[Shunichi Tanabe] How to Recreate the BLUE ENCOUNT Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shunichi Tanabe, the frontman and guitarist of BLUE ENCOUNT, is renowned for his powerful and emotional vocals, complemented by solid and robust guitar playing. His guitar sound incorporates elements of alternative rock and emo, while also embodying the unique energy and melodic sense of Japanese rock.

Tanabe’s sound design is characterized by the ability to maintain clarity and fullness even during intense strumming. For instance, in songs like “Motto Hikari wo” and “Survivor,” his strong chord work based on crunch tones stands out, driving the band’s overall momentum. In more emotional tracks like “LAST HERO” and “Polaris,” he employs delicate guitar tones and delay effects to create heartfelt lead phrases.

Thus, his sound transcends mere high-gain rock tones; it is meticulously crafted through a combination of guitar, amp, and effects to evoke the dynamics of live performances and the atmosphere of each song. His choice of boutique amps and high-quality domestic guitars reflects a deep commitment to his sound.

In the following sections, we will thoroughly explore the amplifiers, guitars, effects, and specific sound settings used by Shunichi Tanabe of BLUE ENCOUNT. If you’re looking to replicate his sound in your own environment, this guide will be invaluable.

▶ Search official YouTube videos of BLUE ENCOUNT

List of Amplifiers and Features

One of the crucial elements supporting Shunichi Tanabe’s guitar sound is his choice of amplifiers. His gear history shows a wide range of selections from boutique to high-gain amps, which he switches according to the mood of the songs and the live environment. Below is a summary of his representative amplifiers along with their features.

Tanabe’s selection of these amps is driven by the wide range of tones required for different songs. The MATCHLESS DC-30 excels in clean to crunch settings, allowing beautiful overtones during open chord arpeggios and strumming. In contrast, the Diezel Herbert MKⅡ delivers a thick sound with tight lows and powerful gain, making it perfect for rock numbers. The Divided by 13 is ideal for reproducing delicate nuances, essential for emotional lead play.

In live settings, he often combines these amps for different scenarios. For example, during large festival stages, he may primarily use the Diezel for its power, while in studio recordings, he might emphasize the midrange with the Divided by 13. This flexibility allows BLUE ENCOUNT’s songs to maintain a cohesive feel while creating different atmospheres for each track.

Overall, Shunichi Tanabe’s amp selection balances versatility and expressiveness, making it an ideal choice for a rock band guitarist. It is highly likely that he will continue to use a similar setup in future live performances and recordings.

Types of Guitars Used and Features

The core of Shunichi Tanabe’s sound lies in his diverse collection of guitars. BLUE ENCOUNT’s songs range from emotional ballads to aggressive rock tunes, allowing him to use various guitars that match the character of each piece. Here, we introduce some of his representative guitars, along with their features and usage contexts.

Tanabe skillfully alternates between the thickness of a Les Paul and the sharp sound of Telecaster-type guitars depending on the situation. The Gibson Custom Les Paul Standard shines in rock numbers with intense strumming, creating BLUE ENCOUNT’s robust sound. Meanwhile, the Psychederhythm and Sago Telecaster types allow for delicate expression, fitting songs that emphasize lyrical content or arpeggios.

Additionally, his use of HISTORY brand guitars is notable. They offer a good balance of cost-performance and quality, blending seamlessly with his playing style. Modifications such as pickup swaps further personalize his tone, showcasing his dedication as a guitarist.

In summary, Shunichi Tanabe’s guitar selection aims for a balance of thickness and delicacy, ingeniously crafted to achieve the optimal sound for each song. His approach to using different guitars for live performances and recordings is a crucial element supporting BLUE ENCOUNT’s diverse musicality.

Effects and Pedalboard Setup

When discussing Shunichi Tanabe’s sound, one cannot overlook the meticulously crafted effects board. He relies on reputable brands to ensure consistent sound reproduction during live performances. His frequent use of professional-grade pedals from brands like FREE THE TONE and TC Electronic reflects his commitment to quality as a professional.

Tanabe’s effects board balances practicality and versatility. The FREE THE TONE system supports a reliable signal chain, ensuring stable sound during live performances. His adept use of delay and pitch shifters adds depth to lead phrases and imparts a unique atmosphere to songs.

Moreover, the use of two different volume pedals highlights his commitment to dynamic control. He performs subtle volume adjustments for quiet parts and dramatically increases volume during choruses or lead solos, captivating the audience with his performance.

In this way, Shunichi Tanabe’s pedalboard possesses “flexibility to adapt to different songs,” suggesting that there is a calculated intention behind his choice and arrangement of effects.

Tone Settings, EQ, and Mixing Approaches

Shunichi Tanabe’s sound is not merely a combination of gear; it is completed through EQ balance, amp channel selection, and mixing processes during live performances and recordings. BLUE ENCOUNT’s songs span from ballads to upbeat rock, requiring skillful adjustments in settings according to the situation.

Amp Setting Trends
When using crunch amps like the MATCHLESS DC-30, he tends to keep the gain low while setting the master volume high to allow rich overtones. This ensures that even during intense strumming, the sound remains clear and does not get buried in the mix. Conversely, when using the Diezel Herbert MKⅡ, he likely emphasizes the gain channel while avoiding excessive bass, focusing on midrange clarity. This balances the thickness of rhythm guitar with vocal clarity.

EQ Adjustments
Tanabe’s sound is fundamentally “midrange-focused.” To prevent the guitar from getting buried in the band mix, he likely keeps the bass around 50-70Hz moderate while slightly boosting the low-mid frequencies between 250Hz-500Hz. High frequencies are emphasized around 3kHz-4kHz for attack, while frequencies above 6kHz are slightly cut to avoid harshness.

Song-Specific Adjustments
For example, in upbeat tracks like “Motto Hikari wo” and “Survivor,” he creates a tight and driving sound by combining overdrive with a crunch amp. In contrast, for emotional songs like “Polaris” and “LAST HERO,” he switches to deeper delay settings, emphasizing spatial expansion. The stereo delay processing utilizing the NOVA DELAY significantly enhances the thickness of ballads.

Volume Control and Dynamics
Using volume pedals (BOSS FV-500H and Shin’s Music PERFECT VOLUME), he creates dramatic dynamic shifts, lowering the volume to a pianissimo level during quiet sections and then dramatically increasing it during choruses or lead solos. This approach prevents monotony in his playing and captivates the audience.

Mixing Techniques
In recordings, double-tracking guitars and panning them left and right is a common technique to create a wall of sound. By playing different characters of Les Paul and Telecaster types on either side, he achieves both width and depth. Additionally, studio engineers often apply light compression to preserve transients, enhancing the overall sound.

Summary
Shunichi Tanabe’s sound design is built on three pillars: “midrange-focused EQ that supports the entire band,” “adjustments of effects and dynamics according to the song,” and “utilization of amp character.” His choices in gear and playing style, along with processing at the PA and mixing stages, contribute to a comprehensive sound design.

Affordable Alternatives to Recreate the Tone

Shunichi Tanabe’s actual gear includes high-end boutique amps like MATCHLESS and Divided by 13, as well as high-quality limited-production guitars from Psychederhythm and Sago. However, it is not realistic for beginners or intermediate players to acquire the same equipment right away. Therefore, here we introduce commercially available models and effects that are relatively affordable, providing approaches to replicate the BLUE ENCOUNT sound.

By assembling these alternative pieces of gear, you can get closer to Tanabe’s “sound that balances thickness and transparency.” In particular, the combination of the Epiphone Les Paul and BOSS Katana offers excellent cost-performance, making it manageable for beginners to intermediate players.

Moreover, delay and overdrive are essential items. Applying a light delay to create depth or using the SD-1 for a subtle boost in the midrange can replicate the passionate and poignant sound characteristic of BLUE ENCOUNT. Additionally, incorporating the BOSS DD-8 and DigiTech Whammy Ricochet can add expression to your music.

In summary, “using both Les Paul and Telecaster types for guitars,” “substituting with BOSS Katana or Fender Hot Rod for amps,” and “prioritizing overdrive and delay as essential pedals” represent the most realistic first steps toward achieving Tanabe’s sound.

Summary and Conclusion

Shunichi Tanabe’s sound design transcends the boundaries of rock guitar, constructed to embody the emotional world of BLUE ENCOUNT. Its essence lies in the coexistence of “thickness and delicacy.” During live performances, he leads the band with powerful strumming that inspires the audience, while in studio work and ballads, he weaves spatial and emotional tones, showcasing his duality.

His gear choices reflect this as well, utilizing thick and robust guitars like the Gibson Custom Les Paul Standard alongside delicate models from Psychederhythm and Sago, allowing him to portray different characters for each song. His amp selection ranges from the organic crunch of the MATCHLESS DC-30 to the high gain of the Diezel Herbert MKⅡ and the midrange focus of the Divided by 13, supporting the wide range of BLUE ENCOUNT’s music.

Furthermore, examining his effects board reveals an active incorporation of spatial effects like delay and pitch shifters, adding depth to leads and arpeggios. The strategic use of volume pedals significantly enhances the dynamics and emotional expression of Tanabe’s performances, resulting in captivating live shows.

While it may be challenging for beginners to fully replicate his sound, it is entirely possible to incorporate its essence. The key points are “midrange-focused EQ,” “combination of overdrive and crunch,” and “depth through delay.” By focusing on these three aspects, you can approach the passionate and poignant sound characteristic of BLUE ENCOUNT.

Finally, it is essential to emphasize that Shunichi Tanabe’s sound design serves to support the vocals. The guitar does not overshadow but resonates with the vocals, delivering the overall emotion of the song to the audience. This approach is one of his greatest charms and a reason why BLUE ENCOUNT’s music moves so many hearts.

If you are pursuing the BLUE ENCOUNT sound, it is crucial to maintain the perspective of “how to support the entire band” rather than just focusing on the gear itself. This is likely the essence of Shunichi Tanabe’s sound design.