[Takeshi Nishiyama] How to Recreate the Linked Horizon Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takeshi Nishiyama, the guitarist of Linked Horizon, captivates fans with his intricate arrangements and powerful sound. His guitar serves as a vital accompaniment that enhances the narrative of the music, expanding the world of each song.

Particularly notable is the heavy and tense guitar work featured in the “Attack on Titan” theme song series, which maintains a distinct tone that does not get lost amidst strings and choruses. By utilizing solid distortion sounds alongside clear clean tones and spatial effects, he creates dynamic musical peaks and valleys.

Nishiyama’s playing style emphasizes the thickness of riffs, the expansiveness of arpeggios, and the quality of sound rather than technical speed. His use of Floyd Rose-equipped models for pitch expression and stable sound production through line outputs establishes a consistent style in both live performances and recordings.

This article will meticulously organize Nishiyama’s gear, including amplifiers, guitars, and effects, while delving into the essence of his sound. Furthermore, we will introduce methods to recreate his tone using relatively affordable equipment and specific EQ settings.

We aim to explore the guitar sound that supports the grand world of Linked Horizon, helping readers grasp “how to get closer to it.”

▶ Search official YouTube videos of Linked Horizon

List of Amplifiers and Features

Takeshi Nishiyama’s amplifier choices are notably distinct from those of other rock guitarists. In live settings for Linked Horizon and Sound Horizon, he adheres to a style of “not placing amplifiers on stage.” This approach is based on his own statements in interviews and live reports, where he emphasizes the use of the Fractal Audio Axe-Fx for direct line outputs.

This method aligns with the orchestral and symphonic nature of Linked Horizon’s music. Using loud amplifiers on stage can disrupt the balance with other instruments, making direct line connections to the PA system the optimal solution. This approach ensures that Nishiyama’s guitar maintains a consistently clear and powerful tone, regardless of the venue size.

However, it has been revealed that he has used classic amplifiers like the Roland JC-120 and Soldano SLO-100 for recording and smaller live performances. The JC-120 is renowned for its beautiful clean tones and chorus effect, playing a crucial role in supporting Nishiyama’s arpeggios and clean parts. On the other hand, the Soldano SLO-100, a high-gain amplifier loved by professionals since the 90s, has been mentioned by Nishiyama in relation to its “loop quirks,” indicating his trust in it for studio work. He has also confirmed the use of Marshall amplifiers in recording, suggesting they complement classic rock sounds.

Overall, it can be inferred that Nishiyama employs a strategy of “live = direct line out” and “studio = using tube amps or JC-120.” This flexible approach, emphasizing efficiency and sound stability on stage while adding depth with traditional amp sounds in the studio, is essential to the grand compositions of Linked Horizon. Thus, it is assumed that Nishiyama’s amplifier setup revolves around the Fractal Audio Axe-Fx, with the use of Roland, Soldano, and Marshall varying by context.

Types of Guitars Used and Features

The core of Nishiyama’s sound is supported by several guitars, including custom models. Among them, the MOON GUITARS ST-NISHIYAMA MODEL stands out. Equipped with a Floyd Rose and a unique SSH configuration of two DiMarzio Air Zone pickups and a True Velvet, it also features a tap/humbucker on switch. Available in Black and Dakota Red, this guitar achieves the “power and delicacy” required for Linked Horizon’s heavy compositions.

Additionally, the moon Stratocaster (commonly referred to as “moon Stratocaster No.2”) is significant. It features Bartolini V-90s and a Wilkinson VS-100SSB bridge. Acquired in 2007 and repainted in 2008, this guitar has supported him for many years. It possesses the clarity typical of single-coils while maintaining a unique thickness in tone, making it less likely to get buried in orchestral settings.

He also owns custom Stratocasters like the P-PROJECT PST-1TN (Ash 2P, Lindy Fralin-style pickups, Wilkinson VSVG) and a custom Strat from nivram (Alder 1P, Fender CS Fat ’50s pickups). These guitars retain the nuances of traditional Strats while offering unique customizations that balance “thick midrange” and “delicate highs.”

Furthermore, Nishiyama’s 1966 Fender Mustang (white) is noteworthy. The original 60s Mustang is characterized by its short scale and soft sound, making it ideal for arpeggios and unique tones rather than aggressive riffs.

All these guitars possess the “flexibility to respond to diverse musical worlds,” allowing Nishiyama to select the necessary tones for each song, which supports the rich sound of Linked Horizon. Overall, it is assumed that Nishiyama creates a wide range of tones by using the main MOON model alongside custom Strats and vintage Mustangs.

Effects and Pedalboard Setup

Nishiyama’s effects system has evolved significantly based on live and studio situations. In recent years, Linked Horizon and Sound Horizon have adopted an “amp-less system” centered around the Fractal Audio Axe-Fx, which has become his main tool. By directly sending the line output to the PA without using an amplifier, he can maintain a consistent sound even amidst orchestral and symphonic arrangements. Utilizing the built-in amp simulators and spatial effects of the Axe-Fx, he constructs a guitar sound that stands out in grand compositions.

On the other hand, during the mid-2000s, he also utilized the VOX ToneLab LE. This multi-effects unit, equipped with a tube circuit, was frequently used in low-volume settings, rehearsals, and for its portability during tours. It is said that he often employed a simple “OVER DRIVE” setting on the VOX ToneLab LE, keeping distortion levels low to maintain the overall balance of the ensemble while ensuring his presence.

Additionally, from the 80s to the 90s, he used pedal-based overdrives such as the BOSS SD-1 Super OverDrive and Yamaha Overdrive. The BOSS SD-1, known for its midrange characteristics, was particularly suitable for emphasizing the contours of leads and riffs, reinforcing Nishiyama’s rock side. The Yamaha Overdrive, with its rough drive feel typical of the 80s, likely contributed to his unique distortion sound during that era.

Currently, his pedalboard setup is simple, centered around the Axe-Fx. However, looking at his past pedal usage, it is clear that he maintains a flexible approach to selecting the optimal tools as needed. Nishiyama’s sound creation is built on a foundation of “guitar body and basic distortion,” with spatial and modulation effects added as necessary, reflecting a straightforward yet calculated approach. Overall, it is assumed that while the Axe-Fx is central, he has utilized equipment like the VOX ToneLab LE, BOSS SD-1, and Yamaha Overdrive in various scenes.

Tone Settings, EQ, and Mixing Approaches

Nishiyama’s sound creation is characterized by a unique perspective of “crafting sound images that support the narrative.” Linked Horizon’s songs feature a multitude of instruments, including orchestras, choirs, and synthesizers, meaning that if the guitar sound is merely distorted, it can easily get buried in the mix. Therefore, his settings focus on minimizing distortion while emphasizing the presence of midrange through EQ processing.

As a basic distortion setting, whether using the Axe-Fx or VOX ToneLab LE, the balance revolves around “keeping gain low,” “slightly boosting mids,” “not overdoing lows,” and “adjusting highs to avoid harshness.” This is particularly evident in the “Attack on Titan” series songs, where even fast-paced riffs are clearly audible due to this careful adjustment.

For clean tones, settings are centered around achieving a spacious sound, similar to the Roland JC-120. By lightly applying chorus, he creates a sense of spatial expansion while ensuring that “natural attack” is preserved without excessive compression. This allows arpeggios and strumming to maintain clarity, harmonizing with the orchestra without getting lost.

Specific EQ examples include:

• Gain: 3-4 (around 40% of max)
• Bass: 4.5 (moderate, to prevent muddiness in the low end)
• Middle: 6-7 (emphasizing midrange for clarity)
• Treble: 5 (adjusted to avoid harshness while remaining clear)
• Presence: 4-5 (adjusting for spatial expansion and preventing harshness)

In mixing, Linked Horizon’s songs often feature many layers, so the guitar is frequently panned slightly to the sides. This helps avoid clashes with strings and choruses in the center, allowing the guitar to create a “wall of sound” on either side. Additionally, delays and reverbs are not overly applied, with short delays used to enhance the spatial effect. Longer reverbs are left to the orchestral side, while the guitar remains prominently featured.

In live settings, the direct line connection to the PA makes collaboration with the FOH (Front of House) engineer crucial. The stable line signal from the Axe-Fx allows for final sound shaping through EQ adjustments and compression on the PA side. For example, in large venues, it is speculated that lows are further cut while mid-highs are emphasized to create a “guitar that reaches far.”

Moreover, there are clear distinctions in settings for different songs, such as “heavy riffs = high gain + tight lows,” “grand ballads = clean + chorus,” and “fast-paced songs = low gain + mid boost.” This flexible use of settings is achieved through preset switching on the Axe-Fx, representing a modern and efficient approach.

Overall, Nishiyama’s sound creation is characterized by three pillars: “not relying on excessive distortion, achieving presence through EQ and mixing,” “meticulously differentiating between clean and distorted tones based on the context,” and “maintaining consistent sound quality through direct line outputs.” This ensures that the guitar always plays an appropriate role within the grand musical world of Linked Horizon.

Affordable Alternatives to Recreate the Tone

Reproducing Nishiyama’s sound completely is not easy, given the reliance on high-end gear like custom guitars and the Axe-Fx. However, there are several ways for beginners and intermediates to get relatively close to the “Nishiyama sound” at a more affordable price. The key points are (1) distortion that emphasizes midrange while keeping it low, (2) clean tones with spaciousness, and (3) the use of simple yet stable multi-effects.

For distortion, the current model of the BOSS SD-1 Super OverDrive is a convenient option. Given that Nishiyama himself has used it in the past, it is likely to yield a sound character close to his, allowing for a “cutting guitar” by keeping gain low while boosting mids. Additionally, to support clean tones, a compact jazz chorus amplifier like the Roland JC-22 can provide the characteristic chorus effect of the JC-120 at a lower price point.

For multi-effects, models like the ZOOM G3Xn or Line 6 POD Go are good candidates. While not as expensive as the Axe-Fx, they come equipped with amp simulators and spatial effects, making it possible to reliably produce the symphonic metal backing and clean tones typical of Linked Horizon. The Line 6 POD Go, in particular, offers flexibility for both live and home recording, closely mirroring Nishiyama’s direct line approach.

Regarding guitars, models in the Stratocaster family can provide similar nuances at relatively low prices. The YAMAHA PACIFICA 612V and Fender Player Stratocaster, with their SSH configurations, can replicate a wide range of tones akin to Nishiyama’s MOON custom. Choosing a model equipped with a Floyd Rose can also expand pitch expression, enhancing the live performance feel.

In summary, by utilizing these pieces of gear, one can step into the realm of the “Takeshi Nishiyama sound.” With a budget of several thousand dollars, students and hobbyists can enjoy the rich and clear tones characteristic of Linked Horizon.

Summary and Conclusion

Reflecting on Takeshi Nishiyama’s sound creation, its essence lies in the perspective of “guitar as a support for the entire composition.” His sound is not intended to stand out flamboyantly on its own. Rather, it is designed as an integral part of the arrangement, ensuring that the grand narrative of Linked Horizon remains intact.

The gear he uses reflects this direction. The main MOON GUITARS ST-NISHIYAMA MODEL is a custom model that allows for diverse tone switching, capable of handling everything from heavy riffs to delicate arpeggios as needed. Furthermore, the amp-less operation with the Axe-Fx is a rational choice to ensure stable sound quality amidst complex orchestral arrangements, showcasing his thorough professionalism.

Additionally, the careful adjustments in EQ and mixing are crucial. Nishiyama’s settings are characterized by “not over-distorting,” “emphasizing midrange,” and “not excessively applying spatial effects.” This approach allows the guitar to form the backbone of the composition while avoiding interference with other instruments, ultimately amplifying the overall impact.

Moreover, his sound creation is underpinned by “flexibility.” In the past, he utilized compact pedals like the BOSS SD-1 and Yamaha Overdrive, introduced the VOX ToneLab LE in the 2000s, and currently centers around the Axe-Fx, continuously selecting the best equipment according to the era and environment. This evolution illustrates a commitment to prioritizing “producing the best sound for the moment” over “maintaining a fixed tone.”

In conclusion, the core of Nishiyama’s sound creation can be described as “sound shaping according to the demands of the setting.” In large venues, he emphasizes stability through direct line connections, while in recordings, he adds depth with tube amps or the JC-120, ensuring a diverse range of tones for each song.

For readers looking to replicate Nishiyama’s sound, focusing on “midrange-conscious EQ,” “distortion that is not overly aggressive,” and “moderate use of spatial effects” will be beneficial. By selecting affordable multi-effects and SSH-configured guitars, one can approach the rich and clear sound characteristic of Linked Horizon.

Ultimately, the essence of Nishiyama’s sound creation lies in “the beauty of harmony viewed from the perspective of the whole, not just the guitar.” Understanding this philosophy and incorporating it into one’s playing can lead to a deeper connection with the essence of “Takeshi Nishiyama’s guitar sound.”