[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 effortlessly 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 presence with excellent clarity. Iconic songs like “I Want to Steal You Away” and “As If in a Dream” showcase his impressive use of transparent arpeggios and emotional solos.

Tagawa’s sound is primarily based on a sharp yet full tone derived from a Stratocaster, particularly a modified Fender Japan Yngwie Malmsteen model that 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 tones. His use of overdrive and chorus effects allows him to express delicate yet dynamic nuances tailored to each song.

Moreover, Tagawa tends to differentiate his setups for live performances and recordings, employing natural compression through the DM-X during recording to create depth. This approach results in a pleasant sound that is easy on the ears and enhances the overall ensemble of the band. Such unique methods contribute to DEEN’s one-of-a-kind sound.

His playing style is characterized by a “supportive approach that does not overshadow the vocals” and “sound crafting that changes expression according to the scene,” which can be seen as the reason why his sound resonates with listeners.

▶ Search official YouTube videos of DEEN

List of Amplifiers and Features

The core of Tagawa’s sound is anchored by the Hughes & Kettner flagship model, the “TriAmp MK II.” This versatile amplifier covers a wide range from clean to high-gain across its six channels. Tagawa takes advantage of this feature, switching between sparkling cleans for arpeggios and cutting tones for solos. In particular, the clean channel is frequently used in DEEN’s pop-oriented songs, highlighting the separation and airiness when playing chords.

He primarily uses the Mesa/Boogie 4×12 Recto Standard Cabinet, known for its heavy, punchy low-end and well-balanced mid to 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 DEEN’s songs, such as in the grand arrangements of “As If in a Dream.”

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

Regarding amplifiers, Tagawa seems to focus on “combination” rather than “differentiation,” emphasizing reliability and consistency to build a stable sound for both live and recording settings. By integrating the DM-X, he can maintain the delicious drive of the amp while keeping the volume manageable, showcasing a unique approach to sound crafting that sets him apart from other guitarists.

Through these amplifier choices, it is assumed that Tagawa’s sound achieves a balance between “flexibility that complements 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 fingerboard that produces a unique touch and extended sustain. He has modified this guitar to suit his style, replacing the pickups with Lindy Fralin Strat Real ’54, which provides a sound that balances brightness 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 enables smooth and present lead playing, especially in pop and rock ballads. Additionally, he has a Groove Tubes Fat Finger attached to the headstock to enhance sustain and stabilize the attack, which is likely a consideration for live performance stability.

With this Fender Stratocaster at the center, Tagawa consistently creates a cohesive sound for both live performances and recordings. In particular, songs like “As If in a Dream” and “Spread Your Wings” feature impressive clean tones that are transparent and solid, playing a crucial role in supporting his musicality. For heavier songs and solos, the Strat’s quick attack and wide range help tighten the overall composition.

Tagawa’s approach to guitar selection is characterized by a “long-term use of one guitar” style, focusing on customizing a beloved instrument rather than frequently switching between multiple guitars. His commitment to fitting the guitar to his playing style through pickup swaps and accessory additions is a key aspect of his unique sound.

Thus, Tagawa’s guitar can be seen as a “uniquely evolved version based on 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, reflecting a simple yet effective configuration. However, the equipment he uses tends to change with different eras and tours, showcasing his flexible approach that supports his wide-ranging sound.
A notable piece of equipment is the DM-X, which allows for volume adjustments without compromising sound quality, providing a natural compression effect that enhances nuances in arpeggios and cleans. This makes it an essential tool 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 that particularly shines during solo sections. Additionally, he has incorporated the DigiTech Screamin’ Blues Overdrive/Distortion to vary the texture of distortion depending on the song. The classic Ibanez TS9 Tube Screamer is also part of his arsenal, enhancing midrange presence to ensure that lead tones do not get buried in the band mix.

In terms of spatial effects, BOSS CE series pedals (like the CE-2W and the purple CE-5) play a crucial role in supporting Tagawa’s “transparent clean” sound. The modulation provided by the chorus symbolizes the refreshing quality unique to DEEN’s sound, serving as a key element in defining the texture of their music. He has also previously used the BOSS SE-70, which contributed to reinforcing chorus and spatial effects.

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

Overall, Tagawa’s effects configuration balances “simple, classic gear” with “more niche equipment,” 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 aims to maintain “presence while blending into the band sound” through meticulous EQ and mixing techniques. DEEN’s songs are rooted in pop, centered around vocals, and if the guitar stands out too much, it 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 lower while raising the treble and presence. This accentuates the bright character typical of a Stratocaster, ensuring clarity in arpeggios and cuts. The mids are often set around 50-60%, achieving a balance without overly emphasizing frequencies that might clash with vocals and keyboards.

For drive sounds, he raises the bass slightly while lowering the treble to create a calm tone that is not piercing to the ears. Especially during solo sections, he utilizes the Menatone Blue Collar and Ibanez TS9 to push the midrange forward, allowing the lead tone to naturally cut through the band sound. Tagawa seems to avoid excessive high-gain distortion, focusing instead on a balance of “thickness and clarity.”

Additionally, the volume adjustments via the DM-X serve not only as a volume control but also contribute to a “natural compression feel” during recordings. This ensures that the guitar does not overly stand out when mixed, providing a pleasant sound that harmonizes with other instruments. This natural compression is particularly effective in sections where acoustic guitars or synths overlap.

His approach to effects is also distinctive, with chorus (like the BOSS CE-2W) applied not too heavily 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, primarily used to enhance spatial qualities. During live performances, he likely fine-tunes settings according to the venue’s acoustics and PA environment, maintaining a consistently “easy-to-listen-to guitar sound.”

In the mixing stage, the guitar’s positioning often leans towards a central presence rather than spreading it widely across the stereo field. This allows for a natural interaction with vocals, piano, and strings, preserving DEEN’s “song-centric” musical world. It is assumed that during live shows, the focus is more on “band cohesion” rather than stereo effects.

Thus, Tagawa’s sound crafting philosophy is rooted in a “harmonious approach” that avoids flashy displays of the guitar. The specific EQ settings and effects usage may be simple, but it is this sense of balance that makes his sound unique.

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 is necessary; however, these can be quite expensive and difficult for beginners to acquire. Therefore, here are some affordable alternatives that can help approximate Tagawa’s sound, focusing on products available for around $100 to $500.

For guitars, the Yamaha PACIFICA series and Squier Classic Vibe Stratocaster are excellent choices as user-friendly Strat-style models. Particularly, Squier, being a Fender-affiliated brand, allows players to experience the transparency of clean tones and the bright sound characteristic of a Strat. Instead of swapping pickups for Lindy Fralin, using commercially available pickups like Fender Tex-Mex or Seymour Duncan SSL-1 can help achieve a more vintage sound reminiscent of Tagawa’s style.

Regarding amplifiers, while the Hughes & Kettner TriAmp MK II is quite pricey and professional-grade, smaller models like the “Tubemeister 18” or “Spirit of Vintage” from the same brand are more affordable and suitable for home practice or small gigs. The Roland JC-22 and BOSS KATANA series are also great options, known for their excellent clean tones, making them ideal for recreating the transparent cleans often 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 basic “clean + chorus” setup.

For effects, Tagawa’s favorites like the Menatone Blue Collar and Providence Heat Blaster are rare and on the expensive side, so alternatives like the BOSS SD-1 Super OverDrive or JHS 3 Series Overdrive are recommended. These pedals offer a similar midrange push and natural distortion character at a more accessible price point. Additionally, for chorus, the BOSS CH-1 Super Chorus or TC Electronic Corona Chorus can serve as effective substitutes for the CE-2W, enhancing clean tones and helping to recreate Tagawa’s refreshing sound.

While the DM-X is a unique piece of equipment for volume control and compression, alternatives like the MXR Dyna Comp or BOSS CS-3 can provide similar nuances. These compressors are particularly effective in refining the clarity of arpeggios and clean-focused playing, which is key to achieving Tagawa’s sound.

In summary, it is possible to approximate Shinji Tagawa’s “transparent guitar sound that enhances the vocals” without necessarily investing in high-end professional gear. The focus should be on maintaining bright clean tones, appropriately pushing the midrange, and avoiding excessive effects. By thoughtfully combining standard models, players can get closer to Tagawa’s sound.

Summary and Conclusion

Reflecting on Shinji Tagawa’s sound crafting, its essence lies in “guitars that blend into the band sound while demonstrating clear presence.” His sound design prioritizes enhancing the atmosphere of the song and the nuances of the vocals, avoiding reliance on flashy distortion or excessive effects, making it an essential element of DEEN’s musical identity. Particularly, his sparkling clean arpeggios and subtle chord work behind the vocals embody his unique aesthetic.

At the core of his sound are a modified Stratocaster based on the Fender Japan ST68 Yngwie Malmsteen Model and the Hughes & Kettner TriAmp MK II, which provide a wide range of tones. His use of overdrive pedals like the Menatone Blue Collar and Ibanez TS9 allows for a guitar that “comes forward only when needed.” Additionally, he subtly employs spatial and corrective effects like chorus and compression to create a pleasant resonance.

Notably, Tagawa does not showcase the individuality of his gear but rather selects based on “how to play” and “how to utilize” it. His attention to detail, from strings to accessories, such as reinforcing sustain with the Groove Tubes Fat Finger and adding natural compression with the DM-X, contributes to his unique tone. This results in a sound that is simple yet rich and warm.

For readers looking to recreate Tagawa’s sound, it is not necessary to invest in expensive gear. The key is to maintain bright clean tones, appropriately push the midrange, and avoid excessive effects. With thoughtful combinations of standard models, it is possible to get close to his sound.

In conclusion, the essence of Shinji Tagawa’s sound crafting is “subtle yet beautiful presence.” The guitar serves not as a tool for self-assertion but as an accompaniment that maximizes the charm of the song and vocals. This philosophy of flexibility and delicacy resonates with many listeners as “a sound that touches the heart.”