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

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Introduction (Overview of Tone)

Aiji, the guitarist of PIERROT, has carved out a unique presence in the visual kei rock scene since the late 1990s to the 2000s. His guitar playing skillfully alternates between intense distortion riffs and beautiful clean tones, adding depth and tension to the band’s music. Iconic songs like “MAD SKY -鋼鉄の救世主-” and “Last Letter” showcase a distinctive soundscape that blends fantastical and aggressive tones, leaving a powerful impression on listeners.

Aiji’s sound design is characterized by a diverse range of guitars centered around his signature models from ESP, combined with the thick, forward sound of Marshall amps. He also employs a variety of effects, notably the DigiTech Whammy, to create unique sonic textures. This results in a sound that balances spatial expansiveness with sharp cutting tones.

To accentuate the band’s overall dark and tense sound, Aiji incorporates unconventional effects such as ring modulators and pitch shifters. As a result, his guitar transcends mere accompaniment, becoming a significant element that shapes PIERROT’s artistic vision.

In recent years, he has also embraced home recording environments, utilizing Avid Eleven Rack and Pro Tools to pursue sound quality from the demo production stage. The combination of explosive live performances and meticulous studio work underpins Aiji’s musicality.

In summary, his sound can be described as “a fusion of aggression and beauty.” Aiji serves as an inspiration not only for visual kei fans but also for guitarists aspiring to modern guitar sounds.

▶ Search official YouTube videos of PIERROT

List of Amplifiers and Features

The backbone of Aiji’s guitar sound is undoubtedly the Marshall amps he has relied on for many years during live performances. He is known to use a modified version of the JCM2000 series, which perfectly matches his aggressive yet melodic playing style with its midrange-heavy drive and thick sustain.

Live footage and interviews from music magazines confirm the presence of Marshall heads lined up at the back of the stage. It is highly likely that he uses a custom version based on the JCM2000 DSL or TSL, although official details have not been disclosed. It is believed that these modifications emphasize the midrange, allowing his guitar to maintain its presence amidst the band’s heavy sound.

In the studio and home recording settings, Aiji is known to utilize the Avid Eleven Rack. This amp simulator can recreate a variety of amp types, including not only Marshall but also Fender and Mesa/Boogie tones, allowing for diverse sound experimentation during demo production and pre-production stages. This choice of equipment reflects his desire to balance explosive live sound with meticulous studio work.

Moreover, it is suggested that during the early PIERROT days, he may have used the JCM900 and other Marshall series amps for studio rehearsals and smaller venues. The JCM900 was a staple in the 90s visual kei scene, and it is likely that Aiji was no exception.

In conclusion, Aiji’s choice of amplifiers can be summarized as “the powerful presence of Marshall in live settings” and “the flexibility of simulators in production.” By combining these elements, he achieves a sound that is both aggressive and capable of expressing delicate nuances. While the Marshall sound is undoubtedly the foundation of Aiji’s tone, the modern sound design innovations from his home recording environment are also essential.

Aiji’s amplifier setup primarily revolves around Marshall, while also utilizing simulators and other models as needed.

Types of Guitars Used and Features

Aiji is strongly associated with the signature models produced by ESP. From the late 90s to the 2000s, the guitars designed for him, particularly the FOREST-shaped models, supported the sound of PIERROT. Their unique edgy silhouette and pickup configurations that allow for aggressive tones symbolize the Aiji sound.

The first signature model, ESP [001], features a combination of EMG SA (front) and EMG 81 (rear) pickups. This setup is known for its high output and distortion resistance, ensuring that the core of the sound remains intact even during intense riff work. Additionally, the headstock is adorned with an “eye” logo, representing the band’s aesthetic. The inclusion of a Floyd Rose tremolo system allows for a wide range of expressive pitch bends, making it ideal for bold tremolo performances within songs.

The subsequent ESP [002] model saw a switch to Seymour Duncan pickups, resulting in a more organic sound with enhanced midrange clarity. This change was likely aimed at achieving a more visceral presence during live performances. The tone is less piercing in high-gain environments, creating a powerful sound that engages the audience.

ESP [2035] was confirmed to be used during the 1999 Nippon Budokan concert and also features EMG pickups. This model offers a thick low-end and bright high-end, providing exceptional clarity even in large venues.

The ESP [003] series is particularly notable for its vibrant color variations, including designs like “FIRE-BURN!! MIX,” “RAINBOW,” and “Blue Flame.” All models utilize Seymour Duncan pickups (SCR-1n + TB-5 or TB-4), achieving an aggressive yet dazzling tone. These visually striking guitars enhance Aiji’s stage presence and are crucial elements of his character.

Thus, Aiji’s choice of guitars goes beyond mere instruments. They reflect the band’s visual concept, sound direction, and playing style, making the ESP signature models synonymous with his identity. The unique tone and appearance of the ESP FOREST series remain etched in the memories of many fans.

It is assumed that Aiji utilized these models at different times to extract the optimal tone for various songs and live performances.

Effects and Pedalboard Setup

Aiji’s sound is inseparable from his innovative use of effects. He goes beyond simple distortion and spatial effects, frequently employing the DigiTech Whammy to dramatically shift pitches, greatly expanding the possibilities of his guitar. By inserting unique pitch-shifted phrases at key moments in songs, he delivers a powerful impact to listeners.

Additionally, wah pedals and auto-wahs are crucial tools in his arsenal. Aiji’s riffs and solos often feature phrases that leverage filtering effects to enhance attack, amplifying the groove. In particular, mid-period live footage shows him using wah pedals while playing intricate riffs, contributing dynamic elements to his sound.

Moreover, it is said that he actively uses modulation effects such as phasers and flangers. These effects help create a sense of floating and a fantastical atmosphere, supporting PIERROT’s dark and psychedelic aesthetic. Some of his experimental approaches include incorporating ring modulators and pitch shifters, setting Aiji’s sound apart from other visual kei guitarists.

In home recording and production environments, Aiji utilizes the Avid Eleven Rack as an amp simulator, combining it with Pro Tools for effect processing. While not used for live performances, this indicates his commitment to achieving high-quality sound from the demo stage, showcasing his thorough approach to sound design.

Overall, Aiji’s effects board can be categorized into “special effects” and “spatial effects.” By incorporating aggressive sounds highlighted by wah and Whammy, along with modulation effects that create a dreamy atmosphere, he powerfully supports the band’s overall artistic vision with just one guitar. This choice of equipment serves not only to enhance tone but also plays a vital role in expressing the band’s artistic identity.

In summary, Aiji does not rely solely on standard distortion effects; instead, he actively utilizes modulation and pitch-shifting effects to create the unique soundscape characteristic of PIERROT.

Tone Settings, EQ, and Mixing Approaches

Aiji’s sound design is not merely about the combination of guitar and amp; it is established through meticulous EQ settings, the combination of effects, and thoughtful approaches during the PA and mixing stages. The sound of PIERROT is characterized by its dark, heavy, and tense atmosphere, with Aiji’s guitar always at the center.

Regarding amp settings, when using a modified Marshall JCM2000 series amp, it is common to see the midrange boosted significantly, while the bass is kept tight and the treble slightly reduced. This approach ensures that even heavy riffs do not become muddy, maintaining a delicate balance that avoids clashing with vocals and other instruments. Rather than excessively raising the gain, it is believed that Aiji relies on boosters and pickup output to maintain clarity.

In terms of effects processing, the use of the DigiTech Whammy is a significant point. Rather than simply shifting octaves up or down, he creatively shifts pitches in half-steps during solos or destabilizes entire riffs to emphasize the dark atmosphere of the songs. Wah and auto-wah pedals are used to enhance midrange clarity, particularly in cutting and single-note riffs, accentuating the attack.

Modulation effects (phasers, flangers, ring modulators) are primarily used to create spatial expansiveness during bridges and outros of songs. This adds variation to heavy riffs that might otherwise become monotonous, allowing for a depth that mirrors studio recordings during live performances.

Mixing stage techniques are also crucial to Aiji’s sound design. He typically employs double-tracking for guitars, spreading them across the stereo field to create a wall of sound. During this process, he may slightly alter EQ settings on one side to offset midrange peaks, resulting in a more three-dimensional resonance even with the same phrase. In the PA, he cuts frequencies around 3kHz to avoid harshness while lightly boosting around 1kHz to ensure the guitar’s presence.

Additionally, Aiji does not drastically change his sound between live and studio settings; instead, he bases his adjustments on a consistent foundation, fine-tuning according to the environment and specific songs. For example, in aggressive tracks, he emphasizes the lows for added power, while in ballads or quieter songs, he reduces gain to maintain a clean to crunch sound that emphasizes nuance. In particular, songs like “Last Letter” feature clean tones layered with subtle delay, creating a transparent arpeggio effect.

Thus, Aiji’s sound design achieves a balance of “chaos and order” through careful EQ balance and spatial processing. The unique, decadent, and fantastical world of PIERROT is established through these meticulous efforts.

Affordable Alternatives to Recreate the Tone

Aiji’s use of ESP signature models and modified Marshalls can be expensive and hard to obtain, but it is possible for beginners and intermediate players to approach his sound at a relatively low cost. Here, we introduce equipment that can effectively replicate his tone within a budget of approximately $100 to $500 (up to $1,000).

For guitars, the GrassRoots series or Edwards series, which are more affordable versions of ESP FOREST, are recommended. In particular, the GrassRoots G-FR series features the same shape, Floyd Rose tremolo, and high-gain pickups, allowing players to experience Aiji’s model both visually and in playability. The high-output humbuckers standardly equipped also ensure that sharp riff sounds can be achieved when paired with Marshall amps.

For amplifiers, the Marshall CODE series or MG series are good options. The CODE25 and CODE50, while digital modeling amps, can simulate the sound of the JCM2000 series and allow for detailed EQ and gain adjustments. This enables players to recreate Aiji’s settings of “boosting the mids and tightening the lows” for home practice or small gigs.

Regarding effects, while the DigiTech Whammy is somewhat expensive when new, it can be found in the used market for around $300. An alternative option is the BOSS PS-6 Harmonist, which can create pitch shifts and harmonies, allowing players to replicate Aiji’s signature unstable and floating phrases. Additionally, BOSS compact effects like the PH-3 Phase Shifter and BF-3 Flanger can be combined to achieve a fantastical sound.

For home recording enthusiasts, multi-effects units like the Line 6 POD Go or BOSS GT-1 are also recommended. These devices encompass amp simulations and effects, allowing for the simultaneous handling of Marshall tones and Whammy-like pitch-shifting effects, offering excellent cost performance.

In summary, combining guitars from GrassRoots or Edwards for looks and playability, Marshall CODE amps, and effects like the Whammy or BOSS PS-6 along with modulation effects is a realistic approach to recreating Aiji’s sound affordably.

By combining these elements, players can approach Aiji’s unique sound of “aggression and fantasy” while keeping costs down.

Summary and Conclusion

Aiji’s sound design is completed through the combination of ESP signature models and Marshall amps, skillfully integrating effects like the DigiTech Whammy and modulation effects. His sound is not merely about “heavy distortion”; it is shaped through delicate EQ balance and bold use of effects, creating a unique world that fuses aggression and fantasy.

Notably, Aiji’s settings consistently prioritize “clarity and presence.” By emphasizing the midrange of Marshall amps, he achieves a sound that stands out without being buried in the band’s overall mix, while adding spatial effects and instability through effects to match PIERROT’s decadent aesthetic. This approach reflects not just technical ingenuity but also an artistic commitment to embodying the band’s concept through sound.

Furthermore, Aiji’s style of not drastically altering his sound between live and studio settings allows for a cohesive experience, ensuring that the sound experienced live aligns with what listeners hear on recordings. This consistency fosters a recognition of “Aiji’s sound.” Additionally, the incorporation of Avid Eleven Rack in his home recording setup demonstrates his dedication to achieving high-quality sound from the demo stage.

For beginners and intermediate players looking to approach Aiji’s sound, affordable ESP models like GrassRoots or Edwards, along with Marshall CODE series amps and BOSS or DigiTech compact effects, are effective options. The key lies in understanding the essence of sound design, such as “EQ adjustments for midrange,” “gain management,” and “the use of spatial effects.”

In conclusion, Aiji’s sound design is built on the duality of “a solid foundation supporting heavy riffs” and “artistic, fantastical presentation.” By being mindful of this balance, players can move beyond mere imitation and get closer to the musical world that PIERROT has created. His approach continues to serve as a reference and challenge for many guitarists today.