LAMP IN TERREN’s guitarist and vocalist, Hiroshi Matsumoto, is renowned for his unique sound design that supports the band’s artistic vision. His guitar sound seamlessly blends “delicate cleans” with “powerful drive,” creating a significant interplay with his emotional vocals.
One of their representative songs, “innocence,” showcases his skillful use of delay and reverb to create an expansive soundscape. In contrast, tracks like “Mei” and “CHANT” feature loud tones that utilize fuzz and distortion, delivering a powerful sonic experience that shakes the stage.
Matsumoto is also praised for his ability to balance modern gear with vintage nuances. During live performances, he primarily uses a Divided by 13 amp, interspersing effects like fuzz and auto-wah to achieve a diverse range of expressions. This results in a sound that embodies both the rawness of alternative rock and the transparency of post-rock.
This article will delve into the guitars, amplifiers, and effects Matsumoto uses, highlighting key points in his sound design and providing beginner-friendly alternatives for those looking to replicate his tone.
▶ Search official YouTube videos of LAMP IN TERREN
List of Amplifiers and Features
When discussing Matsumoto’s sound, his choice of amplifiers is crucial. LAMP IN TERREN’s music demands an amp capable of transitioning between powerful rock sounds and delicate, beautiful clean tones. His go-to amplifier is the Divided by 13 FTR-37.
The Divided by 13 FTR-37 is a model from a California boutique amp manufacturer, known for its ability to produce clear Fender-like clean tones alongside British-style distortion. Matsumoto uses this amp as his mainstay for both live performances and recordings, allowing him to effortlessly produce everything from transparent arpeggios to robust backing. Its compatibility with spatial effects supports the grand and three-dimensional sound integral to his music.
In certain situations, he also utilizes Marshall amps. For songs that require a more robust and loud distortion, it’s likely he combines it with studio-standard Marshall JCM series amps. This flexibility in amp choice showcases his adaptability to different performance environments and musical styles.
Given that high-end boutique amps like the Divided by 13 can be hard to obtain and expensive, it’s speculated that Matsumoto may use alternatives like the Fender Hot Rod Deluxe or Roland JC-120 for domestic gigs and rehearsals. Both of these amps excel in clean tones, making them suitable for Matsumoto’s effects-driven style.
Overall, Matsumoto’s amplifier selection emphasizes the balance between “clean transparency” and “driving power.” This allows him to express both the lyrical aspects of his songs and the explosive band sound with a single unit. It can be assumed that he primarily relies on the Divided by 13 FTR-37 while also incorporating Marshall amps and versatile alternatives.
Considered as a substitute for boutique amps. Works well with effects.
Types of Guitars Used and Features
Hiroshi Matsumoto employs multiple guitars to craft the band’s sound. The most notable are the Fender Stratocaster and Gibson Les Paul. These two iconic models allow him to harness their unique characters, creating a wide range of sounds for different songs.
The Fender Stratocaster is known for its clear and sparkling clean tones, making it ideal for arpeggios and chord work. In LAMP IN TERREN’s lyrical and expansive tracks, the Strat’s shimmering highs and quick response play a crucial role. Its compatibility with effects allows him to layer delay and reverb, generating a distinct three-dimensional soundscape.
On the other hand, the Gibson Les Paul offers thick mid and low tones with excellent sustain, adding power to the band’s sound. In powerful rock numbers like “Growing Up” and “Mei,” the Les Paul’s characteristic thick tone supports the energy of the songs. The rich sustain from its humbucker pickups intertwines with Matsumoto’s vocals, enhancing the overall dynamics of the band.
The choice of guitars not only affects the tonal differences but also directly influences the expressiveness during live performances and recordings. Matsumoto often starts with the Strat for transparent phrases and switches to the Les Paul during climactic or intense parts of songs, showcasing his versatility.
While interviews and photos do not confirm any specific customizations or special models, the richness of his effects board suggests that the guitars serve as the core of his sound, with their character combined with effects to manipulate LAMP IN TERREN’s sonic landscape.
Rich in thickness and sustain, adding power to the band sound. Frequently used in rock numbers.
Effects and Pedalboard Setup
The breadth of Matsumoto’s sound is defined by his well-equipped effects board. His setup balances “modern distortion,” “vintage fuzz,” and both “spatial” and “filter” effects, allowing for diverse expressions. The configuration confirmed through stage photos and articles is as follows.
Starting with distortion, the JHS Pedals Angry Charlie stands out. This pedal compactly recreates Marshall-style distortion and is used for songs requiring a modern drive sound. Additionally, Human Gear FINE OD and BOSS BD-2 Blues Driver are used to cover a wide range from natural crunch to boosted tones.
For louder and thicker sounds, the Wren and Cuff White Elk (Super Fuzz Sustainer) is employed. This model replicates the fuzz sound of the 1970s Electro-Harmonix, producing a heavy and sustaining sound. It is one of the essential pedals for ensuring explosive live performances.
To add funk-like nuances and dynamic sounds, the Mad Professor New Snow White Auto Wah is included. The filter effect unique to auto-wah serves as a powerful tool for adding personality during breaks and intros. Additionally, the Mad Professor Silver Spring Reverb is incorporated, providing a compact yet effective spring reverb atmosphere.
For spatial effects, the Strymon TimeLine is utilized. This high-function digital delay allows for instant recall of different atmospheres for each song through preset switching. It plays a significant role in LAMP IN TERREN’s grand ballads and expansive tracks.
Supporting the pedalboard is the KORG DT-10BK tuner and One Control Distro power supply. The DT-10BK is a robust stage tuner known for its reliability, ensuring signal stability. The Distro is placed at the back, providing stable power to all pedals.
The pedalboard is designed with a raised back row for practical operation. This results in a system that can adapt to various songs, centered around “distortion + fuzz,” “filter,” and “spatial” elements. Photos of the actual board reveal the calculated nature of his sound design.
Provides stable power to all effects. Positioned at the back.
Tone Settings, EQ, and Mixing Approaches
Matsumoto’s sound design is not only about gear selection but also emphasizes “EQ adjustments” and “song-specific applications.” His guitar sound is built on a balance that considers the overall mix, not just switching between distortion and clean tones.
Regarding amp settings, it is speculated that he prioritizes the mid-range on the Divided by 13 FTR-37. This approach highlights the vocals while ensuring the guitar supports the song’s thickness. With the bass providing solid low-end, there’s no need to overemphasize the lows; instead, focusing on the mids keeps the contours of arpeggios and chords clear.
Matsumoto skillfully differentiates his use of distortion pedals. The Angry Charlie serves as a modern distortion for powerful backing and riffs, while the FINE OD and BD-2 are set closer to crunch, maintaining transparency while thickening the sound. When using the White Elk fuzz, it’s likely he adjusts the EQ to cut some lows to prevent muddiness.
His use of spatial effects is also distinctive. The Strymon TimeLine delay is utilized for both “short delay + reverb-like echoes” and “long delays for spatial effects,” depending on the song. In ballads, he capitalizes on deep reverberation, while in upbeat tracks, he opts for shorter settings to maintain rhythm. The Silver Spring Reverb is often used alongside delay to simply add ambient depth.
In terms of EQ, Matsumoto focuses on blending into the band rather than achieving a “perfect sound” for the guitar alone. With the bass supporting the lows, he tends to cut the lows on the guitar, bringing the mids forward. Since the drums occupy the highs with cymbals and hi-hats, he avoids overemphasizing the highs on the guitar, maintaining brightness without harshness. This approach results in LAMP IN TERREN’s signature “rich yet spacious sound.”
From a mixing perspective, Matsumoto effectively uses reverb and delay to create a sense of “depth” without overshadowing the vocals. Specifically, he pans the guitar left and right while ensuring it doesn’t interfere with the central vocals, creating spatial depth. This technique reflects influences from post-rock and alternative rock, making the guitar more than just accompaniment.
During live performances, he appears to meticulously adjust the depth of distortion and delay feedback for each song. For quieter tracks, he sets longer delay repeats to enhance the sense of reverberation, while for faster songs, he keeps it shorter to emphasize rhythm. Such precise control allows the audience to immerse themselves deeply in the song’s atmosphere.
In summary, Matsumoto’s sound design fundamentally focuses on “highlighting the mid-range while providing depth through reverb.” This sound is achieved through a combination of gear selection, EQ adjustments, and thoughtful engineering. His sound is not merely a collection of equipment but a comprehensive approach that supports the entire band’s ensemble.
Affordable Alternatives to Recreate the Tone
Matsumoto’s sound is supported by boutique amps and high-end effects, but there are ways for beginners or budget-conscious guitarists to approximate it. Here, we introduce alternative gear that can be acquired for around $100 to $500, suitable for recreating his sound.
For amplifiers, the Roland JC-22 and BOSS KATANA series are affordable and highly recommended. The JC-22 can reproduce the clear tones Matsumoto favors in a compact form, excelling in separation when effects are applied. The KATANA series features various amp modeling, allowing users to easily achieve tones reminiscent of the Divided by 13 or Marshall.
For distortion, the BOSS BD-2 Blues Driver is a solid choice. This model is used by Matsumoto himself and is relatively affordable, making it a straightforward addition. For a more modern distortion, combining it with the BOSS DS-1X or MXR Distortion+ can create a feel similar to the JHS Angry Charlie.
As a fuzz alternative, the BOSS FZ-5 is effective. It models vintage fuzz sounds and can somewhat replicate the heaviness of the White Elk Super Fuzz Sustainer. It is versatile enough for loud tracks.
For spatial effects, the NUX Atlantic Delay & Reverb, BOSS RV-6 Reverb, and DD-8 Digital Delay offer excellent cost-performance. While they may not match the professional multi-functionality of the Strymon TimeLine, they can sufficiently recreate the atmosphere in live or practice settings. The RV-6, in particular, is known for its natural reverb, closely aligning with Matsumoto’s soundscape.
Lastly, for power supplies and tuners, the One Control Micro Distro and BOSS TU-3 tuner are stable and recommended for beginners. Incorporating these will help minimize noise while confidently building an effects board.
In summary, focusing on “BOSS pedals” can make it easier to approach Matsumoto’s sound. By ensuring a basic setup of distortion, fuzz, reverb, and delay, combined with a clean-friendly amp (like the Roland JC series or BOSS KATANA), you can achieve a sound remarkably close to his within budget.
Standard stage tuner. Ideal substitute for the DT-10.
Summary and Conclusion
In summary, Hiroshi Matsumoto’s sound design in LAMP IN TERREN is characterized by a guitar sound that “vividly portrays the world of the songs.” His ability to switch between clean transparency and powerful distortion is a key feature, allowing him to lead the music alongside the vocals.
He utilizes the Stratocaster and Les Paul, two classic models, to switch between the brilliance of clean tones and the thickness of humbuckers as needed. The Divided by 13 FTR-37 serves as the foundation, layered with spatial effects to create a deep soundscape. His use of distortion, fuzz, and auto-wah pedals adds unique expressions to each song.
EQ and mixing techniques are also noteworthy. Matsumoto’s sound is achieved through a setting that “emphasizes the mid-range while providing depth through reverb.” The presence of the guitar stands out while blending seamlessly with the overall band ensemble, a highly calculated approach even from an engineering perspective. The combination of delay and reverb is central to LAMP IN TERREN’s signature ethereal sound.
However, the gear he uses often consists of boutique amps and high-end effects, making it challenging for beginners to replicate the same setup. Nevertheless, using commercially available products from brands like BOSS and Roland can still capture the essence of his sound. The key is to understand the approach of “focusing on clean transparency while adding depth with spatial effects” and applying it within one’s own context.
Ultimately, Matsumoto’s sound is a balanced fusion of “transparency,” “thickness,” and “depth.” By grasping this concept and applying it with accessible gear, you can open the door to recreating the grand and emotional sound of LAMP IN TERREN.
Hiroshi Matsumoto employs multiple guitars to craft the band’s sound. The most notable are the Fender Stratocaster and Gibson Les Paul. These two iconic models allow him to harness their unique characters, creating a wide range of sounds for different songs.
The Fender Stratocaster is known for its clear and sparkling clean tones, making it ideal for arpeggios and chord work. In LAMP IN TERREN’s lyrical and expansive tracks, the Strat’s shimmering highs and quick response play a crucial role. Its compatibility with effects allows him to layer delay and reverb, generating a distinct three-dimensional soundscape.
On the other hand, the Gibson Les Paul offers thick mid and low tones with excellent sustain, adding power to the band’s sound. In powerful rock numbers like “Growing Up” and “Mei,” the Les Paul’s characteristic thick tone supports the energy of the songs. The rich sustain from its humbucker pickups intertwines with Matsumoto’s vocals, enhancing the overall dynamics of the band.
The choice of guitars not only affects the tonal differences but also directly influences the expressiveness during live performances and recordings. Matsumoto often starts with the Strat for transparent phrases and switches to the Les Paul during climactic or intense parts of songs, showcasing his versatility.
While interviews and photos do not confirm any specific customizations or special models, the richness of his effects board suggests that the guitars serve as the core of his sound, with their character combined with effects to manipulate LAMP IN TERREN’s sonic landscape.
Matsumoto’s sound design is not only about gear selection but also emphasizes “EQ adjustments” and “song-specific applications.” His guitar sound is built on a balance that considers the overall mix, not just switching between distortion and clean tones.
Regarding amp settings, it is speculated that he prioritizes the mid-range on the Divided by 13 FTR-37. This approach highlights the vocals while ensuring the guitar supports the song’s thickness. With the bass providing solid low-end, there’s no need to overemphasize the lows; instead, focusing on the mids keeps the contours of arpeggios and chords clear.
Matsumoto skillfully differentiates his use of distortion pedals. The Angry Charlie serves as a modern distortion for powerful backing and riffs, while the FINE OD and BD-2 are set closer to crunch, maintaining transparency while thickening the sound. When using the White Elk fuzz, it’s likely he adjusts the EQ to cut some lows to prevent muddiness.
His use of spatial effects is also distinctive. The Strymon TimeLine delay is utilized for both “short delay + reverb-like echoes” and “long delays for spatial effects,” depending on the song. In ballads, he capitalizes on deep reverberation, while in upbeat tracks, he opts for shorter settings to maintain rhythm. The Silver Spring Reverb is often used alongside delay to simply add ambient depth.
In terms of EQ, Matsumoto focuses on blending into the band rather than achieving a “perfect sound” for the guitar alone. With the bass supporting the lows, he tends to cut the lows on the guitar, bringing the mids forward. Since the drums occupy the highs with cymbals and hi-hats, he avoids overemphasizing the highs on the guitar, maintaining brightness without harshness. This approach results in LAMP IN TERREN’s signature “rich yet spacious sound.”
From a mixing perspective, Matsumoto effectively uses reverb and delay to create a sense of “depth” without overshadowing the vocals. Specifically, he pans the guitar left and right while ensuring it doesn’t interfere with the central vocals, creating spatial depth. This technique reflects influences from post-rock and alternative rock, making the guitar more than just accompaniment.
During live performances, he appears to meticulously adjust the depth of distortion and delay feedback for each song. For quieter tracks, he sets longer delay repeats to enhance the sense of reverberation, while for faster songs, he keeps it shorter to emphasize rhythm. Such precise control allows the audience to immerse themselves deeply in the song’s atmosphere.
In summary, Matsumoto’s sound design fundamentally focuses on “highlighting the mid-range while providing depth through reverb.” This sound is achieved through a combination of gear selection, EQ adjustments, and thoughtful engineering. His sound is not merely a collection of equipment but a comprehensive approach that supports the entire band’s ensemble.
コメント