[Masaki Ito] How to Recreate the NELKE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masaki Ito, the guitarist of NELKE, has garnered attention for his unique sound design and meticulous playing style.
His sound, based on a late 1980s Stratocaster, possesses a distinctive texture that fuses vintage warmth with modern clarity.

In the iconic track “Believe in Breeze,” he employs a 1987 Fender Stratocaster as a secondary guitar, focusing on a calm tone centered around the low to low-mid frequencies, which supports the song’s transparency.
The amp sound, primarily from the Marshall 1987X, exudes a classic rock presence while maintaining a delicate balance through detailed EQ adjustments.

The reason his sound design stands out is not merely due to the lavishness of the gear but rather the finely tuned setup and the player’s aesthetic, which includes elements like “1mm floating” and the strategic division of roles between pickup selection and distortion.
As a result, the guitar effectively expresses the fantastical yet powerful world that NELKE’s music embodies.

By delving into Masaki Ito’s guitar sound, we can approach the core of NELKE’s musicality. The following sections will detail the amps, guitars, and effects he uses.

▶ Search official YouTube videos of NELKE

List of Amplifiers and Features

The foundation of Masaki Ito’s sound is supported by the combination of the Marshall 1987X and the Marshall 1960A cabinet.
The 1987X is a model that resurrects the vintage sound known as “Plexi,” providing a classical rock tone while achieving transparency and a wide range in his performances.

He uses the “HIGH 1” and “HIGH 2–LOW 1 link” inputs to control gain and range. An example of his settings includes Presence 3.9, Bass 3, Middle 3, Treble 0, High Treble (Loudness1) 1, and Normal (Loudness2) 4, showcasing a very unique EQ balance. By dropping Treble to 0 and compensating with Presence, he embodies his philosophy of “creating by ear.”

Additionally, he incorporates the “Natori Sound Creation Occult Dip Box TYPE RH (buffer)” and “Shin’s Music Baby Master 2 (attenuator)” into the effects loop. This setup allows him to maintain the amp’s character and sound pressure while ensuring flexibility in volume adjustments on stage or in the studio.
The cabinet he uses is a Marshall 1960A borrowed from Shibuya Milkyway, which features a modified speaker cone.

In the past, he has also used the Hiwatt DR-103 and Marshall JCM900, likely as temporary borrowings or during sound exploration. The Hiwatt, in particular, is noted for its appealing clean tone, suggesting he was testing for the necessary range for NELKE’s songs.
However, since late 2024, he has consolidated his setup around the Marshall 1987X, establishing it as his main amp for live performances and recordings.

Considering these points, it can be concluded that Masaki Ito’s choice of amps is unified in the direction of “building on a classical rock sound while adding delicate EQ and modern adjustments.” As a result, he successfully creates a soundscape for NELKE that balances thickness and subtlety.

Types of Guitars Used and Features

The most crucial element in Masaki Ito’s sound design is his main guitar, the 1989 Fender Eric Clapton Stratocaster.
This model, known for its high degree of completion as Clapton’s signature, has been extensively modified by Ito to achieve his ideal tone.

Firstly, the pickups have been replaced with a Lindy Fralin Real ’54 Set, primarily using the front and center pickups. This setup is characterized by vintage-like brilliance in the high frequencies and a balanced low end. Internal wiring and capacitors have also been modified to vintage specifications by “Natori Sound Creation,” producing a depth of overtones that sets it apart from modern Strats. Additionally, hardware modifications such as KTS PR-11 titanium saddles, Freedom CGR Tone Shift Plates, and five Raw Vintage springs are noteworthy.
He tunes the guitar a half-step down, floats the bridge by 1mm, and uses Fender Super 250’s (.010–.046) strings to balance playability and sound stability.

As a secondary guitar, he uses a 1987 Fender Stratocaster (Japanese model, borrowed). This model has a similar setup to the main guitar and has been confirmed to be used in the recording of “Believe in Breeze.” The tonal tendencies lean towards a calm and warm character in the low to low-mid range, providing a softer impression compared to the main guitar. In live performances, it serves as a backup while adding a unique depth to the songs when needed.

It has also been confirmed that he previously used a Jazzmaster and an SG. While specific models are unclear, it is believed that the Jazzmaster was chosen for its compatibility with spatial effects, and the SG for its powerful midrange. These choices indicate his exploration of diverse characters based on the songs and arrangements.

Overall, Masaki Ito’s guitar selection is characterized by a commitment to “building a foundation on the Stratocaster while thoroughly adjusting the details to create his ideal sound.” This approach results in the unique, fantastical, and powerful sound that defines NELKE.

Effects and Pedalboard Setup

A significant aspect that characterizes Masaki Ito’s sound is his meticulously crafted dual-layer effects board. Starting with a wireless system, he organizes routing with a programmable switcher, allowing him to manipulate delay, modulation, and reverb to construct NELKE’s unique atmospheric sound. Here, we will detail this setup.

At the entrance, he uses the Shure GLXD16+ wireless system, which provides both performance mobility on stage and stable signal transmission. Next, the Ibanez WH10 V3 is set up, adding attack and expressiveness through the wah pedal.

The main distortion setup is centered around the FREE THE TONE ARC-53M (programmable switcher), with each loop assigned to specific pedals for clarity. The order includes: ① Eastern Music Device PD-1 (Overdrive/Crunch), ② ProCo RAT 2 (Distortion/Main distortion), ③ Demeter Fuzzulator (Fuzz/Solo), and ④ Z.Vex Box of Rock (Overdrive/Boost). This structure allows for diverse distortion nuances within a single song, which is one of Ito’s significant strengths.

In terms of spatial effects, the Eventide TimeFactor is linked to the ARC-53M via MIDI, creating precise delay effects. The Electro-Harmonix Big Muff Pi is also included for “destructive” sounds, with usage history showing variations based on the Ram’s Head and OP-AMP differences. Additionally, the ZOOM MS-50G is dedicated to the “The Vibe” preset, uniquely utilizing modulation.

On the left board, the Red Panda Tensor (Pitch/Hold) and Chase Bliss MOOD MKⅡ (Reverb/Looper) are integrated, with a BOSS EV-5 connected for real-time sound manipulation. Finally, the BOSS FV-300L (Volume Pedal) is positioned to control volume expression with a linear curve. This design allows for “breathability” within the songs.

The power supply system is supported by the Voodoo Lab Pedal Power 2 Plus and VITAL AUDIO VA-08 MkII, ensuring stable and noise-free operation during live performances. Overall, Ito’s board is built on the dual axes of “clearly distinguishable distortions and experimental yet atmospheric sound design.” This is believed to create the floating and powerful sound characteristic of NELKE.

Tone Settings, EQ, and Mixing Approaches

The core of Masaki Ito’s sound design lies in meticulously refined settings and EQ balances optimized for each song.
It’s not just about the combination of “Marshall 1987X + Stratocaster,” but rather how to adjust the range and blend into the band sound.

An example of his amp settings includes Presence 3.9, Bass 3, Middle 3, Treble 0, High Treble (Loudness1) 1, and Normal (Loudness2) 4, showcasing a rather unique EQ. By completely cutting Treble while compensating with Presence, he balances Middle and Bass to achieve a mid-high range that is not harsh on the ears. This ensures that the guitar does not overpower the vocals or synths within NELKE’s fantastical and three-dimensional sound.

His approach to distortion is also distinctive. He primarily selects the front and center pickups to create a soft, articulate crunch to distortion. When using the rear pickup, he employs the Demeter Fuzzulator to refine the high end. This is not merely a simple fuzz sound but rather a unique aspect of tone control.

Spatial effects processing is another crucial element. The Eventide TimeFactor is used for delay, synchronized via MIDI to accurately reproduce different repeat characteristics for each song. Particularly in “Believe in Breeze,” he applies deep delay to the secondary Stratocaster, supporting the song’s ethereal feel. Advanced effects like the Chase Bliss MOOD MKⅡ and Red Panda Tensor are not just experimental elements but are integrated as essential parts of the songs, with EQ cuts and reverb adjustments applied as needed during PA or mixing.

In mixing, care is taken to ensure that the guitar does not dominate the low frequencies, particularly avoiding overlap with the bass and kick drum. Keeping the amp’s Bass around 3 is key to this setup. Conversely, depending on the size of the live venue, the PA engineer may lightly boost frequencies around 2kHz to 3kHz to enhance clarity. Such “on-site adjustments” contribute to achieving a stable guitar sound.

Overall, Masaki Ito’s sound design revolves around “range control through thorough cuts and fine-tuning,” “the division of distortion roles,” and “integrating spatial effects into band arrangements.” These efforts are believed to allow NELKE’s sound to achieve both power and transparency.

Affordable Alternatives to Recreate the Tone

While Masaki Ito’s board consists of many meticulously crafted and expensive pieces of gear, there are ways for beginners and intermediates to approach his sound at a relatively low cost. Here, we introduce commercially available equipment priced around $100 to $500 that can effectively replicate his tone.

Starting with distortion, the ProCo RAT 2, which Ito primarily uses, can be obtained at a relatively low price and offers a robust distortion with a core sound. The RAT is also responsive to guitar volume adjustments, covering a wide range from crunch to strong distortion, making it an ideal choice for mimicking his sound. For solo fuzz, the Electro-Harmonix Big Muff Pi is a staple, also accessible for beginners. It can handle everything from destructive sounds to thick sustain, allowing for an easy recreation of NELKE’s musical atmosphere.

Next, for spatial effects, while Ito uses the high-end Eventide TimeFactor and Chase Bliss MOOD MKⅡ, alternatives like the BOSS DD-8 and ZOOM MS-70CDR are strong contenders. The DD-8, while simple, features various delay modes and can create floating effects through tempo synchronization and multi-repeat. The MS-70CDR integrates chorus and reverb, allowing for a single unit to recreate “spatial expansiveness” without needing multiple pedals.

For wah, the Ibanez WH10 V3 is a standard choice, but for a more budget-friendly option, the BOSS VOX V845 is also a candidate. For modulation, utilizing the ZOOM MS-50G or BOSS CE-2W can help achieve the “The Vibe” fluctuations that Ito employs.

Lastly, for amp recreation, while the Marshall 1987X is a costly vintage amp, BOSS’s amp simulators (like the GT-1 or IR-200) or small amps like the VOX Pathfinder 10 can provide the “natural transition from clean to crunch.” These options are more affordable but can still get you close to the “NELKE sound structure” with the right tone shaping.

In summary, while fully replicating Masaki Ito’s sound is challenging, assembling a basic set of “RAT 2 + Big Muff + Delay (BOSS DD-8)” can get you quite close to achieving the core elements of his sound: a balance of transparency and power.

Summary and Conclusion

In a comprehensive view of Masaki Ito’s sound design, its essence lies in “building on a classical rock tone while adding modern delicacy and spatial expansiveness.”
The amp sound centered around the Marshall 1987X is not merely a vintage revival; it is optimized for band sound through unique EQ balances like bold cuts of Presence and Treble. This allows the guitar to maintain a delicate position within NELKE’s fantastical soundscape without being overshadowed.

Moreover, his guitar selection, particularly the extensively customized 1989 Eric Clapton Stratocaster, highlights his pursuit of ideal overtone structures and string tension. The use of a similarly set-up secondary 1987 Japanese Strat further demonstrates his consistency and flexibility in sound design across different songs and recording contexts.

His effects board showcases a meticulous organization of routing, emphasizing “the division of distortion roles” and “the experimental introduction of spatial effects.” Building a foundation around the RAT 2 distortion, layering fuzz and boost, while expanding the song’s world with the Eventide TimeFactor and MOOD MKⅡ, reflects a producer’s perspective on how to arrange necessary sounds within the music.

Importantly, Masaki Ito’s sound design strongly emphasizes “reproducibility in live settings.” By managing amp volume with an attenuator and utilizing wireless and stable power systems, he achieves a consistent sound across various venues. This reflects a professional commitment to “reproducing NELKE’s sound in any setting.”

In summary, Masaki Ito’s sound design can be encapsulated in three pillars: “the fusion of vintage and modern,” “the coexistence of delicacy and power,” and “a thorough focus on live performance.” For readers looking to replicate his sound, understanding this “sound design philosophy” is more important than merely copying the gear.
By learning to adjust EQ, differentiate distortion roles, and effectively utilize spatial effects, one can get closer to the NELKE sound.

The journey of exploring Masaki Ito’s sound design is also a journey to discover one’s ideal guitar sound. I encourage readers to use his sound philosophy as inspiration to create their unique tone.