[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 sits 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 powerful riffs, utilizing Strat-style and modern guitars while skillfully switching between amplifiers and modeling equipment. In recent years, he has made extensive use of 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, later incorporating high-end models from brands like Suhr and NISHGAKI GUITARS. Additionally, he employs effects from Xotic and TC Electronic, expressing diverse textures in his music. His ability to balance beautiful cleans that blend into the ensemble with powerful rock sounds is arguably his greatest asset.

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, as well as his sound design techniques.

Feel free to use this information to enhance 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 different eras. During the 90s with WANDS, he primarily used Marshall amplifiers to support a classic rock sound. In 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 sound reproduction.

One of the most notable amplifiers is the Marshall JCM2000 DSL-100. This model served as the main distortion sound during the later years of WANDS and the early years of abingdon boys school, characterized by strong midrange and clarity. It was the foundation for Shibasaki’s powerful riffs. By pairing it with boosters, he created a tight drive sound while suppressing the roughness typical of Marshall amplifiers.

To ensure high power and clean headroom, he also incorporated rack-mounted power amplifiers like the VHT 2150. This allowed him to faithfully amplify the sound from preamps and multi-effects, maintaining stable sound pressure even on arena-sized stages. This was particularly useful for songs with electronic elements, where transparent cleans and spatial effects are essential.

In recent live performances and recordings, the Fractal Audio Systems Axe-Fx III has become central to his setup. This modeling amplifier/multi-effects unit can accurately reproduce iconic sounds from brands like Marshall and Mesa/Boogie. Shibasaki uses it to switch between diverse amp sounds, achieving the desired tone for each scene. The 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 amplifiers and digital modeling in his abingdon boys school phase to enable broader expressions. 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 rock-supporting Marshalls 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 standard Strat-style guitars and Music Man models. In the later years with abingdon boys school, he has adopted high-end models from Suhr and NISHGAKI GUITARS. A notable characteristic of his guitar choices is the significant variation based on the taste and arrangement of the songs.

One particularly important model is the NISHGAKI GUITARS Amnis Novus “Hiroshi Shibasaki Specs”. This custom model, ordered by Shibasaki himself, has been used in live performances and recordings during the fifth generation of WANDS. It offers a wide range and can deliver stable tones from clean to heavy riffs.

Another NISHGAKI GUITARS model, the Spira, has been confirmed in songs like “TIME STEW,” known for its transparent cleans and unique midrange. This guitar is well-suited for melodic solos and arpeggios, supporting Shibasaki’s expressive 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 models balance high-gain capabilities with beautiful cleans, making them essential for the heavy yet brilliant ensemble of abingdon boys school.

Another crucial guitar in Shibasaki’s history is the Music Man Luke, which served as his main guitar during the early to mid WANDS years, supporting the sound of 90s J-POP. Its clear and responsive tone, along with smooth playability, forms 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 when Shibasaki sought 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 practical side, he has also been seen using guitars like the CREWS Bottoms Up for rehearsals, demonstrating his flexibility in choosing equipment suitable for professional settings.

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

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

Effects and Pedalboard Setup

Hiroshi Shibasaki’s pedalboard features a multifunctional setup that combines classic boosters and overdrives with modulation and spatial effects. Particularly in abingdon boys school’s music, the coexistence of hard 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 of Marshall and Suhr. The RC Booster is often used as a clean boost, while combining it with the BB Preamp and TS808 creates a tight and thick distortion. The Ibanez TS808 Tube Screamer adds mid-range emphasis, contributing to the characteristic sustain 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 the distortion, forming a thick sound.

In the modulation section, unique devices like the Fulltone Mini Deja Vibe and ARION SCH-Z Chorus play significant roles. The ARION chorus, known for its warm sound despite being affordable, contributes to Shibasaki’s spatial effects. The TC Electronic Nova Modulator NM-1 covers flanger, phaser, tremolo, and vibrato, allowing for nuanced adjustments for each song.

For spatial effects, the TC Electronic Nova Delay ND-1 and Eventide H9 are central. The H9 is highly versatile, capable of handling delay, reverb, and pitch effects, making it an essential tool for live performances. Additionally, the Carl Martin TremO’Vibe and Carl Martin Stereo Chorus have been confirmed, adding analog warmth and depth.

To manage his pedalboard, he utilizes switchers like the BOSS ES-8 and CAE RS616 MIDI Audio Controller, along with VOCU Magic Switching & Loops for efficient operation of complex effect chains. Power supplies 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 are confirmed, emphasizing his focus on precise tuning.

Thus, it is assumed that Hiroshi Shibasaki has broadly incorporated 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. Especially in abingdon boys school, where the fusion with electronic sounds is required, achieving a balance where the guitar does not get buried yet does not stand out too much is crucial.

Starting with 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 setup was aimed at avoiding excessive distortion while ensuring separation within the band. By combining it with the TS808 and RC Booster, he pushed the midrange forward. Currently, using Suhr and NISHGAKI GUITARS, he takes advantage of the amp’s character while making further precise adjustments using the EQ function of the Axe-Fx III.

In terms of EQ, for clean parts, he tends to cut lows while emphasizing mids and treble to make arpeggios stand out. Conversely, for riffs and power chords, he retains solid low-end around 100Hz while cutting muddiness around 300Hz. This results in a sound that is both heavy and does not clash with other instruments. To coexist with the sequences and synth sounds of abingdon boys school, smoothly adjusting the 2kHz-4kHz range is essential for controlling the guitar’s attack.

Spatial processing is also important. When using the Nova Delay and Eventide H9, it is likely that the delay time is synchronized with the song’s BPM, and feedback is often kept 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.

During the mixing stage, he often employs panning the guitar left and right to emphasize stereo presence. Particularly, heavy low-end riffs using the JP7 are placed in the center, while typical leads and arpeggios are spread out in stereo, creating spatial contrast. As a result, a guitar sound that combines heaviness and transparency is achieved.

Moreover, Shibasaki 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 secure sustain while ensuring the sound cuts through the mix.

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

Overall, Hiroshi Shibasaki’s sound design is characterized by organizing lows, pushing midrange, and precisely utilizing spatial effects. While the guitar may sound somewhat harsh when listened to in isolation, it resonates remarkably naturally when integrated into the overall band sound, exuding presence. This exemplifies “professional sound design,” showcasing a high level of completion from an engineer’s perspective.

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

Affordable Alternatives to Recreate the Tone

Hiroshi Shibasaki’s gear includes many expensive items from brands like Suhr, NISHGAKI GUITARS, and Fractal Audio, making it impractical to acquire everything. However, by focusing on key elements, it is possible to approach the “Shibasaki sound” with relatively affordable gear. Here, we will introduce alternative equipment that is accessible for beginners to intermediate players, typically priced between $100 and $500.

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

To recreate clean tones and spatial effects, multi-effects units are effective. Particularly, the BOSS GT-1 and Zoom G5n offer excellent cost-performance, covering various effects like delay, chorus, phaser, and tremolo, which are frequently used by Shibasaki. Even if high-end equipment like the Eventide H9 is out of reach, these multi-effects units can provide a similar quality experience.

For amplifiers, the Marshall DSL20CR and BOSS Katana-100 MkII are strong alternatives to recreate the Marshall DSL100 sound. The DSL20CR, while compact, retains the distortion characteristics of Marshall, and the Katana offers a wide range of modeling capabilities suitable for various genres. Both are capable of handling home practice and small live performances.

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

Additionally, for a wah pedal, using the VOX V847 Wah can provide sufficient expressiveness while keeping costs down. For tuners, the BOSS TU-3 can serve as a reliable alternative to Peterson’s offerings, ensuring stable precision during live performances.

In summary, the key points to recreate the Shibasaki sound are “distortion that emphasizes midrange,” “stereo spatial processing,” and “flexibility in switching settings for different songs.” By focusing on these aspects, it is possible to approach a similar sound without necessarily relying on high-end gear.

Thus, it is assumed that even with relatively affordable equipment, one can experience the essence of Hiroshi Shibasaki’s sound design—distortion that emphasizes midrange, stereo spatial effects, and flexible setting switches.

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 robust and straightforward rock sound centered around the Music Man Luke and Marshall DSL. From the 2000s onward with abingdon boys school, he has evolved into modern and multi-layered sound expressions using high-end guitars like Suhr and NISHGAKI GUITARS and the Fractal Audio Axe-Fx III.

Notably, his sound always considers “the resonance within the entire band.” While the guitar may not sound overly flashy when heard in isolation, it is crafted to resonate with presence only when blended with drums, synths, and vocals. The meticulous adjustments in EQ for low-end organization, midrange emphasis, and precise placement of spatial effects reflect a professional’s optimization within the ensemble.

Moreover, his philosophy is evident in the construction of his pedalboard. The three-dimensionality achieved by layering boosters and overdrives, the depth of sound created by 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 preferences.

Furthermore, his adaptability to incorporate the latest technology is a strength of Hiroshi Shibasaki. Actively adopting modeling equipment like the Axe-Fx III, he maintains quality comparable to recordings even in live environments. While valuing the traditional sounds of Marshall and TS808, he continuously updates by integrating technological advancements.

For guitarists looking to replicate the Shibasaki sound, it is crucial to understand that “fully copying high-end gear” is not the goal. Instead, focusing on “distortion that emphasizes midrange,” “spatial processing tailored to each song,” and “considering the sound’s place within the entire ensemble” are key points. By grasping these aspects, one can approach a similar sound even with alternative equipment.

Finally, it is important 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, when his phrases are played, they resonate as the “Shibasaki sound” because of the consistent musical perspective underlying it.

In other words, learning about Hiroshi Shibasaki’s sound design is not merely about mimicking equipment; it is a training exercise in considering “how to create the most effective sound for your band or 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.