[Saionji Hitomi] How to Recreate the Kishidan Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Saionji Hitomi, the guitarist of Kishidan, plays a crucial role in supporting the band’s distinctive “Yankee x Rock ‘n’ Roll” persona. His guitar sound is powerful yet carries a certain elegance, perfectly balancing the rawness of rock with a melodic sensibility.

As exemplified in the iconic song “One Night Carnival,” Saionji’s guitar serves as a driving force throughout the track. The thick midrange typical of a Les Paul combined with the explosive sound of a Marshall amp creates a powerful presence that instantly draws the audience into the performance. Notably, in his early days, he was known for his direct connection approach, even removing all effects pedals to pursue a sound with a solid core.

Saionji’s style is characterized by a commitment to refining his tone, focusing on the “sonic pressure” and “presence” of riffs and chord work rather than flashy techniques. Particularly in live settings, he unleashes the full power of a Marshall full stack, supporting Kishidan’s energetic stage performances.

Thus, Saionji Hitomi’s guitar sound is not merely about distortion; it is defined by “thickness,” “rock’s rawness,” and a “temperature that aligns with the songs.” In the following section, we will delve into the specific amplifiers that support his sound.

▶ Search official YouTube videos of Kishidan

List of Amplifiers and Features

When discussing Saionji Hitomi’s sound, the presence of Marshall amplifiers is indispensable. At Kishidan’s live shows, a powerful setup featuring classic models like the 1959 and JMP100 is often seen, with multiple full stacks or half stacks arranged at the back of the stage. This not only creates a striking visual impact but also ensures a thick sound pressure.

Marshall 1959 + 1960AX is one of Saionji’s signature choices. The 1959 model, known as “Plexi,” offers a clean to crunchy tone that is both expansive and inviting. When paired with the 1960AX cabinet featuring Greenback speakers, it produces a unique midrange thickness. This amp is ideal for creating the thick, forward guitar sound that characterizes Kishidan’s rock ‘n’ roll tracks.

Marshall JMP100 + 1936 is another critical component. The JMP100 represents the hard rock sound of the 1970s, featuring higher gain and a rougher distortion compared to the 1959. Saionji combines this with the 2×12 cabinet 1936, controlling the sound to be tighter without the overwhelming low end of a full stack. This setup particularly highlights the clarity in the midrange, effectively emphasizing his riff-driven style.

During live performances, both amplifiers are sometimes used simultaneously, combining visual theatrics with sonic layering. It is speculated that he switches channels or stacks depending on the song, blending the characteristics of his guitar with the amp’s personality. Official interviews and Yamaha ART’s “BACKSTAGE” reports confirm the use of these models, making their inclusion certain.

In this way, while Saionji Hitomi advocates for a direct connection approach, he skillfully combines multiple classic Marshall stacks to achieve the necessary sound pressure and expressiveness for Kishidan’s music. Rather than relying on flashy effects, his style emphasizes the natural character of the amps, embodying the essence of rock. Ultimately, it is assumed that he adjusts his setup based on the venue size and the songs performed.

Types of Guitars Used and Features

Saionji Hitomi’s most recognized main guitar is the Gibson Les Paul Standard ’89 (modified). This is confirmed in his official profile and can be clearly seen in live photos. The thick midrange and sustain typical of a Les Paul form the backbone of Kishidan’s sound. In particular, his powerful chord strumming in tracks like “One Night Carnival” supports the entire band.

This Les Paul is a late ’80s model and features modifications that enhance its characteristics. Generally, ’80s Les Pauls are known for their weight and powerful low-end response. The modifications likely contribute to Saionji’s unique tonal clarity and presence. Connecting this thick drive sound directly to a Marshall amp is a quintessential rock ‘n’ roll approach.

Additionally, he also uses a Fender Telecaster as a secondary guitar. This is also noted in his official profile, with confirmed use in both live and recording settings. The Telecaster offers a brighter and tighter sound compared to the Les Paul, making it suitable for crisp cutting and melodic phrases. By contrasting the thick tones of the Les Paul, he expands the tonal palette for different songs.

For instance, in upbeat tracks or ballads, he tends to use the Telecaster to create a lighter and more pronounced tone. Conversely, in anthemic songs that define the band, he relies on the Les Paul for its heavy and overwhelming presence.

In this way, Saionji Hitomi operates with a dual approach, using the Les Paul as his mainstay and the Telecaster for added tonal diversity. This strategic choice in sound crafting allows him to adapt to Kishidan’s wide range of musical styles, ensuring that audiences are consistently treated to fresh and powerful guitar sounds.

Effects and Pedalboard Setup

A notable aspect of Saionji Hitomi’s sound construction is his strong preference for a direct connection approach, emphasizing simplicity. In the early days of Kishidan, he removed all effects pedals, connecting his guitar directly to the Marshall amp with just a cable. This philosophical choice eliminates unnecessary coloration, allowing the natural sound of the guitar and amp to shine through, embodying the essence of rock ‘n’ roll.

However, Saionji has mentioned a preference for the Tone Bender-style fuzz. He describes its “uncontrollable ferocity” as appealing, suggesting a tendency towards a rough, aggressive fuzz sound that differs from modern high-gain distortions. The Tone Bender is a legendary fuzz pedal from the 1960s, favored by artists like The Rolling Stones and Jimmy Page. His fondness for this pedal symbolizes Kishidan’s “spirit of classic rock ‘n’ roll.”

That said, it is not always confirmed that he uses the fuzz in every live performance or official video, indicating its use may be limited to specific songs or periods. The harmonics produced by fuzz add a layer of rawness to the heavy band sound, creating a dramatic impact in simpler compositions.

In interviews regarding Kishidan’s sound production, there are statements about “revisiting sound creation by eliminating effects during the production of signature tracks.” This suggests that Saionji is the type of guitarist who prefers to shape his tone through touch and amp volume control rather than relying on effects. His playing style allows him to control the sound from clean to crunch to distortion through variations in picking strength and the guitar’s volume knob.

In summary, Saionji Hitomi’s pedalboard is not cluttered with a wide array of pedals like many rock guitarists. Instead, he often opts for the bare minimum, sometimes using just a fuzz pedal or even going completely direct. This approach ensures that he consistently delivers a “raw rock sound” to his audience.

Tone Settings, EQ, and Mixing Approaches

One of the key points in Saionji Hitomi’s sound crafting is his commitment to “minimizing unnecessary effects and showcasing the individuality of the amp and guitar.” This philosophy directly ties into his “direct connection approach,” aiming to deliver the raw resonance of the Les Paul and Telecaster, along with the explosive character of Marshall, directly to the listener.

Regarding the settings for the Marshall 1959 and JMP100, it can be inferred that they follow classic rock principles with a setting of high presence, slightly boosted mids, moderate bass, and mid-level treble. Specifically, a range of bass at 3-4, mids at 6-7, treble around 5, and presence at 6-7 would create a rock sound that allows the guitar to stand out without being buried.

In terms of distortion, it is speculated that he emphasizes raising the amp’s volume to saturate the power tubes. Many classic Marshall models do not have a master volume, allowing for a rich harmonic character through natural power amp drive. This aspect is deeply connected to his “direct connection approach,” where he controls tone through the guitar’s volume knob and touch rather than relying on pedals for distortion.

When using the Tone Bender fuzz, some EQ shaping on the amp side may be necessary. Since fuzz can often exaggerate low and high frequencies, lowering the bass (to around 2-3) and boosting the mids can help integrate the sound into the ensemble while maintaining presence. When fuzz is added, the guitar may become too prominent, so it is possible that light compression is applied during mixing or that double tracking is used to add thickness.

Recording and PA processing also have their unique characteristics. Kishidan’s songs often feature arrangements with brass and keyboards, requiring Saionji’s guitar to maintain “sound pressure while cutting through the midrange.” In the PA, lightly cutting around 200Hz and boosting 2kHz-4kHz allows the guitar to stand out without overshadowing vocals or horns. Additionally, in live settings, standard dynamic microphones like the SM57 or MD421 are likely used to mic the cabinet, targeting the outer edge of the speaker cone to capture the sound without losing definition.

Furthermore, using different setups for various songs is crucial. For example, in the anthemic “One Night Carnival,” the combination of the Les Paul and 1959 produces a classic thick rock sound, while in ballads or single cuts, the Telecaster is used to create a clean to crunch sound that feels refreshing. This adaptability allows him to control the weight and brightness of the sound according to the situation.

In summary, Saionji Hitomi’s sound crafting is dedicated to “maximizing the natural sound of the guitar and amp,” with subtle EQ adjustments and limited fuzz usage adding diverse expressions. His commitment to a raw, unprocessed sound that embodies the essence of rock ‘n’ roll is his defining characteristic.

Affordable Alternatives to Recreate the Tone

To fully replicate Saionji Hitomi’s sound, high-end gear like vintage Gibson Les Pauls or Marshall full stacks would typically be required. However, there are several ways to approach his “direct connection philosophy” and “thick, raw rock ‘n’ roll sound” on a budget. Here, we introduce relatively affordable alternative gear that beginners to intermediate players can easily adopt.

For guitars, the Epiphone Les Paul Standard is highly recommended. As a direct subsidiary of Gibson, it can be purchased for around $500-$700, offering a solid experience of the thick midrange characteristic of a Les Paul. While it may not match the power of Saionji’s modified ’89 model, it allows for easy replication of Kishidan-like riffs. For Telecasters, the Fender Japan or Squier Telecaster series are practical options, providing the bright and tight sound at an affordable price.

For amplifiers, if you’re practicing at home or playing small gigs, options like the Marshall DSL20CR or Marshall MG30FX are suitable. These can be found for approximately $500-$800 and simulate classic Marshall tones effectively. The DSL series, in particular, is a tube amp that allows you to experience the character of the 1959 and JMP models in a simplified manner. By boosting the mids and lowering the bass, you can get closer to Saionji’s direct connection tone.

On the effects side, introducing fuzz can help recreate that “uncontrollable ferocity.” While the original Tone Bender can be expensive, alternatives like the BOSS FZ-5 Fuzz or Electro-Harmonix Big Muff Nano are more budget-friendly. Both can be purchased for around $100-$200, providing a rough distortion with rich harmonics. The FZ-5, in particular, models vintage fuzz characteristics, making it easier to approach a Tone Bender-like sound.

Additionally, utilizing multi-effects units can be practical. For example, the BOSS GT-1 or Zoom G3Xn can be acquired for around $300-$400, allowing you to simulate amp settings and EQ effectively. This is particularly useful for learning the philosophy of direct connection sound creation by focusing on simple distortion and EQ.

In summary, by combining a Les Paul-style guitar with a Marshall-style amp and a fuzz pedal, and adjusting the EQ to “lower bass, higher mids, and emphasized presence,” you can get closer to Saionji Hitomi’s robust sound while keeping costs down. It is essential to remember the essence of the “direct connection approach” and to keep your setup simple.

Summary and Conclusion

Reflecting on Saionji Hitomi’s sound crafting, the key concepts are “direct connection approach” and “the essence of rock ‘n’ roll.” Connecting his guitar directly to the amp with just a cable, he maximizes the natural resonance of the Les Paul and Telecaster, perfectly aligning with Kishidan’s artistic vision. There is a strong desire to convey pure rock energy by eliminating unnecessary processing.

This philosophy is evident in his choice of gear. The thick midrange of the Gibson Les Paul Standard ’89 (modified) and the clarity of the Fender Telecaster are strategically used depending on the situation, while classic amps like the Marshall 1959 and JMP100 deliver explosive sound. He may occasionally use a minimal Tone Bender fuzz, but fundamentally respects the natural distortion of the amp. This embodies the idea that “simplicity is strength.”

Moreover, his sound crafting is closely tied to his playing style. By adjusting picking strength and the guitar’s volume, he manipulates a wide range of nuances from clean to drive. Rather than relying on effects, he adds expression to the music through his touch. The impression audiences receive during live performances—”loud yet pleasant to the ears,” “rough yet refined”—is a testament to this approach.

Additionally, it is crucial to consider his role within Kishidan’s overall musicality. In an ensemble filled with brass, vocals, and rhythm, Saionji’s guitar serves as the “skeleton.” The straightforward rock sound, stripped of unnecessary embellishments, ensures that Kishidan’s music maintains a solid foundation, no matter how extravagant the presentation.

In conclusion, the essence of Saionji Hitomi’s sound crafting lies in the balance of “simplicity and boldness.” By combining the Les Paul and Telecaster with Marshall amps, occasionally adding fuzz for roughness, he supports the powerful sound of Kishidan, allowing audiences to experience “real rock ‘n’ roll.” For readers looking to replicate Saionji’s sound, it is essential to prioritize the direct connection approach to highlight the charm of the guitar and amp over the extravagance of gear.