[Chin Nakamura] How to Recreate the Ginkgo Boyz Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

【Takuya Yamanaka】How to Recreate THE ORAL CIGARETTES Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.04

[Yuki] How to Recreate the Acid Black Cherry (Rayflower) Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Joe Perry] How to Recreate the Aerosmith Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.16

Introduction (Overview of Tone)

Chin Nakamura, the guitarist of Ginkgo Boyz, is a symbol of raw and visceral rock sound. His guitar work stands as the backbone supporting the emotional explosions of the band’s frontman, Kazunobu Mineita.

His playing style emphasizes attack strength and sharp chord work over sheer distortion depth, creating an impressive presence that resonates with the audience during live performances.

In iconic songs like “Kakenukete Seishun” and “Yume de Aetara,” Nakamura’s straightforward yet cutting guitar work takes center stage, stirring the emotions of the crowd.

At the core of his sound creation lies a modified Les Paul and a powerful amp sound that transforms “raw impulses” into music, rather than relying on technicality.

Additionally, he utilizes a Telecaster and a Stratocaster as secondary guitars, adding nuance to the songs as needed.

His pedalboard is minimal, focusing on a straightforward and powerful setup that fully unleashes the amp’s potential.

For those looking to recreate the sound of Ginkgo Boyz, following Chin Nakamura’s approach to sound design is akin to understanding the “soul of the band.”

In the following sections, we will delve into the amplifiers, guitars, effects, and settings he uses to achieve his signature tone.

▶ Search official YouTube videos of Ginkgo Boyz

List of Amplifiers and Features

When discussing Chin Nakamura’s guitar sound, the role of amplifiers is indispensable. He consistently adopts a style that envelops the stage with loud volumes, showcasing the raw power of direct amp connections.

The primary amplifier he uses is the Marshall JCM900, a staple among Japanese punk and rock guitarists since the 1990s. The JCM900 is known for its gritty and rough texture, perfectly matching the chord-driven songs of Ginkgo Boyz.

Live photos and various reports confirm that he uses a JCM900 head combined with a 4×12 inch cabinet, creating an overwhelming sound pressure that supports Mineita’s vocals while also standing out prominently.

In a 2011 performance, it was reported that he had “four” amps lined up on stage, highlighting his commitment to loud sound. While the specific models are not all clear, it is assumed that they were primarily from Marshall.

The appeal of the JCM900 lies in its ability to switch channels, accommodating a wide range from crunch to distortion. Nakamura seems to favor the amp’s rawness, typically adding only a slight boost with effects rather than pursuing deep distortion.

To replicate his sound, it’s crucial to crank the amp to high volumes and set the EQ to a relatively flat configuration to emphasize the attack of the strings.

In studio practice, many guitarists may substitute the JCM900 with Marshall’s DSL series or modeling amps. Given the difficulty of pushing the real amp to full volume, modern guitarists often find it effective to use modelers or attenuators.

Ultimately, the essence of Nakamura’s sound is “rough and exposed,” and the key point of his sound creation is to “play with all your might” rather than focusing on intricate settings.

Thus, Chin Nakamura’s amp setup is based on Marshall, emphasizing volume and power. The core of his sound creation is to “create sound pressure that shakes the entire stage,” with the JCM900 being definitively used, while other models are assumed to be from Marshall.

Types of Guitars Used and Features

The core of Chin Nakamura’s sound is a modified Gibson Les Paul Standard (black).

This Les Paul is believed to be from the late 1980s, featuring a front pickup modified to a Rio Grande “Bastard” (humbucker-sized P-90) and a Seymour Duncan “JB” in the rear.

This customization allows the front pickup to deliver a rough, thick single-coil tone, while the rear provides a powerful, cutting distortion sound, essential for the explosive punk sound of Ginkgo Boyz.

The Telecaster also frequently appears as a secondary guitar. This model has a rear pickup modified to a Seymour Duncan “Little ’59,” providing a milder tone suitable for softer songs and arpeggios.

In songs like “Berocyu” and “Hyouryu Kyoushitsu,” the Telecaster adds a lightness and airiness characteristic of its design.

Additionally, a red Fender Stratocaster has been confirmed in live photos. While the specific model is unknown, it is assumed to be used in situations where the unique brightness of single-coils is desired. The Stratocaster is a versatile instrument owned by many guitarists, and it seems to hold a similar place in Ginkgo Boyz’s setup.

In summary, Nakamura primarily uses the Les Paul for its heavy and aggressive sound while employing the Telecaster and Stratocaster to express nuances in different songs.

Each guitar’s modifications and selections emphasize elements like “roughness,” “rawness,” and “passion,” directly reflecting the band’s character and Nakamura’s sound creation.

In conclusion, Chin Nakamura primarily uses the Les Paul while also employing the Telecaster and Stratocaster for different musical nuances.

The modifications to the Les Paul enhance its sonic personality, while the use of the Telecaster and Stratocaster introduces “delicacy within roughness.”

Effects and Pedalboard Setup

Chin Nakamura’s pedalboard is quite simple, primarily adding minimal pedals to complement the rawness of the Marshall amp setup.

This simplicity supports the straightforward punk rock sound of Ginkgo Boyz, reflecting a philosophy of “playing loud” rather than focusing on complex sound design.

A notable pedal in his setup is the MXR Micro Amp, which serves as a booster to enhance volume and presence during solos and riff sections.

Additionally, the BOSS BD-2 has been confirmed, adding a unique grit to the amp’s crunch, contributing to Nakamura’s aggressive tone.

Furthermore, the Electro-Harmonix Big Muff Pi (original) is used, generating a chaotic roar, particularly in more intense songs. The “explosive” guitar sound heard in Ginkgo Boyz’s live performances is significantly influenced by this Big Muff.

Other components include a Marshall footswitch (PEDL) for channel switching, allowing for variations in distortion levels throughout the songs.

The BOSS TU-2 has been a long-time favorite tuner, a reliable choice used by both professionals and amateurs, ensuring stable performance in the raw environment of Ginkgo Boyz’s shows.

As this equipment configuration shows, Nakamura’s board prioritizes volume and roughness over effects processing.

When aiming to replicate his sound, it’s best to have two types of distortion pedals and a booster, focusing on cranking the amp to full volume for the closest approximation.

In this way, Chin Nakamura’s pedalboard consists of a limited number of pedals, yet it provides a powerful lineup that supports loudness and passion.

The confirmed components are listed above, while others are assumed, but the fundamental characteristic is to “express maximum impulse with minimal equipment.”

Tone Settings, EQ, and Mixing Approaches

The essence of Chin Nakamura’s sound creation lies not in relying on complex effects or advanced studio techniques, but in delivering the raw sound of the amp and guitar as straightforwardly as possible.

Listening to Ginkgo Boyz live makes it clear that his guitar possesses an exquisite presence that complements Mineita’s vocals while also standing out. Therefore, EQ and mixing processes lean more towards “bringing out” rather than “cutting.”

The amp’s EQ settings are generally centered around a bass of 5-6, mids of 7-8, and treble around 5, focusing on a thicker midrange.

While the JCM900 can become piercing when set too treble-heavy, Nakamura emphasizes the “gritty midrange.” Particularly, power chords struck on the rear pickup serve as a “wall” that pushes the band forward, often requiring adjustments on the PA side to ensure vocals stand out.

Conversely, for certain songs, he may use the front pickup, the Rio Grande Bastard, to bring a warmer tone to the forefront. In mixes with thick midrange, this front pickup effectively adds a “crying nuance” amidst the roughness.

This switching, combined with amp channels and footswitches, provides flexibility to adapt to different song styles during live performances.

In terms of effects usage, the BD-2 is typically used to slightly raise gain, while the MXR Micro Amp boosts volume during solos. When using the Big Muff, the tone is often rolled back to prevent excessive chaos, with midrange adjustments on the PA to maintain overall band balance.

Thus, Nakamura’s footwork is kept minimal, with much of the final sound shaping left to the PA engineer.

In recordings, Nakamura’s guitar is characterized by a sound that retains a roughness as if it were captured “as is” by a microphone. Excessive compression or EQ processing is avoided, with a tendency to record using an SM57 or ribbon mic placed in front of the amp to capture the “air” along with the sound.

This rough recording method contributes to a sense of realism that makes listeners feel as if they are in a live venue.

Moreover, Ginkgo Boyz’s mixes often focus on creating impact with a single guitar rather than spreading the sound across multiple channels, processing Nakamura’s performance to function as a “wall.”

Thus, EQ adjustments typically involve slightly cutting the low end, focusing on the midrange while rounding off the high end to create a “raw midrange-centric sound.”

In live PA setups, due to the high sound pressure of the guitar, adjustments may be made on the PA side to bring vocals forward by attenuating frequencies around 2kHz-3kHz. This is a strategy to prevent overlap between the mid-high frequencies of the guitar and the vocals, resulting in a balance that allows for “rawness while still being able to hear the singing.”

In conclusion, Chin Nakamura’s sound creation prioritizes “playing loudly” and “delivering raw impulses as they are.”

Rather than getting caught up in intricate settings, the essence of his sound creation lies in cranking the Marshall to high volumes and strumming the guitar strings with full force.

Affordable Alternatives to Recreate the Tone

Reproducing Chin Nakamura’s sound completely is challenging due to the involvement of modified Les Pauls and cranked Marshall amps.

However, for beginners or those wanting to enjoy Ginkgo Boyz’s sound, it is possible to create a similar vibe by combining relatively affordable gear available on the market. Here, we will introduce items that can be acquired for around $100-$500 and explain how they can approximate Nakamura’s tone.

Regarding amplifiers, acquiring a Marshall JCM900 directly is expensive and presents volume issues, so for home use, the “Marshall MG series” or “Marshall Code series” are practical alternatives.

These models feature modeling capabilities and headphone outputs, allowing for a simulated “rough Marshall sound” during home practice. The MG10 and Code25, in particular, are user-friendly for beginners and can help you feel the “skeleton” of Nakamura’s sound.

For guitars, it is not necessary to replicate the modifications of a Les Paul; choosing an Epiphone Les Paul Standard is sufficient to get close.

Epiphone offers a design that closely resembles the original Gibson while keeping costs down, allowing you to experience the powerful rear pickup and warm front tone that matches Ginkgo Boyz’s explosive chord work.

As a substitute for the Telecaster, the Squier Classic Vibe series is recommended, offering a soft yet sharp tone ideal for mellow songs.

Regarding effects, the BOSS BD-2, MXR Micro Amp, and Electro-Harmonix Big Muff Pi that Nakamura actually uses can all be acquired for around $100-$200 each.

Combining these will allow you to faithfully recreate his simple yet explosive sound. The BD-2 is particularly effective for adding grit to the amp’s crunch, while the Big Muff is essential for achieving a rough and chaotic sound. The MXR Micro Amp serves to push solos and riffs forward, adding depth to your sound.

For beginners, opting for a “multi-effects pedal” instead of gathering multiple individual pedals can also be effective. The BOSS GT-1 or ZOOM G3n can be obtained for around $200-$300, featuring Marshall-style amp modeling, overdrive, and fuzz, allowing for a comprehensive experience of Nakamura’s tones.

The GT-1, in particular, offers intuitive operation and is convenient for practice and live transport.

By combining these pieces of gear, beginners can experience the “explosive guitar sound of Ginkgo Boyz” for a total cost of around $500-$1,000. The key is not the quality of the equipment itself but the attitude of “playing loudly” and “not fearing roughness,” supported by the essential gear listed above.

By combining these pieces of equipment, even beginners can approach Chin Nakamura’s explosive sound at a relatively low cost.

The essence lies not in the “expensiveness of the gear” but in the “courage to play loudly” and the “fearlessness of roughness” in one’s playing style.

Summary and Conclusion

Reflecting on Chin Nakamura’s sound creation, its essence can be summed up as the attitude of “transforming impulses into sound.”

The rawness generated by cranking modified Les Pauls and Marshall amps is an indispensable element of Ginkgo Boyz’s live performances, embodying the spirit of “giving it your all” rather than merely combining equipment.

His primary guitar is the Les Paul, complemented by the flexibility of the Telecaster and Stratocaster to add nuances. The Marshall JCM900 serves as the central amp, sometimes lined up with multiple units to pursue sound pressure.

The effects are kept to a minimum, utilizing basic overdrive, boosters, and fuzz to create an overwhelming presence. This approach prioritizes “raw and exposed performances” over technicality.

In terms of sound creation techniques, the focus is on “leveraging the raw sound of the amp.” In recordings and live performances, Nakamura’s guitar sound is presented almost as-is, ensuring the energy and atmosphere of the performance are preserved.

This lack of excessive refinement contributes to the “raw reality” that directly impacts listeners.

For beginners looking to approximate Nakamura’s sound, it is not necessary to invest in expensive gear. By combining Marshall-style amp modeling, Epiphone Les Pauls, and accessible effects like the BOSS BD-2 and Big Muff, one can adequately recreate the vibe.

The key is to “play without fear of roughness,” which is the foundation of Ginkgo Boyz’s music.

In summary, Chin Nakamura’s sound creation philosophy is based on “expressing maximum impulse with minimal equipment.”

While the selection of guitars, amps, and effects is important, the most crucial aspect is “how you play” rather than “what you play.” Playing loudly and infusing emotion into the sound is the greatest hint for truly replicating the sound of Ginkgo Boyz.