[Haruichi Shindo] How to Recreate the Porno Graffitti Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Haruichi Shindo, the guitarist of Porno Graffitti, has captivated many listeners with his unique sound design over the years. His tone can be described as “melodic and three-dimensional.” From powerful riffs that support the backbone of rock to delicate arpeggios in ballads, he skillfully adapts his sound for each song.

For instance, in the iconic track “Ageha Butterfly,” the sharp yet glossy cutting sound derived from a Fender Telecaster stands out, energizing the entire song. In contrast, songs like “Saudade” and “Melissa” showcase the thick, sustaining tones of a Les Paul, adding passionate nuances to the guitar solos. This ability to switch between different guitars and amplifiers according to the song is a significant characteristic of his sound.

Moreover, his sound design is meticulously crafted even in live performances. Using professional-grade amplifiers like the Matchless DC-30 and Diezel amps, he controls a complex effects chain with a FREE THE TONE switcher. Over the years, he has also introduced new overdrive pedals such as the BOSS JB-2 Angry Driver and Crowther Hot Cake, ensuring a consistent sound across both classic hits and new tracks.

Overall, the charm of Haruichi Shindo’s sound lies in his ability to maintain a consistent personality through a diverse combination of guitars and amplifiers, all while reflecting his unique playing style. He serves as an excellent reference for guitarists seeking to develop their own sound design philosophy.

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List of Amplifiers and Features

The cornerstone of Haruichi Shindo’s sound design has long been the Matchless DC-30. This amplifier, frequently seen in live photos and magazine articles, excels at producing a bright yet solid clean tone, supporting the crunchy cutting and chord work in Porno Graffitti’s songs. It maintains clarity during arpeggios and clean sections, providing a sound that cuts through the mix.

Additionally, for heavier songs or when more thickness is required in live settings, a Diezel head amplifier has also been confirmed in use. While the specific model remains unidentified due to visible logos and panel designs in photos, it is believed to be employed to achieve Diezel’s characteristic rich distortion. Recent live performances have shown a setup where the Diezel head outputs to a Matchless cabinet, allowing for sound switching tailored to different scenes.

Furthermore, in studio settings or specific tours, Marshall (JCM800 and 1987X) amplifiers have been utilized. These classic British-sounding amps are invaluable for rock numbers and riff-heavy tracks. There are also instances of using American amps like the Fender Twin Reverb and Bassman, which expand the expressive range for ballads with their warm tones.

Occasionally, unique amplifiers such as the VOX AC30BM (Brian May Custom) and REINHARDT Storm 33 have been documented. These are likely used in sound experiments or for specific nuances, showcasing Haruichi’s continuous search for new options in sound design.

In summary, Haruichi Shindo’s amplifier selection can be organized as follows: the mainstay Matchless serves as the foundation, supplemented by Diezel and Marshall for thickness and power, while Fender adds transparency. This approach suggests a meticulous setup that balances simplicity with complexity, tailored for both live and recording contexts.

Types of Guitars Used and Features

When discussing Haruichi Shindo’s sound design, one cannot overlook his extensive guitar collection. The variety of guitars he uses for live performances and recordings is impressive, as he selects the optimal sound for each song.

The most iconic guitar is the Fender Telecaster 1962, which has been frequently used as his main guitar since 2017. It features sharp, cutting tones and a deep clean sound. Prior to this, the Fender Custom Shop Masterbuilt ’57 Telecaster (built by John English, black Tele) served as his main instrument for many years and is also a symbolic piece for Haruichi. Additionally, his signature model, the Fender Telecaster Haruichi Model (2015 FC limited edition), has also been introduced.

For the heavier tracks and solos of Porno Graffitti, guitars like the Gibson Les Paul Standard 1960 (#0 0599) and Gibson Historic ’59 Les Paul Standard are utilized, delivering rich sustain and thickness. Particularly in the representative song “Melissa,” the Les Paul sound plays a crucial role, grounding the band’s overall tone.

In the semi-hollow category, he owns the Gibson Chris Cornell ES-335 and Gibson ES-345TD. These guitars provide a warm, jazz-oriented tone that blends well with rock, and they have been confirmed for use in ballads and songs emphasizing mid to low frequencies.

Recently, he has also been seen using the Jimmy Wallace Flying V (Korina), which offers a powerful and clear tone. Other guitars in his collection include the Gretsch White Falcon, PRS Modern Eagle, Killer Prime, and Sago’s signature models, showcasing a wide range from vintage to custom-made instruments.

In summary, Haruichi’s guitar selection revolves around three pillars: “clarity with the Telecaster,” “weight with the Les Paul,” and “warmth with the semi-hollow.” His style is characterized by the pursuit of the most appealing sound for each song, utilizing a diverse array of models.

Effects and Pedalboard Setup

Haruichi Shindo’s pedalboard has evolved significantly over time. Initially, it featured a simple structure centered around BOSS compact pedals, but it has now transformed into a sophisticated system utilizing a FREE THE TONE programmable switcher at its core, allowing for multiple boards to be used interchangeably.

In recent years (since 2017), his main board has incorporated overdrive pedals like the BOSS JB-2 Angry Driver and Crowther Audio Hot Cake. The JB-2 is a fusion of the BOSS BD-2 and JHS Angry Charlie, capable of handling everything from clean boosts to intense distortion. The Hot Cake, made in New Zealand, excels at producing a mid-range punch with a compressed feel, making it effective for both cutting and lead tones. The addition of these pedals has enriched the traditional clean and crunch tones with modern drive characteristics.

For compression, he employs the Providence Velvet Comp VLC-1, which helps unify the sound, particularly during arpeggios and clean play. In terms of spatial effects, the Eventide H9 serves as the centerpiece, controlling delay, reverb, and modulation. This eliminates the need for multiple compact pedals like the BOSS DD-3 and CH-1, allowing for efficient and versatile expression.

In previous tours and recordings, he utilized pedals such as the BOSS DD-3 (Delay), SD-1 (OverDrive, assumed Keeley Mod), CH-1 (Chorus), and PH-3 (Phaser), showcasing classic effects from the 80s and 90s. Notably, in earlier tracks like “Saudade” and “Ageha Butterfly,” this simple array of BOSS pedals formed the core of his sound.

There was also a period when he used the Klon Centaur, a legendary overdrive pedal known for enhancing the natural tone of the guitar while adding subtle distortion, contributing depth to Haruichi’s sound; however, it appears to have been removed from his current board.

In summary, Haruichi Shindo’s effects system has “adapted flexibly to the times,” evolving from a simple BOSS-centric setup to a high-end configuration utilizing the FREE THE TONE switcher and Eventide H9. He often operates two boards as needed, showcasing his ability to rearrange setups according to the scale of the stage and the requirements of the songs.

Tone Settings, EQ, and Mixing Approaches

Haruichi Shindo’s sound design is characterized not only by the guitars and amplifiers he uses but also by meticulous adjustments in EQ and mixing processes. The fundamental approach is to maintain a balance where the sound does not get buried even in clean tones, nor muddy when distorted, ensuring presence while supporting the band’s ensemble.

Regarding the main amplifier, the Matchless DC-30, it is often set with a slightly lower Treble on the clean channel while emphasizing the midrange. This setup helps to suppress overly sharp highs while allowing cutting and arpeggio sounds to resonate clearly. Based on live footage and recordings, it seems the Bass is set around 50-60%, with a slight boost in Mid and a moderate Presence to achieve overall balance.

When using the Diezel amplifier, it is speculated that high-gain channels are utilized with EQ adjustments tightening the low end. To maintain tight low frequencies that do not clash with the bass in Porno Graffitti’s heavier songs, Bass is likely kept around 40-50%, while Mid and Treble are elevated to ensure clarity.

In terms of effects, high-quality delays like the Eventide H9 and TimeFactor are used to create different reverberation effects for each song. For tracks like “Saudade” and “Apollo,” shorter delay times are set to enhance the dimensionality of cutting and lead tones, while dramatic songs like “Ageha Butterfly” combine reverb to expand the depth.

During the mixing stage, guitar placement often involves significant left-right panning, creating a wide sound image akin to twin guitars. In studio recordings, Telecaster cutting tones are typically placed on one side, while the thickness of the Les Paul is positioned on the other, achieving both depth and breadth in sound. Additionally, light compression is applied to retain attack, while limiting processing ensures consistent sound pressure, making it suitable for radio and streaming media.

Moreover, his style of adjusting dynamics through volume pedals or boosters for each song is distinctive. In quieter ballads, he plays with delicate picking, while in rock numbers, he boosts the volume dramatically, controlling the nuances of sound from both performance and equipment perspectives.

Overall, Haruichi’s setup philosophy revolves around “maximizing the character of each guitar while finding the optimal place within the overall ensemble.” Sound design encompasses not just individual equipment settings but also total adjustments that include song-specific EQ, effect processing, and collaboration with PA engineers.

Through these efforts, a three-dimensional and persuasive guitar sound supporting the diverse world of Porno Graffitti’s music is achieved.

Affordable Alternatives to Recreate the Tone

While Haruichi Shindo’s sound is supported by expensive vintage guitars and high-end amplifiers, there are ways for beginners and intermediate players to approximate his tone with relatively affordable gear. The key is to replicate the “sharp cutting sound of Telecasters,” the “thick lead tone of Les Pauls,” and the “spatial processing that maintains presence even in clean tones.”

For guitars, while Fender USA and vintage models can be pricey, alternatives like the Squier Classic Vibe Telecaster and Epiphone Les Paul Standard are strong contenders. The Squier Telecaster can be purchased for around $600 and offers the sharp cutting tones characteristic of Haruichi’s playing, making it a great match for tracks like “Ageha Butterfly.” Meanwhile, the Epiphone Les Paul provides a thick midrange, capable of reproducing the sustain needed for ballads and solos.

In terms of amplifiers, while Matchless and Diezel are quite expensive and hard to obtain, tube amplifiers in the $500-$1,000 range, such as the Fender Hot Rod Deluxe and Marshall DSL20, can help achieve a similar direction. Fender amps excel at bright cleans, while Marshall amps are known for their British distortion, allowing for a broader range of sound design akin to Haruichi’s.

For effects, the BOSS JB-2 Angry Driver is already available as the same model he uses, capable of recreating Haruichi’s recent drive sounds. Additionally, combining it with the BOSS DD-8 (Delay) and MXR Phase 90 can help capture the sound from past tours. For spatial effects, alternatives to the Eventide H9 include the BOSS RV-6 Reverb and Zoom MS-70CDR, which can be purchased for $100-$200 and offer multi-effects capabilities.

In summary, a combination of “Squier Telecaster + Epiphone Les Paul + mid-range Fender/Marshall amps + BOSS JB-2 and spatial effects” can allow beginners and intermediates to get quite close to Haruichi’s signature sound. While there may be slight differences in sound quality compared to professional gear, capturing the characteristic EQ and attack can sufficiently recreate the essence of his tone.

Summary and Conclusion

The essence of Haruichi Shindo’s sound design lies not merely in assembling expensive equipment but in his unwavering commitment to delivering the optimal sound for each song. By effectively utilizing the sharpness of the Telecaster, the thickness of the Les Paul, and the warmth of semi-hollow guitars, he adjusts the amplifiers and effects to elevate the overall sound of the band.

His sound is built on the transparency of the Matchless DC-30 in live settings, reinforced by Diezel and Marshall for added power. In the studio, he switches between Telecasters and Les Pauls for each song, constructing a three-dimensional soundscape with spatial effects. This consistent dedication transforms Porno Graffitti’s music from “just a rock band” into a “pop-rock harmony of vocals and guitars.”

Moreover, the evolution of his gear is notable. Initially centered around simple BOSS compact pedals, his setup has evolved into a high-end array utilizing the FREE THE TONE switcher and Eventide H9. However, the underlying philosophy remains unchanged: “not to increase the number of sounds but to produce only the necessary sounds.”

Key takeaways for guitarists include: 1) Understand and utilize the characteristics of each guitar, 2) Clarify the sound’s place through amplifiers and EQ, 3) Use effects with the mindset of organization rather than addition. By adopting these principles, sound design can significantly improve without needing to acquire all high-end gear.

In summary, Haruichi Shindo’s sound design successfully balances “diversity” and “cohesion,” a theme that remains an eternal challenge for guitarists. Listening to Porno Graffitti’s songs while exploring your gear to recreate that sound can serve as an excellent learning tool for the joys and depths of sound design.

Be sure to use the knowledge of guitars, amplifiers, and effects shared here to explore your own version of Haruichi’s sound!