[Iyori Shimizu] – How to Recreate the back number Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

The guitarist of back number, Iyori Shimizu, is known for creating guitar tones that embody the very essence of mainstream J-POP. His sound is characterized by a warm, heartfelt timbre that perfectly complements the emotional storytelling of the band’s music. While his playing style is not flashy in a traditional rock sense, it draws attention because of his ability to convey deep emotion with subtle expression, making him an inspiration for countless guitarists in Japan and beyond.

One of the most iconic aspects of Shimizu’s tone comes from his vintage-inspired Telecasters, which he uses to craft a delicate balance between clean tones and mild overdrive. Songs such as “Mabataki” and “Heroine” showcase his ability to shift seamlessly between acoustic and electric textures, building a soundscape that reinforces the song’s atmosphere. In particular, the intro of “Takane no Hanako-san,” featuring the Eventide TIME FACTOR delay, and the tremolo textures in “Hikari no Machi” illustrate how he uses effects not just as decoration, but as integral parts of the arrangement.

At the core of his sound lies the partnership between the Marshall Bluesbreaker and his beloved Telecasters. This pairing produces a tone that is warm yet focused, forming the foundation of back number’s overall sonic identity. On top of this, Shimizu relies on classic overdrives like the BOSS BD-2 Blues Driver and his trusted Lovepedal Kalamazoo—so important to him that he has referred to it as his “partner.” These pedals deliver natural drive that has become one of the secrets behind the signature back number guitar sound.

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List of Amplifiers and Features [back number・Iyori Shimizu]

Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
Bluesbreaker 1962	Marshall	Amazon Search	back number	Iyori Shimizu	Main amplifier. Combo amp style, central to back number’s warm sound
JMP PA20	Marshall	Amazon Search	back number	Iyori Shimizu	Amp head type, often stacked in pairs. Adds power and punch for live shows
Bassman	Fender	Amazon Search	back number	Iyori Shimizu	Renowned for pristine clean tones, used in clean sections of songs
Tone Master	Fender	Amazon Search	back number	Iyori Shimizu	Recently purchased. Digital modeling that authentically recreates vintage amps
JCM900	Marshall	Amazon Search	back number	Iyori Shimizu	Used for high-gain songs. Classic 1990s rock amp

Shimizu’s amplifier selection is a deliberate strategy, deeply tied to the emotional direction of back number’s music. His mainstay, the Marshall Bluesbreaker 1962, is a legendary 1960s combo amp loved by guitar icons such as Eric Clapton. Its strength lies in delivering natural breakup from clean to medium gain, with an especially rich midrange that blends beautifully in a band mix.

The shimmering cleans heard so often in back number’s ballads are largely a result of combining the Marshall Bluesbreaker with the Fender Bassman. The Bassman’s sparkling highs and depth complement the warmth of the Bluesbreaker, producing the transparent sound that defines many of their most emotional songs. Meanwhile, the Marshall JMP PA20, stacked as twin heads, provides the necessary power and stage presence for live shows.

The recently adopted Fender Tone Master represents Shimizu’s embrace of modern reliability. By harnessing digital modeling, it offers the warmth and nuance of vintage amps while providing consistency across different venues and recording environments. This ensures the same high-quality tone whether in the studio or on tour.

On heavier or more dynamic songs, the Marshall JCM900 steps in with its higher-gain voice. As a staple of the 1990s rock era, it delivers aggressive yet controlled distortion, adding a harder edge to the band’s otherwise warm sonic palette.

Altogether, these amps represent a carefully curated arsenal, balancing vintage warmth with modern practicality. Shimizu’s amp choices not only define the backbone of back number’s sound but also reveal his approach as a guitarist who values tonal authenticity and expressive versatility. His combination of gear results in a sound that is simultaneously classic and modern, blending seamlessly with the band’s emotional storytelling — or so it can be assumed.

Types of Guitars Used and Features [back number・Iyori Shimizu]

Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Type	Notes
T-57 (Surf Green, Sunburst)	Nash Guitars	Amazon Search	back number	Iyori Shimizu	Electric Guitar	Telecaster-style. Vintage-inspired finish, used as a main guitar
Telecaster (1953, 1960, Custom 1973, 1968)	Fender	Amazon Search	back number	Iyori Shimizu	Electric Guitar	Owns multiple vintage Telecasters. Includes Butterscotch Blonde and Black finishes
Custom Shop Telecaster (2014 MBS 60, 2009 MBS 60)	Fender	Amazon Search	back number	Iyori Shimizu	Electric Guitar	Master Built Series models crafted by Yuriy Shishkov and Mark Kendrick
Telecaster Thinline (1969)	Fender	Amazon Search	back number	Iyori Shimizu	Electric Guitar	Semi-hollow Telecaster. Known for its airy resonance
Telecaster Pink Paisley 1969	Fender	Amazon Search	back number	Iyori Shimizu	Electric Guitar	Rare 1969 model in a striking finish, both sonic and visual standout
1958 ES-335	Gibson	Amazon Search	back number	Iyori Shimizu	Electric Guitar	Semi-acoustic guitar, used for songs with jazz influence
Casino (1966)	Epiphone	Amazon Search	back number	Iyori Shimizu	Electric Guitar	His first vintage guitar purchase. Featured in the “Koi” MV and recordings
D-28	Martin	Amazon Search	back number	Iyori Shimizu	Acoustic Guitar	Used for recordings of “Heroine” and “Mabataki.” Martin’s classic dreadnought
D-45	Martin	Amazon Search	back number	Iyori Shimizu	Acoustic Guitar	Top-tier Martin model. Ornate design with unparalleled tone
Advanced Jumbo 1997	Gibson	Amazon Search	back number	Iyori Shimizu	Acoustic Guitar	Gibson flagship acoustic. Known for bold, powerful projection

Among all his gear, Shimizu’s deep attachment to the Telecaster stands out the most. Starting with the Nash Guitars T-57 and expanding to multiple Fender Telecasters from different decades, his collection demonstrates not just fandom but a sophisticated understanding of how each instrument’s character can shape the music. The Telecaster, introduced in the early 1950s as one of the first solid-body electric guitars, is famous for its direct, honest sound, making it a natural fit for his straightforward yet emotional playing style.

What makes Shimizu’s arsenal particularly impressive is the range of vintage Telecasters spanning 1953, 1960, 1968, and 1973. Each era contributes subtle tonal variations, which he uses to add depth and variety to back number’s discography. Color variations like Butterscotch Blonde and classic Black also bring visual and tonal individuality, enhancing stage presence while delivering nuanced differences in tone.

His Fender Custom Shop models, especially those crafted by Master Builders Yuriy Shishkov and Mark Kendrick, highlight his dedication to tonal excellence. The Master Built Series is Fender’s highest echelon of craftsmanship, and each guitar delivers unique character and top-tier sound quality—suiting Shimizu’s demand for expressive detail in both live and studio settings.

On the acoustic side, his use of Martin D-28 and D-45 shows a preference for classic models with rich resonance. The D-28, famously used in songs like “Heroine” and “Mabataki,” provides the lush foundation for their acoustic arrangements. The D-45, on the other hand, represents Martin’s most luxurious offering, combining ornate beauty with deep tonal richness—likely reserved for special performances and recordings.

An especially interesting piece in his collection is the 1966 Epiphone Casino, which he has referred to as his “first vintage guitar.” The Casino’s hollowbody warmth and Beatles association (John Lennon and Paul McCartney famously used it) bring a unique character to songs like “Koi.” It adds a retro, soulful layer to back number’s sound palette, marking Shimizu as a guitarist who carefully integrates history and personality into his gear choices.

Altogether, Shimizu’s guitar selection shows not just variety, but intentionality. His reliance on multiple Telecasters demonstrates a pursuit of tonal authenticity and flexibility, while his inclusion of semi-acoustic and premium acoustic guitars ensures that his soundscape remains diverse and emotionally resonant. In sum, his guitar arsenal is as much a statement of taste as it is a toolbox for expressing the heart of back number’s music — or so it can be assumed.

Effects and Pedalboard Setup [back number・Iyori Shimizu]

Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Effect Type	Notes
BD-2 Blues Driver	BOSS	Amazon Search	back number	Iyori Shimizu	Overdrive	Classic overdrive pedal with natural breakup. A core part of the back number tone
Kalamazoo (Chrome, Gold)	Lovepedal	Amazon Search	back number	Iyori Shimizu	Overdrive	Referred to as his “partner.” Owns both Chrome and Gold versions
Breakers Overdrive	BONDI EFFECTS	Amazon Search	back number	Iyori Shimizu	Overdrive	High-end boutique overdrive from Australia
Del Mar OVERDRIVE	BONDI EFFECTS	Amazon Search	back number	Iyori Shimizu	Overdrive	Another flagship overdrive by BONDI EFFECTS
DOVER DRIVE	Hermida Audio	Amazon Search	back number	Iyori Shimizu	Overdrive	Fusion of overdrive and fuzz, producing versatile tonal options
RAT2	PROCO	Amazon Search	back number	Iyori Shimizu	Distortion	A vintage distortion staple with raw, gritty character
Trickgain	HAYASHI CRAFT	Amazon Search	back number	Iyori Shimizu	Distortion	Japanese handmade distortion pedal
TRM-1 Tremulator	Demeter	Amazon Search	back number	Iyori Shimizu	Tremolo	Used in “Hikari no Machi.” High-quality tremolo effect
TR-2	BOSS	Amazon Search	back number	Iyori Shimizu	Tremolo	A classic BOSS tremolo pedal, also part of his rig
TIME FACTOR	Eventide	Amazon Search	back number	Iyori Shimizu	Delay	Used in the intro of “Takane no Hanako-san.” High-end delay unit
AD999	Maxon	Amazon Search	back number	Iyori Shimizu	Delay	Warm, analog delay sound with vintage character
Strobo Stomp VS-S	PETERSON	Amazon Search	back number	Iyori Shimizu	Tuner	High-precision strobe tuner for professional accuracy
AC/DC-1	Noah’sark	Amazon Search	back number	Iyori Shimizu	Power Supply	Powers the pedalboard consistently and reliably

Iyori Shimizu’s pedalboard is essentially the backbone of back number’s soundscape. A defining feature of his rig is the layered use of multiple overdrives. By stacking and alternating pedals, he fine-tunes the amount of drive to fit each song, moving from light breakup to more saturated tones while keeping dynamics intact. The BOSS BD-2 Blues Driver, beloved for its natural midrange warmth, is used in many ballads where subtle coloration is vital.

Perhaps the most telling detail is his affection for the Lovepedal Kalamazoo. With both Chrome and Gold versions on his board, and calling it his “partner,” it is clear this pedal holds a special place in shaping his tone. The Kalamazoo is prized for its amp-like compression and harmonic richness, and when paired with his Telecasters it produces the smooth yet articulate drive central to back number’s sonic identity.

The inclusion of boutique pedals like the BONDI EFFECTS Breakers Overdrive and Del Mar Overdrive highlights Shimizu’s pursuit of tonal precision. These Australian-made pedals are designed with exceptional attention to natural breakup and player dynamics, ideal for the nuanced guitar layers required in back number’s arrangements. Similarly, the Hermida Dover Drive, with its hybrid fuzz/overdrive character, allows him to push songs into grittier territory without sacrificing control.

On the ambient and modulation side, the Eventide TIME FACTOR delay is iconic in their repertoire. Its appearance in “Takane no Hanako-san” adds space and rhythmic pulse, elevating the intro beyond a simple guitar riff. Eventide pedals are studio-grade, and the TIME FACTOR allows complex delay patterns and modulation that give back number’s recordings a sense of depth and sophistication. Alongside it, the Maxon AD999 provides warmer, analog repeats for moments requiring organic echo.

For tremolo, both the Demeter TRM-1 Tremulator and BOSS TR-2 are used. “Hikari no Machi” features the lush tremolo shimmer of the Demeter, while the TR-2 serves as a more straightforward option. This dual use suggests he carefully matches effect flavor to the atmosphere of each song.

Supporting these creative tools is the Peterson Strobo Stomp tuner, ensuring every note is pitch-perfect, and the Noah’sark AC/DC-1 power supply, which keeps the board running reliably in live and studio contexts. The combination of classic workhorses and boutique specialties on his pedalboard underscores Shimizu’s careful balance between tradition and innovation — or so it can be assumed.

Tone Settings, EQ, and Mixing Approaches [back number・Iyori Shimizu]

The essence of Iyori Shimizu’s approach to tone is rooted in one guiding principle: creating a sound that naturally blends into the song. back number’s arrangements are built around emotional storytelling, with vocals always at the center. As such, Shimizu does not aim to dominate the mix with aggressive guitar tones. Instead, he focuses on sculpting guitar sounds that support the narrative, add depth, and reinforce atmosphere. This philosophy makes his setups valuable case studies for players seeking to balance musicality and technical craft.

When using his main Marshall Bluesbreaker, Shimizu often dials the EQ so that the midrange is the anchor of his sound. A common setting might be Treble: 6, Middle: 7, Bass: 5. This creates warmth and body while still keeping enough brightness to cut through. The mid-focused character ensures that even when the guitar is not loud, it maintains presence within the band’s mix. Unlike many rock guitarists who scoop the mids for a “bigger” sound, Shimizu embraces them, understanding that midrange is where emotion lives.

The interplay between the Telecaster and the Bluesbreaker is especially important. The Telecaster’s bridge pickup is naturally bright, even sharp, so Shimizu often reins in the amp’s treble while rolling the guitar’s tone knob to around 8–9. This combination softens the edges, giving him a crisp yet musical high end. On the other hand, when using the neck pickup for mellower passages, he may push the Middle knob slightly higher on the amp, drawing out warmth and fullness to match the vocal-led ballads. His control is subtle, but it shows mastery of instrument-amp synergy.

With pedals, subtlety continues. The Lovepedal Kalamazoo, often set with Gain at 3–4 and Volume around 7–8, provides a touch of compression and harmonic richness. It isn’t meant to overwhelm the amp but rather to color it gently, like adding brushstrokes to a painting. The BOSS BD-2 Blues Driver, on the other hand, is usually run at lower gain—perhaps Gain at 2–3, Level 6–7, Tone around 5. In practice, this helps him shift between clean and driven textures without sudden jumps in character, achieving smooth transitions within songs.

A striking example of effect-based sound design is heard in “Takane no Hanako-san.” The Eventide TIME FACTOR delay used on the intro riff has a delay time around 400–500ms, feedback at about 30–40%, and a mix level around 20–30%. These settings allow the delay to enhance rather than obscure the riff, creating rhythmic echoes that add emotional tension while leaving the direct note clear. Shimizu demonstrates how effects can act as compositional tools, not just sonic decoration.

For tremolo, used memorably in “Hikari no Machi,” settings are likely modest—depth around 30–40% and rate around 4–5Hz. This creates gentle movement without disorienting the listener. Tremolo here becomes a subtle shimmer, evoking the flicker of city lights, perfectly aligned with the lyrical imagery. It’s an instance where tone becomes storytelling, proving that gear settings can be poetic choices as much as technical ones.

In recording sessions, Shimizu’s engineers often employ microphone techniques that complement his tonal philosophy. A Shure SM57 or Royer R-121 ribbon mic is typically placed slightly off-axis from the speaker cone. This avoids excessive brightness while capturing body and warmth. For added dimension, a condenser microphone is set a few feet back in the room, blending natural ambience into the track. This method preserves clarity while giving the guitar space within the overall mix—an approach especially noticeable in acoustic-electric layered arrangements.

Mixing further refines these tones. Guitars are usually panned moderately wide, around 80–90% left and right when double-tracked. This leaves the center open for vocals and bass, giving the band’s sound its signature balance. EQ-wise, low-end rumble below 80Hz is filtered out, ensuring that guitars don’t compete with bass and kick drum. Meanwhile, a slight boost around 2–3kHz helps the guitar maintain articulation and sparkle, particularly in live recordings where clarity is essential. This engineering mindset guarantees the guitars sit “around” the vocals rather than over them.

In acoustic-electric blends, such as “Mabataki” and “Heroine,” tonal interaction is finely tuned. Acoustic guitars often have a small cut around 200–400Hz to reduce muddiness, while electrics receive a subtle boost in the same range. This creates separation without making either instrument sound unnatural. The result is a layered arrangement where acoustic warmth and electric shimmer complement one another. It’s a technique many producers use, but Shimizu’s execution is especially transparent and musical.

Another subtle but crucial part of Shimizu’s sound is his restraint in using reverb. Rather than drenching the signal, he typically relies on natural room sound or very light plate-style reverb. This choice ensures his guitar doesn’t blur into the mix but maintains clarity and intimacy. When delays or tremolos are present, minimal reverb keeps the effects crisp and avoids overcrowding the sonic space.

Live, adaptability becomes key. With modern venues often demanding consistent results, Shimizu’s inclusion of the Fender Tone Master amp reflects his awareness of practicality. The amp’s digital modeling allows him to preserve the warmth of his vintage tones while ensuring reliable output across different sound systems. Sound engineers can trust the consistency, making it easier to maintain the band’s identity during tours. This balance between analog heart and digital reliability is a hallmark of his professional approach.

Ultimately, Shimizu’s tone settings and mixing strategies demonstrate a philosophy of restraint and intention. Every dial, knob, and pedal is set with the song in mind, not personal showmanship. It’s a reminder that great tone is less about showcasing the guitar and more about serving the music. For guitarists hoping to emulate back number’s sound, the lesson is clear: tone is built not from extremes, but from balance and subtle shifts that honor the voice of the song — or so it can be assumed.

Affordable Alternatives to Recreate the Tone [back number・Iyori Shimizu]

Type	Gear	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
Electric Guitar	Classic Vibe ’50s Telecaster	Squier	Amazon Search	back number	Iyori Shimizu	Affordable Telecaster that captures the vintage flavor of Shimizu’s guitars. Alder body and maple neck provide authentic Tele tone at a fraction of the cost
Amp	Blues Junior IV	Fender	Amazon Search	back number	Iyori Shimizu	Compact tube combo with warm mids similar to the Marshall Bluesbreaker. Great for home, studio, or small gigs
Overdrive	SD-1 Super OverDrive	BOSS	Amazon Search	back number	Iyori Shimizu	Budget-friendly sibling of the BD-2. Warm mids and smooth breakup for authentic Shimizu-style drive
Overdrive	Tube Screamer Mini	Ibanez	Amazon Search	back number	Iyori Shimizu	Delivers midrange punch and compression similar to the Lovepedal Kalamazoo. Compact, affordable, and Tele-friendly
Delay	DD-8 Digital Delay	BOSS	Amazon Search	back number	Iyori Shimizu	Versatile pedal with 11 delay modes. Can replicate the “Takane no Hanako-san” intro echoes convincingly
Tremolo	TR-2 Tremolo	BOSS	Amazon Search	back number	Iyori Shimizu	Shimizu uses this exact pedal live. Delivers the shimmering tremolo of “Hikari no Machi” at an entry-level price
Acoustic Guitar	FG800	YAMAHA	Amazon Search	back number	Iyori Shimizu	Low-cost dreadnought that recreates the warmth of Martin’s D-28. Ideal for ballads like “Heroine” and “Mabataki”
Multi-Effects	GT-1	BOSS	Amazon Search	back number	Iyori Shimizu	Packs overdrive, delay, tremolo, and amp modeling into one compact unit. Perfect for beginners aiming at Shimizu’s tones
Distortion	DS-1 Distortion	BOSS	Amazon Search	back number	Iyori Shimizu	Classic pedal that echoes the raw aggression of the RAT2. Ideal for songs needing more rock punch
Amp	Katana-50 MkII	BOSS	Amazon Search	back number	Iyori Shimizu	Affordable modeling amp with multiple amp voices and built-in effects. Can mimic Bluesbreaker/Bassman tones in one unit

The most important formula for recreating Iyori Shimizu’s sound on a budget is pairing a Telecaster-style guitar with an amp that emphasizes warm mids. The Squier Classic Vibe ’50s Telecaster is an excellent option. It combines an alder body with a maple neck and delivers authentic Telecaster brightness and twang. Despite being a fraction of the cost of vintage models, it produces tones surprisingly close to Shimizu’s main guitars, making it a favorite for beginners chasing the back number sound.

In amplification, the Fender Blues Junior IV is the perfect compromise. Its 15-watt tube design is small enough for practice but powerful enough for rehearsal and small gigs. It offers warmth and natural compression that recall the Marshall Bluesbreaker. Many guitarists find that with the right EQ, it can provide a studio-quality clean-to-crunch transition—ideal for the shimmering ballads that define back number’s catalog.

Pedal-wise, budget choices like the BOSS SD-1 Super OverDrive and Ibanez Tube Screamer Mini capture much of the tonal DNA of Shimizu’s more expensive overdrives. The SD-1 emphasizes smooth mids and soft clipping, while the Tube Screamer Mini compresses and enhances harmonic overtones. These traits make them excellent companions for Telecasters, bringing out vocal-like midrange that supports melodies without overpowering them.

For effects, the BOSS DD-8 Digital Delay is versatile enough to replicate the iconic delay patterns of “Takane no Hanako-san.” Its wide range of modes—from analog-style warmth to pristine digital repeats—makes it a flexible and affordable substitute for the Eventide TIME FACTOR. Similarly, the TR-2 Tremolo, which Shimizu himself uses, is one of the most cost-effective ways to capture the trembling shimmer heard in “Hikari no Machi.”

Acoustic tones can be replicated using the Yamaha FG800, a budget-friendly dreadnought that delivers surprising depth and clarity. While it won’t match the luxurious resonance of a Martin D-28 or D-45, it provides more than enough warmth and projection for practice, recording, or small performances. Its affordability makes it one of the most popular entry-level acoustics worldwide.

For players who want an all-in-one solution, the BOSS GT-1 multi-effects unit is an excellent choice. It covers the core effects Shimizu uses—overdrive, delay, tremolo—while also offering amp simulations that approximate the Bluesbreaker or Bassman. Beginners can explore his tonal palette without needing to invest in a full pedalboard. Likewise, the BOSS Katana-50 MkII serves as a Swiss Army knife amp, combining modeling versatility with built-in effects. For under $300, it can deliver convincing versions of Shimizu’s core tones.

Altogether, these alternatives prove that recreating the essence of Iyori Shimizu’s guitar work does not require boutique gear or rare vintage models. With smart choices and proper settings, even affordable equipment can capture the warmth, subtle drive, and emotional character that define the back number sound.

Summary and Conclusion [back number・Iyori Shimizu]

When analyzing Iyori Shimizu’s guitar sound in depth, it becomes clear that the core of his tone is built around unity with the song. His guitar does not exist to showcase individual virtuosity but to anchor and elevate the emotional narrative of back number. This approach has earned him respect from professional musicians who see in his playing a model of balance, restraint, and taste. His sound is never excessive—always precise, always serving the music first.

The heart of his tone lies in the classic pairing of a Fender Telecaster with a Marshall Bluesbreaker. This foundation offers warmth, clarity, and midrange richness. Yet, what makes Shimizu unique is how he layers modern elements—such as the Lovepedal Kalamazoo and Eventide TIME FACTOR—into this vintage framework. The result is a sound that feels timeless and modern at the same time, bridging generations of guitar tone. This balance is part of why back number’s songs resonate with listeners across ages.

One of the most important lessons from Shimizu’s setup is the “aesthetics of subtraction.” His tones are not drenched in effects or exaggerated settings. Instead, he carefully decides when to apply a delay, when to let tremolo shimmer, or when to leave space entirely. The intro of “Takane no Hanako-san,” where delay defines the mood, or the tremolo in “Hikari no Machi,” which paints imagery in sound, are both perfect examples. In each case, the effect is not just decoration—it is part of the storytelling itself.

From a gear perspective, his choices reveal a pursuit of both practicality and artistry. Shimizu owns multiple Telecasters from different decades, each with unique tonal nuances. He selects them deliberately depending on the song, demonstrating a deep understanding of how subtle differences in wood, pickups, and construction can change the emotional impact of a performance. His amplifier selection also shows adaptability, ranging from the vintage Bluesbreaker to the modern Fender Tone Master, ensuring reliable tone whether recording in the studio or performing on tour.

For guitarists hoping to emulate his sound, the key is not merely copying his exact rig but understanding his mindset. Shimizu always prioritizes how the guitar functions within the band. He considers how it blends with vocals, bass, and drums, and he shapes his tone accordingly. This philosophy—of putting the song first—should be seen as the true essence of the back number guitar style. Reproducing the sound means more than chasing pedals or amps; it means adopting this perspective of humility and musical service.

Another important takeaway is that gear is a tool, not the goal. While Shimizu uses valuable vintage instruments and boutique pedals, they are not ends in themselves. They are chosen to enrich the music. Even with affordable gear—whether a Squier Telecaster, a BOSS multi-effects pedal, or a Katana amp—a guitarist who understands the role of tone in storytelling can capture the spirit of back number’s sound. The real artistry lies not in what you own, but in how you use it.

In conclusion, Iyori Shimizu’s guitar tone reflects a perfect balance of tradition and innovation, restraint and expression. It is warm yet precise, subtle yet powerful, and always deeply tied to the song. For any guitarist aspiring to recreate the back number sound, the first step is not to buy more pedals or amps but to listen—to the songs, to the band, and to the emotional needs of the music. From there, the gear becomes an ally, and the sound begins to emerge naturally. That is the true lesson from Iyori Shimizu’s sound-making journey.