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

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Introduction (Overview of Tone)

The guitarist of Sabashisuta, Nachi, is known for her explosive chord work and catchy, sharp riffs. In her signature songs, she masterfully blends straightforward rock sounds with pop nuances, captivating listeners with her unique tone.

Her playing style is both powerful and meticulously crafted, possessing the ability to transform the overall color of a song with just one guitar. During live performances, she primarily uses a Gibson ES-335, delivering a thick and warm tone that engages the audience. At times, she incorporates a Stratocaster and signature models, showcasing a diverse array of sounds tailored to each song.

Nachi’s sound design draws attention due to its coexistence of simplicity and individuality. By keeping her effects to a minimum, she emphasizes the nuances of her picking and the character of her guitar, allowing listeners to experience a “raw” sound consistently.

▶ Search official YouTube videos of Sabashisuta

List of Amplifiers and Features

The heart of Nachi’s sound lies in her amplifier setup. She primarily uses the iconic Marshall JCM800 2203 head paired with a Marshall 1936 2×12 cabinet. This combination has been beloved by many punk, alternative, and rock guitarists, forming the core of Sabashisuta’s robust and straightforward sound.

The JCM800 is appealing for its simple structure and ease of use, capable of producing intense distortion on its own. However, Nachi typically sets the amp to a cleaner tone, relying on pedals like the BOSS BD-2 and Psychederhythm Matcha Drive for her distortion. This allows the amp to provide a stable clean tone while giving her the flexibility to control the texture of distortion for each song.

Additionally, the Marshall 1936 cabinet has received high praise in recording settings, reportedly after being rented and loved by engineers. The two 12-inch speakers produce a sound that balances the thickness and high-end extension characteristic of the ES-335, ensuring a solid presence within the band.

This amplifier setup is likely chosen for its “simplicity and durability” and its high reproducibility in various settings. By opting for a 2×12 cabinet instead of a large full stack, Nachi demonstrates a practical approach suitable for touring young bands.

Some music magazines and online sources have mentioned the possibility of using other Marshall or Fender amps, but it is assumed that the JCM800 and 1936 cabinet combination remains the primary setup at this time.

Types of Guitars Used and Features

Nachi’s guitar collection has evolved from the early days of the band to the present. Initially, she purchased a Gretsch by Electromatic G2504 Jet Pro (Sunburst) second-hand, but due to maintenance issues leading to unstable tuning, she later switched to the Gibson ES-335. This transition solidified the image of “Sabashisuta = 335 sound.”

Notably, she has been seen using the Gibson Custom 50th Anniversary 1959 ES-335 Reissue Prototype “Chuck,” lent to her by Ken Yokoyama. This guitar features a “chuck” sticker on the back of the headstock and body, making it an iconic piece in her live performances. The semi-hollow body produces a thick and sweet sound, adding warmth and power to Sabashisuta’s music.

She also owns a smaller Gibson ES-339 (nicknamed “Baby Chuck”), which is confirmed by case markings. Its manageable size makes it ideal for live performances. Additionally, she uses an “Ocean Blue” version of the same model as the red 335, showcasing her versatility in color and style depending on the song and stage presence.

The Fender Player Stratocaster HSS (Sea Foam Green) has been confirmed in live footage from a Nippon Television music program. The HSS configuration with a humbucker in the rear allows for a sharper lead sound, broadening her tonal palette for different songs. Although the current model has transitioned to Player II, she was using the earlier version at the time.

Recently, her signature model “Nachitang” by Moonguitars has gained attention. While it appears orange in photos, it is actually a yellowish hue, designed to reflect her character and stage presence. There is also a custom Explorer-type guitar made by ESP students, symbolizing a collaboration between the band and educational institutions.

From her choice of guitars, it is evident that she bases her sound around semi-hollow bodies while adding individuality through the use of Stratocasters and signature models depending on the song and setting. Nachi’s sound design essence lies in maximizing the character of each guitar and selecting them appropriately for each track.

Effects and Pedalboard Setup

Nachi’s pedalboard is characterized by a simple yet practical setup. She primarily configures the Marshall JCM800 to a clean setting, relying on pedals for distortion and sound shaping.

First and foremost is the BOSS TU-3 Chromatic Tuner, a staple that ensures stable tuning during live performances. Having experienced tuning instability in her early Gretsch days, she now relies on the TU-3 for consistent stage performance.

The main source of distortion is the BOSS BD-2 Blues Driver. By stepping on the BD-2 while maintaining the JCM800’s clean tone, she achieves a lively and edgy drive sound that perfectly complements the band’s loud and poppy sound.

Another crucial pedal is the Psychederhythm Matcha Drive, which she borrowed from a friend. This particular unit has a backstory of being previously owned by KANA-BOON’s guitarist, and it has become an essential part of her gear history. By alternating between the BD-2 and Matcha Drive, she can change the texture of distortion depending on the song, allowing for a wider range of expression.

For EQ adjustments, she uses the MXR M108 10 Band EQ, installed on the back of the amp and utilized in the send/return loop. It plays a vital role in tightening the sound by reducing excessive high frequencies that can arise from the ES-335’s natural resonance. This ensures that her sound does not get buried within the ensemble, allowing for clear separation from vocals and rhythm.

Overall, Nachi’s effects board embodies the concept of “minimum necessary.” Instead of relying heavily on flashy modulation or delay effects, she focuses on a straightforward combination of tuner, distortion, and EQ to maximize the potential of her guitar and amp. This simple approach is what contributes to Sabashisuta’s direct and powerful sound.

While there may be potential for new pedals to be introduced in future tours or recordings, the current setup remains centered around this simplicity.

Tone Settings, EQ, and Mixing Approaches

Nachi’s sound design is characterized by a “simple yet intricately detailed” approach. She sets her Marshall JCM800 to a clean tone, keeping the basic tone relatively flat. Distortion is handled by the BOSS BD-2 and Psychederhythm Matcha Drive, with the amp’s saturation kept in check to allow the guitar’s character to shine through. This results in a sound design that highlights the nuances of different guitars.

On the EQ front, the MXR M108 10 Band EQ plays a crucial role. The ES-335 naturally has rich midrange frequencies that can easily become overwhelming, so she often utilizes settings that slightly reduce the highs during live performances. For instance, lowering around 4kHz and 8kHz helps to tame piercing high frequencies while slightly boosting the 1kHz to 2kHz midrange allows riffs and chords to stand out. Careful EQ adjustments ensure that the guitar does not interfere with the vocal range (around 2kHz to 3kHz).

Specific settings include keeping the amp’s Treble around 5, Middle at 6-7, and Bass at about 5, maintaining a balanced approach without extreme bias. The Presence is kept modest, often relying on the EQ to manage high frequencies. For boost settings, the BD-2 is typically set around Gain 4, Tone 5, and Level 6, while the Matcha Drive is used with slightly lower gain to add thickness.

Nachi adeptly tailors her sound for different songs; for punk-influenced uptempo tracks, she prominently features the BD-2 for a choppy distortion, while for pop-oriented songs that highlight vocals, she emphasizes warmth with the Matcha Drive. When using the Stratocaster, adjustments are made to boost the mid-low frequencies slightly to compensate for its thinner sound compared to the semi-hollow guitars.

Mixing also showcases her attention to detail in guitar placement and frequency management. Rather than using double-tracking, she often centers a single guitar, leveraging the ES-335’s natural spread while forming the backbone of the band’s sound. By keeping the low end tight, she ensures clear separation from the bass, enhancing the cohesion of the rhythm section.

Moreover, the differences in settings between live and studio recordings are significant. In live settings, she retains more highs for clarity, while in studio recordings, she often cuts lows to fit within the ensemble. This adaptability, in collaboration with engineers, allows her to achieve an optimized sound for each environment.

Overall, Nachi’s sound design is built on three pillars: “rich midrange centered around the semi-hollow body,” “EQ frequency management,” and “distinct distortion textures for each song.” By prioritizing the guitar’s individuality, her sound resonates as a “raw, real guitar” to listeners.

Affordable Alternatives to Recreate the Tone

Nachi’s sound design is supported by professional-grade equipment like the Gibson ES-335 and Marshall JCM800, which can be quite expensive for beginners or those looking to replicate her tone. Therefore, let’s explore more affordable gear that can help achieve a similar sound.

For guitars, a great alternative to the semi-hollow body is the Epiphone ES-335 Dot or the Epiphone ES-339. These models can be found in the price range of around $500 to $1,000 and are well-built as they are direct descendants of Gibson. They allow players to experience the thick and sweet tones characteristic of the 335 series. With various color options available, it’s easy to find a look that suits a “Nachi style.”

If you’re looking to incorporate Strat-like sounds, the Squier Classic Vibe Stratocaster or Squier Affinity HSS Stratocaster are excellent choices. By selecting the HSS configuration, you can achieve a powerful lead sound similar to Nachi’s Player Strat HSS.

Regarding amplifiers, while the authentic JCM800 is costly even in the second-hand market, the BOSS Katana-50 MkII is an excellent substitute. Priced around $300, it can handle a wide range from clean to high-gain tones, making it suitable for both live and home practice. Compact products with amp simulation can easily recreate the JCM800 sound.

For effects, the BOSS BD-2 that Nachi uses can be purchased new for around $100. Its soft distortion pairs perfectly with the clean tones of Marshall amps, allowing you to experience the loud and poppy sound of Sabashisuta. While the MXR M108 10 Band EQ is on the pricier side, you can opt for the BOSS GE-7 (Graphic Equalizer) which is available for around $100, providing an easy way to manage frequencies and mid-range adjustments.

Lastly, a tuner is essential. The BOSS TU-3 is affordable and reliable, ensuring you can maintain stable tuning during live performances and studio sessions.

By combining the “Epiphone ES-335,” “BOSS Katana-50 MkII,” “BOSS BD-2,” “BOSS GE-7,” and “BOSS TU-3,” you can achieve a sound very close to Nachi’s for around $1,000. Focusing on the thick tones of the 335 series, the distortion from the BD-2, and frequency management through EQ are key elements to recreating the “Sabashisuta sound.”

Summary and Conclusion

In summary, Nachi’s sound design in Sabashisuta embodies the balance of “simplicity” and “rawness.” Her choice of gear focuses not on flashiness or multifunctionality but on using only what is necessary to highlight the performance and the music itself. The Marshall JCM800 is set to a clean tone, with distortion crafted through practical pedals like the BOSS BD-2 and Matcha Drive. By organizing frequencies with EQ, she achieves a balance between the natural resonance of the semi-hollow body and the tightness required in rock.

Her primary guitar is the Gibson ES-335 “Chuck,” complemented by the ES-339 and color variations like the Ocean Blue, as well as Stratocasters and signature models like the Nachitang, allowing her to expand her sound palette. Throughout, she maintains a consistent approach of “maximizing the individuality of each guitar.” Rather than relying solely on effects, she emphasizes how to utilize the raw tones of her guitar and amp.

To emulate Nachi’s sound, the most crucial aspect is the philosophy of “selection and balance” rather than the grade of equipment itself. The amp should always be clean, distortion should come from external sources, and EQ should be used for organization. By adhering to this simple flow, it is possible to replicate a sound similar to hers without necessarily using expensive prototypes or vintage amps.

Additionally, the flexibility to adjust settings between live performances and recordings is noteworthy. In live settings, she prioritizes clarity by retaining highs, while in studio recordings, she often cuts lows to blend within the ensemble. This adaptability is key to elevating a “copy” into a “personal sound.”

Overall, Nachi’s sound is built on three axes: “the thickness of the semi-hollow,” “simple distortion,” and “frequency organization through EQ.” For readers aiming to achieve a Sabashisuta-like sound, focusing on these three elements and experimenting with their own gear environment is essential. There is no need to be constrained by the price or brand of equipment; rather, pursuing balance within limited resources is the quickest route to understanding the core of Nachi’s sound design.