[Nakajima] How to Recreate the Oishikuru Melonpan Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist Nakajima from the band Oishikuru Melonpan is known for his unique clean tone that combines transparency and softness, along with intricate effects work that colors the atmosphere of their songs. His guitar playing envelops the entire band sound, producing a delicate resonance akin to “ripples spreading across the water.”

In iconic tracks like “look at the sea” and “epilogue,” listeners can hear the shimmering texture derived from the front pickup of his Stratocaster. The tension of D’Addario NYXL strings, used in regular tuning, is a crucial element that supports his light touch.

Moreover, Nakajima has a nuanced approach that feels as if he is in constant “dialogue” with his guitar, expressing a deep affection for the Stratocaster, which he describes as “like a best friend” in interviews. While his sound is predominantly clean, he skillfully combines overdrive and delay to create a spatial and layered guitar sound.

Recently, he has added the Fender American Vintage II 1957 Stratocaster (Sea Foam Green) as his new main guitar, which features a rich harmonic character and a pronounced mid-high range that forms the core of his sound. His commitment to tone pursuit is evident in live performances, where he often fixes the selector to maintain a consistent tone.

In summary, Nakajima’s sound design can be encapsulated as “a delicate clean tone base with added dimensionality through effects.” The sound that listeners experience is not flashy but is supported by a craftsman-like guitar play that beautifully enhances the overall music.

▶ Search official YouTube videos of Oishikuru Melonpan

List of Amplifiers and Features

The foundation of Nakajima’s guitar sound is supported by an amplifier setup that ranges from clean to light crunch. The songs of Oishikuru Melonpan emphasize delicate arpeggios and expansive clean tones, leading Nakajima to primarily choose Fender-style amplifiers. Notably, his main amplifier, the Fender Twin Reverb, is trusted for its clear clean sound and ample headroom, allowing him to express his transparent guitar play fully.

With the Twin Reverb, he typically uses the VIBRATO channel, keeping the BRIGHT switch off. He does not use reverb or tremolo, focusing instead on a natural clean tone base and adding necessary effects through pedals. This setup is ideal for Nakajima, who seeks a clean and spacious sound.

Additionally, the Roland JC-120, often used in studios or as a secondary amp, is indispensable. The unique three-dimensional clean tone of the Jazz Chorus pairs exceptionally well with chorus effects, producing a bright and floating sound. The “transparency of the sea” that permeates Oishikuru Melonpan’s music is further enhanced through the JC-120.

Furthermore, the VOX AC30 has also been confirmed as part of his setup, known for its traditional British sound. It provides warmth and punch, especially in moments when he wants a bit of distortion for chord strumming or lead parts. The AC30 adds thickness to the overall sound, contrasting with the clarity of Fender amps.

In this way, Nakajima adapts his amplifier choices according to the scale of the venue and the nuances of the songs. For larger venues, he utilizes the headroom of the Twin Reverb, while in smaller venues or rehearsals, he incorporates the JC-120 or AC30 to optimize sound balance. Ultimately, his sound is characterized by “natural sound creation based on clean tones,” enhanced by a variety of effects.

Thus, Nakajima’s amplifier selection is unified by the perspective of “how to maintain transparency and airiness,” and it is expected that these models will continue to be central to his future activities.

Types of Guitars Used and Features

When discussing Nakajima’s guitar sound, the most important aspect is his collection of beloved guitars centered around the Fender Stratocaster. He expresses a deep trust in the Stratocaster, describing it as “like a best friend,” and his style as a guitarist is built upon this model. By frequently utilizing the front pickup, he creates a “shimmering” tone that combines transparency and softness, which stands out in arpeggios and clean parts.

In February 2023, he introduced the “Fender American Vintage II 1957 Stratocaster (Sea Foam Green)” as his new main guitar. It features a pronounced mid-high range and rich harmonics, and he is so dedicated to this setup that he fixes the pickup selector to the front position with tape. He uses D’Addario NYXL .010-.046 strings and performs in standard tuning, making it a guitar that balances presence in live performances and stability in recordings.

Before this, his main guitar was the “Fender American Professional Stratocaster,” which is now used as a secondary option. It is characterized by a flat and balanced sound, playing an important role in the recording of the song “answer.” The setup is similar to the Vintage II, focusing on the front pickup, allowing it to shine without significantly altering his playing style.

Additionally, he has experience with the “Fender 70th Anniversary Player Stratocaster (Nebula Noir),” which is lightweight and easy to handle, with a neutral sound that he appreciates. Nakajima has commented that he uses this guitar for solo performances and recordings, incorporating it into a wide range of expressions while keeping its use specific.

In acoustic settings, he uses the “OVATION Electric Acoustic,” which has a unique resonance due to its round back, blending naturally into the band sound. In acoustic songs or quiet parts, the unique tone of this guitar creates an atmospheric effect.

Thus, Nakajima consistently pursues a transparent tone centered around the front pickup while skillfully utilizing multiple Stratocasters according to the situation. His criterion for guitar selection is “whether it can express my touch most naturally,” leading to the conclusion that the Stratocaster has become an indispensable part of his sound.

Effects and Pedalboard Setup

Nakajima’s guitar sound is defined by a diverse and meticulously arranged pedalboard. His sound design centers around a “transparent clean tone” base, with carefully layered overdrive and delay to create dimensionality. The pedalboard confirmed in 2023 features a balanced mix of classic models and unique boutique options, reflecting his dedication to sound creation.

For overdrive, he primarily uses the BOSS BD-2W Blues Driver, which handles crunch to natural distortion. He favors the custom mode for its clarity and sustain. Additionally, he uses a BOSS BD-2 inherited from his father as a booster. Other pedals like Vemuram Jan Ray and Vemuram SHANKS ODS-1 are also included, often used with low gain for clean boost applications. These diverse overdrives are selected for different songs, allowing him to control the atmosphere with subtle tonal variations.

For distortion, he mainly employs the BOSS DS-1X and MXR Super Badass Distortion. The DS-1X excels in sharp solos, while the Super Badass provides a dry distortion that highlights solos. The Pro Co RAT has also been part of his setup, delivering thick and robust distortion when needed. These serve as “secret weapons” for solos, supporting the climaxes of his songs.

In terms of spatial effects, it is notable that he uses two MXR Carbon Copy delay pedals simultaneously. One is set for short delay, while the other is for long delay, creating depth in arpeggios and solos. The warmth of analog delay adds further richness to his sound. He also employs the BOSS CH-1 SUPER Chorus, which is effective for sharp and clear cutting, particularly prominent in clean-focused tracks.

Constantly engaged is the Xotic EP Booster, which enhances the mid-range and pushes the overall sound forward. This small boost significantly contributes to the clarity of Nakajima’s sound, ensuring it does not get buried in the band mix.

For tuning, the Sonic Research ST-300 has been confirmed on his latest board. He also utilizes several others like BOSS TU-3 and tc electronic POLYTUNE depending on the situation. The power supply is the FREE THE TONE PT-3D, which provides stable power and reduces noise, ensuring reliability during live performances.

In summary, Nakajima’s effects setup is built on three pillars: “detailed sound creation with multiple overdrives,” “using dual delays for depth,” and “ensuring clarity with a constant booster.” His simple yet cleverly arranged board structure reflects his musical philosophy.

Tone Settings, EQ, and Mixing Approaches

Nakajima’s sound design is not merely about arranging equipment; it involves meticulous calculations regarding EQ, amplifier channels, effect order, and mixing processes. Primarily, he uses the Fender Twin Reverb as his main amplifier. To utilize the clean to crunch range, he selects the VIBRATO channel and keeps the BRIGHT switch off. He rarely uses reverb or tremolo, instead prioritizing the natural tone of the guitar.

His EQ adjustments are characterized by a focus on balancing high and mid frequencies. The midrange is slightly boosted to emphasize chord clarity in backing, while the highs are adjusted to avoid excessive peaks, achieving a tone that stands out in the band mix. For instance, in arpeggio parts, he raises the highs a bit to create separation and sparkle, while in solos or melody lines, he focuses on the thickness of the mids to add punch, subtly adjusting the EQ for each song.

The use of effects is also linked to the EQ. Overdrives and boosters are set with lower gain to add crunch while lifting the mids and clarifying the sound’s outline. Delays like the MXR Carbon Copy create depth with different settings, skillfully controlling the guitar’s presence in the mix. The BOSS CH-1 SUPER Chorus is set for cutting, enhancing the sound while adding transparency.

String and pickup selection directly influence sound design. Particularly with the Fender American Vintage II 1957 Stratocaster, he fixes the front pickup and uses D’Addario NYXL .010-.046 strings. This ensures a clean, transparent tone while effectively conveying picking nuances. By not switching pickups during performances, he enhances the stability of his sound live.

In PA mixes and recordings, Nakajima aims to balance “bringing the guitar forward” with “blending naturally within the band.” He captures fine nuances through multi-miking and DI recording, adjusting the EQ for midrange clarity and high-frequency transparency to finalize the overall band balance. This process allows Nakajima’s guitar to deliver a sound that is “not buried but also not overly sharp, creating a comfortable listening experience.”

Overall, Nakajima’s sound design revolves around “maximizing equipment characteristics,” “fine-tuning based on the song,” and “ensuring stability in both live and recording settings.” The optimization of amplifiers, EQ, effects, and mixing contributes to his distinctive sound, and his attention to detail is one reason his sound garners attention.

Affordable Alternatives to Recreate the Tone

Nakajima’s transparent clean tone and natural overdrive sound can be closely replicated with relatively affordable gear, without needing to invest in high-end equipment. Here, we introduce effects and guitars that can be acquired for around $100 to $500, which are beginner-friendly and highly reproducible.

For guitars aiming to emulate the Fender Strat sound, the Squier by Fender Classic Vibe Stratocaster is an excellent choice. Priced around $300, it offers playability and pickup response similar to the original, allowing for a front pickup-focused sound that can achieve Nakajima’s “shimmering” tone.

For amplifiers seeking clean tones like the Fender Twin Reverb or VOX AC30, the Roland Blues Cube Hot and Yamaha THR10 are both affordable and highly reproducible. The THR10, in particular, is user-friendly for home use, naturally producing clean to light overdrive.

For overdrive effects, to achieve nuances similar to the BOSS BD-2 or Jan Ray, the BOSS BD-2W (Warm Mode) and Joyo Vintage Overdrive are recommended. The BD-2W provides a natural mid-range boost, allowing for affordable reproduction of crunch to mild drive. The Joyo Vintage Overdrive features natural distortion and sustain, also usable as a clean boost.

For delay, alternatives to the MXR Carbon Copy include the TC Electronic Flashback Mini and Donner Yellow Fall, both of which offer warm, analog-style delay that creates depth, allowing for a three-dimensional sound in arpeggios and solos similar to Nakajima’s.

If you’re looking to emulate the Xotic EP Booster, the Joyo JF-33 Ultimate Overdrive and Behringer Tube Overdrive TO800 can effectively lift the mid-range. They can be used constantly without issue, ensuring clarity in the band mix.

For tuners, the BOSS TU-3 and TC Electronic PolyTune Mini are both affordable options. They provide high stability for live and practice use, allowing for quick and accurate tuning. By combining these pieces of gear, it is possible to recreate Nakajima’s distinctive sound—characterized by “clean and transparent tones,” “naturally rising mid-range overdrive,” and “responsive playing nuances”—at a reasonable price. Especially with guitars focusing on front pickup arpeggios and light chord work, controlling presence with overdrive and boosters is a point that beginners can easily replicate.

Additionally, adding spatial effects like delay and chorus can create a more three-dimensional sound similar to live performances and recordings. Nakajima’s sound design is appealing due to its calculated balance, and reproducing it with the affordable gear presented here is highly effective for grasping the foundational sound.

By combining the above gear, it is possible to recreate Nakajima’s distinctive sound characterized by “clean and transparent tones,” “naturally rising mid-range overdrive,” and “responsive playing nuances” at an affordable price. Especially with guitars focusing on front pickup arpeggios and light chord work, controlling presence with overdrive and boosters is a point that beginners can easily replicate.

Furthermore, adding spatial effects like delay and chorus can create a more three-dimensional sound similar to live performances and recordings. Nakajima’s sound design is appealing due to its calculated balance, and reproducing it with the affordable gear presented here is highly effective for grasping the foundational sound.

Summary and Conclusion

The essence of Nakajima’s guitar sound lies in the balance between “clean and transparent tones” and “natural overdrive that lifts the mid-range.” His performances utilize the front pickup-focused Stratocaster, along with overdrives and boosters, to draw out delicate nuances in both chord work and arpeggios. This creates a pleasant sound that neither gets buried in the band mix nor becomes overly sharp.

Choosing amplifiers is also crucial, as he skillfully switches between the main Fender Twin Reverb and the Roland JC-120 or VOX AC30 based on the situation, covering a wide range of tones from clean to light crunch. His attention to detail in PA and mixing processes ensures sound stability in live settings and captures fine nuances in recordings. The overall optimization of EQ, amplifier channels, and effect order enhances the reproducibility of Nakajima’s sound.

Through the combination of overdrives, boosters, delays, and choruses, he achieves flexible sound creation that adapts to the expressions of each song, utilizing spatial effects like the MXR Carbon Copy and BOSS CH-1 to create depth and separation. This allows his guitar to add a three-dimensional quality to the music without disrupting the overall balance of the band.

Moreover, high reproducibility can be achieved with relatively affordable gear, such as the Squier Classic Vibe Stratocaster, BOSS BD-2W, and TC Electronic Flashback Mini, allowing for the experience of Nakajima’s sound in home practice or small-scale performances. The key is not merely mimicking the equipment but understanding the principles of EQ adjustments, playing nuances, and effect order to recreate the sound.

In summary, the core of Nakajima’s sound design revolves around “fine-tuning the tone for each song” and “maximizing the balance of equipment characteristics.” Understanding and applying this perspective can help you move closer to achieving his transparent and thick mid-range guitar sound.

▶ Search official YouTube videos of Oishikuru Melonpan