[Yusuke] How to Recreate the lynch. Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yusuke, the guitarist of lynch., is a prominent figure in modern loud rock, known for his heavy yet refined sound. His playing style features low-end riffs utilizing a 7-string guitar, combined with atmospheric choruses and delays that create a unique blend of weight and transparency.

In particular, his signature sound shines in iconic tracks like “EVOKE” and “CREATURE,” where the powerful riffs and lead phrases elevate the overall atmosphere of the songs. The sound produced with his signature SCHECTER model is often described by fans as embodying both the heaviness and beauty characteristic of lynch.
During live performances, Yusuke demonstrates a dynamic approach to sound creation, seamlessly switching between intensity and delicacy, achieving a level of quality that rivals studio recordings.

Moreover, Yusuke has mentioned in interviews that “the use of delay is crucial to my sound,” indicating that he showcases a distinctive presence not only in guitar riffs but also in arpeggios and clean tones. For listeners and guitarists aiming to replicate the lynch. sound, his choice of gear and settings offers significant insights.

▶ Search official YouTube videos of lynch.

List of Amplifiers and Features

Yusuke has explicitly stated that he uses the Peavey 6534 Plus Head and EVH 5150 during recordings. Notably, during the production of the album “AVANTGARDE” (2016), it was confirmed through magazine interviews that these amps were introduced for reamping purposes.
The Peavey 6534 is equipped with EL34 tubes, characterized by tight and mid-range focused distortion, making it suitable for a heavy sound like lynch. that maintains clarity.

On the other hand, the EVH 5150 produces a more modern high-gain sound, and it is believed that he used both the EVH cabinet and the Fender Tonemaster 2×12 cabinet. The latter, in particular, seems to have played a role in enhancing the clarity of the sound.
While specific information about the amplifiers used during live performances is not disclosed, it is highly likely that he opts for high-gain amps that align with the characteristics of EVH and Peavey.

This choice of amplifiers is essential for achieving the “powerful low-end” and “clear lead tone” that defines lynch.’s sound. It is assumed that by combining these two types of amplifiers, he tailors the optimal sound for each song.

Types of Guitars Used and Features

Yusuke’s primary weapon for achieving his sound is the SCHECTER AC-LY-YK/SIG (7-string), a signature model. It features an alder body, maple neck, and ebony fingerboard, with a relatively compact design of 22 frets and a 24.75-inch scale. The pickups are SGR Twin Blade, making it a versatile guitar that can handle everything from heavy low-end riffs to clear arpeggios.
This model is made to order and is optimized for the musicality of lynch.

The widely available SCHECTER PA-LY/YK (7-string/Progauge production version) also closely follows the basic configuration of the AC-LY-YK/SIG, allowing beginners and fans to experience Yusuke’s sound at a more accessible price point.
Both models are 7-string, essential for emphasizing the heavy riffs characteristic of lynch.

Regarding the timeline, it is assumed that prior to the introduction of the signature model, Yusuke used mass-produced 7-string models from SCHECTER for live performances and recordings. Up until around 2015, he likely combined custom shop models with commercially available 7-string models, and after the signature model’s introduction, the direction of the “Yusuke sound” was established.
It is assumed that during live performances, he prepares multiple signature models to switch according to different tunings.

Overall, Yusuke’s guitar selection emphasizes the balance between “powerful low-end and bright high-end,” allowing him to flexibly manipulate sound according to the expression of the songs.
The resonance of the low B string unique to the 7-string guitar is crucial in defining the heaviness of lynch.’s music, and it would not be an exaggeration to say that the current soundscape would not exist without this tuning and guitar configuration.

Effects and Pedalboard Setup

One of the significant elements that characterize Yusuke’s sound is his choice of effects.
While the heavy riffs and lead phrases primarily derive their distortion from the amp, it is the pedals that add a unique texture. Notably, the Z.VEX Fuzz Probe (Hand Painted Green) has been highlighted in Player magazine (March 2015) as part of his setup. This fuzz pedal features sensor-based control, adding a distinctive overtone and instability to lead phrases, enriching the depth of lynch.’s music.

Additionally, the Diamond Halo Chorus plays a crucial role in providing atmospheric effects. Information sourced from Yusuke’s Instagram confirms its use, supporting the “transparent tone that shines light into darkness” characteristic of lynch. This enhances the dimensionality of clean tones and arpeggios, creating a beautiful resonance that contrasts with the heavy riffs.

Yusuke himself stated in a 2024 interview that “delay is essential to my sound,” indicating its indispensable role. While the specific model has not been disclosed, it is likely that he uses multiple delay units during live performances and recordings to emphasize the depth of solos and arpeggios.
In lynch.’s music, the role of delay in providing a sense of floatiness within tight rhythms is significant, and it is assumed to be a central element of his effects board.

Overall, the structure of his effects board combines distortion primarily from the amp, with fuzz adding character, and modulation (chorus) and spatial effects (delay) working together in a simple yet effective manner. This setup reflects Yusuke’s approach of maximizing the inherent qualities of the guitar and amp without overly relying on pedals.

Tone Settings, EQ, and Mixing Approaches

Yusuke’s sound is not just about high gain; it involves meticulous EQ and settings to ensure it blends seamlessly with the overall band sound while maintaining its presence.
Given his use of a 7-string guitar, managing the low-end (from low B to low E) is a significant challenge. It is believed that he avoids excessive gain on the amp while moderately boosting the mids to provide thickness to the riffs while maintaining clarity.

For instance, when using the Peavey 6534 Plus Head, it is estimated that he sets:
・Gain: 4-5 (keeping distortion slightly restrained)
・Mids: around 6 (emphasizing presence)
・Lows: 5 (ensuring powerful low-end)
・Treble: 6-7 (enhancing clarity)
Conversely, when using the EVH 5150, he likely utilizes its high-gain characteristics while slightly cutting the lows to achieve a tight and controlled sound.

His use of delay is also distinctive; during solo parts, he tends to use delay times around 400-500ms, creating a sense of width in the mix. For arpeggios and clean tones, he applies shorter delay times (approximately 250-300ms) to create a sense of resonance, enhancing the atmosphere of the songs. This results in the unique “soundscape of darkness and light” characteristic of lynch.

In mixing, he cuts frequencies below 70Hz to prevent the guitar’s low-end from clashing with the bass, while boosting around 2kHz to enhance the attack. In the thick sound of lynch., this frequency management is crucial; without it, the guitar sound would get buried. For lead guitar, it is assumed that he utilizes chorus and delay to create a slightly wider stereo image, avoiding overlap with the vocals.

During live settings, there is a tendency to cut the lows even more to enhance separation, especially in larger venues, where he likely focuses on cutting mid-lows and boosting highs for a “cutting sound.” On stage, he relies primarily on amp distortion, using fuzz and chorus as flavoring, resulting in a solid setup that is less affected by environmental changes.

Overall, Yusuke’s EQ and settings are aimed at achieving a “heavy yet cutting sound,” pursuing the coexistence of “darkness and transparency.” This approach reflects not only the performance of individual gear but also a comprehensive strategy considering mixing and the overall sound creation of the band.

Affordable Alternatives to Recreate the Tone

To fully replicate Yusuke’s sound, one would typically need professional-grade gear like his signature model and the Peavey or EVH amps. However, there are ways for beginners and intermediate players to experience a similar sound at a more affordable price. Here, we will introduce alternatives primarily within the price range of $100 to $500 (up to $1,000) that can help recreate the sound.
A 7-string guitar is essential for reproducing heavy low-end riffs, but entry-level models can still capture the “lynch. vibe.” Additionally, using amp simulators and multi-effects can help achieve tones close to professional gear.

For 7-string guitars, models like the Ibanez RG series or Schecter Omen series are recommended as they are relatively affordable. Some models feature specifications similar to Yusuke’s signature, making them compatible with high-gain sounds.
For amp simulation, the BOSS “Katana” series is a powerful option. It can handle a wide range of tones from high gain to clean, and with proper EQ adjustments, it can approximate the nuances of Peavey and EVH.

For effects, alternatives such as the BOSS FZ-5 or Electro-Harmonix Big Muff can provide the fuzz character at a lower cost. For chorus, the BOSS CE-5 Chorus Ensemble or MXR Analog Chorus are stable choices. For delay, the BOSS DD-8 or TC Electronic Flashback offer a good balance of cost and functionality, enhancing the depth of solos and arpeggios.

If you want to incorporate multiple effects, multi-effects units like the BOSS GT-1000CORE or LINE6 POD Go can be very helpful. These include amp simulation features, making them a cost-effective choice for covering “amp + spatial effects + distortion.” The GT-1000CORE, in particular, excels in the quality of delay and chorus, making it suitable for pursuing lynch.’s transparent sound.

In summary, to approach Yusuke’s sound affordably, the key components are “7-string guitar + high-gain simulation + spatial effects.” Even if the individual gear is not professional-level, being mindful of the configuration can help recreate a similar atmosphere.

Summary and Conclusion

Reflecting on Yusuke’s sound creation, its essence lies in the coexistence of “heaviness and transparency.”
The powerful low-end achieved through the use of the 7-string signature model, the tight and separated distortion based on high-gain amps, and the floatiness created by chorus and delay all come together to construct the unique dark yet beautiful world of lynch.

His sound is not merely “heavy”; it flexibly changes expression according to the progression of the songs. In riffs, he emphasizes attack with sharpness and pressure, while in clean parts, he creates a sense of transparency with chorus and delay, allowing light to shine through. In solos, the addition of fuzz accentuates a rich overtone character. This meticulous sound creation is one reason why lynch.’s music resonates deeply with listeners.

Moreover, as seen in his settings and EQ adjustments, Yusuke is always mindful of the “overall band sound.” By managing the lows and boosting the mids, he maintains the outline of the sound, ensuring a well-defined space in the mix for vocals and bass. This ensemble-oriented approach is a significant strength of his professionalism.

For guitarists aiming to emulate the lynch. sound, understanding the role of sound is more important than merely copying gear. Whether supporting low-end, expanding space, or altering the expression of a song—having this awareness allows even those with affordable gear to approach Yusuke’s distinctive sound.
Beginners, in particular, can experience the essence of his sound by incorporating a 7-string guitar and spatial effects while experimenting with amp EQ settings.

In summary, Yusuke’s sound creation pursues “beauty within heaviness.” His choice of gear, EQ balance, and use of spatial effects all reflect his aesthetic. By not only imitating but also integrating these elements into their own musicality, readers can open up new possibilities for sound.