[Yuji Nakada] How to Recreate the Tsubakiya Shijusou Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yuji Nakada, the guitarist of Tsubakiya Shijusou, is not only known for his work with the band but has also made a name for himself as a solo artist. His sound design transcends traditional rock guitar, incorporating rich harmonies influenced by jazz and soul, all while supporting his emotional vocal style with a delicate yet robust tone.

In iconic songs like “Ajisai” and “Koiwazurai,” Nakada’s sound is characterized by a glossy, clean tone that retains depth and crunch. Following his solo career, he has frequently performed with acoustic guitars, where instruments like the G&L ASAT Classic Bluesboy Semi-Hollow and Martin acoustic guitars resonate beautifully, merging seamlessly with his vocals.

What stands out in Nakada’s guitar sound is his ability to blend the “lightness of Fender” with the “thickness of Gibson.” This allows him to navigate a wide range of styles, from jazzy chord work to bluesy solos and soulful cuts.

Yuji Nakada’s sound is a unique fusion of his individuality as a guitarist and his expressive capabilities as a singer, earning him strong support from many fans.

In the following sections, we will delve into the amplifiers, guitars, and effects that contribute to his distinctive sound.

▶ Search official YouTube videos of Tsubakiya Shijusou

List of Amplifiers and Features

From his time with Tsubakiya Shijusou to his solo endeavors, Yuji Nakada has relied heavily on Fender amplifiers, particularly the “Fender Vibroverb.” This vintage model, equipped with a 15-inch speaker, delivers the signature bright clean tones of Fender while providing depth and warmth. It pairs exceptionally well with semi-hollow guitars like the G&L ASAT Classic Bluesboy and the Gibson SG, making it an essential element of his sound.

During live performances, Nakada utilizes the spring reverb and natural breakup of the Vibroverb to create a soulful yet defined crunch. Although his solo work has shifted towards acoustic setups, he continues to use Fender amplifiers as the foundation of his sound during band performances.

There are also assumptions regarding the use of the Fender Twin Reverb and Deluxe Reverb. Both are renowned clean amplifiers from Fender, and it is likely that Nakada switched between them depending on the situation, such as studio recordings or television appearances. The deep reverb and midrange push of the Vibroverb significantly influenced the guitar sound during his Tsubakiya days, contributing to the “glossy chord feel” and “smooth solo tone” that define his style.

Overall, Nakada’s choice of amplifiers emphasizes “transparency that does not overshadow the vocals” and “bringing out the character of the guitar.” It can be assumed that he primarily used the Fender Vibroverb while selectively incorporating reverb models based on the performance context.

Types of Guitars Used and Features

Yuji Nakada is known for his love of the “G&L ASAT Classic Bluesboy Semi-Hollow,” which possesses a character that sits between Fender and Gibson. This semi-hollow structure features a humbucker in the front and a single-coil in the rear, allowing for a wide range of tones from thick, sweet cleans to sharp cuts. This guitar has been his main instrument since the later days of Tsubakiya Shijusou and is considered an iconic part of his setup.

For more accessible alternatives, the “G&L Tribute Series ASAT Classic Bluesboy Semi-Hollow” has also been noted, likely used for rehearsals or as a backup. This model retains the character of the original while being more budget-friendly.

In the earlier to mid-period of Tsubakiya Shijusou, Nakada favored the “GIBSON SG STANDARD.” This guitar delivered a strong rock sound while blending seamlessly with his jazzy chord work, creating a unique sonic identity. Additionally, he has been seen using the “Epiphone Casino,” which offers a lively and resonant tone characteristic of semi-hollow guitars, enhancing the atmosphere of live performances and recordings.

After transitioning to solo work, the use of acoustic guitars has increased. Notably, the “C.F. Martin D-35” and “Martin OMC-28E” frequently appear in his live streams and performances. The D-35’s three-piece back structure provides a soft resonance, blending beautifully with Nakada’s voice, while the OMC-28E, equipped with the Fishman Aura system, delivers a natural acoustic sound directly to the live PA system.

Furthermore, Nakada has used portable options like the “YAMAHA CSF-TA” and the gut-string guitar “K. Yairi CE-3.” The CE-3, in particular, matches well with delicate arpeggios and bossa nova-style accompaniments, creating a pleasant balance with his soulful voice.

Overall, Nakada’s guitar selection prioritizes “maximizing the world of the song.” During his rock days, he utilized powerful guitars like the SG and Casino, while his solo work has centered on acoustic instruments, pursuing the optimal tone for each situation.

Effects and Pedalboard Setup

Yuji Nakada’s sound design maintains a simplicity close to direct amp connection while adding necessary color through effects. He prefers using boosters and overdrive pedals that enhance the natural tone of his amp with just a touch of flavor. A notable example is the “HUMAN GEAR FINE Over Drive,” a handmade Japanese pedal that provides a natural and transparent overdrive. The refined crunch tone heard in Tsubakiya Shijusou’s songs is largely attributed to this pedal.

Additionally, he frequently uses the “XOTIC BB Preamp,” which is highly regarded as both a booster and overdrive. This pedal allows for flexibility from clean boosts to gain increases. Particularly during lead parts, Nakada lightly engages the BB Preamp to add richness and thickness, creating soulful guitar solos.

To complement his diverse sound palette, Nakada has incorporated the “Line 6 M9 Stompbox Modeler.” This multi-effects unit covers delay, reverb, and modulation effects all in one, allowing for quick changes during live performances based on the setlist. Supporting reliable switching during live shows is the “One Control Crocodile Tail Loop OC10,” which manages multiple pedals while preventing sound degradation through simple operation.

Adding color to his sound character is the “Skreddy Pedals Zero,” a pedal that possesses a character between fuzz and distortion, adding a loud nuance to certain songs. To enhance reliability, Nakada has also integrated the “One Control Distro” (power supply) and “One Control Basilisk,” which stabilize power supply and switching. The “EVENTIDE H9” also appears in his setup, providing high-quality algorithms for reverb and pitch shifting, contributing rich effects.

These pieces of gear culminate in Nakada’s pedalboard configuration of “simple overdrive plus diverse spatial processing.” This balance allows the guitar sound to complement the jazzy and urban mood of his songs without excessive distortion, maintaining an appropriate spatial quality. Overall, his effects setup is designed to provide “delicate seasoning to enhance the vocals.”

Tone Settings, EQ, and Mixing Approaches

Yuji Nakada’s sound design is characterized by a balance that ensures the guitar sound does not overpower his voice while still maintaining a distinct presence. During his time with Tsubakiya Shijusou, he retained a powerful rock sound while valuing the space for vocals, and his approach has evolved into a more refined, jazzy, and soft sound in his solo work.

Specific EQ settings tend to feature a slightly subdued bass (around 3-4), with midrange (5-6) pushed forward to ensure the guitar chords blend well with the vocals. The treble is set around 6-7 to provide attack without being harsh on the ears. Utilizing the natural reverb of the Fender Vibroverb enhances the spatial quality of the guitar sound.

His approach varies by song. For example, in “Ajisai” and “Koiwazurai,” he opts for a crunchier sound to emphasize the nuances of chord work. During lead guitar sections, he lightly engages the XOTIC BB Preamp to add sustain and richness, enhancing the emotional quality of the solos. Conversely, in acoustic-centric songs (like “ROLLIN’ ROLLIN’” and “My Beautiful Life”), he tends to preserve the natural tones of the Martin and YAMAHA CSF-TA, minimizing EQ processing to maintain the airiness of the sound.

In live settings, the PA processing by engineers significantly impacts the sound design. Since the guitar frequencies often overlap with the vocals, light cuts around 2-4kHz and a slight boost around 1kHz help achieve a tone that retains its core while not overshadowing the vocals. In acoustic performances, the Martin OMC-28E with the Fishman Aura system is particularly valuable, reproducing natural resonance while minimizing PA adjustments.

For channel switching on the amp, Nakada primarily uses the clean channel of the Fender Vibroverb, controlling distortion through overdrive pedals. This approach maintains a consistent fundamental tone while allowing for adjustments in distortion levels per song. Delay and reverb are often used sparingly, primarily to create depth. Since incorporating the EVENTIDE H9, he has also added shimmer reverb and light pitch shifting, achieving a more modern and three-dimensional sound.

In recording, he typically relies on mic’ing the amp while blending in direct line recordings. Particularly for acoustic tracks, mixing mic recordings with line outputs ensures both thickness and clarity. Similarly, for electric guitar, combining the ambient sound captured by the mic with the direct sound from the pedalboard results in a three-dimensional guitar sound that complements the vocals.

Overall, Yuji Nakada’s sound design is a thorough approach to “guitar as accompaniment to support the voice.” By organizing the low end, emphasizing midrange nuances, and expanding the high end for vocal space, he adds richness only when necessary. This simple yet profound balance is the essence of his sound design.

Affordable Alternatives to Recreate the Tone

Reproducing Yuji Nakada’s sound completely requires acquiring Fender amplifiers and handmade effects, which can become quite expensive. However, there are ways for beginners and intermediate players to approach his sound at a relatively low cost. The key points are “introducing semi-hollow guitars,” “using Fender-like amplifiers,” “natural overdrive,” and “diverse spatial processing.”

Regarding guitars, his main G&L ASAT Classic Bluesboy Semi-Hollow retails for over $2,000, but alternatives like the “Epiphone Dot” or “Squier Classic Vibe Telecaster Thinline” can be considered. These options feature semi-hollow structures or the brightness of Telecasters, capable of producing a balanced clean tone and light distortion similar to Nakada’s sound.

While the original Vibroverb is a vintage model and quite pricey, using modeling amps like the “Fender Champion 40” or “YAMAHA THR30II” can replicate the bright clean tones of Fender at a lower cost. The THR series, in particular, is compact yet includes immersive spatial effects, making it ideal for practice and home recording.

For overdrive, the “BOSS BD-2 Blues Driver” or the more affordable “Caline CP-18 Orange Burst,” which is a budget-friendly version of the XOTIC BB Preamp, are excellent choices. The BD-2 excels in producing a transparent crunch that complements vocals without overshadowing them, bringing you closer to Nakada’s sound. The Caline pedal follows the design philosophy of XOTIC while being practical at a lower price point.

For spatial effects, the “BOSS DD-8 Digital Delay” or “NUX Atlantic Delay & Reverb” are recommended. By adding subtle delay and natural reverb, you can create a lush tone reminiscent of Nakada’s style. Furthermore, introducing multi-effects units like the “ZOOM G3n” or “Line 6 HX Stomp” allows for consolidated management of spatial effects, enhancing usability on stage.

In summary, to get closer to Yuji Nakada’s sound, beginners should focus on a “simple gear setup.” Choosing semi-hollow or Tele-style guitars, using equipment that simulates Fender amplifiers, and incorporating transparent overdrive with subtle spatial processing will allow you to experience the nuances of his sound.

Summary and Conclusion

Reflecting on Yuji Nakada’s sound design, the core philosophy is “guitar sound supporting the vocals.” From the powerful and colorful rock sound of Tsubakiya Shijusou to the delicate and jazzy acoustic sound in his solo career, he consistently maintains the position that “the voice is the star, and the guitar is the accompaniment that colors that world.”

His gear choices clearly reflect this approach. With the G&L ASAT Classic Bluesboy Semi-Hollow at the center, he skillfully blends the brightness of Fender with the thickness of Gibson. His amplifiers, primarily Fender Vibroverb and similar models, provide a clean and spacious tone as the foundation. By adding natural overdrive (like HUMAN GEAR FINE OD and Xotic BB Preamp), he controls the richness according to the song’s needs. Instead of relying on excessive distortion or effects, he chooses to add only the necessary color, highlighting his sensibility.

In the acoustic realm, he utilizes classic models like the Martin D-35 and OMC-28E, pursuing a natural resonance that blends beautifully with his voice. The use of models equipped with the Fishman Aura system ensures that he retains a vivid acoustic feel even in PA environments. Additionally, unique models like the YAMAHA CSF-TA and K.Yairi CE-3 provide diverse tones tailored to each song.

Equally important are his EQ and mixing strategies that support his sound design. By organizing the low end, emphasizing midrange, and creating space in the high end, he achieves a balance where the guitar harmonizes with the vocals. The meticulous adjustments made by sound engineers during live performances further enhance this effect, ensuring that the sound delivered to the audience is always a “guitar that enhances the vocals” with high completeness.

In summary, to recreate Nakada’s sound, it is essential to focus on “not overdoing it” and “being mindful of tones that harmonize with the voice.” Rather than acquiring expensive gear, simply establishing a clean foundation with natural drive and subtle spatial processing can bring you closer to the essence of his sound. Nakada’s sound design is simple yet profound, reflecting not only his identity as a player but also as a singer.

The “beauty of subtraction” is something every guitarist can emulate. This is the essence of sound design for Tsubakiya Shijusou and Yuji Nakada.