[Shinji] How to Recreate the SID Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shinji, the guitarist of SID, is a crucial element supporting the band’s aesthetic and dramatic sound. His guitar work is characterized by a diverse expression that goes beyond mere distortion, skillfully switching between clean and crunchy tones, as well as utilizing various effects. Particularly in ballads, he masterfully manipulates warm clean tones, while in more intense tracks, he delivers tight drive sounds.

In the iconic song “Uso,” delicate clean tone arpeggios leave a lasting impression, while “Monochrome no Kisu” showcases powerful riffs enhanced with spatial effects, creating a depth unique to SID. At first listen, Shinji’s sound may seem simple, but it is intricately crafted, playing a vital role in reinforcing the band’s overall atmosphere.

Shinji is also known for his meticulous gear selection, prominently featuring the FERNANDES signature model “DECADE,” along with a variety of classic brands like Fender and Gibson. His choice of amplifiers, including high-end models from Two-Rock and Bogner, emphasizes a clean foundation built upon with pedals, which is particularly noteworthy.

Considering these elements, the essence of Shinji’s sound lies in the balance of “delicacy and power.” His guitar sound is capable of asserting his individuality while complementing the band’s overall arrangement, making it one of his most appealing attributes.

In the following sections, we will delve into Shinji’s gear, exploring the secrets behind his sound creation through amplifiers, guitars, and effects.

▶ Search official YouTube videos of SID

List of Amplifiers and Features

Shinji’s amplifier selection is tailored to support his “pedal-based sound creation” centered around clean tones. His main amplifier is the Two-Rock Classic Reverb Signature paired with a dedicated 2×12 cabinet. This amp is known for its wide range and ability to faithfully reproduce delicate picking nuances. Shinji builds his clean tone here, layering boosters and overdrives to add distortion as needed. On stage, its stability and high resolution stand out, allowing for versatility across ballads and heavier tracks.

Next is the Bogner Ecstasy, a versatile three-channel amplifier that covers clean, crunch, and high-gain sounds. It offers transparent cleans along with thick lead tones. Shinji has been known to use this Bogner during past tours and rehearsals, indicating a preference for a more aggressive distortion approach compared to the Two-Rock.

Additionally, Shinji has been associated with Divided by 13 amplifiers (such as the CCC9/15). Known for their excellent response, these handmade amps are often chosen for studio and recording use. Compared to Two-Rock, they possess a raw character, likely used to add texture in less dense arrangements or delicate songs.

From these amplifier choices, it is evident that Shinji utilizes a range of environments: the clean-focused Two-Rock for live performances, the versatile Bogner for varied distortion channels, and the response-oriented Divided by 13 for specific applications. All of these are high-end amplifiers, reflecting his deep commitment to sound quality.

In past interviews, he has also mentioned using a Gibson Les Paul Standard Reissue combined with a Mesa/Boogie Road King, suggesting that during SID’s early to mid-period, the powerful gain of Mesa/Boogie contributed to his sound.

In summary, while his current main setup revolves around the Two-Rock’s clean foundation, it is assumed that Bogner and Divided by 13 were used in conjunction depending on the song or tour period.

Types of Guitars Used and Features

When discussing Shinji’s sound, one cannot overlook his diverse collection of guitars. The mainstay is his signature model, the FERNANDES DECADE. This unique guitar combines a Jazzmaster-type body shape with a Stratocaster pickup configuration, designed to suit Shinji’s playing style. Its distinctive mid-range push and user-friendly sound make it a key player in both live and recording settings, forming the core of the SID sound.

Another notable guitar in recent years is the Xotic XSC-2 (ST type). Featuring a roasted maple neck, ultra-thin lacquer finish, and Low Vintage pickups, it boasts high-end specifications typical of handmade instruments. The aged finish adds a unique vintage feel, and its multi-tuning setup enhances its versatility for live performances.

Shinji has also been using the Fender Made in Japan Heritage 60s Jazzmaster since around 2022. He has mentioned that he was drawn to its appearance, but he has also made meticulous modifications, such as damping resonance with sponge and replacing the bridge with a Mustang-type. These adjustments ensure tuning stability while achieving a unique overtone quality.

Additionally, he has a history of using classic guitars like the Gibson ES-335 and the Gibson Custom Shop Historic Collection 1959 Les Paul Standard Reissue. The ES-335 adds an acoustic-like resonance to his sound, providing depth throughout the tracks. The Les Paul Reissue was used during the recording of “Butterfly Effect,” creating thick lead tones when paired with the Mesa/Boogie Road King (though it is said he no longer owns it).

Shinji also owns a classic Fender Stratocaster, which has been utilized across a wide range of songs due to its versatility. The bright tone typical of a Stratocaster particularly shines in SID’s more pop-oriented tracks.

In summary, Shinji selects guitars with optimal characteristics for each song, primarily using his signature DECADE, along with the vintage-flavored Xotic and classic Fender/Gibson models as needed. This flexibility in sound creation is a significant asset in his musical arsenal.

Effects and Pedalboard Setup

Shinji’s pedalboard is richly equipped to support the “wide range of tones” required in SID’s music. He employs two systems: a main board operated by a tech during live performances and a personal board he controls at his feet, allowing for situational flexibility.

On the main board, a significant amount of FREE THE TONE equipment is utilized. The centerpiece is the programmable switcher ARC-4, which efficiently controls multiple distortion and spatial effects. Additionally, components like the JB-82S (junction box), EFS-3 (expansion switch), CC-1B (booster), and SG-1C (compressor) are integrated, ensuring stability and flexibility in sound creation.

For distortion pedals, Vemuram Jan Ray (overdrive), Friedman BE-OD (distortion), and the aggressive fuzz sound of Anarchy Audio BaaBzz have been confirmed. These are chosen to add the optimal distortion texture for each song, based on the amp’s clean foundation.

In terms of spatial effects, the Line 6 HX Effects is employed to control delay, modulation, and reverb collectively. Furthermore, FREE THE TONE’s FT-2Y (delay) and EQ/send-return connected PA-1QG are incorporated, allowing for meticulous tone shaping. This enables deep delays in ballads and short delays in upbeat songs, facilitating detailed expressions tailored to each track.

On his personal board, Shinji utilizes distinctive pedals like the RMC RMC-5 Wah and DigiTech Whammy 4. These allow for dynamic expressions during solos and powerful improvisational moments during live performances. He employs the high-precision Sonic Research ST-300 tuner to ensure stability on stage.

For acoustic sets, equipment like the Rupert Neve Designs RNDI, FISHMAN ToneDEQ, and Ernie Ball VPJR are used to construct clean and dimensional acoustic sounds, ensuring they stand out even in a rock band setting.

In the past, he has also used pedals like the Providence Sonic Drive, Heat Blaster, BOSS DD-3, and TC Electronic Hall of Fame Reverb, indicating a pursuit of ideal sound through periodic gear updates. Shinji integrates effects not merely as “decorations” but as an essential part of musical expression.

In summary, his effects system is built upon “clean amp + multiple distortions + meticulous control of spatial effects,” allowing him to adapt to SID’s diverse repertoire using both the main and personal boards.

Tone Settings, EQ, and Mixing Approaches

Shinji’s sound creation is characterized by a style that emphasizes “clean tones as the foundation, with distortion and spatial effects layered on top.” The main amplifier, the Two-Rock Classic Reverb Signature, has a wide range and fine-tunable EQ, allowing him to maintain a clean setting as a base without driving the amp into distortion. By layering boosters and overdrives, he adds the optimal texture for each song.

Regarding EQ, it is assumed that he typically sets the Two-Rock to Bass 4-5, Middle 5-6, Treble around 6. By keeping the low end slightly restrained, he avoids clashing with the bass and keyboard frequencies, ensuring a prominent mid-high presence. Additionally, he creatively uses the amp’s Bright switch to enhance clarity during delicate arpeggios, showcasing his unique touch.

The combination of distortion pedals is also crucial. For a crunch tone, he primarily uses the Jan Ray, and when he wants to emphasize leads, he adds the CC-1B booster. For songs requiring thicker distortion (e.g., “Monochrome no Kisu,” “Uso”), he incorporates the BE-OD to increase the drive. The fuzz pedal BaaBzz is utilized for impactful live performances and climactic moments in songs, adding a raw edge to the sound.

For spatial effects, he alternates between the Line 6 HX Effects and the FREE THE TONE FT-2Y, providing different echoes for each song. In ballads, he employs deep delays and reverb to create a three-dimensional sound, while in upbeat tracks, he uses short delays to maintain attack without sacrificing space. Since SID’s music is structured around the vocals, the guitar must occupy a balanced position—neither too prominent nor buried. Shinji achieves this balance through EQ adjustments and delay timing.

During live mixing, he collaborates with the sound engineer to ensure that Shinji’s guitar has “core presence in the midrange while creating lateral spread” in the PA processing. When using distortion beyond crunch, low frequencies are often cut to enhance the overall clarity of the band. In ballads, he increases the reverb return, and during solos, he boosts the midrange with EQ to emphasize the outline, showcasing meticulous attention to detail.

Notably, during the recording of “Butterfly Effect,” he used the Gibson Les Paul Standard Reissue with the Mesa/Boogie Road King to achieve thick lead tones. In this case, he utilized the amp’s gain channel and employed double tracking in the mix to enhance the power. Conversely, for “Uso,” he recorded primarily clean tones with the ES-335, using deep reverb and stereo delay to create a sense of depth.

In summary, Shinji’s sound creation revolves around the approach of “anchoring in clean transparency while adding necessary distortion and space for each song.” The amp serves as a foundation, with pedal and EQ adjustments providing the finer character, ultimately refined through PA/mixing. This style reflects not only his dedication as a guitarist but also his ensemble-oriented setup, considering the overall sound of the band.

Affordable Alternatives to Recreate the Tone

The high-end gear used by Shinji, such as Two-Rock, Bogner, Xotic, and Vemuram, can be quite expensive, making it challenging for beginners or intermediate players to acquire. However, many aspiring musicians wish to replicate SID’s sound or Shinji’s style. Here, we introduce more accessible gear options that can help achieve a similar tone.

Starting with amplifiers, the core of Shinji’s sound creation is a “clean-focused amp with added distortion from pedals.” For alternatives to the costly Two-Rock, models like the Fender Hot Rod Deluxe and Yamaha THR100H are recommended, as they excel in clean tones and respond well to pedals. The Hot Rod Deluxe, in particular, possesses the signature brightness of Fender cleans, allowing for the layering of Jan Ray or overdrive pedals to recreate Shinji’s transparent tone.

For distortion options, the BOSS BD-2 Blues Driver and JHS Morning Glory can serve as alternatives to the Vemuram Jan Ray. The BD-2 is affordable and can handle crunch to light overdrive, providing a sound that highlights the guitar’s natural tone. For alternatives to the BE-OD, the BOSS DS-1W (Waza Craft version) is a strong contender, offering excellent clarity even at high-gain settings, making it easier to replicate SID’s aggressive riffs. For fuzz alternatives, consider the BOSS FZ-5 or Electro-Harmonix Big Muff Nano.

In terms of spatial effects, while the Line 6 HX Effects is feature-rich, it is also pricey. More budget-friendly options include the BOSS DD-8 (delay) and TC Electronic Hall of Fame 2 (reverb), both of which are intuitive to use and versatile for live or home practice.

For wah and pitch shifter effects, many high-priced options exist, but to mimic Shinji’s pedalboard, consider the VOX V847 Wah and DigiTech Whammy Ricochet (a simplified version of the Whammy 4). Combining these will allow for dynamic expressions and live energy at a more affordable price.

For acoustic gear, alternatives to the FISHMAN ToneDEQ and Rupert Neve Designs RNDI include the BOSS AD-2 Acoustic Preamp and Zoom AC-2 Acoustic Creator, both available at reasonable prices and capable of reproducing natural acoustic sounds during line output.

In summary, by assembling the five essential elements: “a clean-friendly amp,” “natural overdrive,” “strong distortion,” “delay and reverb,” and “wah and pitch effects,” one can get quite close to Shinji’s sound. Especially for beginners, focusing on BOSS and TC Electronic products can keep costs down while achieving high fidelity and practicality.

Summary and Conclusion

In summarizing Shinji’s sound creation for SID, its essence lies in “a diverse expressiveness built upon clean tones.” He employs clean-centric amplifiers, primarily Two-Rock, layering boosters, overdrives, and distortions as needed. This indicates a style that focuses on building sound through a pedalboard rather than crafting it solely through the amp.

His guitar selection centers around the signature FERNANDES DECADE, complemented by a wide range of brands including Xotic, Fender, and Gibson. The flexibility to switch between different guitars—ranging from Jazzmasters to semi-hollows, Les Pauls, and Strats—based on the song is a significant strength for Shinji. Particularly in tracks like “Uso” and “Monochrome no Kisu,” he skillfully incorporates spatial effects, supporting the band while ensuring his sound stands out.

The complexity of his pedalboard symbolizes his dedication. By combining a stable system based on FREE THE TONE with diverse effects like Jan Ray, BE-OD, and HX Effects, he can present different facets of the same song in live and recording contexts. Furthermore, his use of a personal board allows for dynamic expressions with wah and Whammy effects, enhancing the live experience.

Crucially, Shinji emphasizes not just the “beauty of tone,” but how it resonates within the overall arrangement of a song. By considering the balance with bass, drums, and vocals, he meticulously adjusts EQ and spatial processing to ensure the guitar fulfills its optimal role within the band. This is why his sound, while not flashy, leaves a profound impression on listeners.

To recreate a Shinji-like sound, one should focus on “maintaining clean transparency,” “layering distortion progressively,” and “using spatial effects tailored to each song.” By keeping these principles in mind, one can approach the SID soundscape. While acquiring all high-end gear may be challenging, utilizing alternative equipment or multi-effects can sufficiently replicate Shinji’s tone.

Overall, Shinji’s sound creation is supported by a strong awareness of “the guitar for the entire band.” This mindset is the key factor that allows SID’s music to resonate more deeply and emotionally. Guitarists aspiring to emulate SID should prioritize the perspective of “how to resonate within the ensemble” before selecting their gear, as this will be the most important lesson learned.