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

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Introduction (Overview of Tone)

Uchiyama Short, the guitarist of Singers High, has garnered attention for his unique playing style that seamlessly blends sharp, linear riffs with pleasant chord work. His sound is characterized by an emotional yet accessible pop sensibility, making it naturally appealing to listeners.

In iconic songs, the cutting tones derived from guitars like the Fender Mustang and Player Stratocaster enhance the band’s energetic feel, captivating audiences with their sharpness during live performances.

Moreover, his philosophy of sound creation is strongly reflected in his simple effects setup, consisting of just four distortion pedals. This approach emphasizes the idea that “excessive embellishments are unnecessary; instead, focus on maximizing the fundamental tone of the guitar and amp.”

This simplicity is a significant factor that sets his guitar playing apart, particularly the raw sound that resonates during live shows, which has become a hallmark of the band.

The tonal range he achieves spans from bluesy overdrive to experimental sounds that intentionally incorporate oscillating noise. This versatility supports the diverse expressions found within Singers High’s music.

His attitude of “changing expression through playing rather than over-processing sound” resonates with both young listeners and guitar enthusiasts alike.

Singers High’s music combines the robust essence of classic rock with the freedom characteristic of the indie scene, with Uchiyama Short’s sound being the core of the band. By exploring his guitar sound, one can get closer to the essence of Singers High’s music.

▶ Search official YouTube videos of Singers High

List of Amplifiers and Features

Uchiyama Short’s amplifier requirements center around “clarity” and “simplicity.” He frequently employs the Kemper Profiling Amplifier in both live and recording settings, a choice that many professional guitarists have adopted in recent years.

The Kemper profiles the sound of actual amps, allowing for a stable tone when connected directly to the line, making it an optimal solution for achieving consistent sound during tours and recordings. This method effectively minimizes unnecessary noise and environmental variations, which is crucial for supporting tight and energetic songs like those of Singers High.

In live settings, it is common for the Kemper’s output to be sent directly to the PA system, while small cabinets or in-ear monitors may be used for monitoring on stage. Uchiyama Short’s style often involves “combining multiple distortion effects,” so it is likely that he selects clean to crunch-based amp models on the Kemper, using pedals to add coloration.

However, interviews and articles in guitar magazines suggest that “he may also use a tube amp as a backup during live performances.” For instance, small Fender tube amps or compact heads from Orange could be set up backstage, allowing for a quick switch in case of any issues with the Kemper.

While it is not confirmed whether such auxiliary amps are indeed used, considering the stability of the band’s sound design, this choice is certainly plausible.

Overall, Uchiyama Short’s style can be described as “not relying on the character of the amp itself, but rather preparing a simple base tone and controlling the sound through pedals and playing technique.” This philosophy is a significant feature of his sound creation and a crucial element in establishing his individuality as a guitarist.

Thus, it is accurate to understand that the sound he produces on stage is completed not just by the amp alone, but by the combination of “Kemper + distortion pedals + the characteristics of the guitar.”

As discussed, Uchiyama Short’s choice of amplifiers emphasizes practicality and flexibility, centering around the Kemper while potentially incorporating other equipment as needed.

Types of Guitars Used and Features

At the core of Uchiyama Short’s sound are his collection of Fender guitars. He utilizes multiple models depending on the song and context, both in live performances and recordings. Among these, the standout is the Fender Player Stratocaster (Buttercream). Its vibrant buttercream color and the modern balance typical of a Stratocaster produce a clear tone ideal for cutting and riffing, making it a signature piece often seen in official photos and live footage.

Another noteworthy model is the Fender Mustang, which has been primarily used in recent live performances. Its shorter scale and lightweight playability make it particularly suited for the tight strokes and sharp riffs characteristic of Singers High’s energetic tracks. Uchiyama Short has expressed appreciation for the “sturdy neck,” indicating its stability even during intense playing styles.

Additionally, it has been revealed that he also uses a Rickenbacker for recording sessions. The shimmering quality typical of hollow-body guitars, combined with distortion, contributes to the musical breadth of Uchiyama Short’s sound. While it is rarely seen in live settings, it plays an essential role in tone crafting during studio sessions, providing a “jangly and dimensional resonance” that adds depth to Singers High’s recordings.

Currently, the officially confirmed guitars are primarily these three models, but based on photos and footage, it appears that there is little use of guitars outside the Stratocaster family. Nonetheless, there is a strong possibility that new models may emerge in future tours or recordings. Given his playing style and the band’s direction, it is likely that he will continue to focus on Fender models.

In summary, Uchiyama Short’s guitar selection centers around Fender models, with the addition of a Rickenbacker depending on the situation. By utilizing the versatility of the Stratocaster, the live strength of the Mustang, and the unique shimmer of the Rickenbacker, he crafts the distinctive sound of Singers High.

Effects and Pedalboard Setup

Uchiyama Short’s pedalboard is characterized by a very simple yet thoroughly curated selection of distortion pedals. As evident from interviews and magazine articles, his pedalboard typically consists of just “four distortion effects.” This minimalist setup is the secret behind the powerful sound of Singers High.

He has stated, “As long as I can create a clear sound, that’s all that matters,” indicating that he does not rely on an excessive number of effects but instead creates a variety of nuances through the combination of guitar, amp, and a minimal set of distortion pedals.

At the center of his pedalboard is the Fulltone OCD, notably used in pairs. One unit is always on, serving as the foundational tone, while the other is engaged for solos or moments when he wants to bring riffs to the forefront, achieving a clear lead tone. The OCD is known for its midrange characteristics, producing a defined distortion when paired with a Stratocaster or Mustang.

Next is the Boss Blues Driver (BD-2). This pedal can handle a wide range from clean to light overdrive, serving as a supplementary role to the OCD and adjusting dynamics within songs. It is ideal for achieving a bluesy tone or adding a slight grit, fitting seamlessly into Singers High’s flexible ensemble.

Adding a unique twist is the Electro-Harmonix Nano Big Muff. While typically used as a fuzz, Uchiyama Short employs it for a specific purpose of generating oscillating sounds. This pedal adds a noise element during songs, creating impactful moments for the audience during live performances.

Such a “controlled noise approach” is one of the hallmarks of his sound creation.

Looking at the overall board, there are no compressors, reverbs, or delay effects used. The reason is simple: Uchiyama Short is committed to controlling his tone through the combination of playing technique and distortion. During live performances, the Kemper’s presets and PA processing provide minimal reverb or spatial effects, eliminating the need for additional pedals on the floor.

Thus, while Uchiyama Short’s effects setup may appear extremely simple at first glance, each pedal serves a clear purpose, resulting in a broad range of expressive capabilities. This exemplifies the philosophy of “achieving maximum effect with minimal equipment,” which is a defining aspect of his individuality.

In conclusion, Uchiyama Short’s pedalboard consists of a simple yet distinctive arrangement of “2 OCDs + Blues Driver + Big Muff,” reflecting his performance style and philosophy.

Tone Settings, EQ, and Mixing Approaches

Uchiyama Short’s sound creation is fundamentally based on “simplicity and clarity.” As seen in his pedalboard, it consists solely of four distortion effects, with minimal use of reverb or delay. Therefore, EQ and mixing techniques become crucial to his sound.

His tonal characteristics can be summarized into three key points: “clarity in cutting,” “presence in leads,” and “utilization of noise effects,” with the settings tailored accordingly.

The basic EQ tendency leans towards cutting the lows while emphasizing the mids. By keeping the OCD on, a unique fullness and definition in the midrange is achieved. This allows for a sound that cuts through even in a two-guitar arrangement like Singers High’s, ensuring the overall band sound remains prominent.

Conversely, the highs are controlled without extreme boosts, maintaining a balance that is comfortable for the ears. This approach likely stems from a desire to leverage the characteristics of the Stratocaster and Mustang while considering overall band sound harmony.

In terms of amp (Kemper) settings, it is presumed that he typically selects clean to crunch-based amp profiles. This is because Uchiyama Short creates most of his distortion through pedals. The Kemper serves as the “foundation of sound,” with the OCD and BD-2 layered on top to finalize the tone. This allows for flexibility in controlling the depth of distortion according to the situation.

For example, a specific EQ setting might look like this:
・Bass: 3-4 (tight low end)
・Middle: 6-7 (emphasized to avoid being buried in the mix)
・Treble: around 5 (enhancing the guitar’s character without overdoing it)
・Presence: 4-5 (adjusted according to the live space)
These settings may vary depending on the actual live PA environment and acoustics, but the core direction is to “push through the mids.”

There are also clever adjustments made for different songs. For instance, in upbeat tracks driven by strumming, he combines the OCD with the Blues Driver to create a lively and defined distortion. For lead phrases or guitar solos, he engages the second OCD to further accentuate the sound. In moments where noise effects are needed, he utilizes the Nano Big Muff to transform the overall atmosphere of the live performance.

Additionally, PA and mixing techniques are vital. Given that Singers High employs a twin-guitar setup, Uchiyama Short’s parts are often placed in the “midrange” to ensure clarity. The other guitarist handles the lows and highs, creating a three-dimensional soundscape. From an engineering perspective, it is likely that EQ adjustments are made to tidy up the overlapping frequencies around 200Hz-400Hz while gently boosting the 2kHz-4kHz range to highlight his strokes and riffs.

Reverb and spatial processing are not handled by pedals on stage but rather by the PA system. A light reverb is added to the sound coming from the Kemper, considering the hall’s acoustics, but it is not overdone. This maintains a raw and dry texture while achieving a listener-friendly balance for the audience.

In summary, Uchiyama Short’s sound creation approach emphasizes “eliminating unnecessary elements and highlighting only the necessary frequencies.” He places more importance on “how to play” and “how to combine distortions,” which contributes to the unique presence of Singers High’s band sound.

Affordable Alternatives to Recreate the Tone

Interestingly, Uchiyama Short’s sound creation does not require expensive vintage gear or an extensive effects board; it is built on a relatively simple setup. Therefore, beginners and intermediate players can achieve a sound reminiscent of Singers High by using relatively affordable equipment. Here, we will introduce alternative gear primarily in the range of $100 to $500 that can help you get closer to his tone.

First, let’s focus on distortion pedals. The Fulltone OCD, which serves as the foundation of his sound, is a renowned pedal but can be somewhat pricey at around $300 new. An excellent alternative is the “JOYO Ultimate Drive,” which mimics the OCD circuit and can be found for under $100 while effectively reproducing the midrange push characteristic of the OCD.

Additionally, the Boss Blues Driver (BD-2) is relatively affordable, making it a good choice to incorporate directly. If you’re looking to save costs, exploring the used market for BOSS or considering custom versions like the “JHS Mod BD-2” can also be effective.

To recreate the oscillating noise of the Nano Big Muff, the Electro-Harmonix Big Muff Nano series can be purchased for around $100 new. If you plan to use oscillation or noise effects during live performances, it’s advisable to practice handling it safely in a rehearsal studio beforehand.

If you can’t afford to gather all the pedals, compact multi-effects units like BOSS’s “GT-1” or Zoom’s “G3Xn” are excellent options. These can cover overdrive, fuzz, and even EQ adjustments, allowing for experimental sound creation all in one unit.

Regarding guitars, the Fender Player Stratocaster is relatively accessible at around $800 new. If you’re looking for a more budget-friendly option, the Squier Classic Vibe Stratocaster, priced around $500, is highly recommended. It can deliver the bright tones characteristic of Fender guitars, bringing you quite close to Uchiyama Short’s Strat sound.

For the Mustang, models like the Squier Vintage Modified Mustang or Classic Vibe series can be found for about $300 to $500, making them suitable for recreating the lively sound needed for live performances.

For amplifiers, the “BOSS Katana” series is recommended as an alternative to the Kemper. Specifically, the Katana-50 MkII can be purchased for around $300 and offers built-in effects and amp modeling capabilities, allowing for flexible tone creation similar to the Kemper. This makes it suitable for both home practice and live performances.

In summary, by assembling “distortion pedals,” “Fender-style guitars,” and “simple amp models,” you can effectively recreate the sound of Singers High. The ability to approach a similar tone without investing in expensive gear is one of the appealing aspects of Uchiyama Short’s sound creation.

With this combination, you can recreate the sharp cutting tones and prominent lead sounds characteristic of Singers High while keeping your budget in check.

Summary and Conclusion

In summary, Uchiyama Short’s sound creation can be distilled into the principle of “embedding maximum expressiveness within a simple structure.” His pedalboard consists of just four distortion effects, he uses the Kemper for amplification, and his guitar selection is limited to Fender and Rickenbacker models. This reduction of unnecessary elements has shaped his unique sound.

Thus, it is more about “how to play” and “which frequencies to emphasize” rather than the luxury of the equipment itself.

His approach of using two OCDs is particularly symbolic; one is always on to create a foundation, while the other is used for accentuation, allowing for control over the thickness and presence of the sound. The addition of the Blues Driver’s flexible distortion and the Big Muff’s oscillating noise enriches the overall sound of the band.

This “clear division of roles” in pedal usage is a practical and highly reference-worthy style for guitarists.

Moreover, his guitar selection reflects a similar philosophy. By using the versatility of the Stratocaster, the liveliness of the Mustang, and the shimmer of the Rickenbacker, he can adapt the colors and nuances of the songs. His rational approach to providing the optimal tone for each band song adds depth to the sound.

Equally important is his perspective on EQ and mixing. Uchiyama Short focuses on achieving a “sound that cuts through the mids,” strongly considering the interplay between guitars and the overall band sound. While relying on the corrections made by the PA and engineer, he controls the frequency range to ensure his sound stands out, showcasing a professional’s insight.

This philosophy of sound creation is something that cannot be achieved merely through expensive gear; it is a critical point for guitarists to learn.

In conclusion, Uchiyama Short of Singers High has successfully achieved “maximum effect with minimal equipment.” By adopting this mindset, beginners and intermediate players can deepen their understanding of their sound and significantly enhance their presence in band or solo performances.

If you aspire to his sound, start by gathering simple distortion pedals and acquiring a Fender-style guitar. Then, focus on “how to play” and “how to make it sound,” and you will surely get closer to the sharp sound characteristic of Singers High’s guitarist.

Ultimately, the charm of his sound creation lies in its “simplicity yet depth.” This reflects the philosophy and attitude of the player, which is evident in the sound. Learning from Uchiyama Short’s sound creation is akin to learning about “what it means to be a guitarist.”