[Hyde] How to Recreate the L’Arc~en~Ciel (VAMPS) Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hyde, the charismatic frontman of L’Arc~en~Ciel and VAMPS, is not only known for his unique vocal style but also for his distinctive guitar sound. His approach to sound design is characterized by a masterful blend of vintage warmth and modern edge. This duality allows him to traverse a wide sonic landscape, from the crisp rock sound of “HONEY” to the emotional and delicate tones found in tracks like “SEASON’S CALL” and “evergreen.”

Hyde frequently employs short-scale Fender guitars, which enable him to create unique cuts and arpeggios that enhance the narrative of his music. His playing style is both dynamic and expressive, showcasing a range of techniques that contribute to the overall atmosphere of his songs. In the VAMPS era, he further embraced high-gain amplifiers and the Kemper Profiling Amplifier, allowing for a thicker, more modern sound that retains clarity across heavy riffs and clean tones.

Hyde’s sound design philosophy can be summarized as an evolution that maintains a core emotional resonance, adapting to the times while remaining rooted in a strong musical identity. This versatility is what draws many guitarists to his sound, as it combines a broad range of tonal characteristics with a universal appeal.

To recreate Hyde’s sound, one must understand the interplay of guitar types, amplifier characteristics, and effects. The following sections will delve into the specific gear and features that contribute to his iconic tone.

▶ Search official YouTube videos of L’Arc~en~Ciel

▶ Search official YouTube videos of VAMPS

List of Amplifiers and Features

Hyde’s guitar sound has evolved significantly over the years, with his choice of amplifiers reflecting this change. In the late 1990s to early 2000s, he primarily used traditional amplifiers like Marshall and Hughes & Kettner. However, from the mid-2000s onward, he began incorporating high-gain, high-quality amplifiers such as Diezel and Bogner. Since 2017, the Kemper Profiling Amplifier has become central to his live setup, emphasizing stability and flexibility through digital profiling.

In tracks like “HONEY” and “Driver’s High,” the driving midrange of Marshall amplifiers formed the backbone of his sound, providing a robust pop-rock essence unique to L’Arc~en~Ciel. During the VAMPS era, his sound evolved into a thick high-gain tone centered around the Diezel Herbert, achieving a modern American rock vibe.

Hyde also utilizes multi-channel amplifiers like the Hughes & Kettner Triamp MKII and Core Blade, which allow for seamless transitions between clean and distorted tones, supporting the diverse range of songs performed live. The Divided by 13 RSA23 has been confirmed for clean sounds, suitable for transparent cuts and arpeggios, while Bogner cabinets provide a warm, wide sound pressure. These combinations, along with meticulous EQ and spatial processing with his engineer, allow Hyde to express the world of each song intricately.

Ultimately, Hyde prioritizes “live reproducibility,” “a wide range of tones,” and “the presence of sound linked to visuals,” continuously evolving his amplifier system. Since 2017, while focusing on the Kemper, he has managed to faithfully recreate the qualities of traditional tube amplifiers, achieving both stability and expressive power.

Types of Guitars Used and Features

Hyde’s choice of guitars is as striking as his visual style, with each instrument contributing to his unique sound. In the 90s and early 2000s, he frequently used short-scale models like the Fender Mustang and Jaguar, which provided a sharp and agile cutting sound that defined many of his tracks. Notably, songs like “HONEY” and “Driver’s High” feature a jangly, punchy midrange that is characteristic of these guitars.

Additionally, the vintage and custom blend of the “Gibson Les Paul Junior Hyde Custom (1956)” has been updated with black hardware and is known for its powerful P-90 sound, prominently featured in tracks like “HONEY.” This model is essential to understanding Hyde’s sound design.

The ZODIACWORKS HYDE Custom Model, equipped with an EverTune bridge and a skull-pattern pickguard, also adds a visual impact, serving as a secondary Les Paul Jr. Hyde’s modifications to his Fender Mustang include the installation of DiMarzio DP402 pickups and a conversion to a 24 3/4-inch neck, showcasing his dedication to personalizing his instruments.

Moreover, the Gretsch Duo Jet, based on a vintage model from the early ’60s, has been modified with a Seymour Duncan JB pickup in the bridge position, allowing for a more modern and powerful tone. This guitar was confirmed to be used in the “HELLO” music video, exemplifying Hyde’s blend of classical and modern aesthetics.

During the solo project “ROENTGEN,” the acoustic guitar “Gibson Style-01” became a centerpiece, showcasing its deep resonance in songs like “evergreen” and “SHALLOW SLEEP.” This guitar possesses a warmth and clarity that complements Hyde’s voice exceptionally well.

Overall, Hyde’s guitar selection emphasizes “sound diversity,” “visual impact,” and “linking to the song’s narrative,” reflecting an artistic identity that transcends mere performance.

Effects and Pedalboard Setup

Hyde’s pedalboard setup has varied significantly over the years, but a common theme is the careful selection of gear to achieve distinct tonal characters for each song. In the early days of L’Arc~en~Ciel, his setup featured classic analog effects like the BOSS CE-1 and DM-2, which added warmth and depth to his sound. By skillfully using chorus and analog delay, he created a sense of space in his simple cuts and arpeggios.

From the 2000s onward, particularly during the VAMPS era, he introduced tube-based overdrives like the SHARK Warzy Drive and MAXON ROD880, allowing for more preamp-like control over distortion sounds. Additionally, high-quality effects like the Providence Chrono Delay and Velvet Comp were incorporated, supporting a modern and stable live sound.

For rack gear, he has utilized the t.c. electronic G-Force and LINE 6 POD X3 Pro for multi-processing, managing modulation and spatial effects collectively. During live performances, a switching system (Providence PEC-2) is employed to ensure reliable tone switching. This professional-grade system is designed to adapt quickly to the diversity of his songs.

Noise reduction is handled by the iSP Decimator II, maintaining clarity even in high-gain environments. Furthermore, he uses the MXR 10 Band EQ and Commune Real Leveler for fine-tuning adjustments based on the venue and PA environment. Hyde’s approach emphasizes balancing the guitar with vocals, focusing on settings that allow the guitar to blend while still maintaining presence.

As a result, Hyde’s pedalboard embodies a fusion of “organic analog feel” and “precision of modern gear,” supporting a simple yet profound tone.

Tone Settings, EQ, and Mixing Approaches

Hyde’s sound design is centered around “guitar tones that enhance the song’s narrative while maximizing vocal presence.” Rather than merely seeking power from the guitar alone, his settings often focus on how to maintain presence within the overall mix.

For example, in the iconic track “HONEY,” the midrange distortion from the P-90 of the Les Paul Jr is driven through a Marshall-style amp, likely with an EQ setting that cuts the lows while boosting the mids. This approach ensures that Hyde’s vocals remain prominent while establishing a thick, supportive guitar sound for the band.

In contrast, for songs like “SEASON’S CALL” and “READY STEADY GO,” which demand speed and brilliance, he utilizes the Fender Jaguar or Mustang, setting the amp to clean or crunch. Here, a compressor (Providence Velvet Comp) is used to enhance clarity, while chorus and analog delay (BOSS CE-1, DM-2) are applied subtly to create a sense of spatial expansion.

During the VAMPS era, when hard and modern riffs take center stage, he employs the Diezel Herbert or high-gain profiles from the Kemper. The settings emphasize mids and lows, accentuating picking attacks. Additionally, the iSP Decimator II helps manage noise, while the MXR 10 Band EQ allows for real-time adjustments based on the acoustics of the venue.

For effects, during solo sections, he tends to set a stronger feedback on delays (such as the Providence Chrono Delay DLY-4) to complement the vocal lines. Conversely, in riff-centric songs, he often minimizes delay usage, focusing on a dry and tight sound.

In studio recordings, he frequently employs a combination of direct amp recording and miking to layer multiple tracks, enhancing sound pressure. Since the introduction of the Kemper, he has profiled the sounds of previously used Marshalls and Diezels, maintaining a consistent tone across live and recording settings.

In summary, Hyde’s setting philosophy revolves around “guitar sounds that resonate with vocals.” His EQ prioritizes mids while adjusting lows and highs according to the song. The selection of amplifiers and effects always serves the song, striving for a sound that blends seamlessly with the vocals. This flexibility and balance are what make Hyde’s sound truly unique.

Affordable Alternatives to Recreate the Tone

Hyde’s sound often relies on vintage guitars and professional-grade amplifiers, making complete replication costly. However, it is entirely feasible for beginners and intermediate players to approximate a “Hyde-like sound” using relatively affordable gear. The key points are to focus on “midrange-emphasizing overdrive,” “ethereal chorus,” “warm delay,” and “stable multi-processors.”

For overdrive, the BOSS SD-1 Super OverDrive is a staple. It pairs well with Marshall-style amps, emphasizing the midrange of P-90 and single-coil guitars, making it easier to replicate Hyde’s thick lead tones in “HONEY” and “Driver’s High.”

For chorus, the BOSS CE-5 Chorus Ensemble is ideal. It follows in the lineage of the CE-1 and CE-2 models used by Hyde, adding transparency to arpeggios and clean tones, and getting close to the expansive sound found in “SEASON’S CALL” and “flower.”

For delay, the BOSS DD-8 Digital Delay or MXR Carbon Copy are recommended. The Carbon Copy, in particular, offers the warmth of analog delays, making it suitable for extending notes during solos, aligning with Hyde’s emotional playing style.

Additionally, multi-effects units like the LINE 6 POD Go or BOSS GT-1 are beginner-friendly options. They provide a wide range of amp modeling and spatial effects, allowing players to experience “modern sounds from the VAMPS era” easily during live performances or practice.

When it comes to guitars, selecting budget models from the Fender Mustang Player series with single-coil pickups can help capture the unique playability of Hyde’s short-scale guitars. If you are confident in modifications, swapping pickups for DiMarzio models can further enhance the nuances of the sound.

In conclusion, with a budget of around $500, focusing on “midrange-emphasizing distortion,” “ethereal clean tones,” and “delay effects” can significantly help recreate the essence of Hyde’s sound.

Summary and Conclusion

Hyde’s sound design can be succinctly described as “guitar tones that support the song while expanding its narrative.” He does not pursue flamboyance as a guitarist but rather uses the guitar to maximize his expression as a vocalist. As a result, his guitar sound resonates with the vocal line, leaving a unique aftertaste and emotion for listeners.

His gear selection is notable for blending vintage and modern elements. He favors the lively sounds of short-scale guitars like the Fender Mustang and Jaguar while complementing them with the powerful presence of the Gibson Les Paul Junior and custom models from ZODIACWORKS. His use of unique amplifiers like Marshall, Diezel, and Divided by 13, along with the introduction of the Kemper since 2017, ensures stability and reproducibility.

In terms of effects, he maintains a philosophy of “simplicity and necessity,” opting for high-quality brands like Providence and t.c. electronic. By using analog chorus and delay, he adds depth to his songs while employing noise reduction and equalization for precise adjustments, achieving a cohesive sound for both live and studio settings.

In EQ and mixing, his approach emphasizes adjusting lows and highs around a midrange foundation, ensuring that the guitar enhances rather than obstructs the vocal presence. This philosophy highlights Hyde’s focus on how the sound resonates within the entire band rather than just the individual guitar.

For guitarists aspiring to emulate Hyde’s sound, it is crucial to adopt the perspective of how to support the song and elevate the vocals rather than merely copying gear. Affordable equipment can effectively capture that essence, and ultimately, it is the player’s style and expressiveness that will translate into sound.

Through the process of imitating Hyde’s guitar sound, one can learn both “technical sound design” and “expressive sound crafting.” The essence of his sound lies not only in the beauty of the tones themselves but also in the design philosophy aimed at enhancing the song and vocals, which is why he continues to be respected by many fans and guitarists alike.