[HIROKAZ] How to Recreate the 04 Limited Sazabys Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

HIROKAZ, the guitarist of 04 Limited Sazabys, is known for creating a delicate yet three-dimensional guitar sound rooted in pop-punk and melodic hardcore. His playing style is characterized by fast-paced riffs, thick chord work that supports the entire band, and well-arranged solos that vary from song to song.

In iconic tracks like “swim,” “Squall,” and “fiction,” listeners can hear a distorted tone that remains clear and defined. During live performances, HIROKAZ switches between Soldano and Bogner amplifiers, clearly distinguishing between backing and lead parts to achieve both pressure and clarity in his sound.

He primarily uses a Navigator Les Paul-type guitar and the ESP signature model “Leon,” along with modified Gretsch-style models, showcasing a unique visual and sonic identity. His pedal work is notable for the clever combination of multiple overdrives and boosters, allowing him to change the expression of his sound depending on the song.

In essence, HIROKAZ’s sound design revolves around “tight, fast-paced riffs,” “clear lead tones,” and “broad control of distortion.” This results in a vivid guitar tone that supports the overall sound of 04 Limited Sazabys while leaving a lasting impression on listeners.

▶ Search official YouTube videos of 04 Limited Sazabys

List of Amplifiers and Features

The heart of HIROKAZ’s sound lies in his choice of amplifiers. In recent years, he has primarily used a combination of Soldano SLO-30 and Bogner Shiva/Ecstasy, clearly separating their roles for backing and solos during live performances.

The Soldano SLO-30 was introduced in 2022 during the MONSTER baSH festival and has become a relatively new companion for HIROKAZ. Traditionally, the SLO is known for its thick and expansive distortion, which HIROKAZ utilizes for backing, creating a powerful and stable rhythm guitar sound. In contrast, the Bogner Ecstasy (red/black/3534 models) is used for solos, providing rich harmonics and a soaring lead sound. By combining these two amplifiers, he achieves both “fast-paced rhythms” and “piercing leads” simultaneously.

Additionally, HIROKAZ often mixes cabinets from different brands, using Bogner 212OS/212C alongside vintage Marshall 1936V and Marshall 2045 (1975 model). This approach seems to aim at amplifying the spread and clarity of sound by mixing the distinct characteristics of different cabinets.

In studio work, he also employs vintage amplifiers like the Mesa/Boogie MARK I Blonde and Reissue, which are used for achieving thick, warm clean tones or dry crunch sounds.

Ultimately, HIROKAZ’s amplifier setup is a dual-style approach that clearly separates “expressive solos” from “stable rhythm sounds.” This is a crucial strategy that supports the sound of 04 Limited Sazabys, balancing speed and melodic heart.

Based on the above, it can be assumed that HIROKAZ skillfully utilizes a variety of amplifiers in both live and studio settings, clearly separating backing and lead sounds in his sound design.

Types of Guitars Used and Features

HIROKAZ’s guitar collection is diverse, primarily featuring ESP and Navigator models, including modifications and custom builds. His main instrument is the ESP Leon HIROKAZ Signature Model (Orange), which boasts a striking orange color and is equipped with Seymour Duncan pickups (Jazz + APH-1b), delivering a powerful and clear tone. This guitar has been frequently used in live performances since the late 2010s and symbolizes the HIROKAZ sound.

A more affordable version of this signature model, the GrassRoots G-Leon, has also emerged. Priced around 50,000 yen, it features the same orange color and Les Paul-style shape, making it an ideal entry-level option for fans and young guitarists. Although it comes with different pickups, swapping them for Seymour Duncan models (Jazz or APH-1b) can further refine the tone to closely match HIROKAZ’s sound.

HIROKAZ also owns several Les Paul-type models from Navigator. For instance, the N-LP-CTM Black includes a Bigsby modification, creating a unique tonal wobble. The N-LP-CTM Vintage White has been customized with different pickups and knobs, showcasing his commitment to sound exploration through modifications. Additionally, during the 2019 Budokan concert, he used the N-LP-STD/P (equipped with P90 pickups), which resonated with the clarity of single-coil tones at a large venue.

Furthermore, he has been seen switching between various Les Paul models, including limited-edition wood grain versions, gold-finished custom specs (used in “Discord”), and cherry sunburst standards, highlighting his versatility in live performances. The Navigator Les Paul models are crucial choices that support the thick sound pressure and tight riffs he aims for.

In addition to Les Pauls, HIROKAZ incorporates unique guitars such as the Navigator N-JM-ALR Black (Jazzmaster) and modified Fender Stratocaster (Telecaster headstock), both of which feature distinctive appearances. He also frequently uses Gretsch-style modified Jazzmasters and ESP VIPER, demonstrating his eclectic approach that transcends genre boundaries.

This selection of guitars is not just about aesthetics; it directly relates to crafting sounds that match the character of each song. For fast-paced riffs, he opts for Les Pauls; for bright chord work, single-coil guitars; and for moments requiring unique tones, he brings in modified Gretsch-style guitars, ensuring optimal sound for each scenario.

Thus, HIROKAZ’s guitar choices are broad and diverse, centered around Les Pauls while incorporating modifications and custom models to adapt to various song arrangements.

Effects and Pedalboard Setup

HIROKAZ’s sound is incomplete without his rich array of overdrives and a distinctive pedalboard setup. As seen in live footage and photos, his board features a variety of effects from boosters and overdrives to pitch shifters. Notably, he layers multiple overdrives to finely adjust the texture of distortion depending on the song.

Among the key distortion pedals are the Ibanez TS9 Tube Screamer, Klon KTR, Friedman BE-OD, and Bondi Effects Sick As. By combining these for different songs or sections, he can achieve a wide range of sounds, from clear leads to thick rhythms and warm crunch tones. The combination of Klon KTR and TS9 is particularly effective for ensuring clarity during solos.

His spatial effects are also well-equipped, with the BOSS DD-500 serving as the core delay unit, utilizing its tempo sync function to create modern delay sounds. Additionally, analog delays like the Maxon AD-9 and BOSS DM-2 are included, allowing him to switch between digital precision and analog warmth as needed.

For modulation effects, he uses the MXR Phase 90 (possibly modified) and Maxon PT-909. The Maxon CS9 Pro chorus and the Strymon Flint, which combines reverb and tremolo, add depth to his otherwise straightforward punk sound, creating a more three-dimensional audio landscape.

Notably, HIROKAZ frequently employs pitch effects. The classic Digitech Whammy 5 is used for bold pitch shifts during solos or special effect phrases. He also utilizes the Digitech Drop, BOSS PS-5 Super Shifter, and T-REX Octavius to add downtuning or octave thickness depending on the song.

Other effects include the Mu-Tron Micro-Tron III for envelope filtering, Line6 HX Effects for multi-processing, and Providence PEC-2/PEC-4V for switching systems. His power supply setup includes high-quality units like the Eventide Power Max and Vital Audio VA-ST1, ensuring a noise-free and stable sound.

This combination of effects is designed not just for sound creation but for switching between diverse characters tailored to each song. This system supports the diverse arrangements of 04 Limited Sazabys, extending beyond the confines of punk rock.

Overall, HIROKAZ’s effects setup can be seen as a unique style combining “classic overdrives, diverse spatial effects, and special pitch shifts.”

Tone Settings, EQ, and Mixing Approaches

HIROKAZ’s sound design is supported not only by his choice of gear but also by careful EQ settings on his amplifiers, the combination of effects, and considerations for the overall mix of the band.

The sound of 04 Limited Sazabys is characterized by “speed” and “clarity,” which require meticulous adjustments to achieve.

When using the Soldano SLO-30 for backing, it is speculated that HIROKAZ tends to keep the gain slightly lower while emphasizing the midrange. Too much low-end can clash with the bass, muddying the overall sound, so he intentionally focuses on the mids to create tight riffs. Conversely, when using the Bogner Ecstasy or Shiva for solos, he likely boosts the presence and elevates treble and high-mids to create a “forward sound.” This ensures that the vocals and guitar solos are clearly distinguishable, providing a vivid impression to the audience.

In terms of EQ processing during studio recordings, it is often assumed that he sets a high-pass filter around 80Hz to tighten the low-end. This helps clarify the separation between the guitar and bass or kick drum, enhancing the guitar’s presence. Conversely, a slight boost around 3–5kHz is likely employed to accentuate attack and picking nuances, emphasizing the fast-paced cutting sound.

The use of effects is also highly strategic in creating the character of each song. The delay is centered around the BOSS DD-500, utilizing a wide range from slapback-style short delays to long delays that expand the sound space. By employing tempo sync, the delay remains clear and fits rhythmically even in fast-paced songs. Additionally, layering analog delays (like the Maxon AD-9 and BOSS DM-2) adds warmth to the reverberation, creating a sense of depth.

For modulation effects, he uses the MXR Phase 90 and Maxon PT-909, adding unique movement during arpeggios or intros. This creates a contrast between quiet and dynamic moments within the songs. The reverb and tremolo, centered around the Strymon Flint, add depth even to simple punk tracks.

During live performances, HIROKAZ employs the Providence PEC-2/PEC-4V switching system, allowing for instant sound optimization tailored to each song. While this may not be apparent to the audience, it plays a crucial role in maintaining sound consistency and stability on stage.

There are also notable mixing techniques in PA setups. Particularly in large festivals or Budokan concerts, he tends to position the guitar slightly more towards the center rather than widely panning it left and right, emphasizing cohesion with the vocals. This mixing approach is a rational choice in pop-punk to “highlight the vocals while maintaining the guitar’s presence.”

In summary, HIROKAZ’s sound design is likely built upon the following elements:

• Separating amplifiers for backing and solos, with EQ adjustments focused on mid and high frequencies.
• Meticulously using delays and modulation effects tailored to each song.
• In mixing, organizing low-end while emphasizing mid-high frequencies to achieve speed and clarity.
• Utilizing a switcher for consistent sound during live performances.

These strategies support the fast-paced band sound of 04 Limited Sazabys, delivering a clear guitar tone to the audience.

Affordable Alternatives to Recreate the Tone

HIROKAZ’s gear often includes high-end items like the ESP signature models, Navigator guitars, and professional-grade amplifiers from Soldano and Bogner, which can be quite inaccessible for beginners and intermediate players. However, understanding the essence of his sound design allows for the recreation of similar nuances using more affordable gear available on the market.

For guitars, the most accessible option is the GrassRoots G-Leon, the affordable version of the signature model “ESP Leon HIROKAZ.” Priced around 50,000 yen, it features the same striking orange color and Les Paul-style shape, making it an ideal entry-level choice for fans. While it comes with different pickups, swapping them for Seymour Duncan models (Jazz or APH-1b) can further refine the tone to closely match HIROKAZ’s sound.

Regarding amplifiers, since high-end models like Soldano and Bogner are difficult to obtain, modeling amplifiers such as the BOSS Katana series or YAMAHA THR30II are effective alternatives. These amps can cover a wide range from modern high-gain to clean and crunch tones, and with careful EQ adjustments, they can replicate the “mid-focused distortion” that HIROKAZ aims for. The BOSS Katana, in particular, offers a tube-like distortion feel, making it flexible for both backing and solos.

For effects, the Ibanez TS9 is essential as it is a staple overdrive pedal that HIROKAZ uses. It enhances the midrange and boosts lead sounds, making it a must-have for recreating his tone. Additionally, the BOSS OD-3 and Fulltone OCD are effective options that provide expressive distortion while keeping costs down.

For delay, the BOSS DD-8 is a cost-effective choice that offers excellent performance. While it may not have the extensive features of the DD-500, it includes tap tempo and various modes, making it suitable for those who want to switch up their spatial effects like HIROKAZ. For a warmer analog feel, the MXR Carbon Copy is also recommended.

For pitch shifting, the DigiTech Drop and BOSS PS-6 Harmonist are affordable options. The Drop allows for instant down-tuning, enabling users to experience HIROKAZ’s live sound techniques directly.

Finally, for beginners wanting to experiment with his entire effects setup, multi-effects units like the BOSS GT-1000CORE or Line6 HX Stomp are optimal. These devices consolidate distortion, spatial effects, and pitch effects into one unit, making them versatile for both live and studio use. While fully replicating HIROKAZ’s complex pedalboard may be challenging, these options provide a comprehensive introduction to his sound.

By utilizing these options, beginners and intermediate players can get closer to HIROKAZ’s sound. The key is to focus on “mid-focused distortion,” “clearly distinguishing between rhythm and lead tones,” and “adjusting spatial effects for each song.”

Summary and Conclusion

Reflecting on HIROKAZ’s sound design, its core lies in achieving a guitar sound that balances “speed and clarity.” Rather than the rough sound often associated with punk or melodic hardcore, he meticulously pursues a well-organized midrange and a lead tone that stands out within the overall band sound.

In terms of guitars, he rotates between his signature model “ESP Leon,” Navigator Les Pauls, and modified models tailored to each song. This is not merely about visual variation; it reflects a clear intention to differentiate sounds: tight Les Pauls for riff-driven songs, single-coil guitars for bright arpeggios, and modified Gretsch-style models for unique tonal moments.

His amplifier setup revolves around the dual approach of “Soldano for backing” and “Bogner for solos,” and by mixing cabinets from Marshall and Bogner, he achieves both clarity and thickness in live settings. This thorough switching is a key factor that makes HIROKAZ’s stage sound unique.

Furthermore, in his effects, he skillfully layers multiple overdrives like the TS9 and Klon KTR to adjust distortion clarity and presence for different scenarios. His spatial effects, based on the BOSS DD-500 and Strymon Flint, combine precision and warmth. Additionally, his bold use of pitch shifters like the Whammy and Drop allows for arrangements that transcend genre boundaries. This combination of “layered overdrives, diverse spatial effects, and pitch effects” is arguably his greatest asset in sound design.

From a PA and recording perspective, HIROKAZ is likely to organize low-end frequencies while boosting midrange to ensure clarity in the 3–5kHz range. The reason the guitar doesn’t get buried in fast-paced songs is due to this meticulous “frequency organization.”

In conclusion, to replicate HIROKAZ’s sound, the following three elements are crucial:

• Tight distortion focused on midrange (avoiding excessive low-end).
• A dual approach to sound, clearly distinguishing between backing and solo tones.
• An active attitude towards using effects to expand expressive range.

While it may be challenging to acquire all the expensive gear, understanding these essentials allows for the possibility of achieving HIROKAZ’s sound with relatively affordable equipment. Ultimately, what matters more is “how to construct the sound” rather than “which gear to use.” HIROKAZ’s sound design exemplifies this principle.

▶ Search for 04 Limited Sazabys live footage on YouTube