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

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Introduction (Overview of Tone)

AKIHIDE, the guitarist of BREAKERZ, is known for his melodic and ethereal tones that captivate listeners. In his solo work, he frequently employs acoustic and nylon-string guitars, weaving delicate arpeggios and lyrical phrases. In contrast, with BREAKERZ, he effortlessly switches between powerful rock sounds and clean tones, showcasing a wide range of expression.

Iconic songs like “SUMMER PARTY” and “Everlasting Luv” highlight his use of the Fender Stratocaster, producing shimmering clean to crunch sounds that leave a lasting impression. In the studio, he sometimes opts for a Gibson SG, which supports the song’s structure with its thick humbucker sound. Additionally, his use of 12-string guitars from Taylor and Morris in acoustic tracks contributes to a sound world that transcends the band’s typical boundaries.

What makes his sound design particularly noteworthy is his strategic differentiation between live performances and studio recordings. During live shows, he utilizes distortion and spatial effects to create a powerful sound, while in the studio, he combines amp simulators and various acoustic instruments to pursue different sonic landscapes for each project. As a result, AKIHIDE’s sound is celebrated by fans as a unique blend of “ethereal quality and strength.”

To recreate his sound, it is essential to focus on the clarity of the clean tone, appropriate compression, and the spaciousness provided by effects. By combining classic spatial effects like the BOSS DD series and CE-1, one can achieve a simple yet deep sound design.

To truly grasp his playing style and tonal tendencies, it is important to experience his official videos. You can search for BREAKERZ’s official YouTube videos using the link below.

▶ Search official YouTube videos of BREAKERZ

List of Amplifiers and Features

AKIHIDE’s choice of amplifiers for live performances and recordings is pivotal in crafting his unique sound. He skillfully alternates between Fender’s clean tones and British-style crunch sounds. Notably, during live shows, he primarily uses the Fender ’68 Deluxe Reverb and JMI 30/6, while in the studio, he employs the Universal Audio Apollo Twin MkII for diverse sound creation.

Fender ’68 Deluxe Reverb is a model that inherits the traditional Blackface sound while providing the stability characteristic of reissues. Its bright clean tones and sweet sounds when lightly overdriven pair exceptionally well with AKIHIDE’s Stratocaster. This amplifier’s character is prominently reflected in his arpeggios and transparent chord work in representative songs.

JMI 30/6, a descendant of the VOX AC30, excels at producing a punchy British rock crunch sound. In live settings, it is paired with the Deluxe Reverb, allowing one amp to handle clean tones while the other delivers crunch, creating a thick and dimensional sound. This unique push from the JMI is particularly effective in BREAKERZ’s powerful rock numbers.

In the studio, AKIHIDE utilizes the Universal Audio Apollo Twin MkII with plugins that simulate Marshall Plexi and JCM2000. This setup allows for professional-quality sound reproduction even in home recording environments, accommodating everything from hard rock riffs to delicate ballad tones. The presence of this amp simulation plays a significant role in the soundscapes of AKIHIDE’s solo works.

Overall, his amplifier selection is built on two pillars: “live performances with real amps for atmospheric presence” and “studio recordings using simulations for detailed sound design.” Both approaches are flexibly switched according to musical context, emphasizing the importance of finding optimal solutions for each scenario. This information is corroborated by interviews and live photos, though some aspects are assumed based on available evidence.

Types of Guitars Used and Features

At the core of AKIHIDE’s sound design are numerous Fender Stratocasters and vintage instruments. His choice of guitars is distinctly divided between live performances and studio work, selecting instruments with optimal character for each piece and stage.

Fender Custom Shop ’62 Stratocaster Heavy Relic frequently appears in live settings. Its relic finish provides a vintage feel, and its dry tone is evident in BREAKERZ’s signature songs, where he skillfully navigates between clean and crunch tones. Live photos confirm its status as one of his main guitars.

Another Fender Custom Shop Stratocaster (different unit) also plays a significant role in live performances, suggesting that he differentiates between them based on tonal variations. Among fans, the Fender Custom Shop Stratocaster, affectionately nicknamed “Shiro Alice,” is featured on his official website, indicating its suitability for softer tones in ballads and mid-range-focused songs.

For recordings, he primarily uses a Gibson SG (1974 model). The thick and sticky tone characteristic of humbuckers is indispensable for BREAKERZ’s rock numbers. Additionally, in acoustic arrangements, he employs a Taylor 814e and a Morris 12-string, creating a fantastical and expansive resonance.

In more classical contexts, he incorporates the renowned Spanish-made José Ramírez 4N-CWE. The softness of the nylon strings adds depth to his solo work and acoustic-oriented songs. Uniquely, he also uses the Stars ELS-1RD (electric sitar), which plays a role in adding a distinctive ethnic color to his recordings.

As evidenced by this lineup, AKIHIDE does not rely on a single main guitar but meticulously selects the most suitable instrument for each song and context. This results in a sound that always feels fresh and expressive. These guitars are established based on actual usage photos and interviews, forming a foundational setup.

Effects and Pedalboard Setup

Another pillar supporting AKIHIDE’s sound design is his selection of effects and pedalboard configuration. There is a clear distinction between live and recording setups, with an emphasis on operability and stability in live performances, while pursuing vintage warmth and depth in studio recordings.

His live pedalboard is centered around the BOSS ES-5 switching system, allowing for instant switching between multiple effects, accommodating the dynamic nature of BREAKERZ’s music. In the distortion section, he uses the VEMURAM Jan Ray as an overdrive, achieving a natural distortion that extends the clean tone. For more intense distortion sounds, the Bogner Ecstasy Red is employed, delivering powerful lead tones.

Spatial effects are primarily handled by the BOSS DD-3 and Way Huge Echo-Puss. The former provides clear digital repeats, while the latter adds warmth and modulation typical of analog delays. Additionally, he prominently features the Digitech Whammy and Jim Dunlop Cry Baby in live settings, enhancing his solos with distinctive character. For power supply, he utilizes the Free The Tone PT-3D to ensure stable power delivery, maintaining a noise-free sound during performances.

Conversely, his recording setup leans heavily toward vintage preferences. He actively employs classic units like the Roland SDE-3000 and Electro-Harmonix Deluxe Memory Man, creating depth and a unique atmospheric quality. The BOSS CE-1 chorus and classic pedals like the Budda Wah and Ibanez Tube Screamer add color to his recordings.

Recently, he has been seen experimenting with BOSS’s newer models, such as the DD-500 and SDE-3000D, indicating an interest in contemporary gear. This approach allows him to incorporate both analog warmth and the latest digital technology, achieving flexible sound design.

Overall, AKIHIDE’s pedalboard represents a balance of “diversity and responsiveness in live settings” and “depth and expressiveness in recordings,” with this flexible switching supporting his sound.

Tone Settings, EQ, and Mixing Approaches

AKIHIDE’s sound design encompasses not only his choice of guitars and effects but also amp settings, EQ balance, and creative approaches during the recording and mixing stages. This results in a tone that combines ethereal spaciousness with the strength characteristic of a rock guitarist.

For his clean tone, he typically uses a Fender-style amp (’68 Deluxe Reverb) with treble set around 5-6, mids at about 4, and bass around 3. By delicately controlling the volume and tone on the guitar, he achieves a bright and clear clean sound. Particularly when paired with a Stratocaster, the single-coil transparency is emphasized, making it suitable for arpeggios and chord work.

In contrast, his crunch to lead tones are crafted using an AC30-style amp like the JMI 30/6, producing a punchy British rock sound. By cranking the amp’s volume for light overdrive and pushing it with overdrive pedals (VEMURAM Jan Ray or Ibanez Tube Screamer), he adds sustain and thickness. This allows for smooth transitions from sharp cutting with the bridge pickup to warm, fat leads with the neck pickup.

His use of spatial effects such as delay and reverb is also distinctive. In live settings, he sets the BOSS DD-3 to a shorter delay time, creating a tight atmosphere that maintains rhythm. Conversely, in recordings, he employs the Roland SDE-3000 and Electro-Harmonix Deluxe Memory Man to add deep, expansive reverberation. This transforms simple arpeggios into a three-dimensional soundscape.

During the mixing stage, he employs techniques that highlight stereo positioning, placing the clean Stratocaster on one side and the SG’s humbucker sound on the other, adding depth to the overall track. Acoustic guitars, 12-string guitars, and electric sitars are positioned centrally or in the background, supporting the ethereal resonance.

In terms of EQ processing, it is likely that the recording engineer focuses on clarifying the mid-low frequencies to avoid muddiness in the low end. Especially in songs featuring both electric and acoustic instruments, emphasizing the 2-4kHz range ensures attack while keeping the low end subdued to prevent interference with vocals.

Additionally, in his solo work with the nylon-string guitar (José Ramírez 4N-CWE), he blends condenser mic recordings with DI, smoothing out the highs with EQ to achieve a listener-friendly tone. This approach exemplifies how he maintains the softness characteristic of classical guitars while adapting to modern mixes.

In summary, AKIHIDE’s sound design can be distilled into three key points: “depth through EQ and spatial processing,” “utilizing amp characteristics for distortion,” and “leveraging the character of each instrument for positioning.” These elements are believed to contribute to the unique sound found in BREAKERZ and his solo works.

Affordable Alternatives to Recreate the Tone

While AKIHIDE’s gear includes high-end models from Fender Custom Shop and vintage SGs, as well as expensive effects, acquiring all of these is not realistically feasible for many. Therefore, we will introduce models that can relatively affordably recreate the “BREAKERZ AKIHIDE sound,” focusing on gear accessible to beginners and intermediate players.

Starting with guitars, the key to AKIHIDE’s iconic sound lies in the Stratocaster. While the Fender Custom Shop models are quite expensive, alternatives like the Fender Player Stratocaster (made in Mexico) or Squier Classic Vibe Stratocaster are excellent choices. Both maintain the characteristic transparency of single-coils while being budget-friendly, allowing for similar tones depending on the effects and amp used.

Regarding amplifiers, while replicating the Fender ’68 Deluxe Reverb can be costly, alternatives like the BOSS Katana-50 MkII or Fender Champion 40 modeling amps are recommended. These can cover a wide range from clean to crunch and include built-in effects for spatial processing, making them suitable for home recording and small live performances.

For effects, since Jan Ray and Bogner are high-priced, consider more accessible alternatives. For overdrive, the BOSS BD-2 Blues Driver or Ibanez TS9 Tube Screamer are strong candidates. The former provides a natural and warm distortion, while the latter focuses on mid-range sounds, allowing for clean boost applications similar to AKIHIDE’s style.

For delay, the successor to the DD-3, the BOSS DD-8, or the multifunctional and cost-effective NUX Time Core Deluxe are recommended. Both offer clarity and warmth, enhancing the depth of arpeggios and solos.

For wah pedals, the classic Jim Dunlop Cry Baby Standard is affordable and a staple choice. While it may not perfectly replicate the nuances of Budda Wah or high-end wahs, it is sufficient for enhancing expression. If you want to strengthen spatial effects, adding the TC Electronic Hall of Fame Reverb or BOSS RV-6 can help create a more ethereal atmosphere.

By assembling these alternative pieces of gear, you can experience “AKIHIDE’s transparency and ethereal spaciousness” for under $1,000. The key is to focus on “clean tones with single coils + light distortion,” “spatial effects through delay,” and “expression through wah.” By keeping these elements in mind, you can enjoy a BREAKERZ AKIHIDE-like tone without needing high-end gear.

Summary and Conclusion

The essence of AKIHIDE’s sound design lies in his ability to balance “ethereal transparency” with “the thickness of powerful rock.” Centered around the Fender Stratocaster, he utilizes the shimmering clean tones of single-coils while incorporating overdrive and delay to add depth, creating diverse expressions for each song. This allows BREAKERZ’s music to embody both pop sensibility and rock intensity, leaving a strong impression on listeners.

Moreover, his distinct approach to live performances and recordings is noteworthy. In live settings, he combines the Fender ’68 Deluxe Reverb and JMI 30/6, focusing on responsiveness and dynamism. In the studio, he employs the Universal Audio Apollo Twin MkII’s amp simulations and vintage effects to craft meticulously detailed and expansive sounds for each project. This “flexible gear selection based on context” is what makes his sound truly unique.

His use of effects is also highly symbolic. The natural distortion from Jan Ray and Tube Screamer, the three-dimensional delay processing from DD-3 and SDE-3000, and the expressive capabilities of Cry Baby and Whammy all function not merely as effect chains but as “colors that tell the story of the music.” His adept use of spatial effects, particularly in transforming simple arpeggios into deep emotional experiences, is a hallmark of his sound design.

Additionally, his proactive incorporation of acoustic and classical guitars is significant. The sounds produced by the Taylor 814e and José Ramírez 4N-CWE shape a unique world in his solo work and ballads. The fusion of these with electric guitar sounds ensures that AKIHIDE’s music remains fresh while maintaining a cohesive identity.

When attempting to recreate AKIHIDE’s sound, it is essential to focus not on acquiring identical gear but rather on achieving “clean tones with single coils,” “natural sustain with overdrive,” “spatial processing through delay,” and “the strategic use of different guitars for various contexts.” By keeping these four points in mind, one can get closer to the essence of his sound.

Ultimately, AKIHIDE’s sound design does not rely on the opulence of technology or gear but rather on the sensitivity of the player and the flexibility to find optimal solutions for each scenario. This approach is why many fans feel the “worldview unique to his sound.” If you plan to perform BREAKERZ’s songs, be sure to consider the points mentioned above and experiment with your gear. The essence of AKIHIDE’s sound will surely resonate within your music.