[KO-SHIN] – How to Recreate the WANIMA Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

KO-SHIN, the guitarist of the three-piece rock band WANIMA, plays a central role in shaping the band’s energetic and straightforward sound. His guitar work is genre-crossing, yet consistently conveys a sense of youth and speed that matches WANIMA’s emotional and straightforward songs. Instead of focusing on long solos, he supports the overall sound through tight riffs and chord work, making his approach strongly ensemble-oriented.

The most remarkable aspect of KO-SHIN’s tone is its rawness and presence in the backing sound. It is neither too clean nor too distorted, delivering volume and pressure without sounding muddy. This unique realism comes from his careful choice of guitars, amplifiers, and effects, combined with finely tuned EQ settings and volume control techniques that vary from song to song.

Signature songs that showcase his style include “Tomoni,” “Yattemiyou,” “THANX,” and “Signal.” In each, his powerful strumming, sharp cutting, and ability to drive the band’s intensity stand out. The lead riff in “THANX,” for instance, highlights his masterful use of crunchy tones and is a key track for understanding his sound.

When it comes to gear, KO-SHIN emphasizes durability and reliability for live performance. Instruments like the ESP Navigator Les Paul and amplifiers such as the Marshall JVM410H exemplify his practical, stage-oriented mindset. These choices are not brand-driven vanity, but pragmatic selections that fit WANIMA’s style and ensure dependable performance on stage.

This article thoroughly analyzes KO-SHIN’s tone-making process. We’ll cover his amplifiers, guitars, and effects, as well as EQ and mixing strategies. We’ll also introduce affordable alternatives for players aiming to recreate WANIMA’s sound. Whether you’re a guitarist or a band member chasing their style, this is your complete guide.

▶ Search official YouTube videos of WANIMA

List of Amplifiers and Features

The cornerstone of KO-SHIN’s amplifier sound is the Marshall JVM410H. This flagship four-channel amp head is widely used by professional guitarists and serves as KO-SHIN’s main amplifier in both live shows and studio recordings. Within WANIMA’s powerful and high-energy sound, the JVM410H ensures that the guitar never gets buried in the mix, always cutting through with clarity and presence.

The JVM410H is designed with a wide dynamic range, covering everything from sparkling cleans to extreme high-gain tones. This allows KO-SHIN to switch channels depending on the mood of each song. For example, in bright and uplifting tracks like “Yattemiyou,” he likely favors crunch-style channels, while in emotional numbers such as “THANX” or “Tomoni,” he leans into heavier overdrive channels. This channel flexibility enables him to adapt seamlessly within WANIMA’s diverse setlist.

Given his practical, live-oriented mindset, the JVM410H is a logical choice. With its MIDI compatibility and memory functions, KO-SHIN can easily recall consistent settings across different venues. Its standout features include strong midrange projection, natural compression, and fast response in distortion—qualities that directly support WANIMA’s sense of speed and drive.

There are unconfirmed reports that he has occasionally used other amplifiers, such as the Marshall JCM2000 or even Fender combo amps, particularly in studio settings. However, no solid evidence from official photos, media interviews, or social media confirms these as part of his main rig. As of now, only the JVM410H has been reliably documented in live and official contexts.

Below is a table summarizing KO-SHIN’s amplifier usage:

Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
JVM410H	Marshall	Search on Amazon	WANIMA	KO-SHIN	Main live amp. Four-channel design allows flexible gain staging depending on the song. Strong midrange presence ensures clarity in a full band mix.

Based on current evidence, KO-SHIN’s amplifier setup revolves almost exclusively around the JVM410H, with other options being speculative at best. His tone balance and consistency suggest that this amp remains his core choice in both live and recording environments, or so it is assumed.

Types of Guitars Used and Features

The core of KO-SHIN’s guitar tone lies in his ESP Navigator Les Paul models. Among these, the N-LP-’97 HONEY KEN and N-LP-CTM have been repeatedly confirmed through live performances and music videos. Navigator, a high-end line produced by ESP, is renowned for its hand-built Japanese craftsmanship, offering vintage-inspired resonance and uncompromising quality.

KO-SHIN’s use of Navigator guitars reflects more than just brand loyalty—it shows his preference for reliability, stable live performance, and tight low-mid response. WANIMA’s music heavily features chord-driven rhythm parts, requiring a guitar that delivers both thickness and clarity. Navigator Les Pauls fulfill this demand perfectly, ensuring his playing cuts through without losing body or warmth.

The N-LP-’97 HONEY KEN has become something of KO-SHIN’s signature guitar. Its stunning flame maple top and honey finish give it a visual presence, while the solid body construction provides deep, resonant tones. Equipped with humbuckers, it delivers a noiseless and powerful response, making it equally suited for studio recording and live stages. Its ability to respond dynamically to picking intensity makes it ideal for KO-SHIN’s expressive style.

The N-LP-CTM, on the other hand, follows a more classic Les Paul formula: mahogany body, maple top, and set neck. This combination provides traditional warmth and sustain while also offering the build quality and precision needed for demanding live environments. KO-SHIN’s reliance on this model demonstrates his need for a guitar that balances tradition with modern reliability.

So far, there has been no confirmed use of Fender-style guitars such as Telecasters or Stratocasters. His preference clearly leans toward Les Paul-type guitars that emphasize a fat yet cutting tone, which best matches his rhythm-driven, energetic role in WANIMA’s music.

Below is a summary table of KO-SHIN’s confirmed guitar usage:

Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Type	Notes
N-LP-’97 HONEY KEN	ESP Navigator	Search on Amazon	WANIMA	KO-SHIN	Les Paul type	Used in live shows and music videos. Ideal for powerful chord strumming. Produces thick, cutting tones.
N-LP-CTM	ESP Navigator	Search on Amazon	WANIMA	KO-SHIN	Les Paul type	Classic Les Paul specs with modern build accuracy. Frequently used in live settings for its stability.

From the available evidence, KO-SHIN’s guitar arsenal revolves around Navigator Les Pauls, with no verified use of other models. His insistence on this design underscores his pursuit of a thick, mid-focused tone, which remains essential to the WANIMA sound—or so it is assumed.

Effects and Pedalboard Setup

One of the most important aspects of KO-SHIN’s tone is his pedalboard. His selection of effects is practical and streamlined, designed for fast switching during live shows, effective noise management, and maintaining consistent dynamics. While much of his overdrive sound comes directly from the amplifier, his pedals are used strategically to add depth, boost, and fine adjustments that complete his sonic identity.

At the center of his board is the KORG VP-10 volume pedal, a vintage model prized for its smooth taper and rugged reliability. This pedal gives KO-SHIN precise control over dynamics, allowing him to shape transitions and emphasize phrases during live performances.

For boosting, KO-SHIN employs the One Control Granith Grey Booster. Rather than altering the core tone, it provides a clean, transparent lift, perfect for highlighting solos or intensifying choruses. This pedal pairs especially well with the Marshall JVM410H, pushing its natural overdrive without muddying the sound.

In terms of modulation, KO-SHIN is known to use the MXR M-107 Phase 100. This phaser introduces subtle movement and texture, most notably in tracks like “Tomoni” and “Iikara,” where shimmering rhythm parts benefit from a touch of modulation. Its slower phasing speed adds warmth and groove without overwhelming the mix.

For ambience, KO-SHIN uses a combination of the JOYO Analog Delay and the Mad Professor Silver Spring Reverb. Both pedals are chosen for their natural and organic qualities. Rather than dramatic effects, they provide a subtle sense of space—helping the guitar sit naturally in the band mix without sounding distant or washed out.

To manage complex pedal arrangements, KO-SHIN integrates the One Control Chamaeleo Tail Loop MkII, a programmable switcher. This allows him to engage multiple effects at once with a single press, ensuring smooth transitions during WANIMA’s fast-paced live shows. Such a system is invaluable when playing rhythmically demanding songs where every second counts.

Finally, no professional pedalboard is complete without a tuner. KO-SHIN relies on the BOSS TU-2, a classic pedal tuner that ensures pitch accuracy and stability throughout his performances.

Below is a detailed list of KO-SHIN’s pedalboard gear:

Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Effect Type	Notes
VP-10	KORG	Search on Amazon	WANIMA	KO-SHIN	Volume Pedal	Provides smooth and precise volume control. Essential for expressive live dynamics.
M-107 Phase 100	MXR	Search on Amazon	WANIMA	KO-SHIN	Phaser	Used for adding subtle modulation to rhythm parts. Works well with clean strumming.
Analog Delay	JOYO	Search on Amazon	WANIMA	KO-SHIN	Delay	Creates warm, analog-style echo. Used sparingly to add natural depth.
Silver Spring Reverb	Mad Professor	Search on Amazon	WANIMA	KO-SHIN	Reverb	Delivers natural ambience with excellent note separation. Enhances mix without excess.
TU-2	BOSS	Search on Amazon	WANIMA	KO-SHIN	Tuner	Always on the board. Guarantees tuning stability in live situations.
Granith Grey Booster	One Control	Search on Amazon	WANIMA	KO-SHIN	Booster	Enhances JVM410H gain naturally. Often used before solos or to emphasize chorus sections.
Chamaeleo Tail Loop MkII	One Control	Search on Amazon	WANIMA	KO-SHIN	Switching System	Allows preset management of multiple effects. Essential for fast-paced live songs.

Overall, KO-SHIN’s pedalboard is both efficient and expressive. It enhances the amp-driven foundation of his sound while ensuring flexibility for live performance. While the JVM410H provides most of his gain, the pedals allow him to adjust space, boost dynamics, and maintain precision—forming a balanced, live-ready rig, or so it is assumed.

Tone Settings, EQ, and Mixing Approaches

KO-SHIN’s sound design balances three key qualities: live impact, clarity in the mix, and warmth similar to singer-songwriter textures. While his tone often seems simple on the surface, it is actually the product of careful EQ adjustments, nuanced amp settings, and expressive playing dynamics.

His main amplifier, the Marshall JVM410H, is typically run on crunch to mid-gain channels. Based on live footage and gear interviews, his EQ emphasizes boosted mids and tightened lows, allowing the guitar to occupy a strong central space in the band’s mix without clashing with bass or drums. This ensures his parts cut through while maintaining warmth and body.

Here is an estimated EQ example for the JVM410H, based on standard dial positions:

• Bass: 3–4 (kept tight to avoid muddiness)
• Middle: 6–7 (emphasizing guitar presence in the band mix)
• Treble: 5–6 (bright but not piercing)
• Presence: 5–6 (adding air and dimension)
• Gain: 4–5 (maintains clarity for chords without oversaturation)

KO-SHIN also makes extensive use of his guitar’s volume knob and pick attack to vary tone without changing amp settings. By rolling back the volume slightly, he can achieve clean or crunch tones; pushing it to maximum, he gets full-bodied drive. This technique is particularly effective with his Navigator Les Paul models, which respond dynamically to subtle playing nuances.

Song-specific tone changes are achieved through pedal combinations. For example, in “THANX,” the One Control Granith Grey Booster pushes the mids for added punch, while during cutting rhythm parts he adjusts dynamics via the KORG VP-10 volume pedal. These subtle adjustments keep his guitar present across different sections of a song without overwhelming the band mix.

For ambience, KO-SHIN keeps effects restrained. The Mad Professor Silver Spring Reverb and JOYO Analog Delay are used not for dramatic effect, but to add a natural sense of space. This approach prevents the guitar from sounding too distant, preserving WANIMA’s trademark immediacy and drive. A little room or hall-like reverb is often enough to create depth while maintaining focus.

From a mixing perspective, KO-SHIN’s guitar is often placed slightly center but spread wide in the stereo field. This is likely achieved by double-tracking the same rhythm parts in the studio and panning them left and right, creating a solid wall of sound. EQ carving ensures the guitar’s midrange avoids clashing with vocals and bass frequencies, leaving space for all instruments to breathe.

His tonal shifts within songs are also notable. In verses, he often uses cleaner or crunch tones for rhythmic clarity, while in choruses, gain levels are subtly increased to add energy. This variation is achieved through a combination of channel switching on the JVM410H, precise volume pedal use, and booster engagement.

Ultimately, KO-SHIN’s tone achieves the paradox of being prominent yet natural. His guitar is always present in WANIMA’s mix, but never distracts from the overall band energy. From an engineering standpoint, his tone is remarkably well-balanced, occupying its own frequency space while leaving room for vocals, bass, and drums. This careful interplay between EQ, performance, and mix decisions results in a sound that is powerful, transparent, and unmistakably KO-SHIN—or so it is assumed.

Affordable Alternatives to Recreate the Tone

Reproducing KO-SHIN’s exact sound with high-end gear such as the ESP Navigator Les Paul and the Marshall JVM410H can be financially challenging for beginners. However, the essence of his tone—tight midrange focus, the ability to shift between clean and crunch, and subtle use of ambience—can be captured with more affordable equipment. Today’s market offers excellent cost-performance options that deliver reliable sound quality without the premium price tag.

Below is a curated list of affordable gear, priced between $100 and $800, that effectively approximates KO-SHIN’s tonal character. Each piece is selected not only for its sound but also for its usability in practice and live settings, making them suitable for beginners who want to explore WANIMA’s energetic style.

Type	Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
Amp Simulator	Joyo Bantamp Jackman II	JOYO	Search on Amazon	WANIMA	KO-SHIN	Compact head that emulates Marshall-style tones. Channel switching and Bluetooth make it excellent for home practice while retaining stage usability.
Booster	Super Clean Buffer	Xotic	Search on Amazon	WANIMA	KO-SHIN	A transparent clean boost, similar to KO-SHIN’s One Control Granith Grey Booster. Perfect for pushing solos or choruses forward.
Phaser	PHASE 90	MXR	Search on Amazon	WANIMA	KO-SHIN	A simpler, one-knob version of the Phase 100. Affordable and ideal for adding subtle modulation to rhythm parts.
Volume Pedal	FV-30H	BOSS	Search on Amazon	WANIMA	KO-SHIN	A modern replacement for the KORG VP-10. Compact yet precise, with smooth operation for dynamic control.
Reverb	RV-6	BOSS	Search on Amazon	WANIMA	KO-SHIN	Versatile reverb pedal with multiple modes. Its Hall and Room settings approximate the warmth of the Silver Spring Reverb.
Multi-Effects Processor	NUX MG-400	NUX	Search on Amazon	WANIMA	KO-SHIN	All-in-one processor with delay, reverb, phaser, and amp simulation. Ideal for beginners seeking to experiment with KO-SHIN-like tones.
Entry-Level Guitar	Les Paul Standard VE	Epiphone	Search on Amazon	WANIMA	KO-SHIN	While not as refined as ESP Navigator models, this entry-level Les Paul offers warm and fat tones in the same family. An accessible gateway to KO-SHIN’s style.

By combining these affordable alternatives, guitarists can approximate KO-SHIN’s punchy rhythm tone and dynamic live sound without breaking the bank. The NUX MG-400 is particularly useful as it covers multiple effects and amp simulations in one unit, making it a practical option for both home practice and live performance. Similarly, the Epiphone Les Paul Standard VE provides a thick and resonant tone reminiscent of KO-SHIN’s Navigator models at a fraction of the price. These tools offer beginners a chance to explore WANIMA’s sonic energy while keeping costs manageable.

Summary and Conclusion

KO-SHIN’s guitar tone in WANIMA may appear straightforward at first, but it is in fact the result of meticulous decisions aimed at supporting the entire band’s sound. His playing style prioritizes rhythm and ensemble over extended solos. Through riffs, cutting, and chord work, he fills the gaps between rhythm and melody, building a strong foundation for WANIMA’s high-energy music.

The essence of his tone can be distilled into three pillars: the Marshall JVM410H with its mid-focused distortion, the ESP Navigator Les Paul with its fat and resonant character, and the subtle but effective use of space effects such as delay and reverb. None of these elements are overly flashy, but together they deliver the undeniable presence necessary for WANIMA’s driving band sound.

His pedalboard setup further illustrates his pragmatic approach. Effects are used sparingly but with intention—boosters for impact, ambience kept natural, and a switching system ensuring seamless control during intense live shows. This efficiency reflects KO-SHIN’s identity as a performance-first guitarist who values consistency and reliability on stage.

Another defining aspect of his tone is his ear-driven philosophy. Beyond equipment, KO-SHIN shapes his sound with EQ adjustments, volume control, and subtle pick dynamics, always keeping the message of each song in mind. His tone is as much about feel and sensitivity as it is about gear, showing that emotional intent drives his choices as much as technical setup.

For readers aiming to replicate KO-SHIN’s sound, the lesson lies less in copying his exact equipment and more in adopting his mindset: focus on midrange presence, tonal balance, and tasteful restraint. Even without a Navigator Les Paul or JVM410H, players can get close by emphasizing these tonal priorities, keeping their mix clear, and using effects with moderation.

With the affordable gear suggestions introduced earlier, even beginners can take their first step into KO-SHIN-inspired tones. Ultimately, his sound teaches us that tone is created not only by tools but also by ears, intent, and expression. KO-SHIN’s guitar doesn’t just play notes—it moves the atmosphere of the band. That philosophy is what makes his tone special and worth striving for.

As you explore your own sound, remember KO-SHIN’s approach: build a guitar tone that strengthens the whole band, energizes the stage, and communicates emotion. In doing so, you’ll not only capture the spirit of WANIMA’s music but also develop a deeper connection to your own playing journey.