Line 6 Original inspired by the original high gain Big Bottom model
To create the Line 6 Badonk, the Big Bottom model from the XT code was rebuilt using new tools so that the overall EQ and pre-post distortion filtering matched. The previous tone stack was a little limited, so it was tuned up to have more range and provide a realistic, interactive response.
To make this model feel more like a full amp, the power amp from the Fatality model (mesa rectifier mod) was added then tweaked slightly to reinforce the overall EQ curve of the Big Bottom.
Tone Secret: The Big Bottom does not have a crap-load of low frequency. Instead, it is an amp with a slightly more than average amount of low end that can really hold together while being fed a lot of low frequency. It holds together well with heavily detuned guitars.
Line 6 Original inspired by boutique mid-gain amps
Smooth-overdriving, easy to play, boutique mid-gain.
The “Litigator” was born not constrained by making a model that matched a real world amp. It started from a Fender place like so many of the boutique amps, moving the tone stack to a different location later in the circuit and also tone stack cap values and ranges (wasn’t constrained by the real world, low pass and high pass filtering before each of the gain stages). driving knob adjust frequency responses in various places in the circuit (fine tuning the knees of how the individual tube stages entered clipping). Tuning the power amp to make it distort in an idealized way. Adjusting the sag so that it reacted in a ideal way.
Based on a heavily modded Fender and then hammered on and tweaked. It wouldn’t be impossible to make in the physical world, but it might get a little messy. removing a lot of the noise and irregularities that people find unpleasant, but adding just enough of the wrong things so they enhance without being a distraction. It’s like a vintage amp with movie magic color correction and hyped depth of field.
Like a dirty Vintage Deluxe, dumble-esqe, very smooth, mid-gain, edge-of-breakup model. In the same general neighborhood as the Pete Anderson Deluxe model that was in the HD model packs, but with more gain on tap.
Low Overdrive type amp in the Helix to give me a usable sound right out of the box, sounds awesome with the Stupor OD drive distortion.
Line 6 Original
It’s a heavily modified Mesa Rectifier. It sounds a bit like a Mark V Extreme setting.
Line 6 Original based on a Hot-rodded Marshall® JCM® 800.
Hot rodding would usually entail internal modifications to the amplifier.
This could just be changing the odd resistor/pot/cap value to change drive levels, tone etc…
Or it could actually be a change to the signal path itself, such as adding and extra gain stage or wiring two different inputs in parallel on older Marshall amps. Marshall with extra gain mod.
The original intent of the term “modded Marshall’ was to achieve the added gain without resorting to a pedal. For instance GnR album Appetite for Destruction, was recorded with a Hot Rodded JCM 800.
Hot Rodded Marshal JCM example, 12ax7 (ecc83) added, using triode:
Line 6 Original
Here’s a hybrid to fill a void for doom/sludge players. It’s a JCM800 preamp going into a Hiwatt® power amp with some additional tweaks, to give you large amounts of gain and a rich, sag-induced reaction with a whole lot of bass.
Line 6 Original
A metal-friendly beast that provides sustain for days at virtually any playing dynamic, giving up gobs of distortion with ease.
Line 6 Original
This high-voltage, face-melting original has interactive presence & mid-range controls, with more gain than you can shake a stick at. It has something from the first Bomber Uber.
(It has only volume and 1 tone control, no master)
With its single-ended 6V6 output stage, unusual preamp circuitry, and oval 6” x 9” speaker, the SuproS6616 of the late ’50s and early ’60s—manufactured by Valco in Chicago—might seem an unlikely candidate for “classic amp” status. Yet more of the stuff of legend, Jimmy Page has admitted to using a Supro amp to record most of the first two Led Zeppelin albums. The only problem is, he never copped to which Supro model he used. Talk about a real communication breakdown! Wind it up, and the S6616 offers juicy, brown overdrive that can sound like a raging stack when mixed with the track, yet with a character all its own.
Reined in to clean volumes, it has a beautifully crisp spank. And at all levels the 6” x9” speaker yields nodes and peaks that contribute to an unusual and distinctive sonic voice that has come to be known as the Supro sound. We don’t know if this is ‘the one’ or not, but it sure sounds like it to us! (Dragon pants not included.)
Based on Pearce BC-1
Very Rare Preamp made famous by Billy Sheehan.
The Pearce Pre-amp is just a supremely great distortion and clean.
This pre amp is solid state. It has 2 channels, which can be used separately or coupled, w/ built in distortion. It has a -10dB/0dB/+10dB switch (pretty cool if you need less or more punch without having to change your settings all the time). Each channel has a gain – bass – mid range – mid – treble – volume controls and built in compressor/limiter with adjustable threshold. Each channel can be used separately, or combine them to create a wide range of tones.
Based on Sunn® Coliseum 300
Sunn Coliseum 300 Head.
Solid state amp made in the USA.
300 Watts @ 2 Ohms. Also works into 4 (200W) and 8 Ohm 120 w cabs.
Compresor 2:1 ratio
Contour 6 db 60; 3db 500 hz; 6 db 4khz
Eleconic corssover: from 100hz to 1khz
It sounds very warm and close to a tube amp sound.
The EQ controls give loads of different tone options
More compression is possible with the gain control
Old SS amps have a raw warmth and character
It’s got a great strong tone, and the eq is extremely flexible and powerful.There are filters “in between” each band of the EQ, so they don’t effect each other. You can boost the 62.5hz, and not effect the 125hz, so on. Which is the exact opposite of say, the Fender tone stack, where you turn down the mids to turn up the other stuff.
lobass 62.5 hz –> fat
hibass 250hz –> punch
low mid 500hz hollow
mid 1khz and himid 2kz presence and snap
hi 4khz metallic and brittleness
These were made from about 1981 to 1985, Fender bought SUNN.