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

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Introduction (Overview of Tone)

NEMOPHILA’s guitarist, Hazuki, is known for her ability to seamlessly transition between modern heavy riffs and melodic leads. Her use of a seven-string guitar allows her to create deep, powerful riffs, characterized by precise picking that adds a tightness to her sound. This unique combination of heavy low-end and expressive lead work gives her a distinctive presence in the music scene.

Iconic tracks such as “Revive,” “DISSENSION,” and “OIRAN” showcase her ability to balance rich low-end tones with sparkling high-gain leads, earning her acclaim from listeners both domestically and internationally. During live performances, Hazuki’s guitar sound serves as a foundational pillar for NEMOPHILA, built around high-gain amplifiers like ENGL and Diezel, and meticulously crafted effects that enhance the dynamics of their music.

The reason Hazuki’s sound design garners attention lies in her thorough approach to tone crafting and practicality. She accurately expresses the nuances required for each song through her gear, ensuring that her sound remains consistent in both live and studio settings. This flexible and strategic sound design has made her a subject of study for many guitarists who aspire to replicate her tone.

In the following sections, we will delve into Hazuki’s actual amplifier, guitar, and effects setup, detailing her sound design techniques. We aim to provide specific gear names and settings to aid those attempting to recreate her sound.

Finally, here’s a link to search for NEMOPHILA’s official music videos on YouTube.

▶ Search official YouTube videos of NEMOPHILA

List of Amplifiers and Features

Hazuki’s sound is supported by a diverse system centered around modern high-gain amplifiers such as Diezel and ENGL, with the recent addition of Kemper profiling technology. In her latest tours, she has adopted the Diezel Herbert MK3 as her “new main” amplifier. This three-channel powerhouse excels in delivering everything from heavy low-end riffs to crystal-clear cleans.

The Herbert is known for its deep, thick low-end, which, when paired with Hazuki’s seven-string guitar, produces an overwhelming sound. During her 2022 live performances, she utilized the ENGL Powerball II in combination with a Bogner 4×12 cabinet. The tight and cutting distortion characteristic of ENGL is well-suited for NEMOPHILA’s fast-paced songs, allowing for pronounced attack while controlling low-end rumble.

In 2024, she was seen using the Kemper Profiling Power Rack as a preamp, showcasing her focus on stable sound reproduction and convenience. The Kemper allows for efficient setup during live performances and the ability to bring studio tone into live settings. Hazuki likely switches between multiple amp profiles for different songs, utilizing the advantages of the Kemper.

Additionally, the Bogner cabinet is known for its excellent midrange presence, ensuring that her sound remains prominent within the band’s ensemble. Hazuki’s tone is not just about high gain; it’s about making choices that maintain overall balance in her sound.

Through these combinations, Hazuki recreates a “wall of thick guitar sound” during NEMOPHILA’s live shows while also achieving delicate expressions with cleans and effects tailored to each song. The introduction of the Diezel Herbert MK3 from the 2025 tour onward is expected to further enhance her sound’s range, solidifying its central role in future performances.

Overall, Hazuki’s amplifier selection emphasizes “overwhelming low-end weight,” “articulate distortion,” and “live reproducibility,” suggesting a practical approach that forms the core of her sound.

Types of Guitars Used and Features

Hazuki’s primary weapon of choice is a collection of seven-string guitars, primarily from the Ibanez J.Custom series. Her signature model, the “Ibanez J.Custom RG8527 HAZUKI Custom (Aqua Blue),” has been her mainstay for years. In 2022, it was equipped with DiMarzio PAF7 pickups, but from 2024 onward, she switched to Fishman Fluence Modern pickups. This change has allowed her to achieve a tight, noise-free sound characteristic of modern metal, enhancing her stability in live and recording settings.

As a secondary guitar, the “Ibanez J.Custom RG8527Z (Soda Lite)” has also been confirmed in use. This guitar has also been upgraded to Fishman Fluence Modern pickups, ensuring it provides a sound comparable to her main guitar while allowing for different tunings and nuances for various songs. Additionally, during a 2022 performance at Zepp, she was seen using the “Ibanez RG8527SP (j.custom),” indicating her use of multiple guitars during live performances.

In her early to mid-career, she utilized the “Ibanez RGD series (e.g., RGDR4327)” as a secondary guitar. This model featured Fusion Edge pickups, which were favored during a period when she aimed for a more modern and edgy sound. Furthermore, she actively employed six-string models for recording purposes, such as the “Ibanez AZS2200F,” used in “Rock ’n’ Roll is alive,” and the “Ibanez RG8020G-BQZ (j.custom),” featured in “Soaring Through the Galaxy.” These six-string guitars were chosen for their agility and range, filling out the sound in ways her seven-string could not.

Overall, Hazuki’s guitar selection reflects a strategic approach that emphasizes “heavy riffs with the seven-string,” “pickup upgrades for modern optimization,” and “the introduction of six-strings to capture song-specific nuances.” The transition to Fishman Fluence Modern pickups is a significant point that aligns her sound with NEMOPHILA’s international aspirations. Her sound is completed through the unique playability and customization of Ibanez guitars combined with modern pickups.

Effects and Pedalboard Setup

Another crucial element of Hazuki’s sound is her meticulously arranged effects pedalboard. She utilizes the power of high-gain amplifiers while controlling nuances with boosts and spatial effects. Notably, the Morley 20/20 Lead Wah Boost has been a staple wah pedal for years, featuring a boost function that elevates her sound during lead play, making it essential for creating a prominent solo tone.

In her latest 2025 pedalboard, she has incorporated the Lehle Mono Volume 90, achieving smooth volume control. Additionally, she has adopted the ISP Decimator II G String, which helps maintain a noise-free sound even with the low-end of her seven-string. In 2024, she was seen using the standard Decimator, indicating updates to her system over time.

For lead boosts, she employs the Ibanez TS808 45th Anniversary model. This legendary overdrive pedal, part of the Tube Screamer lineage, pushes gain in front of her high-gain amp, yielding a well-defined lead tone. The Eventide H90 serves as the core of her spatial effects, managing delay, reverb, and pitch shifting all in one unit. This integration is a significant feature, allowing her to recreate the necessary depth and expansiveness essential for modern metal.

Furthermore, the NUX Pulse NSS-4 enables her to output acoustic IRs through the line, accommodating songs that require clean or unique textures. The BOSS ES-8 switcher is designed for instant effect toggling, prioritizing practicality during live performances.

Additionally, the DigiTech Drop is utilized for variable down-tuning, allowing for half-step to whole-step drops. Hazuki herself discussed its use in a 2021 interview, confirming its frequent application in live settings. The foundation of her pedalboard includes high-quality power supplies and junction boxes from domestic manufacturers like Free The Tone PT-5D and Limetone Audio JCB-5S-Flat, ensuring signal integrity and stability.

These effects are not merely for sound processing; they are selected with clear objectives: “live reproducibility,” “low-end control,” “lead prominence,” and “song-specific atmospheres.” Hazuki’s pedalboard configuration is highly rational from a gear enthusiast’s perspective, emphasizing reliability in live situations.

Tone Settings, EQ, and Mixing Approaches

Hazuki’s sound design is characterized by a meticulous approach that considers practical usability in both live and recording environments. To create a modern metal sound centered around her seven-string guitar, she optimizes EQ, amplifier channel switching, and effects application.

When using the Diezel Herbert MK3 as her main amp, the low-end (Bass) is typically set slightly below noon. This is to prevent the inherent low-end of the seven-string from becoming too bloated, ensuring a tight sound. In contrast, the midrange (Mid) is pushed slightly above noon to enhance the definition of her riffs and ensure they cut through the band mix. The high-end (Treble) is kept slightly lower (around 11 o’clock) to maintain sharpness without becoming harsh.

When using the ENGL Powerball II, which has a naturally sharp high-mid range, she tends to keep the midrange lower to balance out the lows and highs. With the Kemper, the EQ is optimized per profile, allowing for fine adjustments based on the PA or monitor environment. During live shows, she may instruct the front engineer to “tighten the low-end, pull back the highs, and push the mids.”

Effects play a significant role, with the Eventide H90 handling spatial processing. For lead solos, she lightly applies a delay set to 1/4 or 1/8, while keeping reverb shallow to maintain clarity in the sound. Instead of using deep reverb, she adds dimensionality without compromising the nuances of her performance. In contrast, during clean parts, she sets the H90 for deeper reverb, incorporating chorus and pitch shifting to create an ethereal sound.

Her use of boosts is also distinctive. During riff parts, she refrains from using clean gain boosts, relying primarily on the amp’s distortion. The Ibanez TS808 is only used during lead parts to push the mids and extend sustain. Additionally, the adjustments made with the ISP Decimator II for noise reduction are critical, balancing the retention of low-end power while controlling feedback and unwanted noise.

During the mixing stage, Hazuki’s guitar undergoes specific processing. To prevent the seven-string’s low-end from clashing with the bass, a light cut is typically applied below 70Hz, while maintaining thickness around 100-200Hz. Boosting the 2kHz-4kHz range enhances the attack of her riffs and the clarity of her leads. Spatial effects are spread across stereo channels while ensuring a solid core in the center, allowing her guitar to remain prominent in the overall mix.

In summary, Hazuki’s sound design revolves around the principles of “tight lows,” “pushed mids,” and “controlled highs,” with adjustments made for each song’s spatial effects and boosts. This meticulous control allows for the coexistence of heaviness and brilliance in NEMOPHILA’s music.

Affordable Alternatives to Recreate the Tone

While Hazuki’s gear includes high-end models like the Diezel Herbert MK3 and Ibanez J.Custom, it can be challenging for beginners and intermediate players to assemble a similar setup. Therefore, we will introduce more affordable alternatives that can help achieve a sound reminiscent of Hazuki’s modern metal tone. The price range will be around $100 to $500, focusing on products that are beginner-friendly.

For amp simulation, BOSS’s “GT-1000CORE” and “GX-100” multi-effects units are highly effective. These units model high-gain amplifiers like Diezel and ENGL, adequately handling the low-end of a seven-string guitar. By utilizing presets and adjusting EQ settings, players can approximate Hazuki’s tight and powerful sound.

Regarding guitars, lower-tier models from Ibanez’s RG series (such as RG7421 or RG7420) offer excellent cost performance. These seven-string models feature slim necks and are well-suited for modern metal playing, making them capable of replicating Hazuki’s riff style as entry-level options. Upgrading the pickups to Fishman Fluence Modern or DiMarzio can further align the tone with hers.

For effects, choosing the “Ibanez TS9” for overdrive will yield a character similar to the TS808. Additionally, spatial effects can be managed with multi-effects units like “NUX Atlantic” or “Zoom MS-70CDR,” which can handle both reverb and delay simultaneously, allowing for a close approximation to the Eventide H90’s capabilities.

For noise reduction, the “BOSS NS-2” is a classic choice. While it may not have the same responsiveness as the ISP Decimator, it effectively suppresses unwanted noise in high-gain environments, making it sufficient for beginners. Although there are no direct affordable alternatives to the DigiTech Drop for pitch shifting, pitch functions within multi-effects units can serve as a substitute.

By combining these alternative pieces of gear, players can capture the essence of Hazuki’s sound for under $1,000. The key lies not in the specific equipment but in achieving a “tight EQ balance,” effectively switching between riffs and leads, and appropriately utilizing spatial effects. With this understanding, even more affordable gear can provide a satisfying recreation of her tone.

Summary and Conclusion

Looking at Hazuki’s sound design comprehensively, its essence lies in the “heavy riffs utilizing the seven-string and the melodic lead play achieved through meticulous sound design.” Rather than simply producing high gain at loud volumes, she maximizes the rhythm’s clarity, the definition of her riffs, and the expressiveness of her leads through a careful combination of amplifiers, guitars, and effects.

On the amplifier side, she selects modern high-gain models like the Diezel Herbert MK3 and ENGL Powerball II, ensuring stable low-end and high gain in any venue. Additionally, by utilizing the Kemper, she seamlessly connects live and studio settings, always carrying her “ideal sound.” This approach is emblematic of modern guitarists.

Her main guitar is the Ibanez J.Custom, equipped with Fishman Fluence Modern pickups, achieving a tight and noise-free sound essential for contemporary metal. The use of multiple guitars for different nuances in songs showcases her professional dedication. Furthermore, her flexibility in introducing six-string guitars for specific tracks highlights a style that supports a broad musicality rather than being solely “heavy-focused.”

Regarding effects, she pushes leads forward with wahs and boosts while controlling low-end rumble with noise reduction. The spatial processing provided by the Eventide H90 adds depth to her sound, allowing her to differentiate the atmosphere of each song. These choices reflect both her individuality as a player and her awareness of the band’s overall sound balance.

In summary, Hazuki’s sound design is built on three pillars: “practicality,” “reproducibility,” and “flexibility.” She consistently delivers a stable sound in live settings while pursuing finer expressions in the studio. This duality is the primary factor supporting NEMOPHILA’s rich sound.

For readers looking to replicate her tone, focusing on “tight EQ,” “switching between riffs and leads,” and “appropriate use of spatial effects” will be beneficial. It is not necessary to acquire the same gear; affordable alternatives can capture the essence of her sound. Understanding what Hazuki prioritizes and how she differentiates her sound in various contexts is crucial.

Her sound design is a result of a fusion of technical skill and deep understanding of gear, making it a model case for all players aspiring to modern metal. The core of Hazuki’s sound is the ability to balance heaviness and beauty.