[Shizuku] How to Recreate the Polkadot Stingray Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shizuku, the guitarist and vocalist of Polkadot Stingray, is recognized for her uniquely captivating guitar sound within the music scene. Her tone is built on a foundation of sharp yet transparent clean to crunch sounds, enhanced by subtle distortions and nuances that support the band’s artistic vision.

In iconic tracks like “Telecaster Stripe,” the airy and sharp sound characteristic of the Fender Telecaster Thinline is fully utilized, blending seamlessly into the band’s dynamic sound. Songs such as “ICHIDAIJI” and “Himitsu” showcase her ability to switch between natural yet substantial crunch tones, elevating the emotional expression of the music.

Shizuku’s guitar playing does not rely on flashy techniques; instead, it embodies an approach that integrates with the song’s emotional core. While maintaining her presence as a frontwoman, her guitar resonates throughout the band, exemplifying her true artistry.

For guitarists aiming for a cohesive “guitar plus vocals” experience, her settings and gear choices serve as an excellent reference point.

As confirmed through live performances and music videos, her core setup revolves around Fender guitars, particularly the Telecaster Thinline, paired with the boutique amplifier “SHINOS WIN.” Additionally, she incorporates overdrive pedals from BOSS and Strymon as needed, allowing for a simple yet versatile palette of tones.

This enables her to navigate from bright, clean sounds to rich leads, expressing the unique atmosphere of each song.

By delving into Shizuku’s sound design, one can understand why Polkadot Stingray’s music captivates so many listeners.

▶ Search official YouTube videos of Polkadot Stingray

List of Amplifiers and Features

Shizuku’s choice of amplifiers reflects her unique approach to sound design. The confirmed gear used in live performances and recordings primarily includes the “WIN by SHINOS,” “ORANGE Rockerverb,” and “Roland JC-120.” Since 2018, the SHINOS WIN (Blue/Black version, 50W full tube combo) has been her main amplifier, known for its quick response and delicate distortion, which supports her sound beautifully.

The WIN by SHINOS is a high-end model from the Japanese handmade amplifier manufacturer SHINOS, offering excellent tonal separation that pairs perfectly with Shizuku’s clear and sharp guitar sound. Evidence from live footage and magazine articles confirms that the combination of the Telecaster Thinline and this amplifier forms her foundational tone.

In the past, she has also been known to use the ORANGE Rockerverb 100H, a UK-made high-gain amplifier renowned for its thick distortion and pronounced midrange. This amplifier was frequently seen during the band’s early days, providing a solid backbone for the Telecaster’s cutting tones when power and aggression were needed.

Additionally, the Roland JC-120 has been confirmed in her setup. This clean amplifier is a staple in Japan, known for its transparent clean tones and stereo chorus. It is likely that the JC-120 was used during performances requiring a clean sound or when utilizing effects for spatial processing.

These amplifiers are utilized based on the song and context, with the JC-120 providing clarity in the studio while the SHINOS WIN adds thickness during live performances.

Overall, Shizuku’s amplifier selection seeks the optimal solution to maximize the artistic vision of her music, primarily utilizing the SHINOS WIN while incorporating the ORANGE Rockerverb and Roland JC-120 as needed.

Types of Guitars Used and Features

At the core of Shizuku’s sound design are her Fender Telecaster Thinline guitars. The frequency of the Telecaster Thinline in live performances and music videos is notably high, with its light and airy sound adding a unique color to the overall band sound.

One notable model is the “Fender American Elite Telecaster Thinline (Natural),” which features a wood-grain pickguard and has been used in tracks such as “ICHIDAIJI,” “Midori,” “Out,” “Rido,” and “Telecaster Stripe.” This model is characterized by its natural appearance and warm tones due to its semi-hollow construction, resonating beautifully with Shizuku’s transparent vocals.

Another main guitar is the “Fender American Elite Telecaster Thinline (Champagne).” This model has been modified with a black pickguard and has been confirmed in songs like “DENKOUSEKKA,” “Himitsu,” “FICTION,” “Dawn Orange,” and “Love Call.” Compared to the natural model, it presents a more modern impression, enhancing the visual appeal during live performances.

Additionally, she also uses the “Fender Telecaster Thinline (Silver, Natural),” which pairs impressively with a blue CHUMS strap. Both silver and natural colors are available, featuring a maple fingerboard suitable for cutting play.

Moreover, the “Duesenberg Starplayer TV (Surf Green, Black Pickguard)” has made appearances on stage, influenced by Shiina Ringo. It has been used in tracks like “JO-DEKI,” showcasing a unique look and rich midrange, with its semi-hollow structure adding thickness to Shizuku’s new sound. Notably, she has removed the tremolo arm for stability in her playing.

It is also known that she owns a “Fender Stratocaster.” Although the specific model is unclear, references to the Player Stratocaster 3TS suggest it is a standard Stratocaster. Its usage frequency is low, but it is believed to be employed in situations requiring the broad range typical of a Stratocaster.

From this selection of guitars, it is clear that Shizuku’s choices unify the direction of achieving both “softness through semi-hollow and semi-acoustic” and “sharpness characteristic of Fender.”

Overall, her established style centers around the Telecaster Thinline while incorporating Duesenberg and Stratocaster based on the song or live atmosphere, supporting her broad sound design and expressive capabilities.

Effects and Pedalboard Setup

Shizuku employs a variety of effects to craft her sound while highlighting the unique characteristics of her guitar and amplifier. Her pedalboard is simple yet strategically designed, confirmed through live footage and photos to include “KORG Pitchblack Advance,” “BOSS OD-3,” “BOSS BD-2,” “Strymon Riverside,” “MXR Micro Amp,” “ZOOM MS-50G,” and “Strymon Ojai.”

The basic tone is formed by the combination of the Telecaster Thinline and SHINOS WIN, but by utilizing overdrive and boosters, she adds delicate nuances tailored to each song.

Specifically, she often uses the “BOSS OD-3 OverDrive” and “BOSS BD-2 Blues Driver” as her foundation for distortion. The former provides a thick overdrive, while the latter creates a crunchier, nuance-focused distortion. For a more modern and versatile gain range, she employs the “Strymon Riverside,” enhancing the digital range and stability.

Additionally, the “MXR Micro Amp” serves as a booster, increasing volume during solos and emphasizing tone, allowing her guitar to stand out within the band sound.

For spatial effects, the “ZOOM MS-50G” is utilized, functioning as a multi-effect processor for reverb, delay, and modulation. This compact and multifunctional device contributes to the ease of transport and setup during live performances.

Moreover, the introduction of the “Strymon Ojai” ensures stable power supply, creating a clean power environment with minimal noise.

By combining these elements, Shizuku forms a flexible pedalboard capable of accommodating a wide range of sounds, from simple cutting tones to deep lead tones. Notably, her practice of layering multiple overdrives to fine-tune gain exemplifies her unique attention to detail.

Overall, Shizuku’s effects board is designed to be “minimal yet capable of manipulating a diverse array of tones.”

Tone Settings, EQ, and Mixing Approaches

Shizuku’s guitar sound is intricately crafted, despite its simplicity. The foundational axis is the combination of the Fender Telecaster Thinline and SHINOS WIN, with the addition of necessary overdrives and spatial effects to alter the expression of each song.

The EQ settings on the SHINOS WIN emphasize midrange, but to leverage the airy tone of the Telecaster Thinline’s semi-hollow structure, it is speculated that Shizuku typically sets Bass low (around 9-10 o’clock), slightly boosts Middle (around 1 o’clock), and keeps Treble around noon. This configuration achieves a transparent tone that does not clash with her vocals.

The differentiation of distortion effects is also crucial. For instance, in fast-paced tracks like “Telecaster Stripe,” she primarily uses the BOSS OD-3, setting gain around 11 o’clock and Level between noon and 1 o’clock to achieve a crunchy sound with good definition without being overly compressed.

In contrast, for songs like “ICHIDAIJI” and “Midori,” where the riff’s presence is essential, she bases her sound on the BOSS BD-2, setting gain around noon. This results in a clean yet punchy sound with preserved attack. For more modern tracks like “JO-DEKI,” the Strymon Riverside is employed to secure a broader range, adding thickness and impact.

The MXR Micro Amp is indispensable for boosting during live performances. Since Shizuku’s guitar rarely stands out during lead play, the Micro Amp is used not only to increase volume but also to help the guitar step forward within the overall band sound. When engaged during solos or prominent riffs, it slightly elevates the high frequencies, ensuring her presence is felt amidst the band ensemble.

Spatial processing is supplemented by the ZOOM MS-50G, which adds reverb and delay. The reverb is typically kept light, resembling room reverb, to maintain a natural airiness without excessive spread. Delay is used minimally to provide depth rather than prominence within the mix.

From a mixing perspective, Shizuku’s guitar is designed to “not interfere with the vocal range.” It is speculated that during recording, peaks around 3kHz are slightly reduced while boosting around 2kHz to retain clarity in the vocals without compromising the guitar’s attack. Low frequencies below 100Hz are cut, and 200-300Hz is organized to create space for bass and drums.

This approach is similarly applied in live PA settings, ensuring the guitar functions as a “filling presence” within the overall band sound.

Additionally, the switching of amplifier channels is thoughtfully executed. The SHINOS WIN allows for switching between clean and crunch channels, often starting with the clean channel and transitioning to the drive channel during songs. This combination of switching and pedal operation enables a single guitar and compact board to produce a diverse array of tones.

In summary, Shizuku’s sound design hinges on “minimalism that utilizes space” and “meticulously calculated EQ and gain settings tailored to each song.” While not flashy, her setup is meticulously crafted to enhance the entire band, and when attempting to replicate her sound, emphasizing midrange on the amp EQ, layering light distortion over a clean foundation, and organizing frequency ranges during mixing are crucial.

Affordable Alternatives to Recreate the Tone

Shizuku’s gear, including the boutique SHINOS WIN amplifier and the Fender American Elite Telecaster Thinline, may present a financial hurdle for beginners and intermediate players. However, the essence of her sound lies in the “lightness provided by the semi-hollow structure” and “the combination of simple overdrive,” making it possible to achieve a similar tone with relatively affordable gear.

For guitars, the Fender Player series or Squier Classic Vibe series Telecaster Thinline is highly recommended. These models can be acquired for under $1,000 and allow players to experience the airy tones characteristic of semi-hollow designs. In particular, the “Squier Classic Vibe Telecaster Thinline” offers excellent cost performance, serving as a great starting point to approximate Shizuku’s natural tone.

For amplifiers, options like the Roland JC-22 or BOSS Katana series are viable candidates. The JC-22, while compact, delivers the transparent clean tone inherited from the JC-120, making it suitable for pairing with effects to approach Shizuku’s clean sound. The BOSS Katana series is versatile, accommodating a wide range from clean to crunch and making it easy to replicate her sound in both live and home recording environments.

Regarding effects, the BOSS OD-3 and BD-2 that Shizuku uses can be found for around $100 each, forming a significant part of her sound foundation. Introducing these pedals first can help recreate her cutting and riff nuances easily.

For spatial effects, utilizing the ZOOM MS-50G or its successor multi-effects units allows for a budget-friendly way to incorporate reverb and delay, achieving the natural depth characteristic of Shizuku’s sound.

While a power supply is not mandatory, options like the “CAJ AC/DC Station” or “One Control Distro” can provide stable, clean power at an affordable price. Creating a noise-free power environment, akin to Shizuku’s, can enhance stage sound quality.

In summary, selecting the following gear can bring you closer to Shizuku’s sound. The most critical points are the choice of guitar and overdrive pedal, combined with a clean amplifier and simple spatial effects, allowing even beginners to experience the transparent sound reminiscent of Polkadot Stingray.

Summary and Conclusion

Shizuku’s guitar sound in Polkadot Stingray can be summed up as “a meticulous construction within simplicity.” Her gear choices and settings are not extravagant or flashy. Instead, they are characterized by a style that draws maximum expression from minimal configurations.

By centering her setup around the light and airy Telecaster Thinline and the clear, core sound of the boutique SHINOS WIN amplifier, she layers in classic overdrives and boosters from BOSS and Strymon to accurately depict the atmosphere of each song.

Moreover, her sound design is rooted in the concept of “guitar sounds that integrate with vocals.” Rather than standing out as a separate entity, her guitar blends with the vocals, enveloping the entire band. Consequently, her EQ and gain settings are never excessively pronounced, always focusing on the midrange to create a natural sound.

Live performances and music videos consistently showcase her approach of supporting the music with minimal processing, avoiding excessive distortion or deep spatial effects.

When attempting to replicate her sound, it is crucial to understand Shizuku’s “philosophy of sound design” rather than simply acquiring expensive gear. For example, combining the BOSS OD-3 and BD-2 to fine-tune distortion, establishing a clean foundation with midrange-focused EQ settings, and adding depth with multi-effects as needed can allow relatively affordable gear to closely approximate her sound.

Shizuku’s sound embodies “sound design that utilizes space.” Rather than overwhelming listeners with flashy riffs or fast playing, she enhances the vocals by leaving gaps in the sound, ultimately leaving a profound impression on the audience. This style offers significant insights for guitarists, especially singer-songwriters, or players striving to balance guitar and vocals.

In conclusion, Shizuku’s sound design in Polkadot Stingray is characterized by “seemingly simple yet intricate,” “emphasizing the emotional core over flashiness,” and “prioritizing philosophy over gear.” If you aspire to replicate her sound, starting with a semi-hollow Telecaster and simple overdrives while carefully managing midrange EQ will be a solid first step toward capturing the essence of Shizuku’s sound.