[Matsuzaki Hyota] How to Recreate the SHANK Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Matsuzaki Hyota, the guitarist of SHANK, has crafted a unique guitar sound that blends melodic punk with elements of hardcore and emo. His tone is characterized by a loud yet clear presence, ensuring that both chord strumming and riffs cut through the mix effectively.

In iconic tracks like “Good Night Darling” and “Wake Up Call,” he retains the sharpness typical of a Telecaster while also utilizing an ESP LP-type guitar to deliver a robust sound that supports the band. He skillfully navigates between clean tones, crunch, and high gain, primarily relying on the Marshall JCM series to establish a classic rock tone during live performances.

Hyota’s commitment to sound consistency is evident through his use of reliable effects from brands like BOSS and Free The Tone, allowing him to reproduce stable tones across different stages. His pedalboard, while seemingly simple, is meticulously constructed to create a convincing sound.

The overall sound of the band is fast and tight, which means Hyota’s guitar must balance between providing a thick foundation and cutting through the mix with precision. This duality makes his sound a significant point of study not only for fans but also for fellow guitarists.

Check out SHANK’s official music videos to see Hyota’s playing and sound in action.

▶ Search official YouTube videos of SHANK

List of Amplifiers and Features

In Matsuzaki Hyota’s sound design, amplifiers play a crucial role. He has set up multiple Marshall amps to achieve a balance between the clarity typical of melodic punk and the power needed to compete with a heavy band sound.

One of his primary amplifiers is the Marshall JCM800 (modified). This amp has been customized with an added master volume and a Soldano kit, allowing for a higher gain and a more modern sound pressure. This modification ensures that both single-note leads and power chords maintain clarity, even in SHANK’s fast-paced songs.

For live performances, he borrows a Marshall JCM800 cabinet from a studio in Nagasaki, delivering a classic rock sound while providing a solid core tone. This reflects his local roots and showcases Hyota’s unique approach to sound design.

For clean tones, he uses the VOX AC30CC1. Its 1×12 configuration offers a bright and manageable size, supporting transitions between soft and energetic sections in songs. This amp’s presence is particularly emphasized during acoustic arrangements and album recordings.

In his early days, he owned a Peavey 5150II, which was used in recordings. This amp, known for its explosive high-gain sound, contributed to SHANK’s loudness in their early years, but he later shifted to Marshall amps. He also used the Marshall JCM900 as his main amp for seven years, producing a rougher, punkish sound.

While he has used various amps over the years, his current signature sound revolves around the “powerful and clear tone based on the Marshall JCM800.” However, it is assumed that he continues to adapt his gear based on the recording or live performance context.

Types of Guitars Used and Features

When discussing Matsuzaki Hyota’s sound, it’s essential to highlight the guitars he uses. They are simple yet modified or equipped with different pickups to create unique characters, drawing out the optimal tones for each song.

His main guitar is an ESP LP-type, including two models, one famously known as “Hyota Sunburst.” The front pickup is a Seymour Duncan Phat Cat (P-90 type), while the rear features a Seymour Duncan SH-5. This combination allows for both sharpness when distorted and fullness in clean tones. Additionally, he has modified the pickup selector for smoother transitions during live performances.

Another significant guitar is the Fender Japan Telecaster, purchased specifically for the intro of “Good Night Darling.” This guitar is equipped with Seymour Duncan single-coil pickups, emphasizing clarity and a unique treble sound during cutting. Compared to the ESP LP-type, it offers a lighter and more varied sound for the band’s repertoire.

For acoustic performances, he uses a YAMAHA acoustic-electric guitar. The model is unknown, but it frequently appears in acoustic arrangements and songwriting sessions, providing a softer touch to the punk-heavy band sound.

Initially, he used a Gibson Les Paul as his main guitar, known for its wet and thick tone. However, he transitioned to ESP to align with his evolving sound. Early recordings and live footage still showcase the Les Paul sound. There are also records of him using a Gibson SG, which is characterized by its thick midrange.

Hyota’s choice of guitars indicates that he is a player who consciously selects the necessary character for each song, using the right tool for the job. By utilizing the ESP LP-type as a foundation, along with Fender, YAMAHA, and Gibson guitars, he adds diversity to SHANK’s sound.

Effects and Pedalboard Setup

Matsuzaki Hyota’s pedalboard is designed to balance “simplicity” and “stability.” While maintaining a straightforward punk band sound, he incorporates effects like delay and chorus to add depth to his music.

The heart of his board is the One Control OC10W (MIDI-compatible loop switcher). He has previously used the BOSS ES-8 and Free The Tone ARC-3, but currently relies on One Control for stable control over his effects during live performances.

For distortion, he uses the Mad Professor Blueberry Bass Overdrive, a bass overdrive pedal known for its blue casing. When used with a guitar, it enhances the low-end thickness, adding a punchy presence typical of punk music. Additionally, he combines it with a booster he designed himself, the Matsuzaki “MUSUME”, to emphasize solos and clarity.

In the modulation category, he employs the Free The Tone Tri Avatar TA-1H (stereo chorus) to create expansive clean sounds. For spatial effects, he uses the Free The Tone Flight Time FT-2Y and BOSS DD-500 delay pedals, adjusting delay times based on the song’s needs. The presence of delay is particularly noticeable in tracks like “Wake Up Call” and “Good Night Darling.”

He also incorporates the Limetone Audio Focus (orange compressor/EQ) to tighten his sound, ensuring clarity in both chord playing and single notes. For tuning stability, he uses the BOSS TU-3, and for noise control, he includes the BOSS NS-2 to effectively manage noise reduction.

Additionally, he keeps a Line 6 HX Stomp on hand for backup, which can serve as an alternative rig in case of issues or for enhancing sound design. He also utilizes smaller loop switchers like the One Control Minimal Series (Black Loop, etc.) for a flexible pedalboard setup.

These pieces of gear are not just decorative; they are chosen with a focus on “live performance reproducibility,” “trouble response,” and “flexibility to adapt to various songs.” While appearing simple, the board is intricately designed, as is assumed.

Tone Settings, EQ, and Mixing Approaches

Matsuzaki Hyota’s sound design is characterized not merely by “high gain = loud volume,” but by a meticulous approach to achieving balance within the band. As SHANK is a three-piece outfit, the guitar’s role is to create a “wall of chords” while also serving as a “cutting blade” for leads. Therefore, EQ and gain settings are critical, and how he mixes his sound is equally important.

Typically, his amp settings are based on the Marshall JCM800 or JCM900, with gain set around 7-8 to achieve a solid distortion without excessive compression. Given that the bass provides strong low-end support, he avoids cutting too much low frequency while pushing the midrange to ensure clarity. Treble is kept at 5-6 to avoid harshness, while presence is adjusted to add airiness.

When using the VOX AC30, he emphasizes its bright clean tones, setting treble higher. By using a compressor (Limetone Focus), he ensures that even chord playing maintains a consistent sound, making arpeggios and cuts clear.

His approach to effects is both simple and precise. He primarily uses delay (BOSS DD-500 and Free The Tone FT-2Y) with short delay settings to create depth during lead parts in songs. For tracks requiring a wider sound, he applies a light layer of stereo chorus from Tri Avatar, expanding the ensemble’s breadth. This is a unique approach for a punk band, adding depth to SHANK’s music.

Hyota also takes noise management seriously, employing the BOSS NS-2 to suppress unwanted hum and feedback typical in high-gain settings. Given SHANK’s fast-paced songs, maintaining clarity and tight rhythms is essential, making noise reduction a necessity.

In moments where he wants to highlight solos or phrases, he uses his custom booster “MUSUME.” This mid-focused boost ensures that lead tones stand out amidst the band’s thickness. The effect is particularly notable in songs like “Good Night Darling,” where the guitar carries the melody.

In live settings or recordings, he processes the guitar not merely as a “wall” but aims to leave space within the band’s overall sound. With the bass and drums creating a strong groove, the guitar’s role is to convey “speed and sharpness.” As a result, Matsuzaki Hyota’s guitar unmistakably embodies the “sound of SHANK.”

Thus, through careful EQ, gain, and spatial effects management, along with balanced PA processing, Matsuzaki Hyota constructs a “simple yet profound” guitar sound.

Affordable Alternatives to Recreate the Tone

Reproducing Matsuzaki Hyota’s sound entirely requires professional-grade gear, such as custom ESP models or modified JCM800s, which can be quite expensive. However, beginners and intermediate players can still achieve a “SHANK-like sound” with more accessible equipment. Here, we introduce gear within a reasonable price range (approximately $100-$500) and explain why they can produce similar tones.

For an amp simulator, the BOSS Katana series is highly recommended. It features JCM modeling, making it relatively easy to recreate the hard-edged, clear distortion that Hyota favors. It’s suitable for home practice and small gigs, offering excellent cost performance.

For distortion, the BOSS SD-1 Super OverDrive is a solid choice. It has a strong mid-range push, making it ideal for punk and hardcore riffs. While it may not fully replicate the low-end thickness of the Mad Professor Blueberry Bass Overdrive, adjusting the gain can yield a thick rhythm sound reminiscent of SHANK.

For spatial effects, the BOSS DD-8 Digital Delay shines. It serves as a simplified version of the DD-500, featuring a range of delay times and a tap tempo function. It’s very effective for adding depth to band sounds. Additionally, for modulation, the TC Electronic Corona Chorus is a great alternative to the Tri Avatar. While it may not be stereo, it can still create a pleasing sense of space.

For noise management, the BOSS NS-2 is a staple. Since Hyota himself uses it, it’s a reliable choice for beginners. Coupling it with the BOSS TU-3 tuner ensures a stable environment similar to professional settings.

Overall, the combination of a “practice amp with Marshall modeling,” “BOSS’s standard OD and delay,” and “NS-2 for noise reduction” represents the most realistic and effective setup for achieving a SHANK-like sound. By utilizing these tools, players can experience Matsuzaki Hyota’s thick and clear guitar sound in a more accessible context.

Summary and Conclusion

Upon reviewing Matsuzaki Hyota’s sound design, it becomes clear that he embodies a “pursuit of practicality and reproducibility within a simple gear setup.” His sound is anchored in a classic rock tone based on Marshall amps, supported by a range of ESP LP-type guitars and carefully selected effects.

Notably, his gear selection strongly reflects an awareness of the band’s overall sound. As a three-piece band, the guitar must provide thickness in chords while also stepping forward during solos and leads. Hyota meets these demands through a combination of pickups like the SH-5 and Phat Cat, as well as the use of the “MUSUME” booster to skillfully control midrange presence and clarity.

Moreover, by weaving in spatial effects like delay and chorus, he adds depth to what could otherwise be monotonous punk guitar sounds. This approach not only alters the tonal palette but also demonstrates a thoughtful strategy to adapt the guitar’s character according to the song’s progression.

Additionally, the incorporation of noise reduction and loop switchers ensures a stable tone even in intense live environments. His preparedness with the HX Stomp as a backup reflects a professional’s reliability.

Overall, the essence of Matsuzaki Hyota’s sound design lies not in showcasing flamboyant individuality but in an “optimized design philosophy that maximizes the band’s sound.” Thick yet clear, supporting speed while enriching the music—these qualities are not only a product of his gear but also of his playing style and dynamic performance.

If readers wish to recreate Matsuzaki Hyota’s sound, focusing on “a robust tone based on Marshall amps,” “distortion that emphasizes midrange,” and “the strategic use of spatial effects” will lead them in the right direction. Ultimately, the combination of guitar and amp, along with one’s picking touch and nuances, will be significant factors in achieving a sound reminiscent of Matsuzaki Hyota.

His sound is straightforward and direct, yet beneath it lies a thorough rationality and ingenuity. This is why Matsuzaki Hyota’s guitar continues to resonate as the heart of SHANK.