[K.A.Z] How to Recreate the VAMPS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

K.A.Z, the guitarist for VAMPS and Oblivion Dust, stands as one of the prominent figures in the Japanese rock scene. His playing style is characterized by a blend of loud, heavy tones and delicate nuances. Notably, the overwhelming sound pressure and spatial soundscapes he creates during VAMPS live performances have influenced many guitarists.

His sound incorporates elements of hard rock and industrial music, allowing him to seamlessly transition from clean tones to crunchy riffs and intense distortion. Iconic tracks such as “EVANESCENT,” “ANGEL TRIP,” and “LOVE ADDICT” showcase his diverse tonal palette, with “LOVE ADDICT” particularly highlighting a balanced tone that maintains chord clarity even amidst distortion.

K.A.Z owns numerous custom guitars from brands like ESP and Zodiacworks, which not only contribute to his unique sound but also enhance his visual presence on stage. He skillfully employs high-gain amplifiers from Bogner and Diezel, sometimes pairing them with clean-focused amps like Two-Rock to express a wide range of sounds tailored to each song.

The reason his sound garners attention lies not just in the lavishness of his gear but in his “sound design capabilities.” His approach to dynamics, the application of effects, and EQ tuning are all consistently focused on musicality, ensuring that his sound integrates seamlessly with the overall band sound.

In summary, recreating K.A.Z’s sound involves balancing “the power of high gain” with “spatial processing,” which are crucial elements to consider.

▶ Search official YouTube videos of VAMPS

List of Amplifiers and Features

When discussing K.A.Z’s sound, it’s impossible to overlook the variety of amplifiers he uses and how he differentiates between them. By combining different amps for live performances and recordings, he creates a rich tapestry of tones. His use of top-tier brands like Bogner, Diezel, and Two-Rock exemplifies the breadth of his sound.

The Bogner Uberschall paired with the Uberkab cabinet is his most frequently used setup during live shows. This amplifier is renowned for its heavy sound pressure and defined distortion, making it indispensable for VAMPS’ loud tracks. Additionally, it has been confirmed that he often positions a Bogner 2*12F cabinet centrally to emphasize thick midrange frequencies.

For clean tones or bluesy textures, K.A.Z turns to the Two-Rock Opal Signature. This amp evokes the tones associated with Stevie Ray Vaughan, capable of producing expansive sounds. It has been particularly utilized in VAMPS’ ballads and album recordings, often combined with spatial effects.

In heavier rock contexts, he employs the Diezel HERBERT and Cornford mk-50h. The Diezel is known for its modern, hard-edged distortion, while the Cornford delivers a distinctly British high-gain sound. The Mesa Boogie Dual Rectifier has also been spotted in some tracks, contributing to a louder sonic direction.

In the studio, K.A.Z often uses the Custom Audio OD-100 for natural distortion, alongside a rack system featuring the Marshall JMP-1 (preamp) and Marshall 9200 (power amp). These setups are typically used when a more polished sound is desired compared to live performances. Additionally, amp simulators like the Line6 POD X3 PRO and Tech21 SansAmp PSA-1 are employed for home recording and rehearsal, serving as supplementary tools.

Thus, K.A.Z flexibly utilizes features from “Bogner and Diezel’s explosive heavy tones,” “Two-Rock’s clarity,” and “Cornford or Mesa’s hard textures,” adapting his choices based on the direction of each song. This versatile selection of amplifiers supports VAMPS’ diverse sound, indicating that he does not confine himself to a single amp but rather selects multiple options tailored to each track.

Types of Guitars Used and Features

K.A.Z creates an overwhelming sound presence in VAMPS using a variety of custom guitars primarily from ESP and Zodiacworks. The guitars he uses for live performances and recordings are visually striking, featuring colors like white, sunburst, and green patterns.

His signature models, the ESP “KZ.V-1” and “KZ.V-ONE,” are particularly famous in white and sunburst finishes. Their sharply angled body shapes provide a visual impact while delivering a tone that stands out even amidst thick distortion. Additionally, custom models like the “ESP KZ.P-ONE-W & Fire” and “ESP POTBELLY K.A.Z Custom” are tailored to his specifications and are used interchangeably for different phrases.

Notably, K.A.Z frequently uses various custom models from Zodiacworks. The “ZPG Re-viv K.A.Z Custom” serves as a primary instrument, with models like the SLV and B-tuning 465 also confirmed. These guitars are designed to optimize low-end stability and are perfect for hard riffs, forming the core of VAMPS’ distinctive heavy sound.

He also employs several Flying V-style guitars, such as the ESP VP-K350 (black/silver/red with black lines) and ESP VP-200 (gold/see-through red/pearl white). The introduction of a 7-string model enhances the power during downtuning. Additionally, simpler models like the ESP TE-K300 and ESP SG-TYPE are seen on stage, indicating that he selects the right guitar for each song.

Incorporating guitars like the PRS 20th Anniversary Singlecut and McCarty Soapbar allows him to leverage the differences between humbuckers and P-90s, catering to both modern rock and bluesy tracks. The Navigator LP-380LTD is used for a more traditional Les Paul sound. Furthermore, he owns unique guitars like the James Trussart Steel Caster Rusty Star, which features a metal body that contributes a distinct overtone to his sound.

Occasionally, vintage guitars such as the Fender Jazzmaster and Gibson ES-295 appear, adding to the diverse sound of VAMPS. Models like the dragonfly B6 and CUSTOM 27-inch are chosen for their extended range and modern tones, particularly excelling in studio work.

In summary, K.A.Z’s guitar setup, centered around signature and custom models, combines vintage and modern guitars to express VAMPS’ musicality. This setup can be described as a coexistence of “bold looks” and “diverse tones.” This is assumed.

Effects and Pedalboard Setup

Another crucial element in K.A.Z’s sound design is his effects pedalboard. He combines a wide range of effects, focusing on distortion, spatial effects, and modulation to create his sonic landscape. Notably, during live performances, he frequently utilizes a combination of distortion and delay to form a thick, expansive tone.

In the distortion category, he uses the SHARK WARZY DRIVE as a preamp, alongside two legendary overdrives, the Klon Centaur, which he employs for a broad range of crunch to lead tones. Additionally, modified pedals from the weed brand (TS-9DX MOD, BEEF EQ Booster, Sweet Drive) are integrated, showcasing his pursuit of originality in distortion. Other pedals like the Keeley DS-1 (BOSS DS-1 MOD) and Fulltone OCD have also been confirmed in his setup.

K.A.Z’s pedalboard also features a variety of compressors and boosters, including the Providence VELVET COMP, Diamond COMPRESSOR, and Strymon OB1. These help accentuate picking nuances while ensuring sustain, resulting in a clear sound even in VAMPS’ loud tracks.

For spatial effects, he employs a range of delays such as the Eventide TIME FACTOR, MOD FACTOR, Empress Superdelay, and BOSS DD-20, crafting a deep and immersive sound. Rack-mounted digital delays and multi-effects like the T.C. Electronic TC2290 and Lexicon PCM70 are also used to add thickness during studio recordings.

In terms of modulation, the Diamond HALO CHORUS is a key component, with chorus and flanger effects used throughout. These are essential for creating expansive sounds during clean parts and arpeggios. Furthermore, expressive pedals like the Fulltone Clyde Deluxe Wah and Digitech WHAMMY (including WH-II) are incorporated to facilitate dynamic tonal changes during live performances.

The pedalboard configuration varies over time, but the basic flow during live shows typically follows: “Klon Centaur + distortion pedal” → “compressor” → “spatial delay” → “modulation” → “noise suppressor.” The iSP DECIMATOR is crucial for noise reduction, ensuring a clear sound even in high-gain environments.

Thus, K.A.Z meticulously crafts his sound to avoid being buried in high-gain settings by extensively using boosters and compressors, while also integrating rack effects to achieve a three-dimensional soundscape. This is assumed.

Tone Settings, EQ, and Mixing Approaches

K.A.Z’s sound is supported not only by the combination of gear but also by meticulous settings, EQ processing, and mixing techniques during PA and recording stages. His sound design is characterized by a balance of “high gain without muddiness” and “spatial expansiveness,” necessitating detailed adjustments throughout.

When setting up amplifiers like the Bogner Uberschall, K.A.Z tends to keep the gain at around 60-70%, avoiding excessive boosting that could lead to a congested sound. This approach allows for better control of the tone through effects and mixing. He typically sets Treble and Presence relatively high to enhance the often-buried high frequencies on stage, while keeping Bass at a moderate level to maintain a clear separation from the rhythm section.

In terms of EQ processing, he utilizes a 10-band EQ (MXR TEN BAND EQ) to finely tune frequency bands. Notably, he slightly cuts low frequencies (around 80Hz) and adds thickness in the 200Hz-400Hz range to achieve a clear distortion that doesn’t interfere with the bass drum or bass guitar. The midrange (around 1kHz) is often emphasized, helping guitar riffs and solos stand out in the overall band sound.

For specific songs, such as the iconic “LOVE ADDICT,” he combines high gain with compression and delay to add spatial depth. Conversely, for more melodic tracks like “ANGEL TRIP,” he opts for a cleaner sound with reduced distortion, layering chorus to create a sense of floating. In ballads, he employs the Two-Rock amp for clean tones, adding reverb and delay to create a three-dimensional, ethereal space.

During live performances, K.A.Z closely collaborates with the PA system to ensure a well-defined stereo image. He positions the Bogner and Two-Rock amps on the left and right, respectively, with one slightly distorted and the other kept cleaner to balance sound pressure and clarity. This strategy ensures that riffs and solos remain audible amidst the band’s loudness.

Moreover, rack effects (like the Lexicon PCM70 and TC2290) are meticulously preset during rehearsals, allowing for quick adjustments to optimal parameters for each song. This enables him to switch between entirely different tones for intros, choruses, and solos during live performances.

In mixing, K.A.Z’s guitar is often positioned closer to the center rather than panned widely. This prioritizes balance with HYDE’s vocals, ensuring the guitar complements the main melody. Particularly in heavy riffs, adjustments are made to emphasize the guitar’s presence while avoiding interference with the vocal range above 2kHz.

Overall, K.A.Z’s settings are characterized by a pursuit of “tones that integrate with the band sound while maintaining presence.” Therefore, even when using the same amplifiers and effects, achieving a similar sound without considering EQ and mixing techniques can be challenging. This is assumed.

Affordable Alternatives to Recreate the Tone

The gear K.A.Z actually uses includes high-end custom guitars from ESP and Zodiacworks, premium amplifiers from Bogner and Diezel, and expensive rack-mounted effects like the Klon Centaur, making it difficult for beginners to replicate his sound. However, it is possible for novice to intermediate players to achieve a similar sound using commercially available products. Here, we introduce more accessible models.

Starting with distortion, the Klon Centaur, frequently used by K.A.Z, commands a premium price in the tens of thousands. However, alternatives like the “Electro-Harmonix Soul Food” and “Wampler Tumnus” offer impressive tonal similarities and can be found for around $100-$200. The Ibanez TS9 Tubescreamer is also a great recommendation, closely resembling his weed TS-9DX MOD sound as a classic booster.

While acquiring Bogner or Diezel amplifiers may be challenging, using BOSS’s multi-effects units like the “GT-1000” or “GT-1,” or LINE6’s “HX Stomp” and “POD Go,” can yield similar tonal qualities. By utilizing high-gain modeling and IR cabinet functions, players can recreate the powerful VAMPS-style tone for live performances or home recordings.

For spatial effects, the “BOSS DD-200” and “TC Electronic Flashback Delay” offer excellent cost-performance ratios, mimicking the expansive delays and reverbs of Eventide and Lexicon. In the modulation category, “MXR Analog Chorus” and “BOSS CE-5” serve as effective substitutes for the Diamond HALO CHORUS.

For noise management, the “BOSS NS-2” is a staple, functioning as a budget-friendly alternative to the iSP Decimator. It plays a crucial role in preventing sound muddiness in high-gain environments while preserving clarity.

Regarding guitars, since custom models from ESP and Zodiacworks are expensive, alternatives like the “ESP LTD EC-1000” or “Edwards E-LP” series are recommended. For those seeking a 7-string model, Ibanez’s “RG Series” or Schecter’s “Hellraiser” are excellent choices. While the visual aspects may differ, the pickups and scale lengths provide sufficient tonal quality.

In summary, a combination of “Soul Food-style OD + Tubescreamer-style” and “multi-effects to simulate Bogner/Diezel” along with “BOSS or MXR spatial pedals” can allow players to recreate K.A.Z’s thick and spatial sound at a relatively affordable price. This is assumed.

Summary and Conclusion

K.A.Z’s sound design can be summed up as “loud yet beautifully three-dimensional.” Given the nature of VAMPS, his guitar tone must support HYDE’s vocals amidst the overwhelming volume while enveloping the entire song. To achieve this, he employs a range of gear, including custom guitars from ESP and Zodiacworks, high-gain amplifiers from Bogner and Diezel, and premium rack effects from Eventide and Lexicon.

However, K.A.Z’s true allure lies not in the lavishness of his gear but in his ability to design sound. For instance, he carefully sets gain levels to avoid muddiness while emphasizing midrange frequencies through EQ. By using compressors and boosters to ensure clarity and adding delay and reverb for spatial depth, he crafts a sound that complements VAMPS’ music.

Moreover, K.A.Z possesses the flexibility to switch “the role of sound” from song to song. In ballads, he employs transparent clean tones, while in loud tunes, he utilizes gritty distortion, along with floating chorus and spatial effects. His ability to switch these tones effectively stems from his extensive gear collection and years of experience.

For readers looking to recreate K.A.Z’s sound, it’s essential to focus on “how to construct the sound” rather than merely acquiring the same gear. With affordable multi-effects and standard pedals, one can achieve surprisingly similar tones through careful EQ balancing and spatial effect adjustments. In essence, the core lies in “how to design thickness and expansiveness in sound.”

Overall, K.A.Z’s sound design reflects a pursuit of “balancing heaviness and delicacy.” His approach emphasizes not just the guitar’s individual tone but how it contributes to the overall sound of the band. This is the key point when discussing the VAMPS sound of K.A.Z.