SIAM SHADE
DAITA
A professional sound system thoroughly particular about distortion

◄DAITA's effect rack includes (from top):

① Furman PL-PLUS (Power conditioner)

② Toneworks DTR-1 (Digital tuner)

③ Rocktron INTELLIFEX (Digital multi-FX)

④ Ex-pro PRO-10 (Wireless receiver)

⑤ Mesa Boogie TRIAXIS (Pre-amp)

⑥ Soldano caswell (Pre-amp)

⑦ VHT Classic (Power amp)

⑧ Ex-pro 6550S (Power amp)

▲At his feet are (from left):
⑨ Rolls Midiwizard MP1288 (MIDI foot controller)
⑩ Sho-Bud's volume pedal
⑪ Jim Dunlop Jimi Hendrix Wah (Wah pedal)
With the leftmost buttons of ⑨ he selects between the sound settings for Eb tuning and standard tuning.
In addition, the switches 0-4 are set up for solos and 5-9 are for rhythm.
◄This is the Yamaha YMM2 (Midi merge box) which was mounted behind the rack.
It links with MIDI signals both the ③ multi-FX, which he uses for delays and reverbs, and the ⑤ pre-amp, which controls distortion.
He can switch between the different pre-set tone configuration combinations of those two with one step using ⑪. [should be ⑨?]

DAITA's Top Secret

――How do you use the different effects?

DAITA: For both clean and distorted tone I use the echo effects of the Rocktron Intellifex. Because both the Intellifex and the Mesa Boogie Triaxis support MIDI, I can select between the different effect and pre-amp combinations with just one push of a button. With MIDI, I'm able to choose between different sounds. Besides volume swells, I use the volume pedal when both of my hands are busy, like in “Imitation Love”, when I need a different amounts of distortion during the song. I use the volume pedal to slightly adjust it.

――What is the core of DAITA-sound, the thing without which you'd be in trouble?

DAITA: Since the Intellifex is to my liking, doesn't sound cheap, and handles modulation, delay, and reverb, for live setups I've got to have it. That, and also the Triaxis was a big hit for me.

――Give us an example of an effector program and its specific usage?

DAITA: I use different guitars for songs that are in Eb tuning and those that are in standard tuning. And because the different guitars also sound different, I properly have separate banks for rhythm guitar distortion also. Basically there are four distortions for the guitars of both tunings. Among those, two or three have delay and there is also one clean tone in each bank. For solos, both of the banks have the same amount of delay, there's dry and long reverb... And the times for what is called “DAITA delay” (laughs) are 300, 600. It's a long delay that fits into any song even though their tempos may vary. I use it in hard, tricky solos, such as those in “Toki no kawa no naka de”, “Owaranai machi” and “Shake Me Down”. And also, in the solo of “Prayer” there is a part which is harmonized, from the tapping part onwards. I use octave doubling to get thickness. There's also a long, lingering reverb for single note phrases like that in the intro of “Can't Forget You”.

――What are the good points of a rack system?

DAITA: It's supremely easy to use. Anyone could control it. Plus the sound suits my taste.


KAZUMA
An almighty set that covers both clean and distortion

▲The effect group in KAZUMA's rack is (from top):
① Rocktron INTELLIFEX (Digital multi-FX)
② Ex-pro PRO-10 (Wireless receiver)
③ Toneworks DTR-1 (Digital tuner)
④ Yamaha FX770 (Guitar effect processor)
Below them are two ⑤ Roland JC-120 (Amp) for clean sound
▲At his feet are (from left):
⑦ ADA MC-1 (MIDI foot controller)
⑧ BOSS FV-50L (Volume pedal)
⑨ BOSS FS-5L (Line selector)
⑩ DOD A-B BOX 270 (Switching box)
⑪ Yamaha MFC05 (MIDI foot controller)
Kazuma divides his sound signal with the switching box ⑩ into clean and distorted.
He uses the echo multi-FX ④ for clean and ① for distortion.
He uses ⑪ to switch between the presets of ④ and ⑦ to switch between the presets of ①.
◄This is the core of Kazuma's guitar sound, ⑥ Mesa Boogie Dual Rectifier Solo Head, which is for distorted sounds and which Kazuma says is "ROCK!!"
It also has channels for clean and lead, and he switches between them with ⑨.

KAZUMA's Top Secret

――How do you use the different effects?

KAZUMA: I use the Rocktron Intellifex and the Yamaha FX770 for echo. The Intellifex is for distortion and the Yamaha FX770 is for clean sound. The basis of my sound is the Mesa Boogie's Dual Rectifier, which means it's "ROCK!!" (laughs) I use the volume pedal only to lower the volume when tuning. (laughs) Since I don't do volume swells or anything like that.

――What is the core of KAZUMA-sound, the thing without which you'd be in trouble?

KAZUMA: It's pretty much the reverb, so I can't give up the Intellifex.

――Give us an example of an effector program and its specific usage?

KAZUMA: I have three programs for distortion and four for clean sound. The distortion is usually on bypass and the signal most often goes directly into the Dual Rectifier (amp). Then it gets some crunchiness and reverb, that's about it. As for songs, for the strumming in "Imitation Love" I use single coil pickups, and since the sound changes quickly between clean and distortion, I use a little reverb. Songs that have crunchy distortion are: the intro riff of "Time's", and the chorus part arpeggios of "Calling" have even less distortion than "Time's".... For songs that are in minor I use distortion with reverb. In the guitar solo of "Doll" I use delay..... so much that I can get away with it. (laughs) For the clean sound in "Ooki na ki no shita de" I've gone all out with the delay. In "Sadness", I play with #3 of my basic programs, the one which has quite a lot of reverb. The strumming at the beginning of the backing for the guitar solo in "Can't Forget You" has only slight reverb, it's quite close to a direct clean sound.

――What are the good points of a rack system?

KAZUMA: There really aren't any. (laughs) The basis of my sound are the amp head and the speaker, and between them I mix in the effectors with the effects loop. But the truth is that I want a clean sound that is close to a natural guitar sound. In the future, I'm thinking of building a system without the Roland JC-120.


Source:
Rockin' F magazine #248 (July 1996). Scans by morgianasama

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