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

関連記事

【Kensuke Kita】How to Recreate the ASIAN KUNG-FU GENERATION Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.08.292025.09.04

[Teru] – How to Recreate the MY FIRST STORY Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.042025.09.08

[Kenichi Tahara] – How to Recreate the Mr.Children Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

Introduction (Overview of Tone)

Shogo Hamada is a unique presence among Japanese rock singer-songwriters, captivating fans with his warm guitar sound and powerful messages since the 1970s. His sound has evolved over the decades, yet he has maintained a strong emotional core in his music.

One of the most distinctive aspects of his sound design is his ability to blend acoustic guitars with electric and hybrid models. On stage, he often features high-end acoustic guitars like Terry’s Terry and Martin, showcasing his expressive playing style through both powerful arpeggios and delicate strumming.

Iconic songs such as “J.BOY,” “Kanashimi wa Yuki no You ni,” and “Mou Hitotsu no Dooyoubi” prominently feature acoustic sounds, which serve as the foundation of his music, layered with band arrangements and electric guitar elements. The lively rhythm in “J.BOY” and the intricate acoustic intro of “Mou Hitotsu no Dooyoubi” exemplify how Hamada’s guitar choices and playing style contribute significantly to his signature sound.

In recent live performances, he has utilized the Fender Acoustasonic Telecaster, achieving a unique sound that transitions seamlessly between acoustic and electric tones. His choice of colors for different songs adds a unique flair, making it a topic of discussion among fans. Coupled with accessories like his SAINTS necklace, he leaves a strong impression both sonically and visually.

In essence, Shogo Hamada’s sound design is rooted in acoustic foundations while incorporating contemporary technology and hybrid gear. The compelling expressiveness he delivers in live performances is supported by meticulously chosen guitars and setups.

In the following sections, we will delve into the amplifiers, guitars, and effects that Shogo Hamada has used over the years, exploring how his distinctive sound is crafted.

▶ Search official YouTube videos of Shogo Hamada

List of Amplifiers and Features

As a singer-songwriter primarily focused on acoustic guitar, Shogo Hamada does not rely on high-volume amplifiers like Marshall or Mesa Boogie, which are typical for electric guitarists. Instead, his choice of amplifiers is driven by the need to reproduce the natural resonance of acoustic guitars in large venues, often in conjunction with a PA system.

His typical setup involves using acoustic guitar-specific amplifiers or preamps to send signals to the PA mixer. High-end acoustic guitars like Terry’s Terry and Martin are known for their strong acoustic projection, so rather than pushing the amplifier to the forefront, he often combines pickups with microphones to create a natural and powerful sound that resonates throughout the venue.

When using the Fender Acoustasonic Telecaster, he likely pairs it with clean, wide-range Fender amplifiers (e.g., Twin Reverb or Deluxe Reverb) to create a suitable sound on stage. Since the Acoustasonic Telecaster made its debut in live performances after 2011, it is presumed that the amplifier selection has shifted towards maximizing the clean tones that suit the electric-acoustic characteristics of the guitar.

In earlier periods, particularly during the 1980s and 1990s, when he used the Ovation Super Adamas, he likely combined it with Roland or YAMAHA acoustic amplifiers to emphasize the direct sound typical of electric-acoustic guitars. While there is no official gear list confirming this, it is assumed that reliable brands were used, considering the stage conditions of that time.

Overall, Shogo Hamada’s amplifier choices prioritize enhancing the natural sound of the guitar rather than introducing strong distortion or effects. His focus is on achieving “clarity,” “expansion,” and “warmth.” Particularly in large venue tours, the essence of Hamada’s sound is not solely created by the amplifier but is a collaborative effort with the PA engineer.

In summary, Shogo Hamada’s amplifier configuration is optimized according to the stage size and guitar characteristics, aiming to deliver a natural and expansive acoustic tone without overwhelming coloration.

Types of Guitars Used and Features

In Shogo Hamada’s sound design, the guitar itself is the most crucial element. Acoustic guitars, in particular, form the core of his sound, and he skillfully employs a variety of guitars in live performances, recordings, and video works. The prominent brands he uses are Terry’s Terry and Martin, both known for their high quality and distinctive character, making them favorites among professionals.

One standout model is the Terry’s Terry Premium Terry PTJ-100 German/Jacaranda. Crafted by Terada Gakki in Aichi, this guitar features rare Brazilian rosewood (Jacaranda) for its sides and back. Priced at approximately 1.32 million yen, it delivers an overwhelming resonance, depth, and sustain on stage, making it a fitting companion for Hamada’s powerful vocals. It has been used as his main acoustic guitar in many live performances.

During the “ON THE ROAD 1995” tour, he was seen using a Terry’s Terry (model unknown). Based on the headstock shape and body design, it is highly likely that it is from the same brand, indicating his trust in Terry’s Terry during that period.

Additionally, he has a history of using the Martin Custom Shop CTM HD-28V TC, a limited edition model with only 20 units worldwide. Known for its rich and brilliant tone, it has been widely utilized in recordings and live performances, particularly shining in ballads and lyrical songs.

In recent years, he has also been seen using Gibson acoustic guitars, although the specific models have not been confirmed. He has been spotted using sunburst and natural color models, suggesting he chooses them based on the stage atmosphere. Furthermore, during the 1980s and 1990s, he actively employed the Ovation Super Adamas, integrating popular trends of the time into his electric-acoustic sound.

One of his notable recent choices is the Fender Acoustasonic Telecaster. This hybrid model allows for seamless transitions between acoustic and electric sounds and has frequently appeared in tours since 2011. He utilizes three color variants—sunburst, Olympic white, and black (non-commercial model)—to match the character of each song. For instance, he used the sunburst version in the 2011 song “A NEW STYLE WAR” and the white version in the 2015 song “Hikari no Ito,” showcasing a cohesive performance.

By skillfully selecting from these guitars, Shogo Hamada can express a wide range of sounds, from the delicate and poignant tones in “Mou Hitotsu no Dooyoubi” to the vibrant strumming in “J.BOY.” His guitar selection is directly linked to the breadth of his musical expression, underscoring its central role in his sound design.

Overall, Shogo Hamada’s guitar selection prioritizes “resonance that integrates with his voice,” demonstrating a commitment to choosing the most suitable instrument for each era. This has allowed him to continuously achieve diverse sounds while maintaining an acoustic foundation.

Effects and Pedalboard Setup

Shogo Hamada does not build an elaborate effects board like many electric guitarists; instead, he focuses on preserving the natural resonance of his acoustic guitars. His effects setup is minimal, primarily aimed at sound quality enhancement and spatial effects.

Typically, he employs a Preamp/DI (Direct Box) when outputting acoustic guitar signals. This equipment is essential for sending stable signals to the PA mixer, with prominent brands like L.R. Baggs and Fishman being used. Given that his main acoustic guitars, such as Terry’s Terry and Martin, are equipped with pickups, it is assumed that he routes the signals through these devices to ensure consistent sound quality.

Additionally, he often uses reverb and delay to add natural depth to the acoustic sound. In large venue tours, he likely utilizes effects not only to rely on the PA’s reverb but also to create a pleasant ambiance for himself on stage. Standard spatial effects from BOSS, such as the “RV series” and “DD series,” are known for their high reproducibility and compatibility with acoustic sounds.

When using the Fender Acoustasonic Telecaster, he may occasionally need to produce a more electric sound, adding light overdrive or compression to tighten the tone. Common choices include the BOSS OD-3 (overdrive) and CS-3 (compressor). Based on live footage, it appears he avoids heavy distortion, using these effects to enhance “attack” and ensure the guitar stands out within the band ensemble.

During the era when he used the Ovation Super Adamas, it is assumed he utilized popular Roland and YAMAHA effects to create a natural electric-acoustic sound. This setup likely aimed to correct the linear sound of the piezo pickup using compression and reverb without seeking heavy distortion.

In summary, Shogo Hamada’s effects board is characterized by a “minimalist configuration,” providing necessary corrections and spatial enhancements without disrupting the musical narrative.

Thus, while Shogo Hamada’s effects setup may not be flashy, it is a reliable configuration that effectively enhances the sound when necessary. It serves as a supportive element that does not detract from the musical expression, allowing the vocals to shine.

Tone Settings, EQ, and Mixing Approaches

Shogo Hamada’s sound may initially seem simple, primarily based on acoustic elements, but it is actually the result of meticulous settings and mixing processes. His fundamental approach to sound design is to “extend the natural resonance,” maximizing the acoustic guitar’s inherent sound while ensuring it does not get lost in the band mix.

Regarding EQ settings, there is a strong tendency to cut lows and boost mids to highs for acoustic guitars. Specifically, reducing frequencies below 80-120Hz helps avoid masking from the bass drum and bass, ensuring the guitar remains clear. By slightly boosting the 2kHz-4kHz range, he enhances the attack during strumming and the clarity of chords.

In ballads or softer songs, he often adds airiness in the high frequencies (around 8kHz), while in band arrangements that require thickness, he may retain some lows to emphasize the mid-low presence. The adjustments are largely made in collaboration with the PA engineer, contributing to the overall quality of Hamada’s live sound.

The use of reverb and delay varies significantly depending on the venue size. In arena-class venues, natural reverberation spreads, so he may add a shorter reverb to emphasize the attack and prevent the sound from becoming muddy. Conversely, in halls or smaller venues, he might apply a light delay to create depth, enhancing the overall drama of the songs. Notably, in ballads like “Mou Hitotsu no Dooyoubi” and “Kataomoi,” he uses deeper reverb to create an enveloping sound.

In scenarios where a more electric sound is desired (e.g., “J.BOY”), he uses the Fender Acoustasonic Telecaster, applying light compression and overdrive to ensure the guitar does not get buried in the band mix while providing a driving feel. EQ-wise, he emphasizes the 2kHz-3kHz range to highlight the rhythm guitar’s cutting.

Additionally, since Shogo Hamada switches guitars for different performances, it is crucial to correct each guitar’s unique characteristics in the PA. For instance, with a guitar like Terry’s Terry, which has rich lows and long sustain, he might tidy up the mids, while with a Martin HD-28V, known for its brilliance, he might add a bit of low end for thickness. This approach ensures optimal balance for each song and guitar.

A distinctive feature of his mixing is the thorough coexistence with vocals. Since Hamada’s songs center around vocals, the guitar is adjusted to support the singing. EQ settings are designed to avoid encroaching on the vocal range (1kHz-3kHz), while applying light delay in the same range creates a balance where “there is sound expansion without being overly assertive.”

Moreover, it is assumed that monitoring on stage is also carefully considered. To facilitate rhythm playing, the monitor EQ likely emphasizes attack, differing from the signal sent to the front speakers. This maintains performance stability while delivering a natural and pleasant resonance to the audience.

In summary, Shogo Hamada’s settings are built on three pillars: “corrections that do not compromise the guitar’s sound,” “a balance that does not interfere with vocals,” and “EQ and spatial processing optimized for each song.” This style serves as a model approach for acoustic-centric artists, honed through years of experience and trust with his engineering team.

Thus, the core of Shogo Hamada’s sound design lies in “a simple yet meticulously adjusted natural sound,” which is not merely a matter of gear selection but a comprehensive design that encompasses PA and mixing.

Affordable Alternatives to Recreate the Tone

While Shogo Hamada’s sound design is centered around high-end models like Terry’s Terry and Martin, there are ways for beginners and intermediate players to achieve a similar tone at a relatively low cost. The key is to “preserve the natural resonance of the acoustic while applying minimal corrections.” Here, we introduce gear that can be purchased for around $100 to $500.

For guitars, even if Martin or Gibson is out of reach, YAMAHA acoustic guitars (FG/FS series) offer excellent cost performance, capable of reproducing bright and resonant tones that closely resemble Hamada’s sound. This is particularly beneficial for songs like “Mou Hitotsu no Dooyoubi,” where YAMAHA’s clear high frequencies shine.

For stage use, entry-level electric-acoustic models (e.g., YAMAHA APX series, Takamine GD series) are ideal. Considering live performance, having a built-in pickup for direct line connection is crucial, allowing players to experience the usability similar to Hamada’s Ovation or Terry’s Terry.

For amplifiers, Roland AC-33 Acoustic Chorus and BOSS Acoustic Singer Live LT are affordable options suitable for home practice or small gigs. These amplifiers can reproduce natural acoustic tones and come with built-in reverb and chorus functions, eliminating the need for additional effects while easily achieving a sense of spaciousness akin to Hamada’s sound.

For effects, BOSS products cover most needs. The BOSS RV-6 (reverb) can add natural reverb, creating the hall effect that Hamada frequently employs. Additionally, using the BOSS CS-3 (compressor) can help tighten the attack of strumming, enhancing the rhythm guitar’s stability that supports the vocals.

If looking for a multi-effects solution, ZOOM AC-3 or Line 6 POD Go offer cost-effective options with acoustic EQ, reverb, and DI functions, allowing players to get closer to the Hamada sound in one unit. These devices feature user-friendly interfaces, making them suitable for beginners and capable of handling stage performances.

In summary, to recreate Shogo Hamada’s sound affordably, a simple combination of “domestic acoustic guitars,” “small acoustic-specific amplifiers,” and “effects centered around reverb and compression” can yield effective results. These alternatives can serve as substitutes for high-end models without feeling out of place, allowing players to experience the essence of Hamada’s sound in acoustic performances or small gigs.

For beginners aiming to experience Shogo Hamada’s sound, starting with the equipment configuration mentioned above is a practical approach. It allows for a close approximation of his sound while keeping costs manageable.

Summary and Conclusion

Reflecting on Shogo Hamada’s sound design, its core lies in “simple yet sincere sound engineering.” Rather than embellishing with extravagant gear, he respects the natural resonance of the guitar, harmonizing it meticulously with the band and PA to create the sound that supports his music.

His choice of acoustic guitars, particularly high-end models like Terry’s Terry and Martin, provides the depth and conviction needed for his songs. Furthermore, his willingness to incorporate models like Ovation and Fender Acoustasonic Telecaster demonstrates his adaptability to new technologies and expressions over the years. This balance of “unchanging essence” with “evolving approaches” is what makes Hamada’s sound so captivating.

Regarding amplifiers and effects, he avoids excessive ornamentation, adding necessary processing within a range that does not compromise naturalness. His focus on practical equipment like DI, reverb, and compression reflects his philosophy as a singer-songwriter, ensuring that adjustments do not overshadow the vocals.

Moreover, the close collaboration with PA and engineering teams is crucial in realizing the sound during live performances. His sound design is not merely about individual guitarist settings but encompasses the overall sound that resonates throughout the band and venue, designed to reach the audience effectively.

For fans and beginners aspiring to emulate Shogo Hamada’s sound, it is not essential to invest in high-end guitars. A combination of reliable domestic acoustic guitars, acoustic-specific amplifiers, and effects like reverb and compression can yield satisfactory results. The key is to focus on “guitars that enhance the vocals,” “EQ that preserves resonance,” and “a simple, efficient setup.”

In summary, Shogo Hamada’s sound design encapsulates “guitars that accompany the song,” “corrections that enhance naturalness,” and “flexible gear selection according to the times.” As a result, his music continues to resonate across generations, delivering enduring emotional impact during live performances.

Recreating Shogo Hamada’s sound is not merely about copying gear; it is about learning the attitude of engaging sincerely with music. This sincerity is the primary reason he attracts many fans and represents the essence of sound design.