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

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Introduction (Overview of Tone)

SUGA, the guitarist of dustbox, has been a pivotal figure in the melodic punk scene since the late 1990s. His playing style is characterized by a blend of fast-paced chord work alongside delicate arpeggios and lead guitar, striking a balance between speed and emotional depth in his music.

In iconic songs like “Tomorrow,” “Right Now,” and “Sun which never sets,” he creates an emotional soundscape that shines in both live venues and stadiums by layering the powerful drive of Marshall amps with clean arpeggios. His ability to combine simple chord strumming with effects like compression, reverb, and delay adds a rich texture to the band’s sound, making it one of his most appealing traits.

SUGA’s tone is defined by a delicate balance of “not overly distorted, yet with a strong core,” primarily derived from the midrange presence of amps like Marshall and Bogner. His pedalboard features a combination of pedals from brands like One Control and Mad Professor, adding different colors to each song.

Through this approach, SUGA successfully merges the “speed of melodic punk” with “warm expressiveness,” forming the core of the dustbox sound. Guitarists looking to emulate his tone should understand that it’s not just about relying on amp distortion; rather, it involves creatively layering effects and balancing EQ settings.

In the following sections, we will delve into SUGA’s gear, including amplifiers, guitars, effects, and specific sound design settings. This content is essential for dustbox fans and guitarists eager to explore the world of melodic punk sound design.

▶ Search official YouTube videos of dustbox

List of Amplifiers and Features

SUGA primarily uses Marshall amplifiers, with the Marshall JVM210H being his main choice. This amp features a two-channel design that allows for a diverse range of sounds, making it highly adaptable for both live performances and studio recordings. It is known for its ability to produce everything from clean tones to high-gain drive sounds.

Occasionally, he also employs the Bogner Ecstasy, which provides a richer and creamier tone. This amp adds the emotional expressiveness necessary for dustbox’s music, enhancing the overall sound.

Types of Guitars Used and Features

SUGA’s main guitar is the ESP “VIPER Original Model.” The VIPER features a double-cutaway body shape similar to an SG, offering both playability and a powerful sound. Notably, SUGA’s model utilizes a “Honduras Mahogany Body,” which contributes to its rich mid and low frequencies, serving as a solid foundation for the energetic sound of dustbox.

The neck is constructed from “Hard Maple 3P Neck,” and the fingerboard features “Rosewood 24F w/ White Binding,” ensuring smooth playability and durability. With a scale length of 628mm, it closely resembles a Les Paul, providing powerful resonance and stability. Additionally, the bridge includes “GOTOH 104B & GE101Z,” which ensures tuning stability and sustain.

The pickup configuration consists of “Seymour Duncan SH-2n (Neck)” and “Seymour Duncan SH-11 (Bridge),” delivering a clear and warm tone from the neck and a powerful distortion with a midrange focus from the bridge. The SH-11 is particularly suited for modern hard rock and punk sounds, producing a well-defined drive even in dustbox’s fast-paced tracks.

Available in “Candy Apple Red,” this guitar stands out on stage. While SUGA primarily uses this model, he may also incorporate other ESP VIPERs or guitars from different brands depending on the performance, but it is assumed that this ESP model is central to his setup.

dustbox’s music is characterized by a balance of speed and melody, and SUGA’s guitar plays a crucial role in achieving this with “thick chords” and “delicate melodic lines.” The specifications of this VIPER model support that sound design perfectly.

Thus, SUGA’s sound design is centered around the ESP VIPER, which is assumed to support the powerful sound unique to dustbox.

Effects and Pedalboard Setup

SUGA’s pedalboard is designed to achieve the necessary “tight distortion,” “not overly deep spatial effects,” and “immediate switching for live performances” that melodic punk requires. At the core of his setup is the “One Control Crocodile Tail Loop OC10,” a loop switcher that manages a vast array of effects, allowing for smooth transitions between songs without interrupting the flow during fast-paced numbers.

The distortion section is primarily built around boosters. The “One Control Granith Grey Booster” serves to push the Marshall JVM and create a powerful drive. Additionally, the “BOOT-LEG GAIN HELPER GHP-1.0” is used to elevate gain levels, adding thickness to fast chord strumming.

For spatial effects, compact pedals like the BOSS DD-6 (delay), Mad Professor Silver Spring Reverb, and One Control Prussian Blue Reverb are utilized. These effects are set to provide a tight presence without excessive depth. It is assumed that SUGA uses two types of reverb to adjust the sound field for studio and live settings.

Moreover, tremolo effects such as the BOSS TR-2 and Mad Professor Mellow Yellow Tremolo, along with the MOOER Pure Octave, have been confirmed. These add a spice of variation to the songs, enriching simple chord progressions. The Mad Professor Forest Green Compressor is used to tighten the sound, while KORG VP-10 or XVP-10 volume pedals adjust dynamics, further enhancing live performance expressiveness.

Power supplies like the EX-PRO PS-1 and VITAL AUDIO VA-08 MK2 ensure stable power delivery, preventing sound dropouts or noise during dustbox’s intense performances, showcasing a professional-level consideration.

In summary, SUGA’s board is structured around “a foundation of simple distortion plus spatial effects, with boosts and variations added as needed,” supporting the dynamic developments required in dustbox’s music. While some information is assumed, it is inferred from live photos and gear explanation articles that this setup is accurate.

In conclusion, SUGA’s pedalboard is a practical system focused on supporting the fast-paced punk sound unique to dustbox.

Tone Settings, EQ, and Mixing Approaches

SUGA’s sound design follows a clear direction: “driving the Marshall amp, adjusting with boosters and compressors, and adding space with reverb and delay.” Since dustbox’s songs are fast-paced, with a focus on chord strumming and riffs, it is crucial to set the midrange prominently to avoid the sound getting buried.

For instance, when using the Marshall JVM210H, the GAIN is typically set around 6, while the BASS is kept at about 4 to reduce low-end muddiness. The MID is set between 6 and 7 to ensure presence, while the TREBLE is slightly higher at around 6 to 6.5, and the PRESENCE is kept moderate at 4 to 5 to maintain a balanced sound.

Boosters like the One Control Granith Grey Booster or BOOT-LEG GAIN HELPER are likely activated during solos or sections requiring added thickness, pushing the amp further.

The Mad Professor Forest Green Compressor is used to even out volume differences during strumming, ensuring that the sense of speed is not compromised. It is likely set with a lower sustain and slightly elevated level, allowing for a consistent tone during clean arpeggios in both studio and live settings.

Reverb is used selectively based on the song and venue, with the One Control Prussian Blue Reverb providing a tight echo, while the Mad Professor Silver Spring Reverb emphasizes a natural reverb effect. The amount of reverb is kept shallow, blending into the overall band sound. The delay (BOSS DD-6) is set closer to a short delay, primarily used to thicken lead parts.

In mixing, to achieve the unique “fast-paced three-piece sound” of dustbox, SUGA’s guitar is often panned left and right. His guitar emphasizes the midrange, with EQ adjustments lifting around 2kHz to ensure it stands out without being buried by vocals or drums. Conversely, low-end frequencies below 100Hz are reserved for the bass, while the guitar’s presence is centered around the 200Hz to 500Hz midrange.

During live performances, SUGA actively utilizes channel switching on the Marshall JVM, employing the clean channel for arpeggios and intros, OD1 for main backing, and adding boosts for lead tones, creating dynamics tailored to each song. Notably, in fast-paced numbers like “Right Now” and “Hurdle Race,” he often plays chords with a crunch-like setting to maintain the sense of speed.

In recording, it is assumed that the direct amp sound is complemented by spatial effects added later. The depth of delay and reverb is likely tightened during mixing, ensuring that even in a trio setup, the sound fills the space effectively.

Overall, SUGA’s sound design consistently adheres to the principles of “not overly distorted while maintaining core presence,” “focusing on midrange,” and “keeping spatial effects minimal.” Given that dustbox’s music relies on balancing speed and melody, the guitar settings embody this philosophy.

Affordable Alternatives to Recreate the Tone

SUGA’s sound is built around professional-grade gear like the ESP VIPER and Marshall JVM, but for beginners or intermediate players looking to achieve a similar nuance, utilizing more accessible gear is a practical approach. The key is to focus on “distortion that emphasizes midrange,” “speedy response,” and “spatial effects that aren’t overly deep.”

For guitars, since the ESP VIPER is expensive, realistic alternatives include the “Epiphone SG Standard” or “ESP LTD Viper Series.” Both feature mahogany bodies, balancing the thickness of a Les Paul with the playability of an SG, making them suitable for dustbox’s chord work. Upgrading the pickups to Seymour Duncan models could yield even closer sound.

Regarding amplifiers, the high-end Marshall JVM210H can be substituted with models like the “Marshall DSL20HR” or “Marshall Code50.” The DSL is a tube amp capable of achieving crunchy to high-gain tones without excessive distortion, making it great for punk sound reproduction. The Code series, while modeling amps, are more budget-friendly and versatile for home practice and live settings.

In terms of effects, assembling BOSS’s compact series can create a stable sound at a lower cost. For instance, using the “BOSS DS-1” to lightly push the amp and adding a “BOSS DD-7” for tight delay can help achieve the fast-paced sound characteristic of dustbox. The “BOSS RV-6” is a versatile reverb that can sufficiently replace the Silver Spring Reverb. For boosting, the “Xotic EP Booster” is popular for naturally enhancing sound pressure in Marshall-type amps.

Additionally, utilizing multi-effects units can be a great option. Devices like the Line 6 POD Go or BOSS GT-1000CORE are available for around $500 to $1,000 and offer extensive amp simulation and spatial effects, making it possible to recreate the dustbox sound comprehensively. This option is particularly advantageous for home recording or studio practice.

Thus, with an investment of around $500, beginners can get quite close to SUGA’s sound. The important points to keep in mind are “not to rely too heavily on amp distortion, but to shape the sound with boosters and compressors,” and “to keep spatial effects minimal.” By combining these alternative pieces of gear, one can experience a sound that embodies the speed and thickness characteristic of dustbox.

By utilizing gear available in the $500 to $1,000 range, it is possible to create a sound quite similar to SUGA’s. The Marshall DSL series and BOSS effects are particularly effective choices for guitarists seeking the speed and energy characteristic of dustbox.

Summary and Conclusion

The essence of SUGA’s sound design lies in the “powerful drive based on Marshall” and the “simple yet calculated combination of effects.” dustbox’s music embodies both speed and melody, necessitating that the guitar maintains a core presence without excessive distortion, while effects play a significant role in altering the atmosphere of the songs.

His main guitar, the ESP VIPER, combines a mahogany body with Duncan pickups, resulting in a powerful sound with pronounced midrange presence. This supports the dustbox’s signature “sound that doesn’t get buried in speed.” The Marshall JVM and rack systems provide stability and wide-ranging expressiveness, enabling consistent sound design in both live and studio settings.

Regarding the pedalboard, the practical setup reinforces sound with boosters and compressors while coloring the space with reverb and delay. The choice of brands like One Control and Mad Professor reflects a commitment to “simple yet effective sound shaping.” The use of reliable and responsive pedals from brands like BOSS further emphasizes this approach.

For beginners looking to replicate SUGA’s sound, it is not necessary to invest in high-end gear. More affordable products like the Marshall DSL or BOSS DS-1 can suffice. The key is to focus on “emphasizing midrange in EQ,” “achieving a drive that isn’t overly distorted,” and “keeping spatial effects minimal.” Understanding that SUGA’s sound is built not only on gear but also on settings and playing style will help in achieving a more authentic replication.

For guitarists aspiring to recreate the dustbox sound, SUGA’s sound design offers invaluable insights. It is not merely about high gain; rather, it involves crafting a sound that enhances speed and considering pedal placement and amp selection for live responsiveness. This commitment to simplicity and practicality is what defines the essence of dustbox.

If you aim to achieve a melodic punk sound like dustbox, starting with a Marshall-type amp and simple boosters/reverbs is highly recommended. Pursuing settings that do not overly distort the sound while preserving the song’s sense of speed will be the first step towards approaching SUGA’s tone.