[Hiroshi Nishikawa] How to Recreate the GRAPEVINE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hiroshi Nishikawa, the guitarist of GRAPEVINE, is known for producing a tone that is both hard-edged and warm. His guitar sound not only supports the vocals of Kazumasa Tanaka but also defines the overall texture of the band’s music.

His playing style combines the robust essence of rock with an alternative, ethereal quality. Iconic songs like “Slow” and “About Light” showcase a strong guitar presence that beautifully blends into the overall mix. The riffs are simple yet thick, while his arpeggios and crunchy chord work create a delicate soundscape.

In terms of gear, he primarily uses Les Paul and Telecaster models, crafting a unique spatial quality through a combination of fuzz and delay. By expanding the raw distortion of fuzz with delay, Nishikawa creates a significant depth and richness in his sound.

It’s also noteworthy that he differentiates between the guitars and effects he uses for live performances versus studio recordings. In live settings, he often relies on stable instruments like the Les Paul and Fat Telecaster, while in the studio, he incorporates the Les Paul Junior and semi-hollow Telecaster Thinline to achieve a more expressive sound.

The reason his sound design garners attention is not just about distortion; it reflects a mixing mindset that considers “how to expand the gaps in the sound” and “which frequencies to retain.” He approaches the guitar’s role from a producer’s and engineer’s perspective, harmonizing it within GRAPEVINE’s dense ensemble.

▶ Search official YouTube videos of GRAPEVINE

List of Amplifiers and Features

Amplifiers play a crucial role in Hiroshi Nishikawa’s sound design. His tone is shaped not only by the guitar and effects but also by the character of the amplifiers he employs. The confirmed amplifiers he has been seen using in live performances and recordings include the Fender Bassman, Marshall JCM900, VOX AC-30, and Zinky NS-2.

First, the Fender Bassman serves as the foundation for his clean tones and crunch. It possesses a solid low end and warm mids, allowing riffs and arpeggios to stand out within the band’s ensemble. This amp is well-suited for blues and alternative sounds, adding depth to Nishikawa’s multifaceted guitar tone.

The Marshall JCM900 is iconic for rock sounds, providing a more aggressive and hard distortion. It excels during live performances, delivering a powerful punch for cutting and soloing. This Marshall sound is one of the elements that supports GRAPEVINE’s robust rock flavor.

The VOX AC-30 brings a characteristic British amp’s sparkling highs and harmonic richness, adding transparency to Nishikawa’s sound. It is often used for jangly chord work and spatial arpeggios, especially when combined with ambient effects to create a sense of depth.

Additionally, the Zinky NS-2 is known for its unique separation and wide range, making it a staple in his recording setup. It is particularly valuable for detailed sound design in the studio, allowing for a distinctive sound when paired with fuzz and delay.

These amplifiers each have their unique character, and Nishikawa skillfully chooses among them based on the song or situation. While he predominantly combines Fender and Marshall for live settings, he often incorporates Zinky and VOX in the studio. This reflects his commitment to extracting the optimal sound for each piece.

As shown, the choice of amplifiers varies depending on the song and context, functioning as an integral part of sound design. Nishikawa’s approach to finding the optimal sound reflects his commitment to his craft.

Types of Guitars Used and Features

Nishikawa’s choice of guitars is a crucial element that symbolizes GRAPEVINE’s musical identity. He primarily utilizes Les Paul and Telecaster models, determining the atmosphere of the songs and the overall texture of the band. A distinctive feature is the different guitars he uses for live performances versus studio recordings.

The Gibson Les Paul 1956 Reissue is one of the models that epitomizes Nishikawa’s sound. Equipped with P-90 pickups and a distinctive flower pickguard, he often uses it with the volume slightly lowered to create delicate nuances between clean and distorted tones. This guitar stands out without being buried in the band sound, skillfully utilizing the gaps in the sound.

The Gibson Les Paul Junior is chosen for its straightforward, rock-like sound due to its simple configuration. This model shines when Nishikawa plays aggressive phrases, especially in straightforward rock tunes during live performances.

The Gibson Les Paul Standard is versatile and is used across various contexts. It serves as a reliable backbone, providing a stable sound not only for specific songs but also throughout tours and recordings.

On the other hand, Telecasters also play an important role. The Fender Fat Telecaster (1999 model) features a diverse pickup configuration with both humbucker and single-coil options, along with a 22-fret design, making it adaptable for a wide range of sounds. It is often used as one of his main guitars in live settings, offering a sharp tone distinct from the Les Paul.

The Fender Japan Telecaster Thinline has a semi-hollow structure, providing an airy and light resonance. It is particularly suited for arpeggios and clean phrases, with its characteristics being utilized effectively in studio recordings. The fact that he owns multiple Fender Japan Telecasters and FAT TELE models indicates the essential role of Telecasters in his sound design.

These guitars are not merely “swapped out” but are meticulously chosen to match the mood of the song and the expression of the vocals. For heavier songs, he opts for Les Paul models, while for delicate ballads or alternative tracks, he leans towards Telecasters, integrating the guitars as a part of the sound design.

In this way, the guitars are meticulously selected according to the song’s style and playing technique. By balancing Les Paul and Telecaster models, Nishikawa achieves a sound that effortlessly transitions between heaviness and transparency.

Effects and Pedalboard Setup

When discussing Hiroshi Nishikawa’s sound, one cannot overlook the extensive array of effects he employs. The combination of fuzz and delay is particularly emblematic of his style, playing a crucial role in both live performances and recordings. By expanding the raw distortion of fuzz with delay, he creates a thick and spacious sound.

For distortion, he uses the BOSS BD-2 Blues Driver as a booster, which helps push his fundamental tone. Additionally, he incorporates the Ibanez TS9 / Tubescreamer Mod and Providence SOV-2 Overdrive to switch character depending on the song. The TS series is known for its mid-range boost, providing a tone that stands out in the band ensemble.

For fuzz, he utilizes the DAM Meat Head, HomeBrew Electronics Germania, and a handmade original fuzz. Notably, he always pairs fuzz with delay to spatially expand the sound. In the studio, he sometimes employs Tone Bender types (like the Professional MkII), showcasing a diverse range of fuzz sounds.

His delay effects are equally impressive, featuring the BOSS DD-5, Line6 DL4, and MAXON AD900 (using multiple units for subtle layering and oscillation). Furthermore, the Empress Vintage Modified Superdelay allows him to create unique atmospheres with reverse and dotted eighth notes. He also uses the MXR Carbon Copy and Crazy Tube Circuits Time Delay & Echo, covering a wide range from analog to digital.

In the modulation category, he employs the Demeter TRM-1 Tremulator for tremolo and the MXR Phase 90 for phasing. These effects add unique nuances to the music, enhancing the overall sound. Other equipment includes the VOX V847 Wah, volume pedals, and Providence switchers and junction boxes, all geared towards enhancing live performance functionality.

What stands out is that despite the multitude of effects, “the sound remains organized and does not get buried.” This is achieved through the use of switching systems and tuner boxes (like the Providence STV-1JB and PEC-4V), optimizing the signal path.

Nishikawa’s effects board is diverse, but by centering on fuzz and delay, and adding modulation and boost, he forms a unique sound image. Even with a multitude of sounds, the organization and clarity of the guitar within the overall mix are a result of his meticulous effect management.

Tone Settings, EQ, and Mixing Approaches

Nishikawa’s sound design is not merely a linear flow of “guitar, effects, amplifier,” but a comprehensive design that includes mixing and PA handling. Rather than just distorting the sound, he finely adjusts the balance of EQ and spatial effects to add a unique depth and richness to GRAPEVINE’s sound.

Starting with amplifier settings, he positions the tone around noon on the Fender Bassman while slightly emphasizing the mids to achieve a clean yet prominent sound. When using the Marshall JCM900, he keeps the gain low and raises the volume to drive the power tubes, creating a thick yet clear distortion. For the VOX AC-30, he slightly reduces the highs to avoid harshness while bringing the mids forward to enhance the visibility of arpeggios.

In terms of EQ, he avoids cutting too much low end from the guitar, aiming for a balance that does not interfere with the bass and drums. Particularly when using fuzz or overdrive, excessive low end can muddy the sound, so he tends to cut lows on the amp or effects side while emphasizing mids. Conversely, for clean tones, he retains sufficient low-mid frequencies to enhance the thickness of chords, forming a solid foundation for the entire band.

A distinctive feature of his effects settings is the combination of fuzz and delay. When applying fuzz, he always adds delay to transform the raw distortion into a “spatially expansive sound.” For example, using the MAXON AD900 with a light touch adds depth to riffs, while setting dotted eighth notes on the Empress Superdelay brings a sense of floating to the music. This allows Nishikawa’s guitar to exude a presence that “dominates the space,” even in single-note phrases.

During the mixing stage, the guitar is arranged to avoid sticking too closely to the center, ensuring a wide stereo spread. In recordings, he employs double-tracking with different guitars like the Les Paul Junior and Thinline Telecaster, maintaining separation while adding thickness. When using fuzz, he cuts lows with EQ while slightly boosting highs to prevent muddiness, showcasing an engineer’s attention to detail.

In live settings, he increases the amplifier volume while using the PA for correction, switching delay and spatial effects for each song to create a powerful sound distinct from the CD recordings. Particularly in songs like “About Light” and “Slow,” he intentionally sets strong feedback on the delay to envelop the entire track in reverb.

Moreover, Nishikawa’s focus on “how the entire band resonates” rather than just completing the guitar sound is a notable aspect. Even in solos, he adjusts to blend seamlessly with the overall mix. Thus, while his sound may seem simple in isolation, it possesses an overwhelming presence within the band performance.

This approach to EQ and settings reflects Nishikawa’s philosophy of “how to make the entire music resonate,” transcending mere guitar playing or gear selection. Consequently, GRAPEVINE’s music continues to resonate with a timeless weight, regardless of the era of the recordings. For those studying his sound, it is crucial not only to mimic the gear but to adopt the underlying thought process, which is the most important point.

Affordable Alternatives to Recreate the Tone

Reproducing Hiroshi Nishikawa’s sound entirely requires vintage guitars and numerous effects, which may not be realistic for beginners or intermediate players. Fortunately, there are many commercially available products that can help approximate his sound at a relatively low cost. Here, we will introduce gear priced around $100 to $500 and explain how they can achieve similar tones.

For distortion, the essential item is the BOSS BD-2 Blues Driver. This pedal, available for around $100 new, is versatile enough to be used as both a booster and standalone overdrive. Setting the gain low and pushing the amp can create a crunch to lead sound very close to what he often uses live.

Additionally, the Ibanez TS9 Tubescreamer is highly recommended. It boosts the mid-range, making it less likely for the guitar to get buried in the band mix. This pedal is ideal for recreating the clarity of riffs and leads in GRAPEVINE’s songs. If a modified model is out of reach, the standard TS9 is perfectly adequate.

For fuzz, while D.A.M and handmade options can be pricey, the Electro-Harmonix Big Muff Pi offers excellent cost performance. It has a unique ruggedness and thickness, allowing users to experience Nishikawa’s “fuzz plus spatial effects” sound when paired with delay.

For delay, the BOSS DD-8 (the successor to the DD-5) and MXR Carbon Copy are strong candidates. The DD-8 features various modes, including dotted eighth and reverse delays, making it capable of some Empress Superdelay-like expressions. The Carbon Copy is known for its warm analog character, effectively mimicking his analog delay usage.

In the modulation category, introducing the MXR Phase 90 or BOSS TR-2 Tremolo can provide the essential wavering effect at an affordable price. The Phase 90, with its simple one-knob operation, can create a noticeable modulation, allowing users to replicate his subtle modulation in songs.

Finally, if assembling a switcher or pedalboard proves challenging, using a multi-effects unit is also a viable option. The BOSS GT-1000CORE or Line6 HX Stomp, priced between $500 and $800, can encompass multiple delays, fuzzes, and overdrives in one unit, making them high-reproducibility choices for entry-level players.

By combining these pieces of gear, it is possible to create a “GRAPEVINE-like” sound for around $500. The key is to focus on “fuzz plus delay,” “BD-2 style crunch,” and “TS series clarity.” Understanding the direction rather than fixating on expensive vintage gear can lead to a sound that embodies Nishikawa’s spatiality and presence.

By assembling this gear, you can build a “fuzz plus delay” based sound similar to Hiroshi Nishikawa’s at an affordable price. Understanding that the combination and settings are more important than the gear itself is crucial.

Summary and Conclusion

Reflecting on Hiroshi Nishikawa’s sound design in GRAPEVINE, its essence lies in “selecting diverse gear according to the context of the song and creating spatial depth.” He skillfully balances Les Paul and Telecaster guitars, combines amplifiers like Fender, Marshall, and VOX appropriately, and establishes a unique presence through fuzz and delay-based effects.

His sound is not reliant on flashy speed or excessive effects; rather, it is supported by a sense of “how to utilize the spaces in the sound.” Even with strong distortion, he retains mid-range clarity, and in clean tones, arpeggios and cuts expand within the space. The combination of fuzz and delay exemplifies his style of presenting sound with “depth” rather than “thickness.”

Flexibility in choosing gear and settings for live and studio contexts is also crucial. He uses the Fat Telecaster and Les Paul for powerful and stable tones in live settings, while introducing the Les Paul Junior and Thinline Telecaster in the studio to extract delicate nuances. This reflects his attitude of “always searching for the optimal solution for each song.”

In amplifier selection, he understands the warmth of the Bassman, the robust rock feel of the JCM900, the transparency of the AC-30, and the separation of the Zinky NS-2, combining them as needed. As a result, the guitar in GRAPEVINE’s music becomes more than just accompaniment; it is a defining element of the overall atmosphere.

If readers wish to approach Nishikawa’s sound, they do not need to invest in expensive vintage gear. By focusing on “BD-2 plus TS9,” “fuzz plus delay,” and “using single and humbuckers interchangeably,” they can achieve a high level of sound reproduction. The key is to maintain an awareness of “resonating in space rather than pushing the sound forward.”

The essence of Hiroshi Nishikawa’s sound design transcends playing style and gear selection; it embodies a philosophy of “how to make the entire music resonate.” This is why his sound remains timeless, continuously imparting a universal weight to GRAPEVINE’s music. Those studying his sound should not merely imitate the gear but adopt the underlying thought process, which is the most critical aspect.