A30 Fawn (Nrm & Brt)
The Vox AC-30 Fawn contains two channels. Both the bright channel and the normal channel only hit one preamp stage before going to the phase inverter in the power amp. All of the saturation of this amp comes from the power amp, and it can get pretty dirty. The bright channel is pretty bright when run clean, but that brightness when driving the power amp results in a wonderfully rich and harmonically complex overdrive. It's quite responsive to saturation with picking dynamics and volume knob control. Turning up the Bias knob reduces crossover distortion the best, but there are no wrong knob settings. If you like the sound coming out, the knobs are set right for you.
The Beatles first recordings in the Abbey Road studio used a fawn.
Based on: ENGL® Fireball 100
Great for aggressive, drop-tuned riff work, Based on* 2009 ENGL® Fireball 100 (German) Designed to redefine the stereotypical "shred" sound and dial in a more musical lower-midrange and bass response, the ENGL Fireball 100 has become one of the new standards of contemporary rock and metal.
Tips: Since the Treble and Presence control knobs sweep through different frequency ranges and influence the signal at different places in the amp's internal signal chain, you can dial in different combinations of treble and presence settings to come up with many interesting sonic variations.
Archetype (Clean & Lead)
The Clean channel is rich a dimensional and stays clean to almost full volume. Reminiscent of the mesa and soldano cleans. The versatility of the three-band EQ lets you dial in tones from across the decades and across genres. The Lead channel starts out in hot-rodded Marshall territory and quickly works its way up into modern high gain tones. As long as you keep the Lead volume below noon, you can always clean things up with the volume knob on your guitar. If you crank the Lead volume beyond noon, totally higain.
Based on: Marshall® JCM-800
Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes.
Tips: Turn up Master Volume. Try with a low-gain TS808 or Tube Drive. The real amp is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes with presence normally way down. They are designed to be run loud and the brightness decreases as the Master Volume is increased. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter, but set Master Volume too high and it will get muddy. The sound of 80's hair metal, treble boosting amplifies the upper frequencies, however, that treble boosting helps the sound cut.
Brit J45 (Nrm & Brt)
The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high shelving filter.
Tips: It's a bass-heavy amp –> Decreasing Bass could be a good tip. Great for clean tones as well as rock tones.
This is the exact same amplifier as the Marshall® "Bluesbreaker" that Eric Clapton made famous, but in head form, rather than housed in a 2×12" combo. This is your starting if you're looking for that ‘beano' tone.
Brit P75 (Nrm & Brt)
Based on: Park® 75 (normal & bright channel)
Although they were usually based loosely on circuits used in classic Marshall amps, Park models were often given clever new twists, such as the increased front-end gain in the 75 and the use of military-grade KT88 output tubes rather than the traditional EL34s. Add it all up, and it's a sizzling, crunchy plexi-style tone like nothing you've ever heard before, equally adept at classic British blues-rock and contemporary grind. The Normal channel is the mellower of the two, with less brightness and gain than the Bright channel. The Bright channel utilizes the second half of the first preamp tube for a different voicing. High frequencies are increased due to an inter-stage high-shelving filter.
Brit Plexi (Nrm, Brt, & Jumped)
A Plexi is supposed to sound fizzy (it's helps to cut through in a mix). Don't be afraid to turn the bass all the way down or the treble all the way up. Just like with the actual amp. For example, on the normal channel of a Plexi most people turn the bass way down. Otherwise it's too flubby." Settings for a "typical" Plexi tone could be aprox. Bass: 2, Mid: 8, Treble 7.5. Presence adjust to taste.
Users include Pete Towsend, Eric Clapton, Angus Young of AC/DC, and most famously, by Jimi Hendrix at his Woodstock performance.
Brit Trem (Nrm, Brt, & Jump)
Based on: Marshall® Plexi Tremolo 50 (normal, bright, & jumped channel)
Cali IV Rhythm 1, 2, & Lead
In 1984, Mesa / Boogie released the first "Tri-modal" amplifier, the Mark III. Tri modal, because it has separate modes for Clean sound, Crunch sound and Lead sound. The Mark IV, which came out six years later, significantly improved the ability to control each channel separately by introducing two controller knobs on the front panel, thus optimizing available space without increasing the Mark III's comfortable and versatile size. It is a complete amplifier, has all ranges, from blues, jazz, rock, heavy, even metal, has immense possibilities and just so make it especially complicated.
Based on: MESA/Boogie® Dual Rectifier®
Based on a 2001, 3 Channel Mesa/Boogie® Dual Rectifier® Solo Head. The Dual Rectifier® was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end. We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier®, respectively.
Tips: Real Rectos are bassy/fizzy beasts but that tone works great for certain genres. This is based on the Modern mode, so be very careful with the Master parameter. If you turn it up too high it will flub out really quick. If in doubt reduce the MV (because there is no negative feedback, the power amp has a lot more gain and a huge bass boost).
Cali Texas (Ch1 & Ch2)
Based on: Ben Adrian Cartographer
Based on: Trainwreck Circuits® Express
Based on: ÷13 JRT 9/15
Divided by 13 creates two differently voiced but blendable channels for a simple yet incredibly versatile front end. The result is a palette of tones that remind you of the best American "tweed" and classic British amps, while somehow sounding entirely unique throughout their range. Each volume controls the two 5879 tubes. One is voiced with more gain and darker, the other is brighter with less gain.
Famous Divided By 13 Users include Lyle Workman of Beck, Rusty Anderson, Jackson Browne, and Ronnie Wood.
Based on: Vox® AC-15
For the AC-15, the master volume is post-phase-inverter in the full amp model. This allow the user to use the Drive knob to hit just the Phase Inverter tubes harder. However, in this amp the power tubes can distort a LOT. When this is combined with the fact that the preamp doesn't distort a whole lot on its own, it can produce a situation where turning the preamp up and the master volume down will clean up the sound quite a bit. The preamp barely distorts and the power amp distorts a TON. This is the opposite of many amps where the preamp is designed to distort and, while the power amp can distort as well, most of the crunch comes from smashing the preamp.
Early Beatles recordings and the James Bond theme from Dr. No feature the Vox AC-15.
Based on: Vox® AC-30 with top boost
The Vox AC-30 with Top Boost was the amp made famous by many British invasion bands. Much of the unique character of the Vox® sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone.
Tips: Starting Point: Master 10, set Drive to taste, Mid 5 (50%), Instead of turning up Drive, try boosting the input signal before the amp. Cabinet suggestion: Alinco Silver Or use (or combine with) Marshall greenbacks (4×12 20w or 25w). Alternative: Red Wirez Vox and Marshall greenbacks, Ownhammer Blue and greenbacks.
The Beatles, The Shadows, Tom Petty & The Heartbreakers, Brian May of Queen, Peter Buck of R.E.M., and Foo Fighters have all used classic AC-30s to make their music.
Based on: Bogner® Shiva
The beauty of the Shiva is that it takes what Marshall did in the ‘70s and ‘80s and adds some modern appointments so that the user can achieve tones ranging from classic rock to heavy metal (the utilization of the boost feature works wonders here). One thing is constant, though: Swirling notes. It is hard to describe, but the Shiva has a midrange character that results in what sounds like a light swirling of each note and chord that creates a very harmonically rich tone.
Tips: Bogner around noon (50%) are dark, it's like turning the treble way down on a Marshall. The treble knob at 50% on a Bogner is equivalent to the treble knob at 10% on a Marshall. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi.
Based on: Bogner® Überschall®
This model is reminiscent of an 800, modded for heavier, grinding lows and what some call insane gain. The presence knob on the Bogner Ubserschall is more like a contour, affects most of the midrange as well.
Tips: Heavy grinding lows and insane gain, it could be too boomy (low cut). From Real Amp manual: starting point control values, gain 60%, bass 60%, mid 60%, Treble 60%, Presence 60%. Keep the Master volume low (5 or less). Turn up Presence, add Mids
Based on: Dr Z® Route 66
This amp achieves an extremely touch sensitive, full-bodied "milkshake thick" overdrive when pushed, without ever losing its impressive clarity and definition. Treble and bass operate regularly until 50%, and dial in gain once turned past 50%. To put this amp into overdrive, crank all three controls (Drive, Treble, Bass), use humbuckers and possibly an overdrive pedal.
Jazz Rivet 120
Based on: Roland® JC-120 Jazz Chorus
Roland Jazz Chorus is a solid-state instrument amplifiers produced in Japan since 1975. Its name comes from its built-in analog chorus effect. The Jazz Chorus series became increasingly popular in the late 1970s and early 1980s new wave and post-punk scenes because of its clean yet powerful sound.
Its earliest users included Albert King, Andy Summers (The Police), Robert Smith of The Cure and Siouxsie and the Banshees, and Pat Metheny. James Hetfield and Kirk Hammett of Metallica use it for their clean tones as well.
Line 6 2204 Mod
Based on: Line 6 Original
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.
Line 6 Badonk
Based on: 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 Doom
Based on: 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 Elektrik
Based on: 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.
Line 6 Epic
Based on: 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 Fatality
Based on: Line 6 Original
It's a heavily modified Mesa Rectifier. It sounds a bit like a Mark V Extreme setting.
Line 6 Litigator
Based on: Line 6 Original inspired by boutique mid-gain amps
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.
Mail Order Twin
Based on: Silvertone® 1484
These amps are famous for their nice smooth overdrive but they've also got a sweet clean tone at lower volumes.
Some notable users of this amp are Jack White, Beck, and Coldplay.
Based on: Orange® OR80
The F.A.C. control stands for Frequency Analysing Control. It is a mid-range sweep that offers many variations on the Orange sound. Experiment with different settings for a variety of sounds. It is basically EQ settings from bassy all the way to the left and getting progressively thinner as you go to the right. Most people, set it all the way to the left or one click to the right from that.The FAC control switches between different interstage coupling capacitors which will change the low frequency cutoff/rolloff point of the preamp. In other words, it cuts bass increasingly with each click clockwise. The HF drive is a presence control, that boost/attenuate very high frequencies, comparing to other amplifiers. It's in between gain stages (2 to 3), so it does effect drive. You can call it a drive control, like the Eq, that is between stage 1 and 2.
Matchstick (Ch1, Ch2, Jumped)
Based on: Matchless® DC30 (channel 1, 2, & jumped)
Pure "Class A" configuration gives rich, complex harmonics whether played clean, mildly overdriven, or with all out power tube saturation. This means you should sound great in any situation, in any music style. Similar to AC30 without breaking, Channel 2 similar to AC15.
Paul Jackson Jr., Chris Collingwood of Fountains of Wayne, Mike McCready of Pearl Jam, Neil Young, Coy Bowles of The Zac Brown Band, James Valentine of Maroon 5, Ben McKee of Imagine Dragons, Bob Dylan, and many more.
Placater (Clean & Dirty)
Based on: Peavey® 5150 ®
Well known for its high gain overdrive channel, and has seen widespread use by rock, hardcore and metal guitarists. An early breakthrough was its use by Colin Richardson and Andy Sneap, two "seminal" British producers of heavy metal; especially Machine Head's Burn My Eyes (1994) helped the 5150 gain a reputation for its sound, which "defined a generation of guitar tone".
Solo Lead (Clean, Crunch, & OD)
Much of the love for the SLO-100 is due to not only its juicy high gain tones, but also its clean and crunchy capabilities. The SLO-100 features two channels, Normal and Overdrive, with a Clean / Crunch gain switch on the Normal channel.
Solo Lead Clean: This model of the Normal channel switched to Clean provides the most headroom and a variety of warm to shimmery clean tones.
Solo Lead Crunch: Here we've modeled the Normal channel switched to Crunch, which is superb for a range of distorted textures from polite to aggressive.
Solo Lead Overdrive: A model of the Overdrive channel with some seriously tight bottom chunk to liquid, screaming lead capabilities.
The SLO-100 was made an instant hit by early adopters Eric Clapton and Mark Knopfler, and used by a range of players, including Warren DeMartini, Warren Haynes, Lou Reed, and Eddie Van Halen.
Based on: Supro® S6616
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.
Jimmy Page has admitted to using a Supro amp to record most of the first two Led Zeppelin albums.
Stone Age 185
Based on: Gibson® EH-185
The EH-185 makes a surprisingly versatile voice for sculpting anything from vintage jazz tones to raw rock 'n roll when cranked up, and sits beautifully in a full-band mix, both live and in the studio.
Seminal jazzer Charlie Christian is believed to have moved up to an EH-185 combo before his death, about the same time that he stepped up from his original Gibson ES-150 guitar to an ES-250. In a more modern setting, it has shared the stage with Queen Of The Stone Age's Josh Homme.
Firmware version: 2.80
Based on: Gain 2 channel of the Revv® Generator 120
Firmware version: 2.80
Based on: 2016 Grammatico® LaGrange
Firmware version: 2.80
Based on: 1958 Fender® 5C3 Tweed Deluxe
Tweed Blues (Nrm & Brt)
An amp with the fat bottom end you'd expect from a bass amp, but also has the Fender® twang on the top. Try a Drive setting of about 4 or 5 — it's guaranteed to dredge up the best R & B licks you know. Sounds great with a Booster Drive (Treble) in front. The normal channel is the mellower of the two, with less brightness and gain than the Bright channel. The bright channel utilizes the second half of the first preamp tube for a different voicing. High frequencies are increased due to the addition of a bright cap across the volume knob.
The Bassman doesn't have a master volume, so like all amps of this era, you had to crank this mutha up to get that dirty tone revered by all Bassman enthusiasts! As Buddy Guy, Bruce Springsteen, Jimmy Vaughan, and so many others would tell you, when you're talking vintage amps, the Bassman really is ground-zero for big-combo tone.
US Deluxe (Nrm & Vib)
The Normal channel is the mellower of the two, with less brightness and gain than the Vibrato channel. The Vibrato channel is a separate preamp circuit with tone and clipping characteristics that are different than the Normal channel due to an additional 12Ax7 tube stage. High frequencies are increased due to the addition of a bright cap across the volume knob. Most players love a Deluxe Reverb® when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here.
Muddy Waters, Mike Campbell, Jackson Brown, Vince Gill, Elvis Costello, Pete Townshend, Buddy Guy. Honestly, this list could go on and on.
US Double (Nrm & Vib)
An all-time classic of biting twang and shimmering clean tones, the Fender Twin Reverb first hit the scene in 1964 and quickly became the standard for large, fully featured touring combos. The Normal channel is the mellower of the two, with less gain than the Vibrato channel. The Vibrato channel is a separate preamp circuit with clipping characteristics that are different than the Normal channel due to an additional 12Ax7 tube stage.
Played clean but singing with a Telecaster, this is the sound of Roy Buchanan; cranked with a Les Paul, it's pure Michael Bloomfield. It never gets extremely overdriven and dirty, mostly just louder–a lot louder.
US Small Tweed
Based on: Fender® Champ®
In the tweed champ, the bass and treble are after the amp modeling, but the midrange control is between the two preamp gain stages. The midrange knob can become a cool drive feature. Tweed amplifiers typically break up earlier than later "cleaner" models and are known for their warm-sounding overdrive.
Eric Clapton used the Champ almost exclusively for Derek and the Dominos. Other notable users are Joe Perry and Brad Whitford of Aerosmith as well as Joe Walsh and Slash.
Based on: Victoria® Electro King
Based on: Hiwatt® DR-103 Brill
Amp with a brilliant chime and unique tone-stack. If you need more gain, crank the drive and master. This amp has a special Master, an additional gain stage between the master volume and the phase inverter, then the model matches this trait.
Pete Townshend's Live at Leeds-era tone with The Who in the late '60s, as well as David Gilmour's soaring lead work with Pink Floyd in the '70s.
Based on: Aguilar® DB751
Busy One (Ch1, Ch2, & Jump)
Based on: Pearce BC-1 (channel 1, 2 & jumped)
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.
Cali 400 (Ch1 & Ch2)
Based on: MESA/Boogie® Bass 400+ (channel 1 & 2)
CHANNEL ONE: Volume 1 offer a high headroom preamp that you might find preferable for active type basses. The gain is slightly lower than Channel 2 and the tonal personality is slightly different. The Pull Bright switch built into Volume 1 can be great for funk bass, as it accentuates the harmonics above the Treble control region.
CHANNEL TWO: Input 2 and Volume 2 recreate the classic sounds of the D-180, The gain is slightly higher and may be better suited for traditional basses than Channel One. But be certain to sample both channels because their tonal personalities are both very usable with very interesting differences. It is even possible to preset the two channels.
Based on: MESA/Boogie® M9 Carbine
Del Sol 300
Based on: Sunn® Coliseum 300
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.
G Cougar 800
Based on: Gallien-Krueger® GK 800RB
Designed 20 years ago, the 800RB has long been a standard of the industry—the choice of countless bass players, touring bands, and backline companies. The amplifier head delivers 400W of biamp power in a rackmountable metal case, 3 voicing filters. Great deep, punchy sound. Roadworthy and studio friendly.
Geddy Lee had one. Will Lee used one on "Late Night With David Letterman". And bands like Def Leppard powered through a decade of pop metal with the 800RB.
SV Beast (Nrm & Brt)
Based on: Ampeg® SVT® (normal & bright channel)
For 30 years now, we've heard the tone and felt the power of the mighty Ampeg® SVT® that model is based on. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT® of pure tube magic.
Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every "rock" bass player in between.
Firmware version: 2.80
Based on: Ampeg® SVT-4 Pro
Tuck n' Go
Based on: Ampeg®B-15NF Portaflex®
If we had to sum up the amp's sound up in one sentence, we would simply say: Listen to James Jamerson's bass playing on the Motown®/Tamala records of the 1960's — The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15.
Based on: Acoustic® 360
Larry Graham himself used these towering stacks for the thumb, the stank and the funk. Led Zeppelin's virtuosic bassist John Paul Jones had to keep up with Jimmy Page, for the love of Pete, and with the Acoustic 360. Jaco Pastorius saved all his money (legend has it, sleeping on the beach when his bandmates on the road slept in hotel beds) and eventually purchased an Acoustic 360, which gave Jaco's fretless J-bass that instantly-recognizable bump in the upper-mids that provided him bassdom's most enduring, original voice.