[Hiroshi Shibasaki] How to Recreate the abingdon boys school Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hiroshi Shibasaki is known as the guitarist for WANDS’ fifth generation and abingdon boys school. Since the 1990s, he has developed a catchy yet heavy guitar sound that straddles the line between hard rock and pop, showcasing his skills particularly in songs like “Sekai ga Owaru made…” and “TRAGEDY.”

His playing style is characterized by a wide range, from delicate clean tones to robust riffs, utilizing Strat-style and modern guitars while skillfully switching between amplifiers and modeling equipment. In recent years, he has been using the Fractal Audio Axe-Fx III, achieving a high level of sound reproduction during live performances.

Shibasaki has long favored the Music Man Luke during his WANDS era in the 90s and has since actively incorporated high-end models from brands like Suhr and NISHGAKI GUITARS. Additionally, he employs effects from Xotic and TC Electronic, expressing a diverse range of textures for each song. His ability to balance beautiful cleans that blend into the ensemble with powerful rock sounds is arguably his greatest weapon.

His sound design, while seemingly simple, is backed by a meticulously controlled selection of boosters and modulation effects, which is why many guitarists study the “Shibasaki sound.” This article will thoroughly explain the confirmed amplifiers, guitars, and effects he uses, along with insights into his sound creation techniques.

Feel free to use this as a reference and incorporate it into your own playing.

▶ Search official YouTube videos of abingdon boys school

List of Amplifiers and Features

Hiroshi Shibasaki’s amplifier history has evolved according to the musical styles and live environments of each era. During the 90s with WANDS, he primarily used Marshall amplifiers to support a classic rock sound. After the 2000s, with abingdon boys school, he transitioned to rack-mounted power amplifiers and digital modeling to achieve a wider variety of tones and stable reproduction.

One of the key models is the Marshall JCM2000 DSL-100. This amplifier served as the main distortion sound during the latter part of WANDS and the early days of abingdon boys school, characterized by its strong mid-range and clarity. It formed the foundation for Shibasaki’s robust riffs. By combining it with boosters, he has crafted a tight drive sound while keeping the Marshall’s signature roughness in check.

To ensure high power and clean headroom, he also integrated rack-mounted power amplifiers like the VHT 2150. This allowed for faithful amplification of preamps and multi-effects, maintaining stable sound pressure even on arena-sized stages. This setup has been particularly useful for songs with electronic elements, allowing for clear cleans and spatial effects.

In recent live performances and recordings, the Fractal Audio Systems Axe-Fx III has become central. This modeling amplifier/multi-effect unit can accurately recreate iconic sounds from Marshall and Mesa/Boogie. Shibasaki uses it to switch between various amp sounds, achieving tones suited to different scenes. Its ability to maintain high fidelity regardless of stage conditions is likely a key reason for its adoption.

In summary, Hiroshi Shibasaki has built a traditional rock sound centered around Marshall during his WANDS era and has utilized rack amps and digital modeling to enable broader expression during his time with abingdon boys school. His flexibility in choosing the optimal system according to the period and environment is a significant feature of his sound design.

Thus, it is assumed that Hiroshi Shibasaki has skillfully utilized a range of equipment from classic Marshall to modern modeling gear, constructing optimal sounds for each era.

Types of Guitars Used and Features

The core of Hiroshi Shibasaki’s sound is his diverse guitar collection. During the first to third generations of WANDS, he primarily used classic Strat-style guitars and Music Man models. In the subsequent abingdon boys school era, he incorporated high-end models from Suhr and NISHGAKI GUITARS. His choice of guitars varies significantly over time, adapting to the taste and arrangement of each song.

One particularly important model is the NISHGAKI GUITARS Amnis Novus “Hiroshi Shibasaki Specs”. This custom model, ordered by Shibasaki himself, was used during live performances and recordings in the fifth generation of WANDS. It features a wide range and can produce stable sounds from clean tones to heavy riffs, making it a versatile choice.

Another model from NISHGAKI GUITARS, the Spira, has been confirmed in songs like “TIME STEW,” known for its transparent cleans and unique mid-range. It is well-suited for melodic solos and arpeggios, supporting Shibasaki’s emotive playing style.

Among the high-end guitars from overseas, he has used the Suhr 2020 Limited Classic ST SSH and Suhr 2008 Modern Limited Edition. These Strat-style and modern Suhr guitars balance high-gain capabilities with beautiful cleans, making them indispensable for the rich and dazzling ensemble of abingdon boys school.

Shibasaki’s guitar history also prominently features the Music Man Luke, which served as his main guitar during the early to mid WANDS era, supporting the sound of 90s J-POP. Its clear and responsive tone and smooth playability form the foundation of the Shibasaki sound.

Additionally, the EVH Wolfgang Special / Wolfgang Special QM has been confirmed, used to recreate Eddie Van Halen’s hard rock sound. This guitar appears when Shibasaki seeks a powerful sound for riff-heavy songs. Furthermore, the seven-string model Music Man John Petrucci JP7 has been introduced to reinforce heavy riffs and low-end frequencies.

On the other hand, practical guitars like the CREWS Bottoms Up have been confirmed for rehearsal and backstage use, indicating his flexibility in choosing equipment suitable for professional settings.

The diverse use of these guitars symbolizes Hiroshi Shibasaki’s wide-ranging musicality and his quest for sound creation.

It is assumed that Hiroshi Shibasaki has constructed his sound by skillfully utilizing a wide range of guitars, from custom models by NISHGAKI GUITARS to Suhr, Music Man, and EVH.

Effects and Pedalboard Setup

Hiroshi Shibasaki’s pedalboard is characterized by a multifunctional setup that combines classic boosters and overdrives with modulation and spatial effects. Particularly in abingdon boys school songs, the coexistence of hard-hitting rock riffs, beautiful arpeggios, and grand spatial processing is supported by this array of effects.

For drive effects, he layers classic boosters like the Xotic RC Booster, Xotic BB Preamp, and Xotic EP Booster, enhancing the sounds from Marshall and Suhr. The RC Booster is used as a clean boost, while combining it with the BB Preamp and TS808 achieves a tight and thick distortion. The Ibanez TS808 Tube Screamer adds a classic mid-range push, contributing to the stickiness of the Shibasaki sound.

Additionally, effects like the Roger Mayer Voodoo-1 Classic and Lovepedal Pickle Vibe have been confirmed, allowing for diverse control over distortion character. The Pickle Vibe, a univibe-type effect, is placed before distortion, forming a sticky sound.

In the modulation category, unique devices like the Fulltone Mini Deja Vibe and ARION SCH-Z Chorus play a significant role. The ARION chorus, known for its warm sound despite being budget-friendly, contributes to Shibasaki’s spatial effects. The TC Electronic Nova Modulator NM-1 covers flanger, phaser, tremolo, and vibrato, used to recreate the subtle nuances of each song.

For spatial effects, the TC Electronic Nova Delay ND-1 and Eventide H9 are central. The H9 can handle a wide range of effects from delay to reverb and pitch, making it an extremely versatile tool for live performances. Additionally, Carl Martin TremO’Vibe and Carl Martin Stereo Chorus have been confirmed, adding analog-like depth and movement.

To manage his effects, he uses switchers like the BOSS ES-8 and CAE RS616 MIDI Audio Controller. He also employs VOCU Magic Switching & Loops for efficient operation of complex effect chains. Power supply units like FREE THE TONE PT-3D and VOCU ensure stable power supply.

For wah effects, he uses the Xotic XW-1 and Ernie Ball volume pedals. Tuners like the Peterson StroboStomp and BOSS TU series have been confirmed, emphasizing his focus on accurate tuning.

Thus, it is assumed that Hiroshi Shibasaki has broadly integrated everything from classic overdrives to the latest multi-effects, constructing flexible sounds for both live performances and recordings.

Tone Settings, EQ, and Mixing Approaches

Hiroshi Shibasaki’s sound design goes beyond mere equipment selection; it is completed through meticulous adjustments in EQ and mixing stages. Particularly in abingdon boys school, where the fusion with electronic sounds is required, it is crucial to maintain a balance where the guitar does not get buried yet does not stand out too much.

Regarding amp settings, during the era of the Marshall DSL-100, it is speculated that he often set BASS to 4-5, MIDDLE to 6-7, and TREBLE around 5. This setting aimed to prevent excessive distortion while ensuring separation within the band, pushing the midrange forward by combining it with the TS808 and RC Booster. Currently, using Suhr and NISHGAKI GUITARS, he utilizes the amp’s character while making precise adjustments with the Axe-Fx III’s EQ functions.

For EQ adjustments, in clean parts, he emphasizes mids and treble while cutting lows to make arpeggios stand out. In contrast, for riffs and power chords, he retains around 100Hz while cutting muddiness around 300Hz. This results in a sound that is rich yet does not clash with other instruments. To coexist with the sequences and synth sounds of abingdon boys school, it is essential to smoothly adjust the 2kHz-4kHz range, appropriately controlling the guitar’s attack.

Spatial processing is also crucial. When using the Nova Delay and Eventide H9, it is believed that he synchronizes the delay time with the song’s BPM and keeps feedback around 20-30%. This achieves a balance where the sound image expands without losing definition. Reverb is kept to a minimum, focusing on creating depth rather than lingering echoes.

In the mixing stage, he often employs panning the guitar left and right to emphasize stereo sound. Particularly, heavy low-end riffs using the JP7 are centered, while regular leads and arpeggios are spread in stereo, creating spatial contrast. This results in a guitar sound that combines heaviness and transparency.

Shibasaki also skillfully differentiates between boosters and compressors. For example, in clean arpeggios, he lightly applies the Carl Martin Compressor Limiter to align the sound’s particles, achieving a synth-like precision. Conversely, for lead solos, he layers boosters to ensure sustain while maintaining a clear presence in the mix.

During live performances, he utilizes switchers like the BOSS ES-8 and CAE RS616 to instantly recall different settings for each song. By linking it with the Axe-Fx III presets, he seamlessly switches between amp, effects, and EQ, achieving a level of quality equivalent to recordings.

Overall, Hiroshi Shibasaki’s sound design is characterized by organizing lows, pushing mids forward, and accurately utilizing spatial effects. When heard in isolation, the guitar may sound somewhat hard, but when integrated into the band’s overall sound, it resonates surprisingly naturally, exuding presence. This exemplifies “professional sound design,” showcasing a high level of completeness from an engineer’s perspective.

Thus, it is assumed that Hiroshi Shibasaki’s sound design involves not only equipment selection but also meticulous adjustments in EQ, spatial processing, and mixing.

Affordable Alternatives to Recreate the Tone

Hiroshi Shibasaki’s gear includes many high-end models like Suhr, NISHGAKI GUITARS, and Fractal Audio, making it unrealistic to acquire everything. However, by focusing on key points, it is possible to approximate the “Shibasaki sound” with relatively affordable equipment. Here, we will introduce alternative gear that is accessible for beginners to intermediates, primarily in the price range of $100 to $500.

At the core of the overdrive is the Ibanez TS808 Tube Screamer, but for a similar sound, the Ibanez TS9 is recommended. Priced around $200, it can achieve the mid-range push characteristic of the Shibasaki sound. For a clean boost alternative, the BOSS BD-2 Blues Driver can provide a clear boost effect.

To recreate clean tones and spatial effects, multi-effects units are effective. The BOSS GT-1 and Zoom G5n offer excellent cost performance, covering delays, choruses, phasers, and tremolos, which are frequently used by Shibasaki. Even if high-end equipment like the Eventide H9 is out of reach, a multi-effects unit can provide a similar texture.

For amplifiers, the Marshall DSL20CR and BOSS Katana-100 MkII are strong alternatives to replicate the Marshall DSL100 sound. The DSL20CR is compact yet retains the distortion characteristics of Marshall, while the Katana offers a wide range of modeling options suitable for various genres, making them ideal for home practice and small live shows.

In terms of guitars, alternatives to NISHGAKI GUITARS and Suhr include the Yamaha Pacifica 612V II and Squier Classic Vibe Stratocaster. Both feature SSH configurations, balancing ease of use with high-gain capabilities, reflecting Shibasaki’s guitar selection philosophy.

For wah pedals, the VOX V847 Wah can replace the Xotic XW-1, providing sufficient expressiveness while keeping costs down. For tuners, choosing the BOSS TU-3 as an alternative to Peterson will ensure reliable performance on stage.

In summary, the key points for recreating the Shibasaki sound with affordable gear are “distortion that emphasizes mids,” “stereo spatial processing,” and “flexibility to switch settings per song.” By focusing on these aspects, it is possible to approach a similar sound without needing high-end equipment.

Thus, it is possible to experience the essence of Hiroshi Shibasaki’s sound design—distortion that emphasizes mids, stereo spatial processing, and flexible setting changes—by choosing relatively affordable equipment.

Summary and Conclusion

Reflecting on Hiroshi Shibasaki’s sound design, its essence lies in the “flexibility to identify the optimal solution for each era.” In the 90s with WANDS, he established a solid and straightforward rock sound centered around the Music Man Luke and Marshall DSL. In the 2000s with abingdon boys school, he evolved into a modern and multi-layered sound expression using high-end guitars from Suhr and NISHGAKI GUITARS, along with the Fractal Audio Axe-Fx III.

Notably, his sound consistently emphasizes “the resonance within the entire band.” When listened to in isolation, the guitar tone is not overly flashy, but it only reveals its presence when blended with drums, synths, and vocals. His adjustments in EQ for low-end organization, mid-range emphasis, and precise spatial effect placement showcase the professional-level optimization within the ensemble.

Furthermore, his philosophy is reflected in the construction of his pedalboard. The three-dimensionality gained by layering boosters and overdrives, the depth achieved through spatial effects, and the instant switching enabled by his switching systems are all results of prioritizing “musical expression,” rather than merely being a collection of a guitarist’s personal preferences.

Additionally, his adaptability to incorporate the latest technology is one of Shibasaki’s strengths. Actively integrating modeling gear like the Axe-Fx III, he maintains a quality equivalent to recordings even in live environments. While cherishing the traditional sounds of Marshall and TS808, he continuously updates by embracing technological advancements.

For guitarists looking to recreate the Shibasaki sound, it is important to understand that “it is not about completely copying high-end gear.” Instead, the focus should be on “distortion that emphasizes mids,” “spatial processing tailored to each song,” and “considering the sound’s place within the entire ensemble.” By grasping these points, it is possible to approach a similar sound even with alternative gear.

Finally, it is essential to emphasize that Hiroshi Shibasaki’s sound design is also a means of maximizing “the individuality of the player.” Regardless of the guitar, amp, or effects used, playing his phrases will still resonate as the “Shibasaki sound” because of the consistent musical perspective underlying it.

In conclusion, learning from Hiroshi Shibasaki’s sound design is not merely about mimicking equipment; it is an exercise in considering “how to create the most resonant sound for your band and songs.” With this perspective, your own sound will surely evolve.

We hope this article serves as a reference for you to incorporate Hiroshi Shibasaki’s flexible and meticulous sound design into your own unique sound.