[Hibari-kun] How to Recreate the Queen Bee Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist Hibari-kun of Queen Bee is a crucial figure supporting the band’s unique artistic vision. His playing style ranges from clean, sparkling tones to sharp rock sounds with distortion, showcasing a bold approach to sound design that varies from song to song.

This versatility is evident in his signature tracks, where he utilizes amps like the Marshall and ROLAND JC-120 to create rich soundscapes for fast-paced riffs, while incorporating the acoustic texture of the Martin D-28 for delicate arpeggios. His adept choices highlight his skill in adapting to different musical contexts.

Moreover, Hibari-kun frequently employs a range of BOSS effects, skillfully using the Blues Driver to capture picking nuances and the DD-20 for deep, immersive delays. This combination allows him to achieve the alluring and energetic guitar sound that Queen Bee’s music demands.

The reason his sound garners attention is not merely due to his gear selection but also his ability to maximize the individuality of each piece of equipment, blending them seamlessly into the band’s overall sound. Whether in live performances or studio recordings, his sound consistently embodies the essence of Queen Bee, leaving a strong impression on listeners.

In recent years, he has also incorporated vintage-style amps like the Marshall ASTORIA, pursuing a more classical and layered sound. In essence, Hibari-kun’s sound design is characterized by the flexibility to traverse a wide range of genres while maintaining a captivating and unique presence, which supports the musical world of Queen Bee.

▶ Search official YouTube videos of Queen Bee

List of Amplifiers and Features

Hibari-kun uses a variety of amplifiers in Queen Bee, which support the band’s diverse musical styles, ranging from clean to driven tones. The ROLAND JC-120, a beloved classic clean amp, is known for its bright and three-dimensional clean tone, playing a significant role in the transparent arpeggios and chord work that enhance the vocals in Queen Bee’s songs.

On the other hand, the Fender Dual Professional combines the sparkle and fullness typical of Fender amps, utilizing reverb and vibrato to create a deep sound. This amp contributes significantly to the ethereal atmosphere present in Queen Bee’s music.

Additionally, the Marshall ASTORIA features a vintage-like appearance and offers a wide range from crystal-clear cleans to moderate drive. This amp’s unique mid-range presence emphasizes the rock elements that Queen Bee embodies, creating a powerful guitar sound in both studio recordings and live performances.

Furthermore, a rack system combining the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (power amp) has been confirmed, providing stable sound pressure and powerful distortion. Such a system is likely adjusted according to the scale of the live venue and the direction of the songs.

In summary, Hibari-kun’s amplifier selection aims to balance “brilliant and transparent cleans” with “powerful rock-driven tones,” suggesting a thoughtful approach to adapting to Queen Bee’s varied musical repertoire.

Types of Guitars Used and Features

Hibari-kun’s guitar selection reflects a wide range of genres, featuring unique models. The Moon guitars ST-Custom, a modern Stratocaster-type guitar, excels in sharp cutting and sparkling cleans. It is often used in Queen Bee’s songs for fast-paced sections and three-dimensional clean arpeggios.

Next, the GRETSCH DUO JET, famously used by George Harrison, is known for its raw rock tone. This guitar is frequently employed in Queen Bee’s energetic tracks, providing thick chord strumming and groove. It symbolizes the “rock essence” in Hibari-kun’s sound.

For acoustic guitar, the Martin D-28 is noteworthy. This dreadnought model offers a wide range and brilliance, supporting delicate nuances in acoustic-driven songs or ballad sections. It plays a crucial role in both recordings and live performances, enriching Queen Bee’s soundscape.

These selections illustrate how Hibari-kun combines “modern sharpness,” “rock thickness,” and “acoustic depth” to adapt to diverse musical expressions. Each guitar serves a specific role, altering tones from song to song and strongly supporting the world of Queen Bee.

In summary, the balance of the ST-Custom’s modernity, the DUO JET’s rawness, and the warmth of the Martin D-28 suggests that Hibari-kun has crafted a unique guitar tone.

Effects and Pedalboard Setup

Hibari-kun’s pedalboard is built around BOSS’s staple equipment, creating a simple yet versatile setup. Queen Bee’s music demands a wide range of sounds, from alluring and ethereal to raw rock tones, making effect selection practical and expressive.

For distortion, the BOSS BD-2 Blues Driver plays a vital role. It accurately reflects picking nuances, allowing for a wide range from light drive to bluesy solos depending on the song. This contributes to the crisp riffs and lush lead tones found in Queen Bee’s tracks.

In terms of spatial effects, the BOSS DD-20 Digital Delay stands out. With a maximum delay time of 23 seconds, it creates a fantastical atmosphere. Additionally, the BOSS MO-2 Multi Overtone adds harmonics, providing unique thickness and breadth to the guitar sound, making it prominent within the band’s mix.

For modulation, the BOSS BF-3 Flanger and BOSS TR-2 Tremolo have been confirmed. The BF-3 can create intense swirling sounds reminiscent of a jet engine, fitting well with Queen Bee’s avant-garde tracks. Meanwhile, the TR-2 reproduces vintage-like tremolo, adding atmosphere in acoustic songs or serene moments.

Moreover, the rack system combining the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (power amp) works in conjunction with the pedalboard to ensure stable sound pressure and powerful distortion in both live and studio settings. This flexibility allows Hibari-kun’s sound design to adapt to the diverse expressions required by the band.

Overall, Hibari-kun’s pedalboard emphasizes a balance of “staple plus expandability,” ensuring consistent reproducibility in both studio recordings and live performances while supporting his unique, alluring soundscape.

Tone Settings, EQ, and Mixing Approaches

Hibari-kun’s sound design is characterized by settings that aim to achieve a balance between “luscious and transparent cleans” and “raw rock distortion,” tailored to Queen Bee’s unique musicality. His meticulous use of EQ and effects ensures a consistent presence in both live and recording settings.

For clean tones, he utilizes clean-oriented amps like the ROLAND JC-120 and Fender Dual Professional, slightly boosting treble and presence to emphasize brilliance. The mids are often set low, allowing for a clear presence that does not interfere with vocals or other instruments. Reverb is applied deeply, using the JC-120’s built-in spring reverb or external reverb units to support the ethereal and floating soundscape characteristic of Queen Bee.

In terms of distortion sounds, he employs the Marshall ASTORIA and the rack system (JMP-1 + EL34 100/100), pushing the mids forward to emphasize a rock-like power. The BOSS BD-2 is placed at the front to boost gain, creating an overdrive sound that highlights picking nuances. Especially in live settings, the BD-2 is often used as a booster to adjust volume and clarity during lead play.

Spatial effects processing relies heavily on the BOSS DD-20, which is key to creating depth and thickness through various delay settings. From short slapback delays to long ambient tails, he adjusts according to the song’s dynamics. In particularly ethereal tracks, longer delay times are set to create a spacious, three-dimensional sound.

For modulation, the BF-3 Flanger is applied deeply to create jet-like textures, adding accents that match the dynamic shifts in the music. The TR-2 Tremolo is used to finely adjust the modulation depth, creating unique fluctuations in ballads and experimental sections. The MO-2 Multi Overtone is especially effective when added to arpeggios or single-note phrases, enhancing harmonics and crafting an enchanting tone.

In mixing, Hibari-kun’s guitar often serves to “outline the space” rather than “fill it.” In recordings, stereo miking ensures width, while EQ adjustments typically involve low-cutting around 80Hz to manage low-end clarity. Compression is used to shape attack, showcasing engineering techniques that stand out.

Given that Queen Bee’s sound often features prominent vocals, there’s a tendency to slightly cut the midrange of the guitar, instead emphasizing high-mids and treble. This approach ensures that the guitar remains distinct without overshadowing the vocals, maintaining a delicate balance.

Distinctive use in live versus recording settings is also notable; live performances often combine the JC-120 with the rack system to create a wide stereo image, while recordings may feature single use of the Marshall ASTORIA or Fender amps to alter texture through mic placement.

In summary, Hibari-kun’s sound design can be distilled into three key points: “organizing midrange through EQ,” “meticulous use of spatial effects,” and “creating a unique floating sensation through delay and modulation.” These elements contribute to the alluring and original world of Queen Bee’s sound.

Affordable Alternatives to Recreate the Tone

Hibari-kun’s sound design combines expensive amps and custom guitars, but for beginners or intermediates looking to recreate a “Queen Bee-style sound,” choosing relatively affordable and accessible gear is practical. Here, we recommend equipment primarily in the $100-$500 range that can achieve the “brilliant cleans,” “ethereal and floating spaces,” and “powerful rock drive” characteristic of Queen Bee.

For those wanting to replicate the clean tone, the ROLAND JC-22 is highly recommended. Positioned as a smaller combo amp sibling to the JC-120, it also features a chorus circuit. It allows you to achieve the sparkling tone of the JC series in home practice or small gigs without requiring high volume. In quieter settings, the JC-22 can effectively recreate the clean tone associated with Queen Bee.

For overdrive, the BOSS BD-2 Blues Driver is optimal. Since Hibari-kun himself uses it, experiencing the tonal nuances firsthand is a significant advantage. It accommodates a wide range from crunch to blues-rock distortion, allowing you to appreciate the expressive qualities demanded by Queen Bee’s music.

For spatial effects, the BOSS DD-8 is versatile. As a current model in the BOSS Delay series, it is more compact and feature-rich than the DD-20. With up to 10 seconds of delay, looping capabilities, and a range of delay modes from modern to analog-style, it is sufficient for creating fantastical and three-dimensional spaces. Additionally, it supports stereo output, allowing for expansive sound.

In terms of modulation effects, while ideally, you would have both the BOSS TR-2 Tremolo and BF-3 Flanger, if you’re on a budget, introducing a multi-effects unit can be effective. For example, the BOSS GT-1 is available for around $200-$300 and can replicate a range of sounds, including the tremolo and flanger used by Hibari-kun, as well as delay and overdrive. It is suitable for home practice and live performances, making it beginner-friendly.

While the Martin D-28 is expensive, models like the YAMAHA FG series can be purchased for around $200-$300 and can replicate a brilliant and expansive tone. Especially in recording or practice stages, these can serve as adequate substitutes for those wanting to explore Queen Bee’s acoustic songs.

In summary, using the ROLAND JC-22 for cleans, adding distortion with the BD-2, and enhancing spatial effects with the DD-8 or a multi-effects unit can help you achieve Hibari-kun’s sound at a relatively low cost. The key lies not in the price of the gear but in the use of EQ, effects, and playing style to express the “brilliance of cleans,” “power of distortion,” and “ethereal quality of space” characteristic of Queen Bee.

Summary and Conclusion

In summary, Hibari-kun’s sound design encapsulates a balance between “alluring” and “powerful.” Known for its unique visuals and sound, Queen Bee’s core is supported by his guitar sound. By skillfully alternating between brilliant clean tones and raw yet delicate drive sounds, he creates dynamic contrasts and depth throughout the music.

Examining the gear used, it includes staple clean amps like the ROLAND JC-120 and Fender Dual Professional, combined with the Marshall ASTORIA and rack systems, allowing for a wide range of tones. The guitars feature a diverse lineup, including the modern sharpness of the Moon guitars ST-Custom, the rock thickness of the GRETSCH DUO JET, and the acoustic brilliance of the Martin D-28, enabling cross-genre expression.

Additionally, the effects are centered around BOSS, featuring a practical and diverse setup. The BD-2 provides overdrive, while the DD-20 and MO-2 create ethereal spaces, and the BF-3 and TR-2 add modulation for depth and fluctuation. These choices are not merely flashy but functionally arranged to support the overall sound of the band, reflecting professional experience.

Ultimately, the essence of Hibari-kun’s sound design lies in “how to support the world of Queen Bee with guitar,” enhancing the overall atmosphere of the songs without overshadowing personal play style. This is the secret to leaving a strong impression on the audience.

When readers attempt to recreate Hibari-kun’s sound, it is not necessary to acquire all the exact gear. What matters is the use of EQ and effects, along with attention to playing nuances, to express the “brilliance of cleans,” “power of distortion,” and “ethereal quality of space.” Relatively affordable alternative gear can still provide a taste of Queen Bee’s sound.

Finally, it is essential to emphasize that Hibari-kun’s sound design prioritizes “sensitivity” over “technique.” His ability to choose the right sound for the necessary moments in the music is what makes Queen Bee’s music truly unique. Gathering equipment is merely the entry point; the essence lies in “how to play” and “how to express.” We encourage you to explore sound design with your own sensitivity and experience the world of Queen Bee.