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

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Introduction (Overview of Tone)

ROTTENGRAFFTY’s guitarist, Kazuomi, is renowned for his ability to manipulate a heavy yet melodic sound. The band’s music is characterized by strong elements of loud rock and mixture, featuring a seamless transition between heavy riffs and beautiful clean tones. Kazuomi’s guitar plays a central role in this dynamic, expressing a wide range from powerful down-tuned riffs to grand sounds utilizing spatial effects.

Iconic songs such as “Kinjirareta Graffiti,” “THIS WORLD,” and “Hibiku Miyako” exemplify this sound. Particularly in live performances, he skillfully alternates between thick distortion and ethereal tones enhanced by reverb and delay, creating a unique world that is distinctly ROTTENGRAFFTY. His sound design heavily relies on the choice of amplifiers and the configuration of his effects pedalboard, achieved through meticulous settings.

Moreover, Kazuomi’s guitar not only serves as the rhythmic foundation in the band’s overall ensemble but also acts as the centerpiece for melody and spatial effects, captivating listeners with its balance. The reason his sound garners attention lies not only in its loudness but also in the intricately calculated effects processing and his emotional playing style.

In the following sections, we will delve into the amplifiers, guitars, and effects used by Kazuomi, explaining the gear and settings necessary to recreate the ROTTENGRAFFTY sound.

For a better understanding, it’s recommended to check out his sound on YouTube.

▶ Search official YouTube videos of ROTTENGRAFFTY

List of Amplifiers and Features

When discussing Kazuomi’s sound, the combination of amplifiers and cabinets he uses is indispensable. ROTTENGRAFFTY’s music possesses a unique sonic image where heavy riffs and grand spatial effects intertwine. Therefore, the choice of amplifiers ranges from high-gain drive sounds to those capable of producing clean and expansive tones.

First, we must highlight the German-made high-gain amplifier, the “Diezel Herbert MK II.” This amp is favored by guitarists aiming for modern heavy sounds worldwide, known for its tight and thick distortion. It is believed that Kazuomi frequently uses this amp for main riffs and loud tracks during live performances. Its compatibility with drop tunings makes it a crucial piece of gear supporting ROTTENGRAFFTY’s powerful riffs.

Next is the “JJ-100 Jerry Cantrell Signature Head.” Famous as the signature model of Alice in Chains guitarist Jerry Cantrell, it offers a sound that retains vintage qualities while providing modern power. It can handle a wide range from metal-oriented riffs to clean arpeggios, making it a fitting match for Kazuomi’s diverse expressions.

Additionally, the “Kemper Profiling Amplifier Rack,” a representative of digital modeling, is also in use. The Kemper can faithfully replicate the tones of famous amplifiers, likely adopted for stable sound creation during tours and studio recordings. It is highly probable that profiles from Diezel and Friedman amps are incorporated to enhance live reproducibility.

As for cabinets, the “ORANGE PPC412” is utilized, known for its thick mid-low range and rock-like clarity. This combination with the amp creates a powerful sound that shakes live venues.

In this way, Kazuomi appears to use a combination of tube amps and digital modeling, switching between them as needed. In the studio, he ensures stable sound with the Kemper, while live, he leverages the Diezel and Jerry Cantrell models to create ROTTENGRAFFTY’s unique “heavy yet delicate” sound.

Types of Guitars Used and Features

Kazuomi’s guitar sound is shaped by the variety and characteristics of the guitars he uses. ROTTENGRAFFTY’s music spans a wide range from metal-oriented high-gain riffs to melodic clean phrases, making his guitar selection highly strategic.

First, the main guitar confirmed is the “Paul Reed Smith Custom24 Stoptail.” PRS guitars are widely used by many guitarists in the modern rock and metal scenes, known for their smooth neck shape, stable pitch, and high output with a rich sound. The model Kazuomi uses features a stoptail, emphasizing sustain and stability. It is believed to be used as a primary guitar during live performances, supporting loud yet clear lead tones.

Next is the “Jackson Professional.” Jackson is a brand favored by metal guitarists, equipped with sharp tones and a thinner neck suitable for fast playing. It is speculated that this guitar excels in ROTTENGRAFFTY’s heavy riffs and bridge mutes, emphasizing tightness.

The “Gibson ES-335” is also in use. This semi-hollow model excels in clean tones and overdrive rather than heavy distortion, producing a warm sound. It is thought to be used in ballads and melodic parts, adding depth to the band’s sound.

Additionally, the “Fender USA Telecaster” is included in his lineup. The Telecaster is known for its crisp clean sound and brightness characteristic of single coils. Kazuomi is presumed to combine this with spatial effects to create transparent tones, likely serving as a secondary guitar in live and studio settings, accommodating a wide range of sound creation.

In this way, Kazuomi utilizes a wide array of guitars from modern to vintage styles, achieving ROTTENGRAFFTY’s unique sound that combines aggression with lyricism. By changing guitars for each song, he expands his expressive range and leaves a strong impact on the audience.

Effects and Pedalboard Setup

Kazuomi’s effects pedalboard is constructed with numerous high-quality pedals to support ROTTENGRAFFTY’s unique “heavy riffs + grand spatial effects.” It is believed to be organized around a switcher, employing a style that allows for switching multiple pedals by scene.

First and foremost is the tuner “KORG Pitchblack mini PB-MINI.” Despite its compact size, it boasts high visibility and precision, supporting stable tuning during live performances. This is likely the foundation upon which the entire board is built.

For distortion, the “Friedman BE-OD” is incorporated, an amp-like overdrive that replicates Marshall-style sounds. When combined with tube amps like the Diezel or Friedman JJ-100, it emphasizes a thicker midrange. Additionally, supplementary pedals such as the “J. Rockett Audio Designs Archer” and “Xotic EP Booster” are used to enhance clarity and sustain during leads.

In terms of dynamics, the “BOSS CP-1X Compressor” is utilized, ensuring the articulation of picking. This allows Kazuomi’s sharp riffs to be reproduced even during intense backing.

For spatial effects, “Strymon TimeLine (delay),” “Strymon BigSky (reverb),” and “Strymon Mobius (modulation)” are employed, creating a grand and ethereal atmosphere. Particularly, TimeLine and BigSky are indispensable for spatial effects in live settings, enhancing the depth of delay and the expansiveness of reverb, amplifying the power of the songs. The “GFI System Specular Tempus” is also used, enabling complex expressions of delay and reverb.

As a unique addition, the “DigiTech Whammy 5” is present, allowing for pitch-shifted phrases. Furthermore, the “Jim Dunlop Eddie Van Halen Signature Wah” facilitates expressive wah playing.

For noise management, the “ISP Technologies Decimator” is employed, maintaining a clean signal even in high-gain environments. Additionally, the “Free The Tone PA-1QG 10 Band EQ” is used for fine-tuning frequency ranges, allowing for flexible sound creation tailored to each song.

The core of the entire system consists of the “BOSS ES-8” and “One Control Basilisk.” These switching systems enable comprehensive management of complex pedal operations, enhancing responsiveness during live performances. Moreover, power supplies like “Free The Tone ARC-3” and “VITAL AUDIO VA-08 Mk-Ⅱ” provide stable power, balancing sound quality and trouble avoidance.

In this way, Kazuomi’s board is thoroughly professional, enabling the coexistence of loudness and meticulous soundscapes. By strategically combining these pieces of gear, he achieves the overwhelming sound pressure and three-dimensional sound unique to ROTTENGRAFFTY.

Tone Settings, EQ, and Mixing Approaches

Kazuomi’s sound design goes beyond merely connecting equipment; it encompasses amplifier and effect settings, as well as considerations for PA and mixing. ROTTENGRAFFTY’s sound coexists with “overwhelming sound pressure” and “meticulous spatial effects,” necessitating precise settings.

For basic amplifier settings, when using the Diezel Herbert or Friedman JJ-100, it is believed that the gain is not excessively raised, focusing on the articulation of distortion. A guideline would be to keep the gain around 5-6, adjusting the bass to 4-5 to tighten the low end. The midrange is often set above 5-6 to emphasize thickness, while treble is raised to around 6-7 for clarity. The presence may vary depending on the live venue but is typically adjusted to around 5-6 to avoid harshness.

When using the Kemper, it is highly probable that actual amp profiles are incorporated, allowing for studio-crafted sounds to be carried into live performances. In this case, EQ may be adjusted considering the PA, cutting lows slightly (suppressing frequencies below 80Hz) and reducing highs around 8kHz to eliminate unnecessary ranges, thus organizing overall sound pressure.

Regarding effects, for riff-centric songs, it is speculated that the Friedman BE-OD and direct amp distortion are primarily used, with boosters (Archer, EP Booster) activated during leads to enhance sustain. The compressor (BOSS CP-1X) is likely kept on almost constantly during riffs, ensuring a uniform sound articulation.

Spatial effects are crucial for switching according to each song. For grand tracks like “THIS WORLD,” a deeper delay setting is likely used with the Strymon TimeLine, layered with hall reverb from BigSky to create a cinematic sound. In aggressive songs like “Kinjirareta Graffiti,” spatial effects are minimized, focusing on dry distortion to deliver impact.

Notably, the use of the equalizer (Free The Tone PA-1QG) for fine-tuning is significant. Kazuomi likely boosts the 1kHz-2kHz range slightly to ensure the guitar’s presence is not overshadowed by the band. Conversely, frequencies around 200Hz are often cut to avoid overlap with the bass.

From a mixing perspective, collaboration with the PA engineer plays a significant role. Depending on the live venue, low frequencies may be excessive, necessitating high-pass filtering (cutting below 80Hz) on the PA and adjusting the wet levels of reverb and delay to be more restrained. Additionally, careful positioning in the stereo field ensures Kazuomi’s guitar does not lean too heavily to one side, creating a sound that envelops the entire band.

Thus, Kazuomi’s sound design is based on meticulous settings to balance “power in riffs” and “spatial expansion.” From EQ processing and channel switching on the amp to managing the on/off states of effects, it is a meticulously constructed system.

Affordable Alternatives to Recreate the Tone

Many of the gear Kazuomi uses is professional-grade, with brands like Diezel, PRS, and Strymon commanding high prices. Therefore, it may not be realistic for beginners or intermediate players to acquire the same equipment. Fortunately, there are commercially available effects and multi-effects units that can relatively affordably recreate Kazuomi’s sound. Here, we will introduce products that can be purchased for around $100 to $500.

For distortion, candidates include the “BOSS DS-1X” and “BOSS OD-200.” The DS-1X is a modern-tuned distortion that provides tight and articulate distortion, making it possible to approach the texture of Kazuomi’s beloved Diezel Herbert or Friedman BE-OD. Furthermore, choosing the OD-200 allows for a boost function and a variety of distortions in one unit, ensuring clarity during leads.

For spatial effects, the combination of “BOSS RV-6 (reverb)” and “BOSS DD-200 (delay)” is recommended. While simpler in function compared to Strymon BigSky or TimeLine, they offer sufficiently deep reverb and diverse delay modes, capable of recreating ROTTENGRAFFTY’s grand atmosphere. Notably, the Shimmer mode of the RV-6 has a fantastical resonance, making it an excellent entry point for BigSky-like sounds.

If you want to acquire spatial effects all at once, “ZOOM G3Xn” or “Line 6 HX Stomp” are also strong options. These modeling-based multi-effects units can handle multiple distortions, reverbs, and delays simultaneously, allowing for the recreation of Kazuomi’s complex board setup. Particularly, the Line 6 HX Stomp features high-quality algorithms that rival Strymon, making it easy to blend into the band sound.

As a substitute for a booster, the “TC Electronic Spark Booster” is recommended as a budget alternative to the “Xotic EP Booster.” It excels in enhancing clarity during leads and is available for under $200. Additionally, the “BOSS CS-3” is a standard compressor that, while slightly more analog than Kazuomi’s CP-1X, can sufficiently articulate sound.

Finally, for convenience during live performances, introducing compact multi-effects units like the “BOSS GT-1000CORE” or “NUX MG-30” is another option. These units also include EQ and noise reduction functions, serving as a foundation for recreating Kazuomi’s meticulous sound design.

In this way, it is possible to recreate the powerful and spatial sound of ROTTENGRAFFTY without acquiring all high-end gear. Particularly by choosing from established brands like BOSS or Line 6, you can obtain practical sounds while keeping costs down.

Summary and Conclusion

Looking at Kazuomi’s sound design comprehensively, its essence can be described as the coexistence of “loudness and meticulousness.” ROTTENGRAFFTY’s songs encompass aggressive heavy riffs, fantastical clean tones, and even electronic elements, all supported by professional gear selection and meticulous settings.

With amplifiers like the Diezel Herbert and Friedman JJ-100, which are high-gain and expressive, combined with the Orange PPC412 cabinet, Kazuomi achieves a thick and tight sound. Furthermore, by incorporating the Kemper, he ensures stability in recordings and tours. By switching between these setups, he consistently delivers tones that match the overall sound pressure of the band.

In terms of guitars, Kazuomi employs modern models like the PRS Custom24 Stoptail and Jackson Professional to support aggressive riffs. Conversely, vintage models such as the Gibson ES-335 and Fender Telecaster are used to create clean and warm sounds. This strategic use of guitars beautifully expresses the color of each ROTTENGRAFFTY song.

His effects pedalboard centers around three Strymon units (TimeLine, BigSky, Mobius), skillfully manipulating delay, reverb, and modulation to achieve a three-dimensional and cinematic sound. While emphasizing the thickness of distortion through the Friedman BE-OD and boosters, he meticulously fine-tunes the sound with EQ and compressor. Additionally, utilizing switching systems like the BOSS ES-8 and One Control Basilisk allows for instantaneous tonal changes tailored to each song.

In summary, Kazuomi’s sound design merges “metallic heaviness” with “post-rock spatiality.” Therefore, it is not merely about increasing distortion; it involves pushing the midrange with EQ, creating depth with spatial effects, and maintaining a clean signal through noise reduction. This is the pinnacle of professional sound design, an essential element for maximizing the band’s individuality.

For readers looking to recreate Kazuomi’s sound, focusing on three perspectives will be beneficial: “combining high gain with spatial effects,” “strategically using different guitars for riffs and cleans,” and “thorough EQ and noise management.” It is not necessary to acquire all high-end gear; selecting relatively affordable equipment from brands like BOSS or Line 6 can still yield similar nuances.

Ultimately, what matters most is not just the gear itself, but the sense of “which frequency ranges to emphasize” and “how to switch tones for each song.” Mimicking Kazuomi’s sound design presents an excellent opportunity to learn how to make your guitar resonate within the band as well as recreate a ROTTENGRAFFTY-like sound.