[Nakajin] – How to Recreate the SEKAI NO OWARI Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Nakajin (Shinichi Nakajima), the guitarist of SEKAI NO OWARI, is known as a multi-instrumentalist who creates the band’s essential and diverse guitar sounds.

His playing style is remarkably versatile, shifting from delicate arpeggio-driven clean tones to powerful distorted sounds, depending on the atmosphere of each song. For example, “Dragon Night” features his memorable riffs, “RPG” highlights his beautiful arpeggios, and “SOS” showcases heavy rock tones. This diversity is a crucial part of the SEKAI NO OWARI sound.

The most notable aspect of Nakajin’s tone is his crystal-clear cleans and the effective use of effects. By carefully layering reverb and delay, he adds depth and spaciousness to the music. His approach prioritizes the balance between punch and clarity, ensuring that the band’s pop sensibility and rock energy coexist harmoniously.

On stage, he prioritizes reliability in his gear to maintain consistent performance. His core setup is built around Fender guitars paired with Marshall amplifiers, while he tailors his effect usage to fit each song. This flexibility is key to handling the band’s wide range of styles.

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List of Amplifiers and Features [SEKAI NO OWARI・Nakajin]

Nakajin’s amplifier selection focuses on balancing live stability with studio-quality tone. His main amplifiers are the Marshall JCM800 series and the Fender Twin Reverb, which serve as the foundation of his sound.

The Marshall JCM800, a rock staple since the 1980s, delivers the tight midrange and moderate crunch that Nakajin seeks. It is most often used in live settings, particularly in heavier tracks like “Dragon Night” and “SOS.” A key strength of this amp is that it provides musical distortion even without extreme gain, allowing his guitar tones to blend smoothly with vocals while retaining rock energy.

In contrast, the Fender Twin Reverb is used primarily for clean tones, especially in ballads such as “RPG” and “Nijiiro no Sensou.” Its shimmering clean channel and lush built-in reverb highlight Nakajin’s arpeggiated playing. In the studio, this amp is frequently chosen for its transparent cleans and excellent response to effects.

Gear	Brand	Amazon Link	Band	Guitarist	Notes
JCM800 2203	Marshall	Amazon Search	SEKAI NO OWARI	Nakajin	Main amplifier. Frequently used live, especially in rock-oriented songs.
Twin Reverb	Fender	Amazon Search	SEKAI NO OWARI	Nakajin	Dedicated to clean tones. Used both live and in ballad recordings.
JVM410H	Marshall	Amazon Search	SEKAI NO OWARI	Nakajin	Used as a sub amp. Four-channel design allows flexibility per song.
Herbert	Diezel	Amazon Search	SEKAI NO OWARI	Nakajin	German high-gain amp with 3 versatile channels. Seen in live settings.
Triple Rectifier	Mesa Boogie	Amazon Search	SEKAI NO OWARI	Nakajin	Powerful 3-channel high-gain amp. Known for thick, massive tone.

Through this combination of amplifiers, Nakajin ensures that both the clean and distorted aspects of his tone can adapt to a wide variety of SEKAI NO OWARI’s songs. His live rig emphasizes reliability and punch, while his studio approach values clarity and layering with effects. These selections are based on available evidence and can be considered as the most likely gear used in his performances and recordings.

Types of Guitars Used and Features [SEKAI NO OWARI・Nakajin]

Nakajin selects his guitars carefully to cover the wide musical range of SEKAI NO OWARI’s repertoire. His main instrument is the Fender Stratocaster, particularly the American Standard series, which he has relied on for many years.

The reason for choosing the Fender Stratocaster lies in its incredible versatility. The single-coil pickups produce delicate and shimmering clean tones that shine in pop-oriented songs like “RPG” and “Hey Ho.” By switching the pickup selector, he can alter nuances throughout a song. With five tonal positions, the Stratocaster can deliver everything from warm, rounded front-pickup sounds to sharp and cutting bridge tones, all within one guitar.

As a secondary instrument, he also uses the Gibson Les Paul Standard, primarily in rock-heavy tracks. For songs such as “Dragon Night” and “SOS,” the thick output of the humbuckers is indispensable. The Les Paul’s sustain and fullness help the guitar cut through the mix, ensuring its presence within the band’s powerful sound.

For acoustic settings, Nakajin often turns to the Martin D-28. This guitar is featured in acoustic-driven songs like “Nijiiro no Sensou” and during live acoustic sections. The D-28’s rich resonance and balanced projection provide a lush texture that never gets buried in the band arrangement, adding warmth and harmonic depth.

Gear	Brand	Amazon Link	Band	Guitarist	Type	Notes
American Standard Stratocaster	Fender	Amazon Search	SEKAI NO OWARI	Nakajin	Electric Guitar	Main guitar. Most frequently used both live and in recording.
Les Paul Standard	Gibson	Amazon Search	SEKAI NO OWARI	Nakajin	Electric Guitar	Used in rock-oriented tracks. Thick humbucker sound is its hallmark.
D-28	Martin	Amazon Search	SEKAI NO OWARI	Nakajin	Acoustic Guitar	Used in acoustic songs and for live unplugged sections.

Nakajin’s guitar selection clearly demonstrates his intent to adapt to different emotional landscapes—whether it’s sparkling cleans, powerful rock riffs, or heartfelt acoustic passages. These choices are consistent with evidence from live photos, performances, and interviews, and can be considered as the most likely instruments in his setup.

Effects and Pedalboard Setup [SEKAI NO OWARI・Nakajin]

Nakajin’s pedalboard is designed to handle the wide stylistic range of SEKAI NO OWARI’s music, with a particular emphasis on spatial effects. Among these, the BOSS DD-7 Digital Delay plays one of the most essential roles in shaping his sound.

The DD-7 can be heard in the iconic delay lines of “RPG” or the spacious arpeggios in “Hey Ho.” His settings often use relatively short delay times (around 200–400 ms) with feedback adjusted depending on the track. The strength of the DD-7 lies in producing musical and natural-sounding delays despite being digital, making it an ideal match for his expressive playing style.

For reverb, the BOSS RV-6 is a cornerstone. Nakajin frequently alternates between HALL and ROOM modes: the HALL setting enriches ballads with expansive depth, while ROOM adds subtle ambience to rock numbers. He also makes creative use of the SHIMMER mode, particularly in ethereal tracks like “Nijiiro no Sensou,” where octave-blended overtones create a floating, dreamy effect.

His overdrive section is anchored by the Ibanez Tube Screamer TS9, typically employed as a boost during solos. By setting the gain conservatively (around 9 o’clock) and tone at noon, he pushes his amps without masking their natural character. A prime example is the solo in “Dragon Night,” where this pedal’s transparent push enhances sustain and energy.

For modulation, Nakajin often uses the BOSS CE-5 Chorus Ensemble. This pedal adds shimmer and width to clean passages, such as in “SOS” and “Starlight Parade.” With the RATE set slow and DEPTH at medium, his chorus remains tasteful and musical rather than overwhelming.

Gear	Brand	Amazon Link	Band	Guitarist	Effect Type	Notes
DD-7 Digital Delay	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Delay	Main delay. Used in songs like RPG for its distinctive echo textures.
RV-6 Reverb	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Reverb	Switches between HALL and ROOM depending on track. SHIMMER used in ambient songs.
Tube Screamer TS9	Ibanez	Amazon Search	SEKAI NO OWARI	Nakajin	Overdrive	Boosts solos. Gain set low to enhance amp’s natural breakup.
CE-5 Chorus Ensemble	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Chorus	Used on clean arpeggios. Subtle settings for tasteful shimmer.
TU-3 Chromatic Tuner	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Tuner	Ensures live stability and accuracy.
PLASMA Pedal	Gamechanger Audio	Amazon Search	SEKAI NO OWARI	Nakajin	Distortion	Unique distortion using high-voltage plasma discharge. Also visually striking live.
OVERHIVE	BEETRONICS	Amazon Search	SEKAI NO OWARI	Nakajin	Overdrive	Medium-gain drive with wide tonal flexibility.
Fuzz Factory	Z.VEX	Amazon Search	SEKAI NO OWARI	Nakajin	Fuzz	Highly versatile fuzz with oscillation options. Adds eccentric character.
FULL-DRIVE2	Fulltone	Amazon Search	SEKAI NO OWARI	Nakajin	Overdrive	Modern TS-style pedal. Balanced clarity and sustain.
ISO Boost	Suhr	Amazon Search	SEKAI NO OWARI	Nakajin	Booster	Transparent, noise-free clean boost with built-in buffer.
Small Clone	electro-harmonix	Amazon Search	SEKAI NO OWARI	Nakajin	Chorus	Warm, rich analog chorus. Ideal for vintage 90s-style tones.
BigSky	strymon	Amazon Search	SEKAI NO OWARI	Nakajin	Reverb	Studio-grade reverb with lush spaciousness.
TimeFactor	Eventide	Amazon Search	SEKAI NO OWARI	Nakajin	Delay	Dual delay with MIDI control. Professional-level flexibility.
MOOD	Chase Bliss Audio	Amazon Search	SEKAI NO OWARI	Nakajin	Delay	Granular/micro-loop delay. Perfect for ambient textures.
CP-101	Maxon	Amazon Search	SEKAI NO OWARI	Nakajin	Compressor	Natural and subtle compression, keeping attack intact.
POG2	electro-harmonix	Amazon Search	SEKAI NO OWARI	Nakajin	Octaver	Polyphonic pitch-shifting. Produces organ-like layered tones.
AW-3 Dynamic Wah	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Wah Pedal	Multi-functional wah, from picking-sensitive to auto-wah.
VP-10	KORG	Amazon Search	SEKAI NO OWARI	Nakajin	Volume Pedal	Independent I/O for dual routing. Allows precise volume swells.
XW-1	Xotic	Amazon Search	SEKAI NO OWARI	Nakajin	Wah Pedal	Modern wah with adjustable Q and EQ range.
M9	LINE6	Amazon Search	SEKAI NO OWARI	Nakajin	Multi-effects	Over 100 effects built-in. Live-ready flexibility.
Pitchblack	KORG	Amazon Search	SEKAI NO OWARI	Nakajin	Tuner	Durable and highly visible. Standard choice for live rigs.

Overall, Nakajin’s pedalboard is carefully tailored for reliability and sonic flexibility. While the evidence of specific models varies between live performances and studio recordings, this collection of effects is widely considered the most accurate reflection of his setup.

Tone Settings, EQ, and Mixing Approaches [SEKAI NO OWARI・Nakajin]

The defining element of Nakajin’s approach to tone lies in his philosophy of serving the atmosphere of each song. Rather than making the guitar the center of attention, his settings and choices are designed to support the band’s overall arrangement and storytelling.

For amplifier EQ, his Marshall JCM800 setup often follows a baseline of BASS: 6, MIDDLE: 7, TREBLE: 6, PRESENCE: 5. This configuration tightens the low end, boosts the mids to cut through the mix, and moderates the treble so it blends with vocals without clashing. The elevated mids are especially important, helping the guitar remain present in the band’s lush arrangements while leaving space for the vocal lines.

When using the Fender Twin Reverb, his settings shift toward transparency: BASS: 4, MIDDLE: 5, TREBLE: 7, REVERB: 3. The brighter treble emphasizes note separation during arpeggios, while reverb is kept modest so that more complex spatial effects (like delay and shimmer) can be added later in the signal chain. This ensures clarity in both recording and live mixes, where too much reverb can blur articulation.

Nakajin adapts his setup meticulously from song to song. In “RPG,” he employs ultra-clean tones with deeper delay layers to create a dreamy, cinematic soundscape. Conversely, for “Dragon Night,” the amp gain is raised to around 5, with a Tube Screamer pushing the front end for added grit and sustain, yielding a muscular yet controlled rock sound that energizes the track without overpowering it.

In terms of recording techniques, his mixing philosophy further refines these tones. Guitar EQ adjustments often involve lightly cutting around the 2–3 kHz range to reduce conflict with vocals, while leaving enough midrange energy to maintain presence. Instead of printing heavy delay and reverb during recording, he often tracks relatively dry, letting engineers apply spatial effects during mixing. This method allows fine-tuning of the guitar’s role in the overall sonic landscape, ensuring consistency across playback systems.

Compression is used sparingly, with the aim of retaining attack dynamics while smoothing sustain. This ensures that both delicate picking in ballads and heavier riffs in rock songs maintain clarity and expression. For example, in “SOS,” the compressor helps balance rapid strumming with dynamic consistency, while still preserving the natural transient of each note.

From a live engineering perspective, Nakajin’s tones are designed to be “mix-friendly.” His amp EQ and effect levels rarely push into extreme ranges, making it easier for front-of-house engineers to fit the guitar within the dense layers of SEKAI NO OWARI’s arrangements, which also include piano, synths, and orchestral elements. The intentional restraint in his personal settings reflects his professionalism and awareness of the bigger musical picture.

Altogether, Nakajin’s tone is the result of subtle but deliberate choices—never about maximum volume or excessive effects, but about carefully sculpting space, texture, and emotion. His EQ and mixing approaches show a consistent balance between presence and transparency, power and delicacy. These methods can be considered as the most likely strategies he employs, based on available interviews, live performances, and studio recordings.

Affordable Alternatives to Recreate the Tone [SEKAI NO OWARI・Nakajin]

For players who want to capture Nakajin’s sound without investing in his full professional setup, there are several affordable options that balance cost with tonal authenticity. By understanding the tonal characteristics of his gear, one can choose budget-friendly equipment that still delivers the essence of his sound.

For guitars, the Fender Player Stratocaster is a fantastic alternative. Made in Mexico, this model shares core construction features with the American Standard Stratocaster, such as an alder body and maple neck. It is equipped with Alnico 5 single-coil pickups that replicate the bright and articulate cleans Nakajin frequently uses. From sparkling arpeggios to light crunch, the Player Strat captures the versatility needed for SEKAI NO OWARI’s repertoire, all at roughly half the cost of the American counterpart.

On the amplifier side, the BOSS Katana-50 is widely praised as one of the best affordable substitutes. This digital modeling amp covers everything from Marshall-style crunch to Fender-like cleans. Its clean channel has a crisp quality reminiscent of the Twin Reverb, while its built-in effects (including delay and reverb) allow players to simulate Nakajin’s layered ambient tones without needing a full pedalboard. The Katana-50’s balance of portability, price, and tone makes it a practical choice for beginners and live performers alike.

For effects, the BOSS GT-1 multi-effects processor is an excellent all-in-one solution. Many of its built-in algorithms are directly modeled after classic BOSS pedals that Nakajin uses, such as the DD-7 delay and RV-6 reverb. It also includes Tube Screamer-style drives, choruses, and compressors, allowing players to cover almost his entire pedalboard with one device. The GT-1 is compact, affordable, and perfect for practice or live gigs where space is limited.

Additionally, players seeking specific effects can look to budget versions of his staple pedals. The BOSS DD-3T Digital Delay is a simpler version of the DD-7 but produces very similar echoes, while the BOSS RV-3 Digital Reverb/Delay offers vintage-style reverbs comparable to the RV-6 at a lower cost on the used market. These alternatives provide players with targeted ways to achieve Nakajin’s core sound without overspending.

Category	Gear	Brand	Amazon Link	Band	Guitarist	Notes
Electric Guitar	Player Stratocaster	Fender	Amazon Search	SEKAI NO OWARI	Nakajin	Mexican-made, cost-effective. Very close tonal character to the American Standard.
Guitar Amp	Katana-50	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Versatile digital amp. Covers Marshall-like crunch and Fender-like cleans with built-in effects.
Multi-effects	GT-1	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Compact processor. Contains algorithms modeled after Nakajin’s key pedals.
Delay	DD-3T Digital Delay	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Budget version of the DD-7. Produces very similar delay sounds.
Reverb	RV-3 Digital Reverb/Delay	BOSS	Amazon Search	SEKAI NO OWARI	Nakajin	Vintage but affordable on the used market. Shares tonal qualities with the RV-6.

By combining these affordable alternatives, players can approximate Nakajin’s balance of shimmering cleans, atmospheric effects, and tasteful overdrive. While the nuances of his studio-grade equipment may be hard to replicate perfectly, these cost-friendly choices provide more than enough to explore and emulate his style effectively.

Summary and Conclusion [SEKAI NO OWARI・Nakajin]

To truly understand Nakajin’s approach to sound, it is essential to recognize that he is first and foremost a “musician,” not just a “guitarist.” His tone-building is not about making the guitar stand out in isolation but about expressing the broader world of SEKAI NO OWARI’s music. Every gear choice and setting is made in service of the song’s emotional core.

The hallmark of his style is a philosophy of “serving the music.” Instead of relying on flashy solos, Nakajin designs his tones to carry the song’s message and mood. This is evident in the delicate arpeggios of “RPG” and the driving riffs of “Dragon Night,” where he tailors his guitar role uniquely to the needs of each track.

Technically, his sound can be described as “simple yet effective.” He does not use an overwhelming number of pedals or amplifiers, but each piece of gear fulfills a precise role. The contrast between his two core amps—the Marshall JCM800 and the Fender Twin Reverb—provides the foundation for dynamic range, while his carefully selected effects maximize expression with minimal clutter.

One of his most remarkable strengths is the way he uses spatial effects. Delay and reverb are never added merely for decoration; they are tools for creating sonic depth and atmosphere. These choices transform songs into immersive experiences, becoming a defining element of SEKAI NO OWARI’s identity. His restraint and tastefulness ensure that the band’s sound remains expansive without becoming muddy.

Recreating Nakajin’s tone is not just about copying his gear—it is about understanding his musical intent. Why he chose specific amps, why his EQ avoids clashing with vocals, why his delay is dialed to certain tempos—all of these reflect his focus on supporting the whole band. Even if one cannot use the exact same equipment, embracing this mindset allows players to approach the essence of his tone.

Another key element is his flexibility between recording and live environments. In the studio, he seeks detail and nuance; on stage, he prioritizes reliability and reproducibility. This adaptability is a hallmark of a mature musician who understands the practical demands of both contexts while maintaining a consistent musical identity.

Perhaps most importantly, Nakajin’s dedication to emotional communication stands out. His guitar work prioritizes resonance with the listener’s heart over technical flashiness. This perspective reminds guitarists that gear and technique are merely tools—the real goal is to convey meaning and emotion. In this way, his approach offers lessons that extend beyond equipment, pointing toward a philosophy of artistry and authenticity.

Ultimately, learning from Nakajin’s sound is less about imitation and more about growth. His balance of clarity, atmosphere, and restraint shows how a guitarist can shape music holistically. For those seeking to capture his tone, the key is not only the pedals and amps, but also the intent to serve the music and elevate the song’s world.