Difference between revisions of "List of amp simulations"
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|- | |- | ||
|TUBE PRE | |TUBE PRE | ||
− | |= Studio tube preamp | + | |= '''Studio tube preamp''' |
''Completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments' as well as direct guitar sounds'' | ''Completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments' as well as direct guitar sounds'' | ||
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|- | |- | ||
|JAZZ | |JAZZ | ||
− | |= Roland Jazz Chorus JC-120 | + | |= '''Roland Jazz Chorus JC-120''' |
''Based on a Japanese 2x12 solid-state combo amp with built-in stereo 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'' | ''Based on a Japanese 2x12 solid-state combo amp with built-in stereo 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'' | ||
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|- | |- | ||
|BROWNFACE | |BROWNFACE | ||
− | |= Fender Vibroverb | + | |= '''Fender Vibroverb''' |
''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'' | ''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'' | ||
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|- | |- | ||
|59 BASSGUY (formerly: BLUES) | |59 BASSGUY (formerly: BLUES) | ||
− | |= Fender Bassman | + | |= '''Fender Bassman''' |
''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'' | ''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'' | ||
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|- | |- | ||
|DELUXE VERB (formerly: TWEED) | |DELUXE VERB (formerly: TWEED) | ||
− | |= Fender Deluxe Reverb (AB763) | + | |= '''Fender Deluxe Reverb (AB763)''' |
''Based on the classic 1965 “Blackface” 1x12 combo amplifier. This amp features two 6V6 power tubes and has a great chimey tone. Turn the Drive and Master up and the amp starts to get a nice overdriven breakup'' | ''Based on the classic 1965 “Blackface” 1x12 combo amplifier. This amp features two 6V6 power tubes and has a great chimey tone. Turn the Drive and Master up and the amp starts to get a nice overdriven breakup'' | ||
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|- | |- | ||
|DOUBLE VERB (formerly: BLACKFACE) | |DOUBLE VERB (formerly: BLACKFACE) | ||
− | |= Fender Twin Reverb | + | |= '''Fender Twin Reverb''' |
− | |||
''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'' | ''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'' | ||
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|- | |- | ||
|CLASS A | |CLASS A | ||
− | |= Vox AC30 | + | |= '''Vox AC30''' |
''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'' | ''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'' | ||
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|- | |- | ||
|TOP BOOST | |TOP BOOST | ||
− | |= Vox AC30TBX TopBoost | + | |= '''Vox AC30TBX TopBoost''' |
''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'' | ''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'' | ||
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|- | |- | ||
|PLEXI 1 | |PLEXI 1 | ||
− | |= Marshall Super Lead (model 1959 a.k.a. Plexi) | + | |= '''Marshall Super Lead (model 1959 a.k.a. Plexi)''' |
''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'' | ''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'' | ||
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|- | |- | ||
|BRIT 800 | |BRIT 800 | ||
− | |= Marshall JCM800 (model 2204) | + | |= '''Marshall JCM800 (model 2204)''' |
''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'' | ''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'' | ||
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|- | |- | ||
|BRIT 900 | |BRIT 900 | ||
− | |= Marshall JCM900 | + | |= '''Marshall JCM900''' |
''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 its 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'' | ''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 its 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'' | ||
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|- | |- | ||
|BROWN | |BROWN | ||
− | |= Eddie van Halen's modded Marshall | + | |= '''Eddie van Halen's modded Marshall''' |
''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'' | ''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'' | ||
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|- | |- | ||
|BOUTIQUE 1 / BOUTIQUE 2 | |BOUTIQUE 1 / BOUTIQUE 2 | ||
− | |= Matchless Chieftain / Matchless | + | |= '''Matchless Chieftain / Matchless Chieftainb boosted''' |
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 its 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 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 its 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'' | ||
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* [http://www.matchlessamplifiers.com/manuals/Clubman-Chieftain-manual.pdf Original manual] | * [http://www.matchlessamplifiers.com/manuals/Clubman-Chieftain-manual.pdf Original manual] | ||
* [http://en.wikipedia.org/wiki/Matchless_Amplifiers Wikipedia] | * [http://en.wikipedia.org/wiki/Matchless_Amplifiers Wikipedia] | ||
− | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bmatchless | + | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bmatchless&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] |
|- | |- | ||
|HIPOWER 1 / HIPOWER 2 | |HIPOWER 1 / HIPOWER 2 | ||
− | |= Hiwatt DR103 | + | |= '''Hiwatt DR103: Normal Channel / Brilliant Channel''' |
HIPOWER 1: ''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 1: ''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'' | ||
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* [http://fractalaudio.com/forum/viewtopic.php?f=11&t=14820&start=10 Dialing in the Hiwatt] | * [http://fractalaudio.com/forum/viewtopic.php?f=11&t=14820&start=10 Dialing in the Hiwatt] | ||
* [http://en.wikipedia.org/wiki/Hiwatt Wikipedia] | * [http://en.wikipedia.org/wiki/Hiwatt Wikipedia] | ||
− | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bhiwatt | + | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bhiwatt&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] |
|- | |- | ||
|USA CLEAN | |USA CLEAN | ||
− | |= Mesa Boogie MKIV Clean (Rhythm 1 channel) | + | |= '''Mesa Boogie MKIV Clean (Rhythm 1 channel)''' |
''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'' | ''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'' | ||
− | * Cabinet suggestion: 4x12 Cali. Alternative: Red Wirez Mesa | + | * Cabinet suggestion: 4x12 Cali. Alternative: Red Wirez Mesa |
* The clean channel is based upon a Fender circuit | * The clean channel is based upon a Fender circuit | ||
− | * Turn up | + | * Turn up Drive, keep Master Volume low |
* Original controls: Gain, Volume, Treble, Mid, Bass, Presence. Bright switch. Graphic Equalizer not modeled | * Original controls: Gain, Volume, Treble, Mid, Bass, Presence. Bright switch. Graphic Equalizer not modeled | ||
− | * [http://www.mesaboogie.com/manuals/Mark%204.pdf Original manual MKIV] | + | * [http://www.mesaboogie.com/manuals/Mark%204.pdf Original manual MKIV]: detailed descriptions of the controls and sample settings |
* [http://axefxwiki.guitarlogic.org/index.php?title=Tutorials#The_Mesa_Mark_Series Tips in the Wiki] | * [http://axefxwiki.guitarlogic.org/index.php?title=Tutorials#The_Mesa_Mark_Series Tips in the Wiki] | ||
* [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | * [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | ||
* [http://forum.grailtone.com Grailtone] | * [http://forum.grailtone.com Grailtone] | ||
− | * [http://www.fractalaudio.com/forum/search.php?keywords= | + | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Busa+%2Bclean&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] |
|- | |- | ||
− | |USA RHY 1 | + | |USA RHY 1 / USA RHY 2 |
− | |= Mesa Boogie MKIV Crunch | + | |= '''Mesa Boogie MKIV Crunch Rhythm 2 channel: FAT switch not active) / FAT switch active''' |
− | ''Crunchy California rhythm sound. Effective for solo use too with the gain turned up'' | + | 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'' | |
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− | + | * Cabinet suggestion: 4x12 Cali. Alternative: Red Wirez Mesa | |
− | + | * Original controls: Gain, Volume, Treble, Mid (without/with boost), Bass, Presence. No Bright switch. Graphic Equalizer not modeled | |
− | + | * [http://www.mesaboogie.com/manuals/Mark%204.pdf Original manual MKIV]: detailed descriptions of the controls and sample settings | |
− | + | * Turn up Drive, keep Master Volume low | |
− | |||
− | |||
− | * Cabinet suggestion: 4x12 Cali. Alternative: Red Wirez Mesa | ||
− | * Original controls: Gain, Volume, Treble, Mid (with boost), Bass, Presence. No Bright switch. Graphic Equalizer not modeled | ||
− | * [http://www.mesaboogie.com/manuals/Mark%204.pdf Original manual MKIV] | ||
* [http://axefxwiki.guitarlogic.org/index.php?title=Tutorials#The_Mesa_Mark_Series Tips in the Wiki] | * [http://axefxwiki.guitarlogic.org/index.php?title=Tutorials#The_Mesa_Mark_Series Tips in the Wiki] | ||
* [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | * [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | ||
− | * [http://forum.grailtone.com Grailtone] | + | * [http://forum.grailtone.com Grailtone forum] |
− | * [http://www.fractalaudio.com/forum/search.php?keywords= | + | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Busa+%2Brhy&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] |
|- | |- | ||
− | |USA LEAD 1 | + | |USA LEAD 1 / USA LEAD 2 |
− | |= Mesa Boogie MKIV Lead | + | |= '''Mesa Boogie MKIV Lead: Treble Shift not active / Treble Shift active''' |
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− | + | 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 of the Master a bit so that most of the distortion is coming from the preamp'' | |
− | |||
− | |||
− | ''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'' | + | 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'' |
− | * Cabinet suggestion: 4x12 Cali. Alternative: Red Wirez Mesa | + | * Cabinet suggestion: 4x12 Cali. Alternative: Red Wirez Mesa |
− | * Original controls: Gain/Drive, Treble, Mid, Bass, Presence (with treble shift). Bright switch (use for lower volume levels). Graphic Equalizer not modeled | + | * Original controls: Gain/Drive, Treble, Mid, Bass, Presence (without/with treble shift). Bright switch (use for lower volume levels). Graphic Equalizer not modeled |
− | * | + | * Turn up Drive, keep Master Volume low |
− | * Treble Shift shifts the range of the Presence control to higher frequencies on the original amp | + | * Treble Shift: this shifts the range of the Presence control to higher frequencies on the original amp, it influences the Treble control. In LEAD 1 Treble Shift is off, which works well for recording. In LEAD 2 Treble Shift is switched on, which works well within a band context, but can generate squealing and noise at high volume or gain levels |
− | * [http://www.mesaboogie.com/manuals/Mark%204.pdf Original manual MKIV] | + | * [http://www.mesaboogie.com/manuals/Mark%204.pdf Original manual MKIV]: detailed descriptions of the controls and sample settings |
* [http://axefxwiki.guitarlogic.org/index.php?title=Tutorials#The_Mesa_Mark_Series Tips in the Wiki] | * [http://axefxwiki.guitarlogic.org/index.php?title=Tutorials#The_Mesa_Mark_Series Tips in the Wiki] | ||
* [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | * [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | ||
− | * [http://forum.grailtone.com Grailtone] | + | * [http://forum.grailtone.com Grailtone forum] |
* [http://www.fractalaudio.com/forum/search.php?keywords=%2Bamp+%2Busa+%2Blead&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bamp+%2Busa+%2Blead&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] | ||
|- | |- | ||
− | |RECTO ORANGE | + | |RECTO ORANGE / RECTO RED |
− | |= Mesa Boogie 2-channel (old, small logo) Dual Rectifier | + | |= '''Mesa Boogie 2-channel (old, small logo) Dual Rectifier: Vintage Orange channel (rhythm) / Modern Red channel (lead)''' |
− | + | * The names and models changed from Recto 1 into Recto Orange and Recto 2 into Recto Red in 7.03, in firmware 7.03. The manual still lists Recto 1 and 2 | |
− | + | * Cabinet suggestion: 4x12 Recto1/Recto2, 4x12 Cali. Alternative: Red Wirez Mesa | |
− | * The | ||
− | * Cabinet suggestion: 4x12 Recto1/Recto2, 4x12 Cali. Alternative: Red Wirez Mesa | ||
* Original controls: Master, Presence, Bass, Mid, Treble, Gain. No Bright switch | * Original controls: Master, Presence, Bass, Mid, Treble, Gain. No Bright switch | ||
− | * | + | * Turn up Drive, keep Master Volume low |
− | * [http://www.mesaboogie.com/manuals/2chRecto.pdf Original manual] | + | * RECTO RED Defaults to no Damping, can be turned up |
+ | * [http://www.mesaboogie.com/manuals/2chRecto.pdf Original manual]: detailed descriptions of the controls and sample settings | ||
* [http://www.mesaboogie.com/demo/RectoDemo700.html Video demo] | * [http://www.mesaboogie.com/demo/RectoDemo700.html Video demo] | ||
* [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | * [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia] | ||
− | * [http://forum.grailtone.com Grailtone | + | * [http://forum.grailtone.com Grailtone forum] |
− | + | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bmesa+%2Brecto&terms=all&author=&sc=1&sf=all&sk=t&sd=d&sr=posts&st=0&ch=300&t=0&submit=Search Forum search] | |
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− | * [http://www.fractalaudio.com/forum/search.php?keywords=%2Bmesa+%2Brecto | ||
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Revision as of 10:12, 15 October 2010
This is a list of the amps the Axe-Fx emulates, including their description in the manual and on the website, suggestions for matching cabinets and additional notes.
Axe-Fx name | Details of model |
---|---|
TUBE PRE | = Studio tube preamp
Completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments' as well as direct guitar sounds
|
JAZZ | = Roland Jazz Chorus JC-120
Based on a Japanese 2x12 solid-state combo amp with built-in stereo 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 | = Fender Vibroverb
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
|
59 BASSGUY (formerly: BLUES) | = Fender Bassman
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
|
DELUXE VERB (formerly: TWEED) | = Fender Deluxe Reverb (AB763)
Based on the classic 1965 “Blackface” 1x12 combo amplifier. This amp features two 6V6 power tubes and has a great chimey tone. Turn the Drive and Master up and the amp starts to get a nice overdriven breakup
|
DOUBLE VERB (formerly: BLACKFACE) | = Fender Twin Reverb
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 | = Vox AC30
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 | = Vox AC30TBX TopBoost
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 | = Marshall Super Lead (model 1959 a.k.a. Plexi)
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 | = Marshall JCM800 (model 2204)
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 | = Marshall JCM900
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 its 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 | = Eddie van Halen's modded Marshall
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 / BOUTIQUE 2 | = Matchless Chieftain / Matchless Chieftainb boosted
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 its 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 1 / HIPOWER 2 | = Hiwatt DR103: Normal Channel / Brilliant Channel
HIPOWER 1: 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 1: Like HiPower I but using the “Brilliant” channel
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USA CLEAN | = Mesa Boogie MKIV Clean (Rhythm 1 channel)
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
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USA RHY 1 / USA RHY 2 | = Mesa Boogie MKIV Crunch Rhythm 2 channel: FAT switch not active) / FAT switch active
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
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USA LEAD 1 / USA LEAD 2 | = Mesa Boogie MKIV Lead: Treble Shift not active / Treble Shift active
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 of 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
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RECTO ORANGE / RECTO RED | = Mesa Boogie 2-channel (old, small logo) Dual Rectifier: Vintage Orange channel (rhythm) / Modern Red channel (lead)
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SOLO 100 | = Soldano Super Lead Overdrive (SLO-100)
Based on a high-gain hot-rod with a chrome chassis, this amp is noted for its 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
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SPEC OD1 | = Dumble Overdrive Special (Clean)
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
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SPEC OD2 | = Dumble Overdrive Special (Lead)
The overdrive channel of the above
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EURO BLUE | = 20th Anniversary Bogner Ecstasy (XTC), Blue Channel
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. Note: the description in the manual refers to the amp sim before firmware 9.0. In firmware 9.0 this amp sim was modeled after the Bogner XTC 20th Anniversay Blue channel
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EURO RED | = 20th Anniversary Bogner Ecstasy (XTC), Red Channel
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. But: the description in the manual refers to the amp sim before firmware 9.0. In firmware 9.0 this amp sim was modeled after the Bogner XTC 20th Anniversary Red Channel
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UKGC30 | = Laney GC30V
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
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BUTTERY | = Budda Twinmaster
Loosely 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
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FAS METAL | = Fractal Audio Systems Custom Model
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
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FAS BIG HAIR | = Fractal Audio Systems Custom Model
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!
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FAS HELLBEAST | = Fractal Audio Systems Custom Model
A radical custom type with an unconventional tone-stack
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FAS SUPERTWEED | = FAS Custom Model
Like a vintage Tweed amplifier on steroids
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FAS FUSION | = Fractal Audio Systems Custom Model
A smooth, thick tone good for fusion/blues solo work
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FAS CLEAN | = FAS Custom Model
Combines the best features of the Blackface and the USA Clean into a hybrid clean tone that’s great for a variety of uses
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FAS CRUNCH | = FAS Custom Model
A hybrid British/USA crunch sound
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FAS LEAD 1 | = FAS Custom Model
A neutral high gain lead with a tight midrange
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FAS LEAD 2 | = FAS Custom Model
More gain and more sizzle
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FAS MODERN | = FAS Custom Model
A high gain hybrid tone that’s equally suited to modern rhythm and lead work
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JR BLUES | = Fender Blues Jr.
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
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BRIT PRE | = Marshall JMP-1 preamp. The power amp is from the JCM 800
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
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ENERGYBALL | = ENGL Powerball, Lead Channel
Based on a very high-gain German amplifier. Lots of bass, great for aggressive, drop-tuned riff work
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RECTO NEW | = Mesa Boogie 3-channel Dual Rectifier, Red channel set to Modern
Based on the modern version of the Dual Rectifier amps. Some minor circuit changes made this version slightly more aggressive than the original
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HAD ODS 1 | = Dumble Overdrive Special
Revised model based on detailed analysis of a very rare Dumble Overdrive Special as used by the likes of Larry Carlton and Robben Ford
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WRECKER 1 | = Trainwreck Express
Based on another very rare and expensive amp designed by Ken Fische
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BRIT JM45 | = Marshall JTM45
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DAS METALL | = Diezel VH4
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PLEXI 2 | = Marshall Super Lead (Alt) Model 1959
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SV BASS | = Ampeg SVT
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CA3+ RHY | = Custom Audio Electronics 3+ SE (Rhythm - Channel 2)
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CA3+ LD | = Custom Audio Electronics 3+ SE (Lead - Channel 3)
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Eggie R20 | = Egnater Rebel 20
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USA IIC+ 1 | = Mesa Boogie Mark II Lead, Pull Bright off
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USA IIC+ 2 | = Mesa Boogie Mark II Lead, Pull Bright on
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FRYER D60L | = VHT Deliverance 60, Less mode
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FRYER D60M | = VHT Deliverance 60, More mode
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MR. Z 38 SR | = Dr. Z Maz 38 Sr.
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EURO UBER | = Bogner Übershall (high-gain channel)
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PVH 5105 | = Peavey 5150, Lead channel
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Solo X99 Clean | = Soldano X99 Preamp (Clean)
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Solo X99 Rhythm | = Soldano X99 Preamp (Rhythm)
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Solo X99 Lead | = Soldano X99 Preamp (Lead)
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Corncob R100 | = Cornford RK100
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CAROLANN OD2 | = CarolAnn OD-2r (overdrive channel)
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CITRUS RV50 | = Orange Rockerverb 50
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SHIVER CLN | = Bogner Shiva, Clean channel
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SHIVER LD | = Bogner Shiva, Lead channel
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1987X MOD | = Marshall 1987X Plexi (Bright channel with Bright casp removed)
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MARSHA BE | = Marsha Brown Eye by Rack Systems
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MARSHA HBE | = Marsha Hairy Brown Eye by Rack Systems
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