[Atsushi Horie] How to Recreate the Straytena Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Atsushi Horie, the frontman and guitarist of Straytena, is known for his unique presence and sound. His playing style is often described as “supportive yet leading,” effortlessly transitioning between powerful riffs and delicate clean tones. This duality is a significant aspect of his appeal.

In iconic tracks like “Melodic Storm” and “SIX DAY WONDER,” Horie’s sound is characterized by a thick tone based on Marshall amp distortion, combined with ethereal delays and reverbs that create a floating sensation. He often employs multiple pedals on stage, showcasing a meticulous attention to detail by adjusting settings to craft nuances specific to each song.

Horie primarily uses Gibson SG guitars, alongside Telecasters and Stratocasters. For distortion-heavy songs, he opts for the SG or Telecaster, while the Stratocaster is his choice for clean-focused tracks, reflecting his commitment to achieving the ideal tone for each scene.

Additionally, his use of pedals from brands like FREE THE TONE and JHS Pedals helps prevent tone loss while building a three-dimensional sound. The incorporation of multiple JHS 808 and SuperBolt pedals exemplifies Horie’s approach to sound design, allowing him to switch settings even with the same equipment, further enhancing his sonic palette.

Horie’s sound serves as a cornerstone for Straytena’s music, balancing the power of alternative rock with the spatial expressions typical of shoegaze. In the following sections, we will delve deeper into the amplifiers, guitars, and effects he uses, along with beginner-friendly alternatives and setup methods.

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List of Amplifiers and Features

The foundation of Atsushi Horie’s sound lies in his choice of amplifiers. He distinguishes between live performances and recordings, particularly focusing on the combination of Marshall distortion sounds and the clean tones from Roland JC-120.

Since his debut, Horie has favored the Marshall JCM800, a staple among rock guitarists known for its simple yet aggressive and powerful distortion. This amp symbolizes the early sound of Straytena.

He later introduced the Marshall JCM900, which features a modified bias setting and vacuum tubes, allowing for a thicker sound while maintaining clarity. This amp has become prominent in Straytena’s later live performances, showcasing a blend of strength and transparency.

From around 2016, Horie began using the Marshall ASTORIA, which combines vintage tones with modern flexibility, making it suitable for Straytena’s diverse musical repertoire.

For clean tones, the Roland JC-120 is indispensable. Its unique stereo chorus and transparent sound perfectly complement Straytena’s airy clean parts. Recently, Horie has also utilized handmade American amps from Divided by 13 (CJ-11 and LDW 17/39), which provide warm jazz-like tones and high-gain versatility.

Horie’s amplifier setup may appear simple, but it is meticulously designed. By completely separating distortion and clean channels, he prevents tone loss and maximizes compatibility with his pedals and guitars. The combination of Marshall’s rawness and the delicacy of Roland/Divided by 13 allows for the realization of Straytena’s distinctive “powerful yet transparent sound.”

Thus, his choice of amplifiers reflects years of experience and a broad musicality, aiming to balance the intensity of live performances with the detail required in recordings.

Types of Guitars Used and Features

The core of Atsushi Horie’s sound is undoubtedly his choice of guitars. In both live performances and recordings, he prominently features the Gibson SG series alongside Fender Stratocasters and Telecasters.

The most frequently used guitar is the Gibson Custom Shop SG Standard (circa 2006). This model boasts excellent resonance, delivering a thick yet balanced sound. It serves as Horie’s main guitar, symbolizing his “supportive yet leading” tone.

Also in his arsenal are the Gibson Custom Shop SG Special (White, circa 2005) and Gibson SG Special (Cherry Red, circa 2005). The former offers a warm sound, while the latter is known for its quick response. Horie has mentioned using these guitars interchangeably based on his mood or the song’s requirements.

On the Fender side, he actively employs the Fender Custom Shop Stratocaster (circa 2006), which is characterized by its pristine clean tone, customized with different wiring and capacitors. For distortion-heavy tracks, he opts for the Telecaster, while the Stratocaster shines in transparent arpeggios and clean parts, broadening his sound range.

During recordings, a borrowed 1980s Stratocaster has played a crucial role, particularly in the album “Immortal,” where its unique presence and tonal clarity added depth to the music.

These choices reflect Horie’s approach of not adhering to a “one main guitar” philosophy, but rather embracing the individuality of each guitar based on the situation. While the SG is central to live performances, he skillfully selects the Strat or Telecaster for songs requiring clarity and ethereality, expertly balancing his sound.

As a result, Horie’s guitar work achieves a harmonious blend of “strength and transparency,” showcasing a diverse expressive range tailored to each song.

Effects and Pedalboard Setup

Atsushi Horie’s pedalboard exemplifies a meticulously constructed system designed to prevent tone loss. A notable feature of his sound design is the use of multiple pedals of the same type to achieve different nuances for each song. Specifically, the use of multiple JHS Pedals 808 and SuperBolt units sets him apart from other guitarists.

In the booster and overdrive category, he employs the FREE THE TONE FB-2 (booster) and Providence PD-6 (mid-boosting booster) to add thickness to his main distortion. Additionally, he utilizes three JHS 808 pedals and two JHS SuperBolt pedals, allowing for subtle differences in settings to adapt to various songs.

For fuzz, he incorporates the Wren and Cuff Creations White ELK FUZZ, a model that replicates the vintage Japanese ELK Fuzz, providing a raw yet expansive fuzz sound. This pedal is ideal for shoegaze-like sonic explosions and alternative textures.

His board is also rich in spatial effects, utilizing BOSS DD-3 and DD-6 (digital delays) and Ibanez AD-9 (analog delay) for different applications. For reverb, he employs BOSS RV-5 and EarthQuaker Devices Dispatch Master, allowing him to control the spatial expansion of his sound based on the song. Horie’s transparent clean tones are significantly supported by these spatial effects.

In the modulation category, he uses a variety of effects, including Ibanez CS-9 (stereo chorus), Ibanez FL9 (flanger), BOSS PH-3 (phaser), and Honey Comb Dual Speed Trem (tremolo). The chorus and phaser effects are particularly essential for creating Straytena’s characteristic floating arpeggios.

On the system side, he has implemented programmable switching systems such as FREE THE TONE ARC-53M/ARC-3 and Providence PEC-2. This setup efficiently controls a large array of effects while preventing tone loss. For power supply, he uses FREE THE TONE PT-3D and Providence PAE-101P, ensuring a stable power supply for a noise-free environment.

Overall, Horie’s pedalboard is built on two key elements: “sound segmentation through simultaneous use of multiple pedals” and “system design prioritizing sound quality.” This meticulous construction allows for high reproducibility in both live and studio settings, reflecting his dedication to detail.

Tone Settings, EQ, and Mixing Approaches

Atsushi Horie’s sound design goes beyond mere equipment selection; it encompasses total balance, including EQ and mixing adjustments. The essence of his sound lies in “balancing supportive and leading tones,” which requires a close interplay between amplifiers, effects, and PA processing.

Regarding amplifier use, he clearly separates the distortion channel centered around Marshall JCM series from the clean channel using Roland JC-120 and Divided by 13. In live settings, he employs A/B switching and stereo output to deliver optimal sound images for each scenario. The distortion channel typically emphasizes mid frequencies while avoiding excessive bass reduction, ensuring the band’s overall power is maintained. Conversely, the clean channel delicately extends high frequencies, preventing muddiness even with layered spatial effects.

For EQ settings, a common approach for the distortion channel is to set Low at 10-11 o’clock, Mid at 1-2 o’clock, and High around 12 o’clock. This configuration enhances midrange thickness while considering separation from the bass. For clean tones, he tends to set Mid at 12 o’clock and slightly boost High, providing transparency for arpeggios and riffs.

Another characteristic of his sound design is the layering of overdrives. For instance, applying the JHS 808 lightly and then layering it with the SuperBolt creates an organic distortion reminiscent of a driven tube amp. The Providence PD-6 and FREE THE TONE FB-2 play roles in bringing midrange forward during solos, ensuring they stand out within the band ensemble.

Horie skillfully utilizes spatial effects, varying delay times with BOSS DD-6 and DD-3 for different songs. Short delays emphasize rhythm, while longer delays create ambient expansiveness. By combining with an analog delay (Ibanez AD-9), he softens the inherent hardness of digital delays. For reverb, he primarily uses BOSS RV-5 while incorporating the Dispatch Master to add a soft, enveloping resonance.

In the modulation category, he creates a three-dimensional sound image by combining the Ibanez CS-9 stereo chorus with the JC-120’s stereo input, while the PH-3 phaser and FL9 flanger add dynamic fluctuations to the music. Particularly in ballads or ethereal tracks, synchronizing tremolo with the rhythm produces an effect that makes the sound “breathe.”

In mixing, he often avoids centering the guitar, emphasizing a stereo spread across L/R. Distortion and clean sounds are recorded on separate channels, allowing engineers to blend them during mixing. This approach results in a soundscape that is both thick and transparent for Straytena.

Overall, Horie’s settings are characterized by a clear division between “thick distortion and transparent clean,” with a focus on the combination and mix balance. He prioritizes the interplay of equipment over individual components, suggesting a sophisticated approach to sound design.

Affordable Alternatives to Recreate the Tone

Atsushi Horie’s gear often includes custom shop guitars and high-end boutique effects, making it challenging to replicate his setup entirely. However, by focusing on key elements, it’s possible to achieve a “Straytena-like sound” with relatively affordable gear. Here, we introduce equipment that is accessible for beginners to intermediates.

Starting with guitars, while Horie’s main Gibson SG Custom Shop is pricey, opting for a Gibson SG Standard or Epiphone SG Standard can yield a similar sound character. The Epiphone model is available for around $500-$700, and modifications (pickup swaps or wiring changes) can bring it closer to the original. For clean-tone-focused tracks, a Fender Japan or Squier Stratocaster can recreate the pristine clean sound.

Regarding amplifiers, while the Marshall JCM series is expensive, the BOSS Katana series serves as an excellent alternative. Despite being a modeling amp, it can replicate JCM-style distortion and JC-120-style clean tones, making it ideal for home practice and recording. Priced around $300-$600, it offers sufficient power for live performances. For those seeking clean stereo depth, searching for a used Roland JC-40 is also recommended.

For effects, instead of the JHS Pedals 808 and SuperBolt, consider the classic BOSS SD-1 or Ibanez TS9. Both are available for around $100 and provide mid-boosted drive sounds. As for fuzz, the Wren and Cuff models can be pricey, so alternatives like the BOSS FZ-5 or Electro-Harmonix Big Muff Nano can achieve a similar texture.

In the spatial category, the BOSS DD-7 (delay) and RV-6 (reverb) are versatile options. You don’t need multiple units; one of each will suffice. Their stereo capabilities are also appealing, allowing for depth in home recordings. For modulation, using the BOSS CH-1 (chorus) or PH-3 (phaser) can effectively recreate the desired spatial expansion.

While professional-grade systems like FREE THE TONE or Providence are costly, beginners can benefit from the BOSS ES-5 (switcher). This device allows for programmable on/off control of pedals, ensuring stable switching during live performances.

By combining these pieces of equipment, you can approximate Atsushi Horie’s “supportive yet leading sound” within a budget of under $1,000. The key is to focus on the roles of the guitar and amp, utilize midrange-focused EQ settings, and carefully adjust spatial effects to achieve a balance of thickness and transparency.

Summary and Conclusion

When examining Atsushi Horie’s sound design as a whole, it becomes clear that the core of his sound lies in its “simple yet intricate design.” Centered around the Gibson SG, he flexibly incorporates Stratocasters and Telecasters based on the song’s needs, while his amplifier choices distinctly separate the raw distortion of Marshall from the delicate cleans of Roland JC-120 and Divided by 13. This allows him to optimize the necessary tones for each song.

Moreover, the structure of his pedalboard goes beyond mere luxury, showcasing a unique approach of “using multiple units of the same effect.” By incorporating several JHS 808 and SuperBolt pedals, he can create layered sounds that allow for “subtle nuances” in both live and studio settings. This significantly contributes to the unique depth and thickness of Straytena’s sound.

Horie’s approaches to EQ and mixing are also noteworthy. In distortion, he emphasizes mid frequencies while avoiding excessive bass reduction, maintaining the band’s overall power. For clean tones, he extends the high frequencies, ensuring clarity even with layered spatial effects. In mixing, he often records distortion and clean sounds on separate channels, creating a stereo effect that enhances the band’s sound.

Ultimately, Horie’s sound design directly reflects his “supportive yet leading” style. His guitar consistently underpins the band’s thickness while stepping forward as a lead guitar when necessary, captivating listeners with its presence. This is not merely a result of equipment selection but rather the culmination of years of performance experience and musical evolution.

For readers looking to replicate Horie’s sound, there is no need to acquire expensive custom shop models. The key lies in understanding the “role division of guitars and amps,” “midrange-focused EQ,” and “careful adjustment of spatial effects.” By keeping these aspects in mind, you can achieve a sound reminiscent of Straytena’s three-dimensional quality with your existing gear.

In summary, Horie’s sound design embodies the philosophy of “not relying on equipment, but rather crafting one’s sound through the combination and adjustment of gear.” This flexible and meticulous approach is one of the reasons Straytena has remained a prominent force in the music scene for years.