[Hayapi] How to Recreate the Kishida Kyoudan & The Akeboshi Rockets Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

【Jean-Ken Johnny】How to Recreate the MAN WITH A MISSION Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Ronnie Wood] How to Recreate the The Faces Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.252025.09.25

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

2025.09.192025.09.19

Introduction (Overview of Tone)

Hayapi, the guitarist of Kishida Kyoudan & The Akeboshi Rockets, showcases a unique sound that blends the roots of metal and hard rock with catchy pop elements typical of anime songs. His playing style is characterized by tight riff work, speedy solos, and sparkling clean tones, demonstrating a bold yet meticulous approach to sound creation for each song.

Notably, in anime theme songs like “Strike the Blood” and “GATE: Thus the JSDF Fought There,” his ability to seamlessly switch between powerful riffs and transparent clean tones captivates audiences. The gear he selects spans a wide range from vintage to modern, supporting the “thickness” and “sharpness” that define his sound.

While his stage presence is marked by a dynamic playing style, it is underpinned by a thorough selection of equipment and creative sound crafting. The careful differentiation of effects and amplifiers, along with custom equipment, plays a crucial role in creating the depth of his sound. This article will thoroughly explain the guitars, amplifiers, and effects used by Hayapi, along with key points for beginners to approach similar sound creation.

Through the dissection of guitar sound, let’s explore hints to incorporate the powerful stage presence of Kishida Kyoudan & The Akeboshi Rockets into your own playing.

▶ Search official YouTube videos of Kishida Kyoudan & The Akeboshi Rockets

List of Amplifiers and Features

Hayapi’s choice of amplifiers is notable for its combination of vintage tone depth and modern explosiveness. The songs of Kishida Kyoudan & The Akeboshi Rockets require a balance of the flamboyance typical of anime theme songs and the heaviness derived from metal and rock, making the choice of amplifiers critically important.

He primarily uses classic brands like Marshall and Fender, while also incorporating amplifiers from ORANGE and VOX to achieve different tones for each song. By combining preamps and power amps, he creates a wide range of frequencies and sound pressure.

The Fender “DELUXE REVERB Blackface” excels in producing beautiful sounds from clean to crunch, making it ideal for songs that highlight arpeggios and chord clarity. In contrast, the Marshall JMP 1987 and 2203 amplifiers provide the thickness characteristic of rock and metal, perfect for distorted riffs and fast solos. By pairing these with Marshall’s 1960B/1960BX cabinets, he constructs a powerful sound that fills the stage.

Additionally, the TubeAmpDoctor’s “Amp-Kit Plexi 45 (Marshall JTM45/100)” is noteworthy. This custom model, referred to by Hayapi as “Okamoto Spacial,” adds unique arrangements to the classic Marshall tone, resulting in a distinct harmonic richness and wide range. By combining these amplifiers according to the song and time period, Hayapi maximizes the inherent tone of the guitar while crafting the optimal sound for each scene.

From this, it can be inferred that Hayapi’s amplifier environment is designed to flexibly control “the brilliance of clean tones” and “the thickness of drive” by using a diverse range of brands and models from different eras.

Types of Guitars Used and Features

Hayapi’s guitar selection features a diverse lineup, ranging from unique handmade models to classic vintage options. The songs of Kishida Kyoudan & The Akeboshi Rockets require a balance of intense riffs and melodic lines, making the choice of guitars crucial not just for appearance but for the “range of sound” and “presence.”

In particular, the “Vintage 67V” from Ikebukuro Woodworks, also known as “Kin V,” is a trademark model that frequently appears in live performances and music videos. This model is based on Randy Rhoads’ V shape but has unique wood selections and specifications, characterized by sharp attack and thick sustain.

The “Black Randy Rhoads V” guitar further emphasizes the hard rock and metal presence, serving as an essential weapon supporting the band’s heavy side. On the other hand, vintage models like the Fender Stratocaster (1960) and Gibson Melody Maker (1959) are believed to be used for clean sections or to achieve a bluesy nuance.

The Stratocaster, in particular, shines with its sparkling single-coil sound, making it ideal for fast-paced phrases and arpeggios. Furthermore, the Gibson Les Paul Junior (1956) is simple yet powerful in the midrange, often used for straightforward rock sounds. The Gretsch 6119 Tennessean (1964) offers a unique atmospheric sound, chosen for live performances to provide different nuances.

Thus, Hayapi skillfully utilizes a variety of guitars according to the scene, supporting the breadth of his playing style. Ultimately, his guitar choices aim to coexist “metallic and sharp tones” with “warm and rounded tones,” contributing to the overall sound pressure and momentum of the band.

Effects and Pedalboard Setup

Hayapi’s pedalboard stands out for its overwhelming diversity and individuality. Not only does he use simple distortion, but he also incorporates fuzz, delay, modulation, and even custom or clone pedals to create a unique sound.

The characteristics of his sound, which blend “intensity with delicacy” and “thick riffs with transparent arpeggios,” are realized through this diverse array of pedals. For instance, the Analog Man “Sun Face Fuzz” and JIM DUNLOP “FFM2 Fuzz Face Mini” excel at delivering classic rock to metal drives, adding edge to his songs.

Additionally, fuzz pedals like ACE TONE “FUZZ MASTER FM-2” and Moondog Amplifier Garage “Fuzz Face Clone” enhance the raw harmonic content and impact, amplifying the live experience. Furthermore, Caroline Guitar Company’s “KILOBYTE DELAY” and “Wave Cannon MK2” offer flexibility for creating expansive soundscapes suitable for post-rock influences, supporting the band’s sound.

In terms of wah effects, he employs JIM DUNLOP “CBM95 Crybaby Mini Wah” and a handmade VOX Clyde McCoy copy. These allow him to navigate from traditional rock sounds to more unique expressions, significantly enhancing his solo performances.

Moreover, the inclusion of unconventional and synthesizer-type pedals like Moogerfooger “MF-105 MuRF” and Pigtronix “Mother Ship Analog Guitar Synthesizer” reflects an adventurous spirit not commonly seen in typical guitarists.

For switching, he uses the One Control “Crocodile Tail Loop OC10” to efficiently manage multiple pedals. Additionally, supportive equipment like Sonic Research “ST-200 Strobe Tuner” and TC Electronic “Bonafide Buffer” ensures stability. This setup possesses a depth that cannot be replicated with a simple configuration, maximizing the individuality of each song and the switching of sounds on stage.

Tone Settings, EQ, and Mixing Approaches

Hayapi’s sound creation is not just about equipment selection; it is completed through meticulous EQ and mixing techniques. The songs of Kishida Kyoudan & The Akeboshi Rockets, represented by anime theme songs, require a combination of speed and thickness, necessitating that each instrument resonates in a balanced manner without being buried. Therefore, his sound crafting emphasizes “increasing overall band sound pressure while ensuring the guitar cuts through clearly.”

Starting with amplifier settings, when using Marshall JMP 2203 or JMP 1987, he tends to keep the gain around 5-6, avoiding excessive distortion. The mids are set slightly higher at 6-7, while the bass is around 4-5, and treble is typically around 6. This setup ensures that when chords are played, the core of the sound remains intact, allowing the power of riffs to stand out in the band sound.

On the other hand, for clean tones provided by the Fender Deluxe Reverb or VOX AC30, he sets the bass around 4, treble at 6-7, and adds reverb moderately to create a sparkling and three-dimensional clean sound.

When using fuzz-type effects, he tends to keep the amp’s distortion low and adds harmonics and saturation on the pedal side. For example, with the Analog Man “Sun Face Fuzz,” he controls the amount of distortion through the guitar’s volume knob, achieving a rough drive for leads while maintaining a clean and sparkling tone for arpeggios.

Combining this with Caroline’s “KILOBYTE DELAY” or FULLTONE’s “Tube Tape Echo” expands the lead guitar into a spatial realm, matching the grandeur of anime song aesthetics.

During the mixing stage, it is believed that he collaborates with the engineer to ensure the presence of mids while keeping the low end subdued to avoid interfering with the bass and kick drum. In particular, for high-gain riffs, boosting around 2kHz in the EQ highlights picking nuances while cutting below 100Hz eliminates muddiness. This approach maintains a clear guitar sound even in intense songs.

Live, he utilizes the One Control “Crocodile Tail Loop OC10” to preset combinations of effects, allowing for instant sound changes. For instance, he might have presets for clean + delay, distortion for riffs, and a combination of wah + delay for solos, enabling flexible switching according to song developments.

Moreover, by combining the Marshall JMP-1 preamp with the EL34 100/100 power amp, he ensures stable sound pressure in both studio and large venue settings.

Overall, Hayapi’s sound creation can be summarized by four pillars: “moderate amp distortion,” “thick mids in EQ,” “adding character with pedals,” and “organizing during mixing.” While this may seem like a conventional approach, it is achieved through careful selection of the optimal combinations from a vast array of equipment, repeatedly tuning for each scene. This meticulous approach supports the dynamic yet delicate sound of Kishida Kyoudan & The Akeboshi Rockets.

Affordable Alternatives to Recreate the Tone

Hayapi’s sound creation is completed through the combination of vintage guitars, diverse effects, and multiple amplifiers. However, acquiring all of these can be realistically challenging, so using relatively affordable commercial gear to approximate his sound is a viable method. Here, we recommend alternative equipment that is “highly reproducible and reasonably priced” for beginners to intermediate players.

For amplifiers, since replicating full-size tube amps from Marshall or Fender can be costly, modeling amps like the BOSS “Katana” series or VOX “Cambridge 50” are good candidates. These can handle a wide range from clean to high-gain, simulating the tones of Hayapi’s live-used Marshall JMP and Fender Deluxe Reverb to some extent.

In terms of effects, focusing on fuzz and delay can be particularly effective. The BOSS “FZ-5” can replicate classic fuzz tones and serves as a sufficient substitute for the Analog Man Sun Face and Dunlop Fuzz Face. For delay, the TC Electronic “Flashback 2 Delay” and BOSS “DD-8” are versatile and can recreate the spatial expansiveness of Caroline’s KILOBYTE.

For wah pedals, the classic Dunlop “Cry Baby GCB95” offers excellent cost performance and is an ideal substitute for the CBM95 Mini Wah.

Additionally, introducing multi-effects units is also recommended. The LINE6 “HX Stomp” and BOSS “GT-1000CORE” can cover a wide range of the various pedals Hayapi uses, allowing for extensive sound creation on a limited budget. This option is particularly practical for achieving reproducibility in live settings or home practice.

As a result, by establishing a basic axis of “fuzz + delay + wah,” supplemented by a multi-effects unit, it is possible to incorporate the essence of Hayapi’s sound effectively. Below is a table summarizing specific alternative candidates. All of these can be obtained for approximately $100 to $500, making them suitable for a wide range of beginners to intermediate players.

Summary and Conclusion

Exploring Hayapi’s sound creation in Kishida Kyoudan & The Akeboshi Rockets reveals a foundation of “diversity” and “meticulous attention to detail.” He does not simply crank up the distortion for loud sounds; instead, he meticulously selects guitars, amplifiers, and effects according to the development and emotions of each song. As a result, he can skillfully navigate from heavy and fast-paced riffs to sparkling clean tones and even ethereal soundscapes.

In particular, the unique V-shaped guitars from Ikebukuro Woodworks, such as “Kin V” and “Black V,” are iconic representations of his sound and serve as the core of the band’s visual and auditory identity. Additionally, by utilizing vintage models like the Fender Stratocaster and Gibson guitars, he maintains flexibility to adapt to a wide range of genres.

Moreover, Hayapi’s effects board boasts overwhelming diversity. Covering fuzz, delay, wah, modulation, and even synthesizer-type pedals, he has designed it to allow for instant switching during live performances using One Control’s switcher. This reflects his role in supporting “musical diversity” single-handedly.

The collaboration with engineers for EQ adjustments and sound crafting in PA systems ensures a delicate balance where the band’s overall sound pressure is elevated without overshadowing individual elements.

In summary, Hayapi’s sound embodies the coexistence of “aggressiveness and transparency.” Behind the sharp and piercing tones lies meticulous equipment selection and EQ adjustments, forming a solid foundation that supports the music of Kishida Kyoudan & The Akeboshi Rockets.

To recreate this sound, it is not essential to acquire all the equipment; rather, focusing on “moderate amp settings,” “the combination of fuzz and delay,” and “the brilliance of clean tones” is crucial.

For readers looking to get closer to “Hayapi’s sound” at home or during live performances, starting with EQ adjustments on your existing gear is recommended. From there, adding fuzz and delay while emphasizing the mids with an amp or simulator will help you approach the essence of his sound. The core of Hayapi’s sound creation lies in “skillfully utilizing diverse equipment while always aligning with the music.”