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

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Introduction (Overview of Tone)

Shinji, the guitarist of SID, plays a pivotal role in supporting the band’s ethereal and dramatic sound. His guitar work is characterized by a diverse range of tones, achieved through seamless transitions between clean and crunch sounds, as well as the strategic use of effects. Particularly in ballads, he masterfully manipulates warm clean tones, while in more intense tracks, he delivers tight drive sounds.

In the iconic song “Uso,” his delicate clean tone and arpeggios leave a lasting impression, while “Monochrome no Kisu” showcases powerful riffs enhanced with spatial effects, creating a signature depth typical of SID. At first listen, Shinji’s sound may seem simple, yet it is intricately crafted, playing a crucial role in reinforcing the band’s overall aesthetic.

Shinji is also known for his meticulous choice of gear, prominently featuring his FERNANDES signature model, the “DECADE,” alongside a variety of classic brands like Fender and Gibson. His use of high-end amplifiers such as Two-Rock and Bogner is noteworthy, as he builds his sound primarily on clean tones, layering effects to achieve his desired results.

Considering these elements, the essence of Shinji’s sound lies in the balance between delicacy and power. His guitar sound asserts his individuality while complementing the band’s overall song arrangements, making it a defining aspect of his artistry.

In the following sections, we will delve into Shinji’s gear choices, including amplifiers, guitars, and effects, uncovering the secrets behind his sound creation.

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List of Amplifiers and Features

Shinji’s amplifier selection is tailored to support his “clean tone-based sound creation with pedals.” His main amplifier is the Two-Rock Classic Reverb Signature, paired with a dedicated 2×12 cabinet. This amp is known for its wide range and ability to faithfully reproduce subtle picking nuances. Shinji builds his clean tone here, layering boosters and overdrives to add distortion as needed. On stage, its stability and clarity stand out, allowing for versatility from ballads to heavier tracks.

Another notable amplifier is the Bogner Ecstasy, a three-channel amp that covers clean, crunch, and high-gain sounds. It offers transparent cleans and thick lead tones, making it a versatile choice. Shinji has been known to use this Bogner in past tours and rehearsals, showcasing a more aggressive approach to distortion compared to the Two-Rock.

Shinji has also used amplifiers from Divided by 13, such as the CCC9/15. These hand-made amps are known for their excellent responsiveness and are often chosen for studio and recording work. Compared to Two-Rock, they have a rougher character, which Shinji likely employed to add texture to less dense arrangements and delicate songs.

From these amplifier choices, it is clear that Shinji utilizes a range of environments according to his needs: the wide-ranging, clean-focused Two-Rock, the versatile distortion channels of Bogner, and the responsive Divided by 13. All of these are high-end amplifiers, reflecting his deep commitment to quality.

In past interviews, Shinji has also mentioned using a Gibson Les Paul Standard Reissue in combination with a Mesa/Boogie Road King, suggesting that the powerful gain of Mesa/Boogie may have been part of his sound during SID’s early to mid-career.

In summary, while his current main setup revolves around the clean-focused Two-Rock, it is assumed that Bogner and Divided by 13 were also used during specific songs or tours.

Types of Guitars Used and Features

A key aspect of Shinji’s sound is his diverse array of guitars. The mainstay is his signature model, the FERNANDES DECADE. This guitar features a Jazzmaster-type body shape combined with a Stratocaster pickup configuration, designed specifically to suit Shinji’s playing style. Its unique mid-range push and user-friendly sound make it a vital component in both live and recording settings, forming the core of the SID sound.

Recently, he has also been seen using the Xotic XSC-2 (ST type). This guitar boasts a roasted maple neck, ultra-thin lacquer finish, and Low Vintage pickups, showcasing high-end craftsmanship. It has been aged by Shinji himself, giving it a distinctive vintage feel. Its multiple tuning setups enhance its versatility for live performances.

Additionally, he has been fond of the Fender Made in Japan Heritage 60s Jazzmaster since around 2022. He has mentioned that he was drawn to it for its appearance, but has also made meticulous modifications such as using sponges to dampen resonance and replacing the bridge with a Mustang model. These adjustments ensure tuning stability while achieving a unique overtone quality.

Shinji has also used classic guitars like the Gibson ES-335 and the Gibson Custom Shop Historic Collection 1959 Les Paul Standard Reissue. The ES-335 adds an acoustic-like resonance to his sound, providing depth throughout the tracks. The Les Paul Reissue was used during the recording of “Butterfly Effect,” creating a thick lead sound in combination with the Mesa/Boogie Road King (though it is said he no longer owns it).

He also owns a standard Fender Stratocaster, which has been versatile enough to be used across a wide range of songs. The bright tone typical of a Stratocaster particularly shines in SID’s more pop-oriented tracks.

In this way, Shinji selects guitars with optimal characteristics for each song, centering around his signature DECADE model while switching between vintage-style Xotic, and classic Fender/Gibson models as needed. This flexibility in sound creation is one of his significant strengths.

Effects and Pedalboard Setup

Shinji’s pedalboard is well-equipped to support the “wide range of tones” required in SID’s music. He typically brings two setups: a main board operated by a tech and a footboard he controls himself, allowing for situational flexibility.

On the main board, he extensively uses equipment from FREE THE TONE. The centerpiece is the programmable switcher ARC-4, which efficiently controls multiple distortion and spatial effects. Additionally, components like the JB-82S (junction box), EFS-3 (expansion switch), CC-1B (booster), and SG-1C (compressor) are included, balancing system stability with sound creation flexibility.

For distortion pedals, he has been seen using the Vemuram Jan Ray (overdrive), Friedman BE-OD (distortion), and the aggressive fuzz sound of the Anarchy Audio BaaBzz. These are chosen to add the optimal distortion texture for each song, based on the clean foundation of the amp.

In terms of spatial effects, the Line 6 HX Effects is employed, integrating delay, modulation, and reverb controls. He also incorporates FREE THE TONE’s FT-2Y (delay) and EQ/send-return connected PA-1QG, allowing for meticulous tone shaping. This setup enables deep delay in ballads and short delays in up-tempo songs, achieving precise expressions tailored to each track.

On his foot-operated board, he utilizes distinctive pedals like the RMC RMC-5 Wah and DigiTech Whammy 4. This allows for dynamic expressions during solos and powerful improvisational moments during live performances. For tuning, he employs the high-precision Sonic Research ST-300, ensuring stability on stage.

In his acoustic setup, he uses Rupert Neve Designs RNDI, FISHMAN ToneDEQ, and Ernie Ball VPJR, crafting a clean and dimensional acoustic sound that stands out even in a rock band context.

Historically, he has also used pedals like the Providence Sonic Drive, Heat Blaster, BOSS DD-3, and TC Electronic Hall of Fame Reverb, indicating a pursuit of ideal sound through gear updates over time. Shinji integrates effects not merely as “decorations” but as essential components of musical expression.

Overall, his effects system is built around “clean amp + multiple distortions + meticulous control of spatial effects,” allowing him to adapt to SID’s diverse repertoire using both the main board and footboard.

Tone Settings, EQ, and Mixing Approaches

Shinji’s sound creation is characterized by a “clean tone foundation with layered distortion and spatial effects.” His main amplifier, the Two-Rock Classic Reverb Signature, has a wide range and is highly responsive to EQ adjustments, allowing him to maintain a clean setting as the basis. By layering boosters and overdrives, he adds the optimal texture for each song.

Regarding EQ settings, it is speculated that he often uses a balance of Bass 4–5, Middle 5–6, Treble around 6 on the Two-Rock. Too much low end could clash with the bass and keyboard frequencies, so he intentionally keeps it slightly subdued while boosting the mid-high range to ensure presence. Additionally, he often engages the amp’s Bright switch to add brilliance during delicate arpeggios, showcasing his signature touch.

The combination of distortion pedals is also crucial. For a crunchy sound, he typically starts with the Jan Ray, and when he wants to highlight leads, he adds the CC-1B. For songs requiring thicker distortion (e.g., “Monochrome no Kisu,” “Uso”), he combines it with the BE-OD to enhance the drive. The fuzz pedal BaaBzz is used for impactful moments in live performances, adding a raw edge to the sound.

In terms of spatial effects, he switches between the Line 6 HX Effects and FREE THE TONE FT-2Y, providing different reverberations for each song. In ballads, he employs deep delays and reverb for dimensionality, while in up-tempo tracks, he uses shorter delays to maintain attack without losing space. Since SID’s music is centered around vocals, the guitar needs to find a balance of not overpowering yet remaining prominent. Shinji achieves this balance through EQ and delay time adjustments.

During live mixing, he collaborates with the engineer to ensure that his guitar has “a core in the midrange while creating lateral spread” in the PA processing. When using distortion beyond crunch, he cuts the low end to prioritize clarity across the band. In ballads, he increases the reverb return, and during solos, he boosts the midrange with EQ to enhance definition, showcasing his meticulous approach.

Notably, during the recording of “Butterfly Effect,” he utilized the Gibson Les Paul Standard Reissue with the Mesa/Boogie Road King to achieve a thick lead sound. This involved leveraging the amp’s gain channel and performing double tracking in the mix to enhance impact. Conversely, for “Uso,” he recorded with the ES-335, focusing on clean tones and achieving dimensionality with deep reverb and stereo delay.

In summary, Shinji’s sound creation can be distilled into the approach of “anchoring on clean transparency while layering necessary distortion and spatial effects for each song.” The amp serves primarily as a foundation, with the finer character being shaped by pedals and EQ, ultimately adjusted in the PA/mix. This style reflects not only his commitment as a guitarist but also an ensemble-oriented setup that considers the overall sound of the band.

Affordable Alternatives to Recreate the Tone

The gear used by Shinji, including Two-Rock, Bogner, Xotic, and Vemuram, is quite expensive and may not be easily accessible for beginners or intermediate players. However, many aspiring guitarists wish to replicate SID’s sound or Shinji’s style. Here, we will introduce relatively affordable equipment options to help achieve a similar tone.

Starting with amplifiers, the core of Shinji’s sound creation is “clean-focused amps with added distortion from pedals.” As an alternative to the costly Two-Rock, models like the Fender Hot Rod Deluxe and Yamaha THR100H are recommended for their strong clean tones and pedal-friendly characteristics. The Hot Rod Deluxe, in particular, possesses the signature brightness of Fender cleans, allowing for the layering of Jan Ray or overdrive pedals to recreate Shinji’s transparent tone.

For distortion, alternatives to the Vemuram Jan Ray include the BOSS BD-2 Blues Driver and JHS Morning Glory. The BD-2 is affordable while capable of producing crunch to light overdrive, allowing the natural tone of the guitar to shine through. For a substitute for the BE-OD, the BOSS DS-1W (Waza Craft version) is a strong candidate, delivering good clarity even at high-gain settings, making it easier to replicate SID’s aggressive riffs. For fuzz, options like the BOSS FZ-5 or Electro-Harmonix Big Muff Nano are excellent choices.

In terms of spatial effects, while the Line 6 HX Effects is feature-rich, it is also on the pricier side. For a more accessible introduction, the BOSS DD-8 (delay) and TC Electronic Hall of Fame 2 (reverb) are recommended. These pedals are intuitive to operate and versatile for both live and home practice settings.

Wah and pitch shifter pedals can also be expensive, but for those looking to mimic Shinji’s footboard, the VOX V847 Wah and DigiTech Whammy Ricochet (a simplified version of the Whammy 4) can enhance the recreation of his sound. Combining these will allow for dynamic expressions and live energy without breaking the bank.

For acoustic setups, alternatives to the FISHMAN ToneDEQ and Rupert Neve Designs RNDI include the BOSS AD-2 Acoustic Preamp and Zoom AC-2 Acoustic Creator. Both can be purchased for around $100-$200, providing natural acoustic sound reproduction during line output.

In summary, by assembling “clean-friendly amps,” “natural overdrives,” “strong distortions,” “delay and reverb,” and “wah and pitch effects,” you can get quite close to Shinji’s sound creation. Especially for beginners, focusing on BOSS and TC Electronic products can keep costs down while ensuring high quality and practicality.

Summary and Conclusion

In summary, Shinji’s sound creation as the guitarist for SID is rooted in “a diverse expressiveness based on clean tones.” He employs clean-focused amplifiers like the Two-Rock, layering boosters, overdrives, and distortions as needed. Thus, his style revolves around building sound for each song using a pedalboard rather than crafting it solely through the amp.

His guitar arsenal centers around the signature FERNANDES DECADE, complemented by a wide range of brands like Xotic, Fender, and Gibson. The flexibility to switch between guitars with distinct characters—such as Jazzmasters, semi-hollows, Les Pauls, and Strats—according to the song is a significant strength of Shinji’s approach. In tracks like “Uso” and “Monochrome no Kisu,” he skillfully integrates spatial effects while supporting the band, showcasing his ability to create prominent yet balanced sounds.

Moreover, the complexity of his effects board symbolizes his dedication. By combining a stable system centered around FREE THE TONE with diverse effects like Jan Ray, BE-OD, and HX Effects, he can produce different expressions for the same song in live and recording settings. His use of a foot-operated board further adds dynamic elements to his live performances.

Importantly, Shinji emphasizes not just the “beauty of tone” but how it resonates within the overall arrangement of the song. He carefully considers the balance with bass, drums, and vocals, adjusting EQ and spatial processing to ensure the guitar fulfills its optimal role within the band. This is why his sound, while not flashy, leaves a profound impression on listeners.

To recreate Shinji’s sound, aspiring guitarists should focus on three key aspects: “ensuring clean transparency,” “layering distortion progressively,” and “using spatial effects tailored to each song.” By keeping these principles in mind, they can get closer to the world of SID. While acquiring all high-end gear may be challenging, utilizing alternative equipment and multi-effects can effectively replicate Shinji’s sound.

Ultimately, Shinji’s sound creation is supported by a strong awareness of “the guitar for the entire band.” This mindset is a crucial factor in making SID’s music resonate more deeply and emotionally. Guitarists aspiring to SID’s sound should prioritize this perspective of “how to sound within the ensemble” before diving into gear selection.