[Hattori Kanta] How to Recreate the SHE’S Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

SHE’S guitarist Kanta Hattori is known for his delicate yet powerful playing style that supports the band’s transparent piano rock sound. His guitar work goes beyond merely strumming chords; it creates depth throughout the songs with expansive arpeggios and guitar riffs that intertwine with the rhythm section.

In their iconic track “Ghost,” Hattori utilizes the bright sound of the Music Man AXIS EX, showcasing articulate cuts and emotional lead playing. In recent live performances, he frequently employs the James Tyler The Black Classic, demonstrating a modern, wide-ranging tone that adapts well to the latest arrangements.

A key aspect of Hattori’s sound is its simplicity and clarity, yet it possesses depth and dimensionality. Centered around the Line 6 Helix, he skillfully combines compressors and spatial effects to create a guitar sound that naturally integrates into SHE’S piano-driven music.

Moreover, Hattori’s experience in playing bass and drums contributes to his unique perspective as an arranger. His understanding of the overall band ensemble allows him to excel in balancing the frequencies that should be emphasized and those that should be subdued in his guitar sound.

Therefore, studying Kanta Hattori’s sound design is not just about mimicking guitar parts; it also offers insights into a musical approach that considers the entire ensemble.

▶ Search official YouTube videos of SHE’S

List of Amplifiers and Features

Regarding Kanta Hattori’s amplifiers, there is limited confirmed information available from official interviews or live photos. However, based on his recent sound tendencies and the use of effects (particularly the Line 6 Helix), it is highly likely that he employs a modern approach that does not rely heavily on traditional amplifiers.

The Helix functions as a high-performance amp simulator, often used in live settings connected directly to the PA system. This style is particularly effective for bands like SHE’S, which emphasize balance with synthesizers and pianos. Therefore, it can be assumed that he switches between various amp models (such as Fender clean, Vox crunch, and Soldano high gain) within the Helix for different songs.

In past live photos, he has been seen using Marshall and Fender combo amps as backline equipment, depending on the rehearsal studio or event. Specifically, amps like the Fender Hot Rod Deluxe or Twin Reverb, known for their robust clean tones and broad range, are likely choices that complement Hattori’s transparent guitar sound.

On the other hand, his guitar sound maintains an edge without excessive distortion, prioritizing cohesion through spatial effects and compression. Thus, it is reasonable to assume that he opts for amps that can produce clean tones that support a piano-centric ensemble rather than using rock-oriented amps that emphasize mid-range frequencies, such as the Marshall JCM series or Orange amps.

In summary, Kanta Hattori’s amplifier setup can be organized into two main approaches: one utilizing the amp simulation of the Line 6 Helix for direct line use, and the other relying on the clean amps from Fender or Marshall available at the venue, adjusted through his pedalboard. This flexible operational style is common among modern pop-rock bands, and Hattori is no exception.

Based on the above, it can be assumed that Kanta Hattori employs a style of “direct line operation centered around the Helix, supplemented by Fender and Marshall amps as needed at venues.”

Types of Guitars Used and Features

When discussing Kanta Hattori’s guitar sound, two models are essential: the Music Man AXIS EX and the James Tyler The Black Classic. Both are high-end professional models with significantly different sound characteristics, allowing Hattori to choose between them based on the song or live scene.

The Music Man AXIS EX, known for its Eddie Van Halen specifications, features meticulous craftsmanship with Japanese assembly. Its simple one-volume setup and highly responsive toggle switch make it ideal for live situations. Hattori uses this guitar in recordings and songs like “Ghost,” producing crisp cuts and thick lead tones characteristic of humbuckers. It perfectly matches his delicate yet energetic playing style.

Conversely, in recent live performances, he has often been seen using the James Tyler The Black Classic. Known as a high-end boutique brand, James Tyler guitars are praised for their wide-ranging tones and exceptional playability. The Black Classic offers a modern design while retaining the warmth of vintage sound, making it a perfect fit for SHE’S transparent songs.

Hattori’s choice of guitars reflects his flexibility in matching the musical atmosphere. He showcases his presence with the AXIS EX in emotional tracks while enveloping the band’s overall sound with the Tyler. This demonstrates his commitment to adapting to the musical context.

Additionally, he plays bass (Fender Jazz Bass) and drums (DW Jazz Series Drum Set), and this experience influences his guitar playing. His understanding of the ensemble allows him to make informed choices about the “tones to emphasize” and “tones to reduce.”

Overall, Kanta Hattori’s guitar lineup aims to balance “rock guitarist sharpness” with “modern, wide-ranging clean tones.” Currently, he primarily uses the AXIS EX and James Tyler, but it’s likely that his guitar choices will evolve with the progression of his music.

In summary, Kanta Hattori’s guitar selection aims to achieve both “emotional expressiveness” and “harmony with the entire band.”

Effects and Pedalboard Setup

The heart of Kanta Hattori’s sound lies in his effects pedalboard. SHE’S songs are structured around ensembles featuring piano and synthesizers, so the guitar’s role often involves adding color. His choice of effects accurately reflects this role. The Line 6 Helix Floor / LT serves as the core piece of equipment, functioning as a multi-effects unit, amp simulator, and switcher. It enables both direct amp connections and PA connections in live settings, allowing for flexible sound creation in recordings.

As his first purchased effect, he has the BOSS CE-2W Chorus, a reissue of the vintage CE-2 model, which holds a significant place in his musical journey. It adds depth to the transparent clean tones, playing an essential role in SHE’S sound. It is likely that he currently uses it alongside the modulation effects within the Helix.

Additionally, his live board includes a BOSS RC series looper, which allows him to construct layered guitar arrangements using loops. This looper significantly expands his expressive capabilities, especially in studio live sessions.

For tuning, he uses the TC Electronic PolyTune, chosen for its high visibility and accuracy on stage. To add compression, the MXR Dyna Comp (red casing) has been confirmed, helping to balance attack and produce cohesive clean sounds across both single-coil and humbucker guitars.

For spatial effects, the silver-cased Electro-Harmonix Memory Man has been noted, adding warmth and depth characteristic of analog delays. Additionally, an orange-cased Suhr Riot (assumed) is present on the board, serving as the only independent distortion effect. This pedal can handle crunch to lead solos, allowing for diverse distortion tailored to each song when used alongside the Helix.

Thus, Hattori’s effects setup represents a modern and flexible approach, combining the Helix as the foundation with compact effects that add necessary vintage character and texture. He accurately understands the role of guitar in piano rock, ensuring that his sound does not overpower while still providing depth to the overall band sound.

In conclusion, Kanta Hattori’s effects board represents a modern and practical structure, creating a foundation with the Helix while adding depth with analog effects where necessary.

Tone Settings, EQ, and Mixing Approaches

Kanta Hattori’s sound design is directly tied to SHE’S musical identity. The band is characterized by a sound that prominently features piano and synthesizers, where the guitar plays a complementary and crucial role in “coloring the space,” “supporting the rhythm,” and “highlighting the melody.” Therefore, Hattori’s EQ and settings prioritize balancing the guitar’s resonance within the overall ensemble rather than focusing solely on the guitar’s power.

The basic EQ setting focuses on organizing the mid-high frequencies. Guitars like the James Tyler and Music Man AXIS EX have a wide range, so without adjustments, they can overlap with the piano and vocals. Thus, it is likely that he lightly cuts the midrange (around 500Hz to 1.5kHz) and boosts the 2kHz to 3.5kHz range to ensure that chord strokes and arpeggios stand out in a three-dimensional manner.

For the low frequencies, to avoid overlapping with the bass and kick drum, he likely cuts frequencies below 80Hz. Leaving a slight presence in the 100Hz to 150Hz range allows for a clean sound with body. This approach ensures that the guitar tone blends seamlessly with the piano without becoming muddy.

When it comes to distortion effects (like the Suhr Riot or Helix’s built-in overdrive), keeping the gain at moderate levels is key. It is assumed that the Helix’s modeling amps are based on Fender or Bogner/Soldano, with gain levels kept at “crunch to moderate.” This prevents the sound from being too forward while allowing for dynamic expression that aligns with the overall band dynamics.

Spatial effects also play a significant role. The EHX Memory Man possesses the decay characteristic of analog delays, adding depth to leads and arpeggios. It is speculated that in live settings, he uses it alongside the built-in delay and reverb in the Helix, finely adjusting the “spatial expansion” based on the song. In particular, tracks like “Ghost” and “Kaze no Tsubasa” likely feature deeper reverb settings to create a dreamy atmosphere.

On the mixing side, collaboration with the PA and recording engineer is essential. Rather than positioning the guitar at the center, it is often placed in a stereo manner across the left and right channels, which is particularly effective when constructing layered phrases using the looper. Additionally, Hattori’s understanding of bass and drums allows him to maintain awareness of “which frequencies to leave open” and “where to add thickness,” resulting in tracks that are easier to mix.

Specific EQ settings can be summarized as follows:

• Low (below 80Hz): Cut
• Low-Mid (200-400Hz): Slightly reduced to minimize muddiness
• Mid (500Hz-1.5kHz): Slightly subdued to differentiate from piano
• High-Mid (2kHz-3.5kHz): Boosted for presence
• High (above 6kHz): Adjusted to avoid harshness

Moreover, picking nuance is also part of sound design. A soft touch is used for clean parts, while stronger attacks are applied for leads and distorted sections, allowing for dynamic control without needing extensive EQ adjustments. This is a significant characteristic of Kanta Hattori’s playing and is why his tone feels “alive.”

In conclusion, Kanta Hattori’s sound design is built on the dual pillars of “flexible sound design based on the Helix” and “frequency control that considers the entire ensemble.” While assumptions are made, these elements likely contribute to the unique and beautiful resonance of his guitar sound.

Affordable Alternatives to Recreate the Tone

Kanta Hattori’s sound is built around high-end guitars (like the James Tyler and Music Man AXIS EX) and a multi-effects unit (Line 6 Helix). However, it can be challenging for beginners or intermediate players to acquire the same gear. Therefore, this section introduces relatively affordable equipment that can help achieve a similar sound direction. The models listed here are generally available for around $100 to $500 and can effectively replicate the tonal characteristics and roles.

First and foremost is the multi-effects unit. While Hattori uses the Helix, alternatives like the BOSS GT-1000CORE or Line 6 POD Go offer similar sound variations at a lower price point. These units come equipped with amp simulations and a variety of spatial effects, making them sufficient for creating the transparency and depth required in SHE’S songs.

If you want to achieve chorus effects, the BOSS CE-2W Chorus can be replaced with the more affordable yet reliable BOSS CH-1 Super Chorus. This pedal produces a bright, expansive sound that blends naturally with piano and synthesizer ensembles.

For compression, the BOSS CS-3 Compression Sustainer is a standard choice as a replacement for the MXR Dyna Comp. While it may have a slightly harder character, it helps to balance attack and create a guitar sound that stands out within the band.

In terms of distortion, while the Suhr Riot is expensive, alternatives like the BOSS DS-1 Distortion or BOSS SD-1 Super OverDrive are suitable for beginners. The SD-1, in particular, offers good midrange clarity, making it versatile for both leads and rhythms.

For delay, to replicate the warmth of the EHX Memory Man, the BOSS DD-7 Digital Delay or TC Electronic Flashback Delay are recommended. Both offer stereo capabilities and various modes to recreate spatial expansion.

By combining these pieces of equipment, it becomes possible to approach Kanta Hattori’s “transparent and deep guitar tone” at a relatively low cost. Especially when using the POD Go or GT-1000CORE as a foundation, you can get quite close to his sound in both live and home recording settings.

By combining these pieces of equipment, it becomes possible to approach Kanta Hattori’s “transparent and deep guitar tone” at a relatively low cost. Especially when using the POD Go or GT-1000CORE as a foundation, you can get quite close to his sound in both live and home recording settings.

Summary and Conclusion

Kanta Hattori’s sound design can be summarized as “a guitar sound that supports the overall transparency of the band.” His playing style differs from that of a lead guitarist who seeks to stand out; instead, he seamlessly integrates into SHE’S songs, which feature prominent piano and vocals, sometimes expanding the space and sometimes tightening the arrangement. Consequently, the equipment he uses is chosen based on its contribution to the overall music rather than for showiness.

His primary guitars, the Music Man AXIS EX and James Tyler The Black Classic, are used flexibly according to the context. The AXIS EX is suited for tight, cutting rock expressions, while the James Tyler emphasizes transparency with its wide range and modern clean tones. This flexibility allows him to select the optimal guitar tone for each song.

In terms of effects, he centers around the Line 6 Helix, while also incorporating compact effects like the BOSS CE-2W and EHX Memory Man to add vintage character and analog warmth. Additionally, he utilizes loopers and compressors to create layered guitar arrangements that transcend mere accompaniment. This approach reflects Hattori’s perspective on how to color the entire song.

In his EQ and mixing strategies, he prioritizes effective resonance within the ensemble rather than seeking a “flashy sound” for the guitar alone. By organizing the mid-low frequencies while leaving high frequencies airy, he avoids interference with the sounds of synthesizers and pianos, adding depth to the overall mix. His experience with bass and drums also showcases his deep understanding of the importance of rhythm and low frequencies.

In summary, Kanta Hattori’s sound design embodies the “aesthetic of harmony that considers the entire music.” Rather than asserting his individuality as a guitarist, he consistently selects the most suitable sounds to enhance the overall band sound. As a result, SHE’S music, while rooted in piano rock, features guitar tones that provide significant color and contribute to a unique soundscape.

If readers wish to approach Hattori’s sound, they should adopt the mindset of “not asserting their sound too much” while focusing on building a setup centered around multi-effects that emphasize clean and spatial effects. Kanta Hattori’s sound is not merely a result of equipment choices but is born from a thoughtful consideration of “how to exist within the music,” which is the essence of his sound design.