thickness while creatively positioning sounds to create spatial depth. Particularly, distorted guitars are panned left and right, while clean or arpeggiated parts are centered, adding dimensionality to the music.

Additionally, it is likely that the PA or engineer employs light compression to shape the attack and adjusts reverb and delay for each song to control the guitar’s ambiance. For instance, in “daybreak,” a deep reverb creates a dreamy atmosphere, while in “Norus,” reverb is minimized to prioritize the sharpness of the riff.

In summary, Horitaiga’s sound creation follows a three-tier structure: building a foundational tone with the amp, selectively using effects as needed, and finalizing the mix. This style is often seen in experienced guitarists and engineers, showcasing his strong commitment to sound creation despite being a young artist. Thus, it is assumed that his sound is supported by meticulous settings and creativity.

Affordable Alternatives to Recreate the Tone

While Horitaiga’s sound creation relies on high-quality gear, there are ways for beginners and intermediates to achieve similar tones at a relatively low cost. Here, we highlight commercially available gear that can be purchased for around $100 to $500, explaining how similar sounds can be achieved.

To replicate the rich distortion of the Bogner Ecstasy, pedals like the BOSS DS-1X or BOSS OD-200 are effective alternatives. The DS-1X, in particular, offers modern distortion at a low price, making it easier to recreate the thick lead sound characteristic of Singers High.

For an alternative to the Mad Professor Sweet Honey Overdrive, the BOSS BD-2 Blues Driver or JHS 3 Series Overdrive are excellent options. Both provide a natural drive similar to the amp, making them suitable for phrases that highlight arpeggios or clean tones.

For spatial effects, multi-effects units like the BOSS GT-1 or Zoom G3Xn are convenient. These devices cover chorus, reverb, and delay in one unit, allowing for flexible sound creation without the expense of a BOSS MS-3. Zoom products, in particular, offer great cost performance, making them ideal for first-time pedalboard setups.

Regarding wah pedals, the Mini series (Cry Baby Mini CBM95) from Jim Dunlop is an affordable option that delivers the same tone as the standard Cry Baby. Its compact size makes it easy to transport, making it suitable for beginners building their pedalboards.

If you’re seeking fuzz sounds, the Electro-Harmonix Nano Big Muff is an optimal substitute for the Little Big Muff. Its price point is reasonable, and it can effectively recreate the thunderous fuzz heard in “daybreak.”

Additionally, the TC Electronic Spark Booster serves as a great alternative to the RC Booster. It is budget-friendly and allows for both volume boosting and tone shaping, making it useful for emphasizing solos.

By combining these commercially available pedals, it is possible to get close to Horitaiga’s sound within a budget of $500. The key is to balance the amp and effects, maintaining a mindset to select the optimal tone for each song.

Summary and Conclusion

Horitaiga’s sound creation is built on a foundation of meticulous attention to detail, despite its seemingly simple appearance. His main guitar, the Gibson SG “Caucasian Rhinoceros,” embodies the powerful sound typical of rock guitarists while being lightweight and highly playable, making it ideal for live performances. By combining it with the Momose ST-type and Savarez strings, he tailors the perfect tone for each song.

His amplifier system, consisting of a Bogner amp and Marshall cabinet, achieves a balance of thick distortion and prominent mid-range presence. Adding various effects allows for a broad range of expressions tailored to each song. Notably, the Bogner Ecstasy and Little Big Muff create powerful lead sounds, while the Sweet Honey Overdrive and Cry Baby support nuanced expressions.

Moreover, the switching system centered around the BOSS MS-3 provides the flexibility to change effects instantly for each song, enhancing the stability and reproducibility of live performances. Utilizing boosters like the RC Booster ensures that guitar solos and lead lines stand out within the band sound.

The underlying philosophy of his sound creation is to be “thick and aggressive while not losing delicacy.” In fast-paced songs, he drives the band with strong distortion, while in softer moments, he cherishes the resonance of arpeggios and clean tones. This contrast adds depth to Singers High’s music, captivating listeners.

For beginners, acquiring all the same gear may be challenging, but recent multi-effects and affordable pedals can sufficiently replicate similar sounds. The key is to consciously select tones that fit the songs, which is at the core of Horitaiga’s sound creation.

In conclusion, the allure of Horitaiga’s sound does not rely solely on expensive gear but rather on accurately discerning and constructing the necessary tones for each song. Readers can also approach sound creation with their bands and playing styles, bringing them closer to the sound of Singers High.