[Shigeo Jojima] How to Recreate the TOKIO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shigeo Jojima, the leader and guitarist of TOKIO, is known for his impactful guitar sound that supports the band’s diverse musicality. His ability to seamlessly switch between powerful rock riffs and clean pop backing has consistently delivered stable sound during live performances and television appearances.

In iconic songs like “LOVE YOU ONLY” and “宙船” (Uchūsen), his robust riffs and soaring crunch tones play a crucial role in underpinning the band’s overall groove. Beyond being just a Johnny’s band, Jojima’s earnestness as a player and his solid playing style are truly captivating.

Moreover, Jojima’s sound crafting is rooted in traditional rock gear, yet he occasionally introduces experimental guitars, showcasing a playful spirit. Guitars like the ESP leopard-print Snapper and POTBELLY not only make a visual impact but also enhance the stage presence with their sound and looks.

This article will meticulously explore the amplifiers, guitars, and effects used by Shigeo Jojima, delving into the essence of his sound creation and EQ settings. It aims to assist those who wish to replicate TOKIO’s sound at home or in the studio, as well as those looking for guidance in selecting guitar gear.

▶ Search official YouTube videos of TOKIO

List of Amplifiers and Features

The foundation of Shigeo Jojima’s sound creation lies in the classic amplifiers favored by rock guitarists. Notably, the Marshall JCM series is indispensable for crafting sounds ranging from distortion to crunch, serving as the backbone of TOKIO’s robust band sound. Models like the JCM900 and JCM2000 have been used extensively on stages from the 1990s to the 2000s. These amps are characterized by their pronounced midrange, which highlights riffs and chord strokes effectively.

For clean tones, the Roland JC-120 is a staple, often employed in TV recordings and as a permanent fixture in concert halls, providing stable sound quality. The unique chorus effect of the JC-120 is particularly effective in enhancing TOKIO’s refreshing pop songs and ensemble work. By adding a subtle chorus, Jojima creates a clean yet three-dimensional resonance that leaves a pleasant impression on listeners.

Additionally, the Fender ’65 Twin Reverb plays a significant role in producing clean to crunch sounds. With its wide range, it excels in settings leaning towards crunch, producing a rich tone suitable for ballads and mid-tempo songs. Its excellent pedal compatibility makes it a perfect match for overdrive and chorus effects.

Some sources suggest that Jojima may also utilize rack-mounted amps like the Marshall JMP-1 preamp and EL34 100/100 power amp, which would allow for flexible sound crafting depending on the stage size. This setup is likely employed in studios or large arenas to ensure stable sound pressure and quality.

In summary, Shigeo Jojima creates robust distortion with Marshall amps while using Roland JC-120 and Fender Twin Reverb for clean tones, adapting to various situations. This combination successfully balances the power of rock with the clarity of pop, making his amp setup a blend of “rock tradition” and “clean stability.”

Types of Guitars Used and Features

Shigeo Jojima’s guitar collection reflects his character with a rich variety. The ESP leopard-print Snapper-AS/M, which has made striking appearances in live shows and TV programs, is not only visually impactful but also excels in cutting and clean tones with its S-S-S pickup configuration, featuring practical top jack design. This guitar has been confirmed during tours and media appearances in the mid-2000s, leaving a strong impression on fans.

Moreover, the ESP POTBELLY is known for its rich midrange, making it suitable for producing the core of traditional rock sounds. Compared to the single-coil Snapper, it has a thicker midrange, which likely supports the overall band sound effectively.

The Navigator N-LP320CTM is a high-end model from the ESP line, resembling a Les Paul Custom. There are anecdotes of it being a gift, and its fast-response sound with thick mid-low frequencies likely shines in simple rock songs and ballads. Similarly, the Gibson Les Paul Standard is a classic all-rounder, capable of handling everything from thick distortion to clean tones.

On the other hand, the Music Man Silhouette offers a wide range and excels in playability in higher positions, making it suitable for lead playing and arpeggios in pop-oriented songs. Additionally, the red Fender Stratocaster is one he has publicly acknowledged owning, characterized by its lively cutting and crunch typical of single-coils, fitting seamlessly into Jojima’s playing style.

We cannot overlook the assumed Gretsch Duo Jet, which is speculated to match the band’s diverse musicality with its Filter’Tron pickups, providing a compressed clean to light distortion sound.

These guitar choices reflect Jojima’s earnest player mentality, wanting to switch characters for each song. By using Les Pauls to support the core of rock, Strats and Silhouettes for brightness and range, and custom models from ESP to showcase visual and personal flair, he creates the diversity of TOKIO’s sound. Overall, Jojima’s guitar selection is a balance of “reliability” and “playfulness.”

Effects and Pedalboard Setup

Information about Shigeo Jojima’s pedalboard is quite limited in official releases. Therefore, we will introduce the gear that can be inferred from his used amps, playing style, and tendencies in TV recordings and live performances. First and foremost, a tuner is essential, and it is highly likely that he uses standard models like the BOSS TU series or TC Electronic Polytune. Given the need for stability during TV appearances, it is assumed that such a tuner is definitely included.

For managing the clarity of clean tones, the BOSS CS-3 compressor is likely used. This is crucial for maintaining sustain while aligning sounds, especially in cutting phrases and ballad arpeggios. For overdrive/distortion, it is assumed that he primarily uses BOSS SD-1 or OD-3, along with Tube Screamer-type pedals to boost the Marshall amp’s distortion. Depending on the song, he may also add distortion for a thicker rock sound.

For clean-oriented songs or ballads, it is highly likely that he used chorus effects in combination with the Roland JC-120. By employing modulation effects like the BOSS CE-5, he likely added depth and brilliance to his sound. Furthermore, for solos and lead sections, digital delay (BOSS DD-3/DD-7 series) is assumed to be used to create depth. While relying on the built-in reverb of the amp, he likely added a light room reverb to adjust the resonance according to the venue.

For dynamic control, the Ernie Ball VP series volume pedal is a strong candidate. It is a standard piece of gear that allows smooth transitions from backing to solos. Additionally, a Cry Baby-type wah pedal may have been used as needed to enhance accents and expressiveness in certain songs. Overall, this setup can be described as a reliable configuration centered around simple yet effective pedals.

In summary, Shigeo Jojima’s pedalboard is likely constructed around “essential items for a classic rock guitarist.” Rather than relying on flashy special effects, his approach emphasizes stable sound creation and practicality in live settings. This reflects the choice of a leader who supports the entire band.

Tone Settings, EQ, and Mixing Approaches

Shigeo Jojima’s sound crafting is characterized by a simple yet flexible adjustment of amp and effect combinations to accommodate TOKIO’s diverse musicality. The basic tone design balances “robust rock sound” with “clean tones that fit pop,” allowing him to switch between Marshall distortion and transparent cleans from Roland JC-120 or Fender Twin Reverb to create colors suited to different situations.

Basic EQ Settings when using the Marshall JCM900/JCM2000 typically involve setting Bass around 4-5, Middle slightly higher at 6-7 to bring the guitar’s presence forward in the band ensemble. Treble is kept around 4-5 to avoid harsh high frequencies while ensuring the picking attack remains clear. Presence is adjusted according to venue size and PA conditions, likely raised to around 6 in larger halls to ensure clarity.

For clean settings, using the Roland JC-120 or Fender Twin Reverb, Treble and Bass are set flat (around 5), while Middle is slightly reduced (around 3-4) to emphasize the wide range and transparency unique to clean tones. Particularly with the JC-120, applying a light internal chorus likely adds a three-dimensional resonance even in simple backing.

In terms of song-specific adjustments, for vibrant pop songs like “LOVE YOU ONLY” and “AMBITIOUS JAPAN!”, he likely focuses on clean to crunch tones, using a compressor to align the clarity of cutting phrases. For robust rock songs like “宙船” (Uchūsen) and “花唄” (Hanabana), he builds distortion sounds centered around Marshall, pushing midrange with overdrive pedals to bring riffs and solos forward. In ballads, he utilizes the richness of the Fender Twin Reverb, adding delay for spaciousness.

Regarding effect usage, the delay’s repeats are likely set short (around 300ms) to add depth to leads without muddying the overall sound. Reverb primarily relies on the amp’s built-in effects, with external pedals adding room reverb as needed. The wah pedal is simply implemented for accentuation in necessary songs, while the volume pedal is used for dynamic control between backing and solos.

Mixing and PA considerations are also crucial. Jojima’s guitar is likely mixed with an awareness of the overall band balance, with EQ processing ensuring low frequencies do not overlap with the bass. In live PA, boosting around 2kHz helps ensure chord strokes and cuts are not buried. Conversely, frequencies above 5kHz are kept lower to achieve a smooth tone that is not piercing to the ears. In recorded works, double tracking is likely employed to add thickness while panning left and right for spatiality.

In conclusion, Shigeo Jojima’s sound crafting is built on a consistent philosophy of “supporting the midrange presence of rock while emphasizing transparency in clean tones.” Rather than relying on complex gear or flashy effects, his setup focuses on stability and practicality, which is key to accommodating TOKIO’s diverse musical repertoire.

Affordable Alternatives to Recreate the Tone

Shigeo Jojima’s sound is characterized by a solid approach that balances traditional rock distortion with clean tones that shine in pop music. Therefore, it is possible to replicate his sound without investing in professional-grade Marshall or Fender amps, using commercially available effects and affordable guitars instead. Here, we will introduce gear in the price range of $100 to $500 that is beginner-friendly, explaining “why this affordable gear can achieve a similar tone.”

For distortion, BOSS SD-1 and OD-3 are solid choices. They work well as boosters to replicate the character of Marshall amps, emphasizing mids to easily recreate Jojima’s robust rock sound. If distortion is necessary, adding BOSS DS-1 or DS-2 can broaden the tonal options.

For clean tones, the BOSS Katana series amps serve as excellent alternatives to the Roland JC-120. They offer quick clean response and come with built-in chorus and reverb, effectively mimicking the JC-120’s quality for TV and live settings. For home practice, the Roland JC-22 is compact yet practical.

In terms of effects, the BOSS CE-5 is effective for recreating the depth seen in Jojima’s cleans. Additionally, combining it with a delay like the BOSS DD-7 can add spaciousness to leads and solos. The volume pedal Ernie Ball VP Jr. is user-friendly for beginners, making it ideal for transitioning between backing and solos.

Regarding guitars, while high-end ESP or Navigator models can be pricey, alternatives like the Epiphone Les Paul Standard and Squier Stratocaster are recommended. The Les Paul-style guitar can provide thick distortion, while the Strat-style guitar can deliver lively cutting tones, covering Jojima’s broad style. For those seeking the vibe of a Gretsch Duo Jet, the Gretsch Electromatic Series offers a relatively affordable entry point.

By focusing on “mid-emphasized distortion + transparent clean + moderate chorus & delay,” even budget-friendly gear can closely approach Shigeo Jojima’s sound. This setup is also ideal for beginners learning sound crafting, suitable for stage, practice, and home recording.

Summary and Conclusion

Shigeo Jojima’s guitar sound emphasizes “reliability” and “certainty” over flashiness, embodying a classic rock style. By skillfully switching between robust distortion centered around Marshall amps and transparent cleans from Roland JC-120 and Fender Twin Reverb, he has effectively catered to TOKIO’s diverse musical repertoire. This approach reflects a leader’s philosophy of supporting the vocals while maintaining cohesion with the rhythm section.

In selecting guitars, Jojima showcases a range from impactful models like the ESP leopard-print Snapper and POTBELLY to classic Les Pauls and Strats, providing character that matches the mood of each song. By combining models that emphasize thick midrange with those that offer a wide range, he adeptly balances “rock thickness” with “pop lightness.”

His pedalboard is likely constructed around standard models from BOSS and Ibanez, focusing on essential combinations of compressor, overdrive, chorus, and delay without relying on excessive special effects. This reflects a player’s mindset that prioritizes how the guitar resonates within the overall band context over pursuing flashy individuality.

The essence of sound crafting lies in “midrange presence” and “clean transparency.” In terms of EQ balance, he emphasizes mids to bring chord strokes and riffs forward while ensuring clarity in cleans by managing unnecessary frequencies. In live and recording scenarios, he likely adjusts depth with delay and reverb as needed, showcasing practical collaboration with the PA system.

Overall, to replicate Shigeo Jojima’s sound, it is not about gathering extravagant gear but rather about “carefully crafting basic rock sounds and switching between clean and distortion according to the song.” Even beginners can approach this essence by incorporating gear like the BOSS SD-1, Katana amp, and Epiphone Les Paul.

Jojima’s sound crafting does not depend on technical fast playing or special effects. Instead, the value lies in the “TOKIO sound” established through simple gear and reliable performance. In essence, the core of his sound is “trust in supporting the music,” which has garnered long-standing support from fans.