[Jin (Shizen no Teki P)] How to Recreate the Jin Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Jin, known as Shizen no Teki P, is recognized not only as the creator of the “Kagerou Project” but also as a guitarist who has built a unique sound that traverses rock and pop. His sound design is characterized by dramatic guitar arrangements that vividly color the lyrical world of his music. Iconic songs such as “Kagerou Days,” “daze,” and “Lost Time Prologue” feature guitar sounds that leave a strong impression on many fans, especially during emotional developments.

His playing style centers around chord work that emphasizes band sound and effective use of spatial effects. Sometimes he pushes through with intense distortion, while at other times he envelops listeners with ambient clean tones—this contrast is at the core of Jin’s sound.

Jin is also known for his strong commitment to gear selection during recording, utilizing a wide range of guitars, amplifiers, and effects. His social media posts and interviews reveal that he has used Fender Telecasters and Stratocasters, Gibson SGs, and unique brands like Jersey Girl Homemade Guitars and Addictone. These choices reflect his thorough pursuit of the “necessary sound” for each song.

In live performances, he focuses on stable sound creation that supports emotional performances, while in recording, he pays meticulous attention to the quality of spatial effects and distortion. Therefore, replicating his sound requires not just gathering the right gear but also controlling tone colors and arranging effects according to the scene.

In the following sections, we will delve into the amplifiers, guitars, and effects that Jin actually uses, uncovering the secrets behind his sound design. We will also introduce affordable alternative gear that beginners can use to achieve similar tones, as well as discuss EQ and mixing techniques, so be sure to read through to the end.

▶ Search official YouTube videos of Jin

List of Amplifiers and Features

The amplifiers that Jin (Shizen no Teki P) has used in recordings and live performances are diverse and carefully selected to accurately express the world of his music. Notably, several amplifiers have been confirmed through official interviews and his social media posts since around 2013.

One of the most notable is the custom amplifier from Sterratones. In particular, it has been explicitly stated that he used the 100W “Red Heart” during the guitar recording for “Trauma,” and it has also been confirmed that he utilized the 100W “Ster Stream” and a 2×12 cabinet as his main gear. These handmade amplifiers are known for producing a high-gain sound with delicate overtones. They support a sound that maintains the presence of the guitar while coexisting harmoniously with other instruments in fast-paced tracks.

Additionally, during the recording of “Trauma,” a “Two Rock Mod” based on the Two Rock and Fender Band Master also appeared. Two Rock is renowned for its three-dimensional sound from clean to crunch, and it is believed that Jin utilized it for ambient parts and arpeggio expressions.

He has also used the classic Marshall JCM900 4100, which shines in rock-oriented settings. This legendary amplifier has been adopted by many professional guitarists since the 1990s, characterized by its powerful midrange and sharp distortion.

Other unique gear includes the ÷13 (Divided by 13) CCC 9/15, the domestic handmade brand SHINOS Luck 6V, and the Audio Kitchen Big Chopper and The Big Trees (both pedal-type amplifiers). These selections serve not just to amplify sound but also play a strong role in “coloring” the sound character, allowing for flexible changes to suit the music.

As seen from these amplifiers, Jin does not stick to one type but chooses the most suitable one for each scene of the song. For fast-paced rock, he opts for Marshall or Sterratones, while for ambient and ethereal tracks, he selects Two Rock or ÷13. This careful selection emphasizes the “character” of the sound. Recently, his posts have highlighted the introduction of small pedal amplifiers from Audio Kitchen, indicating a balance of mobility and sound quality for studio work and recording.

The following table organizes the amplifiers that have been confirmed to be used. Each of these is an essential element in forming the “Jin sound,” and understanding their sound characteristics will help in copying or recreating his tone. Some information is based on estimates from his social media posts and magazine articles, so it is noted as “as is assumed.”

Types of Guitars Used and Features

Jin (Shizen no Teki P) uses a wide range of guitars, from classic models to unique custom builds, supporting the diversity of tones in his music. Different guitars have been confirmed for various live and recording periods, each selection reflecting a clear intention.

Firstly, the Fender Telecaster has been mentioned by Jin as being primarily used for recording, and Telecaster models have been confirmed in live photos. The Telecaster’s characteristic cutting and hard sound plays a role in tightly unifying the band in fast-paced songs like “Kagerou Days.”

In addition, during a live performance in the fall of 2013, he was confirmed to have used a Fender Stratocaster and a Gibson SG. The Stratocaster is suitable for clean tones and arpeggios with its bright single-coil sound, while the SG is known for its strong midrange distortion, supporting intense rock sounds. By using these guitars interchangeably for different songs, he expanded his expressive range on stage.

Furthermore, it has been confirmed through his posts that he used a unique guitar from Jersey Girl Homemade Guitars called “Tapa / Nascaux.” Jersey Girl is a Japanese handmade brand known for its creative designs and delicate sound creation. This model likely complements Jin’s ethereal and floating songs, being utilized for experimental sound design during recordings.

Similarly, the Addictone Thinline has also been confirmed through his posts. With its semi-hollow structure, it offers a more airy tone than standard solid-body guitars, providing a soft sound that resonates well within an ensemble. This characteristic is particularly effective in ballads and ambient-oriented tracks.

In this way, Jin skillfully chooses the most appropriate guitar for each song, achieving a broad range of tones from the brightness of single coils to the powerful distortion of humbuckers, and even the airy feel of semi-hollows. His guitar selection is not merely a matter of preference but is driven by a clear intention based on the theme of the song and its arrangement. In tracks like “daze” and “Lost Time Prologue,” which feature rich tonal variations, he switches between multiple guitars within a single performance to vividly portray the song’s world.

The following table organizes the guitars that Jin has used. It focuses on those confirmed through actual use, although some entries include estimated elements based on his posts and fan-taken live photos. Therefore, it is noted as “as is assumed” for some items.

Effects and Pedalboard Setup

Another crucial element supporting Jin’s (Shizen no Teki P) sound is the selection and combination of effects. From his social media posts, gear summaries, and live footage analysis, it is evident that he employs a wide variety of effects. His sound design revolves around “spatial effects based on distortion,” combining overdrive/distortion with pitch shifters, modulation effects, delay, and reverb.

In terms of distortion, he has incorporated multiple overdrives, including the Providence SONIC DRIVE SDR-4, Free The Tone SOV-2 OVERDRIVE, and Y.O.S Smoggy Overdrive. The Providence has been mentioned in his tweets, achieving a sharp and clear distortion. Additionally, he uses handmade overdrives like the BJFE Honey Bee OD and Phantom fx Bells, which serve not just to distort the sound but also to define the “character of the song.”

Furthermore, it has been confirmed through his statements that he used the Beetronics “ABELHA” fuzz for the intro of “Flying.” The raw overtones typical of fuzz provide impact at the beginning of the song. This edgy sound design indicates that Jin’s guitar plays a role that resonates like a “voice” within the band ensemble.

For pitch and modulation effects, he has introduced pedals such as the Digitech Whammy DT, Red Witch Medusa (chorus/tremolo), EarthQuaker Devices The Depths (vibrato/univibe), and KATANA SOUND Kagerou Shimmer Tremolo, which add a unique floating quality to his music. The Whammy DT is frequently used for half-step down tuning and harmony, contributing to a “surreal atmosphere” characteristic of his band’s songs.

In terms of spatial effects, high-end delay/reverb pedals like the Strymon TimeLine, Caroline Kilobyte, and EarthQuaker Devices Transmisser have been utilized. The Transmisser, in particular, is known for its intense depth of effects, capable of creating a dreamy pad-like space. These effects are speculated to be impressively used in songs like “daze” and “Outer Science.”

Lastly, the Lehle Little Lehle II is used for routing. This device stabilizes the entire gear setup for A/B switching and looping, making it essential for Jin’s complex effect chain to operate smoothly during live performances.

In this way, Jin employs numerous pedals, changing combinations according to the themes and developments of each song. As a result, the three elements of “dynamic distortion,” “floating modulation,” and “fantastical spatial effects” are blended exquisitely, creating his unique sound. Below is a list of the effects he has used, compiled based on information from his posts and summary sites, with some entries including estimated elements, hence noted as “as is assumed.”

Tone Settings, EQ, and Mixing Approaches

Jin’s (Shizen no Teki P) guitar sound is not only about gear selection but also relies on meticulous EQ settings and mixing techniques. His songs are rich in narrative, with clear roles for each instrument, allowing the guitar to serve multiple functions: as a “lead,” “accompaniment,” and “atmospheric element.” Therefore, channel switching on amplifiers and the depth of effects, along with EQ processing in the PA or DAW, are crucial keys.

In terms of distortion settings, there is a tendency to slightly emphasize the mids while keeping the highs subdued. When using pedals like the Providence SDR-4 or Free The Tone SOV-2, the gain is typically kept around 50-60%, blending with the amp’s distortion to maintain a strong sound while preserving clarity. When using the Marshall JCM900, it is effective to keep the presence low, focusing on a thick midrange that is not harsh on the ears across the band.

For clean tones, he utilizes the characteristics of Two Rock or Sterratones amplifiers, tightening the lows while opening up the highs to create a transparent sound. Particularly in arpeggios or ambient phrases, it is speculated that he aims for a presence that does not interfere with synths or vocals. In this regard, EQ is effective when cutting slightly around 100-200Hz and gently boosting around 3kHz.

Regarding spatial effects, he uses the Strymon TimeLine and EarthQuaker Transmisser, selecting them according to the song. The TimeLine is often synchronized with the song’s tempo, incorporating reverb as part of the rhythm. Conversely, the Transmisser is used to “mist” the sound with deep reverb, creating a dreamy atmosphere during intros or breaks. When processing these through the PA, it is essential to cut the lows of the reverb sound to prevent muddiness.

When using fuzz or special effects, EQ processing becomes particularly important. For instance, when using a powerful fuzz like the Beetronics ABELHA, it is advisable to high-pass below 150Hz to avoid excessive low-end, while boosting around 2kHz to achieve a sound that is “present yet blends into the mix.” This maximizes impact during intros or solos.

From a mixing perspective, Jin’s songs are multilayered, with vocals, synths, drums, and bass intricately intertwined. Therefore, the guitar serves more as a “storyteller” for each scene rather than being front and center. For example, in “Kagerou Days,” the chord cutting is prominent from the intro, but when the vocals come in, the volume is reduced while maintaining a sense of spaciousness through effects. This is achieved through automation and reverb processing during mixing, reflecting the meticulousness of his studio work.

Additionally, in live settings, there is a tendency to keep the depth of effects somewhat restrained, allowing the PA to add reverb. This approach accommodates the different acoustics of each venue, producing a “drier” sound on stage while the house engineer adjusts the space. Such flexible settings are crucial for delivering the song’s world without compromising the band sound.

Overall, Jin’s sound design is established through “EQ band management,” “spatial effects tailored to each song,” and “gain control that maintains the clarity of distortion.” By incorporating these techniques, it is possible to recreate a narrative sound similar to his at home or in live settings, as is assumed.

Affordable Alternatives to Recreate the Tone

To fully replicate Jin’s (Shizen no Teki P) sound, high-priced amplifiers like Sterratones or Two Rock, as well as high-end effects from Strymon and Beetronics, are typically necessary. However, the cost can be a barrier for beginners or those just starting their sound design journey. Therefore, we will introduce practical options from relatively affordable gear that can help get closer to the “Jin sound.”

For distortion alternatives, the BOSS SD-1 and BOSS BD-2 are classic choices. While significantly cheaper than Providence or Free The Tone, they share similar characteristics in midrange push and natural drive, allowing for a “clear and punchy sound” when combined with amp distortion. Particularly, the SD-1 is notable for its midrange emphasis, making it easier to achieve a sound that unifies the band, as heard in Jin’s songs.

For spatial effects, the BOSS DD-8 and NUX Atlantic are recommended. While they may not offer the multifunctionality of the Strymon TimeLine, they feature tempo sync and various delay modes, enabling the recreation of rhythmic delays in fast-paced songs. The NUX Atlantic combines delay and reverb, making it easy to create a dreamy atmosphere similar to the Transmisser.

In the modulation category, the BOSS CE-2W (Waza Craft) and Electro-Harmonix Small Clone are solid options. While they may not have the uniqueness of Red Witch Medusa or EarthQuaker The Depths, they easily add modulation suitable for clean arpeggios or ambient phrases. The CE-2W, in particular, includes a CE-1 mode, allowing access to the deep chorus sounds that Jin frequently employs.

For fuzz, the Electro-Harmonix Big Muff Nano is the most accessible choice. While it may lack the unique texture of the Beetronics ABELHA, its thick, wall-like distortion and long sustain can replicate the impactful intro of “Flying.”

As for amplifiers, compact combo amps like the YAMAHA THR30II or BOSS Katana series are suitable. These can handle everything from home practice to small gigs, featuring modeling of Marshall and Two Rock sounds, allowing users to experience multiple sound characters at a low price. The BOSS Katana, in particular, is versatile, incorporating distortion and spatial effects to allow for “Jin-style sound creation” on its own.

The key to selecting these alternative gears lies in how well they can cover the sonic characteristics of high-end equipment. While complete replication may not be possible, focusing on the clarity of distortion, the expansiveness of space, and the depth of modulation can allow you to approach the essence of Jin’s sound. Below is a table summarizing recommended gear that is relatively affordable.

Summary and Conclusion

Looking at Jin’s (Shizen no Teki P) sound design comprehensively, its essence lies in “sound design that maximally draws out the narrative of each song.” He does not merely produce flashy distortion or brilliant cleans; he expresses the scenes and emotions of each song through the guitar’s tone. Thus, the gear he uses is diverse, and even when using the same amplifiers or effects, he showcases entirely different expressions depending on the scene.

In terms of guitars, he incorporates classic models like the Fender Telecaster and Stratocaster, along with unique options like the Gibson SG, Jersey Girl, and Addictone, allowing him to utilize sounds that match the atmosphere of each song. Regarding amplifiers, he employs handmade and high-end brands like Sterratones and Two Rock, demonstrating flexibility by using Marshall JCM900 for live settings and Audio Kitchen or SHINOS for studio work. These choices are all based on “musical necessity,” serving as tools for the world of his works rather than mere collections of gear.

In terms of effects, he employs a wide range from staples like Providence and Free The Tone to unique options like Beetronics ABELHA and EarthQuaker Devices Transmisser. This encompasses three axes: “dynamic rock sound,” “fantastical and floating ambient,” and “experimental soundscapes,” which he combines according to the scene to create a unique soundscape. Notably, his use of EQ and mixing techniques to organize frequency ranges and adapt the guitar’s role within the band is a creative approach that reflects his producer-like perspective.

If readers wish to get closer to Jin’s sound, understanding the “philosophy of sound design” is crucial before investing in expensive gear. This means being flexible with tone colors according to the theme of the song, organizing unnecessary frequency ranges with EQ, and adjusting spatial effects to match rhythm and scenes. By focusing on these three points, it is possible to create a sound remarkably similar to Jin’s with accessible gear.

Moreover, utilizing the relatively affordable alternative gear introduced, such as BOSS and Electro-Harmonix pedals, as well as modeling amplifiers like BOSS Katana and YAMAHA THR, allows for an enjoyable experience of “Jin-style” sound in home practice or small gigs. The important aspect is not only “what you play” but also “how you want it to resonate,” which should guide your setup process.

Overall, Jin’s sound design is “sound design to narrate stories through music,” requiring both technical skill and sensitivity for its reproduction. While referring to the gear list, the most important process to approach Jin’s sound is to adjust the balance based on your own sensibilities. This trial and error process is what deepens the joy of playing the guitar.