[Yoshiaki Shirai] How to Recreate the MOONRIDERS Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

【Ichika Nito】How to Recreate the Sound of Dios + Guitar Gear & Tone Setup [Amp & Effects Guide]

2025.06.062025.09.08

[Yusuke Koide] How to Recreate the Base Ball Bear Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Nakajin] – How to Recreate the SEKAI NO OWARI Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

Introduction (Overview of Tone)

Yoshiaki Shirai, the guitarist of MOONRIDERS, has been pursuing experimental and innovative sounds since the 1970s. His unique guitar approach, which incorporates elements of new wave, pop, and jazz, has made the band’s sound truly one-of-a-kind.

Shirai’s guitar work is characterized by a wide range of techniques, from sharp cutting to delicate arpeggios and atmospheric effects. In iconic songs like “Scarlet’s Oath,” he showcases a transparent clean tone with restrained distortion, while in “My Name is Jack,” he employs playful effects that leave a lasting impression.

Moreover, his sound is rich in picking nuances, creating diverse expressions not only through the guitar’s tone but also through his choice of picks and playing style. Recently, he has prominently featured a Murphy Lab Les Paul Special and alternated with a custom model from Bill Lawrence, known as “Edo Rat,” showcasing a visually unique presence on stage.

In essence, Shirai’s sound design embodies the idea of “appearing simple in gear configuration while being intricately crafted,” which continues to influence many aspiring guitarists.

▶ Search official YouTube videos of MOONRIDERS

List of Amplifiers and Features

When discussing Yoshiaki Shirai’s sound design, it’s essential to consider the amplifier setup used in live performances and recordings. Recent photos and videos confirm that he often uses two VOX amplifiers, likely from the AC series (AC30 or AC15).

VOX amplifiers are known for their bright, British-style clean tones and pleasant natural drive that provides a light crunch. This makes them ideal for enhancing Shirai’s cutting and clean arpeggios, and they pair excellently with effects pedals. When using spatial effects like the Strymon Flint, the unique harmonics of the VOX amp contribute to a three-dimensional sound.

Additionally, he sometimes employs a dual amp setup, designating one for clean sounds and the other for richer effects and distortion. This allows for diverse expressions simply by switching between the front and center pickups of his guitar, accommodating the complex arrangements of MOONRIDERS’ music.

While it’s not uncommon for him to use non-VOX amplifiers, there are indications that Fender amps were utilized during past recording sessions. However, in the current live setup, VOX remains the primary choice, forming the core of his sound.

The choice of amplifiers reflects two significant elements: “enhancing the guitar’s individuality” and “prioritizing compatibility with effects.” This philosophy is a clear reflection of Shirai’s approach. Although the specific models of his gear remain unconfirmed, it is assumed that he builds his sound around the VOX AC series.

Types of Guitars Used and Features

Yoshiaki Shirai’s guitar collection has featured a variety of models over the years, with the Gibson Custom Shop Les Paul Special Single Cut (Murphy Lab 1957 Reissue/TV Yellow) being his primary instrument in recent years. Since around 2022, this guitar has been central to his live performances and recordings, providing warm cleans based on the front pickup, lively cutting with the center pickup, and sharp leads with the rear pickup, allowing for a wide range of expressions depending on the song. He uses D’Addario NYXL (.010-.046) strings and is known for his distinctive playing style with a BlueChip TD35 pick.

Another iconic instrument in his arsenal is the custom model “Surf Jazz Master,” known as “Edo Rat,” made by Bill Lawrence. Created for the 1995 project “SURF TRIP,” it features a unique Aloha shirt-patterned body that stands out on stage. It is equipped with three Fernandes Sustainer drivers (CD-100F) and Fender Lace Sensor Gold pickups, allowing for versatile sustain manipulation. A switch located on the lower right of the body is used to toggle the sustainer, enabling a psychedelic tone.

These two guitars symbolize the evolution of Shirai’s sound throughout his career. The Les Paul Special supports an authentic and powerful rock sound, while the Edo Rat functions as “another voice,” enabling creative and experimental phrases. Both have been confirmed to be used in live performances and recordings, forming the backbone of MOONRIDERS’ sound.

In the past, he may have also used Fender Stratocasters or semi-hollow guitars (like the Gibson ES-335), but it is clear that the two mentioned above are central to his current setup. The choice of guitars reflects a balance between versatility for live performances and individuality, alongside a long-standing pursuit of “his own tone.”

Effects and Pedalboard Setup

Yoshiaki Shirai’s pedalboard appears simple at first glance, yet it is highly functional, featuring a constantly ON buffer and compressor to establish a foundational tone while skillfully combining special effects and spatial effects as needed. Notably, he uses the Beyond Tube Buffer+ and Xotic SP Compressor, which are always ON, allowing the delicate nuances of the guitar to be maintained even when passing through multiple effects without losing clarity.

For distortion, he relies on a modified overdrive from SOUNDHIGH as a base, complemented by the XTS Pegasus Boost to enhance volume and punch. In live settings, he occasionally substitutes this with an Ibanez TS9, showcasing his flexibility based on venue and song style. The Strymon FLINT serves as the centerpiece for spatial effects, with reverb based on 60’s spring tones, and the depth and speed of the tremolo adjusted for each song. This enables a wide range of expressions, from classical atmospheres to modern fluctuations.

Additionally, he incorporates external loops using a One Control AB BOX to add POG or Moog MF Delay manually. This allows for unique octave effects and an analog delay feel, enhancing performance on stage. The BOSS PS-6 Harmonist is also utilized for special effects and siren sounds, enabling experimental play.

Supporting his footwork is the BOSS FV-500H volume pedal and RMC-11 Wah. The wah is particularly used for funky cutting and noisy leads, reflecting Shirai’s playful spirit. Power is supplied stably by the Voodoo Lab Pedal Power 2 Plus, and he maintains constant tuning checks with the BOSS TU-3s, showcasing a practical side.

Overall, this pedalboard embodies a style of “primarily clean with necessary embellishments,” reflecting Shirai’s sound aesthetics. The same setup has been confirmed for the current tour, indicating that he achieves a consistent sound philosophy in both live and studio settings.

Tone Settings, EQ, and Mixing Approaches

Yoshiaki Shirai’s sound design goes beyond merely combining pedals; it is refined through EQ settings, amplifier adjustments, and collaboration with PA engineers. To replicate his sound, it is crucial to understand the foundational principle of “clean yet present.”

The EQ settings on his amplifier (presumably a VOX AC series) typically have the BASS set around 10-11 o’clock, MID at 12-1 o’clock for a flat response, and TREBLE slightly boosted. This configuration ensures a clean tone that remains articulate, especially during cutting and arpeggios, where high frequencies are prominent.

In terms of effects, he keeps the Xotic SP Compressor always ON to stabilize the sound’s clarity, while the SOUNDHIGH modified overdrive is used with lower gain to highlight the amp’s natural drive. The EQ balance is achieved as the overdrive naturally lifts the midrange, allowing the amp to maintain a balanced sound without excessive mid boost.

For spatial effects, the Strymon FLINT’s reverb is kept at a low MIX setting (9 o’clock) to add thickness without disrupting the overall atmosphere of the music. The DECAY is set around 1 o’clock to ensure sufficient reverb tail, while the tremolo depth and speed are adjusted according to the tempo and song, resulting in varying nuances even with the same riff.

For special effects, he combines the POG and PS-6 Harmonist to create siren-like sounds and octave leads. These effects tend to boost low frequencies, so a low-cut filter is applied during mixing to maintain the overall sound balance of the band. In live PA settings, cutting frequencies below 100Hz while slightly boosting the 2kHz-3kHz range helps his guitar stand out.

Recording techniques also play a significant role, particularly microphone placement. A Shure SM57 is positioned slightly off-center on the VOX amp cabinet, with room mics capturing the ambiance. This setup balances a solid tone with a sense of space. Occasionally, a condenser mic is added to blend in rich overtones.

In terms of mixing, the guitar’s placement is kept slightly off-center, favoring the left side to maintain balance with the vocals. Conversely, the experimental sounds from the Edo Rat are heavily reverberated and delayed, panned widely to emphasize spatial effects. This meticulous approach to “tone shaping by role” is a hallmark of his style.

In summary, Shirai’s sound design philosophy is rooted in “keeping the foundation simple while adding effects minimally and accurately according to the song.” He prioritizes maximizing the nuances of the guitar and performance without unnecessary processing.

Affordable Alternatives to Recreate the Tone

While fully replicating Yoshiaki Shirai’s sound is challenging, beginners and intermediate players can approximate it affordably by focusing on a few key points: “clean tone with clarity,” “compressed articulation,” “moderate distortion,” and “ambiance through spatial effects.”

For amplifiers, models that can emulate the VOX tone are ideal. The VOX Pathfinder and Valvetronix series offer a bright sound similar to the AC series at a reasonable price. Additionally, BOSS’s KATANA series is versatile, allowing for EQ adjustments that can mimic Shirai’s clean to crunchy tones.

For effects, the BOSS CS-3 Compressor is an excellent alternative to the Xotic SP Compressor, providing clarity and contour suitable for arpeggios and cutting. For overdrive, the Ibanez TS9 and BOSS SD-1 are classic choices, with the TS9 being a pedal Shirai has used live, making it a reliable recommendation for beginners.

For spatial effects, since the Strymon Flint is on the pricier side, a combination of the BOSS TR-2 (Tremolo) and RV-6 (Reverb) can effectively create the desired atmosphere. Choosing a spring reverb and keeping the depth moderate will help achieve the depth characteristic of Shirai’s sound. Adjusting the tremolo speed according to the song will also recreate a similar wavering effect.

For special effects, the Mooer Tender Octaver is a practical alternative to the Electro-Harmonix POG, providing octave effects at a lower cost. For delay, the BOSS DM-2W or Electro-Harmonix Memory Toy are affordable options that can replicate the analog feel of the Moog MF Delay.

Finally, regarding power supplies, while Voodoo Lab is expensive, alternatives like the One Control Iguana Tail or Caline’s stable power supplies can effectively reduce noise and provide reliable power.

By combining these elements, players can approximate a “Yoshiaki Shirai-inspired clean foundation with playful effects” for around $500. The key is to emulate the philosophy of “a simple, always ON foundation (compressor + buffer) with situational embellishments.”

Summary and Conclusion

Yoshiaki Shirai’s sound design may appear to be a straightforward clean tone setup, but it is underpinned by meticulous design and philosophy. With a constantly ON buffer and compressor establishing the foundational tone, he adds overdrive and boosters for color, incorporating spatial effects and special effects as needed. His style exemplifies the principle of “incorporating only necessary elements accurately.”

Moreover, his sound design is supported not merely by gear selection but also by his playing technique, which utilizes the front pickup of the guitar and varies the angle and attack of the pick to expand expression. Additionally, the precise EQ adjustments and mixing processes in collaboration with PA engineers ensure that Shirai’s guitar continues to stand out amidst the complex sound of MOONRIDERS.

For readers looking to replicate Shirai’s sound, it is essential to adopt the foundational approach of “building on clean tones with slight distortion and ambiance.” Even without expensive gear, a combination of compressor, light overdrive, and reverb/tremolo can effectively convey “Yoshiaki Shirai’s essence.” Adding a touch of octave or delay can also facilitate experimental and playful performances.

In essence, the core of Yoshiaki Shirai’s sound lies in “utilizing space.” Rather than filling every sound, he accurately fulfills the necessary roles within the music and subtly incorporates playfulness into the gaps. This philosophy is what makes him a truly unique guitarist.

When listening to MOONRIDERS’ music, take a moment to pay attention to the role of his guitar. It may not be flashy, but it is an indispensable presence. What can be learned from his sound design is perhaps more about “creating a place for music” than the gear itself.