[Kenji Fujii] – How to Recreate the THE BIRTHDAY Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Kenji Fujii, known as Fujii Kenji, is the guitarist of THE BIRTHDAY, captivating many fans with his unique and heavy sound-making. Since joining the band in 2011 as a replacement for Imai Akinobu, he has played a vital role in supporting Yusuke Chiba’s vocals with a sound that is simple yet profound.

The most remarkable feature of his tone is its thickness and punchy impact. Fujii primarily uses a 1959 Fender Jazzmaster as his main guitar and combines it with two amplifiers—the Marshall Lead & Bass (1976) and the Music Man 112 RD One Hundred. This dual-amp system creates a massive live presence that characterizes his performances.

In recordings, he carefully selects different guitars for different songs. For example, a 1981 Greco TL500 was used for “Himawari,” a 1961 Jazzmaster was chosen for “Iki mo Dekinai” and “Revolver,” and a 1956 Gretsch Duo Jet was featured on “Gekkou.” His use of effects ranges from flashy, experimental pedals to essential boosters, creating subtle tonal variations tailored to each track.

THE BIRTHDAY’s music is defined by a balance of punk-like energy and mature restraint, with Fujii’s guitar tones shaping the band’s overall atmosphere. Tracks like “Nazeka Kyou wa,” “Red Eye,” and “OHBABY!” showcase his ability to extract maximum depth from seemingly simple tones.

▶ Search official YouTube videos of THE BIRTHDAY

List of Amplifiers and Features [THE BIRTHDAY・Kenji Fujii]

The core of Kenji Fujii’s live sound lies in his dual-amp setup. His main amplifier is a 1976 Marshall Model 2100 Lead & Bass, rated at 50W with two Celestion G12M 12-inch speakers. Since around 2017, this has been his go-to amp both live and in the studio.

The Marshall is set in a very distinctive way: input I (HIGH) is used, with PRESENCE at 0, BASS at 3, MIDDLE at 2, TREBLE at 3, and VOLUME I around 1. This subtle setting stays on constantly, creating the core distortion foundation. Fujii himself has said, “I use the same Marshall as Rolly,” showing respect for fellow guitarist ROLLY.

As a secondary amp, he uses the Music Man 112 RD One Hundred. This hybrid design (solid-state preamp, tube power amp) delivers 100W with a single 12-inch speaker. It is mainly engaged during guitar solos and choruses to act as a booster. The settings are HI GAIN input, BRIGHT/DEEP switches off, GAIN at 3, VOLUME at 2.5, TREBLE at 3, MIDDLE at 8, and BASS at 3.5.

In recording sessions, Fujii employs an even wider range of amplifiers. A rare 1965 VOX AC30 Bass with JMI gray panel and dome-style voltage selector has been used, upgraded with Celestion VOX Alnico Blue speakers. The Brilliant channel HIGH input is pushed to create a rich overdriven tone.

Another essential studio amp is the 1966 Fender Deluxe Reverb AB763, paired with a ’63 Jaguar and a BOSS BD-2. Using the Normal channel with its single Oxford 12-inch speaker, Fujii takes advantage of natural tube overdrive to achieve sparkling, cutting tones.

Gear	Brand	Amazon URL	Band	Guitarist	Notes
Model 2100 Lead & Bass	Marshall	https://www.amazon.com/s?k=Marshall+Model+2100+Lead+Bass&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	1976 model, main amp. 50W, always on to build the core tone
112 RD One Hundred	Music Man	https://www.amazon.com/s?k=Music+Man+112+RD+One+Hundred&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Hybrid amp, 100W. Used as a booster for solos and choruses
AC30 Bass	VOX	https://www.amazon.com/s?k=VOX+AC30+Bass&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	1965 JMI model, gray panel. Studio use only, fitted with Alnico Blue speakers
Deluxe Reverb AB763	Fender	https://www.amazon.com/s?k=Fender+Deluxe+Reverb+AB763&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	1966 model. Used with ’63 Jaguar and BD-2, featuring Oxford speaker
Model 1992 Super Bass	Marshall	https://www.amazon.com/s?k=Marshall+Model+1992+Super+Bass&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	1975 model, used since joining the band. Signed by Jim Marshall, bass-heavy tone
Band-Master	Fender	https://www.amazon.com/s?k=Fender+Band-Master&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	1967 Blackface model, 40W output with 2×12 piggyback cabinet

Through these combinations, Fujii achieves a flexible sound palette that adapts to both live and studio contexts. His amplifier choices emphasize vintage character, depth, and the ability to layer tones dynamically. While some details vary by performance and session, these amps are considered the core of his sound.

Types of Guitars Used and Features [THE BIRTHDAY・Kenji Fujii]

The centerpiece of Kenji Fujii’s guitar tone is his 1959 Fender Jazzmaster. This is his main guitar, and among his several Jazzmasters, he has described this one as having “the fattest and punchiest sound.” It has been modified with the preset switch wiring cut, and the bridge replaced with a Mustang-style bridge. Interestingly, only the neck pickup is used, since the bridge pickup was once broken and replaced, and he has continued using it that way.

For strings, Fujii long used Ernie Ball .011-.048 but has recently experimented with .010-.046, constantly chasing refinements in feel and tone. This ’59 Jazzmaster is mostly used live, while in studio work, he switches guitars depending on the track’s requirements.

A 1961 Fender Jazzmaster is another important studio tool, used on six tracks including “Iki mo Dekinai,” “Revolver,” “Hareta Gogo,” “Shortcut no Ano Ko,” “Gimlet,” and “Butterfly.” Compared to the ’59, it produces a sharper, edgier tone. Its bridge has also been swapped for a Mustang type. A signature detail of Fujii’s playing is his unique stringing style: for the high E string, he does not thread it through the tuner hole, but winds it around, a technique known among fans as the “Fujii style.”

A recently acquired 1963 Fender Jaguar adds another layer to his arsenal. This rare original black-finished Jaguar has early flat pole piece pickups. It is scheduled for main use on a new single set to release later this year, with recordings planned primarily on the neck pickup.

Another guitar with family history is the 1981 Greco TL500, originally owned by his brother. It has undergone heavy modifications: refinished in a silver shade, fitted with a 1972 Thinline neck, tortoiseshell pickguard, and a P-90 in the neck position. It was used on recordings such as “Himawari” and “Orugooru,” and more recently has appeared often in live performances.

The Gretsch sound in Fujii’s arsenal comes from a 1956 Gretsch Duo Jet, used on “Gekkou” and “Unchain.” Since 2018’s “Aozora,” this guitar has become a frequent choice, and it appeared on four tracks of the album *VIVIAN KILLERS*. It is typically used in the middle pickup position, with the bridge swapped for an Adjusto-Matic and taped down for stability.

Gear	Brand	Amazon URL	Band	Guitarist	Type	Notes
Jazzmaster	Fender	https://www.amazon.com/s?k=Fender+Jazzmaster&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1959 main guitar. Thick, punchy tone. Modified wiring and Mustang bridge
Jazzmaster	Fender	https://www.amazon.com/s?k=Fender+Jazzmaster&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1961 studio guitar. Edgier sound, used on six tracks. Features “Fujii style” string winding
Jaguar	Fender	https://www.amazon.com/s?k=Fender+Jaguar&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1963 original black finish. Early flat pole pickups. Planned for use in upcoming single
TL500	Greco	https://www.amazon.com/s?k=Greco+TL500&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1981, originally his brother’s guitar. Modified with Thinline neck and P-90 pickup
Telecaster	Fender	https://www.amazon.com/s?k=Fender+Telecaster&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1966 refinish black. Round-lam rosewood fingerboard
Duo Jet	Gretsch	https://www.amazon.com/s?k=Gretsch+Duo+Jet&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1956, used on “Gekkou” and “Unchain.” Played in middle pickup position
ES-355TDSV	Gibson	https://www.amazon.com/s?k=Gibson+ES-355TDSV&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Semi-Hollow	1967 original black. Used on “Rad Rock no Cadillac-sa”
Les Paul Custom ’54 Reissue	Gibson	https://www.amazon.com/s?k=Gibson+Les+Paul+Custom+54+Reissue&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Electric Guitar	1972 model. Used on “December 2.” Dirty tone with Alnico V neck pickup
Scorpion 2N12	Coral	https://www.amazon.com/s?k=Coral+Scorpion+2N12&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	12-string Guitar	1960s, used on “Suisenka.” First 12-string appearance in THE BIRTHDAY

These guitars demonstrate Fujii’s versatility and dedication to matching each instrument to the character of the song. From the fat tones of the ’59 Jazzmaster to the bright shimmer of the Jaguar and the raw grit of the Duo Jet, his selections reflect both musical sensitivity and a constant pursuit of individuality. While exact usage may vary between live and studio settings, these instruments represent the backbone of his tone, or so it can be assumed.

Effects and Pedalboard Setup [THE BIRTHDAY・Kenji Fujii]

Kenji Fujii’s pedalboard has evolved into a new, highly practical setup that balances reliability and musical expression. The signal chain runs: tuner (KORG Pitchblack mini) → chorus (BOSS CE-1) → overdrives (BOSS BD-2, JHS Pedals SuperBolt, DOD FX10) → tremolo (BOSS TR-2) → delays (Shimomura Sound Engineering Hihimachine compact11, Maxon AD-900) → volume pedal (Shin’s Music Perfect Volume Hybrid) → amp selector (Radial Bones TwinCity).

One of the most distinctive elements is his use of the BOSS BD-2. Fujii employs it as a solo booster, set with TONE at 9 o’clock and LEVEL at 1 o’clock, while the GAIN knob is fitted with a plastic model tire, allowing him to adjust gain in real-time with his foot within the 0–9 o’clock range. This unusual modification gives him fine-grained control over distortion during performances.

Recently, he introduced the JHS Pedals SuperBolt, increasingly using it as a booster. While he still keeps his long-favored DOD FX10 on the board, he admits it is “hard to take it off now,” using it mainly when a sharper edge is needed compared to the BD-2.

The chorus effect is provided by the BOSS CE-1, added during the band’s hall tour last year. It was notably used on “Orugooru,” set with input on low, level control at 3 o’clock, and chorus intensity just before 9 o’clock, giving songs a refined spaciousness.

Fujii runs a dual delay system. The main delay is the Maxon AD-900, a long-used analog delay. By controlling D-TIME and D-LEVEL with his foot, he toggles between short and long delays. Short delays dominate his usage, heard on “Red Eye,” “Revolver,” and “Gekkou.” The REPEAT knob remains fixed at 9 o’clock, producing a natural echo effect.

The Shimomura Sound Hihimachine compact11 acts as a wild card. This digital delay is used as a special effect, manipulating the F.BACK and D.TIME knobs in real-time to generate oscillation noises during interludes in “Red Eye” and “SUMMER NIGHT.” Its control unit is mounted on a mic stand, allowing hands-on adjustment during performances.

The BOSS TR-2 tremolo pedal, borrowed from Yusuke Chiba, appears on “Rad Rock no Cadillac-sa.” For volume control, Fujii uses the Shin’s Music Perfect Volume Hybrid, with switchable Hi/Lo impedance. Positioned after buffered pedals, it is set to Lo (active) mode for optimal signal balance.

Gear	Brand	Amazon URL	Band	Guitarist	Effect Type	Notes
BD-2	BOSS	https://www.amazon.com/s?k=BOSS+BD-2&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Overdrive	Used as solo booster. Modified with plastic tire on GAIN knob
CE-1	BOSS	https://www.amazon.com/s?k=BOSS+CE-1&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Chorus	Introduced in hall tour, used on “Orugooru.” Delicate spacious settings
SuperBolt	JHS Pedals	https://www.amazon.com/s?k=JHS+Pedals+SuperBolt&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Booster	Recently introduced, increasingly replacing FX10
FX10	DOD	https://www.amazon.com/s?k=DOD+FX10&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Booster	Long-term use, hard to remove. Adds edge beyond BD-2
TR-2	BOSS	https://www.amazon.com/s?k=BOSS+TR-2&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Tremolo	Borrowed from Yusuke Chiba. Used on “Rad Rock no Cadillac-sa”
Hihimachine compact11	Shimomura Sound Engineering	https://www.amazon.com/s?k=Shimomura+Sound+Hihimachine+compact11&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Delay	Special effects delay. Oscillation noises in “Red Eye” and “SUMMER NIGHT”
AD-900	Maxon	https://www.amazon.com/s?k=Maxon+AD-900&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Delay	Long-used analog delay. Foot-controlled short/long toggle
Perfect Volume Hybrid	Shin’s Music	https://www.amazon.com/s?k=Shin’s+Music+Perfect+Volume+Hybrid&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Volume Pedal	Switchable Hi/Lo impedance. Set to Lo mode for optimal chain placement
Bones TwinCity	Radial	https://www.amazon.com/s?k=Radial+Bones+TwinCity&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Switching System	Amp selector. Splits Marshall and Music Man, BOTH switch enables dual output
Pitchblack mini	KORG	https://www.amazon.com/s?k=KORG+Pitchblack+mini&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Tuner	Connected via Perfect Volume Hybrid tuner out
PT-1D	FREE THE TONE	https://www.amazon.com/s?k=FREE+THE+TONE+PT-1D&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Power Supply	Powers the entire pedalboard system

Fujii’s pedalboard reflects a balance of tradition and innovation. From clever modifications to careful pedal placement, each choice serves the songs rather than unnecessary flashiness. While details may shift by tour or studio session, this setup represents his core approach, or so it can be assumed.

Tone Settings, EQ, and Mixing Approaches [THE BIRTHDAY・Kenji Fujii]

The most striking element of Kenji Fujii’s tone philosophy is his use of two amplifiers to create a three-dimensional sound. His main amp, the Marshall Lead & Bass, is kept always on with unusually restrained settings: PRESENCE at 0, BASS at 3, MIDDLE at 2, TREBLE at 3, and VOLUME I around 1. At first glance this may look counterintuitive, but in practice it cleverly harnesses the tube amp’s natural compression and saturation even at low volume, giving him warmth and dynamics without overpowering the band.

By setting PRESENCE to 0, Fujii eliminates harsh treble spikes, while the low MIDDLE value prevents excessive midrange honk. This ensures that the guitar has its own “space” in the band mix, without clashing with other instruments. The BASS at 3 complements the Jazzmaster’s natural low-end character, providing just enough fullness without muddiness.

The secondary amp, the Music Man 112 RD One Hundred, is dialed differently: GAIN 3, VOLUME 2.5, TREBLE 3, MIDDLE 8, BASS 3.5. The standout here is the MIDDLE at 8, which boosts midrange presence, allowing solos and choruses to cut through the mix. Its hybrid design (solid-state preamp with tube power section) delivers both clarity and warmth, blending transistor sharpness with tube richness.

In recording sessions, Fujii tailors his guitar-amp pairings to each track. For instance, pairing a 1963 Jaguar with a Fender Deluxe Reverb AB763 and a BOSS BD-2 delivers sparkling overdrive via the Normal channel, enhanced by the Oxford speaker’s bright character. This creates lively shimmer and bite, perfect for songs requiring more brilliance.

With the 1965 VOX AC30 Bass, he follows a traditional Vox approach: plugging into the Brilliant HIGH input and driving the volume into natural breakup. Swapping the original speakers for Celestion VOX Alnico Blues updates the sound with both vintage warmth and modern reliability, making it a versatile recording tool.

On the mixing side, Fujii often positions the Marshall Lead & Bass at the center of the stereo field as the tonal foundation, while panning the Music Man 112 RD slightly to the sides to add width. For live PA setups, engineers typically prioritize miking the Marshall, bringing up the Music Man channels only when solos or dynamic peaks require added punch.

His pedal settings also contribute to the fluidity of his tone. The modified BOSS BD-2, with its plastic tire on the GAIN knob, allows him to vary drive strength on the fly between 0 and 9 o’clock, adjusting intensity to match the emotional arc of a song. With TONE fixed at 9 o’clock and LEVEL at 1 o’clock, the pedal subtly shapes frequency response while keeping balance with the amp.

Delay usage is equally calculated. The Maxon AD-900, with REPEAT fixed at 9 o’clock, ensures delay trails blend smoothly into the overall sound without overwhelming it. By adjusting D-TIME and D-LEVEL with his foot, Fujii alternates between short and long delay settings mid-song. In tracks like “Red Eye” and “Gekkou,” this creates a sense of floating depth and atmosphere, one of his hallmark traits.

Ultimately, Fujii’s EQ and mixing approach is less about flashy tricks and more about thoughtful placement. By restraining frequencies that could clash, while selectively boosting those that cut through, he crafts tones that serve the ensemble rather than dominate it. His method shows a deep understanding of how guitar fits within both live and recorded contexts, or so it can be assumed.

Affordable Alternatives to Recreate the Tone [THE BIRTHDAY・Kenji Fujii]

For players who want to capture Kenji Fujii’s sound without spending on rare vintage gear, there are several affordable and practical alternatives. The first step is the guitar. While his main instrument is a 1959 Fender Jazzmaster, more accessible models such as the Fender Player Jazzmaster or the Squier Classic Vibe ’60s Jazzmaster offer similar tonal foundations. These guitars carry the essential characteristics of the original: thick low end and clarity in the mids. In particular, the Squier model is highly cost-effective, and by swapping the bridge to a Mustang-style bridge and favoring the neck pickup, players can get remarkably close to Fujii’s trademark fat tone.

On the amplifier side, the Marshall DSL40CR is one of the most realistic substitutes. This 40W all-tube combo belongs to the same Marshall lineage as Fujii’s Lead & Bass, and when run on the Ultra Gain channel with low gain settings, it can replicate the warm crunch he is known for. Reducing PRESENCE and keeping MIDDLE relatively low mirrors Fujii’s live settings. For an even tighter budget, the Marshall MG30CFX, though solid-state, can produce usable approximations of Fujii’s sound when carefully dialed in.

Modeling amps provide another smart solution. A BOSS Katana-100 can mimic the dual-amp strategy Fujii uses, letting players switch between Marshall-like and cleaner Music Man-style tones with a footswitch. The Yamaha THR30II Wireless is also a strong choice for practice and small gigs, offering versatile tones with a focus on portability. Both options allow a player to replicate Fujii’s amp-switching dynamic without needing two actual amps.

For effects, the BOSS BD-2 remains a gem since it is the same model Fujii himself uses and is available at a relatively modest price. To emulate his unique gain knob trick, inexpensive rubber caps or knob extenders can be attached for easier foot control. While the vintage BOSS CE-1 is rare, a BOSS CE-2 or TC Electronic Corona Chorus provides a similar lushness, making them practical alternatives for recreating the spacious shimmer in songs like “Orugooru.”

For delay, the Maxon AD-900 is hard to find, but the BOSS DM-2W Waza Craft delivers a comparable analog character with reliable modern build quality. Another excellent alternative is the tc electronic Flashback 2 Delay, which can toggle between analog and digital styles, providing versatility for both short slapback and long atmospheric repeats. These units easily capture the floating depth heard in Fujii’s tones on tracks such as “Red Eye.”

For players on a tight budget, multi-effects pedals can condense Fujii’s entire rig into one box. The BOSS GT-1 offers solid recreations of overdrive, chorus, and delay, while the Zoom G1X FOUR provides an expression pedal for real-time gain control, allowing players to approximate Fujii’s BD-2 adjustments. These all-in-one solutions are ideal for beginners seeking his tone without complex pedalboards.

The essential trick to approximating Fujii’s sound is to build a strong clean foundation and add character with modest overdrive and delay. Keep PRESENCE and MIDDLE restrained, emphasize the neck pickup, and always allow delay to add space in the mix. By following these steps with affordable gear, players can experience a sound that channels the spirit of Fujii’s style, even if the exact equipment differs.

Category	Gear	Brand	Amazon URL	Band	Guitarist	Notes
Guitar	Player Jazzmaster	Fender	https://www.amazon.com/s?k=Fender+Player+Jazzmaster&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Affordable modern Jazzmaster. Neck pickup use reproduces thick tones
Guitar	Classic Vibe ’60s Jazzmaster	Squier	https://www.amazon.com/s?k=Squier+Classic+Vibe+60s+Jazzmaster&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Cost-effective. Swap to Mustang bridge for closer reproduction
Amp	DSL40CR	Marshall	https://www.amazon.com/s?k=Marshall+DSL40CR&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	40W all-tube. Inherits Lead & Bass lineage, best value approximation
Amp	Katana-100	BOSS	https://www.amazon.com/s?k=BOSS+Katana-100&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Modeling amp capable of simulating dual-amp switching
Effect	BD-2	BOSS	https://www.amazon.com/s?k=BOSS+BD-2&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Same model Fujii uses. Affordable and easy to modify for foot gain control
Effect	CE-2	BOSS	https://www.amazon.com/s?k=BOSS+CE-2&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Alternative to CE-1. Delivers similar lush chorus
Effect	DM-2W	BOSS	https://www.amazon.com/s?k=BOSS+DM-2W&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Reliable analog delay alternative to AD-900. Perfect for short delay use
Multi-Effect	GT-1	BOSS	https://www.amazon.com/s?k=BOSS+GT-1&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Compact unit with OD, chorus, and delay. Recreates Fujii’s chain in one box
Multi-Effect	G1X FOUR	Zoom	https://www.amazon.com/s?k=Zoom+G1X+FOUR&tag=toneguitarblo-20	THE BIRTHDAY	Kenji Fujii	Includes expression pedal for gain control, simulating BD-2 adjustments

Summary and Conclusion [THE BIRTHDAY・Kenji Fujii]

The essence of Kenji Fujii’s guitar tone lies in its simplicity and depth. A closer look at his gear and settings shows that he does not rely on overly complex rigs or the latest cutting-edge technology. Instead, he focuses on understanding and mastering reliable vintage equipment, using it in ways that reflect his musical philosophy. This approach is highly instructive for modern guitarists who may otherwise chase trends rather than fundamentals.

One of the most remarkable aspects is his dual-amp system. Keeping the Marshall Lead & Bass constantly on, even at low volume, may seem inefficient, but it actually maximizes the natural compression and warmth of tubes. This provides a consistent sonic foundation, while the Music Man 112 RD One Hundred is layered on top as a booster during dynamic peaks. This careful interplay of amps demonstrates Fujii’s deep knowledge of sound and control.

His guitar selection also reflects a music-first mindset. Though the 1959 Jazzmaster remains his central voice, he switches guitars in the studio depending on the emotional and tonal needs of each song. Rather than collecting instruments for prestige, Fujii embraces each guitar’s individuality, using its strengths to complement the band’s artistic vision. This is a perspective many guitarists can learn from: instruments are not trophies but tools for expression.

In his pedal use, Fujii balances practicality and creativity. The modification of the BD-2’s gain knob with a toy tire is not about showmanship but about functionality, enabling subtle real-time control. Similarly, his continued use of the DOD FX10 alongside the adoption of a JHS SuperBolt shows a respect for tradition coupled with openness to new possibilities. His pedalboard is not about excess—it is about efficiency and expression.

Within THE BIRTHDAY, Fujii’s role could be described as the backbone. His guitar supports Chiba’s vocals like an unseen pillar, but in key moments it surges forward with unmistakable presence. This balance—supportive yet commanding when needed—embodies an ideal role for guitar in a rock band. It emphasizes contribution over flash, expression over ego.

For those seeking to emulate Fujii’s sound, the most important lesson is not simply copying his settings but understanding his philosophy. Always ask: “What tone best serves this song?” Then choose gear and adjust settings accordingly. EQ knobs and pedal choices are not static formulas; they are tools that must adapt to context. This flexible, music-first mindset is at the core of Fujii’s artistry.

Another crucial takeaway is the value of creativity within limitations. Fujii proves that great tones do not require infinite gear; rather, they emerge from deeply knowing and pushing the boundaries of what you already have. For amateur players constrained by budget or environment, this is particularly inspiring. Ingenuity can outshine expense when it comes to music-making.

Ultimately, the appeal of Kenji Fujii’s guitar sound comes not from technical perfection, but from his sincerity toward music. His gear, settings, and playing all function as extensions of THE BIRTHDAY’s artistic world. This “music-first” philosophy is what makes his sound so special, and it is the most important lesson every guitarist should keep in mind.