[Igarashi Shuhei] How to Recreate the HEY-SMITH Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Tatsuya Maki] How to Recreate the go!go!vanillas Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

[Brian Welch] How to Recreate the Korn Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.242025.09.24

[Tomo Katsurada] How to Recreate the Kikagaku Moyo Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.17

Introduction (Overview of Tone)

Shuhei Igarashi, the guitarist of HEY-SMITH, has crafted a powerful yet clear guitar tone within the band’s ska punk and melodic hardcore sound. His playing style is consistently aggressive, commanding attention on stage and engaging the audience.

In terms of sound, Igarashi’s thick rhythm guitar is characterized by a crunchy foundation, paired with tight, punchy cuts that maintain a sense of speed. Iconic tracks like “Endless Sorrow” and “Be The One” showcase his ability to utilize direct amp distortion, delivering a powerful sound that envelops live venues.

His gear primarily revolves around the ESP signature model “EP” and the formidable Diezel Herbert amplifier, which together create a robust sound. Igarashi meticulously limits the use of effects to essentials like delay and boosters, ensuring that the band’s overall energy is maximized. This approach has made his sound a defining element of HEY-SMITH’s “speed” and “intensity,” earning him recognition among fans for creating a “unique live sound.” Let’s delve into the details of the amplifiers, guitars, and effects that contribute to this sound.

▶ Search official YouTube videos of HEY-SMITH

List of Amplifiers and Features

The cornerstone of Igarashi’s sound is the powerful Diezel Herbert amplifier, known for its impressive output and range. While typically recognized as a high-gain amp, Igarashi prefers a clean to crunch setting, utilizing channel 2. By keeping the Gain low (around 9 o’clock) and the Presence high (around 12 o’clock), he achieves a bright, cutting tone without unnecessary distortion. This “direct amp” style is essential for maintaining the speed inherent in punk rock and ska.

Additionally, Igarashi has modified the Herbert by replacing the preamp and power tubes with Golden Dragons, resulting in a tighter and faster response than the standard sound. Although the amp boasts a massive 180W output, it has been slightly attenuated to ensure a balanced sound suitable for various stage sizes.

His cabinet is made by VHT, fitted with EMINENCE Red Coat speakers. This combination enhances attack and midrange punch, supporting a guitar sound that stands out against the band’s overall sonic pressure. During live performances, Igarashi’s tone cuts through the ensemble, which includes brass sections like trumpets and trombones, creating a distinct HEY-SMITH sound.

In his rack setup, Igarashi includes the reliable KORG DTR-2000 tuner, ensuring stable pitch during performances. In the past, he has also incorporated the Marshall JMP-1 preamp and the Marshall EL34 100/100 stereo power amp into his system, which allowed for more flexible sound shaping.

Overall, Igarashi’s amplifier setup embodies a “stripped-down simplicity” and “clarity-focused tuning,” making it ideal for the fast-paced songs characteristic of ska punk. It is assumed that these pieces of gear work in concert to create his signature sound.

Types of Guitars Used and Features

The guitar sound that defines Shuhei Igarashi is the ESP EP, a signature model crafted by ESP. This model features a shape and sound that blend elements of a Les Paul and an Explorer, combining thickness with clarity. Its distinctive gold hardware, peace mark position markers, and luminescent side markers make it easily recognizable on stage.

The ESP EP is predominantly used during live performances, with Igarashi himself commenting on how “the high notes sparkle.” Additionally, he has variations of the model, including a transparent pickguard version and different color options, allowing him to adapt based on the setlist or conditions.

There is also an ESP ORIGINAL MODEL, released under the name “EP,” which emphasizes crisp highs and strong mids. A camouflage-bodied version, “ORIGINAL MODEL #2,” has been noted as a backup guitar.

In the early days of HEY-SMITH, Igarashi used an ESP Explorer model, which featured Seymour Duncan SH-5 pickups for an aggressive distortion. He has also acquired a Gibson CS Japan LTD Run 1960 Les Paul Custom for recording purposes, purchased through a YouTube project (approximately 890,000 yen).

These guitar selections reflect intentions of “stage presence,” “sound that stands out in ensemble,” and “tones that balance punk and ska.” It can be concluded that the chosen guitars are well-suited for a band focused on live performance. Overall, it is assumed that his main sound is centered around the ESP EP.

Effects and Pedalboard Setup

Shuhei Igarashi’s pedalboard is characterized by its “minimal and practical” approach. His sound is primarily built around a direct amp crunch, with very few distortion pedals used. Instead, he incorporates effects like delay and boosters, which serve a supportive role in enhancing the expression of each song.

One notable aspect is his use of two BOSS DD-20 delay pedals simultaneously. One is set for short delays for lead guitar, while the other provides long delays to add depth to the overall sound. Additionally, the BOSS DM-2W is included for its rich analog character, particularly useful in dub sections or for creating spatial effects.

For boosting, Igarashi uses the One Control Granith Grey Booster, designed to naturally elevate volume without overly thickening the sound during solos, allowing it to blend seamlessly with the band. The One Control Mosquito Blender Trail serves as a blender to avoid tone loss when connecting spatial effects in series, ensuring a natural blend of the original and effect sounds.

Furthermore, he employs the One Control Crocodile Tail Loop OC10, a programmable switcher that significantly enhances the efficiency of switching multiple effects during live performances. Additionally, a BOSS FS-5U footswitch is available for auxiliary switching based on the setlist.

For power, Igarashi relies on the reliable Strymon Zuma R300, ensuring stable power supply to prevent issues during live shows. His custom-modified original volume pedal, based on the KORG XVP-10 circuit, allows him to recall a set minimum value with a single touch, facilitating smooth transitions from backing to lead and broadening his dynamic control.

In summary, Igarashi’s pedalboard is constructed not to flamboyantly alter sound but to add necessary effects at the right moments. This approach allows his guitar to stand out without disrupting the overall energy of the band, directly contributing to HEY-SMITH’s vibrant live sound. It is assumed that his effects board is designed to be simple yet highly functional.

Tone Settings, EQ, and Mixing Approaches

Shuhei Igarashi’s tone crafting is characterized by a “simple yet clarity-focused” setup. He primarily uses the amp’s channel 2 (crunch), creating distortion directly from the amp. By keeping the Gain low (around 9 o’clock), he avoids unnecessary distortion, while increasing the Presence (around 12 o’clock) ensures that even fast ska punk cuts and strokes remain clear and punchy.

His EQ balance centers around midrange frequencies. The low end is kept tight to avoid clashing with brass and bass, while the high end, boosted by Presence, adds a “sparkly” quality that projects well throughout the venue. In smaller live settings, a lack of high frequencies can lead to a muddled sound, making Igarashi’s setup prioritize clarity.

He also adapts his settings based on the song. For example, in upbeat tracks with strong ska elements, he emphasizes crunch settings to bring out the chordal feel. Conversely, during emotional lead parts or solos, he uses the One Control Granith Grey Booster to elevate his volume without losing presence in the mix. Additionally, he employs delays (BOSS DD-20 and DM-2W) to create spatial depth, allowing for a more layered expression beyond a simple punk sound.

Collaboration with the PA and sound engineer is crucial during mixing. HEY-SMITH’s songs often feature brass, bass, and drums, making it easy for guitar to get lost in the mix. Therefore, live EQ processing tends to boost midrange frequencies, cutting low frequencies below 250Hz while elevating 1kHz to 2kHz, ensuring that rhythm guitars are tight and clear.

Moreover, Igarashi adjusts his settings based on the stage size. In larger festivals, he slightly emphasizes the low end for impact, while in smaller venues, he focuses on clarity in the mid-high range. This adaptability allows HEY-SMITH to deliver their signature aggressive sound in any setting.

In summary, Igarashi’s tone crafting is built on three pillars: “avoiding unnecessary distortion while maximizing clarity,” “adding effects only when needed,” and “collaborating with the PA for venue-specific adjustments.” This approach is one of the optimal solutions for making guitars stand out in a multi-instrument band like HEY-SMITH. It is assumed that these settings are the result of Igarashi’s extensive experience and will continue to evolve in live settings.

Affordable Alternatives to Recreate the Tone

While replicating Igarashi’s sound requires high-end gear like the ESP signature model and Diezel Herbert, beginners and intermediate players can achieve a similar tone with more affordable options. Here, we introduce commercially available gear priced around 10,000 to 50,000 yen, explaining why they can produce similar sounds.

For guitars, while it is challenging to find a model that combines the thickness of a Les Paul with the clarity of an Explorer like the ESP EP, the cost-effective Epiphone Les Paul Standard is a viable option. It features a strong midrange presence and a tone well-suited for rock, allowing it to stand out even when mixed with brass and bass. Additionally, the Grass Roots series offers budget models that visually resemble the EP.

In terms of amplifiers, while it is difficult to replicate the overwhelming output of the Diezel Herbert, the BOSS Katana 100 MkII serves as an effective alternative. It can handle a wide range from crunch to high gain, with detailed adjustments for Presence and EQ, making it easy to create a clear crunch sound. Its versatility makes it suitable for both home practice and live performances.

For effects, although the DD-20 used by Igarashi has been discontinued, the successor BOSS DD-8 is currently available. It features various delay modes that can replicate the spatial effects used in solos and dub sections. For those seeking an analog feel, alternatives like TC Electronic Echobrain can provide a similar quality at a lower price.

As for boosters, the BOSS GE-7 (Equalizer) is recommended as a substitute for the One Control Granith Grey Booster. By boosting specific frequencies, it can enhance presence during solos, providing more than just a volume increase. For beginners, a multi-effects unit like Zoom G1 Four allows users to experience delay, boosters, and amp simulations, significantly improving their ability to recreate Igarashi’s tone.

Thus, the essence of Igarashi’s sound—”a direct amp crunch with a focus on clarity”—does not necessarily require expensive gear. By combining appropriately priced guitars, amplifiers, and effects, achieving a similar tone is entirely feasible.

Summary and Conclusion

Reflecting on Shuhei Igarashi’s sound crafting, its essence lies in a “simple, efficient, and clarity-focused tone.” Centered around the Diezel Herbert, his direct amp crunch eliminates excessive distortion while maximizing speed and ensemble cohesion. By incorporating essential delays and boosters, he adds depth and expression to each song.

The ESP EP signature model stands out with its unique blend of Les Paul thickness and Explorer sharpness, embodying a sound that is unmistakably his. This guitar forms the backbone of his live tone, contributing to the “energetic atmosphere” characteristic of HEY-SMITH. Variations and the Gibson Les Paul Custom used for recording further showcase his versatility.

Moreover, his effects setup is surprisingly simple yet equipped with essential tools for manipulating thickness and dynamics. The BOSS DD-20 and DM-2W delays, One Control boosters and blenders, and his custom volume pedal reflect Igarashi’s ingenuity. These are not mere “sound modifiers” but essential tools that enhance the overall band sound.

In conclusion, replicating Igarashi’s sound does not necessitate “acquiring expensive gear” but rather “avoiding unnecessary distortion, prioritizing clarity in crunch, and adding appropriate effects based on the context.” His focus on midrange frequencies ensures that the guitar remains prominent even when mixed with brass and vocals, providing valuable insights for any player.

HEY-SMITH’s music consistently showcases a “forward-driving guitar sound” in both small venues and large festivals. Behind this lies Igarashi’s meticulous settings and simple aesthetic. Readers looking to incorporate these insights into their sound crafting should focus on “the courage to simplify” and “prioritizing clarity,” which are key takeaways.