Amp simulator
Without distortion the electric guitar probably wouldn't have had nearly the impact it has had on popular music. The Axe-Fx contains multiple distortions based on emulations of various amplifiers. As mentioned earlier the Axe-Fx is not a modeler however these emulations provide sonic characteristics very similar to the amplifier they are emulating.
One of the primary differences between the Axe-Fx and a modeling amplifier is the control philosophy. Modeling amps replicate the operation of the tone, volume, drive, etc. controls even replicating the annoying interaction among these controls. The Axe-Fx philosophy is to provide the control as a more useful tool rather than a strict replica of the original. In this regard the tone controls on the Axe-Fx are true cut/boost equalizing controls and do not interact. Because of this the controls are more powerful and are set differently than on a typical amplifier. "Diming" all the tone controls may sound great on an old tube amp but usually gives less than optimum results with the Axe-Fx.
The Axe-Fx distortion is based on a proprietary dual-stage non-linearity generator. There are two basic stages: preamplifier and power amplifier. The preamplifier stage emulates the distortion generated by classic tube preamplifiers. The power amplifier stage emulates the type of distortion generated by a tube power amplifier using our proprietary Dynamic Response TechnologyTM.
Full control over all parameters is naturally afforded allowing precise tailoring of this all-important block to your particular sonic tastes. Read the following carefully as the distortion block in the Axe-Fx is very sophisticated and a complete understanding will allow you to get the most from it. Also it is important to understand the role of the Cabinet Simulator in the overall sound. The cabinet contributes to the sound of a preset at least as much the amplifier type. If you’re not getting the exact sound you’re looking for try a different cabinet simulation. Of course there are no “rules” so there’s nothing preventing you from using a 10” blues cabinet with a high-gain amp simulation. Experimentation can lead to some unique and useful sounds.
Contents
Parameters
- GLOBL - If set to OFF the amp block works as normal. If set to GLOBAL1 through GLOBAL10, the amp will load the parameters from a "global amp parameter list". Thiss parameter allows you to have 10 amps, each with different customizable settings, available to use in any preset.
- TYPE - Selects the amplifier simulation. The simulations are based on classic and modern amps as well as some hybrids and completely original types that we concocted. The following types are available:
- Tube Pre - A completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments.
- Jazz - Based on a Japanese solid-state amp with built-in chorus. With essentially no tone shaping this amp has a warm, midrange-thick sound that is good for jazz and fingerstyle. With the Axe-Fx’s powerful tone controls you can tweak this type to get shimmering rhythm tones as well.
- Brownface - Based on a classic American 40-watt tube amp with built-in vibrato. Great for gutsy blues, this type breaks up nicely, especially when the Master is cranked. The original had no Mid or Presence so set these to ‘0’ for classic tone.
- Blues - A low-to-medium gain sound great for blues. Based on a classic bass amplifier with four 10” speakers, it didn’t work so well for bass but guitar players quickly discovered it made a great blues amp. Try a treble booster in front for screaming blues work a la Albert Collins or Albert King.
- Tweed - Based on a small, low-power, tweed-covered amp. The original had no controls other than volume. Set all tone controls to ‘0’ for authentic tone. Adjust as desired to venture into new sonic territory. Our simulation has a bit more gain than the somewhat anemic original to allow you to dial in a nice crunch. To recreate the original faithfully set the drive to about 6 and use the Master as the volume.
- Blackface - Based on a popular, 100-watt American tube amp with two 12” speakers. This simulation captures the Normal Channel. Very similar to the Brownface model but a little more mellow. The tone-stack is also slightly different giving it just a bit different voicing.
- Class A - A medium-gain emulation based on an early British tube amplifier. This type does not have the high-frequency emphasis like the American types and therefore has a darker sound. Try a treble boost in front for a snarling British “opera-rock” sound. This amp is notable in that it has no negative feedback around the power-amp and hence has a gritty character and less high-frequency response.
- Top Boost - Based on the “Top Boost Mod” version of the Class A. The public yearned for a brighter amp and the designers responded by adding a treble boost circuit. At first this circuit was a retrofit but then included as standard. Our simulation captures the boosted high-frequency response and slightly reduced bass response of the original.
- Plexi 1 - Based on a classic British amp, the Plexi is great for crunchy rhythm work. The original was basically a copy of the 4x10 bass amp (see Blues type above) that guitar players adopted but with EL34 output tubes and other British components. Despite being essentially a copy it had a unique voice all its own. It has somewhat low preamp gain and works best with the Master and Drive both set fairly high.
- Brit 800 - The successor to the Plexi type was the vaunted 800 series lead amplifier. Many 80’s rock hits were born using this amp and we’ve captured its tone and put it into a neat little package. This amp had EL34 output tubes, some treble peaking on the input and a little more gain than the Plexi. Like the Plexi type it likes having the Master cranked. At low Master settings the amp can be brittle but bring the Master up and the true tone of this beast comes out. Try it with any of the 4x12 cabinet types for classic rock and metal tones. Try a drive block in front for more snarl.
- Brit 900 - The successor to the 800 series was the 900 series. This amp had basically the same power amp but a new preamp with more tone shaping, more gain, and a solid-state clipping circuit that gave it a raspier sound. This amp was designed to get more of it’s distortion from the preamp than the earlier models but you can still keep the drive low and turn up the Master for more power amp distortion.
- Brown - Based on a modified British style head with plenty of gain and lots of mids and highs. This type captures the sound of Eddie’s early work. Crank the Master and bring the drive up until you reach sonic nirvana.
- Boutique 1 - A medium-gain, thick, yet crisp, sound with a fair amount of power amp breakup. Based on a now-defunct amplifier that was renowned for it’s liquid tone and endless sustain. This amp had very unique tone controls and as a result a distinctive voice with a bell-like quality. The preamp gain is fairly low so crank the Master to get that gutsy crunch. Good for rhythm work in a sparse situation where fullness of tone is required.
- Boutique 2 - Same as Boutique 1 but with more gain and a bit more high- frequency emphasis. The lead version of Boutique 1.
- HiPower I - A medium-gain, full sound based on a famous “High Wattage” amp. These amps had a unique tone-stack and industrial quality output transformers with tremendous frequency response. Chimey with a bit of power amp breakup. Plug in your Tele and crank out some Baba O'Reilly.
- HiPower II - Like HiPower I but using the “Brilliant” channel.
- USA Clean - A somewhat neutral clean sound that can pushed into gentle clipping. Based on a classic California amp’s clean channel this type has a full tone with a gentle midrange dip. The power amp is punchy and clean but can be driven into light distortion if desired. Sounds best with the drive turned up fairly high.
- USA Rhy 1 - Crunchy California rhythm sound. Effective for solo use too with the gain turned up.
- USA Rhy 2 - Similar to USA Rhy 1 but with the “mid-boost” engaged. This effectively removes the midrange dip from the tone stack and gives a more focused sound and a bit more gain.
- USA Lead 1 - A tight, focused, hi-gain sound great for fusion and rock leads. Based on a modern Californian lead amp that set the standard for hi-gain lead tones. With the tone-stack before the preamp tubes this type has a more liquid response than the British types where the tone-stack is after the preamp. For the classic California lead sound turn the drive up and back off the Master a bit so that most of the distortion is coming from the preamp.
- USA Lead 2 - Similar to USA Lead I but with the “treble shift” engaged. This shifts the response of the treble control lower and gives a slightly different character to the tone. There is also a “treble peaker” on the input stage which slightly boosts the high frequencies giving this type a little more “cut”.
- Recto 1 - Based on a diamond-plated monster that redefined hard rock and “nu-metal” this type is characterized by a big bottom and some top-end sizzle. The tone-stack location is after the preamp which is quite a departure from the earlier Californian amplifiers.
- Recto 2 - Similar to Recto I but with a slightly different input frequency shaping circuit.
- Solo 100 - Based on a high-gain hot-rod with a chrome chassis, this amp is noted for it’s snarling lead sound. Also great for aggressive rhythm work, this type “chugs” nicely without getting muddy. Pair it with one of the 4x12 cabinet simulations for modern rock tones.
- Spec. OD 1 - Based on a coveted but rare lead head that was made famous by Larry Carlton and others. Another amp with a very strange tone-stack, this amp has a singing voice and is great for modern blues/fusion work. This is the clean channel.
- Spec OD 2 - The overdrive channel of the above.
- Euro 1 - Based on a German high-gain amp, these amps pay homage to the British amps but with lots more gain and more high-frequency emphasis. This type simulates the overdrive channel with the boost and “structure” switches off.
- Euro 2 - As above but with the boost and structure switches on. This one has lots of gain and plenty of low-end chunk along with a crispy top-end. Great for modern metal.
- UK GC30 - Based on a great British amp introduced in the 90’s this amp is a strange marriage of a USA style pre-distortion tone-stack, British voicing and a Class A power amp. Best for blues and lower-gain rock leads, has nice sustain qualities. Can get muddy at high drive levels, decrease the bass to compensate.
- Buttery - Based on an 18-watt amp that gained notoriety during the late 90’s this type is a low-gain amp that relies mostly on power amplifier distortion. Try a drive in front for smooth lead sounds.
- Metal - A custom type similar to a British type but with more gain for more grind. This simulation features quite a bit of high-frequency emphasis along with a modified British tone-stack. Capable of searing rhythm and lead tones.
- Big Hair - Spandex, studded wrist bands, pyrotechnics and your Axe-Fx are all you'll need to relive the 80's metal scene. This custom type has a unique voicing and tone-stack that emphasizes mid frequencies without getting muddy. Now plug in and shred!
- Hellbeast - A radical custom type with an unconventional tone-stack.
- Supertweed - Like a vintage Tweed amplifier on steroids.
- Fusion - A smooth, thick tone good for fusion/blues solo work.
- FAS Clean - Combines the best features of the Blackface and the USA Clean into a hybrid clean tone that’s great for a variety of uses.
- FAS Crunch - A hybrid British/USA crunch sound.
- FAS Lead 1 - A neutral high gain lead with a tight midrange.
- FAS Lead 2 - More gain and more sizzle.
- FAS Modern - A high gain hybrid tone that’s equally suited to modern rhythm and lead work.
- JR Blues - Based on a modern all-tube combo amp with two EL84 output tubes and a single 12” speaker. This amplifier has become an instant classic because of its gutsy tone at manageable volumes.
- Brit Pre - Based on a rack-mount preamplifier version of the Brit 900. The preamp gained notoriety for its crunchy tone and was made popular by ZZ Top.
- Recto New - Based on the modern version of the Recto 1 and Recto 2 amps. Some minor circuit changes made this version slightly more aggressive than the originals.
- Energyball - Based on a very high-gain German amplifier. Lots of bass, great for aggressive, drop-tuned riff work.
- Had ODS1 - Based on a very rare amp used by the likes of Larry Carlton and Robben Ford.
- Wrecker1 - Based on another very rare and expensive amp designed by Ken Fischer.
- Brit JM45 - Based on a legendary British Blues amplifier. This amp was actually a copy of the American “bass” amp that many guitar players were using but with different output tubes and transformer. Made famous by Eric Clapton and others.
- Das Metall - Based on a high-gain, boutique German amplifier famous for its aggressive sound.
- Plexi 2 - Similar to Plexi 1 model but with different treble peaker on volume control and other minor changes.
- BRIGHT - Many amplifiers contain a “treble peaker” on the volume or drive control (see DRIVE below). Some amplifiers have a “bright switch” that can be used to engage or disengage the circuit. On many amps this switch is built in to the volume control as a “pull on” switch. On others the circuit is hard-wired.
The Axe-Fx amp types default to a particular state for the bright switch. If the amp had a hard-wired treble peaker the default state is on. If the amp had no circuit at all the default state is off. You many override this state by selecting the TREB control and pressing ENTER. This will toggle the state of the switch. The text “BRIGHT” will appear under the control when the bright circuit is active.
If the original amp did not have a treble peaker circuit, the bright switch uses circuit values most suited to an amp of that type. On some amps the effect may be subtle, on others, quite pronounced. - DRIVE - Sets the preamp drive. Higher settings equal more preamp distortion. On some amplifier types the drive control has a treble peaker (like the original). When the drive is turned down the low frequencies are attenuated more than the high. As the drive is turned up the low frequencies are increased more.
Many amplifiers have this feature and it can be heard as the drive is varied. You can use this to achieve the exact sound you’re looking for when a drive block feeds the amp. Adjust the drive control of the amp to achieve the desired amount of input treble peaking and then adjust the drive and the output level of the drive block to achieve the desired amount of distortion.
The Drive control has 40 dB of range. At a setting of ‘0’ the gain is 40 dB below the maximum gain. - BOOST - adds an additional 12db of gain for added preamp distortion. You many toggle this state by selecting the DRIVE control and pressing ENTER. This will toggle the state of the switch. The text “BOOST” will appear under the control when the boost circuit is active.
- BASS, MID, TREB - Tone controls. The tone controls in the Axe-Fx have up to twice the range of a typical amplifier. When a tone control is set to the 12:00 position (0.0 dB) it is equivalent to the simulated amplifiers control at 12:00. However, the boost cut range of the control is greater, +/- 12 dB, whereas a typical amplifier may have only +/- 6 dB or less. This allows you to get sounds, like heavily scooped mids or boosted treble, that normally wouldn't be possible.
Also, the tone controls do not interact like a typical amplifier. So when you turn the treble control the midrange and bass are not affected. This makes dialing in a certain tone easier and quicker than with a typical tone stack. This does not affect the voicing of the simulation in that the frequency response of the original circuit is always achieved however the exact setting of the controls will be somewhat different. In general the Axe-Fx tone controls are more sensitive than a typical amp and require less extreme settings to achieve the same sound. For example, if you set the treble to full on a British hi-gain amp, the corresponding setting on the Axe-Fx is about 5.0 dB. The advantage of this philosophy is ease of use plus more flexibility and wider range of tones. Adjust the tone controls slowly and listen carefully. A 1.0 dB adjustment can make a marked difference in the tone.
Some of the amps simulated do not have the full complement of tone controls. In those cases setting the control to 12:00 replicates the original. For example, some early amps did not have Mid controls. To capture the original faithfully simply set the control to ‘0’. Adjust the control as desired to achieve new and different tones.
Be careful in setting the tone controls as extreme settings along with high gain can cause pickup squealing or excessive noise. - PRES - Power amp presence control. This control boosts (or cuts) the upper frequencies from the power amp simulator by varying the negative feedback frequency response. Increasing this can help your sound “cut” through a heavy mix. This control actually has a greater range than a standard presence control. Values greater than zero behave like a typical tube amp, values less than zero actually reduce the high-frequency response even further.
If the Damping is set to zero this control is converted to a high-shelf equalizer at the output of the power amp. This allows you to control the high-frequency response of the power amp for types that don’t have any negative feedback. - HI CUT - This control sets the cutoff frequency of a lowpass filter at the very end of the preamp simulation. It defaults to a preset value for each amp type but can be overridden if desired. Experiment with this to fine tune your tone. For example, some of the higher gain types are characterized by fairly heavy filtering after the preamp stage but with this control you can reduce the amount of filtering and achieve a brighter tone. Conversely you gain reduce this value to achieve a darker or less brittle tone.
If using the Axe-Fx along with a separate tube power amp you may wish to experiment with this control to achieve the desired tone as the power amp may have it’s own high-frequency filtering. - DEPTH - This controls the effective output impedance of the power amp simulation. Higher values increase the impedance which increases the interaction of the virtual speaker with the power amp. Higher values give a fuller, looser sound, while low values can be used to achieve a more focused sound.
- DEEP - Selecting the DEPTH control and then pressing ENTER toggles the state of the DEEP switch. When the DEEP switch is active the negative feedback around the power amp is modified and the power amp will have enhanced low-frequency response adding depth and punch to the tone. This control defaults to off whenever a new amp type is chosen.
- DAMP - This controls the amount of negative feedback, or damping, in the power amp simulation. Higher values give a tighter and brighter sound but can sound harsh at very high master volume levels. Lower values give a loose and gritty sound and feel. Each amp type defaults to a its own value but you may override the default value with this control. For example, a Top Boost amp has no negative feedback and as a result a unique tonal character. You can override the default damping and dial in some negative feedback to give the power amp a more “American” sound but still retain the preamp voicing.
- SAG - This controls how dynamic the power amp simulation behaves. Higher settings simulate higher power supply impedance and thus more droop in the tube plate voltages which leads to a more compressed feel.
This control interacts with the Master Volume control in that at low Master Volume settings this control will have little effect as the power amp is not being pushed. As the power amp is pushed and draws more virtual current from its virtual power supply the Sag control will have more effect.
NOTE: Turning this control fully CCW defeats the power amp simulation. If you are using the Axe-Fx into an external tube power amp and cabinet you may want to set this control to zero to defeat the power amp simulation.
With the power amp sims off the depth and deep controls are deactivated. The master works as just a volume and the presence turns into a shelving filter.
- MSTR VOL - This, the Master Volume, is a very important control. It determines the drive to the power amp simulator. A higher setting increases the distortion contributed by the power amp simulator. As the Master is turned up the entire character of the amp will change, just like the real thing. The tone controls will have less influence on the sound, and the sound will “bloom” more and be more touch sensitive.
By carefully balancing Drive and Master Volume you can achieve the tone you desire. Experiment with the two to achieve your ultimate tone. Sometimes the tone you desire may be mostly preamp based and as such turn the Drive up and the Master down. Other times the tone may be mostly from the power amp so crank the Master up and back off the Drive. Amps with negative feedback (damping greater than zero) tend to have a crunchier power amp distortion and this can even get raspy if driven too hard. This is due to the negative feedback attempting to linearize the power amp. The resulting transfer function is harsher at clipping than an amp with little or no feedback. You can experiment with the damping control and master volume to achieve the desired power amp distortion timbre.
If the Master Volume is set very high best results are usually achieved by reducing the drive control. Try setting the Master around 9 or so and then slowly bringing the drive up until the desired tone is achieved. At high Master settings less drive is usually required, especially for high-gain types.
Amp types that are designed for preamp distortion typically sound better with lower values of this control and too high of a value can make the tone muddy or excessively noisy. This includes the USA Lead types, SOLO 100 and others. Lower gain amps such as Plexi, Brownface, and others can benefit from higher settings as this can reduce the harshness of the amp.
If the power amp simulation is off (Sag at zero) this control then becomes a simple level control. This control has 40 dB of range. A setting of ‘5’ is therefore 20 dB less than maximum. - LOWCUT FREQ - This control allows you to reduce the amount of low frequency content at the input to the amp simulator. This parameter defaults to a value for each type but can be overridden if desired. A higher value will "tighten" up the amp, since what a user calls "flub" is low frequency distortion.
- TONESTACK TYPE- This control allows you to select the type of tone stack used in the simulation. The tone stack will default to either ACTIVE or PASSIVE depending upon the DEFAULT TONESTK parameter in the GLOBAL menu. When set to ACTIVE, the tone stack is a semi-parametric EQ with +/- 12 dB of range for each control. When set to PASSIVE, the tone stack is an exact digital recreation of the classic tone stack used in the amplifier being simulated. You can also choose from a wide selection of other tone stacks if desired. Fifteen classic passive tone stacks are available to choose from. So you can dial up a Plexi model and change the tone stack to a Blackface or Top Boost, etc yielding hybrid amp sounds.
- TONE FREQ - This control allows you to alter the center frequency of the tone controls. You can use this to change the character of the preamp. This parameter defaults to a value for each type but can be overridden if desired.
- XFORMER LF - This control allows you to alter the lower cutoff frequency of the “output transformer”. Increase this value to simulate an old, under-designed transformer as was common in some vintage amps. This parameter defaults to a value for each type but can be overridden if desired.
- XFORMER HF - This control allows you to alter the upper cutoff frequency of the “output transformer”. Decrease this value to simulate narrow bandwidth transformers as were common in some vintage amps. This parameter defaults to a value for each type but can be overridden if desired.
- TONE LOCATION - This control allows you to alter the location of the tone stack. “Pre” places the tone stack at the input to the amp, “post” places the stack between the preamp and power amp. This parameter defaults to a value for each type but can be overridden if desired.
- PRESENCE FREQ - This control allows you to alter the center frequency of the presence control. This parameter defaults to a value for each type but can be overridden if desired.
- SPKR RES FREQ - This control allows adjustment of the virtual speaker impedance's resonance frequency. It defaults to the value of the cabinet that would typically be paired with the TYPE, but can be adjusted to retune the response. This control has the most effect when the Depth controls is fairly high (as depth controls the amp output impedance).
- STABILIZER - Under certain extreme settings of DEPTH and DAMP the simulation may go unstable. This would happen in a real amplifier as well. The STABILIZER switch alters the “grid capacitor” values to ensure stability. (Alternatively you can reduce the XFORMER LF value. This will usually remove any instability, although occasionally it won't. In those cases you can use the STABILIZER.)
- LEVEL, PAN, BYP MODE - These are the standard output mixer controls.
Global amp
To use the global amp feature:
- Turn the GLOBL knob to select one of the ten 'Global Amps". As soon as you turn it from off it will load the parameters.
Now make your adjustments: type, drive, etc. * Save the preset.
- Now if you go to another preset and set the GLOBL to the same value all the values you saved with the previous preset are loaded.
- So any preset that uses the same Global Amp number will have the exact same parameter values. If you edit an amp block that uses a Global Amp and save the preset, all the other presets that use the same Global Amp will reflect those changes. For example, if you set an amp to GLOBAL2 and adjust that amp to be a Plexi model with various drive, bass, etc., anytime you recall a preset with the GLOBL set to GLOBAL2 that amp will use the same parameters.
Using different amp sims
The amp sims are based on real world designs and therefore have certain quirks and nuances like the amps they're based off of exhibit. Take time to learn how different knobs, especially tone controls, react and possibly interact in the different sims.
Varying the drive/gain
The DRIVE control has too many calculations associated with it to allow a modifier to adjust it in real time. You can adjust gain in a preset in a few different ways, each with their own benefits and drawbacks. Recreating the effect of varying the DRIVE control has a certain set of needs that other techniques won't achieve.
Parallel paths: panning between inputs or mixing between outputs
Neither technique is going to be quite the same as simply adjusting a volume pedal to shift the gain. Panning between the inputs would better approximate this, but isn't much gained (pardon the unintended pun) by using a second setup then. For blending to a different tonality (such as boosted mids and smoother gain) for a solo though, that's a great approach.
Mixing between the outputs can be a nice effect, and useful for other things, but really isn't anywhere near the same as adjusting a gain control. If mixing between a signal and a version that's been pitch-shifted by an octave doesn't get a shift of a fifth. Similarly, gain structure isn't affected by mixing between low gain and high gain. It's a great way to clean up a really dirty sound to get more clarity, but not the same as turning down the distortion.
To think through this stuff, just think about what would happen if one channel was set to crystal clean and the other was a raging fuzz. Panning the inputs would simply fade out the clean while increasing the drive on the fuzz, but there would still be just a blend in the middle of the spectrum. (Again, not bad, just not riding the DRIVE control.) Mixing the outputs, you would just get more pick attack sticking through the fuzz. (Still useful; still not a variable DRIVE control.)
Volume block before the gain block
A volume (or null filter) block at the input of a Drive or Amp block is the way to go. You can set a range in the modifier so it varies between two set points. You can also throw a control at a LEVEL control somewhere further down the line (or another Volume block) to counteract (or further, if that's what you want) the volume boost from pushing everything further into saturation.
List of amp simulations
This is a list of the amps the Axe-Fx G1 models emulate, including their descriptions (manual and website), suggestions for matching cabinets and additional notes. The text in italics originates from the manual or website.
Axe-Fx name | Details of model |
---|---|
TUBE PRE | = STUDIO TUBE PREAMP
This is a completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments as well as direct guitar sound
|
JAZZ | = ROLAND JAZZ CHORUS JC-120
This model is based on a 2x12 solid-state combo amp, known for its warm, midrange-thick sound and built-in stereo chorus
|
BROWNFACE | = FENDER VIBROVERB
Our model is based on a 40W combo that's great for clear or grinding cleans and gutsy blues. This amp breaks up nicely, especially when the Master is cranked
|
59 BASSGUY (formerly: BLUES) | = FENDER BASSMAN
Model based on the Fender Bassman®, a low-to-medium gain amp designed for bass but more widely adopted by guitarists for its great blues and rock tones
|
DELUXE VERB (formerly: TWEED) | = FENDER DELUXE REVERB (AB763)
Model based on a 1965 Fender Deluxe Reverb® 1x12 combo. This model has great chimey tone with nice power amp breakup when you push the MASTER
|
DOUBLE VERB (formerly: BLACKFACE) | = FENDER TWIN REVERB
Based on a blackface Fender Twin Reverb® 100-watt 2x12" combo, running the “Normal” channel. Known for amazing clean sounds it also breaks up very nicely
|
CLASS A | = VOX AC30
Model based on the Vox AC30®, a combo that dominated the British Invasion sound. This model has the same gritty character, warm tone, and very playable feel
|
TOP BOOST | = VOX AC30TBX TOPBOOST
Model based on the Vox AC30TBX® Top Boost, an amp created in response to demand for "More Treble". Great highs and slightly reduced bass
|
PLEXI 1 | = MARSHALL SUPER LEAD (MODEL 1959 a.k.a. PLEXI)
Based on the classic British amp head that gave rise to the Marshall stack: the Super Lead Model 1959 Plexi. Great for crunchy rhythm work
|
BRIT 800 | = MARSHALL JCM800 (MODEL 2204)
Model based on the vaunted Marshall JCM800 (model 2204). Bring the Master up and the true 80s rock tone of this beast comes out
|
BRIT 900 | = MARSHALL JCM900
Based on the Marshall JCM900m this amp offers more tone shaping, more gain, and a solid-state clipping circuit for a raspier sound
|
BROWN | = EDDIE VAN HALEN'S MODDED MARSHALL
A faithful recreation of the pure, raw (some might say erupting...) "Brown Sound" -- the signature tone of perhaps the best-known guitarist of the late '70s/'80s
|
BOUTIQUE 1
BOUTIQUE 2 |
= MATCHLESS CHIEFTAIN: RHYTHM / LEAD
BOUTIQUE 1: Based on the Matchless Chieftain, known for its liquid tone and endless sustain -- a medium-gain amp, thick, yet crisp, with a fair amount of power amp breakup BOUTIQUE 2: Also based on the Matchless Chieftain but with a boost engaged for more gain and high-frequency emphasis. Great for leads
|
HIPOWER 1
HIPOWER 2 |
= HIWATT DR103: NORMAL / BRILLIANT CHANNEL
HIPOWER 1: Based on this medium-gain, full sound amp... unique tone-stack and a chimey grinding tone. Your ears may go numb (comfortably) with this one HIPOWER 2: A brighter model based on the amp’s "Brilliant" channel. Who's next to to plug in to this inspired amp model?
|
USA CLEAN | = MESA BOOGIE MKIV, CLEAN RHYTHM 1 CHANNEL
A somewhat neutral clean sounding model that can pushed into warm clipping. Based on a Mesa Boogie MKIV Rhythm 1 channel
|
USA RHY 1
USA RHY 2 |
= MESA BOOGIE MKIV, CRUNCH RHYTHM 2 CHANNEL: FAT SWITCH NOT ACTIVE / ACTIVE
USA RHY 1: A crunchy California rhythm sound based on a the Rhythm2 channel with the Mid Boost (“Fat”) switch OFF USA RHY 2: Based on the MKIV Rhythm 2 channel, this time with the Mid Boost (“Fat”) switch ON for a more focused sound and a bit more gain
|
USA LEAD 1
USA LEAD 2 |
= MESA BOOGIE MKIV Lead: Treble Shift NO / YES
USA LEAD 1: This model has a tight, focused, hi-gain sound great for fusion and rock leads. Based on the Lead channel with the Treble Shift disengaged USA LEAD 2: Based on a MKIV, the Treble Shift gives this amp a slightly different character with a little more cut
|
RECTO ORANGE
RECTO RED |
= MESA BOOGIE 2-CHANNEL DUAL RECTIFIER (OLD, SMALL LOGO): VINTAGE ORANGE CHANNEL (RHYTHM) / MODERN RED CHANNEL (LEAD)
RECTO ORANGE: Based on a the original Mesa Boogie 2-channel Dual Rectifier in the "Vintage" (Orange) channel (rhythm) RECTO RED: Based on the Modern (Red) "Lead" channel, this is a high gain masterpiece with crushing power and tightness
|
SOLO 100 | = SOLDANO SUPER LEAD OVERDRIVE (SLO-100)
The SLO-100® is noted for its hot-rod chrome chassis, aggressive rhythm tone, and snarling lead sound
|
SPEC OD1
SPEC OD2 |
= DUMBLE OVERDRIVE SPECIAL: CLEAN / LEAD
SPEC OD1: Based on the Clean channel of a coveted but rare amp made famous by Robben Ford and Larry Carlton, among others SPEC OD2: Based on this amp's foot-switchable Lead channel with great singing sustain and tone appropriate for modern blues, fusion, and more
|
EURO BLUE
EURO RED |
= 20TH ANN. BOGNER ECSTASY (XTC): BLUE / RED CHANNEL
EURO BLUE: Based on the 20th Anniversary model, this amp type simulates the overdrive channel with the BOOST and STRUCTURE switches OFF EURO RED: This is based on the Red Channel with BOOST and STRUCTURE switches ON. Lots of gain and plenty of low-end chunk along with a crispy top-end
|
UKGC30 | = LANEY GC30V
Based on the marriage of a USA style pre-distortion tone-stack, British voicing and Class A power amp. Great for lower-gain leads with nice sustain qualities
|
BUTTERY | = BUDDA TWINMASTER
This model is loosely based on a late 90s Budda Twinmaster. A low gain amp, it relies mostly on power amp distortion. Try a drive in front for smooth lines
|
FAS METAL | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
A custom type similar to a JCM but with more gain and grind. This simulation features quite a bit of high- emphasis along with a modified British tone-stack
|
FAS BIG HAIR | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
Spandex, studded wrist bands, pyrotechnics and this custom creation by Fractal Audio Systems are all you'll need to re-live the 80's metal scene
|
FAS HELLBEAST | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
A radical custom amplifier model designed with an unconventional tone-stack by Fractal Audio Systems
|
FAS SUPERTWEED | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
This model designed by Fractal is like a vintage Tweed amplifier on steroids
|
FAS FUSION | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
This model designed by Fractal Audio Systems has a smooth, thick tone good for fusion/blues solo work
|
FAS CLEAN | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
Combines the best features of the Blackface and the USA Clean models into a hybrid that's great for a variety of uses
|
FAS CRUNCH | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
Combines the best features of the British and USA crunch models for grinding tones that are evocative and innovative at the same time
|
FAS LEAD 1 | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
A custom amp by Fractal Audio Systems, this model is a neutral high gain lead with a tight midrange
|
FAS LEAD 2 | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
A custom amp by Fractal Audio Systems, this model has more sizzle and gain the the FAS Lead I
|
FAS MODERN | = FRACTAL AUDIO SYSTEMS: CUSTOM MODEL
A high gain hybrid model custom designed by Fractal Audio Systems. Equally well suited to modern rhythm and lead work
|
JR BLUES | = FENDER BLUES JR
Based on a modern combo with two EL84s and a single 12" speaker. The original became an instant classic because of its gutsy tone at manageable volumes
|
BRIT PRE | = MARSHALL JMP-1 PREAMP
Based on a rack-mount preamplifier version of the Brit 900. The preamp gained notoriety for its crunchy tone and was made popular by ZZ Top and Def Leppard
|
ENERGYBALL | = ENGL POWERBALL, LEAD CHANNEL
Based on a very high-gain amplifier from Germany with lots of bass. Great for aggressive, drop-tuned riff work
|
RECTO NEW | = MESA BOOGIE 3-CHANNEL DUAL RECTIFIER, RED "MODERN" CHANNEL
Based on the modern version of the Dual Rectifier amps. Circuit changes made this version more aggressive
|
HAD ODS 1 | = DUMBLE OVERDRIVE SPECIAL
A revised model based on detailed analysis of a very rare Dumble Overdrive Special as used by the likes of Larry Carlton and Robben Ford
|
WRECKER 1 | = TRAINWRECK EXPRESS
Based on the Trainwreck Express—a high quality handmade amp designed and built by Ken Fischer
|
BRIT JM45 | = MARSHALL JTM45
Based on a vintage Marshall JTM45 blues amplifier. This amp made famous by Clapton and others was actually a modified version of the original Bassman
|
DAS METALL | = DIEZEL VH4
Based on a high-gain, boutique amplifier head famous for its powerful, heavy and aggressive sound
|
PLEXI 2 | = MARSHALL SUPER LEAD (MODEL 1959)
Similar to Plexi 1 but with a different "bright cap" value and transformer model. Lower gain and more "vintage" sounding
|
SV BASS | = AMPEG SVT
Based on the Ampeg SVT (“Super Valve Technology”) that is used for decades by famous bassists the world over
|
CA3+ RHY
CA3+ LD |
= CUSTOM AUDIO ELECTRONICS 3+ SE: RHYTHM CHANNEL 2 / LEAD CHANNEL 3
CA3+ RHY: Based on channel 2 (Rhythm) of the 3+ SE preamp by CAE. For Ch. 1 (Clean), use the "DOUBLE VERB" model) CA3+ LD: Based on channel 3 (Lead) of the 3+ SE preamp by CAE designed by Bob Bradshaw
|
Eggie R20 | = EGNATER REBEL 20
Based on the Egnater Rebel 20 20W amplifier head, offering perfect proof that good things really DO come in small packages, (or in this case, DSP packages)
|
USA IIC+ 1
USA IIC+ 2 |
= MESA BOOGIE MARK II LEAD: PULL BRIGHT OFF / ON
USA IIC+ 1: Based on a US-made amp famous for its smooth overdrive sound. This model has the pull bright OFF USA IIC+ 2: Based on a US-made amp famous for its smooth overdrive sound. This model has the pull bright ON
|
FRYETTE D60L
FRYETTE D60M |
= VHT DELIVERANCE 60: LESS / MORE
FRYETTE D60L: Based on the Fryette Amplification D60 in the "Less" mode FRYETTE D60M: Based on the Fryette Amplification D60 in the "More" mode
|
MR. Z 38 SR | = DR. Z MAZ 38 Senior
Based on the Dr. Z Maz 38 SR, an amp popular with country and roots players
|
EURO UBER | = BOGNER UBERSCHALL, HIGH-GAIN CHANNEL
Based on the aggressive " High Gain" channel of a 120W head, this model is reminiscent of an 800, modded for heavier, grinding lows and what some call insane gain
|
PVH 5105 | = PEAVEY 5150, LEAD CHANNEL, HI-INPUT
Based on the high input lead channel of a high gain amp with the same name as an album so called for the California police code for "criminally insane"
|
Solo X99 Clean
Solo X99 Rhythm Solo X99 Lead |
= SOLDANO X99 PREAMP: CLEAN / RHYTHM / LEAD
Based on the Clean / Rhythm / Lead Channel of a very highly regarded rack mount preamplifier
|
Corncob R100 | = CORNFORD RK100
Based on a boutique British amplifier, the Cornford RK100, which is said to have a Plexi-Meets-Modern tone and feel with both subtlety and big cojones
|
CAROLANN OD2 | = CAROLANN OD-2R, OVERDRIVE CHANNEL
Based on the celebrated OD2r from CarolAnn Amplifiers as designed by the highly respected Alan Phillips. Alan fine-tuned the Axe-Fx version himself!
|
CITRUS RV50 | = ORANGE ROCKERVERB 50, DIRTY CHANNEL
We find that this model, based on the "dirty" channel of the 50W head offers all the warmth, tonal quality and rich harmonics generated by the valve-based original
|
SHIVER CLN
SHIVA LD |
= BOGNER SHIVA: CLEAN CHANNEL / LEAD CHANNEL
SHIVA CLN: Based on the 90 watt anniversary model of this versatile amp, this model does powerful shimmering cleans SHIVA LD: Based on the lead channel of this amp -- sweet rich sounding with an aggressive English style midrange punch
|
1987X MOD | = MARSHALL 1987X PLEXI, MODDED (BRIGHT CAP REMOVED)
This model based on the 1987X Plexi features what many consider to be an "essential" mod to the amp's tonestack
|
MARSHA BE BE
MARSHA HBE HBE |
= MARSHA / FRIEDMAN by Rack Systems: BROWN EYE / HAIRY BROWN EYE
MARSHA BE: The Rack Systems Marsha is a new amp by renowned rig builder/amp modder/designer Dave Friedman. This guy knows tone! Here is the amp's Brown Eye channel MARSHA HBE: The Marsha's Hairy Brown Eye channel is chock full of even more attitude with some pretty wicked gain on tap
|