Hisashi Imai
Much of the information here came from books (Hyper, Love Me, Hyp #3) and magazine articles. Naturally data from 20 years ago will not be up to date, such as their eyesight or favorite things.
Skip ahead to favorite/influential albums or equipment overview.
Profile
real name: Hisashi Imai
nickname: fans have given him many nicknames but most seem to call him Imai as is Japanese custom to address someone by their last name
instrument: guitars; noise
first band: Buck-Tick
date of birth: October 21, 1965 (Showa era, year 40)
hometown: Fujioka, Gunma prefecture (born in a hospital in neighboring Takasaki)
siblings: younger brother, younger sister, (plus a cousin he grew up with like a sibling; his aunt and grandmother also lived with them)
marital status: married in February 2008 with birth of child announced in September 2013
education: graduated from Gunma Prefecture Fujioka Senior High School in March 1984
first record bought: "Technopolis" by YMO (Yellow Magic Orchestra) or "Nikumi Kirenai Roku De Nashi" by Kenji Sawada (depends on interview)
pets: Hisashi once had a beagle named "BJ"; he sometimes blogs about the French bulldogs named "Okayu" and "Piitan" but claims they are not his (must be technically his wife's dogs or his sister-in-law's dogs)
favorite...
musical artists: Bauhaus, Love and Rockets, Robert Smith, John Lydon, Boy George, YMO, Kraftwerk, Ultravox (other major influences include various punk and techno acts)
fine artists: Mark Ryden (various Surrealists tend to creep up as references)
cigarette: he smokes out of habit (previously Marlboro Menthols and Salem)
color: red, white, black
drink: barolo, tomato juice (Del Monte) (previously Jack Daniels bourbon, Heartland beer, Corona beer, Wild Turkey & Four Roses bourbon)
food: Thai, Italian, fried chicken (previously sushi, lime, tabasco, watermelon, etc.)
movie: Stranger Than Paradise, Friday the 13th, Freaks
season: end of summer to fall
sport: nothing really, but he was forced to play rugby in high school for 1 year
time of day: middle of the night
thing about Buck-Tick: concerts are the easiest, most relaxed
favorite / influential albums:
(this information was compiled from various books and interviews where Hisashi talks about all-time favorites and recent favorites)
Night Music by Tones On Tail
Hisashi loves guitarist Daniel Ash [who was in Bauhaus and Love and Rockets] and considers this album to be "dark dance music"
Slug by Meat Machine
Hello America by The Cassandra Complex
Hisashi thinks this is very cool "hardcore body music"
Cream by Mean Machine
Methods of Mayhem by Methods of Mayhem
The Man Machine by Kraftwerk
Hisashi loves all of Kraftwerk's albums but a long time ago, he didn't like music with singing very much
Drukqs by Aphex Twin
Xtrmntr by Primal Scream
Evil Heat by Primal Scream
From the Double Gone Chapel by Two Lone Swordsmen
Express by Love and Rockets
this is Hisashi's favorite Love and Rockets probably because it's very "pop"; he likes the balance of psychedelia and darkness
Earth Sun Moon by Love and Rockets
Private Parts by Robert Ashley
Traktor by Traktor
Humanity by The Mad Capsule Market's
Hisashi is not sure if this could be called modern punk but he really feels their sensibility
First In Last Out by Stroke
Insiding by Bruce Gilbert
this is what Hisashi listens to when he wants to listen to something noisy; he wanted to put out an album like this
Normal by Ippu-Do
this is Hisashi's favorite Ippu-Do album and thinks it might be the one that showcases their techno-ish sound the most
Naked City by Naked City
Hisashi thinks the songs are tight, hardcore jazz
Taxidermy by Queen Adreena
Mechanical Animals by Marilyn Manson
Chairman of the Board by Frank Sinatra
The Attraction to All Things Uncertain by Tweaker
Summer Make Good by Mum
Finally We Are No One by Mum
BGM by YMO
Hisashi's favorite Yellow Magic Orchestra album; he bought it in 10th grade (first year in Japanese high school) and has been listening to it since. When asked who is the one artist that changed your life, Hisashi declared it was YMO.
Technodelic by YMO
Hisashi bought this as soon as it was released and listened to it a lot
B-2 Unit by Ryuichi Sakamoto
at the time of release, Hisashi thought this was amazing
Neuromantic by Yukihiro Takahashi
Hisashi thinks that despite the dark sounds, this is romantic and is his favorite Yukihiro solo album
Tronika by Sketch Show
Zelda by Zelda
Hisashi loves the concept and Zelda around the time of this release
Playing the Angel by Depeche Mode
Stop Jap w/ Go Go Stalin (bonus single) by The Stalin
this is Hisashi's favorite Stalin album
Rock Swings by Paul Anka
Asect: Dsect by Richard Devine
The Unacceptable Face of Freedom by Test Dept.
this is probably Hisashi's favorite Test Dept. album; it's noise with a rhythm and he thinks that's it's pretty scary
Intelligence & Sacrifice by Alec Empire
Pretty Hate Machine by Nine Inch Nails
Hisashi had been listening to this a bit in 1991
The Fragile by Nine Inch Nails
Emilie Simon by Emilie Simon
Ovalcommers by Oval
Instant Love by Boøwy
Hisashi liked this in high school for its blend of techno and punk. He was also impressed that a Japanese guitar band was blending these sounds with new wave and guitar solos.
Planet Oz by Inga Humpe
it also has some house rhythms but Hisashi likes it for its gentle sound
OK Cowboy by Vitalic
Blue by RC Succession
when Hisashi's depressed, this album helps him to relax and feel better, like he's tripping
-1 by Gel
Mudai by Downy
The Swining by Pig
Arbor by Greg Davis
Atak006 by Yuji Takahashi
Real Time 7 ~ Ongaku No Oshie by Yuji Takahashi
Kick Up the Fire and Let the Flames Break Loose by The Cooper Temple Clause
The King by Teenage Fanclub
Hisashi thought the band was interesting for its noisy songs without vocals
Wire
Not sure which album is his favorite but in 1988 he mentioned he liked them.
New Order
Not sure which album is his favorite but in 1988 he mentioned he liked them.
Steve Stevens
Not sure which album is his favorite but in 1996 he mentioned him amongst guitars he likes.
When he was younger, he liked Kenji Sawada a lot
Equipment Overview
Skip ahead to guitars used in the mid-1980s (Indies days), late 1980s, 1990-1991, 1992-1993, 1995-1996, 1997-1999, 2000-2009, 2010-current, side projects, & home studio.
Hisashi's main role tends to be as lead guitarist and adding little pieces of phrasing while Hide keeps the rhythm going. As such, he rarely plays acoustic guitars but he owns a few and has played acoustic live.
Hisashi tends to use a lot of effects (in the first 10 years, namely Overdrive/Distortion and Harmonizer/Pitch Shifter). In the very early days, perhaps as late as 1988, Hisashi would use the standard individual pedals. In the studio, he continues to experiment with various devices but to keep his large sound palette manageable live, he switched towards incorporating midi and using foot controllers that triggered multi-effects in a rack system. In short, Hisashi's effects are complex. So complex that the guitar sound often cuts out during television performances so the band mimes to a recording whilst Atsushi sings live.
He has combined amps and there always seemed to be a Mesa Boogie among them back in the day. Currently he seems to favor Marshalls. It appears that he uses other amps with Lucy, notably Orange. Of course, in the studio many amps and effects not in his personal possession are used as well.
For guitar straps, a custom thin (leather?) strap with "Buck-Tick" in gold letters was created in the late 80s to early 90s that both Hisashi and Hide used. (This was sold to the public as Fernandes S-3500BT.) In fact, Hisashi has continued to use this type of strap even in side projects such as Lucy. This strap has been mass produced and sold in stores though the model number and some slight details of the Buck-Tick strap may have changed. Starting with the second Lucy album, Hisashi began to use a different strap for the first time. One was wider and had a cross on it and another was thinner with belt loop-like holes. These were probably used to coordinate with Kiyoshi as he had the same straps and they have matching custom Lucy guitars.
In the Indie days, it seems Hisashi used whatever brand was available for strings. Hisashi has used Ernie Ball strings since around the band's debut. He currently uses Regular Slinky nickel wound 10s.
For guitar picks, all the pick users in Buck-Tick constantly have custom made picks and models are sold to the public.
As for setups, here are some examples. Please note that whenever 2 of the same items are listed, 1 is for regular guitar and the other is for midi guitar (synth guitar in Japan so I might use these terms interchangeably).
Indies pedal setup: Korg octaver, Korg compressor, Korg overdrive, Boss distortion, Boss distortion chorus [that's how it was listed], Korg noise gate, Maxon digital delay, Yamaha equalizer, Roland guitar synth connected to a music man amp.
Seventh Heaven Tour period: Boss octave, Boss pitch shifter, Boss dimension chorus, Boss EQ, Korg compressor, Zip overdriver, Rat distortion, Yamaha EQ, Roland guitar synth, Maxon digital delay, Maxon EPP400, Boss volume pedal, Maxon HD1000, and Rexer wireless.
Aku No Hana recording effects: Boss wireless system, Yamaha graphic equalizer, Rocktron programmer, Rocktron compressor/expander, Maxon effects patching programmer, Maxon harmonics, Boss digital pitch shifter, Roland p/v synth, Maxon digital delay, Yamaha multi-effector, Rocktron prorax, Rane mixer, Cry Baby Jimi Hendrix model, Electro-Harmonix fuzz (pi), Boss graphic equalizer, Guyatone power supply, Rat proco, Rat turbo, boss volume pedal 2x.
Aku No Hana Tour setup: pictured below is the Rocktron foot controller.
Darker Than Darkness Tour setup: Roland FC-100MK II foot controller for guitar synth, Bradshaw:RSB-18F foot controller with a RSB-18R rack as his switching system, two DigiTech Wah WH-1 pedals, two Boss Volume FV-200 pedals, and a Korg AT-1 tuner.
Somewhere/Nowhere Tour (Six/Nine) setup: wireless system and pedal switching system were the same except for one Boss FV-200, one Boss FV-300L (volume pedal), and DigiTech whammy pedal I & II. The rack slightly differs: two Juice Goose PD-2, Eventide H3000S, Sony DPS-M7 (chorus, pitch shifter, phaser, tremolo, etc.), Vital Eight Vital Audio, Sony DPS-D7 (stereo delay, feedback, long top, delay, etc.), Sony DPS-M7, Sony DPS-F7 (feeding, parametric EQ, dynamic filter, mono synth, etc.), Rocktron Patch Mate, Rocktron Bradshaw RSB-18R, Soldano preamp, Engl Tube preamp, Rocktron Progap, Korg Mir & Wavestation, Akai Midi Stereo Digital Sampler S1000, Roland GR-50, Rocktron G612 line mixer, Roland SDE-3000 digital delay, Roland SPV-355 (guitar synth), and H H Mosfet M900 power amp. Here is a diagram of his rack in 1995 as well as his midi setup.
Hisashi's Chaos Tour (Cosmos) rack consisted of 2 Juice Goose PD-2, DigiTech IPS-33B (harmonizer), Roctron Patch Mate (loop switch), Sony M7/D7/M7 (M7 is modulator and D7 is delay), Eventide H-3000 S (multi effector), Rocktron Bardshaw RSB-18R (switching system), Rocktron Pro GAP preamp, Soldano (main amp), Korg Mir & Wavestation (guitar synth module), Maxdon DMD2000 (delay), Rocktron G612 (line mixer), Roland GR-50 (guitar synth module), Ex-pro AD-1 & four Pro-1 (wireless system), Roland SPV-355 (guitar synth), and MosValve MV-962 Tube Works (main amp).
Hisashi's pedals during the Chaos Tour were the same as Somewhere/Nowhere Tour (Six/Nine) and his rack was also the same (except with Micro Synth and Big Muff). Hisashi's pedals during Sexy Stream Liner are pictured above: Rocktron footswitch, two Digitech Whammy-II pedal, and two Boss FV-300L (volume pedal). Again, when there are two pedals of the same thing, one is for regular guitar and one is for midi guitar (synth).
Hisashi's rack at this time consisted of seems to be similar but I will list out in full what was printed in a magazine: Sony WD-820, three Ex-Pro Pro-10 (wireless receiver), two Juice Goose PD-2, Eventide H3000 (ultra harmonizer), Sony DPS-M7 (sonic modulator), Vital Audio mixer, Sony DPS-D7 (digital delay), Sony DPS-F7 (dynamic filter), Rocktron Patch Mate (program system), Rocktron RSB-18R (switching system), Soldano power amp, Engel tube preamp, Rocktron Pro GAP (programmable preamp), and Ztar VRS sampler and effectors. There are also single pedals being stored, visible at the very bottom of the rack during Cosmos and Sexy Stream Liner: Electro Harmonix Big Muff (fuzz) and Electro Harmonix Micro Synthesizer.
For the recording of Mona Lisa Overdrive, amps used include Marshall JCM-800 heads with Marshall cabinets (not sure the model), Bogner, Fender Tone Master and Twin Reverb, Egnater, Matchless, Knedrick, and Line 6. Effects included a Sony M-7, D-7, F-7, GTR4000, Sherman (not sure which filterbank), Pro Tools plug-ins, etc.
Since Hisashi began blogging in 2009, he's posted glimpses of recording sessions, including effect pedals that were perhaps newly acquired. These include a Bleep Labs Thingamagoop and a Devi Ever Shoe Gazer and Bit Mangler. Blog posts during tours also reveal that he is still using a Bradshaw foot switch in 2012.
Main Guitar Summary
early days: Fender Tele he had painted over himself
late 80s: Fernandes copy of above in Strat form (sold as Imai model in plain white)
early 90s: series of custom guitars first created during the recording of Aku No Hana that became known as "mai-mai"
mid to late 90s: many different types of interesting models in use but more traditional rock type guitars were used along with custom ones (namely Jaguar and Strat copies as well as a hollow body, Les Paul, and Gibson V)
late 90s to 2000s: custom guitars "mai-mai" and stabilizer as well as "pot" seem to be the main 3 types
2000s: same 3 type of custom guitars, plus the new custom dazzler and signature models of other artists
Hisashi is not known to get rid of his guitars but I am not sure if he still has any of the guitars he first bought when he was learning how to play and during his days with Hinan Go-Go.
Equipment: mid-1980s (Indies days)
Fresher
Strat style with 3 single coil pickups
custom paint by Hisashi
this is the first guitar that Hisashi bought while he was in high school in 1983; at the time, it was incredibly hard to find lefty guitars so he had to settle on this guitar
this guitar was originally sunburst as evidenced by photos of gigs in 1986; I am not sure when Hisashi painted the body grey as pictured here
Greco
standard model that is modeled after the Les Paul style
custom paint by Hisashi
this is the second guitar that Hisashi bought and he apparently bought it off a friend; it has been seen on stage as late as 1987
Tele style with 2 single coil pickups
custom paint by Hisashi
used in Hinan Go-Go and can be seen in a 1984 video
Tele style with 2 single coil pickups
(this may possibly be a Fernandes as he listed among his guitars in 1986 a Fernandes telecaster; this photo from 1986 is the only photo I know of this right-handed guitar so possibly he borrowed it and re-strung it so he could play it but I also have a vague memory of reading somewhere that in the early days, Hisashi bought a right-handed guitar and played it left-handed but I could be wrong on that)
Roland GR-500 & GS-500
(released in 1977, this is one of the first midi guitars)
Hisashi acquired this at a very good price in the indie days, likely in 1986 or 1987
Fender Telecaster
custom paint by Hisashi (later a more professional version was created for him by Fernandes)
this is probably what we could call Hisashi's first true main guitar; I think he acquired it in 1985
usage: can be seen in the music videos for "Dream or Truth", "Empty Girl", "Hyper Love", "Sexual XXXXX!" (1987); can also be seen in the Buck-Tick Live at the Live Inn (1987) live concert video; after a long absence from the public eye, Hisashi used it in the music video for "Keijijou Ryuusei" (2014)
Equipment: late 1980s
P-Project STJ-BT white
pickups: 2 single coil
controls: volume, tone, toggle switch
usage: often, a main guitar at the time
P-Project did sell copies of this as the Hisashi custom model; P-Project is owned by Fernandes
usage: first acquired in late 1987 (I think he used his major label signing money to get this guitar or the label quickly helped him get an endorsement)
can be seen in the music videos for "...In Heaven...", "Just One More Kiss", "Misty Zone", "Physical Neurose", "Romanesque", "Victims of Love" (1988)
P-Project STJ-BT black
body: alder
pickups: 1 single coil (Fernandes VH-7), 1 humbucker (Fernandes VH-4)
controls: volume, tone, toggle switch
usage: rare
Fernandes Stratocaster STJ-BT
pickups: 2 single coil, synth (midi) pickup at the bridge
overall this is quite similar to the P-Project listed above
Fernandes sold this starting around early 1989 as the STJ-80BT Hisashi custom model but those were plain white and this one pictured is Hisashi's personal guitar with his custom paint job
TJ80BT sold to public specs:
neck: maple, bolt-on
fingerboard: rosewood, 24 frets
body: basswood or sen
pickups: FGI Technology-T
controls: volume, tone, toggle switch
bridge: combination-B
usage: can be seen in the music video for "The World is Yours" (1990)
Fernandes Telecaster TE-BT Proto black
pickups: blade (front), humbucker (rear)
usage: owned since around the time of major debut, rarely used live but this was the main guitar used to record Aku No Hana
when Fernandes sold the STJ-80BT as noted above, they were also selling Telecaster models of Hisashi (TE-80BT) and Hide (TE-75BT), which I believe this is the model it was based on)
TE-80 sold to the public specs (available in white only):
neck: maple, detachable neck joint
fingerboard: rosewood, 24 frets
body: basswood
pickups: FGI Technology-T
controls: volume, mini pickup selector switch, mini on-off switch
bridge: combination-B
notes: this appears to be the TEJ-BT proto as listed in the Buck-Tick Guitar Archives book which states that the single coil pickup is a Fernandes VH-7, the rear humbucker pickup is a Fernandes VH-4, and the body is made of alder
for the white version sold to the public, it was remarkably similar to Hide's custom model, the key difference being that Hisashi's model has shark fin inlays while Hide's model has dot inlays. Also, Hide's model does not have the on/off switch
Fernandes Hishiza
this was Hisashi's first custom shape guitar and was later called the Tsuchinoko
body: alder
neck: maple/rosewood
pickups: two Fernandes FGI technology single coil
bridge: PR-9000
usage: this guitar is sometimes propped up by itself in concerts for easy access to another guitar without taking off the guitar Hisashi is currently playing
can be seen in the Sabbat (1989) live concert video during the encore, the music video for "National Media Boys" (1990), and Akuma To Freud -Devil and Freud- Climax Together (2004) live concert video
Ovation Collectors Series 1988-P
6 string acoustic-electric guitar, lefty model
pre-amp: OP-24
usage: rare
notes: Hide has the same model guitar
Equipment: Aku No Hana - Kurutta Taiyo period (1990-1991)
Fernandes custom BT-MM (black on) white #1
Hisashi designed this guitar during the recording of Aku No Hana in 1989. Fernandes workers who received the rough sketch apparently remarked, "what kind of shape is this?!".
The guitar and the subsequent copy models have become a staple in Hisashi's arsenal. The guitar has been nicknamed "mai-mai". The various versions are known as "mai-mai red", "mai-mai black", etc.
back of neck: "5 for Japanese babies" (quote from Taboo's "Iconoclasm")
Fernandes did sell copies of this as the BT-480MM Hisashi custom model but there was no writing on the back of the neck so some fans put it on themselves (available in white or red)
body: alder 45mm
neck: maple/ebony
pickups: two EMG-SA
bridge: Roland GK-2 guitar synthesizer
plugs: standard guitar jack and for guitar synthesizer
usage: first unveiled live at Buck-Tick Genshou on December 29,1989
can be seen in the music videos for "Dizzy Moon", "Sabbat" (1990), "Jupiter" (1991)
Fernandes custom BT-MM white #2 with arm
tremelo arm (AKA whammy bar) later added to a near identical copy of the original white version listed above
neck: long-scale
back of neck: "5 for Japanese Babies"
bridge: FRT-4 tremelo unit
Fernandes custom BT-MM white #3 with synth pickup
synth pickup for MIDI capabilities later added on to another custom white model
this acted as a back-up guitar to Hisashi's main white mai-mai
back of neck: "5 for Japanese Babies"
Fernandes custom BT-MM (light gold on) green metallic
usage: extremely rare (I think the only time I saw Hisashi actually holding it was in a guitar magazine profiling his guitars)
Fernandes custom BT-MM (light gold on) green metallic fretless
fretless guitar that has been used with bow
body: mahogany
back of neck: "5 for Japanese Babies"
pickups: two EMG-SA and sustainer
bridge: Roland GK-2 guitar synthesizer
usage: rare but in more recent times he's brought it out much more, such as with side projects Schwein (2001) and Lucy; can be seen in Lucy's Lucy Show (2004) live concert video
Fernandes custom BT-MM W-Neck (light gold on) green metallic
double neck (1 with frets and tremelo arm, 1 without frets and no arm)
Hisashi also designed this one of course
body: alder
neck: maple
fingerboard: ebony
brdige: FRT-G tremelo unit
usage: used to record Kurutta Taiyo (1991); can be seen in the Climax Together (1992) live concert video
Fernandes custom BT-MM (red on) gray #1
body: alder
pickups: two EMG-SA
back of neck: "Koroshi No Shirabe" (in Japanese)
bridge: Roland GK-2 guitar synthesizer
Fernandes custom BT-MM (red on) gray #2
body: alder
pickups: sustainer (front), THD-1 (middle), THS-1 (rear)
back of neck: "Koroshi No Shirabe" (in Japanese)
bridge: Roland GK-2 guitar synthesizer
usage: rare live I think but it was used heavily to record Darker Than Darkness
note: the Buck-Tick Guitar Archives book states that below the sustainer is a THS-1 pickup and the rear pick-up is THD-1 (reverse of specs listed above)
Fernandes custom BT-MM (gold on) red #1
body: alder 45mm
neck: maple with ebony
pickups: at first FGI technology, changed to two EMG-SA
back of neck: "5 for Japanese Babies"
bridge: at first Roland GK-2 guitar synthesizer, changed to REM Power Bridge ST, Poly-Drive 1 system
controls: volume, tone, directional switch, pickup selector, guitar synthesizer volume, guitar synthesizer selector
plugs: standard guitar jack and for guitar synthesizer
usage: heavy, became Hisashi's main guitar after it was later given MIDI capabilities
can be seen in the music video for "MAD" (1991), "Candy" (1996), "Sasayaki" (1998), "21st Cherry Boy" (2001), "Alice in Wonder Underground" (2007)
the red mai-mai can also be seen in Schaft's "Arbor Vitate" (1994) music video
notes: Fernandes sold copies of this as the BT-120MM Hisashi custom model, but without the Roland pickup for MIDI and writing on the back of the neck
there also was a mini version sold during the 20th anniversary
cyber punk guitar
usage: can be seen in the music video for "Speed"
Equipment: Koroshi No Shirabe - Darker Than Darkness period (1992-1993)
Hisashi used a bow on guitars in late 1989 and for a couple of tours after that. The bowing technique has since been forgotten as Hisashi no longer plays songs live that way. He than began to experiment with drills and other noise devices. The drill is made by Makita and has 3 picks on the end of it.
Fernandes Zo-3 pink
these are the traveling/practice guitars by Fernandes with a built in amp and run off a battery
"Zo" means elephant in Japanese and when you think of elephants, you think pink, hence this pink model (I guess the body looks like an elephant ear)
this was autographed by friends and the Buck-Tick Guitar Archives book guesses that it was signed during the LSB Tour
(Hide owns a blue version as well as a red one)
the official name is TE-BT S or TEJ but this is more commonly known as Monster Attack Dynamite (M.A.D.)
body: alder
neck: maple
fingerboard: rosewood
pickups: sustainer CD-100F (front), VH-4 (rear), changed to LHM-2112
usage: used heavily to record Darker Than Darkness as well as live
custom decoration: one night while bored in 1992, Hisashi started writing on his guitar and also wrote his hotel room # (602)
the song "MAD" doesn't stand for anything but he chose to give it meaning here as Monster Attack Dynamite
Monster Attack Dynamite
tremelo arm (AKA whammy bar) (bridge FRT-4B) was added later and the writing Hisashi added has faded away significantly
Fernandes sold this version with a whammy bar as BT-115S
Anderson Apple
pickups: Hot Rail
usage: can be seen in the Climax Together (1992) live concert video
notes: This is no longer in Hisashi's possession as someone is 'borrowing' it. Hisashi had been actually borrowing this from someone else anyway.
(I think I've seen Hisashi with this as early as in the late 80s or early 90s but I may have confused it with the Hishiza.)
Fernandes Stratocaster BT-ST
with guitar synth pickup
LED display behind the front pickup
LED display on the cutaway alters with the strength of picking
body: alder
fingerboard: ebony
back of neck: "darker than darkness"
pickups: three EMG-SA
bridge: Roland GK-2 guitar synthesizer
usage: can be seen in the music videos for "Die" (1993), "Kimi No Vanilla", "Kagiri Naku Nezumi" (1995)
Fender Stratocaster 1971 yellow
usage: used heavily to record Darker Than Darkness (1993), noisy songs in particular
I believe this was also the strat used to record the following tracks on Six/Nine (1995): Aikawarazu No "Are" No Katamari Ga Nosabaru Hedo No Soko No Fuki Damari, Mienai Mono Wo Miyou To Suru Gokai Subete Gokai Da
Buck-Tick Guitar Archives book claims that it was also used to record Kurutta Taiyo
I believe this was also used to record Mona Lisa Overdrive (2003)
Steinberger GL
body: (graphite and) carbon fiber
usage: can be heard on "Ao No Sekai" from Darker Than Darkness (1993); the Buck-Tick Guitar Archives book referes to this model as the Steinberger Elite
Gibson Les Paul custom '73-'74 20th anniversary model ("black beauty")
black with black pickguard
specs: basically same as the original
usage: Hisashi acquired this in 1989 and began using it to record Kurutta Taiyo (1991) but it's usage increased later in the decade such as with Schaft (1994). (I believe it's primarily used for songs in D tuning)
can be seen in Schaft's live concert video
it was used to record the following tracks on Six/Nine: Love Letter, Kodo, Kagiri Naku Nezumi, Aikawarazu No "Are" No Katamari Ga Nosabaru Hedo No Soko No Fuki Damari, Uta
Hisashi used to a Les Paul custom to record Mona Lisa Overdrive but I'm not sure if it was this one or the one below
(Hide has the same guitar but for right-handers, of course)
Gibson Les Paul custom #2
1980 model, gold hardware
body: maple top, mahogony back
useage: used during the recording of Koroshi No Shirabe (1992)
Gibson Les Paul standard 1991
black with white pickguard
usage: used heavily to record Darker Than Darkness; main guitar around the time of recording Koroshi No Shirabe
Hisashi acquired this roughly around 1991 and it has not been modified (a left-hander's model in black is supposedly rare)
please note that the specs are different than one above as this is the standard model
Equipment: Six/Nine - Cosmos period (1995-1996)
Starr Labs Star Switch Ztar VRS
midi guitar, custom made for Hisashi
Hisashi was renting a midi guitar while recording with Schaft (1994) and decided to purchase this
usage: this is used live and has often been on a stand (in particular it is the main 'keyboard' riff during "Kalavinka" and also in recent years during "Cosmos" and "Gessekai")
it was used to record the following tracks on Six/Nine (1995): Loop, Somehwere Nowhere, Detarame Yarou, Kick (Daichi Wo Keru Otoko), Loop Mark II
can be seen in the music video for "Detarame Yarou" and in live concert videos since Sweet Strange Live Film (1998)
Fernandes RST custom
body: alder
neck: maple and rose
pickups: three VS-1
usage: when Hisashi was playing midi guitar, this was on a stand for easy access to an electric guitar
Tokai Talbo
body: aluminum
this is actually a right-hander's model but Hisashi plays it left-handed
what appears to be controls on the right are dummies
Hisashi acquired this when he was with Schaft
usage: this guitar has been used during recording ("Kimi No Vanilla") and a couple times live but you can see it more prominently perhaps in the videos the band did for the entire album Six/Nine ("Kodo", "Itoshi No Rock Star") (1995)
Metal Driver MD-USA
body: aluminum
usage: right-handed model that Hisashi would have to play left-handed
actually I'm not sure when Hisashi has ever used this other than a photoshoot for a magazine
Coral electric sitar
(Hide was the first to use this during recording)
Fender '65 Jaguar red
with floating tremelo arm (whammy bar) for right-handers (an oddity, which is probably why it was removed by the time this photo was taken)
(in the photo there is a sponge inbetween the bridge and tremelo unit)
usage: it was used to record Six/Nine's "Mienai Mono Wo Miyou To Suru Gokai Subete Gokai Da" (1995)
can also be seen in the music video for "Uta"
notes: Hisashi purchased this guitar in London in 1994 while recording Schaft's album
Fernandes JG-85BT orange #1
this Jaguar copy was custom made after Hisashi saw the originals in England, complete with the reverse headstock
color: original orange
body: maple top, mahogany back
neck: maple (another magazine says mahogany)
pickguard: aluminum
fingerboard: ebony
pickups: DiMarzio Air Zone
bridge: GE-103B
controls: volume, tone, and pickup balance
note: the Buck-Tick Guitar Archives book claims that the pickups are DiMarzio Tone Zone
Fernandes did sell copies of this to the public as the JG-85BT Hisashi custom model
Fernandes JG-85BT orange #2
backup for the main orange guitar above; the pickguard is noticeably a darker blue; on the back of the headstock is a piece of tape with "No. 2" written on it
fingerboard: rosewood
Fernandes JG-BT Proto
Jaguar copy also custom made
color: original violet
specs: basically the same as the orange one except it is fretless from the 13th fret up (you can see the marks where the frets were removed; this was inspired by Scott Ian of Anthrax)
pick guard: aluminum
note: the Buck-Tick Guitar Archives book claims that the pickups are also DiMarzio Tone Zone
EMS Sound Beam and Sound Laser
These became one of Hisashi's favorite methods for creating funky sounds during this period. His live set-up become quite a sight with so many effects. However, it seems he abandoned these in favor of the theremin.
usage: the Sound Beam was used to record the following tracks on Six/Nine (1995): Loop, Loop Mark II
Theremin
usage: used for creating noise in general and specifically during "My Fuckin' Valentine" in concerts; he later had a theremin device added for the "Pot" model guitars created as a main guitar for the side project Schwein (2001)
can be seen in the music video for "Gessekai" and also in live concert videos since Sweet Strange Live Film (1998)
Sexy Stream Liner period (1997) - end of 1990s
Fernandes Stabilizer prototype white
body: alder
neck: maple
pickups: sustainer CD-100F (front), VH-4 (rear)
bridge: FRT-4B tremelo unit
controls: volume, sustainer on/off switch, sustainer mode switch
Hisashi helped design this unusual body in 1996
customization: at one point Hisashi put what looked like police crime scene tape on it that read "High Noise AR" (black on yellow)
usage: first used live in August 1996 and became a main guitar with several copies made; the Stabilizer model can be seen in the music videos for "Heroine" (1997), "Bran-New Lover" (1999), "Glamorous" (2000), "Zangai" (2003), "Rendezvous" (2007), "Heaven" (2008), "Galaxy", "Dokudanjou Beauty" (2009), "Elise No Tame Ni" (2012), "New World" (2016)
the Stabilizer model can also be seen in Schwein's "You're My Disease" (2001) music video and Lucy's Live at Unit (2006) live concert video
notes: along with the "mai mai", it has become one of Hisashi's main guitars
there exists at least 3 colors of this model and their details are below
Fernandes did sell copies of this as the Hisashi custom model in white, gold, and silver
Fernandes Stabilizer gun metallic
body is slightly bigger than the white prototype
body: alder 45mm
neck: maple, 648mm-scale, bolt-on
fingerboard: maple, 24 frets, 350R
pickups: CD-100F, FHM-2110W
controls: volume, 3-way toggle switch, machine gun push switch, sustainer controls
bridge: Schaller SFRT-2
features: Fernandes sustainer
Fernandes Stabilizer gold
same specs as gun metallic version but with an on/off toggle switch
usage: can be seen in the music video for "Babel" (2017)
Fernandes Stabilizer cream
same specs as gold version
usage: used to record "Check Up" from One Life, One Death (2000)
Fernandes Stabilizer synth
same specs as gun metallic version but with guitar synthesizer
bridge: Poly-Drive 1 system
Gibson The V
body: maple top and mahogany back
pickups: dirty fingers
usage: rare until the side project Schwein (2001) when it became a main guitar
Burny RLG-70
standard lefty model
Burny is owned by Fernandes
Equipment: One Life, One Death - Memento Mori era (2000-2009)
Fernandes custom BT-MM (gold on) red #2
back of neck: "One Life, One Death"
bridge: REM Power Bridge ST, Poly-Drive 1 system
this second copy of the red mai-mai was created around the time of the album One Life, One Death (2000)
Gretsch Tennessee Rose
body: maple
neck: maple
fingerboard: ebony with thumbnail position markers
pickups: two FilterTron humbuckers
bridge: Bigsby B6C vibrato
controls: 3-way toggle switch, master volume, master tone, neck pickup volume, bridge pickup volume
usage: used to record "Girl" from Mona Lisa Overdrive (2003)
can be seen in the 13th Floor with Diana (2005) and Tour Atom Miraiha No.9 -Final- (2016) live concert videos
notes: Hide has a similar guitar
Gretsch G5810 (Bo Diddley Box Guitar)
body: semi-hollow, laminated maple top, alder back and sides
neck: maple, bolt-on
fingerboard: rosewood
bridge: adjustable
pickups: two high sensitive FilterTron humbuckers
controls: volume, tone, 3-way toggle switch
tuners: chrome-plated die-cast
usage: used to record "Rhapsody"; can be seen in the One Life One Death Cut Up live concert video
Ernie Ball Musicman Silhouette Special
(specs from Music Man site)
body: alder
neck: maple
fingerboard: maple or rosewood
pickups: three DiMarzio custom wound single coils
controls: pickup selector, volume, tone
useage: used on "Barairo No Hibi" (2001); also used to record with Schwein (2001)
Gibson J-45 Modern Classic sunburst
6 string acoustic-electric guitar, lefty model
(specs from Gibson site)
body: back and sides mahogany, 4-ply top, single-ply back
top: premium sitka spruce
neck: mahogany
fingerboard: rosewood, 24-3/4" scale
pickup: active electronics with sound hole mounted volume control
bridge: traditional Gibson rosewood bridge
tuners: nickel grovers
pickguard: tortoise tear drop
usage: used to record "Nocturne -Rain Song-" (2003); used live since Tenshi No Revolver Tour (2007); this may have been the same guitar used in the Akuma To Freud (2004) live video (there was never a decent shot in that video to identify the guitar for sure)
Fernandes custom BT-MM (funky finish) brown #1 (looks more red than brown)
body: 30mm light ash back, 15mm gilded maple top
neck: 5 piece maple
back of neck: nothing
usage: created for the major debut 20th anniversary, used since Tenshi No Revolver Tour (2007)
can be seen in the Tenshi No Revolver live concert video
Fernandes sold copies to the public as BT-MM Custom in brown umber
Fernandes custom BT-MM (funky finish) brown #2
back of the neck: "Serial Thrill Kisser" (part of title for song "Kuchizuke" on Razzle Dazzle album)
usage: this started as the backup guitar for the main listed above but became the main guitar while touring in 2012
Fernandes custom BT-MM (silver on dark purply sunburst) brown #1
body: flame maple top, Honduras mahogany back
fingerboard: ebony
back of neck: nothing
usage: created for the major debut 20th anniversary; this is a dark guitar that can appear black; best way to know the difference is that the S like design is silver and Hisashi's black guitar has the S design in gold
Fernandes custom BT-MM (silver on dark purply sunburst) brown #2
back of neck: "TONIGHT, TONIGHT" (from the song "Razzle Dazzle")
usage: this was created as the sub to the guitar above but was used until 2011 as the main; this is a dark guitar that can appear black; best way to know the difference is that the S like design is silver and Hisashi's black guitar has the S design in gold
I think this is the one that can be seen in the Yume Miru Uchuu (2012) live concert video
Seagull
6 string acoustic-electric guitar, lefty model
pre-amp: Ribbon transducer interface by L.R. Baggs
Equipment: 2010 and onward
Fernandes Dazzler prototype
body: semi-hollow mahogany
fingerboard: no elaborate inlay
pickups: two VH prototype
controls: 2 volume, 1 tone, pickup selector
notes: Hisashi modeled this on a mandolin, as if it were an old instrument and drew a couple of possibilities for the holes
usage: can be seen in photos for the album Razzle Dazzle, used live since December 2010
the Dazzler model can also be seen in the music videos for "Kuchizuke" (2010), "Miss Take", "Climax Together" (2012), "Rondo" (2019)
it can also be seen in live concert videos since Razzle Dazzle (2010)
Fernandes Dazzler #1
body: gilded maple top, mahogany back
neck: mahogany
fingerboard: ebony (elaborate inlay)
back of neck: "Django the Dazzler"
scale: medium 22F
pickups: two Voodoo HB-57
controls: 2 volume, 1 tone, pickup selector
usage: used live since December 2011
Fernandes sold copies of these to the public as the Dazzler
Fernandes Dazzler #2
same specs as the main above, used as a backup
Gibson Les Paul Jr.
pickups: P-90
useage: used for touring since around 2010
Fernandes Gustave
Revealed in 2018, this guitar is basically a mai-mai with animal print accents. This was also sold to the public as Imai Hisashi Model Gustave.
body: maple top, selected mahogany back (front black, back red)
neck: maple bolt on
fingerboard: ebony
back of the neck: "Bravo Tango" (red letters on black)
scale: 682mm (medium)
pickups: two Voodoo HB-57
controls: 2 volume, 1 tone, pickup selector
notes: bravo tango is how to spell BT in the military alphabet
usage: can be seen in the music video for "Kemonotachi No Yoru" (2019)
Gibson Hummingbird
Hisashi probably acquired this acoustic-electric guitar as early as 2016 or as late as 2019 (I think they were for sale in 2016-2018) (stock photo)
body: Adirondack red spruce top with mahogany back and sides
neck: mahogany
fingerboard: rosewood with mother of pearl
usage: can be seen in the Locus Solus No Kemonotachi (2019) live concert video
Equipment: side projects Schwein and Lucy
Fernandes BP-220HI black
this custom model is also known as "Pot" (not sure who made the typo but Hisashi has referred to it as "pod" on social media while guitar articles called it "pot")
he has this guitar in several different colors
the pot has the bottom of the body cut off and has an attachment "pot"; this model's pot has no function while other models have working attachments; "SCHWEIN" in white is on the black pot
body: alder
neck: maple
back of the neck: "Lard, Lips and I'll Lick Ya Baby" (from Schwein song "Lard, Lips, Liquor")
fingerboard: rosewood
pickups: DiMarzio DP196 and DP197
usage: this was originally built for use with Schwein but has become one of the main guitars for Buck-Tick shows, noisy songs in particular
the Pot model can be seen in live concert videos since Warp Days (2002)
notes: in a "Gigs" magazine special, it showed a total 13 Pots were made and each were numbered
in a magazine spread, it showed each pot and #1, #4, #9, and #13 were not shown, merely reserved for Hisashi, while the rest were available for sale, signed by Hisashi, and included a set of Schwein guitar picks
(as far as I know, all models sold to the public were right-handed; some of these models have made their way to the second-hand market)
#2 was acryclic cobalt with "SCHWEIN"
#3 was acryclic lemon with "SCHWEIN"
#5 was acryclic smoke with "SCHWEIN"
#6 was enamel red with "SCHWEIN"
#7 was enamel black with "SCHWEIN"
#8 was enamel silver with "SCHWEIN"
#10 was aluminum (plain) with "SCHWEIN"
#11 was aluminum (line) with "SCHWEIN"
#12 was aluminum (plate) with "SCHWEIN"
Fernandes BP-220HI silver #1
back of the neck: "Fuckin' class hero ON THE BEACH
pickups: sustainer (front), FHM-2110W (rear)
attachment: Super Rand-O-Matic SB-101 moduled delay effect is mounted to it (8 switches to control speed, feedback, etc)
usage: first used live in June 2003 and has had steady use since then
Fernandes BP-220HI silver #2
back-up for the main silver above, doesn't have anything on the back of the neck
Fernandes BP-220HI black with theremin
this has a special small theremin device built in with antenna and LED lights
back of the neck: "Lard, Lips and I'll Lick Ya Baby" (from Schwein song "Lard, Lips, Liquor")
Fernandes BP-220HI white with theremin
this has a special small theremin device built in with antenna and LED lights
back of the neck: "Buck-Tick Kyokutou I Love You" (Kyokutou is in Japanese)
usage: can be seen in the music video for "Moonlight Escape" (2020)
Fernandes Kanoke custom coffin guitar black
created in 2004 and has a cross decal on the body (Kan-oke means "coffin")
body: alder
neck: Honduras mahogany
fingerboard: ebony (12th fret has "Lucy" between two crosses)
pickup: Wolfetone Grey Wolf humbucker
controls: volume
back of neck: "Shout, Speed, Shake Your Rockarollica"
plug: the jack is on the back of the body
usage: this was made for the first Lucy album and Kiyoshi had the same in a right-handed model
can be seen in Lucy's "Bullets -Shooting Super Star-" (2006) music video and their live concert videos from 2004 and 2006
notes: Fernandes did sell copies of this but as a mini model
Fernandes Kanoke custom coffin guitar white
white version created in 2006 with same specs but with a more detailed cross on the body than black version which was airbrushed freehand; the gold hardware is a bit more lavish in decoration; also has different Fernandes logo on headstock than the black version
back of neck: "Shout, Speed, Shake Your Rockarollica"
usage: this was made for the second Lucy album; can be seen in the Live at Studio Coast and Live at Unit live concert videos
Fernandes Zo-3 Lucy
this was a present from the record company given to both Hisashi and Kiyoshi
Fernandes custom BT-MM (gold on) black #1
back of neck: "like the difference between heaven & hell"
fingerboard: rosewood
pickups: DiMarzio at the time of Lucy, changed to EMG for use with Buck-Tick
usage: this version of the "mai-mai" was created around the time of Lucy and used in Buck-Tick since then; can be seen in the music video for "Romance" and in the 13th Floor with Diana (2005) live concert video
notes: I believe Fernandes started selling this to the public as BT-180MM with slightly different specs than the one Hisashi owns
Fernandes custom BT-MM (gold on) black #2
substitute for the main black mai-mai above but without writing on the back of the neck
Fender telecaster - American standard
black with white pickguard
body: alder
usage: used with Lucy; can be seen in Lucy's Lucy Show (2004) live concert video
later used with Buck-Tick to record the solo for "Diabolo" in 2005
Hisashi used a Fender tele to record Mona Lisa Overdrive (2003) so it may have been this one
Gibson SG - Tony Iommi signature model (ebony)
1961 SG body construction with original style neck joint
body: beveled mahogany
neck: one piece mahogany "slim-taper", white binding
fingerboard: 24 fret ebony, sterling silver cross inlays
controls: 2 volume, 2 tone, selector switch
pickups: Tony Iommi signature humbuckers
graphite nut, sperzel tuners, ABR-1 bridge/stopbar tailpiece
chrome hardware
usage: used with Lucy; can be seen in the music video for "Double Big Bang" and in the Lucy Show (2004) live concert video
later used with Buck-Tick to record "Romance" (2005); can be seen in the Razzle Dazzle (2010) and Yume Miru Uchuu (2012) live concert videos
Gibson ES-335
2005 model, hollow body, sunburst with pickguard and f-holes
body: maple
usage: used with Lucy; can be seen in the music video for "Bullets -Shooting Super Star-" and in the Live at Studio Coast and Live at Unit live concert videos
later used with Buck-Tick; can be seen in the Yume Miru Uchuu (2012) live concert video
Gretsch 6134 White Penguin
white with gold hardware, gold pickguard with penguin motif, winged logo headstock, "G" cadillac tailpiece
model: first lefty model
(rest of specs from Gretsch site)
body: mahogany with arched maple top
neck: one piece mahogany
fingerboard: 22 fret ebony
pickups: 2 DynaSonic single coil
controls: 2 volume, 1 tone, master volume, selector switch
usage: used with Lucy; can be seen in the Live at Studio Coast and Live at Unit live concert videos (2006)
later used with Buck-Tick since around Parade Tour time (2007); can be seen in the music video for "Kagerou" (2006)
Home Studio
Hisashi uses a digital home studio with a Mac and a mixer to connect his guitars as well as a midi keyboard controller
Roland R-8 drum machine (not sure if he still owns it) and Roland XV-5080 midi synth module with an Emagic Unitor 8 midi interface
Hisashi always seems to be picking up new effect pedals when he's in the recording studio but some of the pedals that he had in his private home studio in 2020 include: Gamechanger Audio and Third Man Records collab Plasma Coil, Death By Audio Robot Transposer, EarthQuaker Devices Bit Commander octave synth, Mantic Flex Distortion, Beetronics Swarm Fuzz Harmonizer, Rainger FX Bleep fuzz and Igor controller, Meris Mercury 7 reverb, Meris Ottobit Jr. Bitcrusher, TKOG Mini Glitch sampler
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artist: Pig
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artist: Yukinojo Mori
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artist: Tomoyasu Hotei
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