[Yuta] How to Recreate the HAWAIIAN6 Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist Yuta from HAWAIIAN6 captivates many fans with a sound that balances overwhelming sound pressure and delicate expression. His guitar sound is characterized by the ability to switch between a “piercing clean tone” and a “heavy, edgy distortion,” supporting the exhilarating melodies of melodic punk.

In iconic tracks like “MAGIC” and “Eternal Wish, Twinkle Star,” the high-gain sound from the Diezel VH4 is central, intertwined with spatial effects to create a rich sonic landscape. During live performances, Yuta primarily uses ESP guitars, blending powerful riffs with sharp arpeggios to craft a unique sound image.

Moreover, Yuta’s style is not solely focused on “heavy distortion”; he skillfully utilizes crunchy and lead tones that highlight picking nuances. From simple chord work to ethereal playing combined with octavers and reverb, the wide range of tones supports the band’s dynamics.

To recreate these characteristics, it’s essential to consider not only amplifiers and effects but also guitar selection and EQ techniques. This article will delve into the gear and settings Yuta uses, helping readers replicate the “HAWAIIAN6 sound.”

▶ Search official YouTube videos of HAWAIIAN6

List of Amplifiers and Features

The main amplifier used by Yuta in HAWAIIAN6 is the Diezel VH4. This high-gain tube amp is highly regarded by professional guitarists worldwide, particularly in the metal and hardcore scenes. Its four-channel design allows for a wide range of sounds, covering clean, crunch, lead, and ultra-high-gain tones. The front panel features a sticker that reads “WAR IS OVER!”, making it instantly recognizable on stage as Yuta’s gear.

The sound of the Diezel VH4 is characterized by tight yet thick low-end, with a midrange that is both focused and prominent. Yuta’s playing style revolves around exhilarating chord strumming and melodic lead lines, making this amp’s clarity and power a perfect match. Particularly in the distortion channel, it achieves deep distortion without losing attack strength, ensuring that the guitar cuts through the overall band sound.

Additionally, it has been confirmed that Yuta has used a Marshall rack system at certain times. The setup, which includes the Marshall JMP-1 (preamp) and the Marshall EL34 100/100 (100W+100W stereo power amp), is a classic combination favored by many professional guitarists since the 1990s. It is believed that this setup was used before the introduction of the Diezel or as a supplementary system. This configuration combines the flexibility and stability of rack-mounted gear, allowing for sound creation tailored to live or recording environments.

While the Diezel VH4 is confirmed as Yuta’s main gear, the Marshall system is thought to have been used in the past or as a backup. These choices reflect Yuta’s emphasis on balancing “sound power” with “clear contours.” He selects amplifiers that ensure the guitar maintains a strong presence within the overall band sound while preserving the melodic essence of the songs.

Overall, it can be assumed that Yuta’s amplifiers primarily revolve around the Diezel VH4, with the Marshall rack system being used in specific contexts or as a supplementary option.

Types of Guitars Used and Features

Yuta from HAWAIIAN6 uses several guitar models, confirmed through live photos, interviews, and social media posts. The most frequently used guitars are from ESP, including models like Potbelly, Flying V, SG, and Telecaster/Stratocaster types. Given that ESP also offers Yuta’s signature model, it is clear that this brand fits his sound and playing style best.

For instance, the ESP Potbelly combines the weightiness of a Les Paul with high playability due to its modern design. It maintains a thick tone without losing clarity during exhilarating chord play, aligning perfectly with HAWAIIAN6’s sound. The Flying V offers sharp attack and excellent projection, enhancing its stage presence. The SG type is lightweight and responsive, making it ideal for quick chord changes and riff playing.

Additionally, Telecaster and Stratocaster types have been confirmed in use. These guitars excel in clean tones and crunch, particularly in songs requiring delicate expressions without excessive distortion. In tracks like “Eternal Wish, Twinkle Star,” the clarity of single-coil pickups shines through, emphasizing beautiful melodies.

As a secondary option, Yuta has also used a Gibson Les Paul. The thick mid-low range characteristic of the Les Paul adds depth to the overall band sound, utilizing a different character compared to ESP’s modern guitars. His approach of using multiple guitars depending on the song and period showcases Yuta’s pursuit of the “optimal tone for each track.”

In summary, Yuta’s guitar selection revolves around ESP while incorporating Les Paul and single-coil types to achieve a diverse range of tones. This approach allows him to balance the exhilarating energy and melodic resonance unique to HAWAIIAN6.

Effects and Pedalboard Setup

Yuta’s effects board is a diverse and thoughtfully constructed setup. Based on live photos and various reports, it incorporates a wide range of effects, from tuners to spatial and noise effects, shaping the “depth” and “presence” of his sound.

At the signal’s origin is the standard tuner tc electronic Polytune, which excels in accuracy and visibility on stage, supporting the stability of Yuta’s live setup. The core of the board is the One Control Crocodile Tail Loop, a programmable switcher that efficiently controls multiple effects. This allows for smooth transitions between tones even in complex song arrangements.

For drive effects, the Mad Professor Sweet Honey Overdrive has been confirmed, likely used to achieve a natural and dynamic crunch. Additionally, a red overdrive/distortion pedal is present, and based on the visible “Hell” label, it is likely a model from the “Hell’s Gate” series, though the exact model name remains unconfirmed.

Yuta’s board also features a rich array of modulation and spatial effects, with the Neunaber Eterna Reverb providing beautiful echoes that add depth to melodic phrases. The Line6 M9 Stompbox Modeler serves as a multi-effect unit, accommodating modulation, delay, and looping. Unique effects like the WMD Geiger Counter (digital distortion/bit crusher) and EarthQuaker Devices Organizer (polyphonic octave) are also included, adding noise elements and unique fluctuations to HAWAIIAN6’s sound.

For delay effects, the Cusack Music Tap-A-Delay Lunar Echo has been spotted, combining analog warmth with a user-friendly tap tempo feature. A wah pedal (exact model unknown) and an expression pedal are also present, allowing for real-time tone changes in conjunction with devices like the Line6 M9.

From this setup, it is clear that Yuta’s board is designed not just for switching tones but also for creating “soundscapes” tailored to each song. By skillfully balancing distortion that supports exhilarating riffs with expansive reverb and experimental noise effects, he shapes the unique sound of HAWAIIAN6.

Tone Settings, EQ, and Mixing Approaches

Yuta from HAWAIIAN6 focuses not merely on producing high gain but on how the guitar sounds within the entire band. The Diezel VH4 he uses features four channels, enabling a wide range of tones from clean to high gain. Yuta leverages this characteristic to switch channels depending on the song, clearly distinguishing between lead and rhythm.

In terms of specific EQ tendencies, he tends to tighten the low end, leaving the bottom to the bass while boosting the midrange to enhance the guitar’s presence. The high end is kept in check to avoid harshness, ensuring that even exhilarating riffs maintain clarity without getting buried. Particularly in the distortion channel, the midrange-focused settings are crucial to Yuta’s sound.

The use of reverb and delay is also a critical element. Utilizing spatial effects like the Neunaber Eterna Reverb and Cusack Lunar Echo, Yuta creates depth even with simple chord strumming. This contributes to the unique “expansive yet exhilarating sound” characteristic of HAWAIIAN6. Additionally, the multi-effects setup centered around the Line6 M9 allows for adjustments in delay feedback and modulation depth, significantly influencing the song’s atmosphere.

In studio mixing, Yuta employs techniques to prevent the guitar’s frequency range from clashing with the bass and drums. Particularly in the low-end frequencies (below 80Hz), he often applies a low-cut, while boosting frequencies around 2kHz to 4kHz to ensure the attack of the riffs cuts through. This approach allows the guitar to maintain its presence even in the loud environments of live performances, delivering a “piercing sound” to the audience.

Furthermore, dynamic control using wah and expression pedals is a unique aspect of Yuta’s approach. Especially during lead play, he utilizes the expression pedal to vary the decay of the delay, creating an improvisational feel that adds a sense of immediacy to live performances. This reflects a spontaneous expression rather than fixed presets, which is one of the significant attractions of HAWAIIAN6’s live shows.

In summary, Yuta’s sound design is built on “midrange-focused EQ,” “active use of spatial effects,” “clear switching of amp channels,” and “improvisational pedal control during live performances.” Understanding these elements allows musicians to recreate similar nuances in their own environments, even without completely replicating the gear. Overall, his setup is designed to highlight the guitar’s presence while considering the band’s overall ensemble.

Affordable Alternatives to Recreate the Tone

Yuta’s gear, including the Diezel VH4 and ESP signature models, tends to be quite expensive and professional-grade. However, it is possible for beginners and intermediate players to experience a “HAWAIIAN6 sound” with relatively affordable gear. Here, we will introduce models available for around $100 to $500 that offer high recreatability.

Regarding amplifiers, high-gain tube amps like the Diezel VH4 are difficult to obtain and costly. As an alternative, the BOSS KATANA series is highly recommended. Specifically, the BOSS KATANA-50 MkII covers a wide range from clean to high gain, with high EQ flexibility, making it easier to replicate Yuta’s midrange-focused settings. Additionally, its channel switching and built-in effects make it adaptable for both live and practice environments.

For effects, the BOSS SD-1 Super OverDrive or JHS 3 Series Overdrive can effectively substitute for the Mad Professor Sweet Honey Overdrive. These pedals emphasize the midrange appropriately and are designed to enhance picking nuances, achieving a texture close to Yuta’s crunch sound. For reverb, using the TC Electronic Hall of Fame 2 Mini can easily create a spacious sound similar to the Neunaber Eterna.

For delay, the BOSS DD-8 or Electro-Harmonix Canyon are viable options. Both support tap tempo, allowing precise delay times to match the exhilarating tracks of HAWAIIAN6. The Canyon, in particular, features built-in modulation and reverb, covering the multifunctionality of the Line6 M9 at a lower price.

Moreover, essential to Yuta’s sound are octave and unique effect pedals. The BOSS OC-5 Super Octave serves as a relatively affordable and high-quality alternative to the EarthQuaker Devices Organizer, adding thickness to single-note leads and chord play. For modulation, the Electro-Harmonix Small Clone is a classic and budget-friendly option to achieve a similar modulation feel as the Mojo Hand FX Clari(not).

In summary, while Yuta’s sound is crafted with expensive gear, combining amp simulators and commercially available models from BOSS and Electro-Harmonix can help capture similar nuances at a relatively low cost. The key lies not in the gear itself but in focusing on “midrange-focused EQ,” “utilizing spatial effects,” and “maintaining distortion that doesn’t compromise attack.”

Summary and Conclusion

Yuta’s sound design in HAWAIIAN6 is characterized by an advanced approach that balances “sound thickness” and “exhilaration,” going beyond mere high-gain punk guitar. The tight yet powerful distortion generated by the Diezel VH4-based amp settings forms a foundation that supports the band without losing the guitar’s presence, intertwining with the bass and drums.

In his guitar selection, Yuta demonstrates flexibility by primarily using modern and powerful models like the ESP Potbelly and Flying V while also incorporating Les Paul and Telecaster types according to the song’s style. This versatility allows him to seamlessly transition from aggressive chord work to transparent cleans, delivering the emotional essence of each track to listeners.

Furthermore, his effects board incorporates a variety of spatial, noise, and octave pedals, constructing a unique sound image that cannot be expressed through distortion alone. Notably, the skillful use of reverb and delay contributes to the “exhilarating sound with a sense of floating” that is characteristic of HAWAIIAN6.

In terms of EQ techniques, Yuta emphasizes the midrange, keeping the low end tight to avoid clashing with the bass while adjusting the high end to prevent harshness. This meticulous frequency organization in PA and recording ensures that the guitar sound remains prominent even in the loud environments of live venues. Additionally, the dynamic control using expression and wah pedals adds a unique immediacy to his live performances.

In conclusion, the essence of Yuta’s sound design lies in creating a tone that functions within the overall band while maintaining the guitar’s distinct contours. This perspective emphasizes the importance of how to blend sounds and how to make them stand out, rather than relying solely on intense distortion or flashy effects. Understanding this allows even beginners to approach Yuta’s sound nuances using relatively affordable amplifiers and effects.

Studying Yuta’s sound design serves as an excellent educational tool, not just for mimicking gear but for learning the role of guitar within the entire band. Fans and players of HAWAIIAN6 can incorporate this essence into their playing, enhancing their expressive capabilities.