[Tom-H@ck] How to Recreate the OxT Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tom-H@ck is a renowned creator and guitarist in the anime song scene, known for his work with the band OxT alongside Masayoshi Oishi. Together, they have produced iconic tracks that resonate with anime fans, such as “Welcome to Japari Park” and “GO CRY GO.”

One of the most notable characteristics of his guitar sound is the balance between digital precision and the warmth of a full band sound. With a diverse playing style that ranges from metalcore riffs to funk-inspired cuts and emotional leads, Tom-H@ck consistently aims to maintain both the catchy essence of anime songs and the powerful impact of rock music.

For instance, in “Clattanoia,” the heavy riffs stand out prominently, and during live performances, he utilizes the Kemper Profiler for meticulous amp simulation that dominates the stage. In the studio, he employs high-end preamps like the Millennia TD-1, ensuring that the midrange remains prominent in the mix.

Moreover, OxT’s music blends EDM elements with live instrumentation, where the guitar plays a crucial role in elevating the tracks into a rock domain. Studying Tom-H@ck’s sound design not only benefits his fans but also serves as a significant learning opportunity for guitarists venturing into anime and modern rock.

In the following sections, we will thoroughly analyze the amplifiers, guitars, and effects he uses, providing insights into how to recreate his sound.

▶ Search official YouTube videos of OxT

List of Amplifiers and Features

The core of Tom-H@ck’s amplifier setup for OxT consists of the Kemper Profiler. He particularly uses the “Power Rack” and “Stage” models, and has even produced his own rigs for the Kemper, confirming its primary role in both live and studio settings. His social media posts and sales information reveal practical settings directly related to his sound design.

The advantage of the Kemper lies in its ability to replicate multiple amp characters in one unit, making it indispensable for OxT’s live performances, which require different sounds for each song. The Kemper allows for seamless transitions between the heavy riffs of “Clattanoia” and the bright, poppy cuts of “Kimi Janakya Dame Mitai.”

In home recording and studio work, the Millennia TD-1 plays a significant role. This high-quality DI/preamp has been confirmed through his social media posts as part of his recording chain, enhancing the precision of his home recordings and mixes. By combining the Kemper with the TD-1, Tom-H@ck achieves a sound that balances digital simulation with analog warmth.

There have been assumptions regarding his past use of various Marshall and Mesa/Boogie amps, with some evidence from fan analyses and stage photos suggesting their presence. However, recent activities show a clear focus on the Kemper, with a trend toward connecting it directly to the PA system without bringing traditional amp heads to live performances.

Thus, it can be said that Tom-H@ck’s sound design revolves around the latest digital amps and high-end preamps, showcasing a flexible and practical approach. While identifying every amp he has used is challenging, it is nearly certain that the Kemper and Millennia TD-1 are central to his setup. Other tube amps are based on some photographic evidence and fan analysis, suggesting they “may have been used.”

Types of Guitars Used and Features

The main guitar used by Tom-H@ck is the “Tom-H@ck Model” Prototype, developed in collaboration with T’s Guitars. He has mentioned this model on social media, and it has been confirmed to be used in OxT’s live performances. Although it is still in the prototype stage and not commercially available, it features the exquisite craftsmanship typical of T’s Guitars and high playability that supports a modern progressive approach.

This guitar is designed to withstand downtuning and complex riffs while also accommodating fast cuts and lead play. OxT’s songs require a wide range of tones, from heavy metal sounds to transparent cleans, all achievable with this single instrument, reflecting the thought behind its design.

Additionally, studio photos from a KORG interview show multiple guitars, suggesting that he does not rely solely on one model but switches between different guitars depending on the context. While specific model numbers are not disclosed, it is evident that he primarily uses Strat-style shapes and modern-spec guitars.

Tom-H@ck tends to view guitars as tools to achieve the necessary tones for each song, leading him to utilize multiple guitars rather than sticking to a single fixed model. This approach ensures stability during live performances while allowing for diverse tones in the studio, confirming that he owns guitars beyond just his signature model.

In summary, the main guitar is the T’s Guitars “Tom-H@ck Model” prototype, while other guitars (model numbers undisclosed) are used as secondary instruments based on photos and interviews.

Effects and Pedalboard Setup

While the Kemper Profiler is central to Tom-H@ck’s sound design, the effects incorporated before it also play a crucial role. Based on his social media posts and analyses from fans, a distinctive effects setup emerges.

First, he has explicitly mentioned the The Tone God “TubeUlent”, a tube-based preamp/boost pedal that is confirmed to be part of his recording chain. This pedal adds warmth and harmonic richness that cannot be achieved with the Kemper alone, contributing to the “heat” of Tom-H@ck’s guitar sound.

Additionally, analysis of live photos and fan submissions suggests the use of a Dunlop Cry Baby Wah Pedal (possibly the Slash SW95 model). This wah is likely used to enhance the expressiveness of his lead guitar work. The model’s accuracy is moderate, but footwork during live performances has been confirmed.

Moreover, live photos from around 2012 indicate the presence of a DigiTech “Whammy” (red model), Eventide “ModFactor”, and Z.VEX “Fuzz Probe”. These pedals likely serve to create modulation and fuzz effects, integrating the guitar into the dramatic developments typical of anime songs.

It is also noted that he may have used a CAJ “Programmable Switcher” for controlling his live board. Given the need to efficiently switch between multiple effects for OxT’s songs, such a switching system is essential.

Overall, Tom-H@ck consciously incorporates a structure of “digital simulator + analog preamp + individual effects for expressiveness,” suggesting a hybrid board built from confirmed and assumed information.

Tone Settings, EQ, and Mixing Approaches

The core of Tom-H@ck’s sound design lies in the operation of multi-simulations based on the Kemper Profiler and the combination of preamps and EQ to add an analog quality. OxT’s music features a pop and clear sound typical of anime songs, alongside the heaviness of metalcore, making simple distortion insufficient. Therefore, he layers guitar sounds for different uses, ensuring they do not get buried in the mix.

Specifically, he clearly separates three systems within the Kemper: “Rhythm,” “Lead,” and “Clean.” The rhythm sound is set with a thicker mid-low range to emphasize the power of power chords. For leads, he boosts the 2kHz to 4kHz range, allowing solos to cut through the mix. The clean sound is heavily compressed to ensure clarity without interfering with synths or vocals.

Moreover, the introduction of the Millennia TD-1 and TubeUlent in his home recording chain is a clever way to add harmonics and “tube-like” qualities that are hard to achieve with the Kemper alone. For example, lightly boosting the Kemper’s clean sound with the TubeUlent adds a touch of saturation, resulting in a pleasant thickness. This is a crucial element supporting the “intermediate texture of digital and analog” found in OxT’s music.

Regarding EQ processing, he distinctly uses different settings for live and studio work. In live settings, he cuts the 250Hz to 400Hz range to prioritize clarity and balance across the PA system. Conversely, in the studio, he retains low-end frequencies to create a “low-end wall” in conjunction with the kick and bass during the mixing phase, directly contributing to the power of the riffs in “Clattanoia.”

During the mixing process, he often employs double tracking, panning guitars left and right. By spreading the hard-hitting rhythm guitars across the stereo field while placing melodic leads in the center, he creates a thick soundscape characteristic of OxT. Notably, in the build-up sections before the chorus, he subtly adds delay and modulation to the guitars, enhancing spatial depth.

Another noteworthy aspect is his significant adjustment of distortion levels depending on the song. In “Kimi Janakya Dame Mitai,” he opts for a crunchier, lighter distortion to maintain a pop-like clarity. In contrast, “GO CRY GO” features a high-gain setting to prioritize power. His flexibility in sound design, tailored to each song’s world, shines through.

In summary, Tom-H@ck’s sound design blends “digital reproduction” with “analog warmth,” characterized by flexible EQ and gain adjustments based on the song’s atmosphere. This is not merely about equipment selection but reflects an engineering mindset that enables him to achieve such a distinctive sound.

Affordable Alternatives to Recreate the Tone

While achieving Tom-H@ck’s sound may require high-end gear like the Kemper and Millennia TD-1, many players may find these options financially unrealistic. Here, we will introduce commercially available equipment priced between $100 and $1,000 that can help you approach the “OxT sound.” This section is particularly aimed at beginner to intermediate players, utilizing standard brands like BOSS and LINE6 for alternative solutions.

As a substitute for the Kemper, the LINE6 Helix Stomp and BOSS GT-1000CORE are strong contenders among compact multi-effects processors. These units come equipped with multiple amp models, allowing you to create the three essential sounds needed for OxT’s music: high-gain for rhythm, boost for leads, and compression for clean tones. The Helix, in particular, supports IR (Impulse Response), making it easier to recreate the spatial sound design that Tom-H@ck achieves.

If you’re looking for preamp qualities similar to the Millennia TD-1 or TubeUlent, the BOSS Blues Driver BD-2 and Electro-Harmonix Soul Food are recommended low-gain boosters/overdrives. Just placing these before a clean sound can soften the coldness typical of digital tones and add pleasant harmonics.

For wah sounds, the Dunlop Cry Baby Standard GCB95 is a classic choice. Although the Slash SW95 model he reportedly uses is pricier, the GCB95 can be purchased for around $100 and covers the basic wah sound effectively, making it a great tool for adding expression during lead play.

Additionally, for special effects, the BOSS PS-6 Harmonist is quite handy. This pitch shifter can replicate the Whammy-like behavior, serving as a substitute for the red Whammy that Tom-H@ck has used in the past. Similarly, the BOSS MD-200 can cover a wide range of modulation effects, effectively emulating the Eventide ModFactor.

In summary, a combination of “building a foundation with Helix Stomp or GT-1000CORE and adding expression with BOSS BD-2 or Cry Baby” provides a pathway to achieve a sound similar to Tom-H@ck’s at a relatively affordable price. This setup allows you to adequately recreate the powerful rhythms and sparkling leads found in OxT’s music.

Summary and Conclusion

In reviewing Tom-H@ck’s sound design, its essence lies in the “fusion of digital and analog.” While centered around cutting-edge digital amps like the Kemper Profiler, he combines them with analog gear such as the Millennia TD-1 and The Tone God “TubeUlent” to add a “raw warmth” that prevents the sound from becoming overly mechanical. This hybrid approach allows the power of rock and the pop sensibility of anime songs to coexist in OxT’s music.

Moreover, Tom-H@ck is not just a guitarist but also a composer and arranger, which reflects an engineering perspective in his sound design. He organizes rhythm guitars to coexist with the bass by managing the low end, emphasizes mids for leads to distinguish them from vocal melodies, and delicately handles spatial effects for cleans to design the overall dimensionality of the track. These meticulous decisions culminate in OxT’s unique “thick yet clear” guitar sound.

Looking at the actual gear list, while core components like the Kemper, Millennia TD-1, and TubeUlent are present, the surrounding effects like wahs, fuzz, and modulation pedals vary over time. This reflects Tom-H@ck’s commitment to prioritizing the necessary expressions for each song, indicating a consistent approach to gear selection based on musical necessity.

For players with budget or environmental constraints, utilizing commercially available multi-effects from brands like BOSS and LINE6 can help incorporate the essence of Tom-H@ck’s sound. The key lies in emphasizing specific frequency ranges and how to blend them into the mix, a universal approach applicable regardless of the gear used.

In conclusion, Tom-H@ck’s sound design is not merely about “guitar sound” but is fundamentally about the acoustic design of the entire OxT unit’s music. Studying his playing and gear offers valuable insights not only for replicating anime songs but also for understanding modern guitar sound creation.

Finally, I encourage readers not to aim for an exact copy of Tom-H@ck’s sound but to explore settings based on the discussed gear and EQ concepts to find “a setup that suits your music.” This process will undoubtedly be the first step toward achieving a creative sound design akin to his.