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

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Introduction (Overview of Tone)

Uruha, the guitarist of the Japanese band the GazettE, has established a modern and aggressive sound that represents the Visual Kei scene. His sound design is characterized by a wide range of tonal capabilities, effortlessly transitioning between heavy riffs and transparent clean tones. In various songs, he combines delicate arpeggios with ethereal soundscapes, captivating fans with overwhelming sound pressure and presence during live performances.

For instance, in the heavy riff of “FILTH IN THE BEAUTY,” he utilizes the MESA/Boogie high-gain amplifier to unleash sharp sound pressure, taking advantage of the down-tuning capabilities of his ESP signature model from the “HELLION” series. Meanwhile, songs like “Cassis” and “Guren” incorporate acoustic guitar elements, creating deep emotional tones. Uruha’s ability to switch between these diverse sounds is a hallmark of his meticulous setup involving amplifiers, effects, and guitars.

It is also well-known that Uruha was influenced by SUGIZO from LUNA SEA, which is evident in his use of spatial effects and melodic lead playing. His unique sound, combining sharpness and ethereal qualities, continues to be studied by guitarists across various genres, not just within Visual Kei.

This article will detail Uruha’s gear setup, breaking it down into amplifiers, guitars, and effects, while also touching on specific settings and points for sound recreation. It aims to provide valuable insights for fans and guitarists looking to emulate his sound.

▶ Search official YouTube videos of the GazettE

List of Amplifiers and Features

The foundation of Uruha’s sound is supported by a diverse combination of amplifier heads and cabinets. The GazettE’s music ranges from heavy modern riffs to clean, delicate arpeggios, necessitating a wide selection of amplifiers that are used interchangeably depending on the scene.

One of his mainstays is the MESA/Boogie TRIPLE RECTIFIER, which boasts a powerful 150 watts and an impressive amount of distortion, making it ideal for the heavy riffs and breakdowns characteristic of Visual Kei. It would not be an exaggeration to say that the thunderous sound during live performances is largely attributed to this amplifier.

On the other hand, for clean tones and crunch sounds, the Fender Twin Reverb shines. Historically renowned as a clean-focused amplifier, its deep reverb and sparkling highs are indispensable for ballads and interlude arpeggios.

Additionally, Uruha employs the Diezel Herbert, a modern high-gain amplifier popular among European metal bands, known for its tight low-end and pronounced midrange. This amplifier is used when aiming for a more contemporary sound compared to the MESA.

To achieve flexible sound design in both studio and live settings, Uruha has also incorporated the CUSTOM AUDIO AMPLIFIERS OD-100. Designed by John Suhr, this versatile amplifier can handle everything from clean to high-gain tones and pairs well with effects, aligning perfectly with Uruha’s complex sound design style.

Moreover, he has been known to use unique amplifiers such as the Koch Supernova 120 and boutique brands like ÷13 (Divided by 13). Models like the ÷13 LDW17/39 and RSA 23 are particularly noted for their depth and tonal characteristics, supporting Uruha’s sound that goes beyond mere high-gain.

For cabinets, he primarily uses high-power models from brands like VHT and BASSON. These cabinets are set up to emphasize low-end presence and maintain clarity even during drop-tuning.

Uruha does not rely on a single amplifier; instead, he switches between multiple amplifiers based on the song’s concept and the acoustic environment of each tour. This versatility enables him to express the broad soundscape of the GazettE. Confirmed information indicates a core setup centered around MESA/Boogie and Diezel, but the introduction of boutique amplifiers and their usage over time remains assumed.

Types of Guitars Used and Features

The most significant element shaping Uruha’s sound is the ESP signature model “HELLION” series designed specifically for him. These guitars are optimized not only for their striking appearance but also for supporting riff work and melodic leads in down-tuning scenarios, allowing Uruha to finely adjust tuning and specifications for each song.

One of the most famous models is the ESP U-01 “HELLION”. The #1 model is set up specifically for one-step-down tuning and features a Sustain Driver, enabling infinite sustain for single-note leads, making it ideal for grand solos and arpeggios. The #2 model serves as the main guitar for regular tuning, known for its versatility.

Additionally, the evolved version, ESP U-02 “HELLION-II”, comes in various configurations, including models with Wilkinson bridges and Floyd Rose systems, as well as a white finish. There are also heavy-tuning models specifically designed for Drop C and Drop B, particularly the “666mm scale” and “EX-LONG scale” models, which are crucial for maintaining tension on the low strings. This longer scale length is essential for Uruha’s heavy riffing style.

Throughout his early to mid-career, Uruha frequently used the ESP HORIZON series. Notably, the HORIZON-FR is famous as his second guitar, used for whammy techniques in one-step-down tuning. There are also HORIZON-CTM and SSH models for Drop B and Drop C, covering a wide range of genres.

Other ESP models include the MA-480CTM, M-II DX, and the brown and blue POTBELLY series, which have been seen on stage. The POTBELLY, known for its thick tone akin to a Les Paul, has adapted well to Uruha’s modern playing style.

In addition to signature models, there are also signature models from the EDWARDS brand (E-U-138-HL1 and E-U-HL2 in various colors) that have gained popularity among fans for being more accessible.

For acoustic performances, the Gibson J-45 (1965 model) is well-known. It has been modified to include a pickup for live use. Uruha also utilizes models like the ALVAREZ YAIRI WY1 URUHA CUSTOM and Martin HD-28V, showcasing their presence in acoustic arrangements.

Uruha’s guitar selection is highly organized based on “tuning” and “musical role,” often using different guitars for live versions compared to studio recordings of the same song. While centered around signature models, the evolution of his guitar collection over time contributes to the unique, heavy sound of the GazettE.

Effects and Pedalboard Setup

Another crucial element supporting Uruha’s sound design is his extensive and meticulously arranged effects pedalboard. His sound is fundamentally based on the combination of “high gain + spatial effects,” allowing him to switch seamlessly between heavy riffs and ethereal arpeggios using a variety of pedals and switchers.

In the drive category, he incorporates the legendary overdrive KLON CENTAUR and the more aggressive distortion Pro Co The Rat. These are combined with the amplifier’s distortion to add nuances required for each song. The KLON, in particular, is used as a booster to enhance clarity in specific sections.

The centerpiece of his spatial effects includes the Eventide TimeFactor and t.c.electronic G-FORCE. The TimeFactor serves as a multifunctional delay that enriches lead parts during live performances, while the G-FORCE acts as a multi-effects unit managing reverb and modulation collectively. Uruha’s ethereal leads are realized through the combination of these effects.

For compression, he uses the MXR M102 Dynacomp, which adds uniformity to clean arpeggios. Additionally, the bold pitch shifts achieved with the DigiTech Whammy are notable, amplifying the intensity of solos during live shows.

Multiple wah pedals have also been confirmed in his setup, including the Morley Bad Horsie (Steve Vai signature) and HUMANGEAR Real McCoy Custom, which he uses interchangeably based on the scene. The choice of wah pedal allows him to manipulate tone character freely.

Furthermore, he has integrated the Line6 Helix, which is utilized for special effects and simulation purposes that traditional standalone pedals may not accommodate.

To manage these numerous effects, he employs switching systems like the RJM MasterMind and CUSTOM AUDIO ELECTRONICS foot controllers. This allows for instantaneous changes in tone for each song, enhancing live performance reproducibility.

Uruha’s effects system is not merely about “distortion + spatial effects,” but rather a complex layering of switches and nuances. Changes in models and additions have been observed over time, but the fundamental structure consistently emphasizes “clarity of distortion,” “spatial expansion,” and “control during performance.”

Tone Settings, EQ, and Mixing Approaches

Uruha’s sound design is based on three pillars: “heavy yet cutting riffs,” “ethereal leads,” and “transparent cleans.” To achieve this, the settings on his amplifiers, EQ adjustments, and mixing techniques are crucial. Below, we will explore examples of settings inferred from live performances and recordings.

For high-gain sounds, it is believed that Uruha often bases his settings on the MESA/Boogie TRIPLE RECTIFIER and Diezel Herbert. While keeping the gain high, he slightly cuts the low end to avoid a boomy sound. The midrange is kept somewhat subdued but not entirely cut, ensuring the guitar’s presence without interfering with the vocals and bass. The high end is raised, including presence, to emphasize attack. This setup ensures that even with drop-tuned low strings, the sound remains clear and distinct.

For clean tones, the Fender Twin Reverb is frequently used, with EQ settings leaning towards lower lows, flat to slightly boosted mids, and elevated highs. When adding reverb or delay to arpeggios, too much low end can muddy the sound, so it is assumed that a high-pass filter is applied during the engineering stage. Particularly in songs like “Cassis” and “Guren,” the balance between EQ and spatial effects is meticulously managed to highlight delicate arpeggios.

For lead tones, Uruha utilizes the ESP U-01 “HELLION” equipped with a Sustain Driver, allowing for sustained solos. By slightly boosting the midrange on the amplifier and synchronizing the delay (Eventide TimeFactor) with the rhythm, he creates a sense of depth. During live performances, the lead volume is often raised by +1 to 2dB to ensure it stands out.

Specific EQ examples for high-gain settings might look like this:

• Bass: 4-5 (tight without excessive boosting)
• Middle: 3-4 (subdued but not completely cut)
• Treble: 6-7 (emphasizing clarity)
• Presence: around 6 (highlighting attack)

In the mixing stage, guitars are often hard-panned left and right, creating thickness in contrast with Aoi’s guitar. Uruha’s guitar typically sits slightly to the left (L70-80%), with Aoi’s guitar positioned on the opposite side to create a stereo effect. It can be inferred that EQ adjustments are made to avoid excessive overlap in frequency ranges between the two guitars.

Moreover, during live performances, the output levels of effects and amplifier gain are meticulously adjusted in consideration of the stage environment. The depth of reverb and delay is often modified based on the venue’s size. While studio recordings feature synchronized delay times, live performances may utilize shallower delays to match the spatial acoustics.

Thus, Uruha’s sound design is not merely a combination of equipment but a comprehensive design that includes EQ and mixing processes. As a result, a unique sound emerges that is “heavy yet distinct” and “ethereal yet grounded.” It should be noted that specific values are estimates, and actual settings may vary based on the situation.

Affordable Alternatives to Recreate the Tone

Uruha’s sound design relies on high-end gear like ESP signature models and the MESA/Boogie TRIPLE RECTIFIER. However, acquiring all of this equipment in the same environment is not practical. Here, we introduce alternatives available for under $1,000 that can help recreate Uruha’s sound, particularly aimed at beginners to intermediate players who wish to experience a “GazettE-like sound” in home practice or small live settings.

For amplifiers, the BOSS Katana series is a strong contender for replicating the high gain and sound pressure of the TRIPLE RECTIFIER. With its multi-channel setup and high-gain mode, it can produce thick distortion similar to Uruha’s. Additionally, it features USB recording and headphone output, making it suitable for home recording environments. While it may not match the original’s sound pressure, proper EQ adjustments can yield a sufficiently close texture.

For distortion pedals, models like the BOSS DS-1X and MXR Super Badass Distortion are recommended for their modern distortion characteristics. The DS-1X is designed to maintain clarity in the low end, making it less prone to muddiness during down-tuning. The MXR offers a high-gain profile, closely resembling the nuances of Uruha’s solos.

In terms of spatial effects, the NUX Atlantic Delay & Reverb and BOSS DD-200 are practical options. The NUX Atlantic can handle both reverb and delay simultaneously, making it ideal for GazettE’s ethereal arpeggios. The BOSS DD-200 is easy to sync with tap tempo, allowing for spatial effects similar to those achieved with the Eventide TimeFactor.

For enhancing clean tones, the BOSS CS-3 Compressor is effective. It is more affordable and accessible compared to the MXR Dynacomp, providing uniformity in arpeggios. This is particularly useful when performing clean songs like “Cassis.”

For wah pedals, the VOX V847 and Morley Classic Wah serve as beginner-friendly options. While Uruha’s actual Bad Horsie and Real McCoy Custom are pricier, the VOX wah can effectively recreate nuances, especially during solos and breaks.

Overall, incorporating a multi-effects unit is also a viable option. The BOSS GT-1000CORE and Line6 HX Stomp feature built-in amp simulators and spatial effects, providing a simple setup to cover the “GazettE-like sound.” For home recording or small live performances, either unit can adequately reproduce Uruha’s sound.

While achieving the same sound pressure and intensity as the original is challenging, combining these pieces of gear can bring you closer to Uruha’s essence of “heavy riffs,” “ethereal leads,” and “sparkling cleans.” By focusing on amp simulators and multi-effects, you can explore a wide range of sounds while keeping your budget in check.

Summary and Conclusion

Uruha’s sound design is not merely about high-gain guitar sounds but rather a unique approach that balances the power of low-end and spatial expansiveness. The GazettE’s music embodies a heaviness centered around riffs while also featuring melodic developments in leads and cleans. To express this duality, a diverse range of gear is employed, including the ESP signature model “HELLION” series, MESA/Boogie, Diezel amplifiers, and high-quality effects from Eventide and t.c.electronic.

The key is not just to gather equipment but to build a system that allows for instantaneous switching of tones appropriate for each song. The use of switchers and foot controllers to achieve complex tonal changes is central to Uruha’s sound design. During heavy riff sections, he maintains tight low-end while shifting to sustained and ethereal sounds for leads. This “range of sound” supports his appeal.

Additionally, there are differences in sound design between studio recordings and live performances. In live settings, reverb and delay depths are adjusted based on the venue’s acoustics. Studio recordings feature stereo positioning and EQ processing that clearly separates Uruha’s guitar from Aoi’s twin guitar parts. Such engineering and PA adjustments are also crucial elements defining his sound.

For those looking to recreate Uruha’s sound, it is essential to recognize that it is not necessary to have the same high-end gear. Instead, focusing on the quality of distortion, the use of spatial effects, and the ability to switch tones according to the song is vital. By using relatively affordable options like BOSS or Line6 multi-effects, one can experience the essence of his sound, which can also enhance motivation for playing.

Ultimately, the essence of Uruha’s sound design lies in expressing the duality of aggression and delicacy. He leads the band with heavy guitar riffs while infusing emotion into the music through cleans and leads. This balance is the cornerstone of the GazettE sound and the reason for its enduring appeal among fans. When researching sound design for home practice or band activities, selecting equipment and adjusting EQ and effects with this duality in mind will be the shortest route to achieving Uruha’s sound.