【Asako Miyazaki】How to Recreate the SHISHAMO Sound + Guitar Gear and Tone Settings【Effects & Amps】

Introduction (Overview of Tone)

As the guitarist and vocalist of SHISHAMO, Asako Miyazaki serves as the backbone of the band’s musical foundation.
Her guitar playing is characterized by a simple yet solid tone that supports the entire band, combining both clarity and thickness that sits perfectly between pop and rock genres.
Her guitar work is primarily focused on cutting and strumming techniques, with an emphasis on nuanced expression within chord progressions that creates an impressive tonal approach.

This article explores the actual guitars, amplifiers, and effects used by Asako Miyazaki (SHISHAMO), providing insights into tone settings and gear recommendations for recreating her sound.

▶ Search official YouTube videos of SHISHAMO

List of Amplifiers and Features【SHISHAMO・Asako Miyazaki】

The amplifier most frequently used by Asako Miyazaki in live performances is the “Roland JC-120.”
This amplifier, which is standard equipment in Japanese live venues, is renowned for its exceptional clean tone beauty and the depth of its stereo chorus effect.
Her guitar work takes advantage of the JC-120’s natural character, allowing clean-based strumming to blend seamlessly into songs without losing definition.
Rather than relying on amp distortion, she primarily uses pedals for tone shaping, with the JC-120 serving as a transparent foundation that highlights this clarity.

The JC-120’s solid-state circuitry provides consistent performance across different venues, making it an ideal choice for touring musicians.
Its built-in stereo chorus adds a natural spaciousness to clean tones that complements SHISHAMO’s melodic approach.
The amplifier’s headroom allows for dynamic playing without unwanted compression, preserving the nuances of her picking technique.
Based on live footage and equipment analysis from multiple sources, this appears to be her primary amplifier choice, though variations may exist for different recording situations.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Notes
JC-120	Roland	Search on Amazon	SHISHAMO	Asako Miyazaki	Frequently used in live performances and rehearsals

Types of Guitars Used and Features【SHISHAMO・Asako Miyazaki】

Asako Miyazaki’s main guitar, which sees frequent use, is the Fender “American Vintage ’52 Telecaster.”
Distinguished by its natural body color with black pickguard, this distinctive-looking instrument can be frequently observed in SHISHAMO’s music videos and live performances.
This Telecaster combines the clarity characteristic of single-coil pickups with tight low-end response and warm midrange frequencies, creating an ideal sound profile for vocal-driven music.
The vintage-spec construction provides authentic Telecaster tone while maintaining modern playability standards.

Additionally, she has been spotted using a Gibson Les Paul Junior equipped with P-90 pickups, which appears to be employed when songs require slightly thicker distortion tones.
This strategic guitar selection approach contributes to the depth and versatility of her seemingly simple sound palette.
The P-90 pickups offer a fuller, more aggressive tone compared to single-coils, making them suitable for the band’s more energetic compositions.
Her guitar choices reflect a thoughtful approach to matching instruments with specific musical requirements, demonstrating how simple setups can achieve remarkable sonic diversity when applied intelligently, as evidenced in various performance footage and equipment documentation.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Guitar Type	Notes
American Vintage ’52 Telecaster	Fender	Search on Amazon	SHISHAMO	Asako Miyazaki	Telecaster	Primary guitar. Confirmed in multiple live videos.
Les Paul Junior	Gibson	Search on Amazon	SHISHAMO	Asako Miyazaki	Les Paul Junior	Used for specific songs. Equipped with P-90 pickups.

Effects and Pedalboard Setup【SHISHAMO・Asako Miyazaki】

Asako Miyazaki’s effects pedalboard features a simple and practical configuration.
Confirmed usage includes the “BOSS SD-1” (overdrive), “BOSS CH-1” (chorus), and “BOSS DD-7” (delay), with an overall consistency in using BOSS compact effects pedals.
The setup is housed on small boards like Pedaltrain, prioritizing mobility and tonal stability. The approach avoids excessive effects processing, emphasizing the natural sound of the guitar and amplifier combination.
This minimalist philosophy ensures that each effect serves a specific musical purpose rather than creating complexity for its own sake.

The SD-1 overdrive provides a warm, tube-like saturation that enhances the guitar’s natural character without masking its fundamental tone.
Her chorus settings tend to be subtle, adding dimension to clean tones while maintaining clarity in the mix.
The DD-7 delay offers versatility with its tap tempo function, allowing precise synchronization with song tempos.
This streamlined effects chain reflects a professional approach to live performance, where reliability and ease of use are paramount.
Based on equipment analysis from various sources and performance footage, this configuration appears to be her standard setup, though additional effects may be employed in studio situations, as commonly observed in contemporary J-rock arrangements.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Effect Type	Notes
SD-1	BOSS	Search on Amazon	SHISHAMO	Asako Miyazaki	オーバードライブ	Light distortion for backing. Ideal for rhythm work.
CH-1	BOSS	Search on Amazon	SHISHAMO	Asako Miyazaki	コーラス	Stereo enhancement for clean tones.
DD-7	BOSS	Search on Amazon	SHISHAMO	Asako Miyazaki	ディレイ	Essential spatial effect. Subtle settings are key.

Tone Settings, EQ, and Mixing Approaches【SHISHAMO・Asako Miyazaki】

Asako Miyazaki’s tone crafting philosophy centers on creating “guitar sounds that don’t interfere with vocals while maintaining presence” – an exceptionally well-balanced approach.
On the JC-120 amplifier, she typically sets the equalizer flat to slightly treble-forward, allowing the guitar’s high frequencies to extend cleanly and naturally.
Bass frequencies are kept conservative, while midrange (MID) settings are fine-tuned according to song requirements, ensuring chord strumming remains clear and articulate without becoming muddy in the mix.
This EQ approach creates space for vocals while providing sufficient guitar presence to drive the songs forward effectively.

Regarding effects processing, the overdrive (SD-1) isn’t used as an always-on effect, but rather engaged strategically during chorus sections and climactic moments as a booster.
Clean tones receive subtle chorus (CH-1) treatment to create ambience while establishing clear positioning within the band arrangement.
The delay (DD-7) utilizes tap tempo functionality to match each song’s rhythm precisely, while avoiding excessive reverberation that might cloud the mix.
This restrained approach to effects processing ensures that each element serves the song rather than drawing attention to itself.
The overall signal chain maintains transparency, allowing the guitar’s natural character and the amplifier’s inherent qualities to shine through.

From a mixing perspective, her guitar parts are typically positioned center to slightly off-center in the stereo field, with careful attention paid to separation from bass and drums.
When additional thickness is required, techniques such as double-tracking the same part or layering power chords with octave passages are employed, avoiding extreme processing in favor of “natural, listenable soundscapes.”
Studio recordings often feature subtle stereo widening through natural doubling rather than artificial enhancement.
The production approach emphasizes clarity and musicality over technical showcase, reflecting the band’s pop-rock sensibilities.
Frequency separation is achieved through careful arrangement rather than heavy EQ surgery, with each instrument occupying its own sonic space naturally, as evidenced in their discography and commonly referenced in J-rock production techniques.

Affordable Alternatives to Recreate the Tone【SHISHAMO・Asako Miyazaki】

For beginners and intermediate players seeking to recreate SHISHAMO-style guitar sounds at reasonable prices, several accessible options can provide similar tonal characteristics.
For overdrive effects, the “BOSS SD-1” remains the most direct option, while the “Ibanez Tube Screamer Mini” offers excellent value with its manageable size and naturally clear driven tones.
These pedals provide the warm, singing overdrive that characterizes Miyazaki’s lead tones without breaking the bank.
The SD-1 particularly excels at providing musical gain that enhances rather than masks the guitar’s natural voice, making it ideal for rhythm work and subtle lead accents.

For spatial effects, budget-conscious options like the “NUX Analog Chorus” deliver warm, natural modulation that closely approximates more expensive vintage units.
The “ZOOM MS-70CDR” represents exceptional value as a multi-effects unit covering reverb, delay, and chorus territories with professional-quality algorithms.
This unit allows experimentation with various spatial effects while maintaining the subtle, musical approach evident in Miyazaki’s playing.
Its preset capabilities and editing flexibility make it ideal for players who want to explore different textures without investing in multiple individual pedals.
The build quality and sound fidelity rival much more expensive alternatives, making it a smart choice for recreating SHISHAMO’s atmospheric elements.

Guitar-wise, Fender’s Player Telecaster series provides an accessible entry point into authentic Telecaster territory with genuine Fender pickups and construction quality.
These instruments capture the essential single-coil clarity and bite that defines Miyazaki’s core tone while remaining affordable for most players.
The Player series maintains the fundamental Telecaster characteristics – bright attack, clear note separation, and excellent string-to-string balance – that make chord work shine in band contexts.
Alternative options include Squier Classic Vibe Telecasters, which offer vintage-inspired specifications at even lower price points while maintaining surprising quality and authenticity.
These guitars respond well to the same playing techniques and effects processing that define the SHISHAMO sound, making them excellent platforms for developing similar musical approaches, as commonly recommended in guitar gear forums and educational resources.

Type	Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Notes
Overdrive	SD-1 Super OverDrive	BOSS	Search on Amazon	SHISHAMO	Asako Miyazaki	Actual gear used. User-friendly for beginners.
Overdrive	Tube Screamer Mini	Ibanez	Search on Amazon	SHISHAMO	Asako Miyazaki	Light, natural drive character.
Chorus	Analog Chorus	NUX	Search on Amazon	SHISHAMO	Asako Miyazaki	Warm, natural modulation. Budget-friendly.
Spatial Multi-Effect	MS-70CDR	ZOOM	Search on Amazon	SHISHAMO	Asako Miyazaki	Covers reverb, delay, and chorus. High cost performance.
Electric Guitar	Player Telecaster	Fender	Search on Amazon	SHISHAMO	Asako Miyazaki	Fender entry series. Similar tonal direction.

Summary and Conclusion【SHISHAMO・Asako Miyazaki】

Asako Miyazaki’s guitar playing philosophy prioritizes “musical fit” and “coexistence with vocals” over technical flashiness, representing an ideal model for band guitarists.
Her equipment choices avoid gimmicks in favor of reliable, proven models, making her setup both accessible and reproducible for beginners and intermediate players.
This approach demonstrates that effective guitar work comes from musical intelligence rather than gear complexity or technical virtuosity.
Her sound serves the songs first, with every choice made to enhance the overall musical experience rather than showcase individual prowess.

The key to understanding Miyazaki’s approach lies in recognizing how simplicity can yield sophistication when applied thoughtfully.
Her tone crafting emphasizes subtlety and musicality, creating space for other instruments while maintaining essential guitar presence.
This balance requires both technical understanding and musical maturity – knowing when to play and when to provide space.
By focusing on song service rather than self-expression, she creates guitar parts that feel inevitable and necessary rather than added on.
The result is guitar work that supports and elevates the entire musical arrangement while remaining memorable and distinctive in its own right.

Using the information presented in this article, focus on clean to lightly overdriven tones while pursuing your own version of “guitar sounds that support vocals.”
The simple yet profound world of guitar music will surely become visible through this approach.
Remember that great guitar tone comes from understanding your role within the musical context, not from accumulating expensive gear or complex effects chains.
Start with basic, quality equipment and develop your ear for musical balance – the same principles that make Miyazaki’s playing so effective and inspiring to guitarists worldwide.
This foundation will serve you well regardless of genre or musical ambition, as evidenced by SHISHAMO’s continued success and influence in contemporary J-rock.