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

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Introduction (Overview of Tone)

Nishikawa Shin, the guitarist supporting Cocco’s sound, is known for his unique tone crafting within the Japanese music scene. He skillfully navigates a wide range of tones, from intense distortion to delicate clean sounds, creating a vibrant soundscape for each song.

His playing style embodies a balance between emotional expression in live performances and meticulous sound design in recordings. Iconic tracks such as “Tsuyoku Hakanai Monotachi” showcase a transparent clean tone, while “Jukai no Ito” highlights deep spatial effects. As he has mentioned in interviews and blogs, he maximizes the character of each guitar to build a guitar presence that resonates with the vocals.

Moreover, Nishikawa does not merely play accompaniment; he manipulates the dynamics of the entire song. In sections where distortion is emphasized, he elevates the band’s energy, while in acoustic segments, he delivers a soft sound that highlights Cocco’s vocals. This sound design is achieved through careful selection and adjustment of amplifiers and effects, making it possible to replicate his tone by understanding the gear he uses.

His approach to sound design is fundamentally about “enhancing the song while expressing his guitar as a narrative.” In the following sections, we will delve into the specific amplifiers, guitars, and effects he uses, exploring their characteristics in detail.

▶ Search official YouTube videos of Cocco

List of Amplifiers and Features

A crucial element supporting Nishikawa’s sound is his choice of amplifiers. Throughout his work with Cocco, he has frequently utilized amplifiers that can seamlessly control everything from clean tones to intense distortion. Notably, he combines high-output stack amplifiers for live performances with versatile studio amps.

One of his signature setups is the combination of the white-faced HIWATT DR-103 and the SE4123 cabinet. This setup excels in producing clean to crunchy tones, highlighting Nishikawa’s transparent arpeggios and cutting techniques. Photos of this gear have been confirmed in his blog and music magazines, indicating its significant presence in Cocco’s music.

Additionally, the VOX AC30H2L frequently appears in his rig. The unique shimmering highs of VOX fill the space without overshadowing Cocco’s vocals, and when paired with the V212H cabinet during live performances, it creates a distinct sonic pressure. Nishikawa’s ability to achieve a quick sound response is heavily reliant on this amplifier’s characteristics.

Furthermore, the Fender ’65 Twin Reverb plays an essential role in studio and recording settings. The warm clean tones typical of Fender amps are indispensable for Cocco’s ballads and acoustic-oriented tracks. Its built-in reverb contributes to a rich spatial expression.

By utilizing these distinct amplifiers—HIWATT, VOX, and Fender—Nishikawa effectively adapts to Cocco’s diverse musicality. The combination with distortion pedals and spatial effects further expands the tonal palette, allowing for meticulously varied sounds tailored to each song.

Types of Guitars Used and Features

Nishikawa’s guitar collection spans a wide range from classic rock models to unique custom designs, adding diverse colors to Cocco’s music. His signature sound is largely defined by his Gibson guitars, which produce expressive tones from clean to distorted.

Notably, the white and Pelham Blue Gibson SG Custom (with Maestro) stands out. Confirmed through live photos and blogs, it features sharp midrange clarity and a quick response, frequently used in Cocco’s energetic tracks to enhance the emotional delivery of the vocals. Additionally, the simple yet powerful SG Special contributes a raw rock sound to his repertoire.

The Gibson Les Paul Classic provides a thick sound, valuable for ballads and heavier songs. The Firebird is also utilized, contributing its unique midrange to his distinctive sound. Each of these guitars is selected to match the style of the respective songs.

In the Fender lineup, the Jazzmaster (’62 model) is confirmed. Its sweet tone and rich harmonics pair excellently with delicate arpeggios and spatial effects. The G&L ASAT Classic also appears, showcasing a Telecaster-like crispness in his playing.

He also employs Rickenbacker models such as the 330/330-12 and bass variants, introducing the shimmering sound of a 12-string and unique rhythmic qualities to Cocco’s tracks. Additionally, the GRETSCH Country Gentleman is believed to be used, particularly in rockabilly contexts or when a sweet tone is desired.

For acoustic performances, he uses models like the Gibson J-45/J-200, Guild F-50, Takamine 12-string, and Yamaha NCX2000FM. These guitars are essential for Cocco’s ballads and unplugged performances, delivering both delicate and powerful sounds. His signature model, the Arimitsu Guitar Nishikawa Model, also plays a significant role in recordings and live shows, allowing for maximum expression of his individuality.

By skillfully selecting from this diverse lineup, Nishikawa provides the optimal tones needed for Cocco’s wide-ranging musical styles.

Effects and Pedalboard Setup

Effects are an indispensable element in Nishikawa’s sound design. His sound is constructed from a combination of “simple distortion + intricate spatial effects + unique individualistic effects.” Particularly in live settings, he employs a complex pedalboard with a switcher, allowing for instant sound changes tailored to each song.

A key component is the MXR Distortion II, which he has stated he uses regularly. This pedal is known for producing a rough yet expansive distortion. By combining it with a clean amp, Nishikawa achieves a driving sound characteristic of his style. Additionally, he uses compressors like the BBE Bench Press to enhance sustain while maintaining clarity.

For switching, he utilizes the One Control Crocodile Tail Loop OC10. This is essential for effectively controlling a variety of effects, improving operational efficiency during performances. Recently, he has also integrated high-end modelers like the Fractal Audio Axe-Fx III, allowing for a broad range of sound design through amp and effect modeling.

In terms of spatial effects, he employs classics like the Electro-Harmonix Deluxe Memory Man (delay), Holy Grail (reverb), and Roland SDE-3000, among others. Notably, he has experimented with connecting the Holy Grail before distortion, creating a deep, ethereal reverb effect.

To expand his expressive capabilities, he incorporates the Jim Dunlop Cry Baby (wah), Roger Mayer Voodoo-Vibe (tremolo/vibrato), and Z.Vex Fuzz Factory. Unique effects like the Gamechanger Audio Bigsby Pedal also feature in his setup, making his pedalboard exceptionally distinctive.

These effects enable a wide range of expressions, from intense rock sounds to ethereal soundscapes. His board is assembled with the philosophy of “thoroughly supporting the song,” while also reflecting the guitarist’s individuality.

Tone Settings, EQ, and Mixing Approaches

Nishikawa’s sound design goes beyond mere “gear combinations”; it encompasses EQ settings, configurations, and even considerations during the PA and mixing stages. He meticulously ensures that the guitar complements Cocco’s vocals without overshadowing them, while still maintaining a distinct presence.

In terms of amp settings, he primarily uses clean-focused amplifiers like HIWATT and VOX. For clean tones, he typically sets treble around 5-6, slightly lowers mids to about 4, and adjusts bass to around 6, creating a sound that is full yet not piercing. When using the VOX AC30, he tends to lower the cut control to tame the highs. With the Twin Reverb, he keeps reverb modest at around 2-3, achieving a transparency that blends seamlessly with Cocco’s voice.

For distortion, the MXR Distortion II is central to his setup, with gain kept around 5-6 to maintain clarity while ensuring volume. Rather than cranking the distortion, he prioritizes balance within the band. Adding a compressor (BBE Bench Press) helps maintain sustain while preserving attack clarity.

His handling of spatial effects is particularly distinctive. By connecting the Electro-Harmonix Holy Grail before distortion, he creates a “haze” effect that enhances the ethereal quality of Cocco’s music. Delays like the Deluxe Memory Man and Roland SDE-3000 are typically set for single repeats rather than deep echoes, naturally complementing rhythms and phrases.

During the mixing phase, panning and EQ processing are crucial. Cocco’s vocals are centered, so Nishikawa’s guitar is slightly spread to the left and right, filling the space. He boosts around 2kHz to emphasize attack while cutting low frequencies below 100Hz to avoid interference with vocals and bass.

Flexibility in choosing amps and effects for each song is another hallmark of his style. For acoustic-oriented tracks, he records with the Gibson J-45 or Yamaha NCX2000FM, applying light compression as needed to retain liveliness. For rock numbers, he connects the SG or Les Paul directly to the HIWATT, switching to MXR for distortion while emphasizing mids. In songs that require strong spatial effects, he frequently employs stereo delays to create a wide, ethereal atmosphere.

Collaboration with the PA engineer is also critical. Nishikawa’s sound design is completed by considering both the “on-stage amp sound” and the “sound processed at the PA console.” He often maintains a relatively flat amp setting, allowing the PA to make fine adjustments. This approach ensures that, regardless of the venue, Cocco’s vocals remain centered while Nishikawa’s guitar stands out clearly.

In summary, Nishikawa’s EQ and setting strategies are based on a consistent philosophy: “Keep the amp relatively flat, maintain moderate distortion, emphasize spatial effects through unique connections, and prioritize vocals in the mix.” This approach allows for the creation of a sound that supports Cocco’s unique musical vision while allowing the guitar to play a dramatic role.

Affordable Alternatives to Recreate the Tone

Reproducing Nishikawa’s sound exactly can be challenging due to the high-end gear and unique setups he employs. However, beginners and intermediates can get closer to the essence of his sound by selecting commercially available gear within a budget of approximately $100 to $500. Here are some recommended alternatives.

First, while the MXR Distortion II is hard to come by, alternatives like the BOSS DS-1 Distortion or BD-2 Blues Driver are excellent options. The BD-2, in particular, excels at producing a crunchy sound with lower gain, making it easier to achieve a Nishikawa-like clarity when paired with a clean amp.

For compression, since the BBE Bench Press is expensive and less available, the BOSS CS-3 Compression Sustainer serves as a more accessible alternative. Adjusting the attack can help replicate the well-defined sustain that Nishikawa often utilizes.

Spatial effects play a significant role in Nishikawa’s sound. While the Electro-Harmonix Deluxe Memory Man and Roland SDE-3000 are professional-grade, beginners can effectively use the BOSS DD-8 Digital Delay or RV-6 Reverb. The RV-6, in particular, features various modes, including modulation reverb and shimmer, allowing users to mimic the ethereal atmosphere created by the Holy Grail.

For modulation effects, alternatives to the Roger Mayer Voodoo-Vibe include the BOSS TR-2 Tremolo or CE-2W Chorus (WAZA CRAFT). These can add a natural wavering effect, enriching arpeggios and ballads.

Regarding amplifiers, acquiring HIWATT or VOX AC30 is often impractical, so modeling amps or small tube amps can be effective. The BOSS KATANA-50 MkII is a cost-effective option that offers a wide range of amp modeling, covering clean to crunch, along with built-in delay and reverb.

Additionally, for a more affordable alternative to the Fractal Audio Axe-Fx III, consider the Line 6 POD Go or ZOOM G5n, both of which are multi-effects processors that provide ample features for beginners.

By combining these pieces of gear, even beginners can achieve “transparent cleans,” “raw yet defined distortion,” and “ethereal spatial processing,” all of which are hallmarks of Nishikawa’s sound. The key is not to focus solely on acquiring expensive gear but to adjust and refine tones that align with Cocco’s musical essence.

Summary and Conclusion

Reflecting on Nishikawa Shin’s sound design reveals that its essence lies in “the guitar that enhances Cocco’s vocals.” He carefully avoids overshadowing the song with his guitar, maintaining a keen awareness of the overall musical narrative while still asserting a sharp presence. Even his distortion is not just aggressive; it possesses a warmth that envelops the vocals, creating an ethereal resonance through reverb and delay. This delicate balance is at the core of Nishikawa’s sound design.

In his gear selection, Nishikawa skillfully balances “classic” and “individualistic” elements. While he anchors his sound in established amps like HIWATT and VOX, he introduces unique setups, such as placing the Holy Grail reverb before distortion. His ability to manipulate the rawness of the MXR Distortion II alongside the delicate tones of the Jazzmaster exemplifies a guitarist who “supports the song while never neglecting his own expression.”

Moreover, his sound is not merely a collection of gear but a “narrative sound design” optimized for each song. In energetic tracks, he uses the SG to carve sharp riffs, while in ballads, he supports the vocals with acoustic guitars, and in ethereal pieces, he employs spatial effects to create deep echoes. This reflects Nishikawa’s flexible aesthetic, where the guitar can be both a lead and a supporting role.

Equally important is his consideration of sound design from the PA and mixing perspectives. By adjusting volume and EQ with the venue’s acoustics and audience reception in mind, he ensures that the guitar remains distinct without overshadowing Cocco’s vocals. Thus, his sound is crafted not just for the studio or stage but with an awareness of the “final form” that reaches the listener.

For beginners aspiring to emulate Nishikawa’s sound, it is crucial to learn not just to “mimic the gear” but to adopt the mindset of “designing sound that complements the song.” By combining simple overdrive, compression, and reverb, one can capture the essence of his sound design. Ultimately, what is sought is not “thickness or flamboyance” but the “temperature of the guitar that envelops the song.”

Overall, Nishikawa’s sound represents the “ideal of a guitar that accompanies the song.” Understanding the background of his sound design allows for a deeper appreciation of Cocco’s music and provides new perspectives for one’s own playing. For anyone picking up a guitar, Nishikawa’s approach serves as a model of “consideration for the listener” in music.