[Tomomi Shiinoki] – How to Recreate the My Hair is Bad Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Tomomi Shiinoki, the frontman and guitarist/vocalist of My Hair is Bad, commands an overwhelming presence on stage. His guitar playing is defined by explosive emotional strumming combined with delicate dynamics that balance silence and sharpness.

In songs like “Kokuhaku” and “Makka,” listeners can hear his strong use of distortion contrasted against clean passages, all guided by the philosophy of “the guitar supports the vocals.” He avoids unnecessary notes, maintains the groove of the entire band, and uses sharp guitar stabs at the perfect moments.

As a singing guitarist, he tends to minimize the number of pedals at his feet, favoring simple, responsive gear. This practicality is evident in his choice of guitars, amps, and effects.

His sound-making centers on the fat low end of a Gibson Les Paul and the tight, high-gain punch of the Friedman JJ-100 amp. For tone shaping, he relies on pedals like the Xotic EP Booster and Mad Professor Royal Blue Overdrive. For spatial effects, he often turns to STRYMON pedals, ensuring his tone remains highly reproducible both live and in the studio.

In this article, we’ll break down Shiinoki’s actual gear setup, exploring why each piece was chosen and how it contributes to the signature My Hair is Bad sound.

▶ Search official YouTube videos of My Hair is Bad

List of Amplifiers and Features

At the heart of Tomomi Shiinoki’s tone lies the high-gain JJ-100 amplifier from Friedman. Originally developed as the signature model for Jim Root of Slipknot and Stone Sour, this amp is known for its ability to handle crushing rhythm tones and delicate cleans alike. Its wide dynamic range and strong midrange presence make it a perfect “band-ready” amp.

In My Hair is Bad’s music, where explosive yet sentimental emotions often need to be expressed, this amp delivers the core sound. For instance, in tracks like “From Now On,” the JJ-100’s punchy attack and articulate definition shape the band’s dynamic drive.

The clean channel also deserves special mention. It responds naturally to picking intensity, translating subtle emotional shifts directly into tone. Live, Shiinoki switches instantly between clean and drive channels via footswitch, allowing My Hair is Bad to move seamlessly between intensity and fragility.

Friedman amps also pair exceptionally well with pedals, thanks to their generous headroom. Shiinoki’s use of overdrives and boosters—like the EP Booster and Royal Blue Overdrive—integrates smoothly into the amp’s voicing. On stage, he often uses separate head and cabinet setups, sometimes Friedman’s own 4×12 cabinets, while Marshall-style cabinets are also likely used (cabinet models are not explicitly confirmed).

Rumors suggest he has occasionally used the Roland JC-120 as a sub amp, and in studio sessions, he may have paired the JJ-100 with clean amps like the Fender Twin Reverb. In more delicate songs such as “Aka Shingo de Tomaru Koto,” the lush cleans of such amps may have played a role.

What he demands from an amp is both “presence” and “control.” The JJ-100 provides these qualities without compromise, delivering the guitar tone that defines My Hair is Bad.

Gear Name	Manufacturer	Amazon Link	Band	Guitarist	Notes
JJ-100	Friedman	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Main amp. High-gain clarity with strong midrange, confirmed in both live and studio use.
JC-120 (assumed)	Roland	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Likely used as a venue-provided amp or for clean tones.
Twin Reverb (assumed)	Fender	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Believed to be used in recording for lush clean sounds.

Types of Guitars Used and Features

The most iconic guitar in Tomomi Shiinoki’s arsenal is without question the Gibson Les Paul. Its thick and heavy tone defines his aggressive yet controlled rhythm playing. The pronounced low-mid punch ensures the guitar cuts through the band mix while maintaining a commanding presence.

Live photos, music videos, and magazine features confirm his use of a classic Les Paul Standard. As both a visual and sonic symbol of rock, this choice perfectly represents Shiinoki’s approach. Songs like “Makka” and “Drama Mitai da” highlight how the Les Paul’s raw power mirrors his emotional delivery.

As a contrast, Shiinoki sometimes uses a Fender Telecaster. Known for its sharp, biting treble response, the Telecaster suits moments where attack and clarity are needed—such as funky chord stabs or bright, edgy rhythm parts. While used less frequently than the Les Paul, it plays a vital role in creating tonal contrast in My Hair is Bad’s sound.

For more mellow and warm tones, Shiinoki has also turned to the Gibson ES-335. This semi-hollow guitar offers natural sustain and a rich midrange, making it ideal for arpeggiated parts or slower ballads where emotional warmth is key.

In short, his guitar selection is based on song dynamics, emotional intensity, and the ensemble’s needs. Each instrument serves a distinct purpose, ensuring versatility while remaining true to the band’s identity.

Gear Name	Manufacturer	Amazon Link	Band	Guitarist	Type of Guitar	Notes
Les Paul	Gibson	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Solidbody	Main guitar. Delivers a fat, mid-heavy tone perfect for emotional rhythm work.
Telecaster	Fender	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Solidbody	Sharp, cutting tone. Suited for rhythmic stabs and high-energy tracks.
ES-335	Gibson	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Semi-hollow	Warm and resonant tone, especially effective for ballads and arpeggios.

Effects and Pedalboard Setup

Tomomi Shiinoki’s pedalboard is remarkably simple yet designed so that every note carries intention. By trimming away unnecessary gear, he achieves maximum expression with a minimal setup.

The foundation of his tone lies in overdrive pedals that preserve picking nuance and the guitar’s natural character. One of his key pedals is the Mad Professor Royal Blue Overdrive. Handmade in Finland, this pedal sits between clean and low-gain drive, adding warmth without overwhelming the guitar’s core tone.

For a more direct overdrive sound, he has used the BOSS OD-3. Known for its midrange punch, it ensures chord definition remains intact, making it an excellent choice for steady rhythm work with strong projection.

To enhance attack and boost solos, Shiinoki employs the Xotic EP Booster. This mini pedal recreates the preamp section of the legendary Echoplex, naturally lifting mids and adding body, giving his sound a forward push.

For ambience, Shiinoki often turns to STRYMON pedals. The blueSky Reverb provides a range of modes (Room, Plate, Spring), enabling him to choose between subtle widening and immersive atmospheric depth depending on the song. Meanwhile, the STRYMON BRIGADIER delivers analog-style delay through DSP, intentionally embracing “imperfections” like modulation and degradation to add rawness and emotional sway to My Hair is Bad’s sound.

His choice of pedals demonstrates a philosophy of “intuitive operation and tonal depth.” Rather than relying on feature-heavy multi-effects, Shiinoki selects highly reliable pedals that each serve a very specific purpose.

Gear Name	Manufacturer	Amazon Link	Band	Guitarist	Effect Type	Notes
EP Booster	Xotic	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Booster	Naturally enhances mids, adding thickness and projection to the tone.
Royal Blue Overdrive	Mad Professor	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Overdrive	Responds delicately to picking dynamics, can also function as a clean boost.
OD-3	BOSS	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Overdrive	Classic OD. Strong mid-push, keeps chord clarity while driving the sound.
BRIGADIER	STRYMON	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Delay	Analog-style delay with modulation, adds warmth and subtle movement.
blueSky Reverb	STRYMON	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Reverb	Versatile reverb with multiple modes for atmospheric depth.
PERFECT VOLUME ORIGINAL	Shin’s Music	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Volume Pedal	High-quality handmade pedal, ideal for fade-ins/outs and expressive dynamics.
POLYTUNE	tc electronic	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Tuner	Fast and precise pedal tuner, essential for live setups.

Supporting gear also reflects his mindset as a performer. The Shin’s Music PERFECT VOLUME ORIGINAL allows delicate volume adjustments for dramatic fades or dynamic control during arpeggios. This aligns with his expressive playing style where nuance is paramount.

The tc electronic POLYTUNE provides fast, highly visible tuning, even allowing all-string tuning at once, making it indispensable for maintaining pitch accuracy during live performances.

Overall, Shiinoki’s pedalboard revolves around three principles: minimalism, efficiency, and emotional focus. By mastering a handful of carefully chosen pedals, he translates pure intent directly into sound. This approach serves as a valuable model for guitarists aiming to prioritize feel over complexity.

Tone Settings, EQ, and Mixing Approaches

What stands out most in Tomomi Shiinoki’s tone is his ability to span emotional peaks and quiet intimacy with a single guitar. Even when using high gain, his tone avoids harsh noise, and his clean tones are never sterile or “too pretty.” Instead, they retain depth and emotional resonance.

The Friedman JJ-100 serves as the central amp. Clean-to-crunch tones are built from the clean channel combined with his overdrive pedals. Shiinoki avoids excessive amp gain, instead controlling distortion with picking intensity—an approach that keeps his tone dynamic and expressive.

EQ tendencies can be summarized as follows:

• Treble: around 11–12 o’clock — slightly restrained to avoid harshness.
• Middle: around 2 o’clock — emphasized for vocal presence and band mix clarity.
• Bass: around 10 o’clock — controlled to prevent the Les Paul’s low end from overpowering.

This EQ setup ensures the guitar never clashes with vocals, while maintaining a strong presence in the mix. His playing often supports vocals rather than overshadowing them, with the midrange carrying much of the emotional weight.

Spatial effects play a subtle but vital role. The STRYMON blueSky reverb is adjusted differently for each song. On gentler tracks like “Sensou wo Shiranai Otonatachi” and “Aka Shingo de Tomaru Koto,” he uses Room or Plate modes sparingly, creating air and atmosphere without overwhelming the mix.

The STRYMON BRIGADIER delay is often used with short repeats to create tight space or with modulation for a touch of wobble, adding a sense of emotional instability to his sound. Delay times are generally set by feel rather than strict BPM sync, creating a natural decay.

Distortion comes mainly from the Mad Professor Royal Blue Overdrive, sometimes reinforced by the Xotic EP Booster. When a stronger push is needed, the BOSS OD-3 joins in. Still, his philosophy is to keep distortion setups minimal—usually no more than one or two pedals at a time.

In live mixes, Shiinoki’s guitar is typically placed close to center rather than hard-panned, underscoring its role as the backbone of the band. Engineers carefully carve the mids to balance against vocals, while the low end is adjusted to avoid clashing with the bass guitar.

For studio recordings, engineers often blend direct amp signals with room mics to capture “air” around the guitar. This is especially noticeable in ballads and emotionally heavy songs, where the space around the guitar adds to the intimacy and weight of the track.

Ultimately, Shiinoki’s sound is not just about gear choices but about designing the guitar’s place in the mix—balancing emotion, density, and space. This meticulous approach gives his guitar the raw authenticity that resonates so strongly with listeners.

Affordable Alternatives to Recreate the Tone

At first glance, Tomomi Shiinoki’s tone may seem simple, but in reality, it is carefully constructed and supported by deliberate performance choices. Fortunately, you don’t need to buy his exact professional gear to approximate his sound. With a budget of around $100–$400, even beginner guitarists can capture a convincing version of the My Hair is Bad tone. Below are some cost-effective recommendations that deliver both accessibility and tonal authenticity.

Type	Gear Name	Manufacturer	Amazon Link	Band	Guitarist	Notes
Overdrive	SD-1 Super OverDrive	BOSS	Amazon Search	My Hair is Bad	Tomomi Shiinoki	A legendary pedal with low gain and strong midrange focus. Offers a feel similar to the OD-3 or Royal Blue Overdrive.
Booster	Clean Boost CB1	One Control	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Affordable alternative to the EP Booster, adding thickness and definition to the signal.
Reverb	RV-6	BOSS	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Versatile reverb with Plate, Room, and Modulation modes. A practical substitute for the STRYMON blueSky.
Delay	Carbon Copy Analog Delay	MXR	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Offers warm, analog-style repeats with subtle modulation, reminiscent of the STRYMON Brigadier.
Multi-Effects	MG-400	NUX	Amazon Search	My Hair is Bad	Tomomi Shiinoki	A budget-friendly multi-effects processor covering amps, IRs, and essential effects. Great for home or live practice.
Volume Pedal	FV-30H	BOSS	Amazon Search	My Hair is Bad	Tomomi Shiinoki	A compact, durable volume pedal. Serves as an affordable alternative to Shin’s Music Perfect Volume.
Tuner	Clip-on Tuner TU-03	BOSS	Amazon Search	My Hair is Bad	Tomomi Shiinoki	Reliable and compact tuner. A practical substitute for the tc electronic POLYTUNE pedal tuner.

These alternatives provide similar tonal characteristics to Shiinoki’s professional setup at a fraction of the cost. BOSS pedals, in particular, are durable, widely available, and well-suited for beginners. The MXR Carbon Copy is another standout, giving players access to warm analog-style delay without breaking the bank.

For those who want to dip a toe into Shiinoki’s sound without investing heavily, starting with just one of these pedals can already transform your playing experience. The essence of his tone lies in its emotional depth, and these tools allow you to approach that expressive balance of raw energy and subtle detail.

Summary and Conclusion

Tomomi Shiinoki’s guitar sound goes beyond simple “tone.” It functions as an emotional anchor that supports the entire song. His philosophy can be summed up in two principles: “avoid unnecessary decoration” and “never strip away emotion.”

What makes his tone remarkable is the belief that the guitar is an extension of emotion. Whether it’s the raw texture of his amp, the way he controls dynamics with picking strength, or his careful choice of minimal effects, everything reflects a sincere relationship with sound.

His gear choices demonstrate that equipment does not need to be extravagant. Instead, the focus should be on selecting only what is truly essential. On stage, this translates into performances where explosive bursts of energy collide with introspective passages, with the guitar acting as the vessel for that emotional spectrum. The result is a direct connection to the audience’s hearts.

His use of effects also reveals a clear philosophy. Rather than stacking countless layers, he relies on minimal delay, reverb, and overdrive to highlight expression. This ensures that the song itself—rather than the gear—remains at the center of attention.

For guitarists seeking to recreate Shiinoki’s sound, the key is not only in copying his gear but in asking: “What do I want to express through my guitar?” The gear is only a tool—what truly reaches the listener is the raw intent behind the playing. His tone teaches us that emotion, not complexity, defines authenticity.

Therefore, to genuinely capture the essence of My Hair is Bad’s guitar sound, one must embrace the principle of “putting emotion into the sound.” It is not just about replicating gear setups but about embodying the spirit behind each note.

To every player inspired by his sound: remember, the simplest and most honest tones are often the ones that move people most deeply. Let that philosophy guide your fingers, and you’ll discover the real power behind Shiinoki’s guitar.