[Shinji Tagawa] How to Recreate the DEEN Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shinji Tagawa, the guitarist of DEEN, is a versatile player who masterfully navigates between refreshing, transparent pop sounds and thick, rock-oriented tones. His guitar tone is characterized by a bright and three-dimensional clean sound, while his drive tones maintain a solid midrange with excellent clarity. Iconic songs like “Kono Mama Kimi Dake o Ubaisaritai” and “Yume de Aru you ni” showcase his impressive use of transparent arpeggios and emotional solos.

Tagawa’s sound is fundamentally based on a sharp yet thick tone derived from a Stratocaster, particularly a modified Fender Japan Yngwie Malmsteen model, which serves as the core of his tone crafting. By utilizing amplifiers such as Hughes & Kettner and Mesa/Boogie, he achieves a wide range from clean to high-gain sounds. His use of effects, particularly overdrive and chorus, allows him to express delicate yet dynamic nuances according to the song’s demands.

Additionally, Tagawa tends to differentiate his setups for live performances and recordings, employing natural compression through the DM-X during recording to create depth. This results in a sound that is both pleasant to the ear and enhances the overall ensemble of the band. His unique approach contributes to DEEN’s distinctive sound.

As a guitarist, his characteristics lie in a “supportive playing style that doesn’t overshadow the vocals” and “tone crafting that changes expression according to the scene,” which can be seen as the reason his sound resonates with listeners.

▶ Search official YouTube videos of DEEN

List of Amplifiers and Features

At the heart of Shinji Tagawa’s sound is the Hughes & Kettner flagship model, the “TriAmp MK II.” This versatile amplifier covers a wide range from clean to high-gain across six channels, combining clarity and a broad tonal range. Tagawa leverages these characteristics to switch seamlessly between sparkling cleans for arpeggios and cutting to a solid drive for solos. In DEEN’s pop-oriented songs, the clean channel is frequently utilized, highlighting the separation and airiness when playing chords.

He primarily uses the Mesa/Boogie 4×12 Recto Standard Cabinet, known for its heavy and punchy low-end and well-balanced mid-high frequencies. This combination with the TriAmp provides a stable sound for both studio recordings and live performances. The Mesa cabinet contributes to a rock-oriented sound, giving substantial thickness to arrangements like “Yume de Aru you ni.”

There have also been instances where Tagawa used Marshall heads in the past, particularly in live footage from the 1990s, showcasing the raw and clear sound characteristic of Marshall amplifiers. It is assumed that during DEEN’s early years, he incorporated Marshall to achieve a more rock-oriented edge.

Regarding amplifiers, Tagawa emphasizes “combination” over “differentiation,” focusing on reliability and consistency to build a stable sound for both live and recording settings. By integrating the DM-X, he can maintain a delicious drive feel while keeping the volume down, showcasing a unique approach to sound crafting not commonly found among other guitarists.

Through these amplifier choices, it is assumed that Tagawa achieves a balance between “flexibility that aligns with the song” and “a prominent lead tone.”

Types of Guitars Used and Features

Shinji Tagawa’s main guitar is the Fender Japan ST68 Yngwie Malmsteen Model, known for its scalloped fretboard that produces a unique touch and extended sustain. He has modified this guitar to fit his style, replacing the pickups with Lindy Fralin Strat Real ’54, which provides a sound that balances brilliance and soft midrange.

He uses Rotosound RH9-Orange Hybrid strings (09–46), which allow for easy bending on the high strings while maintaining a solid core on the low strings. This setup is particularly effective for lead playing in pop and rock ballads, offering a smooth and present performance. Additionally, he has equipped his guitar with a Groove Tubes Fat Finger, enhancing sustain and stabilizing the sound’s attack, which is crucial for live performance stability.

With this Fender Stratocaster as his centerpiece, Tagawa consistently produces a cohesive sound in both live and recording settings. Notable ballads like “Yume de Aru you ni” and “Tsubasa o Hirogete” feature his transparent and solid clean tone, playing a vital role in supporting his musicality. In heavier songs and solos, the Strat’s quick response and broad range tighten the overall sound.

Tagawa’s approach to guitar selection is characterized by a “long-term use of a single guitar” style, where he customizes his beloved instrument rather than frequently switching between multiple guitars. His commitment to modifying pickups and adding accessories to fit his playing style is a key aspect of his unique sound.

Thus, Tagawa’s guitar can be seen as a “uniquely evolved version of a classic Strat,” capable of delicately changing expression according to the song.

Effects and Pedalboard Setup

Shinji Tagawa’s sound crafting heavily relies on a diverse array of effects. His setup is primarily centered around overdrive and chorus, maintaining a simple yet effective configuration. However, the equipment used has varied over time and across tours, showcasing his flexible approach to achieving a wide range of sounds.

Notably, the DM-X used during recordings is a unique piece of equipment that allows for volume adjustment without compromising sound quality, providing a natural compression effect that enhances nuances in arpeggios and cleans. It is essential for maintaining stable volume while preserving natural harmonics during live performances.

For overdrive, Tagawa has long favored the Menatone Blue Collar. He initially used a red casing but later switched to the blue version. This pedal produces a bluesy, sticky drive sound, particularly prominent during solo sections. Additionally, he has incorporated the DigiTech Screamin’ Blues Overdrive/Distortion to vary the texture of distortion per song. The classic Ibanez TS9 Tube Screamer is also part of his arsenal, enhancing midrange presence and ensuring that his lead tones do not get buried in the band mix.

In terms of spatial effects, Tagawa utilizes BOSS CE series pedals (like the CE-2W and the purple CE-5), which are crucial for achieving his “transparent clean” sound. The modulation from the chorus symbolizes DEEN’s refreshing sound, playing a pivotal role in defining the texture of their songs. He has also previously used the BOSS SE-70, which contributed to enhancing chorus and spatial effects.

Other components include distortion sounds enhanced by the Providence Heat Blaster and emotional wah play with the VOX Wah Pedal. During live performances, he incorporates the BOSS FV-500 (volume/expression pedal) for dynamic control while playing. Furthermore, switching systems like the Providence PEC-2 and Free The Tone ARC-53M streamline the increasingly complex pedal operations, featuring both rack and floor setups.

In summary, Tagawa’s effects configuration balances “simple, standard equipment” with “more niche gear,” allowing for a wide range of expressive capabilities tailored to each song.

Tone Settings, EQ, and Mixing Approaches

Shinji Tagawa’s sound crafting goes beyond mere equipment selection; it involves meticulous EQ and mixing techniques aimed at maintaining presence while blending seamlessly into the band sound. DEEN’s songs are rooted in pop, where vocals take center stage, and an overly prominent guitar can disrupt the overall balance. Therefore, it is assumed that Tagawa consistently employs a “subtracting aesthetic” in his settings.

In terms of amplifier EQ settings, during clean tones, he tends to keep the bass slightly subdued while raising treble and presence. This approach accentuates the bright character of the Stratocaster, clarifying the articulation of arpeggios and cuts. The midrange is often set around 50-60%, allowing for a balanced separation from vocals and keyboards without overly emphasizing any frequency range.

For drive sounds, he raises the bass slightly while lowering treble to create a calm tone that is not piercing to the ears. During solo sections, he utilizes the Menatone Blue Collar and Ibanez TS9 to bring the midrange forward, achieving a lead tone that naturally cuts through the band sound. Tagawa avoids overly high-gain distortion, focusing instead on balancing thickness and clarity in his settings.

Moreover, the volume adjustment via the DM-X serves not just as a volume control but also contributes to a “natural compression feel” during recordings. This ensures that when mixed, the guitar does not overly stand out, providing a pleasant sound that harmonizes with other instruments. This natural compression is particularly effective when overlapping with acoustic guitars or synths.

Tagawa’s approach to effects is also distinctive; he applies chorus (like the BOSS CE-2W) not too deeply but rather in a subtle manner that creates a sense of movement without overpowering the overall atmosphere of the song. Delay and reverb are kept to a minimum, used primarily to enhance spatiality. During live performances, he likely fine-tunes settings according to the venue’s acoustics and PA environment, maintaining a “listener-friendly guitar sound.”

In the mixing stage, the guitar’s positioning is often centered rather than spread across the stereo field, allowing for a natural interplay with vocals, piano, and strings. This approach preserves DEEN’s ethos of “songs that highlight the vocals.” It is assumed that during live performances, the focus is more on “band cohesion” rather than stereo separation.

In summary, Tagawa’s sound crafting philosophy prioritizes “subtle yet beautiful presence.” The guitar is not a tool for self-assertion but rather an accompaniment designed to maximize the appeal of the song and vocals. This flexibility and delicacy resonate with listeners as a “sound that touches the heart.”

Affordable Alternatives to Recreate the Tone

To fully replicate Shinji Tagawa’s sound, high-end gear like the Fender Japan Yngwie model and Hughes & Kettner TriAmp MK II are required, but these can be quite expensive and challenging for beginners to obtain. Therefore, here are some affordable alternatives that can help achieve a sound similar to Tagawa’s, focusing on products available for around $100 to $500.

For guitars, models like the Yamaha PACIFICA series and Squier Classic Vibe Stratocaster are great options that offer a user-friendly experience. The Squier, being a Fender-affiliated brand, allows players to experience the transparency of clean tones and the bright sound characteristic of Stratocasters. Instead of replacing pickups with Lindy Fralin, using commercially available pickups like Fender Tex-Mex or Seymour Duncan SSL-1 can help achieve a more vintage sound akin to Tagawa’s.

Regarding amplifiers, while the Hughes & Kettner TriAmp MK II is a professional-grade and costly option, smaller models like the “Tubemeister 18” or “Spirit of Vintage” from the same brand are more affordable and suitable for home practice and small gigs. Additionally, the Roland JC-22 and BOSS KATANA series are excellent for recreating the clean tones frequently used in DEEN’s music. The KATANA series, in particular, offers a wealth of built-in effects, making it easy for beginners to experiment with a “clean + chorus” setup.

For effects, Tagawa’s beloved Menatone Blue Collar and Providence Heat Blaster are rare and expensive, so alternatives like the BOSS SD-1 Super OverDrive or JHS 3 Series Overdrive are recommended. These options provide a similar midrange push and natural distortion character at a more accessible price point. Furthermore, for chorus alternatives to the BOSS CE-2W, consider the BOSS CH-1 Super Chorus or TC Electronic Corona Chorus, which can effectively enhance clean tones and recreate Tagawa’s refreshing sound.

While the DM-X is a unique piece of equipment for volume adjustment and compression, alternatives like the MXR Dyna Comp or BOSS CS-3 can provide a similar nuance. These compressors are particularly effective during arpeggios and clean-focused playing, enhancing the clarity of notes and contributing to the recreation of Tagawa’s sound.

In conclusion, achieving Tagawa’s “transparent guitar sound that enhances the vocals” does not necessarily require expensive professional gear. By thoughtfully combining standard models available on the market, one can get closer to his sound. The key lies not in the equipment itself but in understanding which frequencies to emphasize and when to apply effects, which is the first step toward sound replication.

Summary and Conclusion

Reflecting on Shinji Tagawa’s sound crafting, its essence lies in “guitar tones that blend seamlessly into the band sound while maintaining a distinct presence.” His sound design prioritizes enhancing the atmosphere of the song and the nuances of the vocals without relying on flashy distortion or excessive effects, making it an indispensable element of DEEN’s musical identity. Notably, his sparkling clean arpeggios and subtle chord work behind the vocals embody his unique aesthetic.

The core of his sound is supported by a modified Stratocaster based on the Fender Japan ST68 Yngwie Malmsteen Model and the wide-ranging sound of the Hughes & Kettner TriAmp MK II. Additionally, overdrive pedals like the Menatone Blue Collar and Ibanez TS9 allow for a guitar that “steps forward only when necessary.” Furthermore, the subtle use of spatial and corrective effects, such as chorus and compression, contributes to a pleasant, ear-friendly resonance.

It is noteworthy that Tagawa does not seek to showcase the individuality of his equipment but rather focuses on “how to play” and “how to utilize” them. His attention to detail, from strings to accessories, enhances sustain with the Groove Tubes Fat Finger and adds natural compression with the DM-X, all of which accumulate to form his unique tone. This results in a simple yet profound and warm sound.

For readers aspiring to replicate Tagawa’s sound, it is not necessary to invest in expensive gear. The key is to maintain a bright clean tone, appropriately bring the midrange forward, and avoid excessive effects. With thoughtful setups and techniques, even affordable equipment can get you close to his sound.

In conclusion, Tagawa’s sound crafting embodies “subtle yet beautiful presence.” The guitar serves not as a tool for self-assertion but as an accompaniment aimed at maximizing the appeal of the song and vocals. This flexibility and delicacy resonate with listeners, creating a “sound that touches the heart.”