[Hirofumi Hatano] How to Recreate the People In The Box Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hirofumi Hatano, the guitarist and vocalist of People In The Box, is known for his unique sound that blends a sense of buoyancy with tension. His guitar playing is characterized by a vivid expression of the song’s atmosphere, oscillating between silence and thunderous noise.

In their iconic song “Monday/Sterile Room,” deep reverb and spatial sound design envelop the entire track, adding unique shadows to the band’s sound. The bold pitch shifts created with a Whammy pedal and the thick distortion from Sobbat fuzz are particularly striking, drawing the audience in with their distinctive tones during live performances.

Although his pedalboard may seem simple at first glance, Hatano employs the Hold function of the BOSS DD-6 in a unique way, showcasing an approach that sets him apart from other guitarists. His frequent use of BOSS effects highlights a practical choice that emphasizes reliability and accessibility.

This careful selection and mastery of gear culminate in a sound that is unmistakably “Hirofumi Hatano,” where the focus is not merely on the strength of distortion or effects but on the meticulous design of space and texture.

For listeners who appreciate the aesthetics of sound and resonance, Hatano’s guitar offers a one-of-a-kind experience. Listening to People In The Box’s music will draw you into their rich soundscapes and delicate expressions.

In the following sections, we will delve into the amplifiers, guitars, and effects used by Hirofumi Hatano, exploring the secrets behind his sound design.

▶ Search official YouTube videos of People In The Box

List of Amplifiers and Features

While Hirofumi Hatano is often noted for his distinctive use of effects, his choice of amplifiers also reflects his sound design philosophy. His sound is characterized by a contrast between “buoyant clean tones” and “intense fuzz or overdrive distortion,” supported by clean and straightforward amplifiers.

Fender amplifiers are frequently confirmed in live and recording settings. Models like the Twin Reverb and Hot Rod Deluxe are known for their transparent cleans and excellent pedal compatibility, making them ideal for pairing with Sobbat fuzz and the Whammy pedal. This allows for sound design that utilizes the spaces within People In The Box’s complex and tense compositions.

There have been reports of Hatano using Marshall amplifiers during certain periods, particularly in smaller live venues with models like the JCM2000 or DSL series, which emphasize drive. However, he tends to rely more on effects for distortion rather than the amp itself, suggesting that Fender models are the primary choice for clean, wide-ranging tones.

Hatano’s style of not demanding excessive character from his amps and instead crafting his sound with pedals aligns him with other Japanese alternative and post-rock guitarists. For him, the amp serves as a “canvas for sound,” providing a foundation for coloring with fuzz, delay, and reverb.

In recent live performances since the 2020s, he has been seen using the Roland JC-120, a long-established transistor amp in the Japanese rock scene. Its hard-edged clean sound and unique chorus make it a highly logical choice for emphasizing the buoyant sound of People In The Box.

Thus, it can be inferred that Hatano’s amplifiers serve as a “transparent foundation to maximize the individuality of pedals,” with a tendency to alternate between Fender and Roland JC-120 depending on the situation.

Types of Guitars Used and Features

A significant element that shapes Hirofumi Hatano’s unique sound is his choice of guitars. The music of People In The Box demands a wide dynamic range, from delicate arpeggios to heavy distortion, and his main guitars greatly contribute to this expressiveness.

Frequently seen in live performances and photos is the Fender Telecaster. Its clear and cutting sound, characteristic of single-coil pickups, adds transparency to his arpeggios and chord work. When combined with spatial effects, it creates a unique sense of buoyancy. The Telecaster also maintains clarity when distorted, making it an ideal choice for Hatano’s sound.

There have also been periods where he has used a Fender Stratocaster. The Stratocaster’s midrange warmth and diverse tonal options through pickup switching align well with the complex chord progressions found in People In The Box’s music. Its clean tones and compatibility with chorus effects are particularly noteworthy.

Additionally, there are reports of him using Gibson ES-335 or semi-hollow guitars at times. The rich resonance of semi-hollow guitars adds depth to their music, which oscillates between silence and thunder, producing dark and heavy tones when combined with fuzz.

A commonality among his guitar choices is that all models possess the characteristic of being “transparent yet resilient to distortion.” This is likely because Hatano frequently employs spatial effects and fuzz, necessitating guitars with solid fundamental tones.

While the models he uses may change over time, it can be assumed that Telecasters and Stratocasters remain central to his setup. These guitars, simple in construction yet capable of creating a unique world through his playing and effects, symbolize the “Hatano sound.”

Effects and Pedalboard Setup

When discussing Hirofumi Hatano’s sound, his pedalboard is indispensable. At the core of his guitar tone are the DigiTech Whammy Pedal and Sobbat fuzz (FB-3, FB-4). The Whammy pedal allows for bold pitch shifts, while the fuzz adds a thick and aggressive texture, giving the entire song a unique tension.

Hatano’s use of the Hold function on the BOSS DD-6 is particularly distinctive. While this function is commonly used for looping, he employs it for unique rhythm and texture generation through momentary sampling and release. This is prominently heard in “Monday/Sterile Room,” marking a key element of his sound’s uniqueness.

Moreover, the BOSS RV-5 reverb is crucial for supporting his clean tones. His settings of “11 o’clock to 1 o’clock/1 o’clock/11 o’clock/MODULATE” create a deep and expansive space. Keeping it constantly ON allows for a shimmering reverb that permeates the overall sound, contributing to the “ethereal sound image” of People In The Box.

Other effects on his board include the Fulltone OCD for drive sounds, MT-CB (clean booster), PRX-2S (loop system), Line 6 Echo Park (delay), Line 6 Verbzilla (reverb), and Noah’s Ark AC/DC (power supply). These provide stable operation and diverse spatial effects, supporting experimental and artistic soundscapes.

Hatano also possesses classic overdrives like the BOSS OD-3 and BD-2, which are particularly useful as boosters or substitutes in environments without distorted amps. His preference for BOSS stems from their availability and durability, making them a practical choice that supports his musical endeavors.

Interestingly, Hatano is known to have an interest in the BOSS MO-2 (Multi Overtone), a special pedal that handles overtones, which could introduce new possibilities to his sound in the future.

While his choice of effects may seem simple at first glance, their usage and combinations showcase his distinctiveness. His board is likely constructed with the goal of “maximizing expression with a minimal number of effects.”

Tone Settings, EQ, and Mixing Approaches

Hirofumi Hatano’s sound is not merely a combination of gear; it is supported by meticulously calculated EQ settings and engineering approaches. The music of People In The Box embodies dualities such as “silence and thunder” and “transparency and chaos,” requiring a cohesive setting of amplifiers, effects, and PA systems to create the final sound image.

Starting with amp settings, the foundation is based on clean tones. When using the Fender Twin Reverb or Roland JC-120, it is assumed that the Bass is kept low (around 9-10 o’clock), Mid is flat to slightly boosted (12-1 o’clock), and Treble is emphasized (1-2 o’clock). This ensures that even with fuzz applied, the low end remains clear, and transparent arpeggios do not get buried in the mix.

When using distortion effects like fuzz or OCD, the Gain is often adjusted to avoid excessive harshness while maintaining a “gritty” core. The Sobbat FB-3, in particular, adds a roughness while preserving the original tone, so it is likely that the Treble is set slightly higher on the amp to maintain the overall contour.

For spatial effects, the constant use of the MODULATE setting on the BOSS RV-5 is a key feature. This is not just a simple reverb; the subtle modulation adds a “wavering” quality, creating an ethereal sound throughout. To capitalize on this wavering effect, the amp EQ is balanced to retain mid-high frequencies without becoming overly dry.

Delays (BOSS DD-6 and Line 6 Echo Park) are typically set to shorter times (around 300ms), using the Hold function to sample instant phrases. The technique of blending these samples into the space upon release is coordinated with the engineer’s mixing, where reverb and delay returns are adjusted to blend seamlessly with the band.

In studio mixes, the guitar is panned left and right, with one side featuring stronger reverb and the other focused on delay, creating a three-dimensional processing effect. This allows listeners to feel the “layers of guitar expanding in their ears,” recreating the unique immersion of the Hatano sound.

During live performances, the PA tends to organize the low end while emphasizing the midrange clarity. Leaving the noise generated by fuzz and overdrive intact allows it to resonate as part of the band’s overall dynamics. This approach is based on the philosophy of “embracing roughness as part of the music” rather than simply “cleaning it up.”

Additionally, to avoid overlapping frequencies between Hatano’s vocals and guitar (in the midrange of 1-3kHz), the guitar EQ is slightly cut, while spatial effects are emphasized to ensure that “voice and guitar do not clash.” When taking longer decay times for reverb, the engineer typically sets compression lower to allow for natural resonance.

Overall, it can be said that Hirofumi Hatano’s sound design focuses on “maximizing the individuality of effects through EQ and mixing while designing space.” His sound is not a product of chance but rather a culmination of delicate adjustments, which is believed to give People In The Box’s music its unique depth.

Affordable Alternatives to Recreate the Tone

While Hirofumi Hatano’s sound is built on specialized gear and unique techniques, acquiring all of it can be challenging. Therefore, we will introduce more accessible commercial gear that can help recreate the “People In The Box sound.” Here, we will focus on options that can be purchased for around $100-$500, explaining why they can approximate the tone.

First and foremost is the core of Hatano’s sound, which revolves around pitch shifting and fuzz. While the DigiTech Whammy is somewhat pricey, the BOSS PS-6 Harmonist is a recommended alternative. It features pitch shifting and harmony functions, and while it may not be as bold as the Whammy, it can create spatial depth and unique wavering effects.

For fuzz, the Sobbat FB series can be hard to find, so the BOSS FZ-5 or Electro-Harmonix Big Muff are more accessible options. The Big Muff, in particular, is known for its thick sustain and aggressive character, making it suitable for recreating the thunderous parts Hatano produces.

For delay, the BOSS DD-8 or DD-3T are readily available current models. While they may not fully replicate the Hold function of the DD-6, utilizing their looping capabilities can allow for similar instant phrase creation. This can mimic the unique sampling characteristic of the Hatano sound.

For reverb, the BOSS RV-6 is ideal. As a successor to the RV-5, it also includes a MODULATE mode, allowing for the recreation of the wavering reverb that is constantly ON. This floating sound image is a significant element in conveying the world of People In The Box.

For boosters and overdrives, the BOSS BD-2 or OD-3 offer excellent cost performance. Both provide good clarity, making them suitable for enhancing expression even in clean amp settings, and they are beginner-friendly models. The BD-2, in particular, is well-suited for improving clarity when combined with fuzz.

For amp environments, using compact models like the Roland JC-22 or Fender Mustang LT25 for home practice or small gigs is a good idea. These are simple and easy to handle, achieving the “transparent clean” that forms the foundation of Hatano’s sound.

Thus, even with affordable alternative gear, it is possible to approach Hirofumi Hatano’s sound through thoughtful combinations. The key is to focus on the three pillars of “transparent clean + spatial effects + aggressive fuzz.” Before investing in expensive gear, it is most effective to first recreate this structure affordably and grasp the direction of sound design.

Summary and Conclusion

Hirofumi Hatano’s guitar sound (People In The Box) can be summarized as “tension and thunder hidden within transparency.” Despite a simple gear setup, elements such as bold pitch shifts from the Whammy pedal, the aggressive texture of Sobbat fuzz, and the constant use of the BOSS RV-5 for spatial effects combine to create a unique sound image.

A common philosophy in his sound design is “how to resonate the spaces.” Building on a clean amp, layering sounds with fuzz and overdrive, and expanding the space with reverb and delay. The focus is not merely on adding flashy sounds but on how the “wavering” and “resonance” shape the song’s atmosphere.

Furthermore, the commercial effects that Hatano favors, such as BOSS and Line 6, are all accessible. This means that his sound is not solely reliant on “specialized gear,” but rather that anyone can approach it through creativity and thoughtful settings, making it appealing to many guitarists.

Of course, perfectly replicating his sound is not easy. The unique use of the DD-6’s Hold function and the approach of keeping the RV-5’s Modulate setting constantly ON are supported by Hatano’s distinctive sensibility. His sound is more about “how to use the gear” than the gear itself.

For those looking to recreate the sound, it is recommended to first prepare a clean amp (like the Roland JC-120 or Fender models) and combine fuzz, overdrive, and spatial effects. It is crucial to pay attention not only to layering sounds but also to the moments when sounds fade away and the spaces of resonance.

Ultimately, Hirofumi Hatano’s sound design is about “balancing technique and gear.” He is not a guitarist who showcases flashy speed or complex techniques. However, by thoroughly controlling the resonance of each note and the spread of reverb, he creates a unique depth and tension in his music. This approach is something that any player can learn from.

If you are captivated by the music of People In The Box, consider not only gathering the gear but also being mindful of his “philosophy of sound” as you attempt to recreate it in your own interpretation. In that process, you may discover your own new sound.