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

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Introduction (Overview of Tone)

HARUNA, the guitarist and vocalist of SCANDAL, is known for her cool and precise strumming style, combining strength and delicacy in her sound design. As the leader of the band, she plays a crucial role in supporting SCANDAL’s rock sound, characterized by a wide tonal range that spans from pop rock to heavier rock.

Iconic songs like “Shunkan Sentimental” and “Taiyou Scandalous” showcase the distinctive cutting and crisp tone typical of the Telecaster, providing a clear axis to the band’s overall sound. HARUNA’s approach to sound design is practical yet effective, delivering the essential elements needed for each song, which has garnered attention not only from fans but also from fellow guitarists.

Moreover, her style emphasizes the balance between singing and playing guitar. She carefully avoids excessive distortion to ensure that her playing does not interfere with her vocals, maintaining the attack during her strumming. This attention to detail allows her to deliver consistent guitar performances in both live and studio settings.

HARUNA prominently uses a Fender Telecaster, which forms the backbone of her sound. Additionally, her choice of amplifiers includes the Fender Twin Reverb and a custom model from SHINOS, allowing her to seamlessly switch between clean and crunchy tones. Her effects are primarily from reliable brands like BOSS and Fulltone, emphasizing a practical setup suited for live performance.

In summary, HARUNA’s sound design is crafted from a musical perspective that prioritizes “guitar playing that enhances the vocals,” making her an indispensable part of SCANDAL’s sound.

▶ Search official YouTube videos of SCANDAL

List of Amplifiers and Features

HARUNA’s choice of amplifiers over the years reflects her goal of “enhancing the guitar’s core without overshadowing the vocals.” A standout among her selections is the Fender Twin Reverb. This classic American clean amp pairs exceptionally well with the Telecaster, making it ideal for clear chord strumming and cutting tones. It has been a staple in her setup since the early days, serving as the foundation of the HARUNA sound in both live and studio environments.

In 2010, she commissioned a custom order from the Japanese handmade brand SHINOS, introducing the “SHINOS Luck 6V HARUNA MODEL.” This white combo amp features added reverb and boost circuits, equipped with a 12-inch Celestion speaker. Despite its 40W output, it delivers a strong presence on stage. The amp is known for its transparent clean tone and the added thickness when boosted, making it a crucial component in achieving HARUNA’s “hard and clear guitar tone.”

Additionally, she has a history of using the British VOX AC30, which likely contributed a gritty midrange character to certain songs. The AC30 is well-suited for producing a punchy presence without excessive distortion, reinforcing the midrange within SCANDAL’s ensemble.

For high-gain sounds, HARUNA has also utilized the EVH 5150 III, a versatile three-channel amp that covers everything from clean to hard drive tones. It is presumed that this amp was used in SCANDAL’s more powerful rock tracks.

Overall, HARUNA’s amplifier choices reflect a consistent approach of “starting with clean tones and adding appropriate character for each song.” By utilizing the Twin Reverb’s clarity, the SHINOS boost, the VOX’s midrange presence, and the EVH’s high gain, she has effectively adapted to the band’s diverse musical styles. It can be assumed that her selections are aimed at “maximizing the clean Telecaster sound.”

Types of Guitars Used and Features

When we think of HARUNA, the Fender Telecaster immediately comes to mind. Particularly, her black-bodied Fender American Standard Telecaster (nicknamed “Shun-kun”) has been a long-time favorite since SCANDAL’s early days. It has been customized with a white pearl pickguard and lock-style strap pins, making it performance-ready. The sound retains its core whether played clean or distorted, strongly associating HARUNA with the Telecaster in fans’ minds.

During different periods, she has also used models from the Fender USA Stratocaster series, including borrowing Eric Clapton’s “BLACKIE” and temporarily using the 60th Anniversary model. However, she mentioned that “the weight and output were too strong for her,” ultimately returning to the more playable Telecaster that allows her to balance singing and playing.

Around 2009, she used a limited edition Fender Mexico ’69 Telecaster Thinline (light blue), known for its semi-hollow structure and unique appearance. Subsequently, she made the Fender Mexico Classic Player Telecaster Thinline Deluxe (black) her main guitar around 2010. This model features two WRHB (Wide Range Humbucker) pickups, achieving a balance of clarity when clean and thickness when distorted, further evolving HARUNA’s sound.

Since 2012, she has showcased her signature model, the Squier SCANDAL HARUNA TELECASTER (silver sparkle with skull), during live performances at Budokan. This model, equipped with two humbuckers, maintains the sharpness typical of a Telecaster while accommodating a powerful rock sound. It has become particularly iconic among SCANDAL fans. Later, Fender released the official signature model “Fender HARUNA Telecaster (white with gold parts),” which features two single-coil pickups and a DiMarzio CHOPPER T on the bridge, achieving an aggressive yet Telecaster-like clarity.

In a more unconventional choice, around 2013, she also used the Fender Pawn Shop Mustang Special (Lake Placid Blue), equipped with two WRHB-type pickups and a switch for single-coil selection. This was likely introduced to expand her tonal palette on stage.

For acoustic guitars, she acquired the Takamine PT series (likely PT-112ST or PT-118ST) around 2009, using them for television appearances like MUSIC FAIR. She also has a history of using the Fender Dick Dale Signature Malibu, a compact acoustic guitar, for live acoustic sets and home practice.

In summary, HARUNA’s guitar selection revolves around “using the Telecaster as a base while incorporating various signature gear and secondary instruments,” with her sound consistently supporting “cutting that does not interfere with the vocals and strong strumming.”

Effects and Pedalboard Setup

HARUNA’s pedalboard is characterized by its “minimal yet practical” approach. Given her role in supporting the band’s rhythm while singing, her sound design is straightforward, allowing her to instantly access the desired tones. As such, she has assembled a collection of reliable pedals primarily from BOSS and Fulltone, prioritizing “stability” and “reproducibility” over a wide range of tones.

Initially, she used the BOSS TU-2 tuner, later transitioning to the TU-3. This is a trusted standard among many professionals, chosen for its reliability on stage. For distortion, she employs pedals like the Fulltone OCD, Full-Drive 2 MOSFET, Carl Martin DC Drive, and Creation Audio Labs HOLY FIRE. These pedals can handle a wide range from clean boost to high gain, effectively adding thickness without overshadowing the Telecaster’s sound. The OCD, in particular, is known for its natural distortion, making it a frequent choice for SCANDAL’s pop-rock tracks.

To add variety to her distortion, she has also incorporated unique pedals like the J. Rockett Audio Designs ARCHER (leaning towards clean boost) and the Z.Vex Fuzz Factory. The ARCHER enhances the presence of clean tones, while the Fuzz Factory is known for its experimental tones, used as an accent during live performances.

In terms of spatial effects, she uses the BOSS FRV-1 (reverb), Carl Martin Red Repeat (analog-like delay), and BOSS DD-3 (digital delay). Depending on the song, she switches between warm analog warmth and clear digital clarity. Additionally, she has integrated extended pedals like the BOSS OC-3 (octaver) and Line 6 M5 Stompbox Modeler (multi-effects), adding diverse expressions to her otherwise simple setup.

HARUNA uses JIM DUNLOP TORTEX Standard 0.88mm picks, which emphasize attack and stable control, fitting her strong strumming style.

Overall, HARUNA’s pedalboard is built on the philosophy of “enhancing the character of the Telecaster while adding color to suit the song.” Instead of relying on specific distortion pedals, she skillfully adjusts nuances by using multiple overdrives, maintaining a balance with her vocals. It is assumed that she differentiates between the ruggedness of BOSS pedals for live performances and the flexibility of Fulltone and Carl Martin for studio work.

Tone Settings, EQ, and Mixing Approaches

A significant characteristic of HARUNA’s sound design is the balance between “clarity that does not interfere with vocals” and “strong rhythm guitar presence.” SCANDAL operates with a twin-guitar setup, where MAMI often handles spatial and effect-laden phrases, allowing HARUNA to focus on chord strumming and riffs that form the backbone of the songs. Therefore, it is assumed that her EQ and amplifier settings are always adjusted with the “overall band sound” in mind.

When using the Fender Twin Reverb or SHINOS Luck 6V, the common setting leans towards “clean.” The bass is typically kept around 3-4, the midrange at 5-6, and the treble slightly higher at 6-7. This balance is crucial, as excessive low-end can clash with the bass and kick drum, obscuring the clarity of the vocals. Instead, emphasizing the mid to high frequencies achieves a “cutting tone.”

When applying overdrive, she tends not to crank up the gain too high, favoring a light crunch that remains close to clean. It is likely that she sets the drive on pedals like the Fulltone OCD or Carl Martin DC Drive between 9 o’clock and 11 o’clock, with the level around 12 o’clock and the tone slightly lower. This setup allows for a sharp attack when strummed while retaining warmth during arpeggios or single notes.

Spatial effects are kept minimal, with reverb applied lightly via the built-in amp or the BOSS FRV-1. Delay is primarily added subtly with the BOSS DD-3 or Carl Martin Red Repeat for lead parts or ballads, set to a mix level of about 15-20% to avoid overshadowing the original sound. Notably, songs like “Shunkan Sentimental” and “Taiyou Scandalous” effectively utilize reverb and delay without compromising the rhythm’s sharpness.

Distinctions between live and recording settings are also essential. During live performances, she tends to minimize effects to prioritize clarity in the ensemble, while in the studio, she enhances “listening comfort” through EQ processing and compression using studio gear. For instance, she might lightly compress to even out strumming volume or boost around 2-3kHz to emphasize attack.

Furthermore, the placement of HARUNA’s guitar in the mix is crucial for differentiation from MAMI’s parts. HARUNA’s guitar is often positioned closer to the center, while MAMI’s is slightly off to the sides, creating a sense of width while ensuring HARUNA’s sound remains the foundation of the song. This processing is vital for effectively conveying her rhythm guitar to the listener.

In summary, HARUNA’s sound design emphasizes “retaining the clear character of the Telecaster while supporting the vocals and the overall band.” By avoiding excessive distortion or spatial processing, she maintains a straightforward and solid approach. As a result, her guitar sound consistently reflects the “core of SCANDAL” across all songs. This thoughtful approach to settings is likely why her sound remains highly reproducible in both live and recording contexts.

Affordable Alternatives to Recreate the Tone

HARUNA’s sound design is simple and practical, primarily centered around the characteristics of the Telecaster. This means that beginners can relatively easily recreate a similar sound on a budget. Here, we introduce accessible alternatives to the gear HARUNA has used.

For guitars, opting for a budget Telecaster-type model is the quickest route. The Squier Affinity Telecaster or YAMAHA Pacifica series (which HARUNA also used in her early days) can be purchased for under $500. The Squier Telecaster, in particular, offers a simple structure with a sharp sound, making it suitable for strumming-focused playing. If more power is desired, choosing a model with humbuckers will get you even closer.

For amplifiers, the BOSS Katana series or Fender Champion 40 are recommended for home practice. The Katana features diverse amp modeling and built-in effects, capable of reproducing tones close to the clean sounds of the Twin Reverb or SHINOS. The Fender Champion, with its simple operation, also provides excellent Fender-like clean tones that pair well with Telecasters.

For distortion, the BOSS SD-1 Super OverDrive is a classic alternative. Priced in the low $100 range, it can relatively replicate the natural drive of the OCD. If a cleaner finish is desired, the JHS 3 Series Overdrive or Electro-Harmonix Soul Food are also good options. Additionally, the BOSS BD-2 Blues Driver excels in the crunch to moderate distortion range, making it highly compatible with the Telecaster’s core sound.

For spatial effects, the BOSS DD-8 (delay) and RV-6 (reverb) are versatile, capable of a wide range of settings in one unit. The DD-8, in particular, serves as a successor to the DD-3, offering digital clarity while allowing for analog mode selection, making it easier to replicate HARUNA’s tonal variations across songs.

If you’re interested in octave or multi-effects, the BOSS OC-5 (successor to the OC-3) or ZOOM G3n/G5n compact multi-effects units can provide a broad range of tones while keeping costs down. ZOOM products are particularly user-friendly, making them ideal for beginners wanting to experiment with various sounds.

Finally, the JIM DUNLOP TORTEX Standard 0.88mm pick can be obtained for just a few dollars and is crucial for recreating HARUNA’s attack. Beginners can easily grasp the strumming feel by starting with this pick.

In summary, the foundation of HARUNA’s sound consists of “Telecaster-type guitar + Fender-style clean amp + natural overdrive + simple spatial effects.” These beginner-friendly pieces of gear can produce a sound close to hers, so there’s no need to invest in high-end equipment right away. Starting with practical, budget-friendly options is strongly recommended.

Summary and Conclusion

In summary, HARUNA’s sound design fundamentally revolves around “supporting the vocals while providing a solid guitar sound for the band.” Her sound is not overly flashy but effectively forms the core of the songs, shaping SCANDAL’s rock backbone. The contrast with MAMI’s spatial guitar further highlights HARUNA’s rhythm-focused playing, balancing the overall sound of the band.

On the gear front, her sound is characterized by a foundation built around the Fender Telecaster. Notably, her black Telecaster, affectionately called “Shun-kun,” and her signature HARUNA Telecaster are optimized for her playing style, balancing sharpness and power. Her choice of amplifiers, primarily the Fender Twin Reverb and SHINOS Luck 6V, emphasizes stability across clean to crunchy tones. Furthermore, her effects are centered around reliable brands like BOSS and Fulltone, adopting a practical setup that adds only the necessary sounds.

From an EQ and mixing perspective, she prioritizes mid to high frequencies, ensuring her sound does not overlap with the vocals. By suppressing low frequencies, she maintains a clear distinction from the bass and drums, boosting around 2-3kHz to ensure clarity in her cutting tones. During live performances, she avoids excessive effects to deliver a straightforward sound, while in the studio, she employs EQ and compression to enhance “listening comfort.”

Moreover, HARUNA’s sound design teaches us that “strength lies in simplicity.” While some guitarists rely on a plethora of effects and complex setups, HARUNA demonstrates that minimal gear can yield maximum impact. This approach serves as a valuable reference for those starting their guitar journey or those playing rhythm guitar in a band.

For beginners looking to emulate her sound, it is advisable to start with a Telecaster-type guitar, a quality clean amp, natural overdrive, and simple reverb/delay effects. Even without high-end signature models, Squier and BOSS products can effectively replicate similar nuances. Most importantly, maintaining the mindset of “sound design that enhances the vocals” is crucial. Gear is merely a means to an end, and what HARUNA embodies is a guitar sound that supports the overall band sound.

In essence, the core of HARUNA’s sound design is “solid and simple, yet undeniably propelling the music forward.” Her strength lies in crafting guitar sounds that form the foundation of the band without relying on flashiness or technicality. Understanding and practicing this approach will be the first step towards achieving a SCANDAL-like sound.