[Kaoru Hashimoto] How to Recreate the Helsinki Lambda Club Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The sound of Kaoru Hashimoto, the guitarist of Helsinki Lambda Club, is heavily influenced by alternative and indie rock, showcasing a unique style. His playing intricately weaves dissonance and fluctuations into simple chord work, achieving a balance of ethereal and aggressive tones.

Especially in live performances, his dynamic transitions from clean to distorted tones, along with the use of phasers and delays, create a spacey sound that draws the audience into a distinctive psychedelic world. His playing does not rely on flashy techniques; rather, it emphasizes the choice of tonal qualities and how they are mixed, which directly contributes to the overall soundscape of Helsinki Lambda Club.

Iconic songs such as “Gusui,” “Skin,” and “See The Light” highlight the crunchy sound centered around the Fender Mustang, utilizing spatial effects to create a memorable tone while keeping the musicality distinct with minimal notes.

Additionally, the gear confirmed through social media and tone.book is actively used in both live performances and recordings, providing valuable insights into understanding the core of his sound. In a scene where building a unique sound is crucial, Hashimoto’s approach undoubtedly serves as a benchmark.

▶ Search official YouTube videos of Helsinki Lambda Club

List of Amplifiers and Features

In Kaoru Hashimoto’s sound design, the choice of amplifiers plays a crucial role. The main amplifier confirmed is the Fender HOT ROD DEVILLE 410 III. This combo amp features four 10-inch speakers, known for its Fender-like clean tones and ample headroom. It is versatile enough for both live and studio settings, accommodating a wide range from pure cleans to gritty crunch, making it a perfect fit for the diverse songs of Helsinki Lambda Club.

This amp particularly pairs well with the Mustang’s single-coil pickups, enhancing the glassy high frequencies and crisp cutting tones. Most of the distortion is likely supplemented by pedals, as the amp is typically used in a clean to light breakup range.

Furthermore, according to information from tone.book, a Kemper Profiling Amp has also been integrated into his setup. This modeling amp is used to enhance reproducibility in live and home recording settings, allowing for the combination of actual amps and pedals. This enables Hashimoto to replicate the sound of real Fender amps while switching presets as needed.

While there is less concrete evidence, it has been suggested that other Fender amps, such as the Twin Reverb and Blues Deluxe, may have been used in studio recordings or some live performances. Although direct references in interviews are not confirmed, the sound tendencies and genre context suggest they may have been utilized as supplementary options.

Overall, Hashimoto’s amplifier selection emphasizes “the beauty of clean tones,” “compatibility with pedals,” and “clarity in live sound.” By building a foundation on Fender amps and constructing a wide range of tones with effects, this style is assumed to be central to his sound design.

Types of Guitars Used and Features

Kaoru Hashimoto primarily uses the Fender Mustang, particularly favoring a 1978 model. This guitar is characterized by its short scale, which provides a unique string tension and a clear tone from its single-coil pickups. The Mustang’s lightweight feel makes it well-suited for chord cutting and arpeggios, aligning perfectly with Hashimoto’s playing style.

Additionally, he is reported to use a Fender Jazzmaster and Fender Stratocaster for certain songs. These guitars offer a variety of tonal options, utilizing the tremolo arm for vibrato and providing a wide range of sound colors. The rich midrange of the Jazzmaster and the clear highs of the Stratocaster add diverse expressions to Hashimoto’s sound.

Each of these guitars has its unique characteristics, and Hashimoto skillfully leverages their tonal qualities to adapt to the diverse songs of Helsinki Lambda Club. Notably, the control over nuances provided by the short scale and tremolo units plays a crucial role in his performance.

Effects and Pedalboard Setup

One of the most crucial elements in Kaoru Hashimoto’s sound design is the composition of his pedalboard. As confirmed through live photos, tone.book, and various interviews, he employs a wide range of pedals, including tuner, EQ, compressor, booster, overdrive, fuzz, distortion, phaser, and delay.

At the start of his signal chain is the KORG pitchblack tuner, which allows for simple and accurate tuning, supporting stable performances during live shows. Following this is the Source Audio EQ2 Programmable Equalizer, a graphic EQ that optimizes the unique sound of the Mustang’s short scale and single-coil pickups.

For dynamics, he uses the Carl Martin Classic Opto Compressor, which helps to even out picking nuances and enhances the clarity of clean tones. Additionally, clean boosters like the MXR Micro Amp and TC Electronic Spark Booster are utilized to emphasize volume and presence during solos or climactic moments in songs.

In terms of distortion, the VEMURAM Jan Ray (overdrive) serves as the main pedal, achieving a classic yet modern tone. He also combines a borrowed, unidentified distortion pedal and the Electro-Harmonix OP-AMP Big Muff for thick fuzz sounds, allowing for a variety of distortions depending on the song.

For modulation, the Electro-Harmonix Small Stone (phaser) is particularly notable. It shines in songs that require a psychedelic texture, adding fluctuations to arpeggios and chord cuts. In the spatial effects category, the TC Electronic Flashback X4 Delay is employed, allowing for immediate adjustments of spatial processing for different songs using its tap tempo feature.

Hashimoto’s pedalboard is designed to meticulously control the flow from “clean to distortion to spatial effects,” enabling him to express the floating and aggressive qualities of his music. The layering of multiple pedals results in subtle tonal variations, which are key to his sound. Overall, Hashimoto’s approach of “dramatically developing songs even with simple chord progressions through tonal richness” is well-reflected in his pedalboard setup.

Tone Settings, EQ, and Mixing Approaches

Kaoru Hashimoto’s sound design relies not only on the characteristics of individual guitars, amps, and effects but also on EQ settings and mixing techniques. Given the use of a guitar like the Mustang (1978), which has a somewhat narrow range and subdued midrange, correcting these elements through the amp and EQ becomes essential.

For the amp, the Fender HOT ROD DEVILLE 410 III is likely set to a basic clean tone, with distortion created through pedals. The tone settings are likely as follows:
– Bass: 4-5. Reducing excessive low end helps differentiate from the bass.
– Middle: 6-7. Compensates for the Mustang’s midrange weakness, enhancing clarity.
– Treble: 5-6. Adjusted to retain the sparkle of single coils without becoming harsh.
These settings help create a sound that stands out even in a clean context.

In terms of effects, the EQ2 Programmable Equalizer plays a significant role. Depending on the song, it is assumed that he boosts around 2kHz to emphasize cutting tones or cuts lows for tighter rhythms. The compressor (Carl Martin Classic Opto Compressor) is likely used to naturally balance picking dynamics and improve compatibility with spatial effects.

Distortion is layered through multiple stages. A light overdrive from Jan Ray is likely always on to establish the crunch foundation, with the Micro Amp or Spark Booster used to increase gain for solos or climactic sections. When combined with the Big Muff, a thick wall of sound is created, adding grunge/shoegaze textures.

Hashimoto’s use of modulation and spatial effects is also distinctive. The Small Stone primarily adds fluctuations in arpeggios or ballads, while the delay (Flashback X4) utilizes tap tempo to set repeat times according to BPM. Repeat counts are likely set to 2-4, with the mix around 30-40%, achieving a balance that enhances depth without overwhelming the performance.

From a mixing perspective, Hashimoto’s guitar consistently supports the overall sound of the band. Given the multilayered arrangements typical of Helsinki Lambda Club’s songs, his guitar EQ emphasizes midrange while ensuring differentiation from other parts. For instance, when the bass supports with thick lows, the guitar likely employs a stronger low cut, focusing its presence in the mid to high ranges.

In terms of PA and engineering, it is assumed that amp miking involves combinations of SM57 and ribbon mics. This setup captures both attack and airiness, potentially recreating the live intensity in studio recordings. Additionally, the use of the Kemper Profiling Amp allows for quick switching between preset sounds, providing flexibility for different songs.

Overall, Hashimoto’s sound design is based on the philosophy of “building on a clean foundation, coloring with multiple distortions and EQ, and adding depth with spatial effects.” This approach allows him to dominate the sound even with simple phrases, creating the unique atmosphere of Helsinki Lambda Club.

Affordable Alternatives to Recreate the Tone

Kaoru Hashimoto’s gear tends to be on the expensive side, especially items like the VEMURAM Jan Ray and Kemper Profiling Amp, which may be daunting for beginners. However, the essence of his sound lies in “a clean foundation with simple distortion,” “midrange enhancement through EQ,” and “spatial effects for depth.” Therefore, it is entirely feasible to recreate a similar sound by combining relatively affordable gear.

For guitars, while the vintage Fender USA Mustang can be pricey, current Mustang models or the Squier by Fender budget versions can capture the essence. By focusing on the short scale and single-coil specifications, achieving a similar tonal character becomes more accessible.

For distortion pedals, alternatives to the Jan Ray include the BOSS SD-1 Super OverDrive and BD-2 Blues Driver. These pedals emphasize midrange and can achieve boosts or light drives based on a clean amp. Additionally, for fuzz, the BOSS DS-1 Distortion or the Electro-Harmonix Nano Big Muff can provide thick distortion at a lower cost.

In terms of spatial effects, while the TC Electronic Flashback X4 is expensive, alternatives like the Flashback Mini or BOSS DD-7/DD-8 can suffice. They also feature tap tempo functionality, making them flexible for live or practice settings. For modulation, the BOSS PH-3 Phaser can easily recreate the fluctuations of the Small Stone.

Regarding EQ and compression, since the Source Audio EQ2 and Carl Martin compressors are pricey, standard options like the BOSS GE-7 (graphic EQ) and BOSS CS-3 (compressor) are sufficient. These have been reliable staples for years, making them ideal for beginners looking to refine their tone like Hashimoto.

Ultimately, when pursuing his sound, it is crucial to focus not on the “expensive gear itself” but rather on the three key elements: “short-scale single-coil guitars,” “Fender-style amps based on clean tones,” and “the combination of overdrive and spatial effects.” Understanding this will allow beginners to select affordable alternatives that can effectively recreate the essence of Hashimoto’s sound.

Summary and Conclusion

The essence of Kaoru Hashimoto’s sound design lies not in the mere “luxury of gear” or “specialized playing styles,” but in the meticulous refinement of a simple foundation, adding the necessary color at the right moments. By building on the clean tones of Fender-style amps, incorporating the lightness unique to the Mustang’s short scale, and delicately layering distortions and spatial effects, he constructs an alternative yet psychedelic soundscape.

Notably impressive is his use of EQ and compression. While many guitarists tend to focus on “distortion” or “delay,” Hashimoto emphasizes midrange enhancement and clarity adjustments, ensuring that the guitar maintains its presence within the overall band sound. This allows even simple chord strumming to carry a weight that dominates the song.

Additionally, the layering of distortions is a significant characteristic. The foundation of crunch is established with the Jan Ray, elevated with the Micro Amp or Spark Booster, and when necessary, the Big Muff is layered to create a wall of sound. This “gradual development of sound” concept makes Hashimoto’s approach unique.

The use of spatial and modulation effects directly contributes to the thematic elements of the songs. The phase effects from the Small Stone and the depth from the Flashback X4 delay emphasize the band’s psychedelic aspects, immersing listeners in the experience. These are not merely embellishments but crucial components that support the song’s themes.

For beginners aspiring to achieve his sound, it is not necessary to invest in expensive gear. Instead, the focus should be on “clean foundations,” “simple overdrives,” “the use of EQ and compression,” and “thoughtful application of spatial effects.” By keeping these points in mind, it is possible to recreate Hashimoto’s world using relatively affordable alternative gear.

Overall, Hashimoto’s sound design excels in the balance of “adding and subtracting.” By adding elements to create thickness while removing unnecessary frequencies, he maintains harmony throughout the song while allowing his guitar to shine. This is the cornerstone of Helsinki Lambda Club’s sound and represents his greatest appeal as a guitarist.

When you set out to gather gear inspired by his sound, it is important not just to copy the same pedals but to understand “why he chooses that gear” and “which frequencies he aims to emphasize.” This perspective will be the first step towards closely approaching Kaoru Hashimoto’s sound design.