[Reo] How to Recreate the lynch. Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Reo, the guitarist of the band lynch., captivates fans with a guitar sound that is both heavy and delicate. His tonal characteristics are exemplified by the use of a “super long scale” guitar, which allows for tight low-end frequencies that maintain their integrity even in extremely low tunings.

In iconic tracks such as “EVOKE” and “GALLOWS,” he supports thunderous riffs, expressing the band’s world through overwhelming sound pressure during live performances. Through the use of amplifiers and effects, he successfully creates a sound that is not only heavy but also spatially expansive with sharp clarity.

Reo’s playing style revolves around a choppy, metal-like rhythm guitar while skillfully utilizing clean tones and various effects according to the song’s progression. Therefore, studying his sound design is essential for understanding the essence of lynch.’s music.

This article will delve into the gear used by Reo, including guitars, amplifiers, and effects, based on interviews and practical information. It aims to provide a practical perspective for those looking to recreate his sound or incorporate elements into their own playing style.

▶ Search official YouTube videos of lynch.

List of Amplifiers and Features

In Reo’s sound design, a crucial role is played by a selection of heavy yet highly detailed amplifiers. He uses multiple models depending on the recording or live performance, always focusing on “clarity in the low end” and “cut through for leads.”

One of the most notable amplifiers is the Peavey 6534 Plus Head. This model is a descendant of the legendary 5150, featuring a tight midrange characteristic due to its 34-watt design. It has been confirmed through interviews that this amp was used during the recording of ‘AVANTGARDE’ (2016). It excels in supporting the choppy rhythms and low-end riffs that Reo is known for, making it an excellent match for his super long scale guitar.

Next is the EVH 5150, which has also been used in recordings. Reo has mentioned that he often pairs it with an EVH cabinet and a Fender Tonemaster 2×12. He has engaged in sound shaping in a re-amping environment, maintaining the guitar’s inherent characteristics while producing a tone that balances heaviness and spatial quality.

Additionally, the Soldano SLO-100 has appeared in his past works. This model is considered a cornerstone of modern high-gain amplifiers. Reo has referred to it as “the amp used in the previous album,” indicating his careful selection of amplifiers to achieve different textures for each project.

Reo does not always use the same amplifier for live performances; his settings may change based on the environment and time period. Recently, he has adopted cabinet simulators, allowing for direct line output to the PA system, which means that the amp head itself can sometimes function more as a “tone shaper.” All these choices seem to aim at achieving a balance between “weight” and “clarity.”

From this, it can be inferred that Reo is not merely using high-gain amplifiers but is thoroughly selecting them based on the work and performance environment, employing a hybrid approach that combines line and mic’ing techniques.

Types of Guitars Used and Features

When discussing Reo’s guitar sound, it is essential to mention the “super long scale model” developed in collaboration with ESP. By adopting an unusual scale length of 686mm, it ensures that even in extremely low tunings, the string tension remains firm, providing the stability and clarity needed for heavy riffs. This results in a sound that not only emphasizes heaviness but also highlights intricate details, supporting the music of lynch.

The flagship model is the ESP ULTRATONE-SL, which serves as Reo’s signature model. It features two Bare Knuckle Nailbomb pickups, known for their powerful low-end and sharp high-mids, making them perfect for supporting Reo’s choppy riffs. This guitar is widely used from recordings to live performances and can be considered the core of his sound.

Another significant piece of gear is the ESP RAVEN, which also features a super long scale design. Reports indicate that it is equipped with Seymour Duncan P-90 type pickups. This configuration provides a raw and open texture compared to humbuckers, making it effective not only for low-end riffs but also for producing a gritty character in the mid-range. It has become an essential instrument for expanding his sound palette.

Additionally, Reo uses the ESP Artist Pick PA-LR12, made from Ultem material with a thickness of 1.2mm. This hard pick emphasizes attack while allowing for nuanced expression, enabling him to balance the power of riffs with the delicacy of leads. The overall philosophy of his gear emphasizes the coexistence of “heaviness” and “sharpness.”

In summary, Reo’s guitars prioritize stability in the low-end and clarity in the mid-range. They are designed to include elements of metal and hardcore while ensuring they stand out within the overall band sound.

Effects and Pedalboard Setup

Reo’s effects system is built on a foundation of high-gain sounds directly from the amp, but in recent years, he has evolved by incorporating cabinet simulators and multi-effects units. This evolution is particularly notable for creating a spatial quality that stands out even within a heavy band sound.

As of 2012, it has been confirmed that Reo integrated three Eventide effects units into his setup. Considering the popular Factor series at the time, such as “TimeFactor,” “ModFactor,” and “PitchFactor,” it can be inferred that he was able to reproduce a variety of effects live, including delay, modulation, and pitch shifting. Given that lynch.’s songs often feature clean parts and arpeggios in moments of silence, Eventide’s high-quality spatial processing likely played a significant role in those sections.

Moreover, he has recently adopted a cabinet simulator, allowing for direct signal sending from the amp to the PA system, ensuring consistent sound across different venues. He mentioned that this was introduced to align with the sound of bassist Yusuke, indicating a system change focused on the overall acoustic balance of the band. While the specific model is unknown, devices like Two Notes or BOSS IR-200 are likely candidates for IR loader systems.

Additionally, HeadRush (Prime and MX5) has been confirmed in demo performances. These units are known for their multi-effects capabilities and amp simulation, offering intuitive operation and high-quality modeling, making them adaptable for live and streaming situations. While it is unclear if Reo uses them regularly, it is evident that he considers them as options for sound design.

Other peripheral gear includes Ex-pro cables (FA/FL series), PW series wireless systems, PS-1 power supplies, and TBX-1 through boxes, establishing a stable signal flow. This collection of equipment supports stable sound creation even during lynch.’s intense live performances.

Overall, Reo’s effects environment appears to have shifted from traditional hardware effects to modern cabinet simulators and multi-effects, adapting flexibly to the band’s evolution.

Tone Settings, EQ, and Mixing Approaches

Reo’s sound design revolves around the balance of “heaviness” and “clarity.” By utilizing super long scale guitars to maintain low-end definition while boosting the mid to high frequencies through amplifiers and EQ, he ensures that heavy riffs do not get buried in the overall band sound.

For basic amp settings, when using the Peavey 6534 Plus or EVH 5150, he typically sets the gain high while keeping the bass tight and not overly boosted. In interviews, he has mentioned aiming for a sound that is “heavy yet not muddy,” suggesting that he likely sets the bass around 4-5, midrange around 5-6, and treble around 6-7 to achieve a balance of sound pressure and clarity. The presence is adjusted according to the song, being more subdued for riff-heavy tracks and more pronounced during leads.

In terms of EQ, he tends to slightly cut the mid-low frequencies during clean parts or arpeggios, adding delay and reverb to create depth. This contrast emphasizes the dynamics of the entire song, highlighting the heavy parts. To eliminate the “muddiness” often associated with down-tuning, it is likely that he boosts around 2-3kHz.

During live performances, he has implemented cabinet simulators to provide stable sound to the PA. He also combines this with actual cabinets to maintain both stage presence and clarity for the front of house (FOH) sound. The use of re-amping techniques in recording is also noteworthy, as he combines multiple amps to create thickness in the sound, showcasing a different approach for studio work compared to live settings.

In mixing, the layering of guitars is crucial. In lynch.’s tracks, guitar tracks panned thickly to the sides create a wall of sound, while leads are centered, resulting in a three-dimensional sound. Reo’s guitar is often placed lower in the mix, so during mixing, it is likely that low frequencies are cut to avoid clashing with the bass and kick drum, while presence is enhanced around 150Hz-200Hz.

Distinct approaches are taken for different songs. For instance, in fast-paced tracks, he employs a dry high-gain sound, while in ballads, he focuses on clean to crunch expressions. Utilizing Eventide’s spatial effects, he meticulously adjusts delay feedback and modulation to create the desired atmosphere for each song.

In summary, Reo’s sound design is supported by not only the guitar and amp but also by careful EQ adjustments and an overall balance in mixing. Understanding the philosophy of “keeping low-end tight, emphasizing mid-range, and creating clarity in the high-end” is the first step to getting closer to his sound.

Affordable Alternatives to Recreate the Tone

Reo’s sound is supported by professional-grade equipment, including ESP’s super long scale guitars and high-end high-gain amplifiers. However, for aspiring guitarists looking to achieve a lynch.-style sound, acquiring the exact gear can be impractical. Thus, we will explore more accessible commercial gear that can help recreate the “heavy and tight low-end” and “sharp mid to high-end clarity.”

For guitars, options like the Ibanez RGA series or Schecter C series can be considered without the need for a long scale specification. These models are available for around $500-$700 and are designed with stable low-end and high-gain friendly pickups, making them effective alternatives to the ESP ULTRATONE.

Regarding amplifiers and sound design, modeling amps like the BOSS Katana series or Positive Grid Spark can be effective without needing to invest in tube amps. The Katana, in particular, excels in high-gain settings at an affordable price, and with careful EQ and boost settings, it can simulate the sharp distortion of the EVH 5150. The Spark is convenient for home practice and recording, allowing users to quickly access “Reo-style” settings using presets.

For effects, while acquiring high-end multi-effects like Eventide may be challenging, units like the Zoom G11 or Line 6 HX Stomp can serve as suitable substitutes. The HX Stomp is a powerful compact multi-effects unit widely used in professional settings, covering delay, modulation, and IR cabinet simulation, allowing for the line-out style Reo has adopted recently.

If you’re looking to incorporate cabinet simulators, the BOSS IR-200 or Two Notes CAB M+ are cost-effective options. Priced around $500-$700, these devices can load IRs from actual cabinets, enabling the construction of authentic line-out sounds, making them ideal for mimicking Reo’s latest style.

In summary, while fully replicating Reo’s sound is not easy, combining “high-gain friendly modeling amps,” “modern guitars with strong low-end,” and “multi-effects capable of enhancing spatial effects” can allow guitarists to experience a tone that closely resembles his. Integrating these alternative pieces of gear is a realistic and significant step for young guitarists seeking the lynch. sound.

Summary and Conclusion

The essence of Reo’s sound design lies in the balance of “heaviness” and “clarity.” Many metal guitarists tend to focus heavily on low-end frequencies, but Reo maintains tight low-end using ESP’s super long scale guitars while pushing mid and high frequencies forward through amplifiers and EQ, creating a sound that is heavy yet distinct within the band context.

The amplifiers he uses, such as the Peavey 6534, EVH 5150, and Soldano SLO-100, are all renowned high-gain models. However, rather than simply playing them, he employs cabinet simulators and re-amping techniques to create a “consistent sound that is not dependent on the environment.” This allows him to deliver a cohesive sound in both recordings and live performances.

On the effects side, he has integrated high-quality spatial effects from Eventide, and recently adopted systems using HeadRush and IR loaders, evolving flexibly with the times. This allows him to effectively express the contrasts of “stillness” and “movement” in lynch.’s music, supporting the overall dynamics of the band.

Furthermore, Reo’s sound is not merely a collection of gear; it is backed by an approach that considers the entire mix. By being mindful of frequency separation with bass and drums, he enhances the guitar’s presence by emphasizing the mid-range. Additionally, he skillfully utilizes delay and reverb to design the very space of the performance.

In conclusion, while it is ideal to gather expensive signature models to replicate Reo’s sound, understanding the three pillars of “tight low-end management,” “utilizing mid-range clarity with EQ,” and “spatial processing according to song progression” is crucial. Even beginners and intermediate players can get close to his tone by leveraging modeling amps and multi-effects.

In lynch.’s music, Reo’s guitar serves as a “wall” of sound while also guiding the progression of the songs. His sound design will be a significant reference for metal and loud genre guitarists. Ultimately, what is needed is not just a discerning eye for gear selection but a clear vision of “how to deliver the sound.”