[Noko] How to Recreate the Shinsei Kamattechan Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

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

2025.09.132025.09.13

🎸 HISASHI (GLAY) Guitar Sound Design Guide — Amps, Effects & Gear Settings

2025.06.092025.09.04

[Kaoru Hashimoto] How to Recreate the Helsinki Lambda Club Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

Introduction (Overview of Tone)

Noko, the guitarist and vocalist of Shinsei Kamattechan, possesses a distinctive and intense personality that is reflected in both his performances and guitar sound. His playing style incorporates elements of punk, alternative, and even noise pop, showcasing a unique grit and velocity within simple chord strumming.

Iconic tracks such as “Rock ‘n’ Roll Won’t Stop” and “Evening Piano” highlight the fusion of thunderous guitar and vocals, leaving a pop essence amidst chaos, which is a hallmark of Noko’s sound. Live footage and music videos reveal his use of Jazzmasters and Strats, delivering raw tones through Marshall and Fender amplifiers.

Moreover, Noko’s approach to sound creation emphasizes a visceral quality that prioritizes emotional expression over a polished, professional sound. He incorporates the distortion of the BOSS BD-2, the explosive noise of the ZVEX FUZZ FACTORY, and electronic elements using the KORG KAOSSILATOR PRO and Roland HPD-15. As a result, his guitar sound transcends mere accompaniment, becoming the core of the band’s overall expressiveness.

This article will thoroughly summarize the amplifiers, guitars, and effects used by Noko, along with insights into EQ settings and budget-friendly methods to achieve similar tones. It aims to serve as a valuable resource for those struggling with sound creation or wishing to replicate the Shinsei Kamattechan sound.

▶ Search official YouTube videos of Shinsei Kamattechan

List of Amplifiers and Features

Noko has been confirmed to use two main types of amplifiers for live performances and recordings: the Marshall JCM900 and the Fender Super-Sonic.

The Marshall JCM900 is a staple high-gain amplifier that became popular among hard rock and punk bands in the 1990s. It perfectly matches Noko’s aggressive strumming style, as evidenced in numerous live performances. The raw distortion sound produced by the JCM900 is essential to the chaotic atmosphere of Shinsei Kamattechan’s shows. This amp is particularly known for its strong midrange presence, allowing vocals to cut through even amidst the loudest of band sounds.

On the other hand, the Fender Super-Sonic is favored for its clean to crunch capabilities, offering a more organic and smooth distortion texture compared to the Marshall. It pairs well with Jazzmasters and Strats, often being used in Shinsei Kamattechan’s more melodic and pop-oriented tracks.

Noko appears to select his amplifiers based on the song’s style and the venue’s environment. For intense numbers requiring explosive sound, he likely opts for the Marshall JCM900, while he chooses the Fender Super-Sonic when aiming for a cleaner sound that highlights nuances. Both models are currently available, making them accessible references for sound creation.

Types of Guitars Used and Features

Noko employs a diverse range of guitars in Shinsei Kamattechan, primarily featuring models from Squier, RKS, and Rickenbacker. Notably, his pink Jazzmaster and the uniquely designed RKS Guitars THE WAVE Pink Lipstick stand out for their stage presence.

The most frequently seen guitar during live performances is the Squier FSR JAGMASTER Signature Prototype. This model was created as his signature guitar, with both a first and second prototype existing, alongside a special edition limited to 200 units known as NOKO Ltd. It features unique modifications and customizations, making it one of his main guitars that symbolize his sound.

Additionally, the Squier Stratocaster with Tremolo PIN and FR is a well-known piece of gear, even featured in Fender’s domestic posters. It delivers a wide range of sounds typical of a Strat, covering everything from intense distortion to clean tones. The Squier Noko Custom Jazzmaster Special has also undergone color changes from pink to green and has transitioned from a maple to a rosewood fretboard, showcasing Noko’s experimentation.

For home recording, Noko favors the Rickenbacker 620, which is characterized by a Che Guevara sticker he applied. This guitar is confirmed to be used for home recordings and some studio sessions. In terms of acoustic guitars, he employs models such as the MORRIS, YAMAHA APX-3A, Fender SONORAN-SCE Candy Apple Red, and a 12-string electric-acoustic from Crews, contributing to multi-tracking and song arrangements in the studio.

The selection of these guitars is not only about their striking appearances but also about expanding the sound palette. Consequently, Shinsei Kamattechan’s sound transcends traditional rock guitar, incorporating elements of electronica and pop.

Effects and Pedalboard Setup

Noko’s effects setup is incredibly unique, functioning as an “expression device” that transcends the role of a typical guitarist. In addition to standard overdrives and fuzzes, his pedalboard includes vocal effects, synthesizer devices, and even rhythm machines, significantly contributing to the live performance of Shinsei Kamattechan.

The primary distortion pedals are the BOSS BD-2 Blues Driver and the ZVEX FUZZ FACTORY. The BD-2 provides a light distortion that naturally pushes a clean amp, supporting his stroke-based playing style effectively. In contrast, the FUZZ FACTORY can create noisy sounds, playing a crucial role in generating chaotic explosions during live performances.

For spatial effects, the Line6 DL4 Delay Modeler allows for experimental expression through looping and delay echoes. Additionally, the Line6 POD XT and X3 multi-effects/amp simulators have been utilized for flexible sound creation during home recordings and tours.

Notably, the introduction of electronic instruments like the KORG KAOSSILATOR PRO and Roland HPD-15 HandSonic enables Noko to control not only the guitar but also synths and rhythms, taking on a central role in the overall live performance. Furthermore, the DigiTech Vocalist Live 4 is used for vocal effects and harmony generation, expanding the expressive range beyond typical guitar effects.

Other supporting equipment includes the KORG DT-10 tuner, BOSS GE-7 equalizer, and BOSS DR-670 rhythm machine, which are essential tools for creating the band’s “sonic chaos.” Consequently, Noko’s effects board serves not merely as “the guitarist’s pedalboard” but as a central device for constructing the live experience.

Tone Settings, EQ, and Mixing Approaches

Noko’s guitar sound is heavily influenced not only by the character of the equipment but also by thoughtful EQ and mixing techniques. During live performances, it is essential to bring the vocals forward amidst the loudness, leading to specific adjustments in amplifier and effect settings.

When using the Marshall JCM900, the gain is often set high, but rather than just distortion, there is a focus on emphasizing the midrange to create a “cutting sound.” The EQ settings typically feature treble around 5-6, mids at 6-7, and bass kept around 4 to avoid low-end muddiness. This adjustment is particularly crucial for Shinsei Kamattechan’s tracks, which have tight bass and drums, ensuring the guitar does not overlap in the low frequencies.

Conversely, when using the Fender Super-Sonic, settings that capitalize on clean to crunch tones are prominent. The clean channel is set close to flat, with compression kept low to maintain a sense of “rawness.” For crunch tones, the gain is typically around 4-5, using spatial effects to create depth. Combining this with the DL4 allows for a unique floating sensation in arpeggios and single-note phrases.

The order of effects is likely configured as follows: BOSS BD-2 → ZVEX FUZZ FACTORY → GE-7 EQ → DL4 → POD XT/X3. This arrangement allows for basic distortion layered with fuzz noise, followed by EQ adjustments for clarity, and finally adding depth with delay and spatial effects. The GE-7 is particularly used to boost midrange frequencies, ensuring it does not interfere with the vocals.

From a mixing perspective, Noko’s guitar is often processed to “spread widely left and right.” In recording sessions, he typically records two tracks of strumming, panning them left and right to create thickness with fuzz and overdrive. The bass and vocals are centered, allowing the guitar to create a wall of sound that achieves a “chaotic yet listenable” mix balance.

Live performances also require careful PA adjustments. In larger venues, the high-gain sound of the Marshall can cause low-end muddiness, so the PA often cuts frequencies below 80Hz while boosting mid-highs to ensure vocals are clear. Additionally, during moments when the FUZZ FACTORY’s noise spirals out of control, it is intentionally left uncompressed and ungated, emphasizing the “uncontrollable chaos” that characterizes his sound.

Moreover, coexistence with synthesizers and rhythm machines is crucial. When the KAOSSILATOR PRO and HPD-15 are added, the frequency spectrum becomes fuller, allowing the guitar to be crafted into a “piercing sound” centered around the midrange. This results in a sound that is not just a typical guitar band but rather a fusion of “rock and electronica.”

Overall, Noko’s sound creation can be summarized as “emphasizing midrange for presence while suppressing low-end to maintain overall chaos yet remain listenable.” This approach is not merely about EQ adjustments; it encompasses playing style, equipment selection, and PA processing, all contributing to the unique identity of Shinsei Kamattechan.

Affordable Alternatives to Recreate the Tone

While Noko’s gear includes RKS Guitars, the signature JAGMASTER, and the FUZZ FACTORY, some items may be difficult to obtain or have inflated prices. However, it is entirely possible for beginners or those on a budget to approximate Noko’s sound affordably. Here, we will focus on gear that can be acquired for around $100 to $500, explaining their sound characteristics and reproducibility.

As a distortion pedal, the BOSS BD-2 Blues Driver stands out as the top candidate. This is the model Noko himself uses, capable of covering a wide range from crunch to the threshold of distortion. It pairs well with Marshall-style amps, allowing for an affordable recreation of “clear driving sound.” It is commonly available on the used market for around $100.

For an alternative to the FUZZ FACTORY, the BOSS FZ-5 Fuzz or Electro-Harmonix Big Muff Pi are recommended. The Big Muff, in particular, possesses the explosive sustain typical of fuzz, easily creating chaotic soundscapes. While it may not replicate the instability of the FUZZ FACTORY, it serves as a robust substitute for creating heavy fuzz sounds.

In terms of spatial effects, the Line6 DL4 is somewhat pricier, so alternatives like the BOSS DD-7 Digital Delay or NUX Time Core Deluxe provide high cost-performance options. The DD-7, especially, offers a wide range of delay times and includes looping functionality, making it capable of recreating some of the “sound repetition and experimental phrases” that Noko showcases in live performances.

Regarding amplifiers, the Marshall JCM900 may be challenging to find and is often expensive, so modeling amps like the Marshall CODE series or Fender Mustang GTX are viable alternatives. These can be purchased for a few hundred dollars and allow users to access Marshall and Fender sounds through presets, making them more than adequate for home practice or small gigs.

For acoustic options, the Fender SONORAN-SCE can be substituted with the Fender CD-60SCE or YAMAHA APX series, which are reasonably priced and user-friendly. These thin-body models are suitable for home recording and singing, while also being visually striking on stage.

In summary, to recreate Noko’s sound affordably, focus on “overdrives that emphasize midrange,” “heavy fuzz,” “simple delays,” and “Marshall or Fender amp simulations.” By combining these elements, it is entirely feasible to enjoy the “chaotic essence of Shinsei Kamattechan” within a budget of a few hundred dollars.

Summary and Conclusion

In summarizing Noko’s sound creation, it becomes clear that it is not merely about “guitar sound” but rather a crucial element in shaping the overall atmosphere of the band. The guitars, amplifiers, and effects he uses are diverse, grounded in simple strumming while incorporating uncontrollable noise from the FUZZ FACTORY and electronic elements from the KAOSSILATOR PRO and HandSonic, resulting in a unique sound that is “chaotic yet memorable.”

The essence of his sound creation lies in “emphasizing the midrange” and “embracing instability.” By skillfully using EQ to bring forward frequencies that do not overlap with vocals, while also welcoming fuzz and noise, he distinguishes himself from the polished rock sound. As a result, listeners experience both rawness and a unique pop sensibility, leaving a strong impression.

Additionally, Noko’s equipment choices are significantly influenced by “appearance” and “character.” Selecting visually impactful guitars like the pink Jazzmaster and RKS THE WAVE is a way to express “Noko-ness” not just through sound but through the entire visual presentation. This becomes a vital aspect of imprinting the band’s world onto fans.

If readers wish to approach Noko’s sound, it is not necessary to gather expensive gear. By utilizing the BOSS BD-2, Big Muff, simple delays, and modeling amps, one can replicate the “Noko-esque chaos” within a budget of a few hundred dollars. The crucial aspect is not the equipment itself but the attitude of “expressing one’s emotions through sound, even if rough.”

Ultimately, emulating Noko’s sound is about “not striving for perfection” but rather “accepting imperfection.” The unpredictable noise and raw strumming are his individuality, and they create the one-of-a-kind Shinsei Kamattechan sound. Readers are encouraged to embrace this “spirit of enjoying chaos” and incorporate it into their own sound creation.