[Kaoru] – How to Recreate the DIR EN GREY Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Kaoru, a founding member of DIR EN GREY, has been the driving force of the band’s songwriting and its dark, immersive soundscape. His playing style is characterized by deep distortion tones and heavy use of spatial effects, resulting in a massive yet atmospheric sound. The use of 7-string guitars for low-end riffs, along with dissonance and experimental noise textures, makes him a truly unique presence in Japan’s loud and experimental rock scene.

Representative songs such as “Hageshisa to, Kono Mune no Naka de Karamitsuita Shakunetsu no Yami,” “DOZING GREEN,” “VINUSHKA,” “DIFFERENT SENSE,” and “Utafumi” all showcase his distinctive sound. On stage, he is known to switch between nearly 10 guitars in a single show, reflecting his extreme dedication to tuning and tonal variety. His long collaboration with ESP on signature guitar models stands as proof of his obsession with detail.

His arsenal includes high-end amplifiers such as Diezel and VHT, his own signature distortion pedal “weed UGEEE,” and, in recent years, the Fractal Audio Axe-Fx II. This combination of analog depth and digital versatility broadens his sonic expression even further.

DIR EN GREY’s music fuses metal, industrial, ambient, and noise. Within this, Kaoru’s guitar functions as a “device of expression” that directly conveys emotional turbulence and pain. His command of effects and spatial processing is second to none.

This article aims to break down Kaoru’s guitar sound by listing confirmed gear, providing detailed explanations, and suggesting affordable alternatives so readers can explore recreating his signature tone.

▶ Search official YouTube videos of DIR EN GREY

List of Amplifiers and Features [DIR EN GREY · Kaoru]

The amplifiers Kaoru has used over the years are central to his tone. From the band’s early indie era to their current tours, his choices have always been based on attack response, tonal clarity, and spatial compatibility, evolving with each album and live performance.

In the early days, he used Hiwatt heads and cabinets to achieve a pristine clean tone. During the “GAUZE” and “MACABRE” period, he shifted toward sharper distortion using Bogner Fish, Fender Tonemaster, and the PEAVY 5150. The Bogner Ecstasy 101B became especially important as the foundation of his distorted yet articulate sound.

With the release of “Kisou,” “VULGAR,” and “Withering to death.,” Kaoru introduced the Diezel VH4, a major turning point. Chosen for its fast attack and unwavering core, the VH4 became his mainstay. Its heavy low–mid distortion and clarity in complex rhythms made it perfect for DIR EN GREY’s hybrid style.

Other amps such as the VHT Pittbull Ultra Lead and Bogner Ecstasy 101B often complemented the Diezel, while VHT power amps (2902) and high-end cabinets like VHT L612-P50E, Orange PPC412, and Bogner 412SL were used live. For feedback control, Kaoru even placed an Orange Micro Terror + PPC108 at his feet—a testament to his meticulous spatial design.

Since the 2020s, Kaoru has integrated the Fractal Audio Axe-Fx II for both studio and live settings. This digital unit allows for precision effect routing and complex tone switching, further enriching the band’s sonic depth.

For Kaoru, amplifiers are not just “volume tools” but integral parts of his sound design philosophy, shaping the identity of DIR EN GREY’s music world.

Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
VH4	Diezel	Amazon Search	DIR EN GREY	Kaoru	Main amp since 2002. Renowned for clarity and fast attack.
PITTBULL Ultra Lead	VHT	Amazon Search	DIR EN GREY	Kaoru	Used alongside Diezel for live and studio setups.
Ecstasy 101B	Bogner	Amazon Search	DIR EN GREY	Kaoru	Mid-period studio workhorse with thick distortion and note separation.
Tonemaster	Fender	Amazon Search	DIR EN GREY	Kaoru	Used for clean tones during the “MACABRE” and “Kisou” era.
Fish	Bogner	Amazon Search	DIR EN GREY	Kaoru	Owned an early production model. Known for edgy high end.
Micro Terror	Orange	Amazon Search	DIR EN GREY	Kaoru	Placed on stage for feedback effects.
Axe-Fx II	Fractal Audio Systems	Amazon Search	DIR EN GREY	Kaoru	Integrated into setups since 2014 for digital tone control.

Types of Guitars Used and Features [DIR EN GREY · Kaoru]

Kaoru’s guitar selection has continuously evolved along with the musical direction of DIR EN GREY. His guitars are not just tools, but vehicles of expression—storytelling instruments that embody his artistic identity. Among them, his ESP signature line, including the “D-KV,” “Ganesa,” and “VP-SL7,” has become synonymous with his name.

The “D-KV” series, based on ESP’s Viper shape, incorporates a piezo system and switchable passive/active pickups for both heaviness and clarity. The standout is the “D-KV-7st [Nothing] (Black w/White Graphic),” his main live guitar since 2017, loaded with Bare Knuckle Brute Force pickups. It is often used in A&D 7-string tunings and is a regular sight at DIR EN GREY concerts.

The “Ganesa” series reflects his artistic sensibility even further. The original Ganesa I was used during the band’s Budokan performance and later reinforced with steel plates, symbolizing Kaoru’s experimental spirit. The “GANESA ‘ASAKURA’ SPECIAL,” also called the “Bone Ganesa,” made its appearance in the “embryo” music video and remains one of his most striking custom guitars.

More recently, guitars like the VP-SL7 in Half Matte Moss Green, the “Blue Sparkle” edition, and custom-painted skull designs have become his stage staples. He rotates between dozens of guitars during shows depending on tuning needs, from Drop A to Drop C# and half-step down tunings.

Outside of ESP, Kaoru has also incorporated guitars from Dragonfly, Gibson, Fender, and PRS into his recordings. Notably, a Fender Jaguar (3-Color Sunburst) was used on “ain’t afraid to die,” while a Vintage Blonde Fender Stratocaster, inherited from downy’s guitarist Aoki Hiroshi, was featured in “Followers.” These choices highlight how personal connections also influence his instrument lineup.

In essence, Kaoru’s guitars are more than brand endorsements—they are narrative devices. Each instrument has a story tied to specific songs or eras, showing that his gear selection is deeply musical rather than cosmetic. His lineup represents not just versatility but a philosophy of choosing the right tool for the right emotional expression.

Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Type of Guitar	Notes
D-KV-7st [Nothing] (Black w/White Graphic)	ESP	Amazon Search	DIR EN GREY	Kaoru	7-string Signature	Main live guitar since 2017. Equipped with Bare Knuckle pickups.
Ganesa I (Modified)	ESP	Amazon Search	DIR EN GREY	Kaoru	6-string Original	First appeared at Budokan 1998. Reinforced with steel plates.
GANESA “ASAKURA” SPECIAL (Bone Ganesa)	ESP	Amazon Search	DIR EN GREY	Kaoru	6-string Custom	Featured in the “embryo” MV. Distinct skeletal design.
VP-SL7 (Half Matte Moss Green)	ESP	Amazon Search	DIR EN GREY	Kaoru	7-string	Used live for Drop A tuning. Recognizable by its unique finish.
Stratocaster (Vintage Blonde)	Fender	Amazon Search	DIR EN GREY	Kaoru	6-string	Gifted from downy’s Hiroshi Aoki. Used on “Followers.”
Les Paul Custom	Gibson	Amazon Search	DIR EN GREY	Kaoru	6-string	Used in the recording of “MACABRE.”

Effects and Pedalboard Setup [DIR EN GREY · Kaoru]

Kaoru’s pedalboard can be described as his “second instrument.” He employs a wide range of distortion, filter, modulation, and pitch-based effects, constantly changing the configuration depending on the era and song. His large-scale system combines both floor pedals and rack-mounted units, enabling him to realize his complex sound design.

For distortion, his signature pedal “weed UGEEE” is the centerpiece, used in both live and studio contexts. Alongside it, the SHARK WARZY DRIVE, Roger Mayer Voodoo-1, and MI AUDIO Megalith Delta v2 have been used, all chosen for their ability to balance power with note separation. During the “DUM SPIRO SPERO” period, the AMT Electronics E1 was also a key part of his rig.

In the wah/filter category, Kaoru has relied heavily on the Jim Dunlop Cry Baby Rack Module (DCR-1SR), alongside the Electro-Harmonix Q-Tron, Mooger Fooger Lowpass Filter, and Boot-leg Deep Box. These pedals created the swirling and warped sounds heard in intros like “Akuro no Oka” and “Myaku.” He also employed the Mooger Fooger Ring Modulator to manipulate noise textures, demonstrating his unique approach to sonic experimentation.

For modulation, the Roger Mayer Voodoo-Vibe was a central device, combining vibrato, tremolo, and phasing in one. Supplementary pedals like the Boot-leg Spiral and MXR Phase100 added extra movement and depth to his tones. On the delay side, Kaoru alternated between analog warmth with the Electro-Harmonix Deluxe Memory Man and precise digital control with the BOSS DD-20 and TC Electronic 2290.

Kaoru also explored special effects such as pitch shifting with the Digitech WHAMMY (WH-1, WH-5), Eventide H3000, and multi-effects processing via the Fractal Axe-Fx II. For routing, he used Free The Tone’s ARC-3 switcher and JB-82C junction box, which allowed highly organized signal management.

Despite the ever-changing lineup of pedals, Kaoru’s sound maintains a consistent “core” quality. His philosophy behind choosing effects is clear: to control the emotional “expression” of each song. Even feedback and noise become musical elements in his hands, underlining his status as one of Japan’s most experimental guitarists.

Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Effect Type	Notes
weed UGEEE	weed	Amazon Search	DIR EN GREY	Kaoru	Distortion	Signature pedal. His main distortion unit.
SHARK WARZY DRIVE	SHARK	Amazon Search	DIR EN GREY	Kaoru	Distortion	Currently in use. Known for its thick and sustaining tone.
Voodoo-Vibe	Roger Mayer	Amazon Search	DIR EN GREY	Kaoru	Modulation	Combines tremolo, phaser, and vibrato.
DD-20 Giga Delay	BOSS	Amazon Search	DIR EN GREY	Kaoru	Delay	Long delay unit. Frequently used in mid to late period.
Cry Baby Rack Module (DCR-1SR)	Jim Dunlop	Amazon Search	DIR EN GREY	Kaoru	Wah Pedal	Rack-mounted wah. A regular part of his live setup.
Fractal Audio Axe-Fx II	Fractal Audio Systems	Amazon Search	DIR EN GREY	Kaoru	Multi-effects Processor	Adopted since 2014 for live and recording environments.
Q-Tron	Electro-Harmonix	Amazon Search	DIR EN GREY	Kaoru	Envelope Filter / Auto-Wah	Used in songs like “Myaku” for expressive filter sweeps.

Tone Settings, EQ, and Mixing Approaches [DIR EN GREY · Kaoru]

Kaoru’s approach to tone is not limited to gear choice—it extends into pickup wiring, piezo systems, effect routing, and mixing considerations. His sound design philosophy places the highest priority on how the guitar sits within the overall band mix rather than its solo tone. This explains the depth and layered texture characteristic of DIR EN GREY’s music.

Starting with EQ, Kaoru often sets his Diezel VH4 for clarity and speed without excessive low end. A typical setting might place bass around 11–12 o’clock, mids between 1–2 o’clock, and treble closer to 11 o’clock. He frequently alternates between channels 3 and 4 for high-gain work. The slightly boosted mids allow his guitar to maintain definition within the dense band arrangements, ensuring that riffs and leads never disappear in the mix.

For clean passages, Kaoru sometimes uses piezo outputs routed into separate amps such as the Fender Tonemaster. This dual-routing approach can be heard in tracks like “undecided” and “VINUSHKA,” where the shimmering cleans contrast beautifully with heavy rhythm layers. These setups are often controlled via Free The Tone ARC-3 or managed through presets within the Axe-Fx II, enabling song-by-song sound design.

Live sound engineering is also an important component of Kaoru’s tone. In songs like “Utafumi” or “DOZING GREEN,” engineers emphasize strong midrange compression to highlight articulation. Reverbs and delays are often applied pre-fader to create dense, lingering ambiences. Pitch-based effects such as the WHAMMY are frequently panned across the stereo field, adding a sense of movement and depth.

Kaoru’s distortion pedals, such as the weed UGEEE, are rarely maxed out on gain. Instead, they are used as boosters to push the amp harder while keeping dynamics intact. This makes the pedal act more like a tone shaper than a standalone distortion box. EQ pedals and line selectors are sometimes used to split signals, ensuring multiple tones can be accessed within a single song.

Spatial effects are another key element. The Electro-Harmonix Deluxe Memory Man delivers warm, analog-style repeats, while the TC Electronic 2290 provides surgical precision for digital delays. This duality produces what fans often describe as the “beautiful decay” of Kaoru’s sound. By combining delays with volume pedal swells and even ring modulation from devices like the Mooger Fooger, Kaoru achieves textures closer to sound effects than conventional guitar parts.

Overall, Kaoru’s EQ and mixing strategies revolve around subtlety. His guitar rarely dominates, but it always leaves a presence. The balance of restraint and impact ensures that every note serves the song’s emotional core. Collaborations with PA engineers and the integration of digital processors further elevate his sound to a professional level. While exact values are not publicly documented and may change depending on the environment, it is assumed that these approaches consistently underpin his live and studio work.

Affordable Alternatives to Recreate the Tone [DIR EN GREY · Kaoru]

Kaoru’s tone is undeniably complex and layered, but fans and guitarists can still approximate his signature sound without investing in boutique pedals and high-end amplifiers. By focusing on the core elements of his tone—tight distortion, rich midrange presence, atmospheric delay and reverb, and experimental filtering—it is possible to achieve a “Kaoru-like” sound with more affordable gear. The following recommendations provide practical entry points for guitarists at the beginner and intermediate level.

For distortion, which lies at the heart of Kaoru’s sound, affordable pedals such as the BOSS DS-1X and the Electro-Harmonix Metal Muff are strong contenders. The DS-1X, in particular, has a boosted midrange character that helps the guitar cut through a band mix, similar to Kaoru’s own distortion tones. The Metal Muff delivers aggressive low-end saturation, useful for replicating the crushing riff work found in songs like “VINUSHKA” or “DOZING GREEN.” While these pedals may not replicate the exact texture of the weed UGEEE, they embody the same principle of clarity and aggression.

For time-based effects, Kaoru’s atmospheric layers can be approached with the NUX Atlantic, a dual delay and reverb unit that offers warm analog-like repeats alongside expansive reverbs. Its compact format and price point make it one of the most cost-effective solutions for achieving Kaoru’s “beautiful decay.” Songs such as “Utafumi” benefit from long reverb tails, something this pedal delivers effectively.

Kaoru’s use of pitch-based effects can be approximated with the Digitech WHAMMY Ricochet. While smaller and simpler than the full-sized WHAMMY, it still captures the glissando pitch-shifting effects Kaoru often uses for eerie or dramatic transitions. It allows guitarists to replicate the unsettling rises and falls characteristic of many DIR EN GREY songs.

For filter-based tones, particularly the expressive sweeps found in “Myaku” or “an injection,” the Electro-Harmonix Q-Tron Mini or affordable envelope filters like the Mooer Envelope are excellent options. These pedals deliver the sweeping resonant filter sound that Kaoru manipulates live to add movement and texture to riffs.

On the amp side, accessible modeling amps such as the BOSS Katana Artist MkII or the Line 6 Catalyst 100 are recommended. These provide versatile tonal shaping, with sufficient midrange response to simulate the clarity of Kaoru’s Diezel VH4 setup. When paired with the aforementioned pedals, these amps allow guitarists to create a tone with both bite and atmospheric depth. Paying close attention to EQ—emphasizing mids, trimming excess low end, and avoiding overly bright treble—is essential to achieving the right balance.

For guitars, 7-string models are ideal, but budget-conscious players can turn to the Ibanez RG7421 or the Schecter Omen 7. These instruments offer strong low-end response and the flexibility needed to experiment with tunings like Drop A or Drop C#. Even with stock pickups, these guitars deliver enough clarity in the low register to emulate Kaoru’s riffing style.

Finally, Kaoru’s pedalboard complexity can be simplified with a budget-friendly loop switcher such as the One Control Iguana Tail Loop. While not as advanced as Free The Tone’s ARC-3, it allows guitarists to manage multiple effects loops efficiently, which is essential for navigating Kaoru’s diverse tonal shifts within a set.

By combining these cost-effective solutions, guitarists can approximate Kaoru’s atmospheric and heavy sound without breaking the bank. The key is not to perfectly replicate every nuance, but to focus on the principles behind his tone: balance of aggression and clarity, layering of space, and expressive use of dynamics. With this mindset, even affordable gear can help bring the spirit of Kaoru’s guitar work into your own playing.

Type	Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
Distortion	DS-1X	BOSS	Amazon Search	DIR EN GREY	Kaoru	Midrange-focused distortion, cuts well in band mix.
Distortion	Metal Muff	Electro-Harmonix	Amazon Search	DIR EN GREY	Kaoru	Powerful low-end saturation for heavy riffs.
Delay + Reverb	Atlantic	NUX	Amazon Search	DIR EN GREY	Kaoru	Dual delay/reverb. Cost-effective for ambient tones.
Pitch Shifter	WHAMMY Ricochet	Digitech	Amazon Search	DIR EN GREY	Kaoru	Compact pitch-shifting for Kaoru-like rises/falls.
Envelope Filter	Q-Tron Mini	Electro-Harmonix	Amazon Search	DIR EN GREY	Kaoru	Affordable filter pedal for expressive sweeps.
Amp	Katana Artist MkII	BOSS	Amazon Search	DIR EN GREY	Kaoru	Versatile modeling amp. Mid-focused EQ helps replicate VH4 character.
7-string Guitar	RG7421	Ibanez	Amazon Search	DIR EN GREY	Kaoru	Entry-level 7-string with solid low-end clarity.

Summary and Conclusion [DIR EN GREY · Kaoru]

Kaoru’s guitar sound in DIR EN GREY cannot be reduced to simply being “heavy” or “distorted.” At its core lies an obsessive commitment to construction and expression. Every aspect of his tone—its contours, texture, and placement within the mix—is deliberately shaped through guitars, effects, amplifiers, EQ, and live sound processing. The result is a sound that functions less like an isolated instrument and more like a distinct voice within the band’s dense soundscape.

His gear choices, ranging from ESP signature models to Diezel VH4 amplifiers, his own weed UGEEE distortion pedal, and the Fractal Axe-Fx II, may seem eclectic, but they all share a unifying philosophy: to serve the atmosphere and narrative of each song. The consistency comes not from using the same tools every time, but from applying the same principles of expression and sonic architecture across changing contexts.

What truly sets Kaoru apart is his willingness to embrace noise, feedback, and unconventional effects as essential musical components. Devices such as the Jim Dunlop rack wah, Mooger Fooger ring modulators, and Electro-Harmonix filters, which might be considered “gimmicks” in other contexts, become melodic and structural elements in his hands. This openness to sonic chaos, tempered by precise control, defines his style as “constructed chaos.”

Another defining trait is his separation of live and studio approaches. In concert, Kaoru prioritizes presence and clarity, often emphasizing high-mid EQ to ensure his parts are audible amidst the chaos of the band’s mix. In the studio, however, he exhibits great flexibility, switching guitars, amps, and effects depending on the demands of the track. This duality underscores his professionalism and his understanding of the guitar not just as an instrument but as an audio design tool.

For those attempting to recreate Kaoru’s tone, the most important step is not purchasing identical gear, but cultivating the same sense of purpose. Ask yourself: What emotion or texture does this part of the song demand? What timbre will best serve the narrative? With these guiding questions, a guitarist can move beyond mimicry of equipment and toward the recreation of Kaoru’s deeper musical intent. Only then can one begin to capture the spirit of his “engineered chaos.”

Ultimately, copying his equipment is merely the entry point. To truly approach Kaoru’s sound, one must redefine the guitar as not just a performance tool but as an “apparatus of sound design.” That mindset is the true essence of Kaoru’s tone and the key to unlocking the world of DIR EN GREY’s music.