[Shinji Wajima] – How to Recreate the Ningen Isu Sound + Guitar Gear and Tone Settings [Effects & Amps]

① Introduction (Overview of Tone)

Shinji Wajima, guitarist of the legendary Japanese heavy rock band “Ningen Isu,” stands out with a unique sound that blends folkloric eeriness and literary lyricism. His guitar tone is both heavy and intellectual, embodying the band’s dark yet poetic world.

His playing style is deeply rooted in heavy distorted riffs infused with a distinctly Japanese melodic sensibility, making his guitar indispensable to the band’s overall soundscape. For instance, in the song “Mujō no Scat”, he employs his self-made overdrive “Miroku” with a half-cocked wah to create an ominous and sinister tone. Meanwhile, the eerie upper-octave fuzz from the “Tone Machine” makes the opening of “Colors from Outer Space” unforgettable.

On stage, Wajima is most often seen with heavily customized Gibson SG guitars. He personally modifies details such as pickup height and tone capacitors, showcasing his obsession with precision. His dedication extends down to the smallest circuit choice, such as the use of vintage-style capacitors, in pursuit of tonal authenticity.

For amplification, his core rig has long relied on the Marshall 1987 50W head paired with a Marshall 1960TV cabinet. Wajima’s guitar philosophy is rooted in a simple but powerful concept: “straight into the amp.” The SG plugged directly into a Marshall head forms the foundation of his unmistakable sound.

Another unique aspect of his rig is the use of self-built pedals under the brand “Wajimachine.” All analog, battery-powered designs, these pedals reflect his meticulous focus on note clarity, saturation, and eliminating power-related noise. His DIY approach not only personalizes his tone but ensures it remains faithful to his musical philosophy.

What makes his sound compelling is not just its heaviness, but the way it carries decadent shadows and intellectual nuance. It is a fully realized vision of what could be described as “literary hard rock.”

This article breaks down Shinji Wajima’s sound in detail, exploring his gear, amplifiers, effect pedals, EQ settings, and practical methods for recreating his tone.

▶ Search official YouTube videos of Ningen Isu

② List of Amplifiers and Features [Ningen Isu・Shinji Wajima]

At the very core of Shinji Wajima’s guitar tone lies the legendary Marshall “1987 50W Head,” famous for its strong, midrange-heavy character and vintage voice. This amp has been his go-to since he purchased it with royalties from Ningen Isu’s debut album, and it continues to define his guitar sound decades later. Its ability to deliver both articulate crunch and dynamic drive makes it indispensable in Wajima’s rig.

Paired with this head is the Marshall 1960TV cabinet, loaded with Celestion Greenback speakers. This cabinet delivers a natural midrange punch and smooth response, avoiding overly harsh highs while emphasizing the “sticky” and heavy tone that Wajima favors. The cabinet’s voicing is perfectly suited for his SG guitars and heavy riffs.

In recording sessions, Wajima has occasionally used the Marshall 1959 100W Head for its extra power and punch. This amp adds a more authoritative low end and enhanced presence, which is especially useful when capturing tones for studio tracks. The distinction between live and studio usage highlights Wajima’s nuanced approach to amp selection.

In recent years, he has also been spotted experimenting with Marshall’s smaller heads such as the SC20H and SV20H. These compact tube amps provide vintage Marshall character at lower volumes, making them ideal for home practice and studio tone checks, though they are not considered his main live gear.

Importantly, Wajima has repeatedly emphasized his philosophy of “amp direct drive” in interviews. He prefers models with a strong midrange rather than relying on high-gain or modern modeling amplifiers. This philosophy underscores his dedication to dynamic, expressive tones that respond directly to the guitarist’s playing nuances rather than masking them with excessive distortion.

In short, his amplifier choices reflect his focus on interaction between player and instrument: a sound that is organic, expressive, and faithful to every nuance of touch—rather than relying on modern high-gain shortcuts. Thus, his rig remains rooted in the tradition of vintage Marshall tone, as can be assumed.

Gear	Brand	Amazon Link	Band	Guitarist	Notes
1987 50W Head	Marshall	Search on Amazon	Ningen Isu	Shinji Wajima	Bought with royalties from the first album. His main amplifier ever since.
1960TV Cabinet	Marshall	Search on Amazon	Ningen Isu	Shinji Wajima	Loaded with Celestion Greenbacks. His staple live cabinet.
1959 100W Head	Marshall	Search on Amazon	Ningen Isu	Shinji Wajima	Used occasionally in studio recording sessions for extra punch.
SC20H / SV20H	Marshall	Search on Amazon	Ningen Isu	Shinji Wajima	Tested as small tube amps for home/studio tone checks. Not main live gear.

③ Types of Guitars Used and Features [Ningen Isu・Shinji Wajima]

When it comes to Shinji Wajima’s guitars, the Gibson SG has always been at the heart of his sound. Across decades of live performances, from the 1990s through the 2010s, the SG has been his mainstay. In more recent years, however, he has also introduced custom instruments such as the Sago “Pluto (冥王)”, showcasing his relentless pursuit of individuality in tone and aesthetics.

Among the most iconic is his 1993 Gibson SG, modified extensively to suit his style. It is used in standard tuning and features simplified controls of one volume and one tone knob. Uniquely, a magatama-shaped ornament is embedded where the rear tone knob would normally be, while a kill switch is fitted in place of the rear volume knob. This allows him to instantly toggle the guitar on and off during performances, giving his stage presence both sonic and visual flair.

The modifications are more than cosmetic. The tone circuit employs a “Vitamin Q” capacitor, delivering a warm, vintage-inspired character. This design reflects Wajima’s ethos of blending aesthetics with sound—his guitar is as much an expression of philosophy as it is a tool for music.

Another crucial instrument is his 2012 Gibson SG Standard, dedicated to down-tuned material (one-and-a-half steps down). The pickups are mounted closer to the strings with escutcheon mounting, compensating for potential output loss due to lower tuning. This ensures his signature heavy riffs maintain power and clarity even when tuned down.

For backup, he often uses a 1996 Gibson SG with the traditional two-volume, two-tone control layout. Though not modified, it serves as a reliable secondary guitar in case of technical issues on stage.

Perhaps the most visually striking is the Sago New Material Guitars “Pluto (冥王)”. While it retains the familiar SG silhouette, it incorporates scorpion-themed motifs and the same simplified control system (one volume, one tone, selector, and kill switch) as his main SG. However, due to its partially hollowed lower body, its resonance is intentionally reduced, making it more suitable for recording sessions or select live tracks rather than his all-purpose stage guitar.

Across these instruments, the unifying theme is that Wajima’s choices are never based solely on looks. Every modification and detail serves a tonal purpose, reflecting his uncompromising pursuit of sound philosophy. His guitars are both functional and symbolic, representing a fusion of sonic depth and cultural artistry.

Gear	Brand	Amazon Link	Band	Guitarist	Type	Notes
SG (1993)	Gibson	Search on Amazon	Ningen Isu	Shinji Wajima	Solid-body Electric Guitar	Main guitar in standard tuning. Modified with 1Vol/1Tone, kill switch, and magatama ornament. Uses Vitamin Q capacitor for vintage tone.
SG Standard (2012)	Gibson	Search on Amazon	Ningen Isu	Shinji Wajima	Solid-body Electric Guitar	Main guitar for down-tuned songs (1.5 steps down). Pickups mounted closer to strings to maintain strong output.
SG (1996)	Gibson	Search on Amazon	Ningen Isu	Shinji Wajima	Solid-body Electric Guitar	Backup guitar with 2Vol/2Tone layout. Used as a safety instrument in live shows.
Pluto (冥王)	Sago New Material Guitars	Search on Amazon	Ningen Isu	Shinji Wajima	Custom Electric Guitar	Custom model with scorpion motif. Same controls as main SG. Reduced resonance due to hollowed lower body. Used selectively in studio or live.

④ Effects and Pedalboard Setup [Ningen Isu・Shinji Wajima]

Shinji Wajima’s pedalboard is both unique and highly practical, reflecting his philosophy of tone. The centerpiece is his own line of handmade pedals under the brand Wajimachine. While the number of pedals he uses is not overwhelming, each one serves a precise role in shaping his sound. This approach results in a highly expressive, functional rig both on stage and in the studio.

At the root of his philosophy is the idea of “amp-direct” tone. His Marshall amplifiers already provide the natural, midrange-rich distortion he loves, so effects are used sparingly and with clear purpose. This is why his overdrives and fuzz pedals are fine-tuned for specific sonic coloration rather than relying on extreme gain.

One of his signature tools is the Wajimachine Tone Machine, a self-built clone of the Foxx Tone Machine. It produces an upper-octave fuzz with surreal harmonics, as heard in the iconic intro of “Colors from Outer Space”. Its wild texture helps establish the eerie, otherworldly aspect of Wajima’s guitar identity.

For overdrive, he employs two main options. The first is the EarthQuaker Devices Speaker Cranker, which functions as a booster to give his solos extra punch and presence. The second is his self-made Wajimachine Miroku, a Tube Screamer-style overdrive. Used alongside a wah, this pedal produces the nasal, mid-focused solo tone that defines songs like “Mujō no Scat”.

For modulation and time-based effects, he relies on classics such as the BOSS VB-2w Vibrato (set to “Waza mode” for vintage-style pitch wobble) and the BOSS DM-2w Delay (set to long delay for spatial depth). Both pedals are run on battery power, consistent with his preference for noise-free analog circuitry.

His wah pedal of choice is a modified JEN Crybaby, fitted with LED indicators and custom switches. Its darker, “muffled” resonance is part of his signature tonal palette. In addition, he has built his own Uni-Vibe and Small Stone phaser clone, adding swirling, psychedelic textures when needed.

A distinctive aspect of Wajima’s setup is his DIY utility pedals, such as a Volume Down Switch, Mute Switch, and Loop Box. These allow him to quickly cut sound, control dynamics, or tune silently during live shows, all of which enhance his stage performance without compromising tonal purity.

Though his board may not look as crowded as those of modern pedal-heavy guitarists, every choice is deliberate. Together, these tools create a sound that is heavy, sharp, and steeped in mystery—perfectly aligning with the literary and occult spirit of Ningen Isu.

Gear	Brand	Amazon Link	Band	Guitarist	Effect Type	Notes
Speaker Cranker	EarthQuaker Devices	Amazon Link	Ningen Isu	Shinji Wajima	Overdrive	Used as a solo boost for extra push and presence.
VB-2w	BOSS	Amazon Link	Ningen Isu	Shinji Wajima	Vibrato	Used in “Waza mode” to add vintage-style wobble.
DM-2w	BOSS	Amazon Link	Ningen Isu	Shinji Wajima	Delay	Set to long delay for spatial depth and feedback effects.
Crybaby (Modded)	JEN	Amazon Link	Ningen Isu	Shinji Wajima	Wah Pedal	Modified with LED and custom switch. Emphasizes darker “muffled” tone.
PSM-5	BOSS	Amazon Link	Ningen Isu	Shinji Wajima	Power Supply	Switches between amp-direct and effects routing.
PolyTune 2	TC Electronic	Amazon Link	Ningen Isu	Shinji Wajima	Tuner	Reliable, high-precision tuner for stage use.
Big Muff Clone	Wajimachine	Amazon Link (Reference)	Ningen Isu	Shinji Wajima	Fuzz	Self-built clone of the Electro-Harmonix Big Muff.

⑤ Tone Settings, EQ, and Mixing Approaches [Ningen Isu・Shinji Wajima]

Shinji Wajima’s guitar sound is built upon a simple yet profound principle: maximizing the natural midrange power of his Marshall amps and the unique voice of his Gibson SG guitars. Unlike guitarists who rely heavily on effects or high-gain amps, Wajima achieves his tone through careful EQ balance, touch dynamics, and subtle pedal enhancement.

The foundation of his rig is the Gibson SG through a Marshall 1987 50W head and 1960TV cabinet. This pairing creates a tone that is thick yet articulate, with the midrange dominating the sonic spectrum. Instead of boosting lows or highs excessively, his amp settings are carefully dialed for warmth and clarity.

His typical amp EQ can be interpreted as follows:

• Bass: 4.5–5.5 — kept moderate to avoid muddiness while retaining body.
• Middle: 6.5–8.0 — boosted to serve as the tonal core of his sound.
• Treble: around 5.0 — present enough to cut through without becoming piercing.
• Presence: about 3.0 — lowered to reduce harshness in the high end.

Wajima rarely plays with a completely clean tone. Instead, his default setting is a crunchy, lightly driven sound that responds dynamically to picking intensity. When clean tones are required, he often reduces his input signal using his handmade Volume Down Switch with buffer, creating a naturally cleaner response from the amp without losing warmth.

For live shows, his Presence control is set lower than in the studio. This reduces sharpness and helps his guitar blend with the band’s heavy bass and drums, creating the dark, oppressive mood that defines Ningen Isu’s live sound. The preamp volume (gain) is set relatively high, ensuring that picking dynamics remain expressive and the amp “breathes” with every touch of the strings.

When using fuzz and overdrive pedals, Wajima typically rolls back the tone controls slightly to enhance the midrange. The Wajimachine Miroku, based on the Tube Screamer circuit, is intentionally voiced for thick mids, ensuring it doesn’t get lost in the mix even when combined with fuzz. This is why his solos have that nasal, vocal-like quality.

For solos, the EarthQuaker Devices Speaker Cranker adds a subtle boost, pushing his amp into a more saturated but still dynamic territory. Importantly, he avoids heavy compression in both pedal and mixing stages, preserving the raw dynamic range of his playing. This gives his guitar a “breathing” quality in recordings and live mixes.

Spatial effects are used sparingly. Wajima prefers short analog delay (BOSS DM-2w) to create depth without washing out the raw guitar tone. This minimalistic approach ensures his guitar always sounds immediate and in-your-face. Reverb is rarely emphasized, with most of the space in recordings being natural room sound or short delay reflections.

In mixing, engineers tend to place his guitar slightly left of center, keeping the tone raw and upfront while leaving room for vocals and bass. Instead of scooping frequencies to “fit” the mix, Wajima’s tone itself is a structural element of Ningen Isu’s sound. His guitar doesn’t just occupy a space in the mix—it helps shape the entire band’s sonic character.

Another critical factor is his picking dynamics. Wajima’s right-hand control allows him to shift seamlessly from soft, moody passages to aggressive riffs without touching his amp or pedals. This expressive nuance is one reason why his setup avoids extreme gain: the sound is not pre-saturated, leaving space for dynamics to speak.

Ultimately, Wajima’s EQ and mixing philosophy embodies his identity as both musician and thinker: simple gear, deeply personalized. His tone settings highlight the raw voice of the SG and the responsive crunch of Marshall amps, elevated by hand-crafted pedals designed to serve his unique artistic vision. His guitar doesn’t merely sit in the mix—it weaves into the very narrative of Ningen Isu’s music, as can be assumed.

⑥ Affordable Alternatives to Recreate the Tone [Ningen Isu・Shinji Wajima]

Recreating Shinji Wajima’s tone in its entirety can be a challenge, as his rig combines vintage Gibson SGs, classic Marshall heads, and one-of-a-kind DIY pedals. However, there are affordable, beginner-friendly options that capture the essence of his sound while remaining accessible to players on a budget. Here we will explore some key alternatives that allow you to approximate Wajima’s tone for practice, recording, or live performance without breaking the bank.

Guitars: The most straightforward path to Wajima’s tone is through an SG-style guitar. The Epiphone SG Standard offers excellent value, with a warm midrange character that holds up well under distortion. Its look and feel are close to the Gibson SG, and with a few modifications—such as adding a kill switch or swapping capacitors—it can come even closer to Wajima’s personal setup. For those starting out, this guitar delivers both the aesthetic and tonal qualities essential to his style.

Amplifiers: To achieve Marshall-inspired crunch without the cost of a full tube stack, the BOSS Katana-50 MkII is highly recommended. It provides convincing British-style overdrive tones with flexible EQ controls. By boosting the mids slightly and keeping presence lower, the Katana can emulate the “sticky midrange” Wajima is known for. Its affordability and versatility also make it ideal for beginners and home practice.

Fuzz Pedals: Wajima’s use of the Foxx Tone Machine-inspired “Tone Machine” fuzz can be approximated with pedals like the BEHRINGER SF300 Super Fuzz. Despite its extremely low price, it offers thick, octave-rich fuzz tones that can replicate Wajima’s wild, otherworldly sound. For players seeking higher-end authenticity, the JHS Pedals Supreme also channels the Foxx Tone Machine spirit, though at a higher cost.

Overdrive: For the mid-focused Tube Screamer-style drive that underpins Wajima’s solos, the Ibanez TS Mini is an ideal choice. Compact, affordable, and effective, it nails the nasal, cutting midrange boost characteristic of Wajima’s custom “Miroku” pedal. This overdrive pairs perfectly with fuzz to prevent the guitar from disappearing in a dense mix.

Delay and Modulation: For time-based effects, the NUX Analog Delay is a solid alternative to the BOSS DM-2w, offering warm, tape-like repeats perfect for short delay ambiance. For modulation, affordable mini-pedals like the Mooer Ensemble King (chorus/vibrato) or JOYO Vibe Machine provide swirling textures reminiscent of Wajima’s Uni-Vibe and phaser tones. These effects add subtle psychedelic motion without overwhelming the raw SG-Marshall foundation.

Taken together, a setup consisting of an Epiphone SG, BOSS Katana amp, a Super Fuzz, TS Mini overdrive, and affordable analog delay can cost between $400–$700 USD (approx. ¥50,000–¥80,000). With this, guitarists can achieve an impressively close approximation of Wajima’s legendary tone. The key lies not only in the gear itself, but in adopting his philosophy: emphasizing midrange, dynamic picking, and a raw, unpolished feel.

These alternatives offer a path for guitarists of all levels to experience the literary, heavy, and mystical world of Ningen Isu’s sound without needing rare vintage gear or custom pedals.

Category	Gear	Brand	Amazon Link	Band	Guitarist	Notes
Guitar	SG Standard	Epiphone	Amazon Link	Ningen Isu	Shinji Wajima	Affordable alternative to Gibson SG, with strong midrange suitable for distortion. Kill switch mods possible.
Amp	KATANA-50 MkII	BOSS	Amazon Link	Ningen Isu	Shinji Wajima	Affordable amp modeling British-style crunch. Boost mids for Wajima-like tone.
Fuzz	SF300 Super Fuzz	BEHRINGER	Amazon Link	Ningen Isu	Shinji Wajima	Cheap but effective fuzz. Produces octave-rich textures similar to Tone Machine.
Overdrive	TS Mini	Ibanez	Amazon Link	Ningen Isu	Shinji Wajima	Compact Tube Screamer variant. Captures the nasal mid boost of Wajima’s custom “Miroku.”
Delay	Analog Delay	NUX	Amazon Link	Ningen Isu	Shinji Wajima	Warm analog repeats. Good substitute for DM-2w in short delay usage.
Vibrato/Chorus	Ensemble King	Mooer	Amazon Link	Ningen Isu	Shinji Wajima	Mini pedal chorus/vibrato effect. Adds subtle motion similar to Uni-Vibe style tones.

⑦ Summary and Conclusion [Ningen Isu・Shinji Wajima]

Shinji Wajima’s guitar tone is not simply the product of his gear—it is the audible expression of his philosophy and aesthetics. Within the literary and heavy framework of Ningen Isu’s music, his guitar takes on a role far beyond accompaniment. It becomes a narrative voice, telling stories with distortion, fuzz, and the subtle nuances of Japanese melodic tradition.

The core of his sound lies in the Gibson SG’s midrange power paired with the Marshall 1987 and 1960TV cabinet. On top of this foundation, his self-made Wajimachine pedals add distinctive character that cannot be found in commercial products. His reliance on analog circuits, battery operation, and meticulous modifications speaks to a deep dedication to tone purity and artistic individuality.

One particularly telling detail is his obsession with live performance functionality. The inclusion of kill switches, custom controls, and DIY utility pedals demonstrates that for Wajima, tone is inseparable from performance. His sound design is not just about achieving a “perfect tone,” but about enabling expressive gestures in real time, turning each concert into an immersive experience.

Another defining characteristic is that Wajima’s guitar tone is not merely something that “fits in the mix.” Instead, his guitar shapes the mix itself. This forces sound engineers to treat his instrument as an architectural element of the band’s sound rather than a supporting piece. His guitar tone is designed to interact directly with bass, drums, and vocals, forming the sonic identity of Ningen Isu as a whole.

For guitarists seeking to emulate him, the lesson extends far beyond copying gear. The key points are: emphasize midrange richness, maintain dynamic control with your picking hand, and don’t be afraid of raw, unpolished textures. Even with more affordable gear, adopting Wajima’s mindset—that tone must serve expression and storytelling—will bring you closer to his world.

Ultimately, the heart of Wajima’s sound is not about the price tag of his equipment, but about the determination to fully own your tone. His career teaches us that guitar tone is both technical and spiritual, a medium through which individuality and philosophy resonate. To study his sound is to engage in a broader reflection on what it means to be a guitarist.

Use this article as a guide, but remember: the true Wajima tone cannot be purchased. It must be cultivated through dedication, creativity, and the courage to make your sound unmistakably your own.