[Hyota Matsuzaki] How to Recreate the SHANK Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Kazuomi] How to Recreate the ROTTENGRAFFTY Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Kazuho Sakai] How to Recreate the flumpool Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

[Kenichi Tahara] – How to Recreate the Mr.Children Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

Introduction (Overview of Tone)

Hyota Matsuzaki, the guitarist of SHANK, has crafted a unique guitar sound that blends melodic punk with elements of hardcore and emo. His tone is characterized by its loudness and clarity, allowing both chord strumming and riffs to stand out effectively.

In iconic tracks like “Good Night Darling” and “Wake Up Call,” he maintains the sharpness typical of a Telecaster while also utilizing an ESP LP-type guitar to deliver a robust sound that supports the band. He skillfully transitions from clean tones to crunch and high-gain settings, primarily using the Marshall JCM series as the foundation for his classic rock tone during live performances.

Matsuzaki’s approach to sound design also involves a reliable selection of effects from brands like BOSS and Free The Tone, ensuring consistent tone reproduction across different stages. His pedalboard, while seemingly simple, is meticulously constructed to create a compelling sound.

Given the band’s fast and tight overall sound, Hyota’s guitar work balances the roles of “thick support” and “sharp cutting,” making his tone a significant subject of study not only for fans but also for fellow guitarists.

Check out SHANK’s official music videos to experience Hyota’s playing and sound firsthand.

▶ Search official YouTube videos of SHANK

List of Amplifiers and Features

Amplifiers play a crucial role in Hyota Matsuzaki’s sound design. To achieve the clarity typical of melodic punk while maintaining the sound pressure necessary for a hard-hitting band, he primarily relies on several Marshall amplifiers.

One of the standout models is the Marshall JCM800 (modified). This amp has been upgraded with a master volume and a Soldano kit, allowing for a more modern high-gain sound. This modification ensures that whether playing single-note leads or power chords, the sound remains distinct and does not get lost in SHANK’s fast-paced music.

During live performances, he often borrows a Marshall JCM800 cabinet from a studio in Nagasaki, delivering a classic rock sound while maintaining a solid core. This choice reflects his local roots and showcases his unique approach to sound design.

For clean tones, he uses the VOX AC30CC1. This 1×12 amp is both vibrant and manageable, supporting the transitions between quiet and loud moments in his music. Its presence is particularly emphasized during acoustic arrangements and album recordings.

In his early days, he owned a Peavey 5150II, which was used in recordings. The explosive high-gain sound derived from EVH helped define SHANK’s early loudness, but he later shifted to Marshall amps. He also used the Marshall JCM900 as his main amp for seven years, producing a rougher, punk-oriented sound.

While he has used various amplifiers over time, his current signature sound is built around the “powerful and clear tone based on the Marshall JCM800.” However, it is assumed that he adjusts his gear according to the specific demands of recording and live performances.

Types of Guitars Used and Features

When discussing Hyota Matsuzaki’s sound, it is essential to highlight his collection of guitars. These instruments, while simple, have been modified and equipped with unique pickups to extract the optimal tones for each song.

His main guitar is an ESP LP-type, which includes two models, one famously known as “Hyota Sunburst.” The front pickup is a Seymour Duncan Phat Cat (P-90 type), while the rear features a Seymour Duncan SH-5. This combination allows for a sharp distortion while maintaining a full clean tone. Additionally, he has modified the pickup selector for smoother transitions during live performances.

Another crucial instrument is the Fender Japan Telecaster, purchased specifically for the intro of “Good Night Darling.” This guitar is equipped with Seymour Duncan single-coil pickups, emphasizing clarity and a unique treble sound during cutting. Compared to the ESP LP-type, it provides a lighter and more varied tone for the band’s music.

For acoustic performances, he uses a YAMAHA electro-acoustic guitar. While the model is unspecified, it frequently appears during acoustic arrangements and songwriting, adding a softer touch to the band’s punk sound.

In his early career, he primarily used a Gibson Les Paul, known for its wet and sticky tone. Although he later transitioned to ESP, recordings and live footage from that era still showcase the Les Paul’s sound. There are also records of him using a Gibson SG, which is characterized by its thick midrange.

These guitar choices illustrate that Hyota Matsuzaki is a player who consciously selects the necessary character for each song, utilizing the right instrument for the occasion. By balancing the ESP LP-type with Fender, YAMAHA, and Gibson guitars, he adds diversity to SHANK’s sound.

Effects and Pedalboard Setup

Hyota Matsuzaki’s pedalboard is designed to balance simplicity and stability. While it maintains a straightforward sound typical of a punk band, it also incorporates effects like delay and chorus to add depth to the music.

The heart of his board is the One Control OC10W (MIDI-compatible loop switcher). In the past, he has used BOSS ES-8 and Free The Tone ARC-3, but currently, he relies on One Control for stable control over his effects during live performances.

For distortion, he employs the unique Mad Professor Blueberry Bass Overdrive, which is designed for bass but adds thickness to the low end when used with guitar, delivering a punchy punk sound. Additionally, he uses a booster he designed himself, the Matsuzaki “MUSUME”, to emphasize solos and clarity.

In the modulation category, he utilizes the Free The Tone Tri Avatar TA-1H (stereo chorus) to create a wide clean sound. For spatial effects, he switches between the Free The Tone Flight Time FT-2Y and BOSS DD-500 delay units, adjusting delay times according to the song. The presence of delay can be particularly felt in tracks like “Wake Up Call” and “Good Night Darling.”

As a supplementary effect, he uses the Limetone Audio Focus (orange compressor/EQ) to tighten the sound, ensuring clarity whether playing chords or single notes. For tuning stability, he incorporates the BOSS TU-3, and for noise management, the BOSS NS-2 is included to suppress unwanted noise.

He also keeps a Line 6 HX Stomp on hand for backup, which can serve as a substitute rig in case of issues or for additional sound shaping. The inclusion of smaller loop switchers like the One Control Minimal Series (Black Loop, etc.) adds flexibility to his board setup.

These pieces of gear are not mere decorations; they are chosen with a focus on “reproducibility in intense live settings,” “trouble-shooting,” and “flexibility to respond to diverse songs.” While the setup may appear simple, it is, in fact, meticulously designed. This is assumed.

Tone Settings, EQ, and Mixing Approaches

Hyota Matsuzaki’s sound design is characterized by a thoughtful approach to balancing the overall band sound rather than simply focusing on “high gain equals loud volume.” As SHANK is a three-piece band, the guitar’s role is to create a “wall of chords” while also providing a “cutting lead.” Therefore, EQ and gain settings are meticulously adjusted, and the mixing approach is crucial.

His amplifier settings are primarily based on the Marshall JCM800 and JCM900, with gain set around 7-8 to achieve a solid distortion without excessive compression. Since the bass provides strong low-end support, he carefully cuts the lows without overdoing it, pushing the mids forward to ensure clarity. The treble is kept around 5-6 to avoid harshness, with presence used to add airiness.

When using the VOX AC30, he emphasizes the brightness of the clean tone, setting the treble higher. The compressor (Limetone Focus) is also used to ensure that even during chord playing, the sound remains defined, allowing arpeggios and cutting to be clearly heard.

The use of effects is both simple and precise. He primarily uses delay (BOSS DD-500 and Free The Tone FT-2Y) with short delay settings to create depth during lead parts. For songs that require a wider sound, he applies a thin layer of stereo chorus from the Tri Avatar, broadening the ensemble’s sound. This approach is somewhat rare for a punk band but adds depth to SHANK’s music.

Additionally, he is meticulous about noise management, using the BOSS NS-2 to suppress unwanted hum and feedback typical of high-gain settings. Given SHANK’s fast-paced music, maintaining clarity and tight rhythm is essential, making noise reduction a necessity.

For highlighting solos or phrases, he utilizes his custom booster “MUSUME.” This mid-focused boost ensures that lead tones stand out amidst the band’s thickness. The effect is particularly noticeable in songs like “Good Night Darling,” where the guitar carries the main melody.

In live settings and recordings, the guitar is not treated as a complete “wall” but rather EQ’d to leave space for the entire band. With the bass and drums creating a strong groove, the guitar’s role is to provide “speed and sharpness” on top of that foundation. As a result, Hyota Matsuzaki’s guitar unmistakably embodies the “sound of SHANK.”

Through careful EQ, gain, spatial effects usage, and balanced PA processing, Hyota Matsuzaki constructs a “simple yet profound” guitar sound.

Affordable Alternatives to Recreate the Tone

Reproducing Hyota Matsuzaki’s sound perfectly requires professional-grade gear like custom ESP models and modified JCM800s, which can be quite challenging for beginners. However, it is entirely possible for novice and intermediate players to get close to the “SHANK sound” with more accessible equipment. Here, we introduce gear in a more affordable price range (approximately $100-$500) and explain why they can achieve similar tones.

For an amp simulator, the BOSS Katana series is highly recommended. It features JCM modeling, making it relatively easy to replicate the hard-hitting, clear distortion that Matsuzaki excels at. It is suitable for home practice and small gigs, offering excellent cost performance.

For distortion, the BOSS SD-1 Super OverDrive is a solid choice. It has a strong mid-range push, making it ideal for punk and hardcore riffs. While it may not fully replicate the low-end thickness of the Mad Professor Blueberry Bass Overdrive, adjusting the gain can help create a thick rhythm sound reminiscent of SHANK.

In the spatial effects category, the BOSS DD-8 Digital Delay is effective. It can be seen as a simplified version of the DD-500, featuring a range of delay times and a tap tempo function. This is particularly useful for adding thickness to the band sound. For modulation, the TC Electronic Corona Chorus is a recommended budget alternative to the Tri Avatar. While it may not be stereo, it can still create a satisfying sense of width.

For noise management, the BOSS NS-2 is a staple. Since Matsuzaki himself uses this model, it is a reliable choice for beginners. Additionally, incorporating the TU-3 tuner ensures a stable environment similar to professional settings.

Overall, a combination of “practice amps with Marshall modeling,” “BOSS’s standard overdrive and delay,” and “NS-2 for noise reduction” represents the most practical and effective SHANK-like setup. By utilizing these tools, players can experience Hyota Matsuzaki’s thick and clear guitar sound in a more accessible setting.

Summary and Conclusion

Revisiting Hyota Matsuzaki’s sound design reveals a commitment to “practicality and reproducibility within a simple gear setup.” His sound is built on a foundation of classic rock tones based on Marshall amps, supported by a collection of ESP LP-type guitars and carefully selected effects.

Notably, his gear selection strongly reflects an awareness of the band’s overall sound. As a three-piece band, the guitar must provide thickness through chords while also stepping forward during solos and leads. To meet these demands, Matsuzaki skillfully controls the presence and clarity of his midrange using pickups like the SH-5 and Phat Cat, as well as his custom booster “MUSUME.”

By incorporating spatial effects like delay and chorus, he adds depth to what could otherwise be a monotonous punk guitar sound. This approach not only changes the tone but also demonstrates a thoughtful effort to adapt the guitar’s character to the song’s progression.

Furthermore, by integrating noise reduction and loop switchers, he maintains a stable tone even in intense live environments. His readiness to use the HX Stomp as a backup showcases a practical approach to troubleshooting, reinforcing his reliability as a professional guitarist.

In summary, the essence of Hyota Matsuzaki’s sound design lies not in showcasing a flashy personality but in an “optimized design philosophy that maximizes the band’s sound.” His tones are thick yet clear, supporting speed while adding color to the music. This sound is shaped not only by his gear but also by his playing style and dynamic performance.

For readers looking to replicate Hyota Matsuzaki’s sound, focusing on “a robust tone based on Marshall-style amps,” “distortion with a mid-range emphasis,” and “utilizing spatial effects to create contrast” will be key. Ultimately, the combination of guitar and amp, along with one’s picking nuances and touch, will significantly influence how closely they can achieve the Matsuzaki sound.

His sound is straightforward and direct, yet beneath it lies a thorough rationality and ingenuity. This is the reason why Hyota Matsuzaki’s guitar continues to resonate at the heart of SHANK.