[Isamu Tejima] How to Recreate the UNICORN Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Isamu Tejima, known as the guitarist for UNICORN, has garnered high praise for his flexible and diverse sound-making that supports the band’s wide-ranging musicality. His iconic songs, such as “Dai Meiwaku” and “Subarashii Hibi,” showcase a powerful yet melodic guitar presence that adapts seamlessly from rock to pop, reflecting his versatile playing style.

Tejima’s sound is characterized by a sharp and cutting tone, primarily utilizing Ibanez custom models from the late ’80s to early ’90s. His ability to weave in wah effects and various other effects allows him to change the character of his sound from song to song, showcasing his versatility. He has a strong commitment to his amplifiers and effects, often playing a role beyond that of a typical musician by being involved in the development process.

To recreate Isamu Tejima’s sound, one must focus on three key elements: “high-gain distortion,” “crisp clean tones,” and “unique expressions utilizing wah.” Notably, the pickup configurations such as DiMarzio PAF PRO and Lace Sensor found in the Ibanez RG series are essential to understanding the UNICORN sound.

In the following sections, we will delve into the amplifiers, guitars, and effects used by Isamu Tejima, providing detailed settings and alternative gear options.

▶ Search official YouTube videos of UNICORN

List of Amplifiers and Features

Isamu Tejima’s choice of amplifiers reflects the evolution of sound-making throughout different eras. Clear confirmations from official interviews and his own statements indicate his involvement with Yamaha’s DG series and portable amplifiers. These digital amps, which emerged in the 1990s, aimed for an innovative “tube-like response,” and Tejima has mentioned participating in listening sessions and providing feedback, suggesting they were likely used in live performances and recordings.

Additionally, there are amplifiers that can be inferred from the band’s sound and the contemporary environment. Particularly during the late ’80s to early ’90s, it is highly likely that Tejima used the Roland JC-120 and Marshall heads, which were staples among both domestic and international rock bands. The JC-120 is known for its clear and three-dimensional clean tone, making it ideal for highlighting Tejima’s cutting and arpeggio playing. Marshall amps, with their strong mid-range distortion, likely supported the overall ensemble of the band.

The Yamaha DG series is characterized by its ability to reproduce natural tube-like distortion despite being solid-state, making it easy to create a wide range of tones from crunch to distortion. Tejima’s involvement in the development process reflects his emphasis on “reproducibility” and “versatility.” Furthermore, his participation in the development of portable amplifiers suggests a focus on convenience for practice and rehearsals.

However, specific model names and usage periods are limited in primary sources, and there remains uncertainty regarding which amplifiers were consistently used on stage. Therefore, it is crucial to differentiate between confirmed facts and assumed usage scenarios.

In summary, Isamu Tejima’s amplifier environment can be categorized into three main types: “the Yamaha DG series confirmed for actual use,” “the portable amplifier he was involved in developing,” and “the Roland JC-120 and Marshall heads inferred from contemporaneous sound.” By appropriately utilizing these amplifiers, a diverse range of tones supporting the UNICORN sound can be produced.

Types of Guitars Used and Features

To understand Isamu Tejima’s sound-making, it’s essential to consider the diverse range of guitars he has favored. Throughout his career, from the formation of UNICORN to the present, he has utilized multiple models primarily from Ibanez, selecting guitars that suit the character of each song and the atmosphere of live performances.

One of his most notable guitars is the “Ibanez RG550 Base Custom (White),” which was his main instrument until the early ’90s. It features DiMarzio PAF PRO pickups in the front and rear, with a Fender Lace Sensor in the center, arranged in an H-S-H configuration, and is equipped with an Edge Tremolo system. This guitar balances high playability with a wide range of tones, accommodating everything from sharp, cutting leads to thick rhythm guitar. He has been noted to use Ernie Ball .009–.042 strings, emphasizing a light and manageable tension.

Prior to this, he primarily used the Ibanez PRO540R/540R (Bright Blue Burst/Bright Red Burst), which was a crucial instrument before transitioning to the RG Custom. The Radius series represented Ibanez’s innovative models of the time, featuring smooth body shapes and excellent playability, contributing to the early sound of UNICORN. Owning multiple guitars of different colors also reflects his focus on stability during live performances and recordings.

In his early days, he used the Ibanez Roadstar (Black, 3 Single Coils/Rocking Tremolo). There are also records of him using a Fender Stratocaster just before his debut, which contributed to the bright and clear sounds of early UNICORN.

At one point, he also experimented with a Steinberger (carbon neck model), reflecting a modern inclination from the late ’80s. This compact guitar, known for its tuning stability, was likely chosen for its practicality in touring environments.

On the acoustic side, he has used Ovation guitars in live settings, which are well-suited for acoustic arrangements due to their unique rounded back structure that produces a balanced sound. Additionally, the Yamaha Pacifica (Tejima Custom) was used in an editorial project, showcasing his experimental approach to guitar.

Overall, Isamu Tejima has incorporated a balanced mix of “the latest models of each era,” “practical staple guitars,” and “playful experimental models” throughout his career. This has resulted in a diverse palette of tones for UNICORN’s music and has established his individuality as a guitarist.

As seen, Isamu Tejima’s guitar history is diverse. The Ibanez RG550 Custom and 540R are core pieces that support his signature sound, while the Fender Stratocaster and Steinberger serve as options that reflect the era and environment. This combination has become a source for the unique and varied UNICORN sound.

Effects and Pedalboard Setup

Isamu Tejima’s work with effects is a crucial element that expands the tonal possibilities of his guitar. He is particularly known for his dedication to wah pedals; in a 2012 wah pedal feature, he tested and reviewed over 14 models, including the BOSS PW-10 V-Wah, E.W.S. Cry Baby Wah Mod, and Fender Fuzz-Wah. These trials not only showcase his musical curiosity but also suggest that many of these models were likely used in live performances and recordings.

The wah pedal plays a significant role in UNICORN’s songs, contributing to the expression of guitar riffs and solos, especially in funky cuts and comedic tracks. It adds a sense of “playfulness” and “dynamic expression” to Tejima’s guitar sound.

On the other hand, there is limited clear information regarding distortion and spatial effects, and documentation identifying the permanent pedalboard setup is scarce. However, considering the tendencies of Japanese rock guitarists of that era, it is likely that he combined standard gear from brands like BOSS and Ibanez, including distortion, overdrive, delay, and reverb.

Moreover, it is plausible that he used a booster in conjunction with the amp’s distortion. Particularly in live settings, a booster would have been essential for maintaining volume and clarity during solos. For spatial effects, the BOSS DD series delay would have been a natural choice, likely used in ballads and arpeggio sections.

Overall, Isamu Tejima’s effects board can be organized into three main axes: “expression-focused wah,” “basic drive from distortion,” and “coloring effects tailored to each song.” The significant emphasis on wah is a defining characteristic of his style, leaving a considerable influence on subsequent guitarists.

In summary, Isamu Tejima’s effects environment is built around “expression-focused wah” and “basic distortion + spatial effects,” with a particularly significant emphasis on wah. While the gear configuration has evolved over time, the core of his expression has consistently relied on “unique filtering” and “a simple combination of distortion and spatial effects.”

Tone Settings, EQ, and Mixing Approaches

Isamu Tejima’s sound-making is characterized not only by his choice of gear but also by his meticulous settings and EQ adjustments. His sound consistently balances “the power of rock” with “the accessibility of pop,” forming the foundation for UNICORN’s diverse musicality.

Regarding amplifier settings, he clearly differentiates between clean and distorted tones for each song. For instance, when considering a clean amp like the Roland JC-120, it is assumed that he emphasized treble while keeping mids slightly lower to maximize the brilliance of the Strat-style or Ibanez single pickups. Conversely, for distorted sounds using a Marshall head, it is thought that he maintained strong mids while keeping gain around 5-6, achieving a core tone that stands out in the band ensemble.

In terms of EQ, adjustments can also be seen in recording and PA mixes. Tejima’s guitar needed to assert itself without disrupting the overall band sound, so it is believed he focused on maintaining presence around 2-3kHz while managing the low end. This approach allowed for clear differentiation from EBI’s bass and Tamio Okuda’s vocals, resulting in a cohesive and listener-friendly overall sound.

Moreover, he skillfully adapts his sound for each song. For example, in “Dai Meiwaku,” a tight and sharp rhythm guitar is required, so he likely raised the amp’s gain slightly and applied stronger compression. In contrast, “Subarashii Hibi” emphasizes clean tones with light reverb and delay to create an emotional soundscape. This “switching of sound-making according to the song” is what makes his sound unique.

The use of the wah pedal is also crucial. By incorporating wah into solos or riffs, a filtered midrange comes forward, leaving a strong impression on the listener. Particularly in live settings, he often uses the wah in a fixed manner to enhance EQ, which has become a hallmark of the “Tejima sound.”

In mixing, the application of effects is also balanced. Delay is often set to single repeats, providing just enough echo during solo parts. Reverb is kept shallow except in large venue live settings, merely supplementing the atmosphere. This maintains the pop and organized ensemble characteristic of UNICORN.

Additionally, it is assumed that stereo miking and double tracking are actively employed during recording. By placing guitars with different EQ settings across the left and right channels, a thick yet listener-friendly sound image is created. This is a typical method for reproducing the “organized thickness” characteristic of Japanese rock from the ’80s and ’90s.

In summary, Isamu Tejima’s sound-making is built on four pillars: “EQ processing with clear role differentiation,” “expressiveness utilizing wah,” “switching of amps and effects per song,” and “organized sound image in mixing.” His ability to assert presence within the band without becoming self-indulgent is a hallmark of his artistry. While specific settings can be mimicked, the most crucial aspect is to maintain an awareness of “how to present the entire song.”

Affordable Alternatives to Recreate the Tone

Recreating Isamu Tejima’s sound in its entirety is challenging due to the custom Ibanez models and specialized wah pedals involved. However, there are numerous options available for beginners and intermediate players to approach the Tejima sound at a relatively low cost. Here, we will introduce gear that can be acquired for around $100 to $500, explaining the reasons for their effectiveness.

For guitars, the current Ibanez RG series (such as the RG421 or reissue of the RG550) is the most viable option for achieving a similar tone. Choosing models with an H-S-H configuration will yield tones close to Tejima’s custom setup. Additionally, if a Strat-style sound is preferred, the Yamaha Pacifica series (like the Pacifica112V) offers excellent cost-performance and is beginner-friendly.

In terms of amplifiers, the Roland JC-22 and BOSS Katana series are practical choices. The JC-22, a smaller version of the JC-120, is perfect for home use or small gigs, allowing easy recreation of Tejima’s clean tones. The BOSS Katana, while a digital amp, covers a wide range of distortions and cleans, serving as a versatile amp similar to the Yamaha DG series he was involved with.

For effects, starting with a wah pedal is essential. The classic Cry Baby (GCB-95) is directly linked to the wah lineage Tejima favored and is available at a low price. Additionally, combining it with BOSS DS-1 or OD-3 will cover a wide range of distortions from UNICORN’s rhythm guitar to solos. For spatial effects, the BOSS DD-7 or used DD-3 are suitable entry-level options that greatly assist in creating ballad atmospheres.

For beginners, investing in a multi-effects unit can also be beneficial. Models like the BOSS GT-1 or Zoom G3n encompass distortion, wah, and delay, allowing players to experience Tejima’s sound-making comprehensively. This is also an excellent way to learn how different combinations of effects alter sound before acquiring individual pedals.

By incorporating these pieces of gear, players can achieve the “light and playful cutting,” “expressive solos with wah,” and “organized spatial effects” characteristic of UNICORN without needing expensive custom guitars or amplifiers. The key is not just to gather the gear but to embody Tejima’s approach of “how to add nuance in different contexts.”

By combining these pieces of gear, players can experience the “light and playful guitar sound characteristic of Isamu Tejima” while keeping costs down. The combination of the Cry Baby and Ibanez RG is particularly recommended for UNICORN fans to try out.

Summary and Conclusion

Reflecting on Isamu Tejima’s sound-making as a long-time guitarist for UNICORN, the essence lies in “diversity” and “flexibility.” From the modern and sharp tones centered around the Ibanez RG550 Custom to the traditional sounds from Fender Stratocasters and Ovations, he has skillfully navigated a wide range of guitars to expand the band’s musicality.

On the amplifier side, his involvement in the development of the Yamaha DG series and portable amplifiers showcases his commitment beyond just being a player. By setting up with classic contemporaneous amps like the Roland JC-120 and Marshall heads, he has achieved practical versatility across clean and distorted tones.

Moreover, he is characterized by his “expressiveness utilizing wah pedals.” Rather than being just one of many effects, wah serves as a crucial tool for altering the expression of songs, adding unique nuances to solos and cuts. Particularly in live settings, he often employs wah in a fixed manner to enhance EQ, leaving a strong impression on listeners.

In terms of sound-making settings, his EQ and gain adjustments focus on “how to present the sound within the band.” Rather than creating flashy sounds in isolation, he has adjusted to avoid interfering with bass and vocals, resulting in a simple yet impactful sound.

For beginners looking to emulate his sound, there is no need for complete replication. Just combining Ibanez’s RG series, Yamaha Pacifica, Cry Baby wah pedal, and BOSS distortion and delay can provide a substantial experience of “Isamu Tejima’s sound.” The key is to maintain an approach of “changing the sound according to the song” and “adding expression.”

In summary, Isamu Tejima’s sound-making charm can be encapsulated in his “flexibility to find the optimal solution for each song” and “playful expressiveness centered around wah.” For guitarists aspiring to emulate his style, this serves as a significant hint for learning not just gear copying but also the “awareness that supports the entire music” and “expressive playing.”