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

関連記事

[Hattori] – How to Recreate the Macaroni Enpitsu Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Syu] How to Recreate the Sound of GALNERYUS – Gear, Tone, and Setup Guide

2025.06.062025.09.04

【Yoshiaki Manabe】How to Recreate THE PILLOWS Sound + Guitar Gear and Tone Settings Summary【Effects & Amps】

2025.08.292025.09.04

Introduction (Overview of Tone)

NoGoD’s guitarist, Shinno, is renowned for his technical yet passionate playing style. His sound, which fuses the heaviness of metal with the flamboyant phrases characteristic of visual kei, is a significant element that supports the band’s unique worldview.

Shinno’s guitar work goes beyond just heavy riffs; it features intricate phrasing and a distinctive tone. Particularly in iconic songs like “Kamikaze” and “Kakusei,” the thick rhythm guitar and emotional lead tones stand out prominently. His sound design is based on a flexible construction centered around the Kemper, maintaining a hard attack and clear articulation.

Moreover, he uses his original ESP SNAPPER (Shinno model, Polka Dot), which combines originality in both appearance and sound. The Polka Dot model, especially, is capable of producing versatile sounds due to its Seymour Duncan pickup configuration, making it adaptable across various genres.

Additionally, he has been involved in the development of the “Ghost Arsenal Karyoubinga,” actively working on sound correction for digital amplifiers. This involvement highlights his role not just as a performer but as a creator with a strong commitment to sound itself.

In summary, the reason Shinno’s sound garners attention is due to its ability to “shine with individuality and presence amidst a heavy metal sound.” By unraveling the secrets behind his gear setup and effects usage, readers can also get closer to the NoGoD sound.

▶ Search official YouTube videos of NoGoD

List of Amplifiers and Features

At the core of Shinno’s sound design is the “Kemper Profiling Power Rack,” a leading digital amplifier that modern guitarists favor. This model, which includes a built-in power amp (600W), allows him to drive cabinets directly during live performances and rehearsals, offering both versatility and stability. It is believed that Shinno uses this Kemper to bring his ideal sound profile to the stage.

The profiling feature of the Kemper is its greatest strength, as it can faithfully reproduce the tones of real amplifiers. NoGoD’s songs feature intense metal riffs alongside expressive clean tones and lead sounds, making the Kemper a highly rational choice for smoothly switching between these sounds. To compensate for the digital “hardness” and “inorganic” qualities, he combines it with the analog devices from Ghost Arsenal, which will be discussed later, ensuring thorough tuning.

For output, he uses the “Bogner 212 Closed Back Cabinet.” Bogner cabinets are characterized by their punchy low-end and tightly packed midrange, which supports the heaviness required for Shinno’s metal riffs. The closed-back design particularly clarifies the low-end contours, creating a sound image that stands out even amidst the overall band sound pressure.

In past live photos and social media, Shinno has been seen with stack amplifiers behind him, but it has been confirmed that he has transitioned to a simpler and more efficient system of Kemper plus Bogner cabinet in recent years. This shift is speculated to be a rationalization to accommodate the demands of touring and festivals.

Additionally, while there are reports from top search articles and forums suggesting that he experimented with Marshall and Mesa/Boogie amplifiers before adopting the Kemper, these claims remain unconfirmed. Therefore, to recreate the current NoGoD sound, relying on the combination of the Kemper Profiling Power Rack and Bogner cabinet is the most reliable approach.

Overall, Shinno’s amplifier setup operates on the principle of “using the Kemper for flexible tones and the Bogner for realism.” This is a prime example of effectively merging digital and analog technologies, serving as a significant reference for guitarists aspiring to modern sound design.

Types of Guitars Used and Features

When discussing Shinno, the first guitar that comes to mind is the signature model “SNAPPER – Shinchou (Shinno model / Polka Dot)” released by ESP. Built on a foundation of ash and alder woods, the SNAPPER combines vibrant design with practicality. The Polka Dot model, in particular, not only looks great on stage but also features a tight mid-low range due to its alder body and an attack characteristic provided by its hard maple neck.

The pickups installed are from Seymour Duncan, comprising an SH-14 (Custom 5) in the bridge, an STK-S10b in the middle, and an STK-S10n in the neck. This configuration allows for an edgy distortion sound in riffs while achieving a bright and core sound in clean tones. This setup is believed to have been chosen to balance the heaviness and melodic transparency required for NoGoD’s music.

Alongside the Polka Dot model, the “ESP SNAPPER – Hichou” is also frequently used. This model, based on a red design, is often used interchangeably with the Polka Dot model depending on the live setlist. While it shares the SNAPPER base with the Polka Dot, there are slight differences in wood and parts combinations, providing variations in tone. This allows for different textures of sound even within the same setlist.

Shinno’s guitar selection strongly emphasizes the balance between “appearance” and “sound.” As NoGoD is a visual kei metal band, visual impact is essential, but so is the precision of performance and the thickness of sound. The signature models based on ESP’s SNAPPER series are designed to meet both of these requirements.

Search articles and social media posts suggest that he may have used other ESP models or Strat-style guitars in the past, but his main focus in recent years has been on the Polka Dot and Hichou models. Therefore, if you want to replicate Shinno’s sound, selecting a guitar from the SNAPPER series would be the optimal choice.

Effects and Pedalboard Setup

Supporting Shinno’s performance is a simple yet effective pedalboard centered around the Kemper. In recent live setups, he primarily utilizes the effects built into the Kemper Profiling Power Rack while supplementing with external pedals where necessary. Notably, the “Karyoubinga,” developed in collaboration with Ghost Arsenal, is an indispensable part of Shinno’s sound design.

The “Karyoubinga” is a unique device known as a “passive gain saturator,” which operates without needing a power source, serving to analogically correct the texture of digital amplifiers like the Kemper. It softens the digital hardness, adding a more organic nuance, and Shinno is said to use it for both live performances and recordings.

Additionally, the Xotic Wah XW-1 is a particularly responsive wah pedal that offers a wide range of tone control. Shinno places it before the Kemper input, utilizing wah effects for solos and accents. Given the melodic nature of NoGoD’s songs, the use of wah is crucial for emphasizing the guitar’s expressiveness.

Furthermore, the Ghost Arsenal Mod Volume Pedal is distinctive. This modified volume pedal is tailored for Shinno’s needs, used for controlling the Kemper and adjusting volume during live performances. It not only serves for volume adjustment but also enhances dynamic expression.

At the center of his pedalboard is the “Kemper Profiler Remote,” which allows for smooth scene switching and effect control. This remote is essential for handling the complex song structures that Shinno employs. Additionally, he has integrated a wireless system, the “Xvive XV-U2,” ensuring freedom of movement during live performances.

Search articles and fan reports indicate that he has previously experimented with BOSS overdrives and compact delays, but the main pedals shaping the current NoGoD sound are undoubtedly the ones mentioned above. Thus, Shinno’s pedalboard structure can be summarized as “Kemper-centric with analog correction and minimal external pedals,” reflecting a rational style.

Tone Settings, EQ, and Mixing Approaches

Shinno’s sound design is characterized by a “fusion of digital and analog,” with the Kemper Profiling Power Rack at its core, enhanced by efforts to add analog warmth. The songs of NoGoD span a wide range, from intense riffs to lyrical clean tones and ethereal phrases utilizing spatial effects, requiring meticulous EQ and settings tailored for each track.

The basic EQ balance centers on keeping the low-end tight while emphasizing the midrange. For rhythm guitar, he typically cuts lows around 70Hz and lightly reduces muddiness in the 200Hz-300Hz range to coexist with the bass drum. Meanwhile, he boosts the midrange (around 800Hz-1.2kHz) slightly to ensure the guitar’s outline stands out amidst the band’s overall sound pressure. The high-end is lifted slightly in the 4kHz-6kHz range to accentuate picking attack and brightness, providing the sharpness necessary for NoGoD’s metal sound.

For lead guitar, he further boosts the mid-high frequencies (around 2.5kHz-3.5kHz) to create presence in a range that does not interfere with the vocal melody. When switching to clean tones, Shinno’s characteristic is to avoid overly suppressing the highs, maintaining an airy quality, and adding subtle chorus and reverb for spaciousness. Live footage shows that even in clean settings, the articulation remains intact, providing a transparent tone that supports the entire band.

In terms of amp settings, it is presumed that Shinno uses multiple profiles on the Kemper, switching between them. For example, he likely selects high-gain profiles based on Mesa/Boogie or Marshall for powerful riffs, while using Bogner or Fender profiles for leads and cleans, adjusting tones according to the song’s progression.

The presence of the Ghost Arsenal Karyoubinga is also crucial. While digital amplifiers are convenient, they often suffer from “thinness” or “inorganic” qualities, but Shinno uses the Karyoubinga to add natural compression and harmonics to the signal. This allows him to output tones that blend seamlessly into mixes without burdening the engineer during studio recordings.

In actual mixing, the guitar is typically double-tracked for L/R positioning to create thickness. In NoGoD’s sound, hard-hitting rhythm guitars are placed on the sides, while the lead guitar and vocals are centered, achieving a clear yet powerful sound image. Shinno’s tone is characterized by maintaining a balance of sustain and clarity without excessive distortion, contributing to the overall power and listenability of the songs.

In summary, Shinno’s sound design is built upon the following principles:

• Rhythm: Tight lows and boosted mids to secure a sound image that stands out in the band.
• Lead: Boosted mid-highs to maintain presence while complementing the vocals.
• Clean: Preserved highs for transparency, enhanced with spatial effects.
• Amp Switching: Calling up the optimal amp model on the Kemper for each scene.
• Analog Correction: Adding harmonics and organic feel with the Ghost Arsenal Karyoubinga.
• Mixing: Strengthening three-dimensionality through double-tracking and positioning.

These considerations reveal that Shinno’s sound design is not merely about gear selection; it is strongly supported by meticulous EQ and mixing techniques. Essentially, his approach is about “building on digital foundations while adding analog warmth and tailoring sounds for each song.”

Affordable Alternatives to Recreate the Tone

Shinno’s gear primarily consists of high-end professional equipment like the ESP signature models and Kemper, which may be challenging for beginners or intermediate players to acquire. However, there are ways to get relatively close to his sound for a budget of around $1,000. The key is to replicate the “tight and edgy metal riffs” and “transparent lead tones.”

First, multi-effects units with amp simulation capabilities are effective. The BOSS GX-100 and Line 6 POD Go cover a wide range from high-gain metal amps to clean tones, albeit without the profiling capabilities of the Kemper. The BOSS GX-100, in particular, is appealing due to its straightforward operation, making it a reliable tool for live performances. Using these, you can easily replicate the amp switching and scene control that Shinno achieves with the Kemper.

Next, to achieve the essential “analog correction” in Shinno’s sound, adding a booster or overdrive pedal is beneficial. For example, the BOSS SD-1 or Xotic EP Booster can be placed before digital amps or multi-effects to add thickness and harmonics to the signal. This method can serve as a simplified alternative to the Ghost Arsenal Karyoubinga.

Regarding wah pedals, while the Xotic Wah XW-1 is somewhat expensive, the Jim Dunlop Cry Baby series is recommended. It is budget-friendly yet provides the necessary range for metal and rock, making it suitable for solos and accents.

For a wireless system alternative, models from Donner or NUX in the $100 range can be useful for practicing stage performance. They offer minimal sound quality degradation and are sufficient for small venue performances.

Lastly, while the ESP signature models are pricey, considering the lower-cost brands “EDWARDS” or “GrassRoots” for SNAPPER models can be a good entry point. By swapping the pickups for Seymour Duncan, you can achieve a tone quite close to Shinno’s. The SH-14 Custom 5 is particularly accessible and can closely replicate Shinno’s bridge sound.

In summary, for beginners looking to emulate Shinno’s sound, the ideal approach would be to “use a multi-effects unit to take on the Kemper’s role, add a booster for analog correction, utilize a Cry Baby for wah expression, and establish a foundation with a budget SNAPPER.” By combining these elements, you should be able to experience the world of NoGoD at home or during live performances while keeping costs manageable.

Summary and Conclusion

We have thoroughly examined Shinno’s sound design through his gear, settings, and EQ techniques. To summarize, the essence of his sound lies in the fusion of “digital convenience” and “analog warmth.” The flexible amp switching provided by the Kemper Profiling Power Rack and the texture correction from the Ghost Arsenal Karyoubinga exemplify this combination.

Regarding guitars, the use of ESP signature models (Polka Dot and Hichou) showcases a solid identity. They not only emit a powerful sound but also present a striking visual presence, embodying the world of NoGoD. The design is not merely flashy; it is intricately connected to his playing style through the selection of Seymour Duncan pickups and wood types.

The pedalboard is streamlined, maximizing the built-in functions of the Kemper while adding external pedals for a “personal sound.” His willingness to incorporate equipment he has co-developed, like the Karyoubinga, reflects a thorough exploration of sound. This approach allows him to overcome the common weaknesses of digital gear, achieving consistent tones in both live and studio settings.

Moreover, the EQ and mixing techniques employed are crucial. The tightness of rhythm guitars, the clarity of leads, and the spaciousness of cleans are elements that cannot simply be replicated by gathering gear. Rather, the meticulous adjustments of “which frequencies to boost and which to cut” are the heart of the Shinno sound.

For beginners, acquiring high-end gear may be challenging. However, by creatively using multi-effects and budget guitars, it is possible to recreate the atmosphere of Shinno’s sound. The key is to focus on “thickness of tone,” “clarity,” and “flexibility in switching sounds for different sections.”

In conclusion, Shinno’s sound design successfully balances “rationality” and “individuality.” While pursuing the efficiency required in professional settings, he establishes a unique presence through signature models and self-developed pedals. When attempting to replicate NoGoD’s songs or aiming for a sound similar to Shinno’s, it is essential to incorporate perspectives such as “the fusion of digital and analog,” “EQ balance for each song,” and “a quest for sound.”

If you are struggling with your sound design, referencing Shinno’s approach may lead you to “simple yet profound sound creation.” Getting closer to NoGoD’s sound can be a stepping stone to discovering your unique tone.