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

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Introduction (Overview of Tone)

Atsushi Horie, the frontman and guitarist of Straytenner, stands out with a unique presence. His sound 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 robust foundation of Marshall amp distortion, combined with ethereal tones created through the use of delay and reverb. He often employs multiple pedals on stage, showcasing a meticulous attention to detail by adjusting settings slightly for each song, crafting nuanced variations.

Horie primarily utilizes Gibson SG guitars, but he also incorporates Telecasters and Stratocasters into his setup. For songs driven by distortion, he opts for the SG or Telecaster, while for clean-focused tracks, the Stratocaster is his choice, reflecting his pursuit of the optimal tone for each scene.

Additionally, his frequent use of pedals from brands like FREE THE TONE and JHS Pedals helps prevent sound loss while constructing a three-dimensional soundscape. The use of multiple JHS 808 and SuperBolt pedals exemplifies Horie’s signature sound creation method, where he switches settings even with the same equipment to achieve different tonal nuances.

This sound embodies a blend of the power of alternative rock and the spatial expression typical of shoegaze, forming a crucial pillar of Straytenner’s musical identity.

In the following sections, we will delve into the details of the amplifiers, guitars, and effects used, concluding with beginner-friendly alternatives and setup methods.

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List of Amplifiers and Features

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

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

He later incorporated the Marshall JCM900, a modified version with a lower bias setting and altered vacuum tubes, providing a thicker sound while maintaining clarity. This amp has become prominent in the later live performances of Straytenner, showcasing a blend of strength and transparency.

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

On the clean tone front, the Roland JC-120 is indispensable. Its unique stereo chorus and clear sound perfectly complement Straytenner’s airy clean parts. Recently, he has also utilized handmade American amps from Divided by 13 (CJ-11 and LDW 17/39), adding warmth suited for jazz and flexibility for high-gain sounds.

Horie’s amplifier setup may appear simple, but it is intricately designed. By completely separating distortion and clean channels, he prevents sound loss and maximizes compatibility with pedals and guitars. The combination of Marshall’s rawness with the delicacy of Roland and Divided by 13 amps allows him to achieve Straytenner’s distinctive “powerful yet transparent sound.”

This careful selection of amplifiers reflects years of experience and a broadening musicality. It is assumed that this configuration is designed to balance the impact of live performances with the detail required in recordings.

Types of Guitars Used and Features

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

The most frequently seen guitar is the Gibson Custom Shop SG Standard (circa 2006). This particular guitar boasts excellent body resonance, producing a thick yet balanced sound. It serves as his main guitar, appearing in nearly all tracks and symbolizing Horie’s “supportive yet leading sound.”

Also in the SG lineup 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 based on mood and song requirements during live performances and recordings.

On the Fender side, he actively incorporates the Fender Custom Shop Stratocaster (circa 2006), characterized by its clear clean tone, which has been customized with different wires and capacitors. For distortion-heavy songs, he uses the Telecaster, while the Stratocaster is favored for transparent arpeggios and clean parts, expanding his sound range.

Additionally, a borrowed 1980s Stratocaster played a significant role in recordings, especially on the album “Immortal,” contributing a unique presence and tonal clarity.

These choices illustrate that Horie does not adhere to a “one main guitar” philosophy; instead, he actively incorporates the unique characteristics of different guitars based on the situation. While the SG is central in live settings, he skillfully selects the Strat or Telecaster for songs requiring clarity and ethereality, adeptly balancing the sound.

As a result, Horie’s guitars achieve a “balance of power and transparency,” allowing for a diverse range of expressions tailored to each song.

Effects and Pedalboard Setup

Atsushi Horie’s pedalboard exemplifies a meticulously constructed system that prevents sound loss. A key feature of his sound creation is the use of multiple pedals of the same type to produce different nuances for each song. Notably, the use of multiple JHS Pedals 808 and SuperBolt units sets him apart from other guitarists.

For boost and overdrive, he utilizes the FREE THE TONE FB-2 (booster) and Providence PD-6 (mid-boosting booster), adding thickness to his main distortion. Furthermore, using three JHS 808 units and two JHS SuperBolt units allows for subtle variations in the same overdrive, making it adaptable for different songs.

In the fuzz category, he employs 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 is ideal for songs seeking a shoegaze-like sonic assault or an alternative texture.

His pedalboard is also rich in spatial effects, with BOSS DD-3 and DD-6 (digital delay) and Ibanez AD-9 (analog delay) used for different purposes. For reverb, he incorporates BOSS RV-5 and EarthQuaker Devices Dispatch Master, allowing him to control the spatial expansion according to the song. Horie’s transparent clean tone is significantly supported by these spatial effect pedals.

In terms of modulation effects, he uses a variety of pedals, including Ibanez CS-9 (stereo chorus), Ibanez FL9 (flanger), BOSS PH-3 (phaser), and Honey Comb Dual Speed Trem (tremolo). Notably, the chorus and phaser are essential for creating Straytenner’s signature airy arpeggios.

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

Thus, Horie’s pedalboard is built on two principles: “sound differentiation through simultaneous use of multiple units” and “system design prioritizing sound quality.” It is assumed that this meticulous construction allows for high reproducibility in both live and studio settings, reflecting a deep commitment to detail.

Tone Settings, EQ, and Mixing Approaches

Atsushi Horie’s sound creation goes beyond mere equipment selection; it encompasses total balance, including EQ and mixing adjustments. The essence of his sound is to “balance supportive and lead tones,” which requires close integration of amplifiers, effects, and PA processing.

Regarding amplifier usage, he clearly separates the distortion channel centered around the Marshall JCM series from the clean channels utilizing Roland JC-120 and Divided by 13. In live settings, he employs A/B switching and stereo outputs to deliver the optimal sound image for each scene. The distortion channel emphasizes midrange while avoiding excessive reduction of bass, ensuring the overall power of the band is maintained. Conversely, the clean channel delicately extends the high frequencies, preventing muddiness even when layered with spatial effects.

As an example of EQ settings, the distortion channel typically has Low set around 10-11 o’clock, Mid at 1-2 o’clock, and High near 12 o’clock. This configuration enhances the midrange while being mindful of the bass’s role. For clean tones, he tends to set Mid at 12 o’clock and slightly emphasizes High, providing transparency for arpeggios and riffs.

Another characteristic is the layering of overdrives to create tonal depth. For instance, applying the JHS 808 lightly and then layering it with the SuperBolt produces 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 in the band ensemble.

His adept use of spatial effects involves varying delay times with BOSS DD-6 and DD-3 for different songs. Shorter delays emphasize rhythm, while longer delays create ambient expansiveness. Additionally, combining an analog delay (Ibanez AD-9) softens the inherent hardness of digital delays. For reverb, he primarily uses the BOSS RV-5 while incorporating the Dispatch Master for a soft, enveloping echo.

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

In mixing, he avoids centering the guitar, focusing instead on spreading the stereo image across L/R. Distortion and clean sounds are often recorded on separate channels, allowing the engineer to blend them during mixing. This approach results in a soundscape that is both thick and transparent, characteristic of Straytenner.

Overall, Horie’s settings emphasize a clear distinction between midrange as the foundation, with clean tones offering transparency and distortion providing thickness. It is assumed that he prioritizes the combination and mixing balance over individual equipment, implementing a sound creation method that maximizes synergy.

Affordable Alternatives to Recreate the Tone

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

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

Regarding amplifiers, while the Marshall JCM series is costly, the BOSS Katana series serves as an excellent alternative. Despite being a modeling amp, it can replicate JCM-style distortion and JC-120-like clean tones, making it ideal for home practice and recording. Priced around $300-$600, it also has sufficient power for live use. For a clean sound with depth, searching for a used Roland JC-40 in the second-hand market is also recommended.

For effects, instead of the JHS Pedals 808 and SuperBolt, consider the classic BOSS SD-1 or Ibanez TS9. Both can be acquired for around $100 and provide a mid-focused drive sound. Since Wren and Cuff products are on the pricier side, alternatives like the BOSS FZ-5 or Electro-Harmonix Big Muff Nano can achieve a similar fuzz quality.

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

While high-end systems like FREE THE TONE and Providence are expensive, beginners can benefit from the BOSS ES-5 (switcher). This allows for programmable ON/OFF control of pedals, ensuring stable switching during live performances.

By combining these pieces of gear, it is possible to approach Atsushi Horie’s “supportive yet leading sound” with a budget of under $1,000. The key lies not in the equipment itself but in achieving a balance of “guitar and amp roles,” “EQ that highlights the midrange,” and “careful adjustments of spatial effects.”

Summary and Conclusion

Looking at Atsushi Horie’s sound creation comprehensively, the core of his sound lies in its “simple yet intricate design.” He centers his setup around the Gibson SG while flexibly incorporating Stratocasters and Telecasters based on the song. His amplifiers distinctly separate the raw distortion of Marshall from the delicate cleans of Roland JC-120 and Divided by 13, optimizing the necessary tones for each track.

Moreover, his pedalboard configuration goes beyond mere luxury; it features the unique approach of using multiple units of the same effect. By employing several JHS 808 and SuperBolt pedals and varying settings, he can control “subtle nuances” in both live and studio settings. This contributes significantly to the unique depth and thickness of Straytenner’s sound.

His approaches to EQ and mixing are also noteworthy. In distortion, he emphasizes the midrange while avoiding excessive reduction of bass, maintaining the band’s overall power. In clean tones, he extends the high frequencies, ensuring clarity even when layered with spatial effects. During mixing, he often records distortion and clean sounds on separate channels, spreading them across L/R to create a sense of width in the band sound.

Thus, Horie’s sound creation is directly linked to his “supportive yet leading” style. His guitar consistently underpins the band’s thickness while stepping forward like 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.

If readers wish to replicate Atsushi Horie’s sound, there is no need to acquire expensive custom shop models. The key lies in understanding the “roles of guitar and amp,” “EQ that utilizes the midrange,” and “careful adjustments of spatial effects.” By keeping these perspectives in mind, one can achieve a sound that closely resembles Straytenner’s distinctive three-dimensional quality.

Overall, Horie’s sound creation can be seen as a crystallization of the attitude of “not relying on equipment but creating one’s sound through the combination and adjustment of gear.” This flexible and meticulous approach is one of the reasons Straytenner has remained at the forefront of the scene for many years.