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

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Introduction (Overview of Tone)

Shinoda, the guitarist of Hitorie, is renowned for his sharp yet delicate guitar sound that underpins the band’s musicality. Originally centered around vocalist wowaka, the band has shifted its focus to Shinoda as the frontman and guitar vocalist following wowaka’s passing, drawing increased attention to his sound creation.

Shinoda’s playing style combines the aggression of alternative rock with a pop sensibility in melody. His diverse expression includes rough cutting with distortion, creative use of fuzz and wah pedals, and the sparkling chord work characteristic of Fender’s offset models like the Jazzmaster and Jaguar.

Iconic songs such as “Shattered Doll,” “One Meets Her,” and “Sister” showcase the combination of the clarity of the Divided by 13 amp and the thickness of the Marshall Plexi, alongside a unique fuzz sound that bends space. Particularly in live performances, he utilizes spatial effects and modulation to create a three-dimensional and impactful sound, despite the simple arrangement.

Moreover, his sound is not just about “simple distortion” or “brilliant cleans,” but also about how he handles volume and space. By subtracting sound at certain points in a song, he creates dynamics that explode in the next section, embodying the ebb and flow typical of rock bands. Therefore, the choice of gear is crucial, as is an approach that considers song structure and overall mix.

Significantly, his sound creation is influenced by the vintage Jazzmaster and Jaguar he inherited from wowaka, which carry the musical DNA of Hitorie, making them particularly appealing to fans.

To grasp the overall picture of Shinoda’s sound creation, it’s recommended to check out official music videos and live footage to hear the actual sound.

▶ Search official YouTube videos of Hitorie

List of Amplifiers and Features

When discussing Shinoda’s sound, the choice of amplifiers is indispensable. Confirmed amplifiers he uses include the Divided by 13 and Marshall Plexi. Both have distinct characters yet play a crucial role in supporting the “three-dimensionality,” “power,” and “clarity” demanded in Hitorie’s music.

The Divided by 13 is a handmade American amp known for its wide range from clean to crunch, characterized by beautiful overtones and clarity. Shinoda primarily uses this amp for clean to crunch settings, combining it with distortion effects to create a powerful guitar sound that retains transparency. It pairs exceptionally well with the single-coils of the Jazzmaster and Jaguar, highlighting the separation and brilliance when playing chords.

On the other hand, the Marshall Plexi is a legendary rock amp that has supported classic rock and hard rock since the 60s and 70s. It is known for its thick and sticky midrange. Shinoda likely uses this amp as the foundation for distortion. By combining it with fuzz and boosters, he adds power to solos and riffs, creating a sound that drives the entire band.

In live performances and tours, he likely employs a “dual-amp” setup, using the Divided by 13 as the clean foundation and the Marshall Plexi for distorted and explosive parts. In sections with fewer notes, he can utilize the transparency of the Divided by 13, while pushing the Marshall Plexi forward during climactic moments, suggesting a dynamic switch.

While some top search results mention that Shinoda temporarily used Fender-type amps, the lack of definitive evidence (photos or interviews) suggests that the focus remains on the Divided by 13 and Marshall Plexi.

This combination of the two amps is key to expressing “the coexistence of clean and distortion” and “the three-dimensionality of each song,” which is fundamental to Shinoda’s sound creation.

Types of Guitars Used and Features

Among the guitars Shinoda uses, the most iconic are the 1965 Fender Jazzmaster and 1965 Fender Jaguar, inherited from the late wowaka. These guitars are special, embodying the “musical identity of the band” beyond being mere instruments.

The 1965 Fender Jazzmaster features a wide range of sounds and a unique low-end response. Despite being single-coil, it produces a strong mid-low range that supports Shinoda’s sharp cutting and distinct chord work. Particularly in clean and crunch settings, its brilliance is emphasized, creating a very three-dimensional resonance when combined with the transparent Divided by 13 amp.

Conversely, the 1965 Fender Jaguar has a shorter scale, producing a sharper and more attack-heavy sound. Shinoda often uses this guitar for intense riffs and distorted sounds in live settings, leveraging the Marshall Plexi to bring out a powerful rock sound. The Jaguar’s unique switching system allows for fine tone control, enabling a wide array of expressions for different songs.

These guitars not only expand tonal variation but also carry the weight of the legacy entrusted to Shinoda by wowaka. As he stands on stage as the guitar vocalist, continuing to use these two guitars symbolizes “the essence of Hitorie” and holds significant meaning for fans.

Some interviews and fan sites mention that Shinoda has used other Fender guitars (like Stratocasters or Telecasters) as secondary options. However, the only confirmed main guitars from official photos and live footage are the Jazzmaster and Jaguar.

In live performances, he likely utilizes the Jazzmaster for transparent clean parts and the Jaguar for aggressive distortion, showcasing a dual approach. By switching guitars for each song, he significantly alters the overall sound of the band.

From these characteristics, it can be inferred that the core of Shinoda’s sound creation lies in “maximizing the individuality of vintage Fenders while expanding their potential through amps and effects.”

Effects and Pedalboard Setup

Shinoda’s guitar sound is significantly shaped by the configuration of his effects pedalboard. His board has been confirmed in two distinct periods, and recent information from live photos and social media indicates he now uses a new board with more multifunctional and unique effects.

First, a notable addition to the new pedalboard is the ST-300 Sonic Research (tuner). This high-precision strobe tuner ensures stable tuning even in the demanding conditions of live performances. Next, the Xotic EP-Booster (booster) elevates the sound while adding rich overtones, supporting the thickness of sound whether clean or distorted.

For distortion, the S-Distortion / Sakaki (distortion) and Weed MDW-1 (GCB-95 mod wah pedal) play central roles. The modified wah from Weed offers a wider range than standard Cry Baby, enabling expressive custom sounds. Additionally, incorporating multiple fuzz effects such as the EarthQuaker Devices Hoof Reaper (octave fuzz) and Keeley Son of Fuzz Head (fuzz) allows for a “layering of distortion” that he uses differently for each song during live performances.

In the modulation category, the E.W.S. ARION SCH-Z MOD (chorus) stands out. Its modification results in a noise-free and clear sound, utilized for transparent arpeggios and ethereal soundscapes. For spatial effects, the BOSS DD-20 Giga Delay (delay) has been a long-standing component of his board, allowing for precise delay time adjustments and diverse presets that support Shinoda’s unique three-dimensional sound design.

To stabilize the power supply, he uses the Providence Provolt9 PV-9 (power supply), ensuring noise-free and stable power delivery, making it an essential part of the pedalboard.

In the old board, effects like the KORG Pitchblack Advance (tuner), Shigemori Ruby Stone (overdrive), Crowther Audio Hotcake (overdrive), and BOSS PS-6 Harmonist (pitch shifter/harmonizer) were used. Notably, the Hotcake is characterized by its thick midrange, which likely created a powerful lead tone when combined with the Marshall Plexi.

Comparing the new and old board configurations reveals that Shinoda consciously selects gear to achieve “simple yet unique distortion plus spatial expansion.” By meticulously switching tones for different live scenarios, he constructs a three-dimensional soundscape tailored to each song.

Tone Settings, EQ, and Mixing Approaches

The essence of Shinoda’s sound creation lies in leveraging the unique character of vintage guitars while achieving both “sharpness” and “three-dimensionality” through amps and effects. Rather than merely distorting, he adjusts EQ and effects combinations according to the arrangement and mix of each song, enhancing the overall sound of the band.

For amp settings, he often uses the Divided by 13 as the clean to crunch foundation, typically raising the treble slightly, moderately emphasizing the mids, and keeping the lows pulled back. This approach highlights the Jazzmaster’s characteristic brilliance, ensuring clarity in arpeggios and chord playing. Meanwhile, the Marshall Plexi is set to produce strong mids while keeping treble lower and adjusting presence to achieve a thick rock tone, maximizing power in solos and riffs.

In terms of EQ, during studio recordings, he tends to consider the frequency ranges of bass and vocals, emphasizing the 2kHz range to enhance presence. Conversely, he cuts low frequencies to avoid overlapping with the bass, balancing the entire mix. In live settings, he likely carries this setup while consulting with the PA engineer for minor adjustments based on the venue’s acoustics.

The clever use of distortion effects is evident, with S-Distortion used for rough riffs, while Hoof Reaper and Son of Fuzz Head are deployed during explosive dynamics or ethereal moments in songs. The octave fuzz, in particular, adds a synth-like quality, allowing for unique tones within simple arrangements.

For modulation and spatial effects, applying a light touch of ARION SCH-Z MOD (chorus) adds depth, while combining it with the BOSS DD-20 delay creates a sense of three-dimensionality, infusing songs with dynamic atmosphere. In tracks like “One Meets Her,” he syncs the delay time to fill space without disrupting the rhythm.

Moreover, his mixing approach emphasizes “subtraction” rather than “addition.” In quieter sections, he plays clean tones extremely lightly, utilizing negative space to highlight vocals and rhythm sections. When it comes to choruses or climactic parts, he layers fuzz and distortion to create explosive contrasts. This ebb and flow contribute to the dramatic quality unique to Hitorie’s music.

Additionally, during recording, the use of the YAMAHA AW1600 (MTR) suggests that he designs sounds with EQ and compression processing in mind, aiming to recreate the same soundscape in live settings. This characteristic indicates that he envisions the final product from the pre-production phase.

Overall, Shinoda’s sound creation revolves around three elements: “EQ balance,” “layering of distortion for each song,” and “three-dimensionality through spatial processing.” By mastering these aspects, he crafts Hitorie’s unique sound.

Affordable Alternatives to Recreate the Tone

Shinoda’s sound creation relies on expensive gear like vintage guitars and handmade amps, but it is entirely feasible for beginners and intermediates to “approach the vibe” using more affordable options. Here, we introduce commercially available models that can help recreate Shinoda’s sound at a lower cost.

First, while vintage Fender Jazzmasters and Jaguars are pricey, opting for current models from Fender Japan or Squier series can allow you to experience the “sound character unique to offset shapes” for under $1,000. The brilliance typical of single-coils and the clarity when playing chords are quite achievable.

For amps, acquiring a Divided by 13 or Marshall Plexi directly is challenging, so practical alternatives include the Marshall DSL series or Boss Katana series. The Boss Katana, in particular, offers a wide range of tones from clean to high gain, making it suitable for mimicking Shinoda’s style of switching tones per song.

When it comes to effects, focusing on fuzz and boosters commonly found in Shinoda’s board is key. For instance, the BOSS DS-1 is a classic distortion that pairs well with Marshall-type amps, producing a sound close to the “Plexi distortion.” Adding fuzz effects like the BOSS FZ-5 can mimic the explosive quality of the EarthQuaker Devices Hoof Reaper or Keeley Fuzz Head.

For boosters, using the TC Electronic Spark Booster as a substitute for the Xotic EP-Booster allows for a price-friendly option to enhance volume and tone richness. Regarding wah pedals, while the modified Weed wah is expensive, simply using the Jim Dunlop Cry Baby GCB-95 can still achieve a “Shinoda-like expressive wah sound.”

In terms of spatial effects, while the BOSS DD-20 is discontinued, alternatives like the BOSS DD-8 Digital Delay or NUX Time Core Deluxe can provide sufficient delay effects. For modulation, the BOSS CE-2W (Waza Craft) or TC Electronic Corona Chorus can recreate the ethereal sound similar to the E.W.S. ARION SCH-Z MOD.

By combining “offset guitars,” “Marshall-type amps,” and “fuzz, delay, and chorus,” you can relatively affordably approach Shinoda’s sound. The key is to focus on “layering distortion” and “spatial processing” rather than merely acquiring expensive gear.

For beginners, starting with simple BOSS compact effects and gradually adding more unique pedals like fuzz and boosters as you become comfortable is a recommended step-up approach.

Summary and Conclusion

Looking at Shinoda’s sound creation comprehensively, its essence lies in “the individuality of vintage Fenders” and “three-dimensional sound design through amps and effects.” By skillfully combining the brilliance and attack of offset guitars like the Jazzmaster and Jaguar with the transparency of the Divided by 13 and the thick midrange of the Marshall Plexi, a wide-ranging sound unique to Shinoda is produced.

Regarding effects, layering multiple fuzz and distortion pedals enriches the tonal expressions while adding depth and dimension with chorus and delay. The “explosive dynamics” achieved through the careful use of fuzz is a significant highlight in Hitorie’s songs, creating contrasts between quiet and loud sections. Additionally, the delicate spatial processing behind simple riffs and arpeggios allows for a thick soundscape even in a three-piece arrangement.

From an EQ and mixing perspective, a strong tendency toward “subtraction” is evident. By utilizing negative space and expanding sound only when necessary, the dramatic quality of the entire song is emphasized. This balance reflects not only Shinoda’s technical skills as a guitarist but also his expressive capabilities as a singer.

For beginners looking to recreate this sound, it is not necessary to acquire all high-end gear. The key points are to “choose offset guitars,” “layer distortion,” and “add three-dimensionality through spatial effects.” By experimenting with these elements in your environment, you can achieve nuances similar to Shinoda’s sound.

In conclusion, Shinoda’s sound creation embodies both “the inheritance of vintage” and “modern expressiveness.” His commitment to using the guitars passed down from wowaka is central to Hitorie’s identity, and their sound tells a story that transcends mere gear combinations. Pursuing Shinoda’s sound will not only lead to imitation but also provide new perspectives for your musical expression.