[Tatsuya Hirakawa] How to Recreate the LINDBERG Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tatsuya Hirakawa, the guitarist of LINDBERG, is one of the representative guitarists of 90s Japanese rock music. His guitar playing is characterized by powerful chord work and soaring lead phrases, known for providing a unique tone that enhances Maki Watase’s vocals while giving presence to the songs.

In iconic tracks like “Kiss Me Now” and “BELIEVE IN LOVE,” you can hear a moderate drive sound that avoids excessive distortion, along with a bright and clear cutting tone. This sense of balance is at the core of the LINDBERG sound, making Hirakawa’s guitar an impressive presence.

In recent live performances, he has incorporated modern setups using the Kemper Profiler while maintaining the essence of 80s to 90s Japanese rock. There are many references with his explanations, which are appealing to fans looking for ways to recreate his sound.

Particularly, the sound in live performances and recordings is based on the “Black Les Paul Custom + Marshall-style drive + JC-120 clean” combination, symbolizing the essence of 90s Japanese rock. For guitarists wanting to recreate the LINDBERG sound, Hirakawa’s approach to sound design offers significant insights. Below, we will delve into the amplifiers, guitars, and effects he has used over the years, exploring how he constructs his sound.

▶ Search official YouTube videos of LINDBERG

List of Amplifiers and Features

Tatsuya Hirakawa’s amplifier setup has evolved over the years, influenced by the live performances and recordings of each era. During the 90s, large venues were common, leading to a style that utilized classic amps like Marshall and Roland JC-120. The Marshall JCM series, which pairs well with his humbucker-equipped Les Paul Custom, provided a powerful drive sound, exemplified in the rock-heavy sound of “Kiss Me Now.” In contrast, for songs requiring a clean tone, the bright sound of the Roland JC-120 was likely chosen.

In recent years, Hirakawa has integrated the Kemper Profiler into his stage setup, which has been confirmed through content featuring his explanations. The Kemper can profile and reproduce the sounds of actual amps, allowing for a diverse range of tones to be switched on stage, including those from the Marshall and Roland amps he used in the past. This capability enables a faithful recreation of the classic LINDBERG sound in a modern equipment environment while ensuring stable sound production.

Thus, the trend from the 90s can be seen as a combination of “distortion from Marshall” and “clean from JC-120,” evolving into “integrated sound production with Kemper” in the present. Notably, the combination of Marshall and JC-120 is a standard in Japanese rock, serving as a crucial key to recreating Hirakawa’s sound. While there is limited definitive documentation, comparing his tonal tendencies with industry norms suggests that this choice of amplifiers is reasonable.

From this, we can infer that Hirakawa’s amplifier setup has developed from “the combination of Marshall and Roland to the current unified management with Kemper.”

Types of Guitars Used and Features

When thinking of Tatsuya Hirakawa, the image of his black Les Paul Custom is undoubtedly the strongest. He is known to have used a 1969 Gibson Les Paul Custom (Black), which adheres to the specifications of the 1968 model (without volute, one-piece neck). This iconic guitar frequently appears in live footage and promotional photos for LINDBERG’s signature songs like “Kiss Me Now” and “BELIEVE IN LOVE,” solidifying its role in supporting the band’s sound.

This Les Paul Custom is characterized by its powerful mid-low range and rich sustain provided by the humbuckers. It enhances Hirakawa’s strumming and lead phrases while supporting the vocals of Maki Watase without overshadowing her. This sound symbolizes the “presence of the guitar” in 90s Japanese rock, making it an essential element of LINDBERG’s music.

There are indications that he may have used a secondary guitar for certain performances and songs, but current public documentation primarily confirms the black Les Paul as his main instrument. Sightings from music stores and fans also affirm that his “black custom” was indeed the primary guitar.

In recent years, the introduction of the Kemper Profiler has further emphasized the role of the guitar itself. The focus has shifted to how the raw quality of the guitar translates into the amp and digital equipment, and in this regard, the thick output of the Les Paul Custom remains a powerful asset. As a symbolic link between the band’s old and new sounds, Hirakawa’s Les Paul Custom plays a crucial role.

In summary, Hirakawa’s guitar sound is centered around the “black Les Paul Custom,” which forms the foundation of LINDBERG’s band sound.

Effects and Pedalboard Setup

There is limited definitive documentation regarding Tatsuya Hirakawa’s pedalboard setup. However, it has been confirmed that he has been using the Kemper Profiler in recent live performances, utilizing its built-in effects (overdrive, compressor, modulation, delay, reverb, etc.) to recreate the sound of LINDBERG’s heyday in a digital environment.

For the 90s, we can only make educated guesses based on the commonly used equipment in Japanese rock at the time. For distortion, overdrive pedals like the BOSS OD-1 or SD-1 are likely candidates, creating a moderate drive when combined with Marshall amps. Additionally, for spatial effects, it is highly probable that BOSS DD series delays and CE series choruses were used, achieving a three-dimensional sound when paired with the Roland JC-120 during clean tones.

Furthermore, the BOSS TU series is assumed to be used as a standard tuner, and the Dunlop Cry Baby is likely used as a wah pedal. Many Japanese bands of that era utilized similar equipment, making these choices reasonable when considering LINDBERG’s sound. While there is no definitive proof, these pedals would naturally support the combination of the black Les Paul and Marshall.

In summary, while Hirakawa currently manages his setup through the Kemper, it is assumed that in the 90s, he constructed a simple and practical pedalboard centered around BOSS. This allowed for smooth transitions between “powerful distortion” and “brilliant clean” sounds, contributing significantly to the appeal of the LINDBERG sound.

From this, we can summarize that Hirakawa’s effects environment has evolved from “integration into Kemper today, with a simple BOSS-based pedalboard in the 90s.”

Tone Settings, EQ, and Mixing Approaches

Tatsuya Hirakawa’s sound design is based on a simple yet highly calculated sense of balance. The guitar is centered around the Gibson Les Paul Custom (1969 / Black), with the amp setup likely consisting of the Marshall JCM series and Roland JC-120, and more recently, the Kemper Profiler. This combination allows for the unique “fast-paced rock sound” and “catchy pop essence” that defines LINDBERG.

Regarding EQ settings, it is crucial to maintain a strong midrange for the drive sound using Marshall. By avoiding excessive highs and lows, the sound blends seamlessly with Maki Watase’s vocal range, achieving a cohesive band sound. A practical example of settings might be Treble at 5, Middle at 6-7, Bass at 4-5, with Presence kept low (around 3-4), making it easier to capture the nuances of 90s Japanese rock.

For clean tones, using the Roland JC-120 provides a bright and spacious sound. In this case, applying a light chorus effect from the amp and utilizing BOSS CE series or DD series delays can create a wide soundscape. This combination is optimal for ballads or songs focusing on arpeggios, such as “BELIEVE IN LOVE.”

In modern live environments using the Kemper Profiler, past amp sounds are profiled, allowing for preset switching per song to faithfully recreate the tones of that era. For overdrive patches, a light compressor is applied to enhance the attack and clarity of chord strumming. Meanwhile, delay and reverb settings are adjusted for each song, with shallower reverb for fast-paced tracks and deeper settings for ballads.

In recording and mixing, Hirakawa’s guitar consistently functions as the “backbone of the band.” By panning rhythm guitars left and right while centering lead phrases, the EQ processing boosts around 3kHz to enhance attack while slightly cutting around 150-200Hz to avoid muddiness. This approach clarifies the separation between bass and vocals.

Moreover, a notable characteristic of LINDBERG’s 90s tracks is the careful layering with synths and drums, ensuring the guitar sound does not get buried. By avoiding excessive reverb and delay, the dry texture supports the overall momentum of the band.

In summary, Hirakawa’s sound design is built upon “Marshall sound emphasizing midrange,” “brilliant JC-120 cleans,” and “modern recreation with Kemper,” with a constant focus on maintaining the band’s cohesion through EQ and mixing techniques.

Affordable Alternatives to Recreate the Tone

To fully replicate Tatsuya Hirakawa’s sound, expensive gear like the 1969 Les Paul Custom, Marshall, and Kemper is necessary. However, this is not practical for beginners or those on a budget. Here, we will introduce alternative gear that can recreate the “LINDBERG sound” at a more affordable price point (around $100 to $1,000).

For the guitar, the Epiphone Les Paul Custom model is an excellent choice. Priced under $1,000, it features humbuckers that produce a thick, sustaining sound. When paired with Marshall-style amps or modeling equipment, it can closely approximate the character of Hirakawa’s black Les Paul.

For amplifiers, the BOSS Katana series is a strong candidate, suitable for home practice and small gigs. With built-in effects and amp modeling capabilities, it can simulate Marshall-style drive and JC cleans, making it versatile for various LINDBERG tracks. The Roland JC-22 is also recommended, being a compact version of the JC-120, with high fidelity for clean tones, ideal for home or studio use.

For effects, the BOSS SD-1 (overdrive) offers excellent cost performance. It pairs well with Marshall-like distortion, capturing the drive characteristic of 90s Japanese rock. Additionally, adding the BOSS DD-8 delay and CE-5 chorus can easily create the spatial nuances needed. Each of these pedals can be acquired for around $100 to $200, allowing you to build a solid setup on a budget.

Lastly, multi-effects units like the Zoom G5n or Line 6 POD Go are viable options. They come equipped with simulations of Marshall and Roland JC amps, covering everything from overdrive to spatial effects. This allows beginners to achieve a LINDBERG-style sound with just one device.

By combining these pieces of gear, you can effectively capture the essence of Hirakawa’s sound while keeping costs manageable, achieving the “thick Les Paul sound,” “Marshall-style drive,” “JC clean,” and “BOSS’s standard spatial effects.”

By combining Epiphone with BOSS amps and effects, or using the Line 6 POD Go, you can easily experience the LINDBERG sound as played by Tatsuya Hirakawa.

Summary and Conclusion

Tatsuya Hirakawa’s guitar play, which supports LINDBERG’s sound, is built upon a foundation of meticulous sound design, despite its seemingly simple nature. The powerful and thick tones produced by his black Les Paul Custom, the midrange-driven drive from Marshall, the bright cleans from Roland JC-120, and the integrated sound design with the Kemper Profiler are all crucial elements for recreating the LINDBERG sound across eras.

Notably, the positioning of sound within the band is essential. LINDBERG often features pop-rock arrangements centered around synths and vocals. Within this context, Hirakawa’s guitar serves as a backbone, providing support while also showcasing presence in riffs and leads. His sound design is not merely about making the guitar stand out; it is about controlling the overall thickness of the band’s sound.

Additionally, achieving a balance between “moderate distortion” and “not overly dry spatial processing,” a hallmark of 90s Japanese rock, is crucial. By combining the robust sound created with Marshall and BOSS OD series with appropriate delay and chorus effects, LINDBERG’s pop and vibrant essence is expressed. Furthermore, utilizing the Kemper in modern times allows for stable live performances while maintaining the quality of the past, representing an evolution that transcends time.

For readers aiming to achieve the LINDBERG sound, focusing on “midrange-heavy settings” is a shortcut. Avoid boosting Treble and Presence excessively, and create an EQ balance that considers vocal separation. Flexibility in switching between distortion and clean tones for each song is also essential for recreating Hirakawa’s sound.

Even if acquiring expensive original gear is challenging, combining Epiphone’s Les Paul with BOSS amps and effects can capture the essence of the sound. The key is to understand “the direction and role of the sound” rather than just the gear itself. With this mindset, you can incorporate the catchy and powerful guitar sound present in LINDBERG’s music into your own playing.

In conclusion, the essence of Tatsuya Hirakawa’s sound design is “a thick, soulful guitar sound that functions within the band,” which is one of the significant factors that elevated LINDBERG to a national band.