Fractal Audio Wiki - User contributions [en]

Amp models list

2013-09-06T08:07:01Z

GiRa:

* Notes:
** Amp models are listed below in alphabetical order.
** Amp icons: provided by forum member SynFactory, updated by forum member CBoothe01. [http://forum.fractalaudio.com/axe-fx-ii/37147-fractal-audio-axe-fx-ii-logic-pro-icons.html Source]
** [http://wiki.fractalaudio.com/axefx2/index.php?title=CAB_(block):_list Click here] for a detailed list of all stock cabinets.
** [http://wiki.fractalaudio.com/axefx2/index.php?title=AMP_(block):_list&printable=yes Click here] for a printable version of this page. When saving to PDF the URLs will still work.
** Forum member jma's [http://olongjohnson.xp3.biz/_assets/Amp_&_Cab_Quick_Reference.pdf Quick Reference Guide] and [http://olongjohnson.xp3.biz/_assets/Amp_Default_Settings.xlsx Amp Default Settings spreadsheet].
{{16.13 Table of Amp Types}}

==1987X Normal / Treble (based on Marshall 1987x Vintage Series)==

[[file:313Marshall1987X.png|150px]]

# Based on: Marshall 1987X Vintage Series, reissue of the Marshall 50w JMP Lead 1987. Features what many consider to be an “essential” mod to the tonestack of this Plexi. Both channels (Normal and Treble) are modeled. 4 inputs. Speakers: G12M, G12H, G12L
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 35 (G12L)
# Original controls: Bass, Middle, Treble, Volume, Presence
# Notes: see Plexi
# [http://www.marshallamps.com/downloads/files/Vint%20hbk.pdf Manual]
# [http://www.marshallamps.com/product.asp?productCode=1987X Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# Try cranking all tone controls
# [http://www.youtube.com/watch?v=fR3Os80p0u4 Demo]

==5153 Blue / Green / Red (based on EVH 5150 III)==

[[File:EVH_5150_III.png|150px]]

# Based on: EVH 5150 III, made in collaboration with Fender, a holy grail of modern tone. 50w and 100w 6L6 versions. Modeled: Blue (medium gain), clean and Red (high gain) channels. Speakers: G12-EVH (G12H30)
# Stock cabinet suggestions:
#* 49/107/128 (5150)
#* or G12Hs
# Original controls: Gain, Low, Middle, High, Volume, Presence, Resonance on 50w model only
# [http://www.evhgear.com/gear/subpage?partno=2251000000 Specifications and website]: "EVH 5150III heads and cabinets deliver the holy grail of tone - a truly clean channel, a super-heavy crunch channel and an off-the-scale overdrive channel you simply won’t believe. You get the incredible tones Eddie Van Halen has chased his whole life, as Eddie himself has defined and designed each of the 5150III amplifier’s three channels. Available in black or ivory, with an unmistakable look and sound that’s pure EVH"
# Cliff: "IMO, it's a very good amp. The build-quality is great and the design is very good. It is similar to the previous versions but voiced a bit different. Personally, I think all of the 5150's have more gain stages than necessary which just makes for unnecessary failure points but the "OMG, this map has sooo many toobz it must sound awesome" marketing makes it understandable. It's incredibly heavy though" [http://forum.fractalaudio.com/axe-fx-ii-reviews/53274-5153-impressions.html#post679483 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-reviews/53274-5153-impressions.html#post680109 EVH's personal settings]
# Cliff: "A 5150 uses a fixed bias with no adjustment. Depending on the tubes used the bias can run from average to cold. The model uses average. Some people like a colder sound. If you prefer your amps biased cold, then reduce the bias parameter to taste" [http://forum.fractalaudio.com/axe-fx-ii-discussion/59414-axe-fx-ii-firmware-9-public-beta-23.html#post742231 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-discussion/61537-fas-do-you-still-do-comparisons-guitar-cabs.html Information about the 5150 amp]
# [http://www.youtube.com/watch?v=W46XQ-grJEc Ola Englund demo]
# [http://www.youtube.com/watch?v=Jh0XqHXFlQ0 Another demo]
# Reviews: [http://licklibrary.ceros.com/iguitarmag/issue-10-eddie-van-halen-iguitar/issue10/page/24 iGuitar], [http://www.premierguitar.com/articles/EVH_5150_III_50_Watt_Amp_Review Premier Guitar]

==59 Bassguy (based on '59 Fender Bassman)==

[[file:303FenderBassman1959.png|150px]]

# Based on: 1959 Fender Bassman, a low-to-medium gain amp designed for bass but more widely adopted by guitarists. 5F6-A circuit, Bass and Normal channel, high and low input, Tweed era. Speakers: 4x10 or 2x12
# Stock cabinet suggestions:
#* 32/33/99 (4x10)
# Original controls: Volume, Bass, Treble, Presence
# Try with a Treble Booster
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/59-bassman-ltd Fender website]: "In early 1952, the Fender Bassman amplified a great new invention - the Fender Precision Bass guitar. At 50 watts, it competed easily with the common instrumentation of the day: horns, piano, small drum kit, and maybe even an electric guitar through a new 10-watt amp. Through the ’60s and ’70s, the original all-tube tweed 4x10” Bassman was popular with rock, country and blues guitarists as a reliably great-sounding and easy-to-use guitar amp. In the ’90s, Fender released an affordable ’59 Bassman reissue amplifier to great acclaim. Many guitarists, tired of experimenting with preamps, equalizers and effects racks, rediscovered the simple pleasure of plugging into a Fender tube amp. The reissue Bassman’s wide stage coverage, touch-sensitive dynamics and full-frequency swirl make it perfect for building great tone with almost any guitar or effect, and it remains a staple of the Fender guitar amp line to this day"
# [http://en.wikipedia.org/wiki/Fender_Bassman Wikipedia]
# [http://fenderguru.com/amps/bassman Fenderguru.com]: "The Fender Bassman is a legendary guitar amp known to both guitar and bass players. It was introduced in 1951, primarily targeted for bass guitar players and promoted as a bass amp for the Fender Precision Bass guitar, the first mass-produced electric bass guitar ever. During the different eras the Bassman amp came in many different shapes and configurations. Few other models experienced so many changes in terms of looks and tone. Unfortunately the Bassman was one of the first amps that CBS laid their hands on after buying the company from Leo Fender. A couple of things in the circuitry were immediately changed in 1965 when the AA165 and AB165 replaced the AA864, which by amp idealists is considered the best Bassman circuit of all times together with the legendary 59 tweed 5F6-A circuit. The bassman was a combo amp in the tweed era with the 1×15″ and 4×10″ speaker configurations. From the blonde era Fender made the Bassman as a amp head and 2×12″ closed cabinet. So what does the blackface Bassman sound like? Describing tone is best done with establishing a common and well-known reference point, for example the traditional blackface AB763 amps such as the Super Reverb and Twin Reverb. The Bassman is known for its simple, pure and raw tone. It is 50w loud with power supply and output transformers sized approx. as the Super Reverb and Bandmaster. The bass channel of the AB165 and AA864 is much mellower and deeper than the normal channel of any AB763 amps since it is voiced for bass guitars. The Bassman bass channel features a deep switch that can remove the lowest frequencies, which is practical when you’re playing loud and using different speaker cabinets where you need to adjust the lower bass. The normal channel is more relevant for guitar players. The Bassman sounds “browner” than the AB763-amps, particularly the AB165 model, and it has more preamp distortion and mids when the volume is turned up. The Bassman has significantly influenced the whole guitar amp industry since it was introduced. It’s tone stack, tube configuration, preamp and power section has inspired numerous amps builders including Jim Marshall, the founder of Marshall amps, who used the Bassman tweed 5F6-A circuit in 1958-1959 as template the legendary Marshall JTM45"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# [http://www.youtube.com/watch?v=nbLj5fkDTiA Video]

==65 Bassguy (based on '65 Fender Bassman)==

[[file:304FenderBassman1969.png|150px]]

# Based on: 1965 Fender Bassman, the blackface version with a different circuit design (AB165 circuit). Dweezil Zappa’s personal amp. Bass and Normal channel, high and low input. Speakers: 4x10 or 2x12
# Stock cabinet suggestion:
#* see 59 Bassman
# Original controls: Volume, Bass, Treble
# Cliff: "Definitely not your father's Bassman. Has a pissed-off Marshall vibe to it" [http://forum.fractalaudio.com/axe-fx-ii/35930-list-models-5.html#post490912 Source]
# Try it with a high Drive setting, for an overdriven, crunchy tone
# [http://www.fender.com Fender website]
# [http://en.wikipedia.org/wiki/Fender_Bassman Wikipedia]
# Cliff: "The 65 Bassguy has more gain than before. The 65 Bassguy was matched to a 65 Bassman that Dweezil sent me. It's a vicious amp that sounds more like a Plexi than a Fender. It's the infamous AB165 circuit which is very crunchy and bright and does not sound like your typical Fender. I was told it is stock" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51123-am-i-only-one-who-noticed-some-amps-have-alot-more-gain-3.html#post658833 Source]
# [http://fenderguru.com/amps/bassman Fenderguru.com]: see 59 Bassman
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# Firmware 10 release notes: "This amp has a very peculiar feedback circuit that was not fully modeled before. The feedback is now fully modeled yielding the unique voice of this legendary amp"
# [http://www.youtube.com/watch?v=_N8wNmi9B40 Tyler Grund's video]

==AC-20 DLX Bass / Treb (based on Morgan AC20 Deluxe)==

[[file:MORGANAC20.png‎|150px]]

# Based on: Morgan AC20 Deluxe. EL84 tubes. Speaker: Alnico Blue, G12H, Greenback
# Stock cabinet suggestions:
#* 114
# Original controls: Volume, Cut (Axe-Fx: Hi-Cut), Bright switch, Normal/Brilliant switch, power scaling
# [http://www.morganamps.com/amps/ac20/ac20.php Website and audio samples]
# Morgan website: "Based around the normal channel of an AC30 and voiced intentionally to be on the dark side, this amp provides the perfect combination of clean chime and AC30 grind. With the bright switch off and a good treble booster think Brian May. With the bright switch engaged think U2". And: "The AC20 Deluxe combines the choice of EF86 or 12AX7 frontend, Normal or Brilliant channel voicing and power scaling"
# The difference between the models is the position of the Brilliant switch.
# [http://www.youtube.com/watch?v=3mB90XHjWXE Lance Keltner's demo]

==Atomica High / Low (based on Cameron Atomica)==

[[file:CAM_ATOMICA.PNG|150px]]

# Based on: Cameron Atomica, a "brown sound" 100 watt amp. Modeled: low gain and high gain channels. Speakers: G12H
# Stock cabinet suggestions:
#* 16/34/57/64/120/124 (G12H)
# Original controls: Thump (Axe-Fx: Depth), Presence, Bass, Middle, Treble, Master, Gain, Edge (Axe-Fx: Bright), 3-way gain switch
# Saturation is engaged at default
# Cliff: "The Atomica can tolerate high MV because it is a "Jose-style MV". The Jose-style MV imparts a very high source resistance to the tone stack which causes much more insertion loss and therefore lower drive level into the power amp" [http://forum.fractalaudio.com/axe-fx-ii-user-cabs-irs/58353-ownhammer-speaker-cabinets-public-beta-free-stuff-inside-47.html#post748843 Source]
# Mark Day's demos: [http://www.youtube.com/watch?v=0zaEnTNoLx8 1], [http://www.youtube.com/watch?v=FdDbBbheQR0 2]

==Band-Commander (based on Fender Band-Master)==

[[file:BANDMASTER.png|150px]]

# Based on: 1968 silverface Fender Band-Master. AB763 circuit, high and low inputs, Normal and Vibrato channels. Speaker: 2x12 (Jensen C12N)
# Stock cabinet suggestions:
#* 19 (1x12)
#* 21/22/91/121/122 (Twin)
# Original controls (Vibrato channel): Volume, Bright switch, Treble, Bass, Tremolo controls
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/band-master-vm-212-speaker-enclosure Fender website]: "The late-'50s tweed-covered Fender Bandmaster guitar amplifier combined great looks with sweet tone and powerful performance. Hailed as one of the true holy-grail amps among guitarists and collectors, vintage examples are rare and highly sought after. The new '57 Bandmaster amp now joins our prestigious Custom series, with all-tube hand-wired circuitry and premium components. We've faithfully reproduced the classic 5E7 circuit, which pumps about 26 watts through three 10" alnico-magnet speakers, and we enlisted Jensen to help create the P10R-F driver (a Fender exclusive), which is voiced for warm, sensitive response. The Bandmaster amp's harmonically rich clean tones are perfect for vintage rock, blues and country styles, and its naturally touch-sensitive overdrive tone sounds electrifying—especially when cranked up"
# [http://en.wikipedia.org/wiki/Fender_Bandmaster Wikipedia]
# [http://fenderguru.com/amps/bandmaster Fenderguru.com]: "The Bandmaster came with many different circuits during the blackface and silverface eras. The blackface head had a diode recifier, one normal channel and a vibrato channel with no reverb. In the silverface era the recitifier was changed from diode to tube and the vibrato channel got reverb. Hence, the name “Bandmaster Reverb”. As usual the later silverface models were modified to become cleaner and more powerful. The 70W model from 1978 with master volume and push/pull boost had a huge power transformer and big filter caps. It reminds us more of a classic 80w Twin Reverb than a Bandmaster Reverb, and it shared its circuit design with the Pro Reverb and Super Reverb at that time. A noticable difference in the vibrato channel between the early silverface Bandmaster Reverb and blackface Bandmaster is the extra gain stage in the silverface amps. This was also the difference between the first 1964 blackface AA864 Bassman and the following AB165. This gain stage was introduced as a part of the reverb recovery circuit, the V4 12AX7 to be exact, common for all the reverb amps of the blackface/silverface era. Amps with no reverb recovery stage cleaner sounding and will remain pretty clean when you turn up the volume knob above 4. The extra gain stage in the silverface Bandmaster Reverb amps contributes with tube distortion and compression in the preamp section when the amp is pushed. Not only is there more action in the preamp section, the silverface models also has more sag and looser response due to the tube rectifier. The Bandmaster Reverb head will remind you pretty much of the amps in the Pro Reverb, Super Reverb and Vibrolux Reverb where the sweet spot is to be found around 4 on the volume knob. Not all silverface amps were developed in a bad direction. Let’s study the blackface Bandmaster AB763 and Bassman AA864. They are similar in the way that both are clean sounding with just one 12ax7 tube in the preamp stage (vibrato ch in bandmaster and normal channel in bassman). The vibrato channel in the Bandmaster is even more clean than the Bassman because of the vibrato circuitry loading the signal chain and reducing the gain level in the premp section. Hence, the AA864 Bassman normal channel has more preamp “juice” and reaches the sweet spot at an earlier volume knob setting. The Bassman has a slightly bigger output transformer resulting in a firmer tone and more attack. A smaller output transformer will introduce sag and compression in the power amp section. The blackface Bandmaster is therefore ideal for those who look for a pure Fender clean sound without making ones ears bleed. The blackface and silverface Bandmaster is a big sounding amp with a flexible speaker impedance of 4 ohm, allowing anything between one and four speakers (8 ohm each) to be connected via the main and/or external speaker jack. This makes it possible to adapt to small and big stages and gigs just by configuring the speakers"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# [http://www.youtube.com/watch?v=cb7-nJ0yPjI Demo]

==Blanknshp Leeds (based on Blankenship Leeds 21)==

[[file:LEEDS.png|150px]]

# Based on: Blankenship Leeds 21, a a boutique version of an 18W Marshall with a big sound at low power. Known for sounding “big” despite being relatively low power. Mercury Magnetics transformers, EL84, two channels. Speakers: 2x10 Jensen C10Q or Alnico Blue
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
# Original controls: Volume, Tone (Axe-Fx: mapped to Treble)
# Cliff: "The model was matched to Dweezil's amp. He loaned it to me because it was one of his favorite amps and I can see why. It's a really cool amp" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51326-blankenship-leeds-anyone.html#post660410 Source]

==Bludojai Clean / Lead (based on Bludotone Ojai)==

[[File:OjaiBuddy150.png]]

# Based on: Bludotone Ojai, an exact clone of Robben Ford's Tan Dumble. Modeled: clean channel and OD channel. Speakers: G12-65 or EVM 12L
# Stock cabinet suggestions:
#* 29/56 (G12-65), or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Volume (Axe-Fx: Input Drive), Overdrive Level (Axe-Fx: Overdrive), Treble, Middle, Bass, Ratio, Master Volume, Presence, Bright and Mid switches (clean), preamp boost
# [http://www.bludotone.com Bludotone website]
# [http://www.bludotone.com/index.php/sounds Audio samples]
# Firmware 10: "Both clean and lead modes were modeled with preamp boost (PAB) engaged as the owner prefers this. To disengage PAB change the tonestack type to Skyline"
# Scottl on The Gear Page: "The Ojai is an exact copy of Dumble #102. Robbens tan Dumble. It also requires the Dumbleator and specific capacitance cables to run to and from the Dumbleator (about 180-200pf per cable). This due to the large bright cap on the amp master. All controls are marked in silver sharpie for the exact settings of Robbens tone. The pot tapers are all 30% audio taper, except the treble control, presence, and the OD in/outs which are linear. Robben sets his mids at about 70K from ground. All my clips are recorded with the amp set both on the outside, and the trimmer on the inside, to be as close as possible to the Robben OD tone. One super important element is the correct setting of the internal gain trimmer that sets the amount of attenuation between V1 and V2. It should be between 25K and 26K to ground" [http://www.thegearpage.net/board/showpost.php?p=12950262&postcount=93 Source]
# Information from forum member AustinBuddy, owner of the original amp: "The model is of a 100w 6L6 BludoDrive Ojai by Bludotone amps, using Fractal's MIMIC process. The Ojai has the same schematic as the famous "Tan" boutique amp played by Robben Ford. It pairs well with the factory Rumble 4X12 cabinet. The amp was modeled with the preamp boost (PAB) set to ON for both clean and lead channels. You can defeat the preamp boost effect on tone by switching the tonestack voicing to "Skyline", which will also reduce gain. On the Ojai there is a bright cap on the Master Volume. As you turn the MV down, it will get thinner. This makes the MV even more sensitive than usual since there’s another interaction going on. To get the most range out of this amp, experiment with Master Volume and listen how it interacts with low or high Drive settings, similar to the real amp. The breakup range/tones between is wide and dynamic and can respond to your playing dynamics, getting crunchier as you dig in and cleaner as you play lighter. The amp's Bass response should increase noticeably as you turn up the Master Volume from the default MV position."
# Pictures of amp settings: [http://bluesrockguitar.files.wordpress.com/2009/11/robben20dumble202002.jpg 1], [http://bluesrockguitar.files.wordpress.com/2009/11/img_2048.jpg 2]
# [http://www.youtube.com/watch?v=CNuVfyQv2AA&list=PLB06E5B5850AE3618 Lance Keltner's Bludotone demo]
# Scott Lerner's Ojai: [http://www.youtube.com/watch?v=cz2-k0fZR1Q 1], [http://www.youtube.com/watch?v=WQAvybSF630 2]

==Boutique 1 / 2 (based on Matchless Chieftain)==

[[File:317MatchlessChieftain.png|150px]]

# Based on: Matchless Chieftain, a medium-gain amp, thick, yet crisp, with a fair amount of power amp breakup. The Boutique 2 model is modeled with a boost for more gain and high-frequency emphasis. Speakers: G12M plus G12H
# Stock cabinet suggestions:
#* 26/30/117 (Matchless)
#* 84/116 (1xG12M)
# Original controls: Volume, Master, Bass, Treble, Brilliance (Axe-Fx: HiCut)
# [http://www.matchlessamplifiers.com/manuals/Clubman-Chieftain-manual.pdf Manual]
# Based on a Vox circuit
# [http://en.wikipedia.org/wiki/Matchless_Amplifiers Wikipedia]
# For more preamp distortion, lower Master and use Drive for Gain
# [http://www.youtube.com/watch?v=Kcu8WTnLiwk Demo]
# [http://www.youtube.com/watch?v=JdjpCZ_yxkw Vinai's demo]

==Brit 800 (based on Marshall JCM800)==

[[file:314MarshallJCM800.png|150px]]

# Based on: Marshall JCM800, the vaunted model 2204. Bring the Master up for true 80's tone. Speakers: G12M, G12H, V30, T75
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/10/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 39/50/73/74/129 (G12-T75)
#* Or try the Brit 800 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
# Original controls: Gain, Bass, Middle, Treble, Presence, Master
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia: Marshall]
# [http://en.wikipedia.org/wiki/Marshall_JCM800 Wikipedia: JCM800]
# Try with a TS808 or Tube Drive block (set the Drive block to minimal Drive and full Level)
# Cliff: "It is a very bright model. However, it sounds exactly like the amp it was based on. If it is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes. They are designed to be run loud and the brightness decreases as the MV is increased. The sound of 80's hair metal for sure" [http://forum.fractalaudio.com/axe-fx-ii/38498-afxii-jcm800-model.html Source]
# Use the Saturation parameter to emulate the famous "Jose Arredondo mod" on the JCM800. Cliff: "The saturation switch switches in a zener diode clipping stage right before the tone stack. This is the Arrendondo Mod" [http://forum.fractalaudio.com/axe-fx-ii-discussion/35997-axe-fx-ii-technical-questions-thread-76.html#post494304 Source]
# Cliff: "Rips my head off here. I have to turn the presence way down. Check the MV. Too high and will get muddy" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51063-jcm-800-sounds-bit-muddy-fw-6-0-tips.html#post657800 Source]
# Cliff: "That "interference" is due to all the treble peaking used in the design. JCM800s have quite a bit of treble boost. When you first attack the string the note is unpitched. It's basically a brief explosion of noise. The treble boosting amplifies the upper frequencies of this noise burst which is what you hear. However, when you playing in a loud mix that treble boosting helps the sound cut. Modern designs use more carefully crafted treble boosting to retain the cut but tame some of the harshness of the attack. This is accomplished typically by putting a capacitor in parallel with the plate resistor(s) which rolls off around a few kHz. This preserves the treble boost in the upper midrange but softens the attack. I believe the SLO100 was one of the first amps to do this. You can see this in the Axe-Fx II as your Triode Freq parameters. You can soften the JCM800 attack by lowering the Triode Freq values. Most modern hi-gain designs use some form of HF rolloff like this. Another reason is that JCM800s use relatively low amounts of negative feedback (which is why they're so loud). This causes a treble boost in the power amp. Increase the Damping parameter to increase the negative feedback" [http://forum.fractalaudio.com/axe-fx-ii-reviews/63107-cliff-how-can-i-ever-have-doubted-you.html#post781950 Source]
# [http://licklibrary.ceros.com/iguitarmag/issue3/page/124 Review in iGuitar]

==Brit 800 MOD (based on modded Marshall JCM800)==

[[file:314MarshallJCM800.png|150px]]

# The JCM 800 modded to be "heavier" and "less strident"
# The mod: removal of the treble peaker
# Notes: see Brit 800

==Brit Brown ("Brown Sound")==

[[File:312Marshall1959SuperleadPlexi.png|150px]]

# Custom Fractal model, a faithful recreation of the pure, raw "Brown Sound" - The Modded “#1” Marshall
# Orignally named "Brown". Renamed after addition of the FAS Brown model
# Saturation parameter is engaged by default
# Cliff: "Which, perhaps ironically, is not based on any specific amp" [http://forum.fractalaudio.com/axe-fx-ii-reviews/62900-brit-brown-still-my-favorite-plexi-style-model.html#post782533 Source]

==Brit JM45 / JM45 JUMP (based on Marshall JTM 45)==

[[file:316MarshallJTM45.png|150px]]

# Based on: Marshall JTM 45, made famous by Clapton and others; actually a modified Bassman design. 45W. Modeled: channel 1 (High Treble) and jumpering the 4 inputs. Speakers: G12M, G12H, G12L
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 35 (G12L)
# Original controls: Volume, Bass, Middle, Treble, Presence
* The JM45 JUMP type was modeled with the 4 inputs jumpered
# Try with a Tonebender or Treble Booster Drive block
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia: Marshall]
# [http://en.wikipedia.org/wiki/Marshall_JTM_45 Wikipedia: JTM 45]
# [http://www.youtube.com/watch?v=JIbdfQ7Dfdc Demo]

==Brit JVM OD1 / OD2, GN / OR (based on Marshall JVM410)==

[[file:330MarshallJVM.png|150px]]

# Based on the Marshall JVM 100-watt amp, a popular high gain 4 channel 100W head. OD1 GN: hot-rodded JCM. OD1 OR: extra gain. OD2 GN: lower mids than OD1. OD2 OR: more gain and lower mids than OD1. Speaker combo: V30 and G12H
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Volume, Bass, Middle, Treble, Gain, Presence
# [http://www.marshallamps.com/downloads/files/JVM%20hbk%20Eng.pdf Manual]
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# [http://jvmforum.com JVM forum]
# Cliff: "IMO, the reason the JVM sounds good is the plate cap on the second-to-last triode. That smooths out the tone considerably. The second-to-last triode is associated with "Triode 1 Freq" in the advanced parameters. You can adjust this to simulate adding a cap to the plate. The other thing that helps the tone is the 220K plate resistor on the last triode. This shifts the bias point down vs. a "classic" Marshall. Unfortunately the bias points aren't exposed to the user" [http://forum.fractalaudio.com/axe-fx-ii-reviews/44628-holy-crap-new-jvm-sounds-great-2.html#post588030 Source]
# Firmware 10 release notes: "Note that the Red modes of this amp are simply boosted versions of the Orange modes and can be reproduced by engaging the Boost switch or increasing the Input Trim parameter"
# It's a very bright amp. Keep Presence low
# [http://www.youtube.com/watch?v=8lQXaRapKac Demo]
# Reviews: [http://licklibrary.ceros.com/iguitarmag/iguitar-iguitar-magazine-joe-satriani-issue-2/issue2/page/96 iGuitar], [http://www.premierguitar.com/articles/Marshall_JVM410HJS_Amp_Review 2]

==Brit Pre (based on Marshall JMP-1)==

[[File:315MarshallJMP1.png|150px]]

# Based on: Marshall JMP-1 preamp, a rack-mount preamplifier version of the Brit 900, OD2 channel. Crunchy “ZZ” tone
# Stock cabinet suggestions: n/a
# Original controls: Volume, Gain, Bass, Mid, Treble, Presence, Bass shift
# [http://www.marshallamps.com/downloads/files/JMP_1%20Hbk.pdf Manual]
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# Cliff: "I actually used a Marshall tone stack for the model. The JMP-1 is a bit of an odd duck. It has a switchable, fixed tone stack equivalent to the knobs at noon followed by active tone controls. My advice is to simply play around with the tone stack. Try the "Vintage" tone stack as that will simulate switching out the fixed tone stack" [http://forum.fractalaudio.com/axe-fx-ii-discussion/52268-brit-pre-amp-sim-channel-emulated.html#post669106 Source]

==Brit Silver (based on Marshall Silver Jubilee)==

[[file:BRIT_SILVER.png|150px]]

# Based on: Marshall Silver Jubilee (model 2555), a distinctive commemorative “25/50” anniversary 100W British amp model, slightly darker and higher gain than a JCM800. 100w, 1 input
# Notes: see Brit 800
# [http://forum.jbonamassa.com/viewtopic.php?pid=76433#p76433 Joe Bonamassa settings]
# [http://axechange.fractalaudio.com/detail.php?preset=1101 Bonamassa preset by forum member ccroyalsenders]

==Brit Super (based on Marshall AFD100)==

[[file:AFD.PNG|150px]]

# Based on: Marshall AFD100 100w dual-mode head. This is a remake of the amp used by Slash (believed to be a modified 1959 Tremolo) when recording Guns N' Roses' Appetite for Destruction album. The real AFD100 has two gain modes: AFD (modeled) and #34 (based on a JCM800 2203 used by Slash). 6550 tubes. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* Or try the Brit 800 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
# Original controls: Gain, Bass, Middle, Treble, Presence, Volume
# [http://www.marshallamps.com/downloads/files/AFD100%20hbk.pdf Manual]
# [http://www.marshallamps.com/product.asp?productCode=AFD100 Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# According to the AFD100 manual Slash sets all controls at around 6 on his amp
# It's a very bright amp
# [http://www.youtube.com/watch?v=fgfuobqsO5I&feature=player_embedded Demo]
# [http://licklibrary.ceros.com/iguitarmag/slash-iguitar-slash-magazine-slash-2012-issue-1/issue11/page/82 Review in iGuitar]

==Buttery (based on Budda Twinmaster)==

[[File:290BuddaTwinmaster.png|150px]]

# Based loosely on a late 90s specimen Budda Twinmaster. Relies mostly on power amp distortion. Speakers: G12M, G12H
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 84/116 (1xG12M)
# Original controls: Bass, Treble, Volume
# [http://www.budda.com/resources/Twinmaster_manual.pdf Manual]
# [http://www.budda.com Budda website]
# [http://en.wikipedia.org/wiki/Budda_Amplification Wikipedia]
# Cliff talking about the Gen1 model: "I did the Buttery model by ear. I listened to some clips of Buddas (Matchbox 20, remember them?) and tweaked the model until I thought it sounded like one. Screwed around a little with the tube bias points until it had the right balance of harmonics and called it a day"
# Budda is now owned by Peavey

==CA3+ Clean / Lead / Rhy (based on CAE 3+ SE)==

[[file:291CAE3+SE.png|150px]]

# Based on: CAE 3+ SE, a preamp designed by Custom Audio Electronics. Clean, rhythm and lead channels
# Stock cabinet suggestions: n/a
# Original controls: Gain, Bass, Middle, Treble, Master, Bright switch, post EQ (punch/presence)
# [http://www.customaudioelectronics.com/resources/manuals/3+SEPreamp.pdf Manual]
# [http://www.customaudioelectronics.com CAE website]
# The clean channel is based on a blackface Fender preamp

==Cali Leggy (based on Carvin Legacy VL100)==

[[file:337CarvinLegacy.png|150px]]

# Based on: Steve Vai's original signature Carvin Legacy VL100 amplifier. 100w, EL34. Speakers: V30
# Stock cabinet suggestions:
#* 118
#* or try other V30s (or G12Ms)
# Original controls (Lead channel): Presence, Treble (11kHz), Mid (650Hz), Bass (80Hz), Drive, Volume
# [http://www.carvinworld.com/crg/crg/manuals/vl100.pdf Manual]
# [http://www.carvinworld.com Carvin website]
# Cliff: "The thing that makes a Legacy unique is the tone stack. It uses a "James" tone stack which is more like hi-fi tone controls" [http://forum.fractalaudio.com/axe-fx-ii-discussion/47586-thank-you-fractal-leggy-legacy-model-its-great-2.html#post620139 Source]
# [http://www.carvinchannel.com/play_audio.php?audio=12 Audio demo]
# To get a Steve Vai tone: keep Treble low, Bass high and use not too much Gain

==Cameron Ch 1 / Ch 2 (based on Cameron CCV-100)==

[[file:292CameronCCV.png|150px]]

# Based on: Cameron CCV-100, an amp its creator Mark Cameron calls “one pissed off amp". Modeled: both channels. Speakers: G12H
# Stock cabinet suggestions:
#* 16/34/57/64/120/124 (G12H)
# Original controls ch 1: Bass, Middle, Treble, Gain, Master, Gain/Clipping switch, Bright switch. Original controls ch 2: Bass, Middle, Treble, Gain 1, Gain 2, Gain/Clipping switch, Bright, Master. Presence, Punch
# [http://www.rig-talk.com/forum/viewtopic.php?f=25&t=103504 Manual]
# Cameron Ch 2 has Saturation engaged by default
# [http://www.youtube.com/watch?v=FgJokXZireE Demo]

==CarolAnn OD-2 (based on Carol-Ann OD-2)==

[[file:293CarolAnnOD2.png|150px]]

# Based on: Carol-Ann OD-2. The model was fine-tuned by the highly respected Alan Phillips himself. Overdrive channel. Speakers: EVM 12L or Celestion Classic Lead 80
# Stock cabinet suggestions:
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Master, Pre Gain (Axe-Fx: Input Drive), Drive (Axe-Fx: Overdrive), Bass, Middle, Treble, Presence, Sparkle (clean and overdrive channel), Shift switch
# [http://www.carolannamps.com/manuals.htm Manual]
# [http://www.carolannamps.com Carol-Ann website]
# Alan Phillips: "In the real world the OD2 is very very fussy on speaker choice too. The real world speakers of choice are EVM12L in a 1x12 rear ported and 2x12 with Celestion Classic Lead 80's. I found the 12L emulation did a pretty good job. Some of the others sounded so artificial with that model. Like a Rockman. Coupled with the right cab the emulated model does a good job of representing the basic tonal signature of the amp". And: "It's not a competitive model, it's a live demo of an OD2 as tweaked by me. Damn sight better than sound clips for auditioning to guys that haven't got the ability to get to a Dealer. Clearly it doesn't give you the full experience of the full amp, but is a good tonal taster. I repaired a Soldano SLO for him one day and when he came over my house to pick it up we just decided it would be a good idea to put a CA model in there. Having the actual builder involved kind of closes the loop fully. I'm happy to endorse that model because I put a lot of hours testing it and putting together a ton of technical information, fourier analysis graphs, frequency response graphs, schematics etc that would make validation of a mathematical model much easier. In reality even though the power amp and the preamp are modelled the pre-amp got the most effort. As I said in another thread, I tuned that by putting the axe in to the actual power amp of an OD2 and running that side by side with a full OD2. The final tweaks were made like that using parametric eq blocks that were hard coded in to the model. You could call that the icing on the cake and basically put the same level of tuning into the model as I do with a actual OD2. The only difference was I was using a GUI, not resistors and capacitors"
# [http://www.carolannamps.com/Sounds.htm Video demos]

==Citrus RV50 (based on Orange Rockerverb)==

[[File:322OrangeRockerverb50.png|150px]]

# Based on: 50W Orange Rockerverb, a 50w head known for warmth and rich harmonics. EL34. Speakers: V30
# Stock cabinet suggestions:
#* 53 (Orange)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls on dirty channel: Volume, Gain, Treble, Middle, Bass, Reverb
# [http://www.orangeamps.com/wp-content/uploads/2012/04/Orange_RKMKII_User_Manual_web.pdf Manual]
# [http://www.orangeamps.com Orange website]
# [http://en.wikipedia.org/wiki/Orange_Amplifiers Wikipedia]
# [http://www.youtube.com/watch_popup?v=mh2uHd1-NO8&vq=auto Demo]
# [http://www.youtube.com/watch?v=rklRlBl6rvs Demo]

==Class-A 15W TB (based on Vox AC-15 Top Boost)==

[[file:328VoxAC15.png|150px]]

# Based on: Vox AC-15. The heart of this amp’s tone comes from its power section and no negative feedback. 15W, EL84 tubes. Speaker: Alnico Blue or G12M
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 114
# Original controls: Volume, Cut (Axe-Fx: Hi-Cut), Bass, Treble
# [http://www.voxamps.com Vox website]
# [http://www.voxamps.com/uk/support/manuals/#Hand-Wired Manual]
# [http://en.wikipedia.org/wiki/Vox_AC30 Wikipedia]
# Wikipedia: "The "Top Boost" (or Brilliance) feature was Vox's optional addition of a circuit that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single "tone" control of early AC30s)"
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
# [http://www.voxamps.com/uk/support/demos/#HW2010 Audio samples]

==Class-A 30W (based on Vox AC-30)==

[[file:329VoxAC30.png|150px]]

# Based on: Vox AC-30, a combo that dominated the British Invasion. Gritty character, warm tone, great feel. 30W, EL84 tubes. Speakers: Alnico Blue or G12M
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 114
# Original controls: Volume, Tone
# For authentic tone: leave the tone controls at noon and use Hi-Cut to cut treble
# Try with a Tonebender or Treble Booster
# [http://www.voxamps.com Vox website]
# [http://en.wikipedia.org/wiki/Vox_AC30 Wikipedia]
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control

==Class-A 30W TB (based on Vox AC-30 Top Boost)==

[[file:329VoxAC30.png|150px]]

# Based on: Vox AC-30 TBX (Topboost)., created in response to demand for "More treble". Great highs and slightly reduced bass. 30W, EL84 tubes. Speakers: Alnico Blue or G12M
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 114
# Original controls: Volume, Cut (Axe-Fx: Hi-Cut), Bass, Treble
# Instead of turning up Drive, try boosting the input signal before the amp, for example with Tape Dist or FET Boost
# [http://www.voxamps.com Vox website]
# [http://www.voxamps.com/uk/support/manuals/#Hand-Wired Manual]
# [http://en.wikipedia.org/wiki/Vox_AC30 Wikipedia]
# Wikipedia: "The "Top Boost" (or Brilliance) feature was Vox's optional addition of a circuit that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single "tone" control of early AC30s)". And: "Though widely believed to be a Class-A amplifier, the AC30 is in fact a class A push-pull amp with cathode bias. It utilizes a quartet of EL-84 output tubes. The high bias condition is believed by some to be the source of the amplifier's famous immediate response and "jangly" high-end, though the lack of negative feedback, minimal preamp circuit, simple low loss tone stack, and the use of cathode biasing on the output stage play at least as large a role, if not larger. It's the Celestion "Blue" speakers that are integral to the AC30, and also contribute much to the sound of the unit. The two 12" 15-watt speakers, often overdriven and at the brink of their power handling capability, provide a cutting mid-range speaker sound that is immediate and sharp and a distinction from the Marshall or Fender-style amplifier"
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
# Cliff: "I intentionally limited the midrange notch since, IMO, it's a design flaw in that tone stack. But you can recover that behavior by setting the Mid control fully CCW" [http://forum.fractalaudio.com/axe-fx-ii-wish-list/61800-wish-top-boost-eq-section-works-like-real-thing.html#post768768 Source] "Furthermore, modern AC30's don't have this flaw. They use a Fender-style tone stack with a fixed mid resistor" [http://forum.fractalaudio.com/axe-fx-ii-wish-list/61800-wish-top-boost-eq-section-works-like-real-thing.html#post780352 Source]
# [http://www.voxamps.com/uk/support/demos/#HW2010 Audio samples]
# [http://www.youtube.com/watch?v=OVi9ZPYQdp0 Demo]

==Comet 60 (based on Komet 60)==

[[file:.png‎‎|150px]]

# Based on: Komet 60. Speaker: Greenbacks, G12H, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Volume, Treble, Middle, Bass, Presence, High Cut (not modeled), Touch Response
# [http://www.premierguitar.com/articles/Komet_19_Amp_Head_Review Review of 19-watter in Premier Guitar]

==Comet Concourse (based on Komet Concorde)==

[[file:KOMET_CONCORDE.png‎‎|150px]]

# Based on: Komet Concorde (which is based on a Trainwreck). EL34 tubes. Speaker: Greenbacks, G12H, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Volume, Treble, Middle, Bass, Presence, High Cut (not modeled), Touch Response (Fast/Gradual)
# [http://www.kometamps.com/concorde.html Website and audio samples]
# Firmware 10.06 release notes: "This model was matched with the Response switch in the “Fast” position. To replicate the “Slow” position reduce the Input Trim to approximately 0.25"
# [http://www.youtube.com/watch?v=vB76UqCYxgs Pete Thorn "fast mode" video]
# [http://www.youtube.com/watch?v=nKkFb5HQwxo Pete Thorn "gradual mode" video]
# Cliff: "The model does not have the hi-cut control." [http://forum.fractalaudio.com/axe-fx-ii-discussion/71244-comet-concourse-settings.html#post873307 Source]

==Corncob M50 (based on Cornford MK50 II)==

[[file:294CornfordMK50II.png|150px]]

# Based on: Cornford MK50 II, a boutique British amp. Plexi-meets-Modern tone with big cojones. 50w, 6L6. Speakers: 60w V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Gain (Axe-Fx: Input Drive), Overdrive (Axe_Fx: Over-Drive), Bass, Middle (500Hz), Treble, Master, Presence, Resonance (Axe-Fx: Depth)
# [http://www.cornfordamps.com/docs/5011.pdf Manual (and suggested settings)]
# [http://www.cornfordamps.com Cornford website]
# The Cornford model in the Standard/Ultra was a different one: RK100
# [http://www.youtube.com/watch?v=dAglBeSconc Demo]

==Das Metall (based on Diezel VH4)==

[[File:295DiezelVH4.png|150px]]

# Based on: Diezel VH4, a high-gain, boutique amp famous for its powerful, heavy, aggressive sound. 4 channels, 6550 tubes (or EL34 or 6L6). Speakers: V30 or G12-K100
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 54 (G12K100)
# Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz), Bright switch (not on channels 3 and 4)
# [http://diezel.typo3.inpublica.de/uploads/tx_ohelement/VH4englnew.pdf Manual]
# [http://diezel.typo3.inpublica.de/vh4.21.0.html Diezel website]
# [http://en.wikipedia.org/wiki/Diezel Wikipedia]
# The Das Metal model was done by schematic and/or by ear ([http://forum.fractalaudio.com/axe-fx-ii-discussion/56017-axe-fx-ii-firmware-version-7-00-public-beta-14.html#post705902 Source]). Other Axe-Fx II VH4 models are based on the real amp
# [http://www.youtube.com/watch?v=TnPD8QOgDw8 Demo]
# [http://www.rig-talk.com/forum/download/file.php?id=2121 Example settings]

==Deluxe Tweed (based on Fender Deluxe)==

[[file:TWEED_DELUXE.PNG‎|150px]]

# Based on a Fender Deluxe (5E3), the earliest and most popular of the so-called Tweed amplifiers. 12-15 watts. Speakers: Jensen P12R, C12N of Alnico Blue
# Stock cabinet suggestions:
#* 14 81 (Deluxe)
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 5/6/19 (1x12)
# Original controls: Volume, Tone (Axe-Fx: Treble)
# For Neil Young's Tweed Deluxe tone: crank both Drive and Treble
# [http://www.fender.com Fender website]
# [http://en.m.wikipedia.org/wiki/Fender_Tweed_Deluxe Wikipedia]
# Release notes firmware 8: "Note that this amp only has a single tone control. This is modeled by the Treble control in the Axe-Fx II. The Bass and Mid controls are functional and recreate the amp when set to noon. Also note that this amp suffers from extreme blocking distortion at or near maximum gain. This is common in very old designs. As it is virtually unplayable like this, the model uses a somewhat reduced level of grid conduction to lower the amount of blocking distortion and make the amp more playable at high Drive settings"
# Cliff: "I had to make some decisions on the model and what you have is based on what I felt offered the best starting point. You have the tools in the model to mold it to your preference. Add some bright cap, increase the input trim, etc. to achieve your own personal sonic goals. Hit the boost switch or increase input trim to simulate jumping the inputs" [http://forum.fractalaudio.com/axe-fx-ii-discussion/57784-deluxe-tweed-ideas.html#post724007 Source]
# [http://fenderguru.com/amps/deluxe Fenderguru.com]: "The Blackface Deluxe Amp is often misinterpreted as a Deluxe Reverb without reverb. It might seem so if you take a look at the front panel and the knob functions. But a closer study of the circuit design will reveal that the Deluxe Reverb vibrato channel has the extra gain stage (one half of the 12AX7 V4 tube) common for the Fender reverb amps. The wet reverb signal is mixed together with the dry signal which has gone through the 3.3MOhm resistor, therefore needing a gain boost before entering the phase inverter. This means one less tube in the Deluxe Amp in the preamp section that will contribute to sustaining harmonics, compression and sag. The Deluxe-Amp is therefore cleaner when played high on the volume knob. Still, the clean sound of these amps sound fairly similar goven a common EQ circuitry, phase inverter and power amp section. When the volume is pushed beyond 4-5 where the amps will differ in tone. The Deluxe will remain relatively clean, while the Deluxe Reverb breaks up in a typical blackface manner. Being a middle size Fender blackface amp the Deluxe has not been modified and experimented with so widely as other Fender amps. It’s power, clean headroom, physical size and tonal characteristics have matched the expectations of more players than any other tube or transistor guitar amp of any brand on this planet. It is said that the Deluxe Reverb is the nr 1 most used amp in recording studios. We can understand why. It is powerful enough to cut through in a band with a drummer and reaches the sweet spot at a reasonable volume. It has the typical blackface 60′s sparkling, scooped clean sound as it’s bigger brothers, just with more smooth breakup, sag and compression. The smaller brother Princeton Reverb is rolling off more top frequencies and breaks up earlier with more warmth producing a brownface type of tone. It can not really cut through with Albert Collins’ icy licks like the Deluxe"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-preset-exchange/69709-strat-tweed-deluxe-yummy.html Relevant forum thread]

==Deluxe Verb (based on Fender Deluxe Reverb)==

[[file:306FenderDeluxeReverb.png|150px]]

# Based on: '65 blackface Fender Deluxe Reverb. Great, chimey tone with nice power amp breakup when you push the Master. AB763 circuit, 22W, low and high inputs, Normal and Vibrato channel. Speaker: 1x12 (Jensen C12Q, EVM 12L, JBL D120) or 2x10 (Jensen C10N, C10Q, P10R)
# Stock cabinet suggestions:
#* 3/5/6
#* 8/12/105/106/119 (EVM)
#* 21/22/121/122 (Twin)
#* 80/81 (Deluxe)
# Original controls: Volume, Bass, Treble, Reverb, Tremolo controls
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/65-deluxe-reverb Fender website]: "The 22-watt ’65 Deluxe Reverb amp is for rock, country or blues players who want a moderately powered amp they can crank up at the gig or in the studio. The full, snappy guitar tones heard on many famous recordings from Memphis to Abbey Road were made using the Deluxe amp. Features include dual 6V6 Groove Tubes output tubes, one 5AR4 rectifier tube, four 12AX7 preamp tubes, two 12AT7 tubes, one 12” 8-ohm Jensen C-12K speaker, dual channels (normal and vibrato), tube-driven Fender reverb, tube vibrato, two-button footswitch for reverb and vibrato on-off, black textured vinyl covering and silver grille cloth"
# [http://en.wikipedia.org/wiki/Fender_Deluxe_Reverb Wikipedia]
# [http://fenderguru.com/amps/deluxe-reverb Fenderguru.com]: "The Deluxe Reverb 1×12″ has for decades been one of the most popular amps among all Fender amps, and its popularity is still growing as the demand for low wattage tube amps increases. The combination of size, weight and performance makes the Deluxe Reverb a true road warrior on gigs and practise. Since the year 2002 we have observed, by monitoring the amp market on US ebay, that low wattage amps have increased dramatically in popularity. Nowadays (2012) you can score a big 6L6 vintage Fender amp for the same price as a Deluxe Reverb or Princeton Reverb. We find it irrational. The PA was invented long time before that and guitar tones containing fuzz and distortion have been around since the sixties-seventies. Why has the desire for low wattage amps with 20-25 watts of tube power come up so late? Both the Deluxe Reverb (DR) and Princeton Reverb (PR) “survived” the CBS silverface periods with minor changes. Many people consider the silverface amps just as sonically good as the blackface models. Being almost a blackface amp with a new faceplate (wrong for collectors), the silverface models became popular value-for-the-money amps. Collectors hunt the blackface models and players hunt the silverface for it’s quality and price. The push/pull volume boost was installed in 1977 by CBS. The circuit was then significantly different from the blackface circuit. Hence, the price for this amp is lower than it’s predecessors. The DR is a small/medium-sized amp with an ability to deliver both sparkling clean tones and low wattage breakup at 22W with 6V6 tubes and relatively small transformers (power and output). It has found its way in to more recording studios, clubs and bars than any other Fender amp. It has met many players’ expectations. It is just powerful enough to cut through in practise in a band with a drummer and, unlike some bigger amps, it will reach its sweet spot at a reasonable volume. It has the typical blackface 60′s sparkle with a scooped clean sound just like the bigger Fender brothers, just with more smooth breakup, sag and compression. The smaller brother Princeton Reverb is rolling off more top frequencies and breaks up earlier with more warmth producing a brownface type of tone. It will not cut through the mix as easily as the stingin tone of the Deluxe Reverb"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]

==Dirty Shirley (based on Friedman Dirty Shirley)==

[[File:FRIEDMAN DS.PNG|150px]]

# Based on: Dirty Shirley amp by Dave Friedman of Rack Systems, designed to be an ultra Fat Sweet sounding Classic Rock Amp. 6L6, 40w, single channel. Based on a JTM-45. Speakers: G12M, G12H
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence
# [http://www.tonemerchants.com/products/amplifiers/Friedman Website]: "Designed to to be a Fat sounding Classic Rock Amp"
# [http://www.youtube.com/watch?v=HXniCTC2foo Demo]
# [http://friedmanamplification.com Friedman website]

==Division13 CJ (based on Divided by 13 CJ11)==

[[File:DIV_13.png‎|150px]]

# Based on: Divided by 13 CJ11, which is based on a high-performing 1959 tweed Fender amp made in Fullerton: “Tweed” meets “EL34” meets “Master Vol” in a 1x12 combo. 11w, single channel. Speaker: G12M
# Stock cabinet suggestions:
#* 84 (1xG12M)
# Original controls: Volume, Treble, Bass, Master
# [http://www.dividedby13.com/cj11.html Divided by 13 website]: "When asked, by Corky James, amongest others, "Can you take my favorite 1959 tweed amp from Fullerton and instead of the controls being Volume Tone make it Volume Treble Bass, give it more clean headroom, a wider range of usable overdrive (throw in a little EL 34), make it a little louder with fuller, tighter low end, and put a master volume in it so i can play at all levels and dial in and hit the sweet spot of whatever speaker i am using at the time, mostly a G12M Celestion"
# Cliff: "It is a bassy amp. Works best with single coils" [http://forum.fractalaudio.com/axe-fx-ii-recordings/56060-13-goodness-st-michael-blues.html#post706664 Source]
# Cliff: "That's what a CJ11 sounds like. You increase the LOW CUT FREQ to reduce the fuzziness on bass notes but then it won't sound like the real thing" [http://forum.fractalaudio.com/axe-fx-ii-discussion/57826-pc-noise-fuzz-issue.html#post724268 Source]
# [http://www.youtube.com/watch?v=CnnR4DtWeK0 Demo]

==Dizzy V4 2 / 3 / 4 (based on Diezel VH4)==

[[File:295DiezelVH4.png|150px]]

# Based on: Diezel VH4. Channel 2: said to be great for gritty funk, dynamic clean. Channel 3 (Diezel Heavy): higher gain but still big dynamic range. Channel 4: a monster of gain which still has great definition and authority. 100w, 6550 tubes (or EL34 or 6L6). Speakers: V30 or G12K100
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 54 (G12K100)
# Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz), Bright switch (not on channels 3 and 4)
# [http://diezel.typo3.inpublica.de/uploads/tx_ohelement/VH4englnew.pdf Manual]
# [http://diezel.typo3.inpublica.de/vh4.21.0.html Diezel website]
# [http://en.wikipedia.org/wiki/Diezel Wikipedia]
# This one is matched to a real VH4 ([http://forum.fractalaudio.com/axe-fx-ii-discussion/56017-axe-fx-ii-firmware-version-7-00-public-beta-14.html#post705902 Source])
# [http://www.youtube.com/watch?v=TnPD8QOgDw8 Demo]
# [http://www.rig-talk.com/forum/download/file.php?id=2121 Example settings]
# Model based on original "Blue Face VH4" amp supplied by forum member jharpersj, [http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me.html#post871704 Source]

==Double Verb (based on Fender Twin Reverb)==

[[file:307FenderTwin.png|150px]]

# Based on: Fender Twin Reverb, an indispensable icon, known for amazing cleans. Based on the Vibrato channel. '66 blackface, AB763 circuit, low and high inputs, Normal and Vibrato channel, 100W. Speakers: 2x12 (Jensen C12N, JBL D120, EVM-12L)
# Stock cabinet suggestions:
#* 21/22/121/122 (Twin)
#* 8/12/105/106/119 (EVM)
#* 6/19
#* 91 (Twin)
# Original controls: Volume, Bass, Middle, Treble, Bright switch, Reverb
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/65-twin-reverb Fender website]: "This amp has seen action in every imaginable venue and remains indispensable to this day. Be it rock, jazz, country or anything else, this is what a clean electric guitar sounds like - or add an upside-down Stratocaster guitar and a fuzz box ... The 85-watt (at 4 ohms) reissue ’65 Twin Reverb features four 6L6 Groove Tubes® output tubes, four 12AX7 preamp tubes, two 12AT7 preamp tubes, two 12” 8-ohm Jensen C-12K speakers, dual channels (normal and vibrato), Fender reverb, vibrato, two-button reverb and vibrato on-off footswitch, tilt-back legs, black textured vinyl covering and silver grille cloth"
# [http://en.wikipedia.org/wiki/Fender_Twin Wikipedia]
# [http://fenderguru.com/amps/twin-reverb Fenderguru.com]: "If an alien came to earth and wanted to hear an American guitar sound, I’d play him my Twin with a set of Jensens. This was stated by a happy Twin Reverb owner on Harmonycentral.com. It could have been our own words. The Twin Reverb is the king of Fender blackface amps. Having two pairs of 6L6, the popular and traditional two-channel AB763 circuit design, a diode rectifier and enormous transformers (power & output), it offers tons of clean headroom and volume for unmiked gigs and really big stages. Where the other Fender amps break up at around 4 on the volume knob, the Twin stays clean up to almost 6 and will hold up against heavy drummers and bass players with clean notes sharp as a knife edge. This is exactly what the amp is made for, being played unmiked in in a gospel band in a 300-seat church every Sunday. It is designed not break up like the other Fender amps. You need to have your expectations set correctly to be able to appreciate the evil Twin. Warning nr 1) Weight. The big transformers and speakers makes this amp weigh around 40kgs, a burden too big for many gigging players who cannot (yet) afford a crew of roadies. Warning nr 2) Volume and clean headroom. If you want tube amp breakup and smoking tones with no pedals you will experience many fights with your band mates and club owners. Just as the other Fender amps the Twin needs to operate in its sweet spot up to sound sweet. After carrying a Twin Reverb on to the stage, the least you should deserve is to crank the bastard. Sadly, we are seldom offered the opportunity to turn the volume above 3 on a Twin Reverb. Instead we have played many nights with a thin and unpleasant tone, even worse with a sparkling, clean sounding strat. If you are one of these players, you should find some mods on this page interesting. With just a few simple tricks you can make your Twin break up earlier like the more versatile Pro Reverb 2×12 and Deluxe Reverb 1×12"
# Cliff: "After CBS bought Fender the new engineers set out to "fix" those lousy designs with all that nasty distortion. The first of these amps were late '68 or early '69 IIRC. They increased the negative feedback, changed bias points, added MV, etc. The new designs were much cleaner and much less desirable IMO. Blackface Fenders from the mid '60s are the most desirable because they have that nice breakup. Silverface Fenders are not particularly prized and are often modded to turn them into Blackface circuits" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-3.html#post780125 Source]
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# The model is based on forum member LVC's '66 Twin Reverb that was tuned up by Andy Fuchs
# Try switching off the Bright switch when playing at loud volume
# To make the Twin cleaner, Cliff: "Reduce MV (or MV Trim). The biggest reason Silverface Twins were cleaner is because the PI had less gain. Reducing the MV or MV Trim will simulate the lower gain." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74370-cleanning-up-twin-reverb-model.html#post910015 Source]

==Energyball (based on Engl Powerball)==

[[File:298EnglPowerball.png|150px]]

# Based on: Engl Powerball, a very high-gain German model with lots of bass, great for aggressive, drop-tuned riff work. Modeled: lead channel. 100W, 6L6 tubes. Speakers: V30 or custom V60
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Punch Depth, Bottom, Open or Focused (boosts 300-500 Hz) mode
# [http://www.englamps.de/fileadmin/user_upload/Manuals/English/OM_E645_Powerball.pdf Manual]
# [http://www.engl-amps.de Engl website]
# [http://en.wikipedia.org/wiki/Engl Wikipedia]

==Euro Blue / Blue Mdrn / Red / Red Mdrn (based on Bogner Ecstasy 20th Anniversary)==

[[File:289BognerXTC20th.png|150px]]

# Based on: Bogner Ecstasy, based on the 20th Anniversary model. Blue / Red: Structure switch set to V(intage). Blue Mdrn/ Red Mdrn: Structure switch set to M(odern). Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* or G12Ms
# Original controls: Gain, Master, Bass, Middle, Treble, Presence, Bright switch, Structure switch (gain reduction), Old/New Style switch, Excursion switch, Gain switch, Plexi Mode
# [http://www.bogneramplification.com/manuals/ECSTASY%20MANUAL%202012.pdf Manual]
# [http://www.bogneramplification.com/ecstacy Bogner website]: "20th Anniversary Ecstasy: we consider this model to be the new "Flagship" in the Ecstasy line with the most organic and open sound yet. Available as an option to the base model the 20th Anniversary has a plexi panel with gold background and is housed in a slightly larger head shell for an iconic and classic vintage vibe. To further celebrate our 20 year anniversary this series is offered in white tolex with a classic salt & pepper grill at no additional up charge which applies to the cabinet as well if ordered together with a head. All other color and grill options are available for the usual up charge, however the Metal Grill option is not available. The 20th Anniversary is our finest evolution of the Ecstasy line that started with the 100B, then 101B, and Classic Options. However, the 20th Anniversary model features it's own unique circuit and many refinements never before seen. In the past few years many new boutique capacitors have come on the market such as the Sozo brand which focus on replicating the vintage toneful capacitors from the 60's. These new capacitors are very expensive and mostly hand made in their construction so we were intrigued to hear how they sounded. We purchased all the available brands and meticulously went trough the entire audio signal chain of our Ecstasy circuit incorporating these vintage style capacitors into the design"
# [http://en.wikipedia.org/wiki/Bogner_Amplification Wikipedia]
# It's a dark amp, turn up Presence
# The Bright switch will not only brighten the tone but also adds gain. Its impact decreases as Drive is turned up
# Check [http://bogneramplification.com/media-bogner/music-videos this site] for video demos of the Bogner Ecstasy Blue and Red and pedals. These explain the amp controls clearly (same as the pedal equivalents)
# Try Blue with high Master Volume
# Here's how to use these models as drive blocks (pedals) instead of amps: [http://forum.fractalaudio.com/axe-fx-ii-discussion/69137-like-bogner-pedals-you-got-them-already.html?highlight=bogner Like the Bogner pedals? You got them already!]
# [http://www.premierguitar.com/articles/Bogner_20th_Anniversary_Shiva_and_Ecstasy_Amp_Reviews Review in Premier Guitar]

==Euro Uber (based on Bogner Uberschall)==

[[file:289BognerUberschall.png|150px]]

# Based on: Bogner Uberschall, the high gain channel of this 120W head, heavy grinding lows and insane gain. EL34 tubes. Speakers: V30 plus G12T75 (Uberkab)
# Stock cabinet suggestions:
#* 50/51/52/129/120/131 (Uberkab)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence
# [http://www.bogneramplification.com/manuals/UBERSCHALL%20TWIN%20JET%20MANUAL%202012.pdf Manual]
# [http://www.bogneramplification.com/uberschall Bogner website]: "Uberschall is the German word for Super Sonic and we designed this amp primarily for extreme, heavy and aggressive styles of music. Detuned or baritone guitars crave this amp. Also, be sure to check out the matching Uberkab 4x12 speaker cabinet below. Two versions are available, the UBERSCHALL with it's traditional clean and super high gain channels and the TWIN JET with a semi clean to hot rod gain and super high gain channel configuration. While the super high gain channels are identical there is more flexibility and control on the TWIN JET as well as a additional controls for the power amp section. We unleash mayhem with the super aggressive high gain channel with gain, bass, middle, treble, volume and presence controls. You think you've heard BASS before, no way, the UBERSCHALL can crush on demand. Even with extreme gain and volume this channel stays massively focused and resists mushing out from the heaviest right-hand attack. Power comes from a throaty EL34 output section. Go ahead, try and hide from the UBERSCHALL it will seek you out, relentlessly, while you sleep, in this life and the next... But all will soon embrace the UBERSCHALL and we will wonder how anyone tried to play standard tuning, 7-string or drop tuned guitar without it. Our UBERKAB is perfectly matched for the thunderous UBERSCHALL. This 4x12" straight front speaker cabinet features a black front speaker grill with silver piping and a combination of front loaded Celestion Vintage 30's and G12T75's wired at 16 ohms. This combination unleashes the aggressiveness of the UBERSCHALL amp, plus helps to maximize the low end and give great cutting power to the mids and highs. Our standard Bogner 4x12" cabinet, with Vintage 30's, also sounds great with the UBERSCHALL"
# [http://en.wikipedia.org/wiki/Bogner_Amplification Wikipedia]
# Bogner: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam"
# Check [http://bogneramplification.com/media-bogner/music-videos this site] for a video demos of the Bogner Uberschall pedal. It explains the amp controls clearly (same as the pedal equivalent)

==FAS 6160 (based on Peavey 5150)==

[[file:333FAS6160.png|150px]]

# Custom Fractal model, a modified version of the PVH 6160 - less fizzy than the original, with a bouncier feel

==FAS Big Hair==

[[File:334FasBigHair.png|150px]]

# Custom Fractal model, mids without mud. Revive the 80s metal scene. (Spandex not included)
# Cliff: "It was a total guess. I just tuned it by ear. It's just my idea of what 80's hair metal might sound like"

==FAS Brown==

[[File:335FASBrown.png|150px]]

# Custom Fractal model, the original BROWN model from the Axe-Fx Standard/Ultra

==FAS Crunch==

[[File:FAS_CRUNCH.png|150px]]

# Custom Fractal model, Fractal Audio's take on the ultimate British-sounding amp. More dynamic/open plus more gain

==FAS Lead 1==

[[File:299FASLead1.png|150px]]

# Custom Fractal model, neutral high-gain lead with a tight midrange

==FAS Lead 2==

[[File:300FASLead2.png|150px]]

# Custom Fractal model, hot-rodded British lead sound with a tonestack by Custom Audio Electronics
# Presumedly based on the Mesa Boogie Triaxis

==FAS Modern==

[[File:301FASModern.png|150px]]

# Custom Fractal model, a high-gain hybrid, equally well-suited to modern rhythm and lead work
# Cliff: "This model is my interpretation of the ideal modern metal tone. In the digital realm we are not constrained by the limitations that face tube amp designers so we are free to implement designs that would be nearly impossible with a tube amp. The Axe-Fx II modeling includes a variety of general purpose filters that I can place anywhere in the signal path. So I put some second-order filters in there to tighten up the tone. Implementing second-order filters in a real tube amp is difficult and costly so is rarely seen" [http://forum.fractalaudio.com/axe-fx-ii-discussion/56926-fas-modern-2.html#post715029 Source]

==FAS Modern II==

[[File:301FASModern.png|150px]]

# Tighter version of the popular FAS Modern model with a 5150-style bass boost in the tone stack

==FAS Rhythm==

[[File:302FASRhythm.png|150px]]

# Custom Fractal model, combines the best features of the British and USA crunch models

==FAS Wreck==

[[file:327TrainwreckExpress.png|150px]]

# Custom Fractal model, the original WRECKER 1 model from the Axe-Fx Ultra

==Fox ODS I / II (based on Fuchs Overdrive Supreme)==

[[file:FUCHS_OD_SUPREME.png|150px]]

# Based on: Fuchs Overdrive Supreme, based on an amp that's based on an amp ;-). The "II" is the same model with the MID switch OFF. Overdrive channel, 50w, 6L6 tubes. Speakers: G12-65 or EVM 12L
# Stock cabinet suggestions:
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Gain (Axe-Fx: Input Drive), High (pull: mid boost), Mid (pull: gain boost), Low, Input (Axe-Fx: Over-Drive), Brite switch, Deep switch, Rock/Jazz switch, Master, Accent (presence/edge)
# [http://www.fuchsaudiotechnology.com/amps/overdrive-supreme Fuchs website]
# [http://www.fuchsaudiotechnology.com/manuals/amplifiers/Overdrive-Supreme-Manual.pdf Manual]
# [http://www.fuchsaudiotechnology.com/audio/mp3s/ods/JSBluesinG.mp3 Demo]
# Firmware 10 release notes: "Model II is the same as the FOX ODS I model but with the “MID” switch off"

==Friedman BE / HBE (based on Friedman BE-100 Brown Eye / Hairy Brown Eye)==

[[File:309FriedmanBEHBE.png|150px]]

# Based on: amp by Dave Friedman of Rack Systems, what many call “the ultimate modded Plexi” by Dave Friedman of Rack Systems. HBE: the amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal. EL34, 50 or 100W. Speakers: G12M, G12H, V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence. Switches: FAT, C45, SAT
# [http://www.tonemerchants.com/products/amplifiers/Friedman Website]
# Demos: [http://www.youtube.com/watch?v=h9NISyViNBM 1], [http://www.youtube.com/watch?v=7T9uzDasXag 2]
# This amp was previously named "Marsha"
# From a [http://www.premierguitar.com/articles/Rack_Systems_Brown_Eye_and_Naked_Amplifier_Reviews Premier Guitar review]: "With all the versatility and power it offers, what really sets it apart is its Presence control. The knob doesn’t simply boost highs and add shimmer, it adds more girth, dimension, gain, and perceptible volume. Taming the Brown Eye’s high-gain settings only required lowering the Presence knob, which softened the high-end response and eased off the screaming gain a bit" [http://www.premierguitar.com/Magazine/Issue/2010/Sep/Rack_Systems_Brown_Eye_and_Naked_Amplifier_Reviews.aspx Source]
# Cliff: "The BE/HBE has a fixed depth circuit that gives a lot of bass boost. The model defaults the Depth to match this" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67722-tip-friedman-hb-hbe-presets.html#post833169 Source]
# The HBE mode is a second input on the amp, with a preamp triode boost for additional gain
# [http://friedmanamplification.com Friedman website]

==Fryette D60 L / M (based on Fryette Deliverance 60)==

[[file:310FryetteD60.png|150px]]

# Based on: Fryette Amplification Deliverance 60 in the "Less" resp. "More" mode. 60W, KT88 or 6550 tubes. Speakers: Eminence P50E
# Stock cabinet suggestions:
# Original controls: Gain 1 (Axe-Fx: Input Drive), Gain 2 (Axe-Fx: Over-Drive), Volume, Bass, Middle, Treble, Presence, Depth, More/Less switch
# [http://www.fryette.com/support_manuals.html#deliverance Manual]
# [http://www.sfdamp.com/deliverance.html Fryette website]
# [http://en.wikipedia.org/wiki/Fryette_Amplification Wikipedia]
# Fryette was previously named VHT
# [http://www.sfdamp.com/deliverance.html Audio demo]

==Gibtone Scout (based on Gibson Scout)==

[[file:GIBSON_SCOUT.png‎|150px]]

# Based on: Gibson GA17RVT Scout (1964). If you love vintage clean tones, this 17-watter got 'em. 17w, two inputs. Speaker: 1x10
# Stock cabinet suggestions:
#* 3/4 (1x10)
#* 84/115/116 (1xG12M)
# Original controls: Reverb, Tremolo, Volume, no tone controls

==Herbie CH2+ / CH2- / CH3 (based on Diezel Herbert)==

[[File:DIEZEL_HERBERT.png‎|150px]]

# Based on: Diezel Herbert, 3-channel head (ch 2 with +/- modes), called looser and more familiar than the VH4. 180w, EL34. Speakers: V30 or G12K100
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 54 (G12K100)
# Original controls: Gain (not on channel 1), Bass, Middle (1 kHz), Treble, Master, Presence (> 3kHz), Deep (120Hz), Mid-Cut (not modeled), Gain Boost switch (not modeled)
# On the original amp channel 2- with gain at around 35% gives you a cranked Plexi tone, and at around 60% JCM800 tone. Channel 2+ gets you into VH4 territory
# [http://diezel.typo3.inpublica.de/uploads/tx_ohelement/Herbert_English.pdf Manual]
# [http://diezel.typo3.inpublica.de/herbert.22.0.html Diezel website]: "It's main difference from the VH4 models are in voicing, circuit design, and general layout. Overall the Herbert has a more familiar, slightly looser feel than the VH4, without losing much of the Diezel signature definition and tightness. Simply put, the amp is a player's amp, forgiving and ready for whatever one's soul and mood desires"
# [http://en.wikipedia.org/wiki/Diezel Wikipedia]
# [http://diezel.typo3.inpublica.de/herbert.22.0.html Demos on this page]
# [http://www.rig-talk.com/forum/download/file.php?id=2122 Example settings]

==HiPower Brillnt / Jumped / Normal (based on Hiwatt DR103)==

[[file:311HiwattDR103.png|150px]]

# Based on: Hiwatt DR103, an amp with an unique tone-stack and a brilliant chimey tone. Normal and Brilliant channels. 100w, 4 inputs. Speakers: 4x12 Fane
# Stock cabinet suggestions:
#* 42 (Hiwatt)
# Original controls: Volume, Master, Bass, Middle, Treble, Presence
# [http://www.hiwatt.com Hiwatt website]
# [http://en.wikipedia.org/wiki/Hiwatt Wikipedia]
# Cliff: "I have a 1974 Hiwatt DR-103. The model is based on that. It is one of the Harry Joyce, Hylight era models. Still has the original tubes. Closet find and sounds glorious"
# [http://www.legendarytones.com/hiwattcustom.html Hiwatt DR103 review]
# Need more gain? Use the Brilliant channel and crank the Master Volume
# The jumpered type wass modeled with the 4 inputs jumpered

==Hot Kitty (based on Bad Cat Hot Cat 30r)==

[[file:BAD_CAT_30R2.png|150px]]

# Based on: Bad Cat Hot Cat 30r (channel 2), voted by Guitar Player as "the sedcond best combo of all time". 30w, EL34, cathode bias. Speaker: Bad Cat proprietary Celestion
# Stock cabinet suggestions:
#* 85 (Bad Cat)
# Original controls: Gain/Level, Bass, Middle, Treble, Cut, Master
# [http://www.badcatamps.com Bad Cat website]: "Hot Cat 30 and 30R are both built into the same 17", 16-gauge steel chassis. If Bad Cat has a flagship, this is it. We started with one of the nicest most touch responsive clean channel ever designed and added our 5-way tone selector, enabling the ability to tailor the amp to bright single coils or thick warm double coils. We've added a master volume that can be engaged and utilized to drive channel one into all shades from clean to soft pushed overdrive and beyond. The little secret that loyal users of the Hot Cat have known for years is that the clean channel crunches like the sounds found on vintage 70's vinyl. Channel two is a pure Class A EL34 high gain. The same sweet harmonically rich gain only now with an added mid-range knob to help you dial into a rich scooped thump"
# [http://www.badcatamps.com/public_img/image_139_559.pdf Manual]
# [http://www.badcatamps.com/video-gallery Demos]

==Jazz 120 (based on Roland JC-120)==

[[File:324RolandJC120.png|150px]]

# Based on: Roland JC-120, the only solid-state-based model in the collection; a quintessential clean tone. 120W (stereo: 2x 60W). Speakers: 2x12 "silver" Roland
# Stock cabinet suggestions:
#* 27 (Roland)
# Original controls: Volume, Bass, Mid, Treble, Bright switch, Chorus and reverb controls
# [http://backstage.rolandus.com/product_manuals/?group==4 Manual]
# [http://www.rolandus.com/products/details/249 Roland website including video demo]
# [http://en.wikipedia.org/wiki/Roland_Jazz_Chorus Wikipedia]
# The real amp has no Master Volume.. Try cranking the Master control
# Firmware 11.02: "Fixed wrong tone-stack type in Jazz 120 model. Added correct “Jazz 120” tone-stack type to available selections"

==JR Blues (based on Fender Blues Junior)==

[[file:305FenderBluesJr.png|150px]]

# Based on: Fender Blues Jr., a gutsy little classic with dual EL84s. 15W. Speaker: C12N or P12R
# Stock cabinet suggestions:
#* 79 (JR Blues)
# Original controls: Bass, Middle, Treble, Gain, Volume, FAT boost
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/limited-edition-blues-junior-iii-red-nova-two-tone Fender website]: "The 15-watt Blues Junior has long been a favorite grab-and-go tube amp perfect for the studio and small gigs that need a little extra growl and punch. This limited-edition model is covered in two-tone red and black vinyl, with black grille cloth and a top-mount black control panel with front-reading text. Other premium features include warm overdrive, real spring reverb, simple controls and a single 12" Eminence Wizard™ speaker that delivers gorgeous clean tone and warm, full British overdrive"
# [http://en.wikipedia.org/wiki/Fender_Blues_Junior Wikipedia]: "The Blues Junior is a professional tube guitar amplifier introduced in 1995 by the Fender company. It is aimed at achieving the warm, tube-driven tone common in many styles of American blues and blues rock dating back to the 1950s, while remaining both portable and affordable. Fender frequently releases limited editions of the Blues Junior. All have the same electronic components [1] and specifications but have cosmetic changes and often a different speaker, at varying prices. The Fender Blues Junior is most similar to the Fender Blues Deluxe, which adds a "drive" channel, an effects loop, and uses 6L6GC output tubes for 40 watts of rated output.[2] The Fender Blues Junior was introduced after the Fender Pro Junior, but has entirely different circuitry other than EL84 output tubes rated at 15 watts"
# Use the JR Blues model with no Damping (no negative feedback) to make it sound like an Egnater Rebel 20. Cliff: "The Eggie is very similar to a Blues Jr. Basically the same preamp with some minor tweaks" [http://forum.fractalaudio.com/axe-fx-ii-wish-list/55153-i-miss-my-eggie.html#post696608 Source]
# Cliff: "The Blues Jr. amp has a fixed presence circuit. IIRC it's equivalent to about 2.5 on the presence knob" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67260-question-proper-axe-eq-values-amps-dont-have-them.html#post828733 Source]

==MR Z 38 Sr (based on Dr. Z MAZ 38 SR)==

[[File:296DRZMaz38Sr.png|150px]]

# Based on: Dr. Z MAZ 38 SR, popular with country and roots players. EL84 tubes, 38W. Speakers: Alnico Blue plus G12H
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 16/34/57/64/120/124 (G12H)
#* 114
# Original controls: Volume, Master, Bass, Middle, Treble, Cut, Reverb
# [http://www.drzamps.com/manuals.html Manual]
# [http://www.drzamps.com/amp/maz38sr Dr. Z website]: "The Maz 38 is one of Dr Z's most enduring designs. It is the perfect combination of sound and power. 4 EL84s with no negative feedback give you a wide pallet to work from. The 38 has enough clean headroom to make for a great pedal platform and gives up the goods for a great drive sound at reasonable levels. The 38 can satisfy many different styles and playing approaches. You are able to dial in mid 60s blackface sounds as well as UK flavored chime. The Dr. Z MAZ-38 is a truly versatile amp for the working or studio musician. Whether your forte' is Blues, Country, Roots, or Rock, The MAZ 38 Senior will fit the bill"
# [http://en.wikipedia.org/wiki/Dr._Z_Amplification Wikipedia]
# [http://www.youtube.com/watch?v=VIvv8itpw3c YouTube]
# [http://www.youtube.com/watch?v=ed7x3vr3cCM YouTube]
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
# Cliff: "Dr. Z is the quintessential country amp" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67286-country-amp-suggestions.html#post828934 Source]
# [http://www.premierguitar.com/articles/Dr_Z_Maz_8_Studio_Amp_Review Review of 8-watter in Premier Guitar]

==Nuclear-Tone (based on Swart Atomic Space Tone)==

[[file:SPACE_TONE.png|150px]]

# Based on: Swart Atomic Space Tone, a cool little, gritty, stylishly retro all-tube combo. Use with Bias Trem! 20w, 6V6. Speaker: G12M
# Stock cabinet suggestions:
#* 115 (1xG12M)
# Original controls: Volume, Tone (Axe-Fx: Treble), and reverb and tremolo controls
# [http://swartamps.com/swart_atomic_space_tone.htm Swart website]: "This amplifier has 20w of twin 6V6 power in high Class A biased AB and brings some of the most soulful, rich, near three-dimensional tone you have ever heard. This has to be one of the most expressive amplifiers made to our knowledge, and we've tried more than a few. TUBE REVERB and TUBE TREMOLO, something virtually nonexistent in today's marketplace, is just part of the picture. Includes a 12" Custom British Vintage Series BV-25m that screams TONE with body and soul; This amp has excellent breakup (wait till you hear the samples). This all new circuit is housed in a lacquered TWEED pine cab with dark Tweed panels. This amp is in its own league." And: "The idea of the Atomic Space Tone hit me when I was working on a vintage Gibson Scout guitar amp. It had Reverb, Tremolo, and 15 watts of pure rocking vintage tone power but only three preamp tubes and two EL-84 output tubes. I thought to my self - I have never seen an amp that could do so much with so little and sound surprisingly good. But I knew it could be even better. I knew something could be built revolving around my favorite little tone generator, the 6V6. I sent a note of thanks to my cohort for the inspiration for one of the best amplifiers I have ever built and the only thing I have found to equal the soul and amazing tone of the ST-6V6se but with MORE power"
# Firmware 10 release notes: "Based on a Swart Atomic Space Tone. As with the actual amp the bias tremolo is particularly effective"
# [http://swartamps.com/tech/manuals/atomic_space_tone Online manual]
# [http://swartamps.com/sound_samples.htm Audio samples]
# Cliff: "It's unique character comes from the PI. It's a cathodyne phase inverter so it doesn't drive the grids as hard" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67200-swart-ast-right-thanks-cliff.html#post828241 Source]

==ODS-100 Clean / LD Mid / Lead (based on Dumble OD Special)==

[[File:297DumbleODSpecial.png|150px]]

# Based on: Dumble OD Special, HRM version, serial number 213. A coveted but rare amp brand made famous by Robben Ford. Clean and OD channel. "Mid" model: OD channel with the "Mid" switch engaged. Speakers: G12-65, EVM 12L
# Stock cabinet suggestions:
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Volume (Axe-Fx: Input Drive), Bass, Middle, Treble, Overdrive Level (Axe-Fx: Overdrive), Ratio, Master Volume, Presence, Bright and Mid (deep) switches
# [http://en.wikipedia.org/wiki/Dumble_Amplifiers Wikipedia]
# Previous to firmware 10 the ODS models were based on the Bludotone Ojai (now a separate model)
# Firmware 10 release notes: "The ODS-100 models were redone and matched to a Dumble Overdrive Special, S/N 0213. This particular amp is a 100W “HRM” version. The lead channel was matched with the preamp bypass (PAB) engaged which bypasses the input tone stack. Note that the clean channel has a bright cap on the Master Volume. This causes the tone to get brighter as the MV is reduced and vice-versa"
# Cliff: "The ODS100 has two drive controls, one is right at the input, the other is in the lead boost section." [http://forum.fractalaudio.com/axe-fx-ii-discussion/66485-jonesing-v10-release-notes-15.html#post819347 Source]
# Cliff: "I hate to admit it but there is something special about a real Dumble. I don't know what it is but there is something in the voicing. The various clones I have are cool and have their own thing going but they don't sound like the Dumble. Hard amp to play though. Very unforgiving but tremendous clarity" [http://forum.fractalaudio.com/axe-fx-ii-reviews/66825-congrats.html#post824398 Source]
# Cliff: "They call HRM "Hot Rubber Monkey" but what it really means is "Hot Rod Marshall". The HRM Dumbles have a fixed Marshall tone stack at the output of the lead channel. This gives a little scoop to the mids" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67218-v10-bludotone-ojai.html#post828279 Source]
# Pictures of amp settings: [http://bluesrockguitar.files.wordpress.com/2009/11/robben20dumble202002.jpg 1], [http://bluesrockguitar.files.wordpress.com/2009/11/img_2048.jpg 2]

==Plexi 100w / 50w / MJyump (based on Marshall Super Lead 1959)==

[[file:312Marshall1959SuperleadPlexi.png|150px]]

# Based on: Marshall Super Lead 1959, the classic "Plexi" amp head that gave rise to “the stack”. '69 100w and 50w heads. Normal channel and Treble (High) channel, 4 inputs. Speakers: G12M, G12H, G12L
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 35 (G12L)
# Original controls: Volume, Bass, Middle, Treble, Presence
# [http://www.marshallamps.com/product.asp?productCode=1959SLP Marshall website]
# [http://www.marshallamps.com/downloads/files/Vint%20hbk.pdf Manual]
# [http://en.wikipedia.org/wiki/Marshall_1959 Wikipedia]
# Cliff (about the Plexi model in the Standard/Ultra): "One of the first mods people make to real 'Plexi' Marshalls is to "clip the bright cap". The bright cap varied over the years, supposedly depending on what was lying around in the shop. The model defaults to the bright cap in the circuit. If you turn off Bright you're effectively clipping the bright cap. The bright cap in Marshalls can be very bright and harsh. However, if you crank the Master you might find the extra brightness helps compensate for the power amp getting darker"
# Cliff: "It's the way a Plexi is supposed to sound. That's due to the cathode follower. That raspiness helps it cut through in a mix. I own three of them and they are that fizzy" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43598-high-end-fizz-normal.html Source]
# Cliff: "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" [http://forum.fractalaudio.com/axe-fx-ii-bugs/44357-amp-going-into-bypass-mode-while-using-wah.html#post583611 Source]
# Try the Brit JM45 tonestack to get a modded Plexi tone
# The jumpered types were modeled with the 4 inputs jumpered.

==Prince Tone NR / Rev / Twd (based on Fender Princeton)==

[[file:331FenderPrinceton.png|150px]]

# Based on various Fender Princeton amplifiers: one without reverb, a '66 reverb edition and a tweed version. Circuits: 5F2-A, AA964 (modeled after early CBS “Silverface” model, pre-CBS design and components). Class A, low wattage, single-ended power section. Speakers: Jensen C10N
# Stock cabinet suggestions:
#* 3 (1x10)
#* 77/78 (Princeton)
# Original controls: Volume, Tone (Axe-Fx: Treble)
# [http://www.fender.com Fender website]
# [http://en.wikipedia.org/wiki/Fender_Princeton Wikipedia]
# [http://fenderguru.com/amps/princeton Fenderguru.com]: "The Princeton Reverb is the smallest blackface/silverface Fender amp with both tremolo and reverb. With a 10 inch speaker run by a 12-15W dual 6V6 amp, it delivers a true “American” Fender tone with punchy, responsive lows together with chimey highs. When it is cranked it tends to sound a bit “browner” than the bigger two-channel amps, meaning more breakup in the lower frequencies and mid-focused tone. Much of this is due to an unefficient phase inverter circuit design. Compared to many bigger Fender amps the Princeton Reverb (PR) went through the CBS/silverface periods with very little changes. Originally the Princeton Reverb came with Jensen C10N, C10r, Oxford 10L5 or Oxford 10J4. Personally we favor the vintage Jensen C10n speakers due to the huge clean tone and big bottom end caused by the large magnet and 1,5″ voice coil. A vintage 1966 Jensen C10n matches the amp and cabinet size perfectly and you get a classic, scooped fender blackface tone from a little amp. Personally we mostly play our Princeton Reverbs at volume 5-6 with a decent amount of tube amp distortion (caused by preamp, power amp, transformers, rectifier all together). The amp delivers a thick sustaining tone where single notes are clean and chords are crunchy. A 12″ speaker will push more air and give you a bigger sound with more low ends, particularly more lower mids. A 12″ can normally handle more power than a 10″ at both lower and higher frequencies. The 12″ speaker is slightly harder to drive and if you’re really into a soft touch and finger tips you’ll probably appreciate the dynamics of a 10″ more than with a 12″. An interesting effect with 12″ speakers is the “3D” sound effect. While 10″ speakers can be front directional (depending on cabinet also) there is a better spread with 12″ speakers which contributes to a better sound on stage. People will hear you better wherever they are positioned relatively to the amp. A 15″ speaker has even more spread and it will cut through skin and bone. We have never heard anyone who upgraded to a 12″ go back to 10″. The Princeton Amp is often misinterpreted as a Princeton Reverb without reverb. Just by looking at the front panel and the knob functions it might seem so. A closer study of the circuit design will reveal that the Princeton Reverb has an extra gain stage (one half of the 12AX7 V3 tube) just after the dry and the wet reverb signals are mixed. This means that there is one extra tube stage that can cause preamp gain and contribute to the tone with sustaining harmonics, compression and sag. Hence, the Princeton-Amp is cleaner than the Princeton-Reverb when the volume is pushed beyond 3-4. The volume knob is less sensitive on the Princeton Amp, and you can play them on volume 7-8 still sounding clean"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input, lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]

==PVH 6160 Block (based on Peavey EVH 5150)==

[[File:323Peavey5150.png|150px]]

# Based on: Peavey EVH 5150 "block", the high-input lead channel of an amp named after the criminally insane. 6L6, 120W. Speakers: Sheffield 1200
# Stock cabinet suggestions:
#* 49/107/128 (5150)
#* or G12Ms / G12Hs
# Original controls: pre- and post-Gain, Volume, Bass, Mid, Treble, Presence, Resonance
# [http://en.wikipedia.org/wiki/Peavey_Electronics Wikipedia]
# [http://forum.fractalaudio.com/axe-fx-ii-discussion/61537-fas-do-you-still-do-comparisons-guitar-cabs.html Information about the 5150 amp]
# Firmware 10 release notes: "Based on “Block Letter” EVH 5150. This model has been renamed PVH 6160 Block”

==PVH 6160 II (based on Peavey 6505+)==

[[file:PEAVEY_6505+.png]]

# Based on: Peavey 6505+ (identical to the EVH II), called the new standard for "brutality and agression". 6L6, 120w. Speaker: Sheffield 1200
# Stock cabinet suggestions:
#* 49/107/128 (5150)
#* or G12Ms / G12Hs
# Original controls: Bass, Middle, Treble, Presence, Resonance, Gain, Master
# [http://www.peavey-eu.com/index.php?#product/6505 Peavey website]
# [http://www.peavey-eu.com/pdf_display.php?sys=ALL&type=PDM_6_OM&level=PDM_6&tbl=system&def=A_1&key=106 Manual]
# Cliff: "Chris Quigley's 6505 was the reference amp. It's my amp now. It's a very good sounding one" [http://forum.fractalaudio.com/axe-fx-ii-reviews/66816-fw10-lmao-what-say.html#post824411 Source]

==Recto Orange / Red, Vintage / Modern (based on Mesa Dual Rectifier)==

[[file:318MesaDualRectifier.png|150px]]

# Based on: a 2-channel and a late 3-channel model of Mesa Boogie's Dual Rectifier, a high-gain masterpiece with crushing power and tighness. Orange and Red channels, Vintage and Modern modes. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 104 (Classic Lead 80)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence/HiCut (see below)
# [http://www.mesaboogie.com/manuals/3chRecto.pdf Manual]
# [http://www.mesaboogie.com/Product_Info/Rectifier_Series/Dual_Rectifier/DualRectifier-2010.html Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia]
# Cliff: "Real Rectos are bassy/fizzy beasts but that tone works great for certain genres" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51197-fw-6-0-rectifier-obsevation.html#post658849 Source]
# Firmware 10 release notes: "All Recto models have been reworked. Note that the Orange Modern and Red Modern models have no negative feedback and therefore the Presence control is a Hi Cut control. The operation of this control is reversed as compared to the actual amp. If the amp’s Presence control is fully clockwise the corresponding setting of the model’s Hi Cut control is fully ccw. Also note that the model’s Hi Cut control has about twice the range of the actual amp so fully ccw on the amp is equal to about noon on the model. As noted in the paragraph on MIMIC, the Modern modes are highly sensitive to MV setting. Higher MV settings result in more midrange focus while lower MV settings produce a more scooped tone. It is recommended to experiment with the MV setting to achieve the desired tone while compensating for the level increase/decrease with the Level control"
# [http://www.youtube.com/watch?v=It_k4uDnetU Demo]
# Cliff: "If you are using the Modern modes be very careful with the MV. If you turn it up too high it will flub out really quick. If in doubt reduce the MV. Compensate with the Level control" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67312-recto-sound-tweaking.html#post829334 Source]
# Cliff: "The Modern mode in Rectos has no negative feedback so there's a huge bass boost from the speaker impedance. Fortunately you can reduce this by reducing the LF Resonance on the Spkr tab which is something you can't do with the real amp without trying different speakers or cabinet" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67312-recto-sound-tweaking.html#post829906 Source]

==Ruby Rocket (based on Paul Ruby Rocket)==

[[File:RUBYROCKET.png‎|150px]]

# Based on: Paul Ruby Rocket, a Trainwreck Rocket clone (similar to a Vox). Speakers: try Alnico
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 114
# Original controls: Volume, Bass, Treble, Cut
# [http://paulrubyamps.com Website]
# [http://www.trainwreck.com/brochure.html Trainwreck Rocket information]
# [https://www.youtube.com/watch?v=_lLcL13Z1FQ& Video]

==Shiver Cln / Ld (based on Bogner Shiva 20th Anniversary)==

[[File:288BognerShiva20th.png|150px]]

# Based on: Bogner Shiva Clean, 90w 20th Anniversary model, Clean: powerful shimmering cleans. Lead: a sweet, rich-sounding amp with aggressive, English-style midrange punch. KT88 tubes. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls for Clean channel: Bass, Treble, Volume, Master, Presence, Bright switch (less to none effective the higher Drive is set). Original controls for Lead channel: Bass, Middle, Treble, Volume, Master, Presence, Bright switch (less effective the higher Drive is set but still noticeable). Boost, Mode and Shift controls on the original amp are not modeled
# [http://www.bogneramplification.com/manuals/SHIVA%20MANUAL%202012.pdf Manual]
# [http://www.bogneramplification.com/shiva Bogner website]
# [http://www.bogneramplification.com/media-bogner/bogner-amplifiers-sound Audio samples]
# [http://en.wikipedia.org/wiki/Bogner Wikipedia]
# It's a dark amp, try turning up Presence
# [http://www.premierguitar.com/articles/Bogner_20th_Anniversary_Shiva_and_Ecstasy_Amp_Reviews Review in Premier Guitar]

==Solo 100 Clean / Lead / Rhy (based on Soldano SLO-100)==

[[File:325SoldanoSLO100.png|150px]]

# Based on: Soldano SLO-100 (Super Lead Overdrive), noted for its hot-rod chrome chassis and aggressive rhythm tone. Normal (Clean / Crunch) and snarling Lead channel, 100W. Speakers: 12" Eminence
# Stock cabinet suggestions:
#* 45/46 (Soldano)
#* 8/12/105/106/119 (EVM)
# Original controls: Gain, Bass, Middle, Treble, Master, Presence, Bright switch (Normal channel)
# [http://www.soldano.com/products/guitar-amplifiers/super-lead-overdrive-slo-100/ Soldano website]: "While setting that standard (we’ve been told) we created a modern classic. Unchanged in over twenty years, the SLO’s remarkable sound, award-winning innovative design, and flawless construction make it simply the finest amplifier money can buy. And the SLO’s tone, construction, and reliability have made it the heart and soul of many of Rock, Metal, and Electric Blues’ most creative and celebrated players. It’s because of this that you’ve been hearing the SLO 100 on your favorite records since 1987. From Clapton to Van Halen, from Warren DeMartini to Lou Reed – and from you to Mike Soldano himself, the SLO is simply the player’s choice. The SLO-100 offers two channels, Normal and Overdrive, each with independent Preamp gain and Master Volume controls. The Normal channel has a Bright switch and a Clean / Crunch gain selector switch. Bass, Middle, Treble, and Presence controls provide the tone shaping"
# [http://en.wikipedia.org/wiki/Soldano Wikipedia]
# Cliff: "The SLO-100 is the loudest amp I've ever used. It feels like there's a small nuclear explosion going off inside when ever you hit a power chord. It's a wicked amp but not something I would recommend for anything but large gigs. If you like the SLO-100 model you might want to try the Recto models too. It's not widely known but the Rectifier preamp is a derivative of the SLO-100. Some minor changes but the basic topology is identical"
# Cliff: "I have a really good SLO-100. An original black faceplate version. Pristine condition. That amp was one of the primary amps used in the G2 modeling development. It was by studying that and a really nice JCM-800 that I finally figured out the secret to cathode follower" [http://forum.fractalaudio.com/axe-fx-ii-discussion/42204-just-how-good-axe-fx-ii-modeling.html#post562187 Source]
# Cliff: "Many people find SLOs too bright. The "Warren Haynes" mod is a popular mod to reduce the brightness" [http://forum.fractalaudio.com/axe-fx-ii-discussion/44637-solo-100-lead-gen1-vs-gen2-2.html#post587054 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-discussion/39704-slo-warren-haynes-mod.html?highlight=warren Emulating Warren Hayes' tone]
# Cliff (talking about the Depth control, firmware 10): "Mine doesn't have the depth mod but I used the values from the schematic I have and I believe the schematic is correct" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67491-question-regarding-soldano-slo-100-depth-knob.html#post830925 Source]
# Cliff: "SLOs are brittle at low volumes. When you crank them up it smooths out. The problems is at cranked volumes they can kill small animals" [http://www.thegearpage.net/board/showpost.php?p=15320432&postcount=5 Source]
# Carol-AnnAmps: "The secret of the SLO is the arch enemy of most you guys, volume. It has to be run hard with less preamp gain. It transforms into a gorgeous amp like that. It was designed as a large stage/stadium amp. Cue Warren Haynes. Running one at your local pub is going to give results that are very thin and buzzy. I would imagine the best tones from the axe model will probably be achieved by increasing the master and backing off the preamp, just like the real deal." [http://forum.fractalaudio.com/axe-fx-ii-reviews/71586-most-underrated-amp-models.html#post878646 Source] Cliff: "Yup, this is why the MV defaults to a higher setting than other MV amps." [http://forum.fractalaudio.com/axe-fx-ii-reviews/71586-most-underrated-amp-models.html#post878719 Source]

==Solo 88 Rhythm (based on Soldano X88)==

[[File:SOLDANO_X88.png|150px]]

# Based on: the rhythm channel of a Soldano X88R preamp
# Stock cabinet suggestions: n/a
# Original controls: Gain, Bass, Middle, Treble, Volume
# [http://www.soldano.com Soldano website]
# [http://en.wikipedia.org/wiki/Soldano Wikipedia]
# Cliff: "Solo 88 RHY is based on an X88R since the rhythm channel of an X99 is identical to an SLO 100. FWIW, I have two X88Rs and the model agrees with both" [http://forum.fractalaudio.com/axe-fx-ii-bugs/56475-solo-88-rhythm-name-model-accuracy.html#post718846 Source]

==Solo 99 Clean / Lead (based on Soldano X99)==

[[File:326SoldanoX99.png|150px]]

# Based on: the clean and lead channels of a Soldano/Caswell midi-motorized Soldano X99 preamp
# Stock cabinet suggestions: n/a
# Original controls: Gain, Bass, Middle, Treble, Volume
# [http://www.soldano.com Soldano website]
# [http://en.wikipedia.org/wiki/Soldano Wikipedia]
# Cliff: "The rhythm channel of an X99 is identical to a SLO 100" [http://forum.fractalaudio.com/axe-fx-ii-bugs/56475-solo-88-rhythm-name-model-accuracy.html#post718846 Source]

==Spawn Nitrous (based on Splawn Nitro)==

[[file:SPLAWN_NITRO.png|150px]]

# Based on: Splawn Nitro, lots of saturation and big lows, with KT-88 power tubes. Overdrive channel, 100w. Speakers: G12M, G12-65, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Resonance, Presence, Bass, Middle, Treble, Master, Gain
# [http://www.splawnguitars.com Splawn website]: "All the Splawn tone with more saturation and voiced for a bigger low end and low mids"
# [http://www.splawnguitars.com/Splawn%20Manual%20rev-2-4.pdf Manual]
# [http://www.splawnguitars.com/clips.htm Audio samples]
# [http://licklibrary.ceros.com/iguitarmag/iguitar/iguitar/magazine/iguitar/mag/digital/guita/issue4/page/92 Review in iGuitar]

==Spawn Q-Rod 1st / 2nd / 3rd (based on Splawn Quickrod)==

[[File:SPLAWN_QR.png|150px]]

# Based on: Splawn Quick Rod, an amp with bold body and a bit of bite. 100w, two channels. Channel 2, 1st gear: "Plexi", 2nd gear: "Hot Rod JCM 800", 3rd gear: "Super Hot Rod 800". Speakers: G12M, G12-65, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Presence, Bass, Middle, Treble, Solo, Volume, Gain, Mode
# [http://www.splawnguitars.com Splawn website]: "Signature Splawn tone with lots of bite, strong mids and 3 gear versatility"
# [http://www.splawnguitars.com/QR_PM_Manual.pdf Manual]
# [http://www.splawnguitars.com/clips.htm Audio samples]

==Suhr Badger 18 / 30==

[[File:SUHR_BADGER.png‎|150px]]

# Based on: Suhr Badger, 18w and 30w models, single channel. The 18w has a EL-84 powered tube rectifier. The 30w has a solid state rectifier. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 85 (1xV30)
# Original controls: Bass, Middle, Treble, Gain, Power (controls Power Scaling), Drive (acts as Master with Power at 10)
# When increasing Gain, turn down Bass
# [http://www.suhr.com/amplifiers-for-electric-guitars/badger-series-amplifiers Suhr website]
# See website for suggested settings
# [http://www.suhr.com/core/media/media.nl?id=87&c=3496541&h=23db34f0d4388fa96a77&_xt=.pdf Manual Badger 30]
# [http://www.suhr.com/core/media/media.nl?id=83&c=3496541&h=914d14a8deb100506742&_xt=.pdf Manual Badger 18]
# Adam Cook (firmware 7.01): "Because of the no-negative feedback design of this amp the Master knob is VERY powerful when it comes to altering the tone of the amp. When you crank it up the mids get much more pronounced and you get a real warm fat singing lead tone. But it still responds incredibly well to the volume knob so when you back that down all of a sudden the highs and lows become more pronounced as it cleans up. When I saw Guthrie use this amp his "clean channel" consisted of using a volume pedal to back off the input and his full volume tone was singing high gain. You can totally do that with this amp model now" [http://forum.fractalaudio.com/axe-fx-ii-discussion/56043-suhr-badger-7-00-a-9.html#post713099 Source]
# [http://www.youtube.com/watch?v=V5N88mHMBW0 Demo by Pete Thorn]
# Cliff: "The Badgers were MIMIC'd with power scaling at full. The knobs are a bit confusing on a Badger. The knob closest to the input jack is labeled "Gain". It is equivalent to the Drive knob in the Axe. The knob labeled Drive is the Master Volume" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67486-badger-30-power-scaling-knobs.html#post830810 Source]
# For 100% clean sounds, use the Badger 30 instead of the Badger 18

==Super Verb (based on Fender Super Reverb)==

[[file:SUPER_REVERB.png‎|150px]]

# Based on: pre-CBS 1964 blackface Fender Super Reverb, AB763 circuit, 40w, low and high inputs, Normal and Vibrato channel. Speakers: 4x10 Jensen C10R, C10Q, P10R
# Stock cabinet suggestions:
#* 89/100 (Super)
# Original controls: Volume, Bass, Middle, Treble, Bright switch, tremolo controls
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/65-super-reverb Fender website]: "This faithful recreation of the legendary Blackface Super Reverb of 1963-1968 is a must-have for vintage enthusiasts and Stratocaster guitar slingers, but players of all styles enjoy its shimmering tone. The 45-watt Super Reverb’s medium output and stage-filling sound make it the perfect amp to crank up for club gigs or the concert stage. Features include dual 6L6 Groove Tubes output tubes, one 5AR4 rectifier tube, four 12AX7 preamp tubes, two 12AT7 tubes, four 10” 8-ohm Jensen P10R speakers with alnico magnets, dual channels (normal and vibrato), tube-driven Fender reverb, tube vibrato, two-button footswitch for reverb and vibrato on-off, black textured vinyl covering with silver grille cloth, and tilt-back legs"
# [http://en.wikipedia.org/wiki/Fender_Super_Reverb Wikipedia]
# [http://fenderguru.com/amps/super-reverb Fenderguru.com]: "The AB763 Super Reverb is a very popular Fender amp due to the huge tone, robustness and the pure tone from the traditional blackface AB763 amp design. The AB763 design is also to be found in some silverface amps between 1967 and 1969. The later silverface circuits were changed further by CBS to become cleaner, harder and thinner sounding, specially if one compares amps at the same volume and EQ setting. If you’re into sparkling clean tones, a silverface can do the job just as well as a blackface amp. The blackfaces have more growl and a distorted, cranked tone. It is heavy to carry with the 4×10″ speakers and massive iron transformers. The height also makes it difficult to carry, making you sweat when hauling it between gigs. It’s a big sounding amp with a potential for being very loud and bassy given the right (wrong) speakers. The nature of the 4×10″ speaker configuration is a directional tone with screaming treble right forwards and backwards and unfortunately little spread. A lot of deep bass is produced by the bigt cabinet while the important mids are fairly low, a scooped tone. Many players are stupid and increase the volume to compensate for the lack of spread and mids. This will introduce even more bass and sharp treble. Playing the Super Reverb is not supposed to be easy… Despite all the difficultness with this amp there will occasionally be gigs, perhaps outdoors or at a big stage, where the amp won’t hurt anyone in a radius of 3 meters. You are allowed to turn the volume beoynd 4 where the amp comes alive. We remember these occasions as our happiest musical moments. The notes bounce off our strings and we are musically and physically connected with the amp just using the pick attack and guitar volume to roll back and switch between rythm and solo. Perhaps a transparent boost pedal to take us into David Gilmour land with sustain, harmonics and a creamy tone. You can physically feel the dynamic response from one of the best vintage Fender amps of them all. But only if you know how to tame this beast"
# Cliff: "I modeled the Super with V1 pulled as most people pull V1 so the amp has more grunt. Turn down the MV to make it cleaner" [http://forum.fractalaudio.com/axe-fx-ii-discussion/61456-new-presets-v9-support-page-4.html#post764998 Source]
# Cliff: "The Super Reverb model is "Diaz Modded". IOW, I pulled V1. This gives the amp a lot more gain so it's not surprising you're getting breakup at around 1.5. You can un-mod the model by turning down the MV Trim to around 0.5" [http://forum.fractalaudio.com/axe-fx-ii-discussion/69261-crash-sound-distortion-attack-2.html#post851580 Source]
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# Several forum members recommend using the "[http://www.singlecoil.com/docs/magic-six.pdf magic six]" settings: Volume 6, Treble 6, Middle 3, Bass 2 (6, 6, and 3x2=6). And Bright switched on

==Supertweed==

[[file:SUPERTWEED.PNG|150px]]

# Ported model from the Ultra, a vintage tweed on stereoids.

==Supremo Trem (based on Supro 1964T)==

[[File:SUPRO.PNG|150px]]

# Based on: Supro 1964T, a cool classic, built in Chicago by Valco, originally inteded for bass. Speakers: 6" oval speaker, 12" or 15" Jensen
# Stock cabinet suggestions:
#*18/95 (Supro)
# Original controls: Volume, Tone (Axe-Fx: Treble)
# [http://www.youtube.com/watch?v=NRAJqdZcz5k Youtube]
# Firmware 10 release notes: "Renamed “SUPER TREM” model to “SUPREMO TREM” to avoid confusion with other models"

==SV Bass (based on Ampeg SVT)==

[[File:287AmpegSVT.png|150px]]

# Based on: Ampeg SVT, a bass head used for decades by famous bassists the world over. Super Vacuum Tube bass amp, 300W. Speakers: 8x10
# Stock cabinet suggestions:
#* 66/67/68/109/110/111/112/113 (bass cabs)
# Original controls: Gain, Bass, Mid (and Mid Frequency), Treble, Master
# [http://www.ampeg.com/products/classic/svtcl Ampeg website]
# [http://www.ampeg.com/pdf/SVTCL_OM.pdf Manual]

==Thordendal Mdrn / Vint (based on Fredrik Thordendal’s specifications)==

[[file:.png|150px]]

# Based on: Fredrik Thordendal’s (Meshuggah) specifications, two modes
# Stock cabinet suggestions: n/a
# Original controls: n/a
# Cliff: "It's not a DAR model. It's a custom model based on input from Fredrik" [http://forum.fractalaudio.com/news/71448-firmware-version-10-10-now-available-4.html#post876038 Source]

==TripTik Classic / Clean / Modern (based on Carol-Ann TripTik)==

[[file:.png|150px]]

# Based on: Carol-Ann Triptik, all 3 voicings. EL34, 50w or 100w, three channels. Speakers: not specified
# Stock cabinet suggestions:
# Original controls: Input Level (Axe-Fx: Input Drive), Drive on channels 2 and 3 (Axe-Fx: Overdrive), Bass, Middle, Treble, Presence, Master, Classic/Modern voicing switching
# [http://www.carolannamps.com Carol-Ann website]
# Website: "This 3 Channel Amplifier is our idea for a true rock amp that is capable of reproducing both timeless classic rock tones to modern high gain tones with a super tight and crushing low end. The design of this amplifier is a true ground up design and has not been inspired by any other amplifier out there. It is an original back to the drawing board design." And: "The amp features two identical overdrive channels that both have a switch that sets the particular channel to either 'Classic' or 'Modern' voicings. The 'classic' voicing has a little less gain and low end and will produce 70's and 80's British rock tones with a very wide and complex sound stage with no buzz or brittle high frequencies. The 'Modern' setting has more gain and low end for those more modern heavy rhythm, dropped tunings. This channel also makes for a superb liquid lead channel with incredible sustain and harmonic bloom"
# [http://www.carolannamps.com/Sounds.htm Audio samples]
# Cliff: "This TripTik is badass. Dumble meets Marshall with a sprinkle of 5150 power amp" [http://forum.fractalaudio.com/axe-fx-ii-discussion/70996-since-10-06-came-out.html#post870346 Source]
# Cliff: "I think what people like about this amp is the same reason people like the BE/HBE. These amps share the same aggressive low-cut on the input and then add bass back in the power amp. This gives clear bass response without getting flubby." [http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me-4.html#post873466 Source]
# Information from the owner: "Start with the bass/mid/treble/pres at noon, don't be afraid to push the pres or mids up a bit. Alan's amps are pretty big and 3d sounding so you may have to bring down the bass/depth/gain a tad" [http://forum.fractalaudio.com/news/71073-firmware-10-09-axe-fx-now-available.html#post871355 Source]
# Model based on 50W EL34 amp supplied by forum member jharpersj, [http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me.html#post871704 Source]
# Alan Phillips from Carol-Ann commenting on the model: http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me-2.html#post872042

==Tube Pre==

[[file:336TubePre.png|150px]]

# Based on: a completely neutral, low-gain tube preamp, useful for “warming up” various sources or to act as a power amplifier
# Cliff: "The Tube Pre model is neutral. The "Vintage" tone stack is flat. The Tube Pre model uses the Vintage tone stack. The Vintage tone stack is a passive EQ model but it has a flat response when the controls are at noon. If you want "active" EQ you need to set the type to Active [http://forum.fractalaudio.com/axe-fx-ii-discussion/70487-possible-bypass-preamp.html Source]
# Because it's neutral you can use the Tube Pre if you need power amp simulation without a preamp

==Two Stone J-35 (based on Two-Rock Jet 35)==

[[file:JET_35.png‎|150px]]

# Based on: Two-Rock Jet 35, 35w tube amp, 6L6 tubes. Modeled in the lead mode with the “Bypass” switch engaged; the Bypass switch bypasses the input tone stack to give a more focused lead sound. Speakers: G12-65
# Stock cabinet suggestions:
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Treble, Mid, Bass, Gain (Axe-Fx: Input Gain), Master, Lead Gain (Axe-Fx: Overdrive), pull bright/mid/deep
# [http://www.two-rock.com/ownermanuals/Jet%20Manual.pdf Manual]
# [http://www.two-rock.com/models/jet-35 Two-Rock website]: "A peerless small venue or studio amp, specifically designed to deliver killer Two-Rock tone at a lower volume than any other series in the line. It can produce 22W through 2 6v6's or 35W through 2 6L6's. The Jet 22 and 35 have a Custom Reverb-type circuit but are more basic in their features. The Jet does not include the EQ1/EQ2 switch and has a simpler feature layout than the CR V3. It offers the basic EQ settings - bass, mid & treble - and it is closer to the EQ2 or the CR Sig in voicing. Same serial effects loop as the Custom Reverb, and same all-tube spring reverb. The Jet 35 has a pull bright, mid and deep boost, as well as the bypass and lead switches availble by a "pull" pot on the front of the amp"
# Cliff: "Yes, it's very smooth but there's this unique chirp or something that I've never heard in an amp before. When you hit the note there's this blast of high end that rapidly decays so it has an almost vocal quality. The frequency shaping is very different than most other amps" [http://forum.fractalaudio.com/axe-fx-ii-discussion/59414-axe-fx-ii-firmware-9-public-beta-47.html#post745084 Source]
# Cliff: "The Two Rock is the most unique amp I've ever modeled. Almost like a violin but with this really cool chirp on the pick attack" [http://forum.fractalaudio.com/axe-fx-ii-discussion/59964-so-cliff-have-you-added-any-new-amps-since-oct-31st-4.html#post747921 Source]
# [http://www.youtube.com/results?search_query=Two-Rock+Jet+35+W&oq=Two-Rock+Jet+35 Videos]

==TX Star Lead (based on Mesa Lone Star)==

[[file:332MesaLonestar.png|150px]]

# Based on the lead channel of a Mesa Lone Star. 6L6 tubes (Classic version). Speakers: Mesa C90
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Drive (Axe-Fx: Input Drive), Gain (Axe-Fx: Overdrive), Treble, Mid, Bass, Presence, Master, Voicing
# [http://www.mesaboogie.com/manuals/Lonestar.pdf Manual, with sample settings]
# [http://www.mesaboogie.com/Product_Info/Lonestar/Lonestar-2012/Lonestar-2012.htm Mesa website]: "Tone! Big as Texas! Wide as the Rio Grande. Clear as the bell that rang over the Alamo. Unstoppable as a rising Texas flood. Yeah, that's some bold proclamation. But the Lone Star® backs it up. Just as our Mark I sprang from the Black Face era and took classic guitar tones to a new level, the Lone Star took the next step forward, crystallizing perfect sound that's haunted you for years. As guitar players, we live for those elusive moments of divine musical inspiration, where you become one with the interaction between your guitar and amplifier and it magically transcends you and your playing to a level well beyond your normal plane. You know the ones…. Those moments of unbelievable gratification where your tone is so amazingly right and the feel of your strings are so perfectly connected to your fingers that you become an unbridled channel of soulful musical expression. These are the moments that truly motivate us as players and keep us coming back to the art of playing guitar! It is in this exact spirit that we have created the Lone Star! The Lone Star is an amplifier of such extravagant tone and seductive feel that we can almost guarantee that you will experience divine inspiration and effortless expression every time you plug into it! It is that amazing! From its innovative custom circuitry, down to its new classic retro/vintage looks, the Lone Star was designed to be the new defining vintage/boutique amplifier from the original boutique amp builder"
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia]
# [http://www.youtube.com/watch?v=BUwtCExJ_Lc YouTube video]: Andy Timmons' Lone Star settings. Try with a BB drive block
# [http://www.youtube.com/watch?v=-CDklxuTS0E Demo by Andy Timmons]
# Firmware 11.02: "Added Overdrive control to TX Star Lead model. Fixed wrong cutoff frequency"

==USA Clean 1 (based on Mesa Mark IV)==

[[file:320MesaMarkIV.png|150px]]

# Based on: Mesa Boogie Mark IV (Rhythm 1 channel), a beautiful clean-sounding model that can pushed into warm clipping. Speakers: Mesa C90
# Stock cabinet suggestion:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Gain, Volume, Treble, Mid, Bass, Presence, Bright switch. Graphic Equalizer not modeled
# [http://www.mesaboogie.com/manuals/Mark%204.pdf Manual]
# [http://www.mesaboogie.com Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# Cliff: "The MK V is basically a compendium of previous Mesa amps. There may be minor differences in tone due to circuit layout but nothing a few tweaks to the EQ can't fix" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43349-mesa-mark-v-model-preset.html#post573437 Source]
# Cliff: "Having owned multiple Mark IV's, multiple Triaxis's and a variety of other Boogie products, I can tell that the Mark series in general are a bitch to dial in. Once you figure them out though they are great amps. IMO, the key to a MKIV is to use the TMB to get the feel and the EQ to get the tone" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51059-got-everything-loaded-usa-lead-2-sounds-well-3.html#post658940 Source]
# [http://mesaboogie.com/news/2010/12/video-john-petrucci-mark-v-settings-and-tone-tips John Petrucci videos]

==USA Clean 2 (based on Mesa Triaxis)==

[[file:321MesaTriaxis.png|150px]]

# Based on: Mesa Boogie Triaxis preamp Rhythm Green channel (“Vintage Fat Rhythm" or "old Black Face")
# Stock cabinet suggestion: n/a
# Original controls: Gain, Treble, Middle, Bass, Presence, Master. Dynamic Voice (EQ) not modeled
# [http://www.mesaboogie.com Mesa website]
# [http://www.mesaboogie.com/manuals/Triaxis.pdf Manual]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1]
# Cliff: "I used a Triaxis for, shoot, I dunno, over a decade before designing the Axe-Fx. I have two of them. So I'd say I'm pretty familiar with the tones. To my ears (and my measurement equipment), the Axe-Fx models are spot-on" [http://forum.fractalaudio.com/axe-fx-ii-discussion/45541-lost-notes-chord-voicings-axe-ii-11.html#post596811 Source]

==USA IIC+ Bright / Norm (based on Mesa Mark IIC+)==

[[file:319MesaMarkIIc+.png|150px]]

# Based on: Mesa Boogie Mark IIC+ Lead, a US-made amp famous for its smooth overdrive sound. Models: pull bright OFF / ON. Speakers: EVM 12L
# Stock cabinet suggestions:
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Gain (Axe-Fx: Input Drive), Drive (Axe-Fx: Overdrive), Master, Bass, Mid, Treble, Presence, Bright switch pullout, Treble Shift. Graphic equalizer and Gain Boost not modeled
# [http://www.mesaboogie.com/manuals/user_manuals.htm Manual]
# [http://www.mesaboogie.com Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# Use the GEQ block (5-band type) to simulate the graphic EQ on the real amp. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Alternatively try the USA PRE Yellow model (Triaxis)
# Cliff: "To match a Mark V on the IIC+ (v11.01 and later):
## Select the appropriate USA IIC+ Norm or Bright model (based on the Mark V switch).
## Set Overdrive to about 8.0
## Turn on Fat and Bright Switches.
## You may need to fine-tune the Presence slightly as the presence network is very sensitive to the taper of the pot.
## I had to set Presence to 5.59 to match the Mark V presence at noon."
## [http://forum.fractalaudio.com/axe-fx-ii-discussion/74069-fw11-iic-vs-mark-v-iic-not-getting-good-results-5.html#post909672 Source]
# Cliff: "The model (11.0 and earlier) was based on a early non-SimulClass version. I updated the model (11.01) to be consistent with the later SimulClass version which most people prefer. The mode in the Mark V is based on the later SimulClass version." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74069-fw11-iic-vs-mark-v-iic-not-getting-good-results-4.html#post910018 Source] "If you want the sound of the non-SimulClass version set Triode 1 Plate Freq to 1350 Hz." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74403-axe-fx-ii-firmware-v11-01-new-preset-banks.html#post910386 Source]

==USA Lead / Lead + / Lead Brt / Lead Brt + (based on Mesa Mark IV)==

[[file:320MesaMarkIV.png|150px]]

# Based on: Mesa Boogie Mark IV. Tight, focused, hi-gain sound, great for fusion and rock leads. LEAD+: Mid Gain switched on. LEAD BRT: pull Bright. LEAD BRT +: Mid Gain and pull Bright. Speakers: Mesa C90
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Drive (Axe-Fx: Input Drive), Lead Drive (Axe-Fx: Overdrive), Master, Bass, Middle, Treble, Presence, pull Bright switch. Presence Shift not modeled. Graphic Equalizer not modeled
# [http://www.mesaboogie.com/manuals/Mark%204.pdf Manual]
# [http://www.mesaboogie.com/ Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# Use the GEQ block (5-band type) to simulate the graphic EQ on the real amp. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Cliff: "The MK V is basically a compendium of previous Mesa amps. There may be minor differences in tone due to circuit layout but nothing a few tweaks to the EQ can't fix" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43349-mesa-mark-v-model-preset.html#post573437 Source]
# Lead/Lead Brt models are modeled with Mid Gain off. The + models have Mid Gain switched on
# Cliff: "Having owned multiple Mark IV's, multiple Triaxis's and a variety of other Boogie products, I can tell that the Mark series in general are a bitch to dial in. Once you figure them out though they are great amps. IMO, the key to a MKIV is to use the TMB to get the feel and the EQ to get the tone" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51059-got-everything-loaded-usa-lead-2-sounds-well-3.html#post658940 Source]
# Firmware 10 release notes: "All Mesa Mark lead models have been reworked and renamed for clarity. Note that the models are modeled with the amp’s Pull Shift knob disengaged. To replicate the function of the Pull Shift, set the Depth to zero. Also note that the Presence control (as in the actual amp) is neutral when set to 5.00 (noon). Turning the knob CCW decreases the amount of presence and vice-versa. By comparison, most amps are only able to increase presence and the control is neutral when set to zero"
# [http://mesaboogie.com/news/2010/12/video-john-petrucci-mark-v-settings-and-tone-tips John Petrucci videos]
# Cliff: "Everything but the presence shift is there. There are different models for Mid Gain and Bright. To get both you would use the USA Lead Brt + model." [http://forum.fractalaudio.com/axe-fx-ii-discussion/72353-some-questions-regarding-mark-iv.html#post886284 Source]

==USA Pre Green / Yellow (based on Mesa Triaxis)==

[[file:321MesaTriaxis.png|150px]]

# Based on: Mesa Triaxis preamp, Lead 2, Green ("Mid Gain Mark IV Lead") and Yellow ("Classic MKII Lead") modes
# Stock cabinet suggestions: n/a
# Original controls: Drive (Axe-Fx: Input Drive), Lead Drive (Axe-Fx: Overdrive), Treble, Middle, Bass, Presence, Master. Dynamic Voice (EQ) not modeled
# [http://www.mesaboogie.com Mesa website]
# [http://www.mesaboogie.com/manuals/Triaxis.pdf Manual]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia]
# Cliff: "I used a Triaxis for, shoot, I dunno, over a decade before designing the Axe-Fx. I have two of them. So I'd say I'm pretty familiar with the tones" [http://forum.fractalaudio.com/axe-fx-ii-discussion/45541-lost-notes-chord-voicings-axe-ii-11.html#post596811 Source]
# Firmware 10 release notes: "Based on Mesa Triaxis LD2 modes. Note that these were modeled with the Triaxis Presence control at maximum as this control is actually a hi-cut control. Also note that the mid control in the model has far more range than the preamp. At a value of 5.0 the responses will match but the amount of mid cut on the Axe-Fx is greater"
# Cliff: "I did NOT use a Boogie power amp model with these as I always preferred using my Triaxis (I have two of them) with a more typical tube power amp. My favorite power amp with the Triaxis was a VHT 2502 so the power amp model is very similar to that" [http://forum.fractalaudio.com/axe-fx-ii-discussion/66771-usa-pre-yellow-green-cliff-you-nailed.html#post823915 Source]
# Use the GEQ block (5-band type) to simulate the Dynamic Voice control on the real preamp. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Firmware 10.02: "Changed USA Pre Green and USA Pre Yellow amp models to have power amp sim active by default (Supply Sag nonzero)"

==USA Rhythm (based on Mesa Mark IV)==

[[file:320MesaMarkIV.png|150px]]

# Based on: Mesa Boogie Mark IV (Rhythm 2 channel), THE California crunch rhythm sound. Rhythm channel 2 with “Fat” switch OFF. Speakers: Mesa C90
# Stock cabinet suggestion:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Gain, Volume, Treble, Mid, Bass, Presence. Graphic Equalizer not modeled
# [http://www.mesaboogie.com/manuals/Mark%204.pdf Manual]
# [http://www.mesaboogie.com Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# You can use the GEQ block (5-band type) to simulate the graphic EQ on the real amp, although the Graphic EQ is often not used on the Rhythm 2 channel. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Cliff: "The MK V is basically a compendium of previous Mesa amps. There may be minor differences in tone due to circuit layout but nothing a few tweaks to the EQ can't fix" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43349-mesa-mark-v-model-preset.html#post573437 Source]
# Cliff: "Having owned multiple Mark IV's, multiple Triaxis's and a variety of other Boogie products, I can tell that the Mark series in general are a bitch to dial in. Once you figure them out though they are great amps. IMO, the key to a MKIV is to use the TMB to get the feel and the EQ to get the tone" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51059-got-everything-loaded-usa-lead-2-sounds-well-3.html#post658940 Source]
# Cliff: "I modeled the USA Rhythm with the Presence Shift pulled (for variety and since I thought it sounds better that way)." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74678-boogies-sounds-better-11-03-a.html#post913339 Source]
# [http://mesaboogie.com/news/2010/12/video-john-petrucci-mark-v-settings-and-tone-tips John Petrucci videos]

==Vibrato Lux (based on Fender Vibrolux Reverb)==

[[file:FENDERVIBROLUXREVERB.png]]

# Based on: 1963 blackface Fender Vibrolux Reverb, legendary amp called the "little Vibrro-King". 6L6, low and high inputs, Normal and Vibrato channels. Speakers: 2x10 (Jensen C10Q) or Oxford 1x12
# Stock cabinet suggestions:
#* 82/90 (Vibrolux)
#* or EVM 12L
# Original controls (Vibrato channel): Volume, Bass, Treble, Bright switch, Reverb, Speed, Intensity
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/custom-vibrolux-reverb Fender website]: "The Custom Vibrolux Reverb is more a modern interpretation of a classic Fender rather than a reissue; connoisseurs call it a “little Vibro-King.” Turn it up when you want to soar, or turn your guitar down to play clean with this super-responsive 40-watt all-tube amp. The more dynamic your style, the more you’ll love its ability to whisper or scream in response to changes in your pick attack. Features include dual 6L6 Groove Tubes output tubes, five 12AX7 preamp tubes, one 12AT7 tube, two 10” 8-ohm Jensen P10R speakers with alnico magnets, two independent channels (normal and bright), reverb and vibrato (both channels), 4-ohm external speaker jack, two-button footswitch and tilt-back legs"
# [http://fenderguru.com/amps/vibrolux Fenderguru.com]: "The 35w blackface Vibrolux Reverb (VR) is the smallest member of the blackface/silverface 6L6 Fender amp family. Its strength lies in the sweetness and early breakup caused by the smaller transformers than the Super Reverb, Vibroverb and Pro Reverb. The Vibrolux is quite similar to the Pro Reverb 2×12″ except for the smaller speakers and a smaller power transformer delivering less 6L6 plate voltage. Hence, less clean headroom. 10″s provide a more scooped, responsive, punchy and sparkling sound than 12 inch speakers. The 12″s are fuller, warmer, has more mids and a more three-dimensional tonal spread. Like all silverface amps, the Vibrolux Reverb was modified in the CBS periods to increase the clean headroom. The Vibrolux Reverb has become a very popular amp since The ToneQuest Report published the article “Under 40 Watt of Whoop Ass“, awarding the VR as the most preferred low wattage Fender amp"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# The Vibrolux is very similar to the Vibroverb. It was used to record Sultans of swing

==Vibrato Verb (based on Fender Vibroverb)==

[[file:308FenderVibroverb.png|150px]]

# Based on: 40w Fender Vibroverb, great for clear or grinding cleans and gutsy blues. 6G16 circuit, low and high inputs, Normal and Vibrato channels. Speakers: 1x15 (Jensen C15N, JBL D130, Eminence) or 2x10 (Jensen C10Q)
# Stock cabinet suggestions:
#* 18/31/87/88/123 (1x15)
# Original controls: Volume, Bass, Treble, Reverb, tremolo controls
# [http://www.fender.com Fender website]
# [http://en.wikipedia.org/wiki/Fender_Vibroverb Wikipedia]
# [http://fenderguru.com/amps/vibroverb Fenderguru.com]: "Stevie Ray Vaughan’s musical influence has made the Fender Vibroverb the most sought after and hyped of all Fender amps. He played many other amps too, Super Reverb, Dumble and Marshalls. In studio he used dozens of amps that were thrown at him. For some reason the Vibroverb has become the most famous and is now widely associated with his signature tone (though you can reproduce his tone with most Fender amps with the right speakers). On the vintage amp market on US eBay the blackface Vibroverb sells for three to four times as much as the price for other 6L6 Fender amps, sometimes even more than the legendary 4×10″ narrow panel tweed Bassman. Since Fender did not continue the Vibroverb after the CBS takeover in 1965, most likely because players didn’t desire 1×15″ amps at that time, there are only a few blackface Vibroverb amps out there. Given the hype and popularity, these few Vibroverbs are extremly valuable and collectable. So, what is so special with the Vibroverb? First, the 15″ speaker sets it apart from most guitar amps. While most guitar amps have multiple 10″ and 12″ speakers the Vibroverb came with one big Jensen C15n or JBLd130f, the last one with a aluminium dust cap that can be hard to tame. Otherwise the blackface Vibroverb is very similar to the other blackface and silverface AB763 Fender amps. In fact, there aren’t any different features or technical improvements in the Vibroverb that justifies its popularity. It’s all about emotions. But that’s what music is all about; emotions. The Vibroverb belongs to the 6L6 Fender family. It is powerful and loud, but in a different way than the 10″ and 12″-amps. The Vibroverb did not sell very well in 64 and 65. Players probably thought the amp was suited for bass amps, we’re not sure. The Vibroverb did score among steel guitar players at the time. The 15″ speakers are firm in the bass and have lots of sparkle but most importantly, they have an enormous spread carrying the lower mids to anyone on stage. Mid frequencies is exactly what you need on stage in an electrical band. The mids will blend in nicely with the bass, drums, piano and horns. It will not interfer with the bass like a 4×10″ setup does. Of course this is a matter of taste, but a guitar tone with strong mids will contribute to a rich overall melodic footprint in an electrical band"
# Cliff: "Also remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]

==Vibrato-King (based on Fender Vibro-King)==

[[file:VIBRO_KING.PNG|150px]]

# Based on: Fender Vibro-King, famous for crystal cleans and powerful overdrive. Speakers: 3x10
# Original controls: Volume, Treble, Bass, Middle, Fat switch (no Bright switch), tremolo controls, reverb controls
# Stock cabinet suggestions:
#* 98 (Vibro-King)
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/vibro-king-20th-anniversary-edition Fender website]: "Fender introduced the Vibro-King in 1993 to great acclaim, marking a return to a great hand-wired amp tradition while including a previously unavailable selection of sought-after features. In the two decades since, guitarists and amp aficionados everywhere have prized the enduringly classic Vibro-King as one of the most touch-sensitive amps ever, with sparkling-clean shimmer at lower volumes and powerfully thick overdrive when cranked up. Fender now celebrates those two decades of great tone with the 20th Anniversary Vibro-King. Fender and Jensen collaborated on the amp's trio of warmer-sounding 10" speakers, and a finger-joined solid-pine cabinet increases resonance. Other premium features include all-tube hand-wired circuitry, custom Schumacher® transformers, and much more"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# Cliff: "The model is based on the custom version which has higher plate voltages which causes more overdrive on the power tubes. It’s modeled with the Fat switch on. Turning off the Fat switch reduces the gain by about 4 dB so set input trim to around 0.6"

==Wrecker 1 (based on Trainwreck Express)==

[[file:327TrainwreckExpress.png|150px]]

# Based on: Trainwreck Express, designed and built by the late, great Ken Fischer. Speakers: G12M, G12H
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Volume, Bas, Mid, Treble, Presence, Bright switch
# [http://www.trainwreck.com/?page_id=16 FAQ]
# [http://www.trainwreck.com Trainwreck website]
# Cliff: "The Trainwreck depends on power amp distortion. The OT has a high impedance which causes the power tubes to enter clipping early. I would not recommend using that model as preamp"
# [http://www.youtube.com/watch?v=Y2_12Ler9B8 YouTube clip]

[[category:About the Axe-Fx II]]
[[category:Presets and effects]]

Amp models list

2013-09-06T08:05:40Z

GiRa:

* Notes:
** Amp models are listed below in alphabetical order.
** Amp icons: provided by forum member SynFactory, updated by forum member CBoothe01. [http://forum.fractalaudio.com/axe-fx-ii/37147-fractal-audio-axe-fx-ii-logic-pro-icons.html Source]
** [http://wiki.fractalaudio.com/axefx2/index.php?title=CAB_(block):_list Click here] for a detailed list of all stock cabinets.
** [http://wiki.fractalaudio.com/axefx2/index.php?title=AMP_(block):_list&printable=yes Click here] for a printable version of this page. When saving to PDF the URLs will still work.
** Forum member jma's [http://olongjohnson.xp3.biz/_assets/Amp_&_Cab_Quick_Reference.pdf Quick Reference Guide] and [http://olongjohnson.xp3.biz/_assets/Amp_Default_Settings.xlsx Amp Default Settings spreadsheet].
{{16.13 Table of Amp Types}}

==1987X Normal / Treble (based on Marshall 1987x Vintage Series)==

[[file:313Marshall1987X.png|150px]]

# Based on: Marshall 1987X Vintage Series, reissue of the Marshall 50w JMP Lead 1987. Features what many consider to be an “essential” mod to the tonestack of this Plexi. Both channels (Normal and Treble) are modeled. 4 inputs. Speakers: G12M, G12H, G12L
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 35 (G12L)
# Original controls: Bass, Middle, Treble, Volume, Presence
# Notes: see Plexi
# [http://www.marshallamps.com/downloads/files/Vint%20hbk.pdf Manual]
# [http://www.marshallamps.com/product.asp?productCode=1987X Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# Try cranking all tone controls
# [http://www.youtube.com/watch?v=fR3Os80p0u4 Demo]

==5153 Blue / Green / Red (based on EVH 5150 III)==

[[File:EVH_5150_III.png|150px]]

# Based on: EVH 5150 III, made in collaboration with Fender, a holy grail of modern tone. 50w and 100w 6L6 versions. Modeled: Blue (medium gain), clean and Red (high gain) channels. Speakers: G12-EVH (G12H30)
# Stock cabinet suggestions:
#* 49/107/128 (5150)
#* or G12Hs
# Original controls: Gain, Low, Middle, High, Volume, Presence, Resonance on 50w model only
# [http://www.evhgear.com/gear/subpage?partno=2251000000 Specifications and website]: "EVH 5150III heads and cabinets deliver the holy grail of tone - a truly clean channel, a super-heavy crunch channel and an off-the-scale overdrive channel you simply won’t believe. You get the incredible tones Eddie Van Halen has chased his whole life, as Eddie himself has defined and designed each of the 5150III amplifier’s three channels. Available in black or ivory, with an unmistakable look and sound that’s pure EVH"
# Cliff: "IMO, it's a very good amp. The build-quality is great and the design is very good. It is similar to the previous versions but voiced a bit different. Personally, I think all of the 5150's have more gain stages than necessary which just makes for unnecessary failure points but the "OMG, this map has sooo many toobz it must sound awesome" marketing makes it understandable. It's incredibly heavy though" [http://forum.fractalaudio.com/axe-fx-ii-reviews/53274-5153-impressions.html#post679483 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-reviews/53274-5153-impressions.html#post680109 EVH's personal settings]
# Cliff: "A 5150 uses a fixed bias with no adjustment. Depending on the tubes used the bias can run from average to cold. The model uses average. Some people like a colder sound. If you prefer your amps biased cold, then reduce the bias parameter to taste" [http://forum.fractalaudio.com/axe-fx-ii-discussion/59414-axe-fx-ii-firmware-9-public-beta-23.html#post742231 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-discussion/61537-fas-do-you-still-do-comparisons-guitar-cabs.html Information about the 5150 amp]
# [http://www.youtube.com/watch?v=W46XQ-grJEc Ola Englund demo]
# [http://www.youtube.com/watch?v=Jh0XqHXFlQ0 Another demo]
# Reviews: [http://licklibrary.ceros.com/iguitarmag/issue-10-eddie-van-halen-iguitar/issue10/page/24 iGuitar], [http://www.premierguitar.com/articles/EVH_5150_III_50_Watt_Amp_Review Premier Guitar]

==59 Bassguy (based on '59 Fender Bassman)==

[[file:303FenderBassman1959.png|150px]]

# Based on: 1959 Fender Bassman, a low-to-medium gain amp designed for bass but more widely adopted by guitarists. 5F6-A circuit, Bass and Normal channel, high and low input, Tweed era. Speakers: 4x10 or 2x12
# Stock cabinet suggestions:
#* 32/33/99 (4x10)
# Original controls: Volume, Bass, Treble, Presence
# Try with a Treble Booster
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/59-bassman-ltd Fender website]: "In early 1952, the Fender Bassman amplified a great new invention - the Fender Precision Bass guitar. At 50 watts, it competed easily with the common instrumentation of the day: horns, piano, small drum kit, and maybe even an electric guitar through a new 10-watt amp. Through the ’60s and ’70s, the original all-tube tweed 4x10” Bassman was popular with rock, country and blues guitarists as a reliably great-sounding and easy-to-use guitar amp. In the ’90s, Fender released an affordable ’59 Bassman reissue amplifier to great acclaim. Many guitarists, tired of experimenting with preamps, equalizers and effects racks, rediscovered the simple pleasure of plugging into a Fender tube amp. The reissue Bassman’s wide stage coverage, touch-sensitive dynamics and full-frequency swirl make it perfect for building great tone with almost any guitar or effect, and it remains a staple of the Fender guitar amp line to this day"
# [http://en.wikipedia.org/wiki/Fender_Bassman Wikipedia]
# [http://fenderguru.com/amps/bassman Fenderguru.com]: "The Fender Bassman is a legendary guitar amp known to both guitar and bass players. It was introduced in 1951, primarily targeted for bass guitar players and promoted as a bass amp for the Fender Precision Bass guitar, the first mass-produced electric bass guitar ever. During the different eras the Bassman amp came in many different shapes and configurations. Few other models experienced so many changes in terms of looks and tone. Unfortunately the Bassman was one of the first amps that CBS laid their hands on after buying the company from Leo Fender. A couple of things in the circuitry were immediately changed in 1965 when the AA165 and AB165 replaced the AA864, which by amp idealists is considered the best Bassman circuit of all times together with the legendary 59 tweed 5F6-A circuit. The bassman was a combo amp in the tweed era with the 1×15″ and 4×10″ speaker configurations. From the blonde era Fender made the Bassman as a amp head and 2×12″ closed cabinet. So what does the blackface Bassman sound like? Describing tone is best done with establishing a common and well-known reference point, for example the traditional blackface AB763 amps such as the Super Reverb and Twin Reverb. The Bassman is known for its simple, pure and raw tone. It is 50w loud with power supply and output transformers sized approx. as the Super Reverb and Bandmaster. The bass channel of the AB165 and AA864 is much mellower and deeper than the normal channel of any AB763 amps since it is voiced for bass guitars. The Bassman bass channel features a deep switch that can remove the lowest frequencies, which is practical when you’re playing loud and using different speaker cabinets where you need to adjust the lower bass. The normal channel is more relevant for guitar players. The Bassman sounds “browner” than the AB763-amps, particularly the AB165 model, and it has more preamp distortion and mids when the volume is turned up. The Bassman has significantly influenced the whole guitar amp industry since it was introduced. It’s tone stack, tube configuration, preamp and power section has inspired numerous amps builders including Jim Marshall, the founder of Marshall amps, who used the Bassman tweed 5F6-A circuit in 1958-1959 as template the legendary Marshall JTM45"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# [http://www.youtube.com/watch?v=nbLj5fkDTiA Video]

==65 Bassguy (based on '65 Fender Bassman)==

[[file:304FenderBassman1969.png|150px]]

# Based on: 1965 Fender Bassman, the blackface version with a different circuit design (AB165 circuit). Dweezil Zappa’s personal amp. Bass and Normal channel, high and low input. Speakers: 4x10 or 2x12
# Stock cabinet suggestion:
#* see 59 Bassman
# Original controls: Volume, Bass, Treble
# Cliff: "Definitely not your father's Bassman. Has a pissed-off Marshall vibe to it" [http://forum.fractalaudio.com/axe-fx-ii/35930-list-models-5.html#post490912 Source]
# Try it with a high Drive setting, for an overdriven, crunchy tone
# [http://www.fender.com Fender website]
# [http://en.wikipedia.org/wiki/Fender_Bassman Wikipedia]
# Cliff: "The 65 Bassguy has more gain than before. The 65 Bassguy was matched to a 65 Bassman that Dweezil sent me. It's a vicious amp that sounds more like a Plexi than a Fender. It's the infamous AB165 circuit which is very crunchy and bright and does not sound like your typical Fender. I was told it is stock" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51123-am-i-only-one-who-noticed-some-amps-have-alot-more-gain-3.html#post658833 Source]
# [http://fenderguru.com/amps/bassman Fenderguru.com]: see 59 Bassman
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# Firmware 10 release notes: "This amp has a very peculiar feedback circuit that was not fully modeled before. The feedback is now fully modeled yielding the unique voice of this legendary amp"
# [http://www.youtube.com/watch?v=_N8wNmi9B40 Tyler Grund's video]

==AC-20 DLX Bass / Treb (based on Morgan AC20 Deluxe)==

[[file:MORGANAC20.png‎|150px]]

# Based on: Morgan AC20 Deluxe. EL84 tubes. Speaker: Alnico Blue, G12H, Greenback
# Stock cabinet suggestions:
#* 114
# Original controls: Volume, Cut (Axe-Fx: Hi-Cut), Bright switch, Normal/Brilliant switch, power scaling
# [http://www.morganamps.com/amps/ac20/ac20.php Website and audio samples]
# Morgan website: "Based around the normal channel of an AC30 and voiced intentionally to be on the dark side, this amp provides the perfect combination of clean chime and AC30 grind. With the bright switch off and a good treble booster think Brian May. With the bright switch engaged think U2". And: "The AC20 Deluxe combines the choice of EF86 or 12AX7 frontend, Normal or Brilliant channel voicing and power scaling"
# The difference between the models is the position of the Brilliant switch.
# [http://www.youtube.com/watch?v=3mB90XHjWXE Lance Keltner's demo]

==Atomica High / Low (based on Cameron Atomica)==

[[file:CAM_ATOMICA.PNG|150px]]

# Based on: Cameron Atomica, a "brown sound" 100 watt amp. Modeled: low gain and high gain channels. Speakers: G12H
# Stock cabinet suggestions:
#* 16/34/57/64/120/124 (G12H)
# Original controls: Thump (Axe-Fx: Depth), Presence, Bass, Middle, Treble, Master, Gain, Edge (Axe-Fx: Bright), 3-way gain switch
# Saturation is engaged at default
# Cliff: "The Atomica can tolerate high MV because it is a "Jose-style MV". The Jose-style MV imparts a very high source resistance to the tone stack which causes much more insertion loss and therefore lower drive level into the power amp" [http://forum.fractalaudio.com/axe-fx-ii-user-cabs-irs/58353-ownhammer-speaker-cabinets-public-beta-free-stuff-inside-47.html#post748843 Source]
# Mark Day's demos: [http://www.youtube.com/watch?v=0zaEnTNoLx8 1], [http://www.youtube.com/watch?v=FdDbBbheQR0 2]

==Band-Commander (based on Fender Band-Master)==

[[file:BANDMASTER.png|150px]]

# Based on: 1968 silverface Fender Band-Master. AB763 circuit, high and low inputs, Normal and Vibrato channels. Speaker: 2x12 (Jensen C12N)
# Stock cabinet suggestions:
#* 19 (1x12)
#* 21/22/91/121/122 (Twin)
# Original controls (Vibrato channel): Volume, Bright switch, Treble, Bass, Tremolo controls
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/band-master-vm-212-speaker-enclosure Fender website]: "The late-'50s tweed-covered Fender Bandmaster guitar amplifier combined great looks with sweet tone and powerful performance. Hailed as one of the true holy-grail amps among guitarists and collectors, vintage examples are rare and highly sought after. The new '57 Bandmaster amp now joins our prestigious Custom series, with all-tube hand-wired circuitry and premium components. We've faithfully reproduced the classic 5E7 circuit, which pumps about 26 watts through three 10" alnico-magnet speakers, and we enlisted Jensen to help create the P10R-F driver (a Fender exclusive), which is voiced for warm, sensitive response. The Bandmaster amp's harmonically rich clean tones are perfect for vintage rock, blues and country styles, and its naturally touch-sensitive overdrive tone sounds electrifying—especially when cranked up"
# [http://en.wikipedia.org/wiki/Fender_Bandmaster Wikipedia]
# [http://fenderguru.com/amps/bandmaster Fenderguru.com]: "The Bandmaster came with many different circuits during the blackface and silverface eras. The blackface head had a diode recifier, one normal channel and a vibrato channel with no reverb. In the silverface era the recitifier was changed from diode to tube and the vibrato channel got reverb. Hence, the name “Bandmaster Reverb”. As usual the later silverface models were modified to become cleaner and more powerful. The 70W model from 1978 with master volume and push/pull boost had a huge power transformer and big filter caps. It reminds us more of a classic 80w Twin Reverb than a Bandmaster Reverb, and it shared its circuit design with the Pro Reverb and Super Reverb at that time. A noticable difference in the vibrato channel between the early silverface Bandmaster Reverb and blackface Bandmaster is the extra gain stage in the silverface amps. This was also the difference between the first 1964 blackface AA864 Bassman and the following AB165. This gain stage was introduced as a part of the reverb recovery circuit, the V4 12AX7 to be exact, common for all the reverb amps of the blackface/silverface era. Amps with no reverb recovery stage cleaner sounding and will remain pretty clean when you turn up the volume knob above 4. The extra gain stage in the silverface Bandmaster Reverb amps contributes with tube distortion and compression in the preamp section when the amp is pushed. Not only is there more action in the preamp section, the silverface models also has more sag and looser response due to the tube rectifier. The Bandmaster Reverb head will remind you pretty much of the amps in the Pro Reverb, Super Reverb and Vibrolux Reverb where the sweet spot is to be found around 4 on the volume knob. Not all silverface amps were developed in a bad direction. Let’s study the blackface Bandmaster AB763 and Bassman AA864. They are similar in the way that both are clean sounding with just one 12ax7 tube in the preamp stage (vibrato ch in bandmaster and normal channel in bassman). The vibrato channel in the Bandmaster is even more clean than the Bassman because of the vibrato circuitry loading the signal chain and reducing the gain level in the premp section. Hence, the AA864 Bassman normal channel has more preamp “juice” and reaches the sweet spot at an earlier volume knob setting. The Bassman has a slightly bigger output transformer resulting in a firmer tone and more attack. A smaller output transformer will introduce sag and compression in the power amp section. The blackface Bandmaster is therefore ideal for those who look for a pure Fender clean sound without making ones ears bleed. The blackface and silverface Bandmaster is a big sounding amp with a flexible speaker impedance of 4 ohm, allowing anything between one and four speakers (8 ohm each) to be connected via the main and/or external speaker jack. This makes it possible to adapt to small and big stages and gigs just by configuring the speakers"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# [http://www.youtube.com/watch?v=cb7-nJ0yPjI Demo]

==Blanknshp Leeds (based on Blankenship Leeds 21)==

[[file:LEEDS.png|150px]]

# Based on: Blankenship Leeds 21, a a boutique version of an 18W Marshall with a big sound at low power. Known for sounding “big” despite being relatively low power. Mercury Magnetics transformers, EL84, two channels. Speakers: 2x10 Jensen C10Q or Alnico Blue
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
# Original controls: Volume, Tone (Axe-Fx: mapped to Treble)
# Cliff: "The model was matched to Dweezil's amp. He loaned it to me because it was one of his favorite amps and I can see why. It's a really cool amp" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51326-blankenship-leeds-anyone.html#post660410 Source]

==Bludojai Clean / Lead (based on Bludotone Ojai)==

[[File:OjaiBuddy150.png]]

# Based on: Bludotone Ojai, an exact clone of Robben Ford's Tan Dumble. Modeled: clean channel and OD channel. Speakers: G12-65 or EVM 12L
# Stock cabinet suggestions:
#* 29/56 (G12-65), or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Volume (Axe-Fx: Input Drive), Overdrive Level (Axe-Fx: Overdrive), Treble, Middle, Bass, Ratio, Master Volume, Presence, Bright and Mid switches (clean), preamp boost
# [http://www.bludotone.com Bludotone website]
# [http://www.bludotone.com/index.php/sounds Audio samples]
# Firmware 10: "Both clean and lead modes were modeled with preamp boost (PAB) engaged as the owner prefers this. To disengage PAB change the tonestack type to Skyline"
# Scottl on The Gear Page: "The Ojai is an exact copy of Dumble #102. Robbens tan Dumble. It also requires the Dumbleator and specific capacitance cables to run to and from the Dumbleator (about 180-200pf per cable). This due to the large bright cap on the amp master. All controls are marked in silver sharpie for the exact settings of Robbens tone. The pot tapers are all 30% audio taper, except the treble control, presence, and the OD in/outs which are linear. Robben sets his mids at about 70K from ground. All my clips are recorded with the amp set both on the outside, and the trimmer on the inside, to be as close as possible to the Robben OD tone. One super important element is the correct setting of the internal gain trimmer that sets the amount of attenuation between V1 and V2. It should be between 25K and 26K to ground" [http://www.thegearpage.net/board/showpost.php?p=12950262&postcount=93 Source]
# Information from forum member AustinBuddy, owner of the original amp: "The model is of a 100w 6L6 BludoDrive Ojai by Bludotone amps, using Fractal's MIMIC process. The Ojai has the same schematic as the famous "Tan" boutique amp played by Robben Ford. It pairs well with the factory Rumble 4X12 cabinet. The amp was modeled with the preamp boost (PAB) set to ON for both clean and lead channels. You can defeat the preamp boost effect on tone by switching the tonestack voicing to "Skyline", which will also reduce gain. On the Ojai there is a bright cap on the Master Volume. As you turn the MV down, it will get thinner. This makes the MV even more sensitive than usual since there’s another interaction going on. To get the most range out of this amp, experiment with Master Volume and listen how it interacts with low or high Drive settings, similar to the real amp. The breakup range/tones between is wide and dynamic and can respond to your playing dynamics, getting crunchier as you dig in and cleaner as you play lighter. The amp's Bass response should increase noticeably as you turn up the Master Volume from the default MV position."
# Pictures of amp settings: [http://bluesrockguitar.files.wordpress.com/2009/11/robben20dumble202002.jpg 1], [http://bluesrockguitar.files.wordpress.com/2009/11/img_2048.jpg 2]
# [http://www.youtube.com/watch?v=CNuVfyQv2AA&list=PLB06E5B5850AE3618 Lance Keltner's Bludotone demo]
# Scott Lerner's Ojai: [http://www.youtube.com/watch?v=cz2-k0fZR1Q 1], [http://www.youtube.com/watch?v=WQAvybSF630 2]

==Boutique 1 / 2 (based on Matchless Chieftain)==

[[File:317MatchlessChieftain.png|150px]]

# Based on: Matchless Chieftain, a medium-gain amp, thick, yet crisp, with a fair amount of power amp breakup. The Boutique 2 model is modeled with a boost for more gain and high-frequency emphasis. Speakers: G12M plus G12H
# Stock cabinet suggestions:
#* 26/30/117 (Matchless)
#* 84/116 (1xG12M)
# Original controls: Volume, Master, Bass, Treble, Brilliance (Axe-Fx: HiCut)
# [http://www.matchlessamplifiers.com/manuals/Clubman-Chieftain-manual.pdf Manual]
# Based on a Vox circuit
# [http://en.wikipedia.org/wiki/Matchless_Amplifiers Wikipedia]
# For more preamp distortion, lower Master and use Drive for Gain
# [http://www.youtube.com/watch?v=Kcu8WTnLiwk Demo]
# [http://www.youtube.com/watch?v=JdjpCZ_yxkw Vinai's demo]

==Brit 800 (based on Marshall JCM800)==

[[file:314MarshallJCM800.png|150px]]

# Based on: Marshall JCM800, the vaunted model 2204. Bring the Master up for true 80's tone. Speakers: G12M, G12H, V30, T75
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/10/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 39/50/73/74/129 (G12-T75)
#* Or try the Brit 800 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
# Original controls: Gain, Bass, Middle, Treble, Presence, Master
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia: Marshall]
# [http://en.wikipedia.org/wiki/Marshall_JCM800 Wikipedia: JCM800]
# Try with a TS808 or Tube Drive block (set the Drive block to minimal Drive and full Level)
# Cliff: "It is a very bright model. However, it sounds exactly like the amp it was based on. If it is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes. They are designed to be run loud and the brightness decreases as the MV is increased. The sound of 80's hair metal for sure" [http://forum.fractalaudio.com/axe-fx-ii/38498-afxii-jcm800-model.html Source]
# Use the Saturation parameter to emulate the famous "Jose Arredondo mod" on the JCM800. Cliff: "The saturation switch switches in a zener diode clipping stage right before the tone stack. This is the Arrendondo Mod" [http://forum.fractalaudio.com/axe-fx-ii-discussion/35997-axe-fx-ii-technical-questions-thread-76.html#post494304 Source]
# Cliff: "Rips my head off here. I have to turn the presence way down. Check the MV. Too high and will get muddy" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51063-jcm-800-sounds-bit-muddy-fw-6-0-tips.html#post657800 Source]
# Cliff: "That "interference" is due to all the treble peaking used in the design. JCM800s have quite a bit of treble boost. When you first attack the string the note is unpitched. It's basically a brief explosion of noise. The treble boosting amplifies the upper frequencies of this noise burst which is what you hear. However, when you playing in a loud mix that treble boosting helps the sound cut. Modern designs use more carefully crafted treble boosting to retain the cut but tame some of the harshness of the attack. This is accomplished typically by putting a capacitor in parallel with the plate resistor(s) which rolls off around a few kHz. This preserves the treble boost in the upper midrange but softens the attack. I believe the SLO100 was one of the first amps to do this. You can see this in the Axe-Fx II as your Triode Freq parameters. You can soften the JCM800 attack by lowering the Triode Freq values. Most modern hi-gain designs use some form of HF rolloff like this. Another reason is that JCM800s use relatively low amounts of negative feedback (which is why they're so loud). This causes a treble boost in the power amp. Increase the Damping parameter to increase the negative feedback" [http://forum.fractalaudio.com/axe-fx-ii-reviews/63107-cliff-how-can-i-ever-have-doubted-you.html#post781950 Source]
# [http://licklibrary.ceros.com/iguitarmag/issue3/page/124 Review in iGuitar]

==Brit 800 MOD (based on modded Marshall JCM800)==

[[file:314MarshallJCM800.png|150px]]

# The JCM 800 modded to be "heavier" and "less strident"
# The mod: removal of the treble peaker
# Notes: see Brit 800

==Brit Brown ("Brown Sound")==

[[File:312Marshall1959SuperleadPlexi.png|150px]]

# Custom Fractal model, a faithful recreation of the pure, raw "Brown Sound" - The Modded “#1” Marshall
# Orignally named "Brown". Renamed after addition of the FAS Brown model
# Saturation parameter is engaged by default
# Cliff: "Which, perhaps ironically, is not based on any specific amp" [http://forum.fractalaudio.com/axe-fx-ii-reviews/62900-brit-brown-still-my-favorite-plexi-style-model.html#post782533 Source]

==Brit JM45 / JM45 JUMP (based on Marshall JTM 45)==

[[file:316MarshallJTM45.png|150px]]

# Based on: Marshall JTM 45, made famous by Clapton and others; actually a modified Bassman design. 45W. Modeled: channel 1 (High Treble) and jumpering the 4 inputs. Speakers: G12M, G12H, G12L
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 35 (G12L)
# Original controls: Volume, Bass, Middle, Treble, Presence
* The JM45 JUMP type was modeled with the 4 inputs jumpered
# Try with a Tonebender or Treble Booster Drive block
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia: Marshall]
# [http://en.wikipedia.org/wiki/Marshall_JTM_45 Wikipedia: JTM 45]
# [http://www.youtube.com/watch?v=JIbdfQ7Dfdc Demo]

==Brit JVM OD1 / OD2, GN / OR (based on Marshall JVM410)==

[[file:330MarshallJVM.png|150px]]

# Based on the Marshall JVM 100-watt amp, a popular high gain 4 channel 100W head. OD1 GN: hot-rodded JCM. OD1 OR: extra gain. OD2 GN: lower mids than OD1. OD2 OR: more gain and lower mids than OD1. Speaker combo: V30 and G12H
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Volume, Bass, Middle, Treble, Gain, Presence
# [http://www.marshallamps.com/downloads/files/JVM%20hbk%20Eng.pdf Manual]
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# [http://jvmforum.com JVM forum]
# Cliff: "IMO, the reason the JVM sounds good is the plate cap on the second-to-last triode. That smooths out the tone considerably. The second-to-last triode is associated with "Triode 1 Freq" in the advanced parameters. You can adjust this to simulate adding a cap to the plate. The other thing that helps the tone is the 220K plate resistor on the last triode. This shifts the bias point down vs. a "classic" Marshall. Unfortunately the bias points aren't exposed to the user" [http://forum.fractalaudio.com/axe-fx-ii-reviews/44628-holy-crap-new-jvm-sounds-great-2.html#post588030 Source]
# Firmware 10 release notes: "Note that the Red modes of this amp are simply boosted versions of the Orange modes and can be reproduced by engaging the Boost switch or increasing the Input Trim parameter"
# It's a very bright amp. Keep Presence low
# [http://www.youtube.com/watch?v=8lQXaRapKac Demo]
# Reviews: [http://licklibrary.ceros.com/iguitarmag/iguitar-iguitar-magazine-joe-satriani-issue-2/issue2/page/96 iGuitar], [http://www.premierguitar.com/articles/Marshall_JVM410HJS_Amp_Review 2]

==Brit Pre (based on Marshall JMP-1)==

[[File:315MarshallJMP1.png|150px]]

# Based on: Marshall JMP-1 preamp, a rack-mount preamplifier version of the Brit 900, OD2 channel. Crunchy “ZZ” tone
# Stock cabinet suggestions: n/a
# Original controls: Volume, Gain, Bass, Mid, Treble, Presence, Bass shift
# [http://www.marshallamps.com/downloads/files/JMP_1%20Hbk.pdf Manual]
# [http://www.marshallamps.com Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# Cliff: "I actually used a Marshall tone stack for the model. The JMP-1 is a bit of an odd duck. It has a switchable, fixed tone stack equivalent to the knobs at noon followed by active tone controls. My advice is to simply play around with the tone stack. Try the "Vintage" tone stack as that will simulate switching out the fixed tone stack" [http://forum.fractalaudio.com/axe-fx-ii-discussion/52268-brit-pre-amp-sim-channel-emulated.html#post669106 Source]

==Brit Silver (based on Marshall Silver Jubilee)==

[[file:BRIT_SILVER.png|150px]]

# Based on: Marshall Silver Jubilee (model 2555), a distinctive commemorative “25/50” anniversary 100W British amp model, slightly darker and higher gain than a JCM800. 100w, 1 input
# Notes: see Brit 800
# [http://forum.jbonamassa.com/viewtopic.php?pid=76433#p76433 Joe Bonamassa settings]
# [http://axechange.fractalaudio.com/detail.php?preset=1101 Bonamassa preset by forum member ccroyalsenders]

==Brit Super (based on Marshall AFD100)==

[[file:AFD.PNG|150px]]

# Based on: Marshall AFD100 100w dual-mode head. This is a remake of the amp used by Slash (believed to be a modified 1959 Tremolo) when recording Guns N' Roses' Appetite for Destruction album. The real AFD100 has two gain modes: AFD (modeled) and #34 (based on a JCM800 2203 used by Slash). 6550 tubes. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* Or try the Brit 800 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
# Original controls: Gain, Bass, Middle, Treble, Presence, Volume
# [http://www.marshallamps.com/downloads/files/AFD100%20hbk.pdf Manual]
# [http://www.marshallamps.com/product.asp?productCode=AFD100 Marshall website]
# [http://en.wikipedia.org/wiki/Marshall_Amplification Wikipedia]
# According to the AFD100 manual Slash sets all controls at around 6 on his amp
# It's a very bright amp
# [http://www.youtube.com/watch?v=fgfuobqsO5I&feature=player_embedded Demo]
# [http://licklibrary.ceros.com/iguitarmag/slash-iguitar-slash-magazine-slash-2012-issue-1/issue11/page/82 Review in iGuitar]

==Buttery (based on Budda Twinmaster)==

[[File:290BuddaTwinmaster.png|150px]]

# Based loosely on a late 90s specimen Budda Twinmaster. Relies mostly on power amp distortion. Speakers: G12M, G12H
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 84/116 (1xG12M)
# Original controls: Bass, Treble, Volume
# [http://www.budda.com/resources/Twinmaster_manual.pdf Manual]
# [http://www.budda.com Budda website]
# [http://en.wikipedia.org/wiki/Budda_Amplification Wikipedia]
# Cliff talking about the Gen1 model: "I did the Buttery model by ear. I listened to some clips of Buddas (Matchbox 20, remember them?) and tweaked the model until I thought it sounded like one. Screwed around a little with the tube bias points until it had the right balance of harmonics and called it a day"
# Budda is now owned by Peavey

==CA3+ Clean / Lead / Rhy (based on CAE 3+ SE)==

[[file:291CAE3+SE.png|150px]]

# Based on: CAE 3+ SE, a preamp designed by Custom Audio Electronics. Clean, rhythm and lead channels
# Stock cabinet suggestions: n/a
# Original controls: Gain, Bass, Middle, Treble, Master, Bright switch, post EQ (punch/presence)
# [http://www.customaudioelectronics.com/resources/manuals/3+SEPreamp.pdf Manual]
# [http://www.customaudioelectronics.com CAE website]
# The clean channel is based on a blackface Fender preamp

==Cali Leggy (based on Carvin Legacy VL100)==

[[file:337CarvinLegacy.png|150px]]

# Based on: Steve Vai's original signature Carvin Legacy VL100 amplifier. 100w, EL34. Speakers: V30
# Stock cabinet suggestions:
#* 118
#* or try other V30s (or G12Ms)
# Original controls (Lead channel): Presence, Treble (11kHz), Mid (650Hz), Bass (80Hz), Drive, Volume
# [http://www.carvinworld.com/crg/crg/manuals/vl100.pdf Manual]
# [http://www.carvinworld.com Carvin website]
# Cliff: "The thing that makes a Legacy unique is the tone stack. It uses a "James" tone stack which is more like hi-fi tone controls" [http://forum.fractalaudio.com/axe-fx-ii-discussion/47586-thank-you-fractal-leggy-legacy-model-its-great-2.html#post620139 Source]
# [http://www.carvinchannel.com/play_audio.php?audio=12 Audio demo]
# To get a Steve Vai tone: keep Treble low, Bass high and use not too much Gain

==Cameron Ch 1 / Ch 2 (based on Cameron CCV-100)==

[[file:292CameronCCV.png|150px]]

# Based on: Cameron CCV-100, an amp its creator Mark Cameron calls “one pissed off amp". Modeled: both channels. Speakers: G12H
# Stock cabinet suggestions:
#* 16/34/57/64/120/124 (G12H)
# Original controls ch 1: Bass, Middle, Treble, Gain, Master, Gain/Clipping switch, Bright switch. Original controls ch 2: Bass, Middle, Treble, Gain 1, Gain 2, Gain/Clipping switch, Bright, Master. Presence, Punch
# [http://www.rig-talk.com/forum/viewtopic.php?f=25&t=103504 Manual]
# Cameron Ch 2 has Saturation engaged by default
# [http://www.youtube.com/watch?v=FgJokXZireE Demo]

==CarolAnn OD-2 (based on Carol-Ann OD-2)==

[[file:293CarolAnnOD2.png|150px]]

# Based on: Carol-Ann OD-2. The model was fine-tuned by the highly respected Alan Phillips himself. Overdrive channel. Speakers: EVM 12L or Celestion Classic Lead 80
# Stock cabinet suggestions:
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Master, Pre Gain (Axe-Fx: Input Drive), Drive (Axe-Fx: Overdrive), Bass, Middle, Treble, Presence, Sparkle (clean and overdrive channel), Shift switch
# [http://www.carolannamps.com/manuals.htm Manual]
# [http://www.carolannamps.com Carol-Ann website]
# Alan Phillips: "In the real world the OD2 is very very fussy on speaker choice too. The real world speakers of choice are EVM12L in a 1x12 rear ported and 2x12 with Celestion Classic Lead 80's. I found the 12L emulation did a pretty good job. Some of the others sounded so artificial with that model. Like a Rockman. Coupled with the right cab the emulated model does a good job of representing the basic tonal signature of the amp". And: "It's not a competitive model, it's a live demo of an OD2 as tweaked by me. Damn sight better than sound clips for auditioning to guys that haven't got the ability to get to a Dealer. Clearly it doesn't give you the full experience of the full amp, but is a good tonal taster. I repaired a Soldano SLO for him one day and when he came over my house to pick it up we just decided it would be a good idea to put a CA model in there. Having the actual builder involved kind of closes the loop fully. I'm happy to endorse that model because I put a lot of hours testing it and putting together a ton of technical information, fourier analysis graphs, frequency response graphs, schematics etc that would make validation of a mathematical model much easier. In reality even though the power amp and the preamp are modelled the pre-amp got the most effort. As I said in another thread, I tuned that by putting the axe in to the actual power amp of an OD2 and running that side by side with a full OD2. The final tweaks were made like that using parametric eq blocks that were hard coded in to the model. You could call that the icing on the cake and basically put the same level of tuning into the model as I do with a actual OD2. The only difference was I was using a GUI, not resistors and capacitors"
# [http://www.carolannamps.com/Sounds.htm Video demos]

==Citrus RV50 (based on Orange Rockerverb)==

[[File:322OrangeRockerverb50.png|150px]]

# Based on: 50W Orange Rockerverb, a 50w head known for warmth and rich harmonics. EL34. Speakers: V30
# Stock cabinet suggestions:
#* 53 (Orange)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls on dirty channel: Volume, Gain, Treble, Middle, Bass, Reverb
# [http://www.orangeamps.com/wp-content/uploads/2012/04/Orange_RKMKII_User_Manual_web.pdf Manual]
# [http://www.orangeamps.com Orange website]
# [http://en.wikipedia.org/wiki/Orange_Amplifiers Wikipedia]
# [http://www.youtube.com/watch_popup?v=mh2uHd1-NO8&vq=auto Demo]
# [http://www.youtube.com/watch?v=rklRlBl6rvs Demo]

==Class-A 15W TB (based on Vox AC-15 Top Boost)==

[[file:328VoxAC15.png|150px]]

# Based on: Vox AC-15. The heart of this amp’s tone comes from its power section and no negative feedback. 15W, EL84 tubes. Speaker: Alnico Blue or G12M
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 114
# Original controls: Volume, Cut (Axe-Fx: Hi-Cut), Bass, Treble
# [http://www.voxamps.com Vox website]
# [http://www.voxamps.com/uk/support/manuals/#Hand-Wired Manual]
# [http://en.wikipedia.org/wiki/Vox_AC30 Wikipedia]
# Wikipedia: "The "Top Boost" (or Brilliance) feature was Vox's optional addition of a circuit that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single "tone" control of early AC30s)"
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
# [http://www.voxamps.com/uk/support/demos/#HW2010 Audio samples]

==Class-A 30W (based on Vox AC-30)==

[[file:329VoxAC30.png|150px]]

# Based on: Vox AC-30, a combo that dominated the British Invasion. Gritty character, warm tone, great feel. 30W, EL84 tubes. Speakers: Alnico Blue or G12M
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 114
# Original controls: Volume, Tone
# For authentic tone: leave the tone controls at noon and use Hi-Cut to cut treble
# Try with a Tonebender or Treble Booster
# [http://www.voxamps.com Vox website]
# [http://en.wikipedia.org/wiki/Vox_AC30 Wikipedia]
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control

==Class-A 30W TB (based on Vox AC-30 Top Boost)==

[[file:329VoxAC30.png|150px]]

# Based on: Vox AC-30 TBX (Topboost)., created in response to demand for "More treble". Great highs and slightly reduced bass. 30W, EL84 tubes. Speakers: Alnico Blue or G12M
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 114
# Original controls: Volume, Cut (Axe-Fx: Hi-Cut), Bass, Treble
# Instead of turning up Drive, try boosting the input signal before the amp, for example with Tape Dist or FET Boost
# [http://www.voxamps.com Vox website]
# [http://www.voxamps.com/uk/support/manuals/#Hand-Wired Manual]
# [http://en.wikipedia.org/wiki/Vox_AC30 Wikipedia]
# Wikipedia: "The "Top Boost" (or Brilliance) feature was Vox's optional addition of a circuit that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single "tone" control of early AC30s)". And: "Though widely believed to be a Class-A amplifier, the AC30 is in fact a class A push-pull amp with cathode bias. It utilizes a quartet of EL-84 output tubes. The high bias condition is believed by some to be the source of the amplifier's famous immediate response and "jangly" high-end, though the lack of negative feedback, minimal preamp circuit, simple low loss tone stack, and the use of cathode biasing on the output stage play at least as large a role, if not larger. It's the Celestion "Blue" speakers that are integral to the AC30, and also contribute much to the sound of the unit. The two 12" 15-watt speakers, often overdriven and at the brink of their power handling capability, provide a cutting mid-range speaker sound that is immediate and sharp and a distinction from the Marshall or Fender-style amplifier"
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
# Cliff: "I intentionally limited the midrange notch since, IMO, it's a design flaw in that tone stack. But you can recover that behavior by setting the Mid control fully CCW" [http://forum.fractalaudio.com/axe-fx-ii-wish-list/61800-wish-top-boost-eq-section-works-like-real-thing.html#post768768 Source] "Furthermore, modern AC30's don't have this flaw. They use a Fender-style tone stack with a fixed mid resistor" [http://forum.fractalaudio.com/axe-fx-ii-wish-list/61800-wish-top-boost-eq-section-works-like-real-thing.html#post780352 Source]
# [http://www.voxamps.com/uk/support/demos/#HW2010 Audio samples]
# [http://www.youtube.com/watch?v=OVi9ZPYQdp0 Demo]

==Comet 60 (based on Komet 60)==

[[file:.png‎‎|150px]]

# Based on: Komet 60. Speaker: Greenbacks, G12H, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Volume, Treble, Middle, Bass, Presence, High Cut (not modeled), Touch Response
# [http://www.premierguitar.com/articles/Komet_19_Amp_Head_Review Review of 19-watter in Premier Guitar]

==Comet Concourse (based on Komet Concorde)==

[[file:KOMET_CONCORDE.png‎‎|150px]]

# Based on: Komet Concorde (which is based on a Trainwreck). EL34 tubes. Speaker: Greenbacks, G12H, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Volume, Treble, Middle, Bass, Presence, High Cut (not modeled), Touch Response (Fast/Gradual)
# [http://www.kometamps.com/concorde.html Website and audio samples]
# Firmware 10.06 release notes: "This model was matched with the Response switch in the “Fast” position. To replicate the “Slow” position reduce the Input Trim to approximately 0.25"
# [http://www.youtube.com/watch?v=vB76UqCYxgs Pete Thorn "fast mode" video]
# [http://www.youtube.com/watch?v=nKkFb5HQwxo Pete Thorn "gradual mode" video]
# Cliff: "The model does not have the hi-cut control." [http://forum.fractalaudio.com/axe-fx-ii-discussion/71244-comet-concourse-settings.html#post873307 Source]

==Corncob M50 (based on Cornford MK50 II)==

[[file:294CornfordMK50II.png|150px]]

# Based on: Cornford MK50 II, a boutique British amp. Plexi-meets-Modern tone with big cojones. 50w, 6L6. Speakers: 60w V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Gain (Axe-Fx: Input Drive), Overdrive (Axe_Fx: Over-Drive), Bass, Middle (500Hz), Treble, Master, Presence, Resonance (Axe-Fx: Depth)
# [http://www.cornfordamps.com/docs/5011.pdf Manual (and suggested settings)]
# [http://www.cornfordamps.com Cornford website]
# The Cornford model in the Standard/Ultra was a different one: RK100
# [http://www.youtube.com/watch?v=dAglBeSconc Demo]

==Das Metall (based on Diezel VH4)==

[[File:295DiezelVH4.png|150px]]

# Based on: Diezel VH4, a high-gain, boutique amp famous for its powerful, heavy, aggressive sound. 4 channels, 6550 tubes (or EL34 or 6L6). Speakers: V30 or G12-K100
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 54 (G12K100)
# Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz), Bright switch (not on channels 3 and 4)
# [http://diezel.typo3.inpublica.de/uploads/tx_ohelement/VH4englnew.pdf Manual]
# [http://diezel.typo3.inpublica.de/vh4.21.0.html Diezel website]
# [http://en.wikipedia.org/wiki/Diezel Wikipedia]
# The Das Metal model was done by schematic and/or by ear ([http://forum.fractalaudio.com/axe-fx-ii-discussion/56017-axe-fx-ii-firmware-version-7-00-public-beta-14.html#post705902 Source]). Other Axe-Fx II VH4 models are based on the real amp
# [http://www.youtube.com/watch?v=TnPD8QOgDw8 Demo]
# [http://www.rig-talk.com/forum/download/file.php?id=2121 Example settings]

==Deluxe Tweed (based on Fender Deluxe)==

[[file:TWEED_DELUXE.PNG‎|150px]]

# Based on a Fender Deluxe (5E3), the earliest and most popular of the so-called Tweed amplifiers. 12-15 watts. Speakers: Jensen P12R, C12N of Alnico Blue
# Stock cabinet suggestions:
#* 14 81 (Deluxe)
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 5/6/19 (1x12)
# Original controls: Volume, Tone (Axe-Fx: Treble)
# For Neil Young's Tweed Deluxe tone: crank both Drive and Treble
# [http://www.fender.com Fender website]
# [http://en.m.wikipedia.org/wiki/Fender_Tweed_Deluxe Wikipedia]
# Release notes firmware 8: "Note that this amp only has a single tone control. This is modeled by the Treble control in the Axe-Fx II. The Bass and Mid controls are functional and recreate the amp when set to noon. Also note that this amp suffers from extreme blocking distortion at or near maximum gain. This is common in very old designs. As it is virtually unplayable like this, the model uses a somewhat reduced level of grid conduction to lower the amount of blocking distortion and make the amp more playable at high Drive settings"
# Cliff: "I had to make some decisions on the model and what you have is based on what I felt offered the best starting point. You have the tools in the model to mold it to your preference. Add some bright cap, increase the input trim, etc. to achieve your own personal sonic goals. Hit the boost switch or increase input trim to simulate jumping the inputs" [http://forum.fractalaudio.com/axe-fx-ii-discussion/57784-deluxe-tweed-ideas.html#post724007 Source]
# [http://fenderguru.com/amps/deluxe Fenderguru.com]: "The Blackface Deluxe Amp is often misinterpreted as a Deluxe Reverb without reverb. It might seem so if you take a look at the front panel and the knob functions. But a closer study of the circuit design will reveal that the Deluxe Reverb vibrato channel has the extra gain stage (one half of the 12AX7 V4 tube) common for the Fender reverb amps. The wet reverb signal is mixed together with the dry signal which has gone through the 3.3MOhm resistor, therefore needing a gain boost before entering the phase inverter. This means one less tube in the Deluxe Amp in the preamp section that will contribute to sustaining harmonics, compression and sag. The Deluxe-Amp is therefore cleaner when played high on the volume knob. Still, the clean sound of these amps sound fairly similar goven a common EQ circuitry, phase inverter and power amp section. When the volume is pushed beyond 4-5 where the amps will differ in tone. The Deluxe will remain relatively clean, while the Deluxe Reverb breaks up in a typical blackface manner. Being a middle size Fender blackface amp the Deluxe has not been modified and experimented with so widely as other Fender amps. It’s power, clean headroom, physical size and tonal characteristics have matched the expectations of more players than any other tube or transistor guitar amp of any brand on this planet. It is said that the Deluxe Reverb is the nr 1 most used amp in recording studios. We can understand why. It is powerful enough to cut through in a band with a drummer and reaches the sweet spot at a reasonable volume. It has the typical blackface 60′s sparkling, scooped clean sound as it’s bigger brothers, just with more smooth breakup, sag and compression. The smaller brother Princeton Reverb is rolling off more top frequencies and breaks up earlier with more warmth producing a brownface type of tone. It can not really cut through with Albert Collins’ icy licks like the Deluxe"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-preset-exchange/69709-strat-tweed-deluxe-yummy.html Relevant forum thread]

==Deluxe Verb (based on Fender Deluxe Reverb)==

[[file:306FenderDeluxeReverb.png|150px]]

# Based on: '65 blackface Fender Deluxe Reverb. Great, chimey tone with nice power amp breakup when you push the Master. AB763 circuit, 22W, low and high inputs, Normal and Vibrato channel. Speaker: 1x12 (Jensen C12Q, EVM 12L, JBL D120) or 2x10 (Jensen C10N, C10Q, P10R)
# Stock cabinet suggestions:
#* 3/5/6
#* 8/12/105/106/119 (EVM)
#* 21/22/121/122 (Twin)
#* 80/81 (Deluxe)
# Original controls: Volume, Bass, Treble, Reverb, Tremolo controls
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/65-deluxe-reverb Fender website]: "The 22-watt ’65 Deluxe Reverb amp is for rock, country or blues players who want a moderately powered amp they can crank up at the gig or in the studio. The full, snappy guitar tones heard on many famous recordings from Memphis to Abbey Road were made using the Deluxe amp. Features include dual 6V6 Groove Tubes output tubes, one 5AR4 rectifier tube, four 12AX7 preamp tubes, two 12AT7 tubes, one 12” 8-ohm Jensen C-12K speaker, dual channels (normal and vibrato), tube-driven Fender reverb, tube vibrato, two-button footswitch for reverb and vibrato on-off, black textured vinyl covering and silver grille cloth"
# [http://en.wikipedia.org/wiki/Fender_Deluxe_Reverb Wikipedia]
# [http://fenderguru.com/amps/deluxe-reverb Fenderguru.com]: "The Deluxe Reverb 1×12″ has for decades been one of the most popular amps among all Fender amps, and its popularity is still growing as the demand for low wattage tube amps increases. The combination of size, weight and performance makes the Deluxe Reverb a true road warrior on gigs and practise. Since the year 2002 we have observed, by monitoring the amp market on US ebay, that low wattage amps have increased dramatically in popularity. Nowadays (2012) you can score a big 6L6 vintage Fender amp for the same price as a Deluxe Reverb or Princeton Reverb. We find it irrational. The PA was invented long time before that and guitar tones containing fuzz and distortion have been around since the sixties-seventies. Why has the desire for low wattage amps with 20-25 watts of tube power come up so late? Both the Deluxe Reverb (DR) and Princeton Reverb (PR) “survived” the CBS silverface periods with minor changes. Many people consider the silverface amps just as sonically good as the blackface models. Being almost a blackface amp with a new faceplate (wrong for collectors), the silverface models became popular value-for-the-money amps. Collectors hunt the blackface models and players hunt the silverface for it’s quality and price. The push/pull volume boost was installed in 1977 by CBS. The circuit was then significantly different from the blackface circuit. Hence, the price for this amp is lower than it’s predecessors. The DR is a small/medium-sized amp with an ability to deliver both sparkling clean tones and low wattage breakup at 22W with 6V6 tubes and relatively small transformers (power and output). It has found its way in to more recording studios, clubs and bars than any other Fender amp. It has met many players’ expectations. It is just powerful enough to cut through in practise in a band with a drummer and, unlike some bigger amps, it will reach its sweet spot at a reasonable volume. It has the typical blackface 60′s sparkle with a scooped clean sound just like the bigger Fender brothers, just with more smooth breakup, sag and compression. The smaller brother Princeton Reverb is rolling off more top frequencies and breaks up earlier with more warmth producing a brownface type of tone. It will not cut through the mix as easily as the stingin tone of the Deluxe Reverb"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]

==Dirty Shirley (based on Friedman Dirty Shirley)==

[[File:FRIEDMAN DS.PNG|150px]]

# Based on: Dirty Shirley amp by Dave Friedman of Rack Systems, designed to be an ultra Fat Sweet sounding Classic Rock Amp. 6L6, 40w, single channel. Based on a JTM-45. Speakers: G12M, G12H
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence
# [http://www.tonemerchants.com/products/amplifiers/Friedman Website]: "Designed to to be a Fat sounding Classic Rock Amp"
# [http://www.youtube.com/watch?v=HXniCTC2foo Demo]
# [http://friedmanamplification.com Friedman website]

==Division13 CJ (based on Divided by 13 CJ11)==

[[File:DIV_13.png‎|150px]]

# Based on: Divided by 13 CJ11, which is based on a high-performing 1959 tweed Fender amp made in Fullerton: “Tweed” meets “EL34” meets “Master Vol” in a 1x12 combo. 11w, single channel. Speaker: G12M
# Stock cabinet suggestions:
#* 84 (1xG12M)
# Original controls: Volume, Treble, Bass, Master
# [http://www.dividedby13.com/cj11.html Divided by 13 website]: "When asked, by Corky James, amongest others, "Can you take my favorite 1959 tweed amp from Fullerton and instead of the controls being Volume Tone make it Volume Treble Bass, give it more clean headroom, a wider range of usable overdrive (throw in a little EL 34), make it a little louder with fuller, tighter low end, and put a master volume in it so i can play at all levels and dial in and hit the sweet spot of whatever speaker i am using at the time, mostly a G12M Celestion"
# Cliff: "It is a bassy amp. Works best with single coils" [http://forum.fractalaudio.com/axe-fx-ii-recordings/56060-13-goodness-st-michael-blues.html#post706664 Source]
# Cliff: "That's what a CJ11 sounds like. You increase the LOW CUT FREQ to reduce the fuzziness on bass notes but then it won't sound like the real thing" [http://forum.fractalaudio.com/axe-fx-ii-discussion/57826-pc-noise-fuzz-issue.html#post724268 Source]
# [http://www.youtube.com/watch?v=CnnR4DtWeK0 Demo]

==Dizzy V4 2 / 3 / 4 (based on Diezel VH4)==

[[File:295DiezelVH4.png|150px]]

# Based on: Diezel VH4. Channel 2: said to be great for gritty funk, dynamic clean. Channel 3 (Diezel Heavy): higher gain but still big dynamic range. Channel 4: a monster of gain which still has great definition and authority. 100w, 6550 tubes (or EL34 or 6L6). Speakers: V30 or G12K100
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 54 (G12K100)
# Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz), Bright switch (not on channels 3 and 4)
# [http://diezel.typo3.inpublica.de/uploads/tx_ohelement/VH4englnew.pdf Manual]
# [http://diezel.typo3.inpublica.de/vh4.21.0.html Diezel website]
# [http://en.wikipedia.org/wiki/Diezel Wikipedia]
# This one is matched to a real VH4 ([http://forum.fractalaudio.com/axe-fx-ii-discussion/56017-axe-fx-ii-firmware-version-7-00-public-beta-14.html#post705902 Source])
# [http://www.youtube.com/watch?v=TnPD8QOgDw8 Demo]
# [http://www.rig-talk.com/forum/download/file.php?id=2121 Example settings]
# Model based on original "Blue Face VH4" amp supplied by forum member jharpersj, [http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me.html#post871704 Source]

==Double Verb (based on Fender Twin Reverb)==

[[file:307FenderTwin.png|150px]]

# Based on: Fender Twin Reverb, an indispensable icon, known for amazing cleans. Based on the Vibrato channel. '66 blackface, AB763 circuit, low and high inputs, Normal and Vibrato channel, 100W. Speakers: 2x12 (Jensen C12N, JBL D120, EVM-12L)
# Stock cabinet suggestions:
#* 21/22/121/122 (Twin)
#* 8/12/105/106/119 (EVM)
#* 6/19
#* 91 (Twin)
# Original controls: Volume, Bass, Middle, Treble, Bright switch, Reverb
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/65-twin-reverb Fender website]: "This amp has seen action in every imaginable venue and remains indispensable to this day. Be it rock, jazz, country or anything else, this is what a clean electric guitar sounds like - or add an upside-down Stratocaster guitar and a fuzz box ... The 85-watt (at 4 ohms) reissue ’65 Twin Reverb features four 6L6 Groove Tubes® output tubes, four 12AX7 preamp tubes, two 12AT7 preamp tubes, two 12” 8-ohm Jensen C-12K speakers, dual channels (normal and vibrato), Fender reverb, vibrato, two-button reverb and vibrato on-off footswitch, tilt-back legs, black textured vinyl covering and silver grille cloth"
# [http://en.wikipedia.org/wiki/Fender_Twin Wikipedia]
# [http://fenderguru.com/amps/twin-reverb Fenderguru.com]: "If an alien came to earth and wanted to hear an American guitar sound, I’d play him my Twin with a set of Jensens. This was stated by a happy Twin Reverb owner on Harmonycentral.com. It could have been our own words. The Twin Reverb is the king of Fender blackface amps. Having two pairs of 6L6, the popular and traditional two-channel AB763 circuit design, a diode rectifier and enormous transformers (power & output), it offers tons of clean headroom and volume for unmiked gigs and really big stages. Where the other Fender amps break up at around 4 on the volume knob, the Twin stays clean up to almost 6 and will hold up against heavy drummers and bass players with clean notes sharp as a knife edge. This is exactly what the amp is made for, being played unmiked in in a gospel band in a 300-seat church every Sunday. It is designed not break up like the other Fender amps. You need to have your expectations set correctly to be able to appreciate the evil Twin. Warning nr 1) Weight. The big transformers and speakers makes this amp weigh around 40kgs, a burden too big for many gigging players who cannot (yet) afford a crew of roadies. Warning nr 2) Volume and clean headroom. If you want tube amp breakup and smoking tones with no pedals you will experience many fights with your band mates and club owners. Just as the other Fender amps the Twin needs to operate in its sweet spot up to sound sweet. After carrying a Twin Reverb on to the stage, the least you should deserve is to crank the bastard. Sadly, we are seldom offered the opportunity to turn the volume above 3 on a Twin Reverb. Instead we have played many nights with a thin and unpleasant tone, even worse with a sparkling, clean sounding strat. If you are one of these players, you should find some mods on this page interesting. With just a few simple tricks you can make your Twin break up earlier like the more versatile Pro Reverb 2×12 and Deluxe Reverb 1×12"
# Cliff: "After CBS bought Fender the new engineers set out to "fix" those lousy designs with all that nasty distortion. The first of these amps were late '68 or early '69 IIRC. They increased the negative feedback, changed bias points, added MV, etc. The new designs were much cleaner and much less desirable IMO. Blackface Fenders from the mid '60s are the most desirable because they have that nice breakup. Silverface Fenders are not particularly prized and are often modded to turn them into Blackface circuits" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-3.html#post780125 Source]
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# The model is based on forum member LVC's '66 Twin Reverb that was tuned up by Andy Fuchs
# Try switching off the Bright switch when playing at loud volume
# To make the Twin cleaner, Cliff: "Reduce MV (or MV Trim). The biggest reason Silverface Twins were cleaner is because the PI had less gain. Reducing the MV or MV Trim will simulate the lower gain." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74370-cleanning-up-twin-reverb-model.html#post910015 Source]

==Energyball (based on Engl Powerball)==

[[File:298EnglPowerball.png|150px]]

# Based on: Engl Powerball, a very high-gain German model with lots of bass, great for aggressive, drop-tuned riff work. Modeled: lead channel. 100W, 6L6 tubes. Speakers: V30 or custom V60
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Punch Depth, Bottom, Open or Focused (boosts 300-500 Hz) mode
# [http://www.englamps.de/fileadmin/user_upload/Manuals/English/OM_E645_Powerball.pdf Manual]
# [http://www.engl-amps.de Engl website]
# [http://en.wikipedia.org/wiki/Engl Wikipedia]

==Euro Blue / Blue Mdrn / Red / Red Mdrn (based on Bogner Ecstasy 20th Anniversary)==

[[File:289BognerXTC20th.png|150px]]

# Based on: Bogner Ecstasy, based on the 20th Anniversary model. Blue / Red: Structure switch set to V(intage). Blue Mdrn/ Red Mdrn: Structure switch set to M(odern). Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* or G12Ms
# Original controls: Gain, Master, Bass, Middle, Treble, Presence, Bright switch, Structure switch (gain reduction), Old/New Style switch, Excursion switch, Gain switch, Plexi Mode
# [http://www.bogneramplification.com/manuals/ECSTASY%20MANUAL%202012.pdf Manual]
# [http://www.bogneramplification.com/ecstacy Bogner website]: "20th Anniversary Ecstasy: we consider this model to be the new "Flagship" in the Ecstasy line with the most organic and open sound yet. Available as an option to the base model the 20th Anniversary has a plexi panel with gold background and is housed in a slightly larger head shell for an iconic and classic vintage vibe. To further celebrate our 20 year anniversary this series is offered in white tolex with a classic salt & pepper grill at no additional up charge which applies to the cabinet as well if ordered together with a head. All other color and grill options are available for the usual up charge, however the Metal Grill option is not available. The 20th Anniversary is our finest evolution of the Ecstasy line that started with the 100B, then 101B, and Classic Options. However, the 20th Anniversary model features it's own unique circuit and many refinements never before seen. In the past few years many new boutique capacitors have come on the market such as the Sozo brand which focus on replicating the vintage toneful capacitors from the 60's. These new capacitors are very expensive and mostly hand made in their construction so we were intrigued to hear how they sounded. We purchased all the available brands and meticulously went trough the entire audio signal chain of our Ecstasy circuit incorporating these vintage style capacitors into the design"
# [http://en.wikipedia.org/wiki/Bogner_Amplification Wikipedia]
# It's a dark amp, turn up Presence
# The Bright switch will not only brighten the tone but also adds gain. Its impact decreases as Drive is turned up
# Check [http://bogneramplification.com/media-bogner/music-videos this site] for video demos of the Bogner Ecstasy Blue and Red and pedals. These explain the amp controls clearly (same as the pedal equivalents)
# Try Blue with high Master Volume
# Here's how to use these models as drive blocks (pedals) instead of amps: [http://forum.fractalaudio.com/axe-fx-ii-discussion/69137-like-bogner-pedals-you-got-them-already.html?highlight=bogner Like the Bogner pedals? You got them already!]
# [http://www.premierguitar.com/articles/Bogner_20th_Anniversary_Shiva_and_Ecstasy_Amp_Reviews Review in Premier Guitar]

==Euro Uber (based on Bogner Uberschall)==

[[file:289BognerUberschall.png|150px]]

# Based on: Bogner Uberschall, the high gain channel of this 120W head, heavy grinding lows and insane gain. EL34 tubes. Speakers: V30 plus G12T75 (Uberkab)
# Stock cabinet suggestions:
#* 50/51/52/129/120/131 (Uberkab)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence
# [http://www.bogneramplification.com/manuals/UBERSCHALL%20TWIN%20JET%20MANUAL%202012.pdf Manual]
# [http://www.bogneramplification.com/uberschall Bogner website]: "Uberschall is the German word for Super Sonic and we designed this amp primarily for extreme, heavy and aggressive styles of music. Detuned or baritone guitars crave this amp. Also, be sure to check out the matching Uberkab 4x12 speaker cabinet below. Two versions are available, the UBERSCHALL with it's traditional clean and super high gain channels and the TWIN JET with a semi clean to hot rod gain and super high gain channel configuration. While the super high gain channels are identical there is more flexibility and control on the TWIN JET as well as a additional controls for the power amp section. We unleash mayhem with the super aggressive high gain channel with gain, bass, middle, treble, volume and presence controls. You think you've heard BASS before, no way, the UBERSCHALL can crush on demand. Even with extreme gain and volume this channel stays massively focused and resists mushing out from the heaviest right-hand attack. Power comes from a throaty EL34 output section. Go ahead, try and hide from the UBERSCHALL it will seek you out, relentlessly, while you sleep, in this life and the next... But all will soon embrace the UBERSCHALL and we will wonder how anyone tried to play standard tuning, 7-string or drop tuned guitar without it. Our UBERKAB is perfectly matched for the thunderous UBERSCHALL. This 4x12" straight front speaker cabinet features a black front speaker grill with silver piping and a combination of front loaded Celestion Vintage 30's and G12T75's wired at 16 ohms. This combination unleashes the aggressiveness of the UBERSCHALL amp, plus helps to maximize the low end and give great cutting power to the mids and highs. Our standard Bogner 4x12" cabinet, with Vintage 30's, also sounds great with the UBERSCHALL"
# [http://en.wikipedia.org/wiki/Bogner_Amplification Wikipedia]
# Bogner: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam"
# Check [http://bogneramplification.com/media-bogner/music-videos this site] for a video demos of the Bogner Uberschall pedal. It explains the amp controls clearly (same as the pedal equivalent)

==FAS 6160 (based on Peavey 5150)==

[[file:333FAS6160.png|150px]]

# Custom Fractal model, a modified version of the PVH 6160 - less fizzy than the original, with a bouncier feel

==FAS Big Hair==

[[File:334FasBigHair.png|150px]]

# Custom Fractal model, mids without mud. Revive the 80s metal scene. (Spandex not included)
# Cliff: "It was a total guess. I just tuned it by ear. It's just my idea of what 80's hair metal might sound like"

==FAS Brown==

[[File:335FASBrown.png|150px]]

# Custom Fractal model, the original BROWN model from the Axe-Fx Standard/Ultra

==FAS Crunch==

[[File:FAS_CRUNCH.png|150px]]

# Custom Fractal model, Fractal Audio's take on the ultimate British-sounding amp. More dynamic/open plus more gain

==FAS Lead 1==

[[File:299FASLead1.png|150px]]

# Custom Fractal model, neutral high-gain lead with a tight midrange

==FAS Lead 2==

[[File:300FASLead2.png|150px]]

# Custom Fractal model, hot-rodded British lead sound with a tonestack by Custom Audio Electronics
# Presumedly based on the Mesa Boogie Triaxis

==FAS Modern==

[[File:301FASModern.png|150px]]

# Custom Fractal model, a high-gain hybrid, equally well-suited to modern rhythm and lead work
# Cliff: "This model is my interpretation of the ideal modern metal tone. In the digital realm we are not constrained by the limitations that face tube amp designers so we are free to implement designs that would be nearly impossible with a tube amp. The Axe-Fx II modeling includes a variety of general purpose filters that I can place anywhere in the signal path. So I put some second-order filters in there to tighten up the tone. Implementing second-order filters in a real tube amp is difficult and costly so is rarely seen" [http://forum.fractalaudio.com/axe-fx-ii-discussion/56926-fas-modern-2.html#post715029 Source]

==FAS Modern II==

[[File:301FASModern.png|150px]]

# Tighter version of the popular FAS Modern model with a 5150-style bass boost in the tone stack

==FAS Rhythm==

[[File:302FASRhythm.png|150px]]

# Custom Fractal model, combines the best features of the British and USA crunch models

==FAS Wreck==

[[file:327TrainwreckExpress.png|150px]]

# Custom Fractal model, the original WRECKER 1 model from the Axe-Fx Ultra

==Fox ODS I / II (based on Fuchs Overdrive Supreme)==

[[file:FUCHS_OD_SUPREME.png|150px]]

# Based on: Fuchs Overdrive Supreme, based on an amp that's based on an amp ;-). The "II" is the same model with the MID switch OFF. Overdrive channel, 50w, 6L6 tubes. Speakers: G12-65 or EVM 12L
# Stock cabinet suggestions:
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Gain (Axe-Fx: Input Drive), High (pull: mid boost), Mid (pull: gain boost), Low, Input (Axe-Fx: Over-Drive), Brite switch, Deep switch, Rock/Jazz switch, Master, Accent (presence/edge)
# [http://www.fuchsaudiotechnology.com/amps/overdrive-supreme Fuchs website]
# [http://www.fuchsaudiotechnology.com/manuals/amplifiers/Overdrive-Supreme-Manual.pdf Manual]
# [http://www.fuchsaudiotechnology.com/audio/mp3s/ods/JSBluesinG.mp3 Demo]
# Firmware 10 release notes: "Model II is the same as the FOX ODS I model but with the “MID” switch off"

==Friedman BE / HBE (based on Friedman BE-100 Brown Eye / Hairy Brown Eye)==

[[File:309FriedmanBEHBE.png|150px]]

# Based on: amp by Dave Friedman of Rack Systems, what many call “the ultimate modded Plexi” by Dave Friedman of Rack Systems. HBE: the amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal. EL34, 50 or 100W. Speakers: G12M, G12H, V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence. Switches: FAT, C45, SAT
# [http://www.tonemerchants.com/products/amplifiers/Friedman Website]
# Demos: [http://www.youtube.com/watch?v=h9NISyViNBM 1], [http://www.youtube.com/watch?v=7T9uzDasXag 2]
# This amp was previously named "Marsha"
# From a [http://www.premierguitar.com/articles/Rack_Systems_Brown_Eye_and_Naked_Amplifier_Reviews Premier Guitar review]: "With all the versatility and power it offers, what really sets it apart is its Presence control. The knob doesn’t simply boost highs and add shimmer, it adds more girth, dimension, gain, and perceptible volume. Taming the Brown Eye’s high-gain settings only required lowering the Presence knob, which softened the high-end response and eased off the screaming gain a bit" [http://www.premierguitar.com/Magazine/Issue/2010/Sep/Rack_Systems_Brown_Eye_and_Naked_Amplifier_Reviews.aspx Source]
# Cliff: "The BE/HBE has a fixed depth circuit that gives a lot of bass boost. The model defaults the Depth to match this" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67722-tip-friedman-hb-hbe-presets.html#post833169 Source]
# The HBE mode is a second input on the amp, with a preamp triode boost for additional gain
# [http://friedmanamplification.com Friedman website]

==Fryette D60 L / M (based on Fryette Deliverance 60)==

[[file:310FryetteD60.png|150px]]

# Based on: Fryette Amplification Deliverance 60 in the "Less" resp. "More" mode. 60W, KT88 or 6550 tubes. Speakers: Eminence P50E
# Stock cabinet suggestions:
# Original controls: Gain 1 (Axe-Fx: Input Drive), Gain 2 (Axe-Fx: Over-Drive), Volume, Bass, Middle, Treble, Presence, Depth, More/Less switch
# [http://www.fryette.com/support_manuals.html#deliverance Manual]
# [http://www.sfdamp.com/deliverance.html Fryette website]
# [http://en.wikipedia.org/wiki/Fryette_Amplification Wikipedia]
# Fryette was previously named VHT
# [http://www.sfdamp.com/deliverance.html Audio demo]

==Gibtone Scout (based on Gibson Scout)==

[[file:GIBSON_SCOUT.png‎|150px]]

# Based on: Gibson GA17RVT Scout (1964). If you love vintage clean tones, this 17-watter got 'em. 17w, two inputs. Speaker: 1x10
# Stock cabinet suggestions:
#* 3/4 (1x10)
#* 84/115/116 (1xG12M)
# Original controls: Reverb, Tremolo, Volume, no tone controls

==Herbie CH2+ / CH2- / CH3 (based on Diezel Herbert)==

[[File:DIEZEL_HERBERT.png‎|150px]]

# Based on: Diezel Herbert, 3-channel head (ch 2 with +/- modes), called looser and more familiar than the VH4. 180w, EL34. Speakers: V30 or G12K100
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 54 (G12K100)
# Original controls: Gain (not on channel 1), Bass, Middle (1 kHz), Treble, Master, Presence (> 3kHz), Deep (120Hz), Mid-Cut (not modeled), Gain Boost switch (not modeled)
# On the original amp channel 2- with gain at around 35% gives you a cranked Plexi tone, and at around 60% JCM800 tone. Channel 2+ gets you into VH4 territory
# [http://diezel.typo3.inpublica.de/uploads/tx_ohelement/Herbert_English.pdf Manual]
# [http://diezel.typo3.inpublica.de/herbert.22.0.html Diezel website]: "It's main difference from the VH4 models are in voicing, circuit design, and general layout. Overall the Herbert has a more familiar, slightly looser feel than the VH4, without losing much of the Diezel signature definition and tightness. Simply put, the amp is a player's amp, forgiving and ready for whatever one's soul and mood desires"
# [http://en.wikipedia.org/wiki/Diezel Wikipedia]
# [http://diezel.typo3.inpublica.de/herbert.22.0.html Demos on this page]
# [http://www.rig-talk.com/forum/download/file.php?id=2122 Example settings]

==HiPower Brillnt / Jumped / Normal (based on Hiwatt DR103)==

[[file:311HiwattDR103.png|150px]]

# Based on: Hiwatt DR103, an amp with an unique tone-stack and a brilliant chimey tone. Normal and Brilliant channels. 100w, 4 inputs. Speakers: 4x12 Fane
# Stock cabinet suggestions:
#* 42 (Hiwatt)
# Original controls: Volume, Master, Bass, Middle, Treble, Presence
# [http://www.hiwatt.com Hiwatt website]
# [http://en.wikipedia.org/wiki/Hiwatt Wikipedia]
# Cliff: "I have a 1974 Hiwatt DR-103. The model is based on that. It is one of the Harry Joyce, Hylight era models. Still has the original tubes. Closet find and sounds glorious"
# [http://www.legendarytones.com/hiwattcustom.html Hiwatt DR103 review]
# Need more gain? Use the Brilliant channel and crank the Master Volume
# The jumpered type wass modeled with the 4 inputs jumpered

==Hot Kitty (based on Bad Cat Hot Cat 30r)==

[[file:BAD_CAT_30R2.png|150px]]

# Based on: Bad Cat Hot Cat 30r (channel 2), voted by Guitar Player as "the sedcond best combo of all time". 30w, EL34, cathode bias. Speaker: Bad Cat proprietary Celestion
# Stock cabinet suggestions:
#* 85 (Bad Cat)
# Original controls: Gain/Level, Bass, Middle, Treble, Cut, Master
# [http://www.badcatamps.com Bad Cat website]: "Hot Cat 30 and 30R are both built into the same 17", 16-gauge steel chassis. If Bad Cat has a flagship, this is it. We started with one of the nicest most touch responsive clean channel ever designed and added our 5-way tone selector, enabling the ability to tailor the amp to bright single coils or thick warm double coils. We've added a master volume that can be engaged and utilized to drive channel one into all shades from clean to soft pushed overdrive and beyond. The little secret that loyal users of the Hot Cat have known for years is that the clean channel crunches like the sounds found on vintage 70's vinyl. Channel two is a pure Class A EL34 high gain. The same sweet harmonically rich gain only now with an added mid-range knob to help you dial into a rich scooped thump"
# [http://www.badcatamps.com/public_img/image_139_559.pdf Manual]
# [http://www.badcatamps.com/video-gallery Demos]

==Jazz 120 (based on Roland JC-120)==

[[File:324RolandJC120.png|150px]]

# Based on: Roland JC-120, the only solid-state-based model in the collection; a quintessential clean tone. 120W (stereo: 2x 60W). Speakers: 2x12 "silver" Roland
# Stock cabinet suggestions:
#* 27 (Roland)
# Original controls: Volume, Bass, Mid, Treble, Bright switch, Chorus and reverb controls
# [http://backstage.rolandus.com/product_manuals/?group==4 Manual]
# [http://www.rolandus.com/products/details/249 Roland website including video demo]
# [http://en.wikipedia.org/wiki/Roland_Jazz_Chorus Wikipedia]
# The real amp has no Master Volume.. Try cranking the Master control
# Firmware 11.02: "Fixed wrong tone-stack type in Jazz 120 model. Added correct “Jazz 120” tone-stack type to available selections"

==JR Blues (based on Fender Blues Junior)==

[[file:305FenderBluesJr.png|150px]]

# Based on: Fender Blues Jr., a gutsy little classic with dual EL84s. 15W. Speaker: C12N or P12R
# Stock cabinet suggestions:
#* 79 (JR Blues)
# Original controls: Bass, Middle, Treble, Gain, Volume, FAT boost
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/limited-edition-blues-junior-iii-red-nova-two-tone Fender website]: "The 15-watt Blues Junior has long been a favorite grab-and-go tube amp perfect for the studio and small gigs that need a little extra growl and punch. This limited-edition model is covered in two-tone red and black vinyl, with black grille cloth and a top-mount black control panel with front-reading text. Other premium features include warm overdrive, real spring reverb, simple controls and a single 12" Eminence Wizard™ speaker that delivers gorgeous clean tone and warm, full British overdrive"
# [http://en.wikipedia.org/wiki/Fender_Blues_Junior Wikipedia]: "The Blues Junior is a professional tube guitar amplifier introduced in 1995 by the Fender company. It is aimed at achieving the warm, tube-driven tone common in many styles of American blues and blues rock dating back to the 1950s, while remaining both portable and affordable. Fender frequently releases limited editions of the Blues Junior. All have the same electronic components [1] and specifications but have cosmetic changes and often a different speaker, at varying prices. The Fender Blues Junior is most similar to the Fender Blues Deluxe, which adds a "drive" channel, an effects loop, and uses 6L6GC output tubes for 40 watts of rated output.[2] The Fender Blues Junior was introduced after the Fender Pro Junior, but has entirely different circuitry other than EL84 output tubes rated at 15 watts"
# Use the JR Blues model with no Damping (no negative feedback) to make it sound like an Egnater Rebel 20. Cliff: "The Eggie is very similar to a Blues Jr. Basically the same preamp with some minor tweaks" [http://forum.fractalaudio.com/axe-fx-ii-wish-list/55153-i-miss-my-eggie.html#post696608 Source]
# Cliff: "The Blues Jr. amp has a fixed presence circuit. IIRC it's equivalent to about 2.5 on the presence knob" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67260-question-proper-axe-eq-values-amps-dont-have-them.html#post828733 Source]

==MR Z 38 Sr (based on Dr. Z MAZ 38 SR)==

[[File:296DRZMaz38Sr.png|150px]]

# Based on: Dr. Z MAZ 38 SR, popular with country and roots players. EL84 tubes, 38W. Speakers: Alnico Blue plus G12H
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 16/34/57/64/120/124 (G12H)
#* 114
# Original controls: Volume, Master, Bass, Middle, Treble, Cut, Reverb
# [http://www.drzamps.com/manuals.html Manual]
# [http://www.drzamps.com/amp/maz38sr Dr. Z website]: "The Maz 38 is one of Dr Z's most enduring designs. It is the perfect combination of sound and power. 4 EL84s with no negative feedback give you a wide pallet to work from. The 38 has enough clean headroom to make for a great pedal platform and gives up the goods for a great drive sound at reasonable levels. The 38 can satisfy many different styles and playing approaches. You are able to dial in mid 60s blackface sounds as well as UK flavored chime. The Dr. Z MAZ-38 is a truly versatile amp for the working or studio musician. Whether your forte' is Blues, Country, Roots, or Rock, The MAZ 38 Senior will fit the bill"
# [http://en.wikipedia.org/wiki/Dr._Z_Amplification Wikipedia]
# [http://www.youtube.com/watch?v=VIvv8itpw3c YouTube]
# [http://www.youtube.com/watch?v=ed7x3vr3cCM YouTube]
# This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
# Cliff: "Dr. Z is the quintessential country amp" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67286-country-amp-suggestions.html#post828934 Source]
# [http://www.premierguitar.com/articles/Dr_Z_Maz_8_Studio_Amp_Review Review of 8-watter in Premier Guitar]

==Nuclear-Tone (based on Swart Atomic Space Tone)==

[[file:SPACE_TONE.png|150px]]

# Based on: Swart Atomic Space Tone, a cool little, gritty, stylishly retro all-tube combo. Use with Bias Trem! 20w, 6V6. Speaker: G12M
# Stock cabinet suggestions:
#* 115 (1xG12M)
# Original controls: Volume, Tone (Axe-Fx: Treble), and reverb and tremolo controls
# [http://swartamps.com/swart_atomic_space_tone.htm Swart website]: "This amplifier has 20w of twin 6V6 power in high Class A biased AB and brings some of the most soulful, rich, near three-dimensional tone you have ever heard. This has to be one of the most expressive amplifiers made to our knowledge, and we've tried more than a few. TUBE REVERB and TUBE TREMOLO, something virtually nonexistent in today's marketplace, is just part of the picture. Includes a 12" Custom British Vintage Series BV-25m that screams TONE with body and soul; This amp has excellent breakup (wait till you hear the samples). This all new circuit is housed in a lacquered TWEED pine cab with dark Tweed panels. This amp is in its own league." And: "The idea of the Atomic Space Tone hit me when I was working on a vintage Gibson Scout guitar amp. It had Reverb, Tremolo, and 15 watts of pure rocking vintage tone power but only three preamp tubes and two EL-84 output tubes. I thought to my self - I have never seen an amp that could do so much with so little and sound surprisingly good. But I knew it could be even better. I knew something could be built revolving around my favorite little tone generator, the 6V6. I sent a note of thanks to my cohort for the inspiration for one of the best amplifiers I have ever built and the only thing I have found to equal the soul and amazing tone of the ST-6V6se but with MORE power"
# Firmware 10 release notes: "Based on a Swart Atomic Space Tone. As with the actual amp the bias tremolo is particularly effective"
# [http://swartamps.com/tech/manuals/atomic_space_tone Online manual]
# [http://swartamps.com/sound_samples.htm Audio samples]
# Cliff: "It's unique character comes from the PI. It's a cathodyne phase inverter so it doesn't drive the grids as hard" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67200-swart-ast-right-thanks-cliff.html#post828241 Source]

==ODS-100 Clean / LD Mid / Lead (based on Dumble OD Special)==

[[File:297DumbleODSpecial.png|150px]]

# Based on: Dumble OD Special, HRM version, serial number 213. A coveted but rare amp brand made famous by Robben Ford. Clean and OD channel. "Mid" model: OD channel with the "Mid" switch engaged. Speakers: G12-65, EVM 12L
# Stock cabinet suggestions:
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Volume (Axe-Fx: Input Drive), Bass, Middle, Treble, Overdrive Level (Axe-Fx: Overdrive), Ratio, Master Volume, Presence, Bright and Mid (deep) switches
# [http://en.wikipedia.org/wiki/Dumble_Amplifiers Wikipedia]
# Previous to firmware 10 the ODS models were based on the Bludotone Ojai (now a separate model)
# Firmware 10 release notes: "The ODS-100 models were redone and matched to a Dumble Overdrive Special, S/N 0213. This particular amp is a 100W “HRM” version. The lead channel was matched with the preamp bypass (PAB) engaged which bypasses the input tone stack. Note that the clean channel has a bright cap on the Master Volume. This causes the tone to get brighter as the MV is reduced and vice-versa"
# Cliff: "The ODS100 has two drive controls, one is right at the input, the other is in the lead boost section." [http://forum.fractalaudio.com/axe-fx-ii-discussion/66485-jonesing-v10-release-notes-15.html#post819347 Source]
# Cliff: "I hate to admit it but there is something special about a real Dumble. I don't know what it is but there is something in the voicing. The various clones I have are cool and have their own thing going but they don't sound like the Dumble. Hard amp to play though. Very unforgiving but tremendous clarity" [http://forum.fractalaudio.com/axe-fx-ii-reviews/66825-congrats.html#post824398 Source]
# Cliff: "They call HRM "Hot Rubber Monkey" but what it really means is "Hot Rod Marshall". The HRM Dumbles have a fixed Marshall tone stack at the output of the lead channel. This gives a little scoop to the mids" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67218-v10-bludotone-ojai.html#post828279 Source]
# Pictures of amp settings: [http://bluesrockguitar.files.wordpress.com/2009/11/robben20dumble202002.jpg 1], [http://bluesrockguitar.files.wordpress.com/2009/11/img_2048.jpg 2]

==Plexi 100w / 50w / MJyump (based on Marshall Super Lead 1959)==

[[file:312Marshall1959SuperleadPlexi.png|150px]]

# Based on: Marshall Super Lead 1959, the classic "Plexi" amp head that gave rise to “the stack”. '69 100w and 50w heads. Normal channel and Treble (High) channel, 4 inputs. Speakers: G12M, G12H, G12L
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
#* 35 (G12L)
# Original controls: Volume, Bass, Middle, Treble, Presence
# [http://www.marshallamps.com/product.asp?productCode=1959SLP Marshall website]
# [http://www.marshallamps.com/downloads/files/Vint%20hbk.pdf Manual]
# [http://en.wikipedia.org/wiki/Marshall_1959 Wikipedia]
# Cliff (about the Plexi model in the Standard/Ultra): "One of the first mods people make to real 'Plexi' Marshalls is to "clip the bright cap". The bright cap varied over the years, supposedly depending on what was lying around in the shop. The model defaults to the bright cap in the circuit. If you turn off Bright you're effectively clipping the bright cap. The bright cap in Marshalls can be very bright and harsh. However, if you crank the Master you might find the extra brightness helps compensate for the power amp getting darker"
# Cliff: "It's the way a Plexi is supposed to sound. That's due to the cathode follower. That raspiness helps it cut through in a mix. I own three of them and they are that fizzy" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43598-high-end-fizz-normal.html Source]
# Cliff: "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" [http://forum.fractalaudio.com/axe-fx-ii-bugs/44357-amp-going-into-bypass-mode-while-using-wah.html#post583611 Source]
# Try the Brit JM45 tonestack to get a modded Plexi tone
# The jumpered types were modeled with the 4 inputs jumpered.

==Prince Tone NR / Rev / Twd (based on Fender Princeton)==

[[file:331FenderPrinceton.png|150px]]

# Based on various Fender Princeton amplifiers: one without reverb, a '66 reverb edition and a tweed version. Circuits: 5F2-A, AA964 (modeled after early CBS “Silverface” model, pre-CBS design and components). Class A, low wattage, single-ended power section. Speakers: Jensen C10N
# Stock cabinet suggestions:
#* 3 (1x10)
#* 77/78 (Princeton)
# Original controls: Volume, Tone (Axe-Fx: Treble)
# [http://www.fender.com Fender website]
# [http://en.wikipedia.org/wiki/Fender_Princeton Wikipedia]
# [http://fenderguru.com/amps/princeton Fenderguru.com]: "The Princeton Reverb is the smallest blackface/silverface Fender amp with both tremolo and reverb. With a 10 inch speaker run by a 12-15W dual 6V6 amp, it delivers a true “American” Fender tone with punchy, responsive lows together with chimey highs. When it is cranked it tends to sound a bit “browner” than the bigger two-channel amps, meaning more breakup in the lower frequencies and mid-focused tone. Much of this is due to an unefficient phase inverter circuit design. Compared to many bigger Fender amps the Princeton Reverb (PR) went through the CBS/silverface periods with very little changes. Originally the Princeton Reverb came with Jensen C10N, C10r, Oxford 10L5 or Oxford 10J4. Personally we favor the vintage Jensen C10n speakers due to the huge clean tone and big bottom end caused by the large magnet and 1,5″ voice coil. A vintage 1966 Jensen C10n matches the amp and cabinet size perfectly and you get a classic, scooped fender blackface tone from a little amp. Personally we mostly play our Princeton Reverbs at volume 5-6 with a decent amount of tube amp distortion (caused by preamp, power amp, transformers, rectifier all together). The amp delivers a thick sustaining tone where single notes are clean and chords are crunchy. A 12″ speaker will push more air and give you a bigger sound with more low ends, particularly more lower mids. A 12″ can normally handle more power than a 10″ at both lower and higher frequencies. The 12″ speaker is slightly harder to drive and if you’re really into a soft touch and finger tips you’ll probably appreciate the dynamics of a 10″ more than with a 12″. An interesting effect with 12″ speakers is the “3D” sound effect. While 10″ speakers can be front directional (depending on cabinet also) there is a better spread with 12″ speakers which contributes to a better sound on stage. People will hear you better wherever they are positioned relatively to the amp. A 15″ speaker has even more spread and it will cut through skin and bone. We have never heard anyone who upgraded to a 12″ go back to 10″. The Princeton Amp is often misinterpreted as a Princeton Reverb without reverb. Just by looking at the front panel and the knob functions it might seem so. A closer study of the circuit design will reveal that the Princeton Reverb has an extra gain stage (one half of the 12AX7 V3 tube) just after the dry and the wet reverb signals are mixed. This means that there is one extra tube stage that can cause preamp gain and contribute to the tone with sustaining harmonics, compression and sag. Hence, the Princeton-Amp is cleaner than the Princeton-Reverb when the volume is pushed beyond 3-4. The volume knob is less sensitive on the Princeton Amp, and you can play them on volume 7-8 still sounding clean"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input, lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]

==PVH 6160 Block (based on Peavey EVH 5150)==

[[File:323Peavey5150.png|150px]]

# Based on: Peavey EVH 5150 "block", the high-input lead channel of an amp named after the criminally insane. 6L6, 120W. Speakers: Sheffield 1200
# Stock cabinet suggestions:
#* 49/107/128 (5150)
#* or G12Ms / G12Hs
# Original controls: pre- and post-Gain, Volume, Bass, Mid, Treble, Presence, Resonance
# [http://en.wikipedia.org/wiki/Peavey_Electronics Wikipedia]
# [http://forum.fractalaudio.com/axe-fx-ii-discussion/61537-fas-do-you-still-do-comparisons-guitar-cabs.html Information about the 5150 amp]
# Firmware 10 release notes: "Based on “Block Letter” EVH 5150. This model has been renamed PVH 6160 Block”

==PVH 6160 II (based on Peavey 6505+)==

[[file:PEAVEY_6505+.png]]

# Based on: Peavey 6505+ (identical to the EVH II), called the new standard for "brutality and agression". 6L6, 120w. Speaker: Sheffield 1200
# Stock cabinet suggestions:
#* 49/107/128 (5150)
#* or G12Ms / G12Hs
# Original controls: Bass, Middle, Treble, Presence, Resonance, Gain, Master
# [http://www.peavey-eu.com/index.php?#product/6505 Peavey website]
# [http://www.peavey-eu.com/pdf_display.php?sys=ALL&type=PDM_6_OM&level=PDM_6&tbl=system&def=A_1&key=106 Manual]
# Cliff: "Chris Quigley's 6505 was the reference amp. It's my amp now. It's a very good sounding one" [http://forum.fractalaudio.com/axe-fx-ii-reviews/66816-fw10-lmao-what-say.html#post824411 Source]

==Recto Orange / Red, Vintage / Modern (based on Mesa Dual Rectifier)==

[[file:318MesaDualRectifier.png|150px]]

# Based on: a 2-channel and a late 3-channel model of Mesa Boogie's Dual Rectifier, a high-gain masterpiece with crushing power and tighness. Orange and Red channels, Vintage and Modern modes. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 104 (Classic Lead 80)
# Original controls: Gain, Master, Bass, Middle, Treble, Presence/HiCut (see below)
# [http://www.mesaboogie.com/manuals/3chRecto.pdf Manual]
# [http://www.mesaboogie.com/Product_Info/Rectifier_Series/Dual_Rectifier/DualRectifier-2010.html Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia]
# Cliff: "Real Rectos are bassy/fizzy beasts but that tone works great for certain genres" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51197-fw-6-0-rectifier-obsevation.html#post658849 Source]
# Firmware 10 release notes: "All Recto models have been reworked. Note that the Orange Modern and Red Modern models have no negative feedback and therefore the Presence control is a Hi Cut control. The operation of this control is reversed as compared to the actual amp. If the amp’s Presence control is fully clockwise the corresponding setting of the model’s Hi Cut control is fully ccw. Also note that the model’s Hi Cut control has about twice the range of the actual amp so fully ccw on the amp is equal to about noon on the model. As noted in the paragraph on MIMIC, the Modern modes are highly sensitive to MV setting. Higher MV settings result in more midrange focus while lower MV settings produce a more scooped tone. It is recommended to experiment with the MV setting to achieve the desired tone while compensating for the level increase/decrease with the Level control"
# [http://www.youtube.com/watch?v=It_k4uDnetU Demo]
# Cliff: "If you are using the Modern modes be very careful with the MV. If you turn it up too high it will flub out really quick. If in doubt reduce the MV. Compensate with the Level control" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67312-recto-sound-tweaking.html#post829334 Source]
# Cliff: "The Modern mode in Rectos has no negative feedback so there's a huge bass boost from the speaker impedance. Fortunately you can reduce this by reducing the LF Resonance on the Spkr tab which is something you can't do with the real amp without trying different speakers or cabinet" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67312-recto-sound-tweaking.html#post829906 Source]

==Ruby Rocket (based on Paul Ruby Rocket)==

[[File:RUBYROCKET.png‎|150px]]

# Based on: Paul Ruby Rocket, a Trainwreck Rocket clone (similar to a Vox). Speakers: try Alnico
# Stock cabinet suggestions:
#* 7/11/13/15/20/24/25/28/55/83/93/94 (Alnico)
#* 114
# Original controls: Volume, Bass, Treble, Cut
# [http://paulrubyamps.com Website]
# [http://www.trainwreck.com/brochure.html Trainwreck Rocket information]
# [https://www.youtube.com/watch?v=_lLcL13Z1FQ& Video]

==Shiver Cln / Ld (based on Bogner Shiva 20th Anniversary)==

[[File:288BognerShiva20th.png|150px]]

# Based on: Bogner Shiva Clean, 90w 20th Anniversary model, Clean: powerful shimmering cleans. Lead: a sweet, rich-sounding amp with aggressive, English-style midrange punch. KT88 tubes. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls for Clean channel: Bass, Treble, Volume, Master, Presence, Bright switch (less to none effective the higher Drive is set). Original controls for Lead channel: Bass, Middle, Treble, Volume, Master, Presence, Bright switch (less effective the higher Drive is set but still noticeable). Boost, Mode and Shift controls on the original amp are not modeled
# [http://www.bogneramplification.com/manuals/SHIVA%20MANUAL%202012.pdf Manual]
# [http://www.bogneramplification.com/shiva Bogner website]
# [http://www.bogneramplification.com/media-bogner/bogner-amplifiers-sound Audio samples]
# [http://en.wikipedia.org/wiki/Bogner Wikipedia]
# It's a dark amp, try turning up Presence
# [http://www.premierguitar.com/articles/Bogner_20th_Anniversary_Shiva_and_Ecstasy_Amp_Reviews Review in Premier Guitar]

==Solo 100 Clean / Lead / Rhy (based on Soldano SLO-100)==

[[File:325SoldanoSLO100.png|150px]]

# Based on: Soldano SLO-100 (Super Lead Overdrive), noted for its hot-rod chrome chassis and aggressive rhythm tone. Normal (Clean / Crunch) and snarling Lead channel, 100W. Speakers: 12" Eminence
# Stock cabinet suggestions:
#* 45/46 (Soldano)
#* 8/12/105/106/119 (EVM)
# Original controls: Gain, Bass, Middle, Treble, Master, Presence, Bright switch (Normal channel)
# [http://www.soldano.com/products/guitar-amplifiers/super-lead-overdrive-slo-100/ Soldano website]: "While setting that standard (we’ve been told) we created a modern classic. Unchanged in over twenty years, the SLO’s remarkable sound, award-winning innovative design, and flawless construction make it simply the finest amplifier money can buy. And the SLO’s tone, construction, and reliability have made it the heart and soul of many of Rock, Metal, and Electric Blues’ most creative and celebrated players. It’s because of this that you’ve been hearing the SLO 100 on your favorite records since 1987. From Clapton to Van Halen, from Warren DeMartini to Lou Reed – and from you to Mike Soldano himself, the SLO is simply the player’s choice. The SLO-100 offers two channels, Normal and Overdrive, each with independent Preamp gain and Master Volume controls. The Normal channel has a Bright switch and a Clean / Crunch gain selector switch. Bass, Middle, Treble, and Presence controls provide the tone shaping"
# [http://en.wikipedia.org/wiki/Soldano Wikipedia]
# Cliff: "The SLO-100 is the loudest amp I've ever used. It feels like there's a small nuclear explosion going off inside when ever you hit a power chord. It's a wicked amp but not something I would recommend for anything but large gigs. If you like the SLO-100 model you might want to try the Recto models too. It's not widely known but the Rectifier preamp is a derivative of the SLO-100. Some minor changes but the basic topology is identical"
# Cliff: "I have a really good SLO-100. An original black faceplate version. Pristine condition. That amp was one of the primary amps used in the G2 modeling development. It was by studying that and a really nice JCM-800 that I finally figured out the secret to cathode follower" [http://forum.fractalaudio.com/axe-fx-ii-discussion/42204-just-how-good-axe-fx-ii-modeling.html#post562187 Source]
# Cliff: "Many people find SLOs too bright. The "Warren Haynes" mod is a popular mod to reduce the brightness" [http://forum.fractalaudio.com/axe-fx-ii-discussion/44637-solo-100-lead-gen1-vs-gen2-2.html#post587054 Source]
# [http://forum.fractalaudio.com/axe-fx-ii-discussion/39704-slo-warren-haynes-mod.html?highlight=warren Emulating Warren Hayes' tone]
# Cliff (talking about the Depth control, firmware 10): "Mine doesn't have the depth mod but I used the values from the schematic I have and I believe the schematic is correct" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67491-question-regarding-soldano-slo-100-depth-knob.html#post830925 Source]
# Cliff: "SLOs are brittle at low volumes. When you crank them up it smooths out. The problems is at cranked volumes they can kill small animals" [http://www.thegearpage.net/board/showpost.php?p=15320432&postcount=5 Source]
# Carol-AnnAmps: "The secret of the SLO is the arch enemy of most you guys, volume. It has to be run hard with less preamp gain. It transforms into a gorgeous amp like that. It was designed as a large stage/stadium amp. Cue Warren Haynes. Running one at your local pub is going to give results that are very thin and buzzy. I would imagine the best tones from the axe model will probably be achieved by increasing the master and backing off the preamp, just like the real deal." [http://forum.fractalaudio.com/axe-fx-ii-reviews/71586-most-underrated-amp-models.html#post878646 Source] Cliff: "Yup, this is why the MV defaults to a higher setting than other MV amps." [http://forum.fractalaudio.com/axe-fx-ii-reviews/71586-most-underrated-amp-models.html#post878719 Source]

==Solo 88 Rhythm (based on Soldano X88)==

[[File:SOLDANO_X88.png|150px]]

# Based on: the rhythm channel of a Soldano X88R preamp
# Stock cabinet suggestions: n/a
# Original controls: Gain, Bass, Middle, Treble, Volume
# [http://www.soldano.com Soldano website]
# [http://en.wikipedia.org/wiki/Soldano Wikipedia]
# Cliff: "Solo 88 RHY is based on an X88R since the rhythm channel of an X99 is identical to an SLO 100. FWIW, I have two X88Rs and the model agrees with both" [http://forum.fractalaudio.com/axe-fx-ii-bugs/56475-solo-88-rhythm-name-model-accuracy.html#post718846 Source]

==Solo 99 Clean / Lead (based on Soldano X99)==

[[File:326SoldanoX99.png|150px]]

# Based on: the clean and lead channels of a Soldano/Caswell midi-motorized Soldano X99 preamp
# Stock cabinet suggestions: n/a
# Original controls: Gain, Bass, Middle, Treble, Volume
# [http://www.soldano.com Soldano website]
# [http://en.wikipedia.org/wiki/Soldano Wikipedia]
# Cliff: "The rhythm channel of an X99 is identical to a SLO 100" [http://forum.fractalaudio.com/axe-fx-ii-bugs/56475-solo-88-rhythm-name-model-accuracy.html#post718846 Source]

==Spawn Nitrous (based on Splawn Nitro)==

[[file:SPLAWN_NITRO.png|150px]]

# Based on: Splawn Nitro, lots of saturation and big lows, with KT-88 power tubes. Overdrive channel, 100w. Speakers: G12M, G12-65, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Resonance, Presence, Bass, Middle, Treble, Master, Gain
# [http://www.splawnguitars.com Splawn website]: "All the Splawn tone with more saturation and voiced for a bigger low end and low mids"
# [http://www.splawnguitars.com/Splawn%20Manual%20rev-2-4.pdf Manual]
# [http://www.splawnguitars.com/clips.htm Audio samples]
# [http://licklibrary.ceros.com/iguitarmag/iguitar/iguitar/magazine/iguitar/mag/digital/guita/issue4/page/92 Review in iGuitar]

==Spawn Q-Rod 1st / 2nd / 3rd (based on Splawn Quickrod)==

[[File:SPLAWN_QR.png|150px]]

# Based on: Splawn Quick Rod, an amp with bold body and a bit of bite. 100w, two channels. Channel 2, 1st gear: "Plexi", 2nd gear: "Hot Rod JCM 800", 3rd gear: "Super Hot Rod 800". Speakers: G12M, G12-65, V30
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
# Original controls: Presence, Bass, Middle, Treble, Solo, Volume, Gain, Mode
# [http://www.splawnguitars.com Splawn website]: "Signature Splawn tone with lots of bite, strong mids and 3 gear versatility"
# [http://www.splawnguitars.com/QR_PM_Manual.pdf Manual]
# [http://www.splawnguitars.com/clips.htm Audio samples]

==Suhr Badger 18 / 30==

[[File:SUHR_BADGER.png‎|150px]]

# Based on: Suhr Badger, 18w and 30w models, single channel. The 18w has a EL-84 powered tube rectifier. The 30w has a solid state rectifier. Speakers: V30
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 85 (1xV30)
# Original controls: Bass, Middle, Treble, Gain, Power (controls Power Scaling), Drive (acts as Master with Power at 10)
# When increasing Gain, turn down Bass
# [http://www.suhr.com/amplifiers-for-electric-guitars/badger-series-amplifiers Suhr website]
# See website for suggested settings
# [http://www.suhr.com/core/media/media.nl?id=87&c=3496541&h=23db34f0d4388fa96a77&_xt=.pdf Manual Badger 30]
# [http://www.suhr.com/core/media/media.nl?id=83&c=3496541&h=914d14a8deb100506742&_xt=.pdf Manual Badger 18]
# Adam Cook (firmware 7.01): "Because of the no-negative feedback design of this amp the Master knob is VERY powerful when it comes to altering the tone of the amp. When you crank it up the mids get much more pronounced and you get a real warm fat singing lead tone. But it still responds incredibly well to the volume knob so when you back that down all of a sudden the highs and lows become more pronounced as it cleans up. When I saw Guthrie use this amp his "clean channel" consisted of using a volume pedal to back off the input and his full volume tone was singing high gain. You can totally do that with this amp model now" [http://forum.fractalaudio.com/axe-fx-ii-discussion/56043-suhr-badger-7-00-a-9.html#post713099 Source]
# [http://www.youtube.com/watch?v=V5N88mHMBW0 Demo by Pete Thorn]
# Cliff: "The Badgers were MIMIC'd with power scaling at full. The knobs are a bit confusing on a Badger. The knob closest to the input jack is labeled "Gain". It is equivalent to the Drive knob in the Axe. The knob labeled Drive is the Master Volume" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67486-badger-30-power-scaling-knobs.html#post830810 Source]
# For 100% clean sounds, use the Badger 30 instead of the Badger 18

==Super Verb (based on Fender Super Reverb)==

[[file:SUPER_REVERB.png‎|150px]]

# Based on: pre-CBS 1964 blackface Fender Super Reverb, AB763 circuit, 40w, low and high inputs, Normal and Vibrato channel. Speakers: 4x10 Jensen C10R, C10Q, P10R
# Stock cabinet suggestions:
#* 89/100 (Super)
# Original controls: Volume, Bass, Middle, Treble, Bright switch, tremolo controls
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/65-super-reverb Fender website]: "This faithful recreation of the legendary Blackface Super Reverb of 1963-1968 is a must-have for vintage enthusiasts and Stratocaster guitar slingers, but players of all styles enjoy its shimmering tone. The 45-watt Super Reverb’s medium output and stage-filling sound make it the perfect amp to crank up for club gigs or the concert stage. Features include dual 6L6 Groove Tubes output tubes, one 5AR4 rectifier tube, four 12AX7 preamp tubes, two 12AT7 tubes, four 10” 8-ohm Jensen P10R speakers with alnico magnets, dual channels (normal and vibrato), tube-driven Fender reverb, tube vibrato, two-button footswitch for reverb and vibrato on-off, black textured vinyl covering with silver grille cloth, and tilt-back legs"
# [http://en.wikipedia.org/wiki/Fender_Super_Reverb Wikipedia]
# [http://fenderguru.com/amps/super-reverb Fenderguru.com]: "The AB763 Super Reverb is a very popular Fender amp due to the huge tone, robustness and the pure tone from the traditional blackface AB763 amp design. The AB763 design is also to be found in some silverface amps between 1967 and 1969. The later silverface circuits were changed further by CBS to become cleaner, harder and thinner sounding, specially if one compares amps at the same volume and EQ setting. If you’re into sparkling clean tones, a silverface can do the job just as well as a blackface amp. The blackfaces have more growl and a distorted, cranked tone. It is heavy to carry with the 4×10″ speakers and massive iron transformers. The height also makes it difficult to carry, making you sweat when hauling it between gigs. It’s a big sounding amp with a potential for being very loud and bassy given the right (wrong) speakers. The nature of the 4×10″ speaker configuration is a directional tone with screaming treble right forwards and backwards and unfortunately little spread. A lot of deep bass is produced by the bigt cabinet while the important mids are fairly low, a scooped tone. Many players are stupid and increase the volume to compensate for the lack of spread and mids. This will introduce even more bass and sharp treble. Playing the Super Reverb is not supposed to be easy… Despite all the difficultness with this amp there will occasionally be gigs, perhaps outdoors or at a big stage, where the amp won’t hurt anyone in a radius of 3 meters. You are allowed to turn the volume beoynd 4 where the amp comes alive. We remember these occasions as our happiest musical moments. The notes bounce off our strings and we are musically and physically connected with the amp just using the pick attack and guitar volume to roll back and switch between rythm and solo. Perhaps a transparent boost pedal to take us into David Gilmour land with sustain, harmonics and a creamy tone. You can physically feel the dynamic response from one of the best vintage Fender amps of them all. But only if you know how to tame this beast"
# Cliff: "I modeled the Super with V1 pulled as most people pull V1 so the amp has more grunt. Turn down the MV to make it cleaner" [http://forum.fractalaudio.com/axe-fx-ii-discussion/61456-new-presets-v9-support-page-4.html#post764998 Source]
# Cliff: "The Super Reverb model is "Diaz Modded". IOW, I pulled V1. This gives the amp a lot more gain so it's not surprising you're getting breakup at around 1.5. You can un-mod the model by turning down the MV Trim to around 0.5" [http://forum.fractalaudio.com/axe-fx-ii-discussion/69261-crash-sound-distortion-attack-2.html#post851580 Source]
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# Several forum members recommend using the "[http://www.singlecoil.com/docs/magic-six.pdf magic six]" settings: Volume 6, Treble 6, Middle 3, Bass 2 (6, 6, and 3x2=6). And Bright switched on

==Supertweed==

[[file:SUPERTWEED.PNG|150px]]

# Ported model from the Ultra, a vintage tweed on stereoids.

==Supremo Trem (based on Supro 1964T)==

[[File:SUPRO.PNG|150px]]

# Based on: Supro 1964T, a cool classic, built in Chicago by Valco, originally inteded for bass. Speakers: 6" oval speaker, 12" or 15" Jensen
# Stock cabinet suggestions:
#*18/95 (Supro)
# Original controls: Volume, Tone (Axe-Fx: Treble)
# [http://www.youtube.com/watch?v=NRAJqdZcz5k Youtube]
# Firmware 10 release notes: "Renamed “SUPER TREM” model to “SUPREMO TREM” to avoid confusion with other models"

==SV Bass (based on Ampeg SVT)==

[[File:287AmpegSVT.png|150px]]

# Based on: Ampeg SVT, a bass head used for decades by famous bassists the world over. Super Vacuum Tube bass amp, 300W. Speakers: 8x10
# Stock cabinet suggestions:
#* 66/67/68/109/110/111/112/113 (bass cabs)
# Original controls: Gain, Bass, Mid (and Mid Frequency), Treble, Master
# [http://www.ampeg.com/products/classic/svtcl Ampeg website]
# [http://www.ampeg.com/pdf/SVTCL_OM.pdf Manual]

==Thordendal Mdrn / Vint (based on Fredrik Thordendal’s specifications)==

[[file:.png|150px]]

# Based on: Fredrik Thordendal’s (Meshuggah) specifications, two modes
# Stock cabinet suggestions: n/a
# Original controls: n/a
# Cliff: "It's not a DAR model. It's a custom model based on input from Fredrik" [http://forum.fractalaudio.com/news/71448-firmware-version-10-10-now-available-4.html#post876038 Source]

==TripTik Classic / Clean / Modern (based on Carol-Ann TripTik)==

[[file:.png|150px]]

# Based on: Carol-Ann Triptik, all 3 voicings. EL34, 50w or 100w, three channels. Speakers: not specified
# Stock cabinet suggestions:
# Original controls: Input Level (Axe-Fx: Input Drive), Drive on channels 2 and 3 (Axe-Fx: Overdrive), Bass, Middle, Treble, Presence, Master, Classic/Modern voicing switching
# [http://www.carolannamps.com Carol-Ann website]
# Website: "This 3 Channel Amplifier is our idea for a true rock amp that is capable of reproducing both timeless classic rock tones to modern high gain tones with a super tight and crushing low end. The design of this amplifier is a true ground up design and has not been inspired by any other amplifier out there. It is an original back to the drawing board design." And: "The amp features two identical overdrive channels that both have a switch that sets the particular channel to either 'Classic' or 'Modern' voicings. The 'classic' voicing has a little less gain and low end and will produce 70's and 80's British rock tones with a very wide and complex sound stage with no buzz or brittle high frequencies. The 'Modern' setting has more gain and low end for those more modern heavy rhythm, dropped tunings. This channel also makes for a superb liquid lead channel with incredible sustain and harmonic bloom"
# [http://www.carolannamps.com/Sounds.htm Audio samples]
# Cliff: "This TripTik is badass. Dumble meets Marshall with a sprinkle of 5150 power amp" [http://forum.fractalaudio.com/axe-fx-ii-discussion/70996-since-10-06-came-out.html#post870346 Source]
# Cliff: "I think what people like about this amp is the same reason people like the BE/HBE. These amps share the same aggressive low-cut on the input and then add bass back in the power amp. This gives clear bass response without getting flubby." [http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me-4.html#post873466 Source]
# Information from the owner: "Start with the bass/mid/treble/pres at noon, don't be afraid to push the pres or mids up a bit. Alan's amps are pretty big and 3d sounding so you may have to bring down the bass/depth/gain a tad" [http://forum.fractalaudio.com/news/71073-firmware-10-09-axe-fx-now-available.html#post871355 Source]
# Model based on 50W EL34 amp supplied by forum member jharpersj, [http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me.html#post871704 Source]
# Alan Phillips from Carol-Ann commenting on the model: http://forum.fractalaudio.com/axe-fx-ii-discussion/71086-10-09-trip-tik-you-kidding-me-2.html#post872042

==Tube Pre==

[[file:336TubePre.png|150px]]

# Based on: a completely neutral, low-gain tube preamp, useful for “warming up” various sources or to act as a power amplifier
# Cliff: "The Tube Pre model is neutral. The "Vintage" tone stack is flat. The Tube Pre model uses the Vintage tone stack. The Vintage tone stack is a passive EQ model but it has a flat response when the controls are at noon. If you want "active" EQ you need to set the type to Active [http://forum.fractalaudio.com/axe-fx-ii-discussion/70487-possible-bypass-preamp.html Source]
# Because it's neutral you can use the Tube Pre if you need power amp simulation without a preamp

==Two Stone J-35 (based on Two-Rock Jet 35)==

[[file:JET_35.png‎|150px]]

# Based on: Two-Rock Jet 35, 35w tube amp, 6L6 tubes. Modeled in the lead mode with the “Bypass” switch engaged; the Bypass switch bypasses the input tone stack to give a more focused lead sound. Speakers: G12-65
# Stock cabinet suggestions:
#* 29/56 (G12-65) or try the G12-65 IRs in Fractal's Mad Oak Cab Pack (not a stock cab)
#* 8/12/105/106/119 (EVM)
# Original controls: Treble, Mid, Bass, Gain (Axe-Fx: Input Gain), Master, Lead Gain (Axe-Fx: Overdrive), pull bright/mid/deep
# [http://www.two-rock.com/ownermanuals/Jet%20Manual.pdf Manual]
# [http://www.two-rock.com/models/jet-35 Two-Rock website]: "A peerless small venue or studio amp, specifically designed to deliver killer Two-Rock tone at a lower volume than any other series in the line. It can produce 22W through 2 6v6's or 35W through 2 6L6's. The Jet 22 and 35 have a Custom Reverb-type circuit but are more basic in their features. The Jet does not include the EQ1/EQ2 switch and has a simpler feature layout than the CR V3. It offers the basic EQ settings - bass, mid & treble - and it is closer to the EQ2 or the CR Sig in voicing. Same serial effects loop as the Custom Reverb, and same all-tube spring reverb. The Jet 35 has a pull bright, mid and deep boost, as well as the bypass and lead switches availble by a "pull" pot on the front of the amp"
# Cliff: "Yes, it's very smooth but there's this unique chirp or something that I've never heard in an amp before. When you hit the note there's this blast of high end that rapidly decays so it has an almost vocal quality. The frequency shaping is very different than most other amps" [http://forum.fractalaudio.com/axe-fx-ii-discussion/59414-axe-fx-ii-firmware-9-public-beta-47.html#post745084 Source]
# Cliff: "The Two Rock is the most unique amp I've ever modeled. Almost like a violin but with this really cool chirp on the pick attack" [http://forum.fractalaudio.com/axe-fx-ii-discussion/59964-so-cliff-have-you-added-any-new-amps-since-oct-31st-4.html#post747921 Source]
# [http://www.youtube.com/results?search_query=Two-Rock+Jet+35+W&oq=Two-Rock+Jet+35 Videos]

==TX Star Lead (based on Mesa Lone Star)==

[[file:332MesaLonestar.png|150px]]

# Based on the lead channel of a Mesa Lone Star. 6L6 tubes (Classic version). Speakers: Mesa C90
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Drive (Axe-Fx: Input Drive), Gain (Axe-Fx: Overdrive), Treble, Mid, Bass, Presence, Master, Voicing
# [http://www.mesaboogie.com/manuals/Lonestar.pdf Manual, with sample settings]
# [http://www.mesaboogie.com/Product_Info/Lonestar/Lonestar-2012/Lonestar-2012.htm Mesa website]: "Tone! Big as Texas! Wide as the Rio Grande. Clear as the bell that rang over the Alamo. Unstoppable as a rising Texas flood. Yeah, that's some bold proclamation. But the Lone Star® backs it up. Just as our Mark I sprang from the Black Face era and took classic guitar tones to a new level, the Lone Star took the next step forward, crystallizing perfect sound that's haunted you for years. As guitar players, we live for those elusive moments of divine musical inspiration, where you become one with the interaction between your guitar and amplifier and it magically transcends you and your playing to a level well beyond your normal plane. You know the ones…. Those moments of unbelievable gratification where your tone is so amazingly right and the feel of your strings are so perfectly connected to your fingers that you become an unbridled channel of soulful musical expression. These are the moments that truly motivate us as players and keep us coming back to the art of playing guitar! It is in this exact spirit that we have created the Lone Star! The Lone Star is an amplifier of such extravagant tone and seductive feel that we can almost guarantee that you will experience divine inspiration and effortless expression every time you plug into it! It is that amazing! From its innovative custom circuitry, down to its new classic retro/vintage looks, the Lone Star was designed to be the new defining vintage/boutique amplifier from the original boutique amp builder"
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia]
# [http://www.youtube.com/watch?v=BUwtCExJ_Lc YouTube video]: Andy Timmons' Lone Star settings. Try with a BB drive block
# [http://www.youtube.com/watch?v=-CDklxuTS0E Demo by Andy Timmons]
# Firmware 11.02: "Added Overdrive control to TX Star Lead model. Fixed wrong cutoff frequency"

==USA Clean 1 (based on Mesa Mark IV)==

[[file:320MesaMarkIV.png|150px]]

# Based on: Mesa Boogie Mark IV (Rhythm 1 channel), a beautiful clean-sounding model that can pushed into warm clipping. Speakers: Mesa C90
# Stock cabinet suggestion:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Gain, Volume, Treble, Mid, Bass, Presence, Bright switch. Graphic Equalizer not modeled
# [http://www.mesaboogie.com/manuals/Mark%204.pdf Manual]
# [http://www.mesaboogie.com Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# Cliff: "The MK V is basically a compendium of previous Mesa amps. There may be minor differences in tone due to circuit layout but nothing a few tweaks to the EQ can't fix" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43349-mesa-mark-v-model-preset.html#post573437 Source]
# Cliff: "Having owned multiple Mark IV's, multiple Triaxis's and a variety of other Boogie products, I can tell that the Mark series in general are a bitch to dial in. Once you figure them out though they are great amps. IMO, the key to a MKIV is to use the TMB to get the feel and the EQ to get the tone" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51059-got-everything-loaded-usa-lead-2-sounds-well-3.html#post658940 Source]
# [http://mesaboogie.com/news/2010/12/video-john-petrucci-mark-v-settings-and-tone-tips John Petrucci videos]

==USA Clean 2 (based on Mesa Triaxis)==

[[file:321MesaTriaxis.png|150px]]

# Based on: Mesa Boogie Triaxis preamp Rhythm Green channel (“Vintage Fat Rhythm" or "old Black Face")
# Stock cabinet suggestion: n/a
# Original controls: Gain, Treble, Middle, Bass, Presence, Master. Dynamic Voice (EQ) not modeled
# [http://www.mesaboogie.com Mesa website]
# [http://www.mesaboogie.com/manuals/Triaxis.pdf Manual]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1]
# Cliff: "I used a Triaxis for, shoot, I dunno, over a decade before designing the Axe-Fx. I have two of them. So I'd say I'm pretty familiar with the tones. To my ears (and my measurement equipment), the Axe-Fx models are spot-on" [http://forum.fractalaudio.com/axe-fx-ii-discussion/45541-lost-notes-chord-voicings-axe-ii-11.html#post596811 Source]

==USA IIC+ Bright / Norm (based on Mesa Mark IIC+)==

[[file:319MesaMarkIIc+.png|150px]]

# Based on: Mesa Boogie Mark IIC+ Lead, a US-made amp famous for its smooth overdrive sound. Models: pull bright OFF / ON. Speakers: EVM 12L
# Stock cabinet suggestions:
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Gain (Axe-Fx: Input Drive), Drive (Axe-Fx: Overdrive), Master, Bass, Mid, Treble, Presence, Bright switch pullout, Treble Shift. Graphic equalizer and Gain Boost not modeled
# [http://www.mesaboogie.com/manuals/user_manuals.htm Manual]
# [http://www.mesaboogie.com Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# Use the GEQ block (5-band type) to simulate the graphic EQ on the real amp. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Alternatively try the USA PRE Yellow model (Triaxis)
# Cliff: "To match a Mark V on the IIC+ (v11.01 and later):
## Select the appropriate USA IIC+ Norm or Bright model (based on the Mark V switch).
## Set Overdrive to about 8.0
## Turn on Fat and Bright Switches.
## You may need to fine-tune the Presence slightly as the presence network is very sensitive to the taper of the pot.
## I had to set Presence to 5.59 to match the Mark V presence at noon."
## [http://forum.fractalaudio.com/axe-fx-ii-discussion/74069-fw11-iic-vs-mark-v-iic-not-getting-good-results-5.html#post909672 Source]
# Cliff: "The model (11.0 and earlier) was based on a early non-SimulClass version. I updated the model (11.01) to be consistent with the later SimulClass version which most people prefer. The mode in the Mark V is based on the later SimulClass version." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74069-fw11-iic-vs-mark-v-iic-not-getting-good-results-4.html#post910018 Source] "If you want the sound of the non-SimulClass version set Triode 1 Plate Freq to 1350 Hz." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74403-axe-fx-ii-firmware-v11-01-new-preset-banks.html#post910386 Source]

==USA Lead / Lead + / Lead Brt / Lead Brt + (based on Mesa Mark IV)==

[[file:320MesaMarkIV.png|150px]]

# Based on: Mesa Boogie Mark IV. Tight, focused, hi-gain sound, great for fusion and rock leads. LEAD+: Mid Gain switched on. LEAD BRT: pull Bright. LEAD BRT +: Mid Gain and pull Bright. Speakers: Mesa C90
# Stock cabinet suggestions:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Drive (Axe-Fx: Input Drive), Lead Drive (Axe-Fx: Overdrive), Master, Bass, Middle, Treble, Presence, pull Bright switch. Presence Shift not modeled. Graphic Equalizer not modeled
# [http://www.mesaboogie.com/manuals/Mark%204.pdf Manual]
# [http://www.mesaboogie.com/ Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# Use the GEQ block (5-band type) to simulate the graphic EQ on the real amp. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Cliff: "The MK V is basically a compendium of previous Mesa amps. There may be minor differences in tone due to circuit layout but nothing a few tweaks to the EQ can't fix" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43349-mesa-mark-v-model-preset.html#post573437 Source]
# Lead/Lead Brt models are modeled with Mid Gain off. The + models have Mid Gain switched on
# Cliff: "Having owned multiple Mark IV's, multiple Triaxis's and a variety of other Boogie products, I can tell that the Mark series in general are a bitch to dial in. Once you figure them out though they are great amps. IMO, the key to a MKIV is to use the TMB to get the feel and the EQ to get the tone" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51059-got-everything-loaded-usa-lead-2-sounds-well-3.html#post658940 Source]
# Firmware 10 release notes: "All Mesa Mark lead models have been reworked and renamed for clarity. Note that the models are modeled with the amp’s Pull Shift knob disengaged. To replicate the function of the Pull Shift, set the Depth to zero. Also note that the Presence control (as in the actual amp) is neutral when set to 5.00 (noon). Turning the knob CCW decreases the amount of presence and vice-versa. By comparison, most amps are only able to increase presence and the control is neutral when set to zero"
# [http://mesaboogie.com/news/2010/12/video-john-petrucci-mark-v-settings-and-tone-tips John Petrucci videos]
# Cliff: "Everything but the presence shift is there. There are different models for Mid Gain and Bright. To get both you would use the USA Lead Brt + model." [http://forum.fractalaudio.com/axe-fx-ii-discussion/72353-some-questions-regarding-mark-iv.html#post886284 Source]

==USA Pre Green / Yellow (based on Mesa Triaxis)==

[[file:321MesaTriaxis.png|150px]]

# Based on: Mesa Triaxis preamp, Lead 2, Green ("Mid Gain Mark IV Lead") and Yellow ("Classic MKII Lead") modes
# Stock cabinet suggestions: n/a
# Original controls: Drive (Axe-Fx: Input Drive), Lead Drive (Axe-Fx: Overdrive), Treble, Middle, Bass, Presence, Master. Dynamic Voice (EQ) not modeled
# [http://www.mesaboogie.com Mesa website]
# [http://www.mesaboogie.com/manuals/Triaxis.pdf Manual]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia]
# Cliff: "I used a Triaxis for, shoot, I dunno, over a decade before designing the Axe-Fx. I have two of them. So I'd say I'm pretty familiar with the tones" [http://forum.fractalaudio.com/axe-fx-ii-discussion/45541-lost-notes-chord-voicings-axe-ii-11.html#post596811 Source]
# Firmware 10 release notes: "Based on Mesa Triaxis LD2 modes. Note that these were modeled with the Triaxis Presence control at maximum as this control is actually a hi-cut control. Also note that the mid control in the model has far more range than the preamp. At a value of 5.0 the responses will match but the amount of mid cut on the Axe-Fx is greater"
# Cliff: "I did NOT use a Boogie power amp model with these as I always preferred using my Triaxis (I have two of them) with a more typical tube power amp. My favorite power amp with the Triaxis was a VHT 2502 so the power amp model is very similar to that" [http://forum.fractalaudio.com/axe-fx-ii-discussion/66771-usa-pre-yellow-green-cliff-you-nailed.html#post823915 Source]
# Use the GEQ block (5-band type) to simulate the Dynamic Voice control on the real preamp. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Firmware 10.02: "Changed USA Pre Green and USA Pre Yellow amp models to have power amp sim active by default (Supply Sag nonzero)"

==USA Rhythm (based on Mesa Mark IV)==

[[file:320MesaMarkIV.png|150px]]

# Based on: Mesa Boogie Mark IV (Rhythm 2 channel), THE California crunch rhythm sound. Rhythm channel 2 with “Fat” switch OFF. Speakers: Mesa C90
# Stock cabinet suggestion:
#* 41/43/44/47/48/51/53/59/62/63/65/60/70/71/72/108/125/126/127/130/132 (V30)
#* 8/12/105/106/119 (EVM)
#* 104 (Classic Lead 80)
# Original controls: Gain, Volume, Treble, Mid, Bass, Presence. Graphic Equalizer not modeled
# [http://www.mesaboogie.com/manuals/Mark%204.pdf Manual]
# [http://www.mesaboogie.com Mesa website]
# [http://en.wikipedia.org/wiki/Mesa_Boogie Wikipedia1] [http://en.wikipedia.org/wiki/Mesa_Boogie_Mark_Series Wikipedia2]
# You can use the GEQ block (5-band type) to simulate the graphic EQ on the real amp, although the Graphic EQ is often not used on the Rhythm 2 channel. Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0
# Cliff: "The MK V is basically a compendium of previous Mesa amps. There may be minor differences in tone due to circuit layout but nothing a few tweaks to the EQ can't fix" [http://forum.fractalaudio.com/axe-fx-ii-discussion/43349-mesa-mark-v-model-preset.html#post573437 Source]
# Cliff: "Having owned multiple Mark IV's, multiple Triaxis's and a variety of other Boogie products, I can tell that the Mark series in general are a bitch to dial in. Once you figure them out though they are great amps. IMO, the key to a MKIV is to use the TMB to get the feel and the EQ to get the tone" [http://forum.fractalaudio.com/axe-fx-ii-discussion/51059-got-everything-loaded-usa-lead-2-sounds-well-3.html#post658940 Source]
# Cliff: "I modeled the USA Rhythm with the Presence Shift pulled (for variety and since I thought it sounds better that way). You can adjust to whatever you prefer." [http://forum.fractalaudio.com/axe-fx-ii-discussion/74678-boogies-sounds-better-11-03-a.html#post913339 Source]
# [http://mesaboogie.com/news/2010/12/video-john-petrucci-mark-v-settings-and-tone-tips John Petrucci videos]

==Vibrato Lux (based on Fender Vibrolux Reverb)==

[[file:FENDERVIBROLUXREVERB.png]]

# Based on: 1963 blackface Fender Vibrolux Reverb, legendary amp called the "little Vibrro-King". 6L6, low and high inputs, Normal and Vibrato channels. Speakers: 2x10 (Jensen C10Q) or Oxford 1x12
# Stock cabinet suggestions:
#* 82/90 (Vibrolux)
#* or EVM 12L
# Original controls (Vibrato channel): Volume, Bass, Treble, Bright switch, Reverb, Speed, Intensity
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/custom-vibrolux-reverb Fender website]: "The Custom Vibrolux Reverb is more a modern interpretation of a classic Fender rather than a reissue; connoisseurs call it a “little Vibro-King.” Turn it up when you want to soar, or turn your guitar down to play clean with this super-responsive 40-watt all-tube amp. The more dynamic your style, the more you’ll love its ability to whisper or scream in response to changes in your pick attack. Features include dual 6L6 Groove Tubes output tubes, five 12AX7 preamp tubes, one 12AT7 tube, two 10” 8-ohm Jensen P10R speakers with alnico magnets, two independent channels (normal and bright), reverb and vibrato (both channels), 4-ohm external speaker jack, two-button footswitch and tilt-back legs"
# [http://fenderguru.com/amps/vibrolux Fenderguru.com]: "The 35w blackface Vibrolux Reverb (VR) is the smallest member of the blackface/silverface 6L6 Fender amp family. Its strength lies in the sweetness and early breakup caused by the smaller transformers than the Super Reverb, Vibroverb and Pro Reverb. The Vibrolux is quite similar to the Pro Reverb 2×12″ except for the smaller speakers and a smaller power transformer delivering less 6L6 plate voltage. Hence, less clean headroom. 10″s provide a more scooped, responsive, punchy and sparkling sound than 12 inch speakers. The 12″s are fuller, warmer, has more mids and a more three-dimensional tonal spread. Like all silverface amps, the Vibrolux Reverb was modified in the CBS periods to increase the clean headroom. The Vibrolux Reverb has become a very popular amp since The ToneQuest Report published the article “Under 40 Watt of Whoop Ass“, awarding the VR as the most preferred low wattage Fender amp"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# The Vibrolux is very similar to the Vibroverb. It was used to record Sultans of swing

==Vibrato Verb (based on Fender Vibroverb)==

[[file:308FenderVibroverb.png|150px]]

# Based on: 40w Fender Vibroverb, great for clear or grinding cleans and gutsy blues. 6G16 circuit, low and high inputs, Normal and Vibrato channels. Speakers: 1x15 (Jensen C15N, JBL D130, Eminence) or 2x10 (Jensen C10Q)
# Stock cabinet suggestions:
#* 18/31/87/88/123 (1x15)
# Original controls: Volume, Bass, Treble, Reverb, tremolo controls
# [http://www.fender.com Fender website]
# [http://en.wikipedia.org/wiki/Fender_Vibroverb Wikipedia]
# [http://fenderguru.com/amps/vibroverb Fenderguru.com]: "Stevie Ray Vaughan’s musical influence has made the Fender Vibroverb the most sought after and hyped of all Fender amps. He played many other amps too, Super Reverb, Dumble and Marshalls. In studio he used dozens of amps that were thrown at him. For some reason the Vibroverb has become the most famous and is now widely associated with his signature tone (though you can reproduce his tone with most Fender amps with the right speakers). On the vintage amp market on US eBay the blackface Vibroverb sells for three to four times as much as the price for other 6L6 Fender amps, sometimes even more than the legendary 4×10″ narrow panel tweed Bassman. Since Fender did not continue the Vibroverb after the CBS takeover in 1965, most likely because players didn’t desire 1×15″ amps at that time, there are only a few blackface Vibroverb amps out there. Given the hype and popularity, these few Vibroverbs are extremly valuable and collectable. So, what is so special with the Vibroverb? First, the 15″ speaker sets it apart from most guitar amps. While most guitar amps have multiple 10″ and 12″ speakers the Vibroverb came with one big Jensen C15n or JBLd130f, the last one with a aluminium dust cap that can be hard to tame. Otherwise the blackface Vibroverb is very similar to the other blackface and silverface AB763 Fender amps. In fact, there aren’t any different features or technical improvements in the Vibroverb that justifies its popularity. It’s all about emotions. But that’s what music is all about; emotions. The Vibroverb belongs to the 6L6 Fender family. It is powerful and loud, but in a different way than the 10″ and 12″-amps. The Vibroverb did not sell very well in 64 and 65. Players probably thought the amp was suited for bass amps, we’re not sure. The Vibroverb did score among steel guitar players at the time. The 15″ speakers are firm in the bass and have lots of sparkle but most importantly, they have an enormous spread carrying the lower mids to anyone on stage. Mid frequencies is exactly what you need on stage in an electrical band. The mids will blend in nicely with the bass, drums, piano and horns. It will not interfer with the bass like a 4×10″ setup does. Of course this is a matter of taste, but a guitar tone with strong mids will contribute to a rich overall melodic footprint in an electrical band"
# Cliff: "Also remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]

==Vibrato-King (based on Fender Vibro-King)==

[[file:VIBRO_KING.PNG|150px]]

# Based on: Fender Vibro-King, famous for crystal cleans and powerful overdrive. Speakers: 3x10
# Original controls: Volume, Treble, Bass, Middle, Fat switch (no Bright switch), tremolo controls, reverb controls
# Stock cabinet suggestions:
#* 98 (Vibro-King)
# [http://www.fender.com/en-NL/amps/guitar_amplifiers/vibro-king-20th-anniversary-edition Fender website]: "Fender introduced the Vibro-King in 1993 to great acclaim, marking a return to a great hand-wired amp tradition while including a previously unavailable selection of sought-after features. In the two decades since, guitarists and amp aficionados everywhere have prized the enduringly classic Vibro-King as one of the most touch-sensitive amps ever, with sparkling-clean shimmer at lower volumes and powerfully thick overdrive when cranked up. Fender now celebrates those two decades of great tone with the 20th Anniversary Vibro-King. Fender and Jensen collaborated on the amp's trio of warmer-sounding 10" speakers, and a finger-joined solid-pine cabinet increases resonance. Other premium features include all-tube hand-wired circuitry, custom Schumacher® transformers, and much more"
# Cliff: "Remember that all the models use the "High" input (Input '1' on Fenders). If you want to mimic the "Low" input lower Input Trim" [http://forum.fractalaudio.com/axe-fx-ii-discussion/62915-fender-twin-reverb-drive-low-low-low-but-still-breaking-up-any-advices-4.html#post780229 Source]
# Cliff: "The model is based on the custom version which has higher plate voltages which causes more overdrive on the power tubes. It’s modeled with the Fat switch on. Turning off the Fat switch reduces the gain by about 4 dB so set input trim to around 0.6"

==Wrecker 1 (based on Trainwreck Express)==

[[file:327TrainwreckExpress.png|150px]]

# Based on: Trainwreck Express, designed and built by the late, great Ken Fischer. Speakers: G12M, G12H
# Stock cabinet suggestions:
#* 36/37/38/58/60/61/96/101/102/103 (G12M)
#* 16/34/57/64/120/124 (G12H)
# Original controls: Volume, Bas, Mid, Treble, Presence, Bright switch
# [http://www.trainwreck.com/?page_id=16 FAQ]
# [http://www.trainwreck.com Trainwreck website]
# Cliff: "The Trainwreck depends on power amp distortion. The OT has a high impedance which causes the power tubes to enter clipping early. I would not recommend using that model as preamp"
# [http://www.youtube.com/watch?v=Y2_12Ler9B8 YouTube clip]

[[category:About the Axe-Fx II]]
[[category:Presets and effects]]

Amp block

2013-05-22T06:15:01Z

GiRa: Added what to do with models with more controls than the original amp

=Manual=

{{5.1 Amplifier (AMP)}}
{{5.1.1 Basic Amp Parameters (TYPE, PRE, PWR Pages)}}
{{5.1.2 Amp Speaker Parameters}}
{{5.1.3 Amp Dynamics Parameters}}
{{5.1.4 Advanced Amp Parameters}}
{{16.13 Table of Amp Types}}

=User contributions=

==Amp modeling developments==
* The amp modeling in the Axe-Fx II is called G2 and Virtual Vaccuum Modeling modeling (see the Fractal Audio website). Part of it is ported to Standard/Ultra firmware 11.
* Cliff: "Almost all the amps in the AFXII are based on actual amps." [http://forum.fractalaudio.com/axe-fx-ii/35930-list-models-10.html#post492166 Source1] [http://www.thegearpage.net/board/showpost.php?p=11504075&postcount=2 Source2]
* Cliff: "As you listen to clips from modelers what you start to recognize is a certain "stationary" aspect to the tone compared to the every-changing tonality of a tube amp. Another thing is finger response. With a good tube amp you can vary the tone quite a bit just by how you fret the note and attack it. Modelers tend to make every note sound the same. So I tested some hypotheses and came to the conclusion that it's because a real vacuum tube has a transfer function that is not static. The transfer function is dependent on time, frequency and amplitude. Where you really hear it is in the in-between regions where the tube is just starting to distort. At first I tried some dynamic transfer functions but that was a lesson in futility. So then I created the VVT stuff. In VVT there is an actual vacuum-tube replica in software. You enter the values of the resistors and capacitors on the grid, cathode, etc. and it behaves just like a tube complete with Miller effect, cathode memory, etc. The problem is that it requires an obscene amount of horsepower so the only solution was a dedicated DSP. The other big part of the G2 sound is the output transformer modeling. The OT distorts and as it distorts its inductance decreases which changes the bandwidth and loop characteristics." [http://forum.fractalaudio.com/axe-fx-ii/36159-where-axe-ii-samples-come-beta-testers-18.html#post497893 Source]
* Firmware 5:
** Cliff: "The new firmware (V5) is all about dynamics. The power amp modeling was totally rewritten. If you listen to those early VH albums you can hear the amps knock and ring when he hits them hard. Lots of work went into discovering why that happens and replicating it. It's due to several factors: the power supply sagging, the bias point shifting as the supply sags, the screens ringing and power compression in the speakers" [http://forum.fractalaudio.com/axe-fx-ii-discussion/46452-version-5-mini-review-2.html#post606602 Source]
** "Much improved grid modeling in Amp block preamp and power amp stages. New modeling very accurately replicates grid conduction and resulting bias excursion. This results in a more dynamic, thicker and bouncier tone. The power tube grid conduction parameters are exposed to the user in the GUI. The Bias Excursion parameter controls how much the grid voltage droops when the grids conduct. The Excursion Time and Recovery Time parameters control the time constants associated with the excursion."
** "Added dynamics processing to Amp block. A new tab, “DYN”, in the amp block, allows adjusting various parameters of the dynamics processor along with several other parameters related to amp dynamics. The Dynamics parameter controls the amount of dynamics processing and models the interaction between the power amp, power supply and loudspeaker under high power-level conditions. The Dynamics Time parameter (ADV tab) controls the time constant of the associated processing. The Level parameter is duplicated on the DYN page for convenience."
* Firmware 6:
** "Reworked power amp modeling based on new research. The power amp modeling has been totally rewritten based on “amp matching” studies. This includes improved output transformer saturation modeling."
** "Most amp models have been matched to their respective physical amps. Exceptions are those models which don’t have a physical counterpart, i.e. FAS MODERN, etc. The matching data is integral to the amp block and is transparent to the user. This has increased the size of the firmware slightly and also uses the master DSP for part of the calculations which increases the CPU load associated with the amp block slightly."
** Cliff: "Almost everything has been reworked. Almost all the "real" amps are "matched" to the actual amp. This involved much more than just Tone Matching. It also included gain matching, harmonic content matching, tone-stack matching, etc." [http://forum.fractalaudio.com/axe-fx-ii-reviews/51000-version-6-0-great-2.html#post657523 Source]
* Firmware 7.00:
** "The dynamics processing of the amp block was totally rewritten for this release. A complex set of formulas was developed that completely describe the various voltages in a tube amp. Unlike other modelers that simply model an amps dynamics as a first-order compressor, the Axe-Fx II now accurately models the complex interaction of the power tubes with the surrounding circuitry including the power supply and screen voltage network. You may notice a difference in the feel of the various amp models. Please refer to the descriptions below to understand the operation of the various controls. Doing so will enable you to adjust the dynamics to your personal preferences."
** "Improved preamp modeling. Harmonics now move more with input level which results in a more open and less congested tone."
* Firmware 8.00:
** "Improved phase inverter modeling provides “juicier” tone when PI is driven hard (MSTR set high)."
** "Doubled resolution of internal amp matching data."
** "Added input matching data to many amp models. While this may not be audible in many cases, especially for higher gain amps, it does affect the feel."
** Cliff: "If you set the Global to 7.xx the modeling code is IDENTICAL to the actual 7.00 firmware. All I do is call the old function instead. However, the presence calculation is based on the new (and far more accurate) calculations." [http://forum.fractalaudio.com/axe-fx-ii-wish-list/58444-clarification-getting-7-0-tones-8-01a-beyond-whats-been-stated-so-far.html#post730912 Source]
* Firmware 8.01a:
** "Added global Modeling Version parameter which allows one to select between modeling versions. This parameter is global and is in the Global menu."
* Firmware 9:
** "New power amp modeling with improved dynamic response. This new modeling features improved transformer/plate interaction modeling resulting in better feel and a punchier response. The Supply Sag parameter is more responsive as a result. Additionally, crossover and transformer hysteresis distortion modeling is improved resulting in more overtones when playing softly. This improves controlled feedback performance and yields a more aggressive tone at lower Power Tube Bias settings. The Global menu allows the choice of Version 9.xx, 8.xx or 7.xx modeling to suit individual tastes. Note that Version 9.xx is slightly quieter so don’t be swayed by Fletcher-Munson effects when evaluating differences."
** "Greatly improved cathode follower modeling. The cathode follower modeling now varies the amount of distortion in addition to compression. This results in a more dynamic attack, improved feel and more “punch” and “thunk” (since this also creates low frequency energy into the power amp). The amount of cathode follower affect is controlled, as always, by the COMP parameter in the Amp block. Note that the higher the COMP value, the more effective distortion on sustained notes. Therefore as you increase COMP, you may want to decrease Drive. Also note that excessive values can result in pumping or blocking distortion. Note that the “cathode follower effect” occurs even in common cathode stages as well so even amps that don’t have cathode followers may exhibit some cathode follower-like effect."
* Firmware 10:
** "Implemented “Multi-point Iterative Matching and Impedance Correction” technology (MIMICTM P.A.F.) to amp models. MIMIC applies analytic signals to an amplifier and captures the fine nuances of each amp at various points in the circuit and corrects each model vs. its theoretical implementation. In some cases the difference can be substantial, in other cases the difference is minimal. This depends on the layout of the amp and the various parasitics involved. MIMIC has the advantage of applying these corrections at the appropriate location in the amp model rather than as just an output EQ so that the various controls of the model behave virtually identically to the actual. For example, the Modern modes of a Dual Rectifier are highly sensitive to Master Volume with the tone becoming thicker as the MV is increased. MIMIC preserves this behavior rather than just getting louder as the Master Volume is increased. The equalization correction portion of MIMIC processing can be turned off in the Advanced menu tab of the Amp block, if desired. Note that the nonlinear correction and other aspects of MIMIC are integral to a model and cannot be turned off. In many cases the equalization correction can be subtle and many not be immediately audible when switched on or off."
** "Updated numerous amp model details in light of MIMIC's identification of deviations between the models and actual amps."
** "Tweaked power amp modeling slightly to increase even-order harmonics. This makes most models “sweeter”."
** "Improved triode modeling removes “glare” from distortion yielding greater clarity and string separation."
** "Improved power tube modeling gives more punch and pop, especially to tones that rely on power amp distortion. Additionally this provides a more dynamic response, better touch sensitivity and improved pick attack."
* Cliff (firmware 10): "The amp models in V10 sound exactly like their real-world counterparts. If you don't like the model, then you won't like the amp. The models are statistically matched to the amps in both frequency response and distortion profile. In some cases this gives a certain sizzle. Some may not like this but it is accurate." [http://forum.fractalaudio.com/axe-fx-ii-discussion/67173-firmware-10-first-upgrade-i-dont-like-heres-why-2.html#post828043 Source]
* Cliff: "If an amp has just "Tone" then that's mapped to Treble. Leave bass and mid at noon." And: "If they don't have a presence/hi-cut that should be set to zero" [http://forum.fractalaudio.com/axe-fx-ii-discussion/67260-question-proper-axe-eq-values-amps-dont-have-them.html Source]
* Cliff: "We have 50+ real amps here. These amps have been MIMIC'd and the models sound exactly like the actual amps. There are, however, a bunch of models in the Axe-Fx II that are not matched to any real amp. They are purely theoretical. They sound great as well. In the early days of the Axe-Fx all the models were based on theoretical analysis. Then we got into matching the models to real amps. Some of those early models were inaccurate but still sounded great. So rather than replace them we simply added new models and left the old ones. Das Metal was one of these theoretical models that sounds great. Instead of replacing it with matched VH4 models we added models. Best of both worlds. [http://forum.fractalaudio.com/axe-fx-ii-discussion/68969-das-metal-dizzy.html#post847579 Source]

==MIMIC==
* See [[MIMIC]]

==Preamp and power amp modeling==
* The pre-amp and power amp sections of the amp sim cannot be split.
* The power amp can be disabled though, either globally (Global menu) or per preset (turn Sag to zero). Note that turning off power amp simulation doesn't work well with amp sims that fully rely on power amp distortion such as the Wrecker sim.

==What happened to Global Amps==
* The Global Amps feature in the Standard/Ultra is part of Global Blocks in the Axe-Fx II.

==Using 1 or 2 Amp blocks (HiRes mode)==
* Each preset can have up to two Amp blocks. One DSP is devoted entirely to the Amp block(s). Adding a second Amp block just adds about 2% CPU usage. Cliff: "There is actually a small amount of processing for the amp blocks done on the master DSP. That, along with inter-DSP communications, uses about 2% of the master DSP." [http://forum.fractalaudio.com/axe-fx-ii-discussion/46744-ver-5-more-cpu-hungry-5.html#post610285 Source]
* Each Amp block can use the X/Y feature to switch between sets of parameters.
* When using a single Amp block in a preset, the Amp block (automatically!) runs at double the internal sampling frequency (firmware 3.03 and higher). Main benefit of this is less aliasing in high gain models. "Amp block now has high-res mode. In this mode the internal sampling rate is doubled so as to provide greater fidelity and resistance to aliasing. This mode is automatic and is selected whenever there is only amp block in the layout grid. Adding a second amp block will revert to normal resolution. Note that switching between presets with differing number of amp blocks may introduce an additional delay as a “soft reset” of the amp blocks must be done whenever changing the resolution." And Cliff: "The oversampling rate is cut in half when running two amps. It's probably not noticeable. Even when running at half, it's as fast or faster than every other product available." [http://forum.fractalaudio.com/axe-fx-ii-discussion/57125-use-two-amps-less-quality.html#post716531 Source]
* You can use two Amp blocks simultaneously by using two grid rows.
* You can switch between Amp 1 and Amp 2 using MIDI CCs. Or morph between them using an expression pedal: add a Mixer block, input both signal chains into it, use the modifier menu to go from 0-100% on one amp and 100-0% on the other, adjust the curve responses for a smooth crossfade.
* Cliff: "I don't hear a difference either but some claim they can. A single amp block runs the amp simulation at 16x oversampling. Two amp blocks run each simulation at 8x."[http://forum.fractalaudio.com/axe-fx-ii-discussion/67096-v10-test-1-amp-block-hi-res-vs-2-amp-blocks-low-res.html#post826852 Source]
* Cliff: "Don't put amp blocks in series. Especially when one is clean and the other is high-gain. Always put them in parallel and set the bypass mode to mute." [http://forum.fractalaudio.com/axe-fx-ii-bugs/67340-fw10-pop-when-switching-between-two-scenes-different-amp.html#post831962 Source]

==Audio gap when entering an Amp block's Edit mode==
* If you press Edit in the Amp block (or using X/Y on the front panel), there will be a short gap in the audio stream because of processing tasks. [http://forum.fractalaudio.com/axe-fx-ii-wish-list/40519-wish-no-gap-audio-when-editing-amp-block.html#post546660 Source]

==Resetting Amp block settings==
* Doubleclicking Bypass resets an Amp block. This will reset all parameters to default. If firmware earlier than 6 is installed, the amp type wll be set back to 59 Bassman. If firmware 6 or later is installed, the current amp type stays the same.

==Tips for adjusting amp gain==
* Here's a list of things you can do to increase or decrease an amp's gain range. Also check [http://forum.fractalaudio.com/axe-fx-ii-discussion/49193-wicked-wiki-4-increasing-amp-gain.html this Wicked Wiki thread].
** Each amp has a Drive parameter controlling the amount of preamp gain. You can assign an external controller (expression pedal) to vary the gain.
** Adjust the global Amp Gain parameter, see [[Global menu (front panel)]].
** Use the Input Trim parameter in the Amp block. You can use this parameter as a substitute for the Lead Drive control on a Mesa Mark amplifier or other amps which have two Drive/Gain controls.
** Increase Master Volume for more power amp distortion.
** Increase Mstr Vol Trim on the advanced parameters page (firmware 10).
** Use Boost in the Amp block. Also, switching on Bright often increases gain.
** Adjust Transformer Match and Drive, or engage the Saturation switch.
* Insert a Drive block before the amp and set it to FET Boost or Tape Dist (clean boost) and attach a pedal to its Drive parameter. Or set it to TS808 or Tube Drive block with Drive all the way down and Level maxed ("old school" trick that helps tighten up the low end). Alternatively use a NullFilter block before the amp instead of a Drive block, with lots of dBs to boost the amp's input.
** Jay Mitchell: "Cascade one amp block into another. Turn off "Sag" in the first one. Now you've got an extra preamp feeding your amp, which opens up an incredible spectrum of gain staging. For example, think Twin Reverb preamp, with Plexi tonestack set to "post," feeding a Plexi 2 with default settings. The possibilities exceed anything one person could hope to explore in a lifetime. You can get it awfully close. You want to minimize the effect of the preamp in Amp 2. To do this, set the 2nd Amp's Bright to off, MV to a high value and find a neutral setting for the tone controls in the 2nd Amp. Then use Drive in the 2nd Amp for your MV. The amp types you choose for this arrangement will make a huge difference, as will quite a few parameter settings."
** Jay Mitchell: "Start with Tape drive, set the clipping mode to "HV tube", Drive moderate, Level as appropriate for the amp block it's driving, and you'll have another tube gain stage, complete with EQ."
** Note that, unlike with the Standard and Ultra, adjusting the Input Level (I/O menu) does not affect the gain!
** Cliff: "If you want less distortion on low notes there are several ways to achieve this: 1) Use the Low Cut, 2) Increase Definition, 3) Increase Xfrmr LF. The first two reduce low frequency content going into the preamp, the last one reduces it going into the power amp (there's a hidden low-cut between the preamp and power amp but the user doesn't have access to this). So it depends on where you are getting the distortion from. If it's mostly preamp distortion, use #1 or #2. Otherwise use #3. You can add bass back with the Depth knob or in the EQ page. The default settings are accurate for the amp being modeled. As amps become more modern, it seems people's taste agree with yours and many modern amps feature aggressive low-cut and then add bass back in the power amp. So what you are doing is "modernizing" your amp. For example, the HBE has a very high low-cut and then adds bass back with a fixed Depth circuit." [http://forum.fractalaudio.com/axe-fx-ii-discussion/59934-warmth-6-0-9-0-a.html#post747576 Source]

==About fizz==
* Cliff: Fizz is desirable. Almost all high gain amps use a lot of feedback on the last triode stage to make it as "hard" as possible. This is typically done by using no cathode cap or a small cathode cap. You never see big cathode caps on the last stage of a high-gain amp. This gives lots of negative feedback and makes it clip harder. Another technique is to use negative feedback to the grid. This is done in 5150-based designs which makes the stage clip even harder. The last stage of a 5150 basically looks like a diode clipper. The harder the clipping the more overtones that are created and the better the tone cuts. Without those overtones your sound is lost in the mix. Amp designers know what they are doing. Trust them." [http://forum.fractalaudio.com/axe-fx-ii-discussion/67719-v10-preset-fizz.html#post833875 Source]

==Models with more controls thant the original amp==
* Cliff: "If the amp has no Master Volume, set the MV to 10 (the model will default to 10 when you select it). If the amp has no midrange control, set the MID to 5.00. If the amp only has a "Tone" control, set Bass and Mid to noon and the Treble control is your tone control." [http://forum.fractalaudio.com/axe-fx-ii-discussion/69693-axe-tone-controls-vs-real-amps-tone-controls-question.html#post855688 Source]

=TYPE page=

==AMP TYPE==
* Firmware 10: "When in the Type page of the Amp block, the A,B, and C Quick-Control knobs now control Drive, MV and Level, respectively. This allows for quicker auditioning of the various models."

=PRE page=

==DRIVE, MASTER VOLUME==
* Vintage amps don't have separate gain (drive) and master volume controls. That's why Master defaults to "10" in these models (firmware 10 and later). Use Drive for volume and gain.
* Cliff: "For clean tones the Drive control should be set fairly low and the Master set very high. On a real "Blackface", for instance, the Master is essentially maxed since that amp has no master volume. A Blackface typically achieves full power at around 10-11 o'clock on the volume (Drive). It's also insanely loud. Beyond that everything starts to saturate and clip. If you set the Master low and the Drive high, for clean tones, the low end will tend to get muddy. Good cleans are obtained with little, if any, preamp distortion and a nice amount of power amp distortion. Power amp distortion has a much different character and tends to be glassy and bouncy. Preamp distortion is rougher and more compressed."
* Cliff: "The real key is to adjust the relative amounts of each. You want to balance preamp and power amp distortion for the best tone. What I do is start with the MV low and turn up the Drive until I get the desired amount of gain and sustain. Then turn up the MV until I get the desired compression. Then fine-tune each." [http://forum.fractalaudio.com/axe-fx-ii-discussion/46055-pre-amp-vs-power-amp-distortion-axefxii.html#post601681 Source]
* Cliff: "The amp block is always the place to set your volume. The Level control is repeated at several places in the amp block menus for convenience so you don't have to keep switching pages. The Master Volume (MV) DOES affect the tone. It sets the level into the power amp simulation. The Level control has no affect on the tone. For MV amps, i.e a 5150, adjust the MV until the desired amount of power amp distortion is obtained. Most MV amps rely on preamp distortion and don't produce much power amp distortion. If you turn the MV up too high on them the tone will get muddy and flubby. Non-MV amps rely primarily on power amp distortion so you need the level into the power amp to be hot enough to push the power amp into distortion." [http://forum.fractalaudio.com/axe-fx-ii-discussion/55340-so-many-volumes-options.html#post698522 Source]
* Cliff: "I just start low and bring it up until I get the desired compression. Then I chug the E string and if it's too buzzy or flubby I drop it down a bit. For tight, high-gain stuff you want to keep it low. For liquid, spongy tones you want to set it higher". [http://www.thegearpage.net/board/showpost.php?p=13739825&postcount=27 Source]
* Cliff: "In most cases the knobs do translate. Usually within 10%." [http://forum.fractalaudio.com/axe-fx-ii-discussion/58613-axe-sounding-terrible-through-guitar-cab.html#post732551 Source]
* Firmware 10:
** "Amp models now default to a starting Master Volume setting when selected. Also, the proper setting for non-MV amps is now a Master Volume setting of 10.0. Non-MV amps, therefore, will default to a value of 10.0 when selected. If more MV drive is desired for non-MV amps, the new MSTR VOL TRIM parameter in the Advanced GUI page can be used to increase (or decrease) the Master Volume. The starting MV value for non-MV amps is roughly the “sweet spot” for the amp. This is the point where the power amp starts to contribute to the tone and feel of the amp. Decreasing the MV will typically cause the amp to get brighter and less compressed and increasing the MV will cause the amp to get more midrange focus and more compressed. As always, your ears should be your guide."
** "Improved “Drive Stack” accuracy in Amp block. This allows for near exact control behavior for the Drive control over the full range of operation."
** "Firmware 10: "New MSTR VOL TRIM parameter in the Advanced GUI page can be used to increase (or decrease) the Master Volume."
* Cliff: "Just multiplies the MV by the amount. You only need to use it if you want more power amp drive and your MV is already at 10. IOW, if MV is 10 and you set MV Trim to 2.0 then the MV will be 20." [http://forum.fractalaudio.com/axe-fx-ii-discussion/67870-master-volume-trim.html#post834697 Source]

==BASS, MID, TREBLE==
* Firmware 6: "In general most knobs now behave exactly like the actual amp when possible. In a few instances there may be minor discrepancies between the knob position of the model and actual amp due to programming constraints and/or peculiarities of the actual amp (such as poor potentiometer tolerance). Due to variations in presence circuit topologies the taper of the Presence parameter, in particular, may vary between the model and the actual amp. In other words, a different setting on the model may be required to achieve the same response as the actual amp. In most cases however, the Drive, Treble, Mid, and Bass knobs will be accurate to within 10% of the actual amp."
* Cliff: "In most cases the knobs do translate. Usually within 10%." [http://forum.fractalaudio.com/axe-fx-ii-discussion/58613-axe-sounding-terrible-through-guitar-cab.html#post732551 Source]

==FAT==
* Added in firmware 6. Located under the Mid knob. When engaged it shifts the center frequency of the tone stack down thereby “fattening” the tone. It's similar to the Fat switch on a Mesa Boogie amp.
* Cliff: "The Fat switch simply alters the tone stack treble capacitor. So the effect depends on the location of the tone stack." [http://forum.fractalaudio.com/axe-fx-ii-discussion/51361-fat-switch-fiasco-2.html#post660652 Source]
* Firmware 9.00: "Now always display text. When the switch is active the text is highlighted."

==BRT (Bright)==
* Turning up the amp's Drive or Master may decrease the impact of the Bright switch, depending on the amp type.
* With some amp types, such as Plexi, the Bright switch has a large impact on the amount of gain.
* It's possible to change the effect of the Bright switch on the tone. In the Advanced parameters adjust the Bright Cap value.
* Firmware 9.00: "Now always display text. When the switch is active the text is highlighted."

==COMP==
* Firmware 7.00: "Added compression modeling to amp block preamp section. A new parameter, “COMP”, controls the amount of compression. Most models default to zero as they do not have measureable compression. Other models have a non-zero default value which matches the amp’s preamp compression characteristics. The time constant of the dynamics can be set in the Advanced menu with the PREAMP DYN TIME parameter. Preamp compression can be used to emphasize pick attack which is useful for certain musical styles. Use caution when dialing extreme values as this can cause excessive pumping."

==SAT (Saturation)==
* Cliff: "It switches in a zener diode clipping stage right before the tone stack. This is the "Arrendondo Mod"." [http://forum.fractalaudio.com/axe-fx-ii/35997-axe-fx-ii-technical-questions-thread-76.html#post494304 Source]
* This parameter is enabled by default in the Cameron 2 amp model. Try it with amps like Plexi, JCM800, Friedman and Mesa Mark models.
* Firmware 9.00: the SAT switch function has been added to the Pre page in the Amp block menu under the COMP knob.

==BOOST==
* Sometimes enabling Boost works better than turning up preamp gain. It's a clean boost so it'll increase the gain of all frequencies. To enable the Boost, scroll to Type in the AMP block's properties and press Enter.
* Firmware 9: the BOOST switch is now a dedicated knob and also modifiable so it can be activated remotely.

=PWR page=

==PRESENCE, HICUT==
* If Damping is zero, Presence turns into a HiCut control.
* Cliff: "A tube amp's presence control is basically a type of treble control. It affects a higher range of frequencies and operates on a different principle but the net effect is an increase in high frequencies. There is also a slight increase in distortion in the higher frequencies since the power amp becomes less linear for those frequencies. [http://forum.fractalaudio.com/axe-fx-ii-wish-list/40491-global-power-amp-presence-value-independent-amp-sim.html#post546376 Source]
* Important when switching off power amp modeling: check the Presence setting. Cliff: "If you turn off power amp modeling always check the presence control. It changes from a "classic" control to a shelving type where 5.00 is neutral. I just spent an hour trying to figure out why this preamp model I am working on wasn't matching. Forgot to set the presence control to 5.00." [http://forum.fractalaudio.com/axe-fx-ii-discussion/45574-one-thing-always-check.html#post595595 Source]
* Firmware 8.00: "Authentic Presence control modeling. The Presence control in the Amp block now behaves like the actual amp rather than an idealized version. The Presence Frequency parameter is now a frequency multiplier rather than an absolute frequency as the frequency of the presence circuit depends on the Presence control position. The Presence Frequency parameter works by scaling the value of the virtual presence circuit’s capacitor value. NOTE: Any presets created with earlier firmware versions will have the Presence Frequency parameter reset to 1.0. Setting the Pres/Depth Type parameter to Active or Active Pres will override the authentic modeling and implement an ideal presence circuit with fixed center frequency."
* Cliff about HiCut: "It is dependent upon Damping, just like a real amp. Hi Cut is modeling the Miller capacitance at the input to the Phase Inverter. The more negative feedback, the less the Miller capacitance." [http://forum.fractalaudio.com/axe-fx-ii-discussion/47260-adv-hi-cut.html#post615856 Source]

==DEPTH==
* Cliff: "The Depth knob adjusts automatically only if the actual amp has no depth control. Some amps have a fixed depth circuit, equivalent to fixing the Depth knob in a certain position. If that is the case the model automatically pre-sets the Depth knob to the appropriate position when the type is selected. If the amp has a Depth knob (sometimes call Resonance, Girth, etc.), then the model does NOT pre-set the Depth control." [http://forum.fractalaudio.com/axe-fx-ii-discussion/59589-depth-control-jedis-missing-link-high-gain-cameron-bliss.html#post743254 Source]

==DYN PRES (Dynamic Presence)==
* This models the output transformer leakage inductance that results in a brightening of the tone when the power amp is pushed. This control is set to a default value when the model is selected corresponding to the real amp, if applicable. Increasing this value results in a brighter response as the virtual power amp is pushed. When playing softly or at lower gains, the influence of this control is lessened. Note that this only affects the power amp modeling and is dependent on the degree of power amp overdrive. This control can also be set negative to cause the tone to darken when playing hard. This control can also be used to help “dial in” the sweet spot of an amp model. As the MV is increased an amp becomes more liquid, compressed and easier to play. However, the highs may get overly compressed causing the amp to sound too dark. The Dynamic Presence control allows you to get the desired power amp drive and liquid feeling and then bring the highs back without affecting the rest of the spectrum.

==DYN DEPTH (Dynamic Depth)==
* Analogous to the Dynamic Presence control, this increases or decreases low frequencies when the virtual power amp is being pushed. While real amps don’t display this behavior, it is a valuable tone-shaping tool.

==LEVEL==
* The Level parameter in the Amp block lends itself very well to controlling the overall volume level of the preset, to match it to other presets and to prevent clipping the digital signal. Also see Drive and Master.

=SPKR page=

==Low and High Frequency Resonance controls==
* Cliff: "There are certain aspects that simply can't be modeled and require user intervention. For example, a speaker has a low-frequency resonance. A tube amp will create a higher output at that resonant frequency. The Axe-Fx has no way of knowing what that resonant frequency is and defaults to a value that is common for the speakers that are typically used with that amp. However, if you drive that speaker through a solid-state amp you won't excite the resonance unless you adjust the Speaker Resonant Frequency to match it."
* Cliff: "The SRF parameter (low resonance frequency) makes a difference in certain circumstances: medium-gain with lots of power amp breakup and high-gain into a traditional guitar cab. For example, a Deluxe Reverb easily gets into power amp breakup with a Drive of 5.0. Play a G chord and listen to the low notes breaking up. Adjust the SRF and you'll hear the character change pretty dramatically. This applies to both FRFR and traditional speaker applications. For high-gain amps into a traditional cab the SRF has a definite effect for palm-mutes and diad chugging. As you excite the resonant frequency the speaker excursion increases and you get much more punch. This even applies a bit to low and medium gain amps if you rely on that punch as part of your tone. Note, however, that the punch is rarely audible to the audience or captured during recording. One way to find the SRF is to put a Filter block after the amp block. Set the type to Peaking, Q to 5 or so and Gain to 10 dB. Start with a Freq. of 50 Hz. Play some chugga-chugga and slowly adjust the Freq. until you hear and feel the cabinet resonate. Make a note of the frequency. Remove the filter block and set the amp block SRF to match. 4x12s typically have an SRF of between 80 and 120. Open back cabs are typically a bit lower."
* Cliff goes into detail in [http://forum.fractalaudio.com/axe-fx-ii-discussion/45261-speaker-resonance-controls.html this thread].
* Cliff: "The speaker tab is not an EQ. It allows you to adjust the impedance that the virtual speaker presents to the virtual power tubes. In most cases the resulting EQ is quite different than the impedance curve since negative feedback flattens the response. If you turn the damping all the way down then the EQ will be close to the impedance curve (but still influenced by the transformer)." [http://forum.fractalaudio.com/axe-fx-ii-discussion/47917-amp-speaker-tab-versus-amp-graphic-eq.html#post623896 Source]
* Jay Mitchell (answering the question "What is the effect on the emulation if this value is set incorrectly?"): "You'll get the response of the amp driving a speaker with a resonant frequency other than that of the speaker that is represented by the IR you're playing through. Whether that difference is even audible depends on the resonant frequency itself (much below 80 Hz has relatively little effect on guitar frequencies) and the virtual design of the amp sim (e.g., higher values for Damp will reduce the effect). The justification for getting this "right" is getting the closest possible match to the physical cab you're simulating. There's nothing to say it won't sound better set to some other frequency."
* Jay Mitchell: "The term "resonant" is unfortunate, because there is no resonant peak in the electroacoustic response of most cone transducers - including guitar speakers - under normal conditions. There is an interaction between the source impedance of an amplifier and the load impedance presented by the loudspeaker. Both impedances can vary with frequency, but frequency-dependent variations in the load impedance are much greater. What is the effect of this interaction? In the most extreme case of a high source impedance - say, 3 ohms, which could be the case with a Class A SE tube amp with no negative feedback - there will be a response peak of just over 3dB at the "resonant frequency" of the speaker. In a less extreme (and more common) case - say, 1 ohm source impedance - this response peak will be reduced to about 1.23dB. In comparison to the other response peaks and dips in a guitar amp/cab system, the effect is a subtle one. Another relevant item: if you are looking for the "right" frequency (IOW, the actual resonant frequency of the cab represented by the sim), you cannot identify it with an IR of the speaker. The response of the speaker is influenced by many variables, and resonant frequency is just one of them. Anything you do via use of the Axe-Fx alone, while it may be pleasing to you, is unconnected to the actual resonant frequency of the speaker. As one person has already suggested here, choosing the fundamental of a note on the guitar may produce a desireable result. In the end, this is another form of EQ which adds a small response peak at a relatively low frequency. The higher you have the "Damp" parameter set in the amp sim, the less effect this parameter will have."
* Cliff: "That parameter was added in 5.02. It is called HI RES but operates somewhat differently than the old HI RES parameter. Reduce this value to achieve a smoother tone. The old Axe-Fx is equivalent to around 4-5. Also note that the old Axe-Fx had more HI CUT by default. You may want to reduce the HI CUT FREQ to emulate that "polished" tone." [http://forum.fractalaudio.com/axe-fx-ii-discussion/48158-axe-fx-2-matrix-gt800fx-great-but-my-standard-had-some-benefits-2.html#post627431 Source]
* Forum member Smilefan's explanation of the resonance controls ([http://forum.fractalaudio.com/axe-fx-ii-preset-exchange/45630-part-iii-smilefan-patch-thread-4.html#post598480 source]): "Impedance is the electrical characteristics of the amp/speaker hardware that restricts the flow of power to the speaker. Impedance is a complex issue. When you see an “8 ohm” speaker, that’s a great oversimplification. A speaker’s impedance is different at different frequencies. As a speaker’s impedance changes, it changes the task of the amp, asking for more or less current flow. The greater the impedance, the more current and voltage are required from the amp to drive the speaker. This interaction has a great effect on sound and performance. The controls you have in the Amp model function like an integrated 3 band Parametric EQ. Except it allows you to precisely tailor the output impedance of amp to the speakers at a wide range of frequencies. There are two major areas where output impedance affects the way a loudspeaker sounds. Frequency response and controlling the motion of the speaker cone. So variations in output impedance produce a noticeable affect on what frequencies the amp’s tonal and drive characteristics will be displayed thru the speaker, and the playing feel of the amp thru the motion of the speaker cone.
* More information about resonance in [http://www.thegearpage.net/board/showthread.php?t=1110120 this thread].
* Jay Mitchell: "Putting a cone transducer in a sealed enclosure adds stiffness to the speaker's suspension. The effect of this added stiffness is to increase the resonant frequency. The smaller the enclosure, the greater the added stiffness, and therefore the greater the increase in the resonant frequency. It is not uncommon for the small per-speaker volume in a typical 4x12 to increase the resonant frequency by quite a bit more than 10 Hz. A speaker in an open-back cabinet will see a small-to-nonexistent increase in its resonant frequency, and there may be additional, secondary resonances. A ported enclosure has two resonant frequencies, ideally (when the enclosure is correctly tuned for the speaker) of equal magnitude. The Axe-Fx speaker parameters are not capable of accounting for the second resonant frequency of a ported cab or small secondary resonances, but these effects are usually not sonically relevant." [http://www.thegearpage.net/board/showpost.php?p=13475239&postcount=29 Source]
* Jay MItchell: "Here's the simple part: the output impedance of the amplifier is in series with the load impedance presented by the loudspeaker. The combination of the two is a frequency-dependent voltage divider. In the physical world, this relationship always takes care of itself. In the virtual world, it never does. It must be consciously addressed by the code-writer and/or the user." [http://www.thegearpage.net/board/showpost.php?p=13477394&postcount=48 Source]
* Jay Mitchell: "All electric motors - including loudspeakers - function in reverse (IOW, as generators) as well. You can actually use a cone transducer as a microphone. For this reason, anything that affects the mechanical motion of a transducer also affects the electrical load (aka "impedance") that it presents to the amplifier. As I pointed out earlier in this thread, placing a cone transducer in a sealed box adds to the spring constant of the suspension. This has the effect of increasing the resonant frequency, which is the frequency at which the electrical impedance reaches its peak value. Internal reflections in an undamped cab can also cause small artifacts in the impedance vs. frequency characteristic of a speaker. As an informational item, the term "resonance" is woefully misunderstood in this context. You cannot identify the "resonant" frequency of a speaker/cab combination via any listening exercise. In most cases, there is no amplitude response peak at the resonant frequency. Impedance vs frequency information is not available from the IR of a speaker, either. It is a separate data set without which the detailed interactions between an amp and speaker - which profoundly affect the sound and feel of guitar amps - cannot be accurately simulated. [http://www.thegearpage.net/board/showpost.php?p=13492740&postcount=74 Source]
* Cliff: "LF: in general the Q is between 2 and 2.5. The Hi Freq is usually between 1 and 1.5 kHz. Hi Freq sets the critical frequency (or corner frequency) of the inductive portion of the loudspeaker's response. The critical frequency is the frequency at which the reactive component of the impedance is equal to the resistive component. This is found by fc = R/(2*pi*L). For a typical speaker R is around 6 ohms and L is around 0.75 mH. Therefore fc = 1270. Jensens tend to have higher inductance so that would move this value down. Eminence speakers tend to have lower inductance so that would move this value up. Celestion does not publish their values so I used Eminence values when calculating the defaults. You'll notice the Marshally stuff has fc around 1500 which is consistent with a typical Eminence copy of a Greenback. => You cannot obtain speaker impedance via audio stimulus and microphone measurement. Impedance is defined as voltage divided by current so you need to measure the current vs. applied voltage across the frequency range of interest. I have the equipment to do it, and have measured many speakers, but the average person do esn't have the equipment nor the knowledge to use the data. The influence of speaker impedance is generally not that great. The exception are amps with no negative feedback. In these cases the speaker impedance has a much more pronounced effect on the overall response. These amps include Vox, Matchless and most other "Class-A" designs. As soon as you add negative feedback the response flattens considerably. However... Presence and Depth reduce negative feedback so if you dial significant amounts of those in then the speaker impedance becomes a factor again. All-in-all you only have to be in the ballpark. 1500 Hz is a good starting point for Hi Freq. Adjust up or down slightly by ear. I don't believe that 3000 Hz is accurate. I've never seen a speaker that would have the corner frequency that far out. => IMHO, the stock settings are accurate. As I explained a few posts up I wouldn't set Hi Freq outside the range of 1.0 to 1.6 kHz. Vibroverb model is an exception (800 Hz) since it had a more voice coil inductance. => I call it critical frequency since it is similar to the critical or corner frequency of a filter. I had to come up with some way of setting the loudspeaker inductance relative to the resistance. Frequency seemed to make more sense. I thought about an inductance parameter but figured that would be too nebulous. At the default settings the impedance rise of the simulated voice coil matches very close with published data. I have overlaid the modeled impedance curve with published data and it is a very good fit. For example, take the JCM800 model. The graph on the SPKR page has a scale of +20 dB at the top. Look at the response at 2kHz. It's roughly 1/4 of full-scale which equates to 5 dB. If we look at the impedance curve for a typical 8-ohm speaker we see that the impedance at 2 kHz is roughly 13 ohms. For a 6.5 ohm voice coil (typical) this means that the voltage at the speaker is 6 dB higher at 2 kHz. Pretty darn close to what the graph is showing. While there is no high-frequency resonance in the speaker itself, a resonance IS formed due to the winding capacitance of the transformer. This capacitance resonates with the voice-coil inductance. Jay likes to brag about his experience yet he seems to miss some pretty basic concepts. => The negative feedback is set in the Advanced menu. The SPKR page only sets the impedance curve of the speaker/OT combo. The values chosen are prototypical for the speaker used with the modeled amp. You should not need to vary these parameters much IMO. I only ever vary Low Freq and High Freq. Whenever I'm matching an amp I adjust Low Freq to match the resonance of my reference cabinet. I occasionally vary Hi Freq to get more or less midrange bite." [http://forum.fractalaudio.com/axe-fx-ii-discussion/55045-time-release-monster-speaker-resonance Source]
* Firmware 5.00: "The value of this parameter sets the “corner frequency” of the impedance rise due to voice-coil inductance (technically this is a “semi-inductance”). The actual impedance seen by the virtual power tubes is then internally calculated based on the transformer and power tube parameters. Typical guitar speakers have a corner frequency between 1 kHz and 2 kHz. This value is preset based on the model but the user can override the value as desired. Many speaker manufacturers publish impedance data for their drivers which can be used as a reference point. Lower values give more midrange emphasis. For convenience, the transformer low-cut and high-cut frequencies are now present on the SPKR page and their influence on the open-loop response is reflected in the impedance graph."
* Firmware 5.02: "HF Resonance: this control is similar to the previous control but only changes the slope of the resonance. The default value is consistent with the typical “semi-inductance” of a speaker voice-coil. Varying this value will change the high-frequency load presented to the virtual power tubes."
* Firmware 10: "Removed Mid Freq parameters from Speaker tab of amp block. MIMIC renders these controls irrelevant and better results are obtained by using any of the EQ resources."
* Cliff (firmware 10): "The default LF Resonance is based on the cab most likely to be used with that amp. For example, if you select a Twin Reverb model it will use the resonance data from the Twin Reverb amp that we used as the reference (we measured all the cabs as well as shooting IRs). Your 1960A cab probably has its resonance around 80 Hz so ideally you would want to do exactly what you did. The ultimate solution would be to measure the LF resonance but that requires special test equipment. I've found that you can usually find it by ear though. As you adjust the LF resonance you'll hear the cabinet sympathize. There is no way around this at the moment as no modeler can measure the impedance of a guitar cabinet (despite any claims to the contrary). However, I have an idea for the next generation of products that solves this. Note that this is not applicable when using FRFR and IRs."
* Cliff: "The resonant frequency goes up when mounted in a cabinet. I would estimate that it is going to be around 100 Hz. It doesn't need to be spot-on. If you are within 10% you'll be fine. If you want to be anal about it you can use an impedance analyzer. This is what we use: Dayton Audio DATS Dayton Audio Test System 390-806."[http://forum.fractalaudio.com/axe-fx-ii-discussion/68009-speaker-tab-settings-amp-block-g12k100.html#post836372 Source]

==SPKR DRV (Speaker Drive)==
* This parameter simulates speaker breakup. It interacts with Master Volume. If you crank it, you'll get the sound of a blown speaker.
* Cliff: "The range of the speaker drive parameter is far greater than you would be able to push any real speaker before it self-destructed. If it doesn't sound good set that high, simply turn it down." [http://forum.fractalaudio.com/axe-fx-ii-bugs/48341-weird-speaker-drive-5-07-a-2.html#post632608 Source]
* Firmware 9.01: "Speaker Drive in Amp block now defaults to zero when changing model type."

==XFMR DRV (Transformer Drive)==
* Cliff: "Transformer Drive is exclusive to the II. It models the core saturation in the output transformer. The Drive increases the amount of core saturation." [http://forum.fractalaudio.com/axe-fx-ii/39352-does-transformer-drive-parameter.html#post535233 Source]
* Cliff: "Don't overlook this when striving for "vintage" tones. I was playing around with this last night and it's very powerful in making edge-of-breakup tones sound like an old, well-played amp (if that's your thing)." (...) "Fenders, Vox, and other models where you crank the Master." "Yes, basically inverse to core size. The higher you set the drive the more it saturates the virtual transformer's core. It doesn't affect the B+, that's done with the Sag parameter." [http://forum.fractalaudio.com/axe-fx-ii-discussion/41252-tranformer-drive.html#post553646 Source]
* Firmware 6: "Since the new output transformer modeling is improved, more effective and more important to the tone, this parameter, XFRMR DRIVE, has replaced the SPKR DRIVE parameter on the DYN (Dyanmics) page of the amp block."
* Cliff: "The size of the transformer is dictated by the necessary power handling. You can simulate smaller/larger transformers by adjusting the Transformer Drive parameter."[http://forum.fractalaudio.com/axe-fx-ii-discussion/63263-x-former-match-3.html#post784589 Source]

=EQ page=

==Graphic EQ==
* The GEQ in the Amp block is fixed in position at the very output.
* Press Enter to reset all sliders to 0dB.
* Cliff: "The speaker tab is not an EQ. It allows you to adjust the impedance that the virtual speaker presents to the virtual power tubes. In most cases the resulting EQ is quite different than the impedance curve since negative feedback flattens the response. If you turn the damping all the way down then the EQ will be close to the impedance curve (but still influenced by the transformer)." [http://forum.fractalaudio.com/axe-fx-ii-discussion/47917-amp-speaker-tab-versus-amp-graphic-eq.html#post623896 Source]
* Firmware 10: "Changed outermost bands in all graphic EQs to shelving types"

=DYN page=

==SUPPLY SAG / MAINS IMP. (SAG)==
* Turning Sag to zero disables power amp simulation for the preset. The Sag control has no effect at all when Power amp simulation is switched off in the Global menu.
* Cliff: "Supply Sag models the power supply resistance. This includes the power transformer, rectifier and any other resistances before the filter caps. The higher the resistance, the more the supply droops when current is pulled from it by the power tubes. The more the supply droops, the spongier the feel." [http://forum.fractalaudio.com/axe-fx-ii-discussion/56648-im-addicted-supply-sag-2.html#post711961 Source]
* Firmware 7.00: "Note that there are two dynamics controls for the power amp section. SUPPLY SAG controls how much the virtual power supply sags. This is a complex interaction between the master volume (MSTR), transformer matching (XFRMR MATCH) and screen network. Depending upon the amp you may even feel the screen voltage bounce if the screen network is underdamped (amps with chokes can often be underdamped). The screen network parameters are automatically set when the model is selected and cannot be altered by the user. DYNAMICS is an idealized dynamic range processor which controls the power amp response independently of the aforementioned parameters although it is still somewhat dependent on master volume. In general, the more heavily driven the power amp section, the more effect the SUPPLY SAG and DYNAMICS controls have."
* Firmware 10: "Note that high values of Sag along with low B+ Time Constant values can cause “ghost notes” when the supply type is AC (as in a real amp). Lower B+ Time Constant values will make the amp feel “faster” but too low can cause ghost notes."

==DYNAMICS==
* Firmware 5: "Added dynamics processing to Amp block. A new tab, “DYN”, in the amp block, allows adjusting various parameters of the dynamics processor along with several other parameters related to amp dynamics. The Dynamics parameter controls the amount of dynamics processing and models the interaction between the power amp, power supply and loudspeaker under high power-level conditions. The Dynamics Time parameter (ADV tab) controls the time constant of the associated processing. The Level parameter is duplicated on the DYN page for convenience."
* Cliff (about firmware 6): "V6 is much more open, like a real tube amp. If you like the compression of the old firmware turn up the Dynamics knob in the Amp block. It defaults to zero now as the new modeling handles all the sag naturally rather than using the "compressor around the waveshaper" technique found in other products." [http://forum.fractalaudio.com/axe-fx-ii-reviews/51200-fw-6-killed-my-lucky-sustain-man-due-low-clean-drive-zone.html#post659053 Source]
* Firmware 7:
** "The dynamics processing of the amp block was totally rewritten for this release. A complex set of formulas was developed that completely describe the various voltages in a tube amp. Unlike other modelers that simply model an amps dynamics as a first-order compressor, the Axe-Fx II now accurately models the complex interaction of the power tubes with the surrounding circuitry including the power supply and screen voltage network. You may notice a difference in the feel of the various amp models. Please refer to the descriptions below to understand the operation of the various controls. Doing so will enable you to adjust the dynamics to your personal preferences."
** "The DYNAMICS control in the Amp block now allows negative values. Negative values cause dynamic range expansion while positive values work as before and cause dynamic range reduction. Use caution when dialing in extreme values as this can cause unwanted distortion."
** "Note that there are two dynamics controls for the power amp section. SUPPLY SAG controls how much the virtual power supply sags. This is a complex interaction between the master volume (MSTR), transformer matching (XFRMR MATCH) and screen network. Depending upon the amp you may even feel the screen voltage bounce if the screen network is underdamped (amps with chokes can often be underdamped). The screen network parameters are automatically set when the model is selected and cannot be altered by the user. DYNAMICS is an idealized dynamic range processor which controls the power amp response independently of the aforementioned parameters although it is still somewhat dependent on master volume. In general, the more heavily driven the power amp section, the more effect the SUPPLY SAG and DYNAMICS controls have."
* Cliff (firmware 7): "The default is zero." [http://forum.fractalaudio.com/axe-fx-ii-discussion/56352-what-equivalent-amp-block-dynamics-setting-v6-02-v7-2.html#post709264 Source]

==PICK ATTACK==
* Firmware 9: "Controls a sophisticated dynamic range processor that operates on leading edge transients. Negative values reduce pick attack while positive values enhance it."

==THUNK==
* Firmware 10: "Added “Thunk” control to amp block. This parameter allows adding “weight” to tones by simulating the very low-frequency interaction of a speaker cabinet with the guitar. Higher values simulate closer proximity of the guitar to the cabinet."

==XFRMR MATCH (Transformer Match)==
* Firmware 3.0: "This is an extremely powerful parameter that sets the relative output transformer primary impedance which in turn controls how easily the power tubes are driven into clipping. The higher the Master Volume setting the more pronounced the effect of this parameter. Decreasing the matching causes the power tubes to clip later and therefore the phase inverter and grid clipping becomes more predominant. Increasing the matching causes the power tubes to clip sooner. At lower settings the speaker resonance will be more pronounced, at higher settings the speaker resonance will be less pronounced. For optimum results bring up the Master until the desired amount of power amp distortion is achieved, then adjust the matching until the character of the distortion is as desired. The various LF and HF resonance parameters interact strongly with this parameter so be sure to experiment with those as well when crafting your ideal tone. The value of this parameter is relative to the actual transformer matching which is set internally and not directly exposed. The value is reset to 1.0 whenever they amp type is selected."
* Cliff: "Very powerful control. Use in moderation. It changes the turns ratio of the virtual output transformer. Primary impedance is a function of turns ratio. As you increase the turns ratio you increase the impedance by the square of the turns ratio: Zp = N^2 * Zs. An easier description: Increasing Transformer Match -> Thick. Decreasing Transformer Match -> Scooped." [http://forum.fractalaudio.com/axe-fx-ii-discussion/48005-5-04-adv-parameters-xformer-match.html Source]
* Cliff: "One of the most powerful controls in the Amp Block Is Transformer Match. If you want a more "open" sound and feel, turn it down. If you want more compressed sound and feel, turn it up. A little goes a long way. Note that this control has more or less effect depending upon the setting of the Master Volume. Transformer Match has more influence at higher MV values and vice-versa. If you turn TM down, you may want to turn MV up to compensate and vice-versa. Turning it way up (around 2.0), for example, simulates the sound of running an 8-ohm speaker on the 4-ohm tap."
* Firmware 6.01: "As a result of amp matching tests, the Transformer Match internal values have been reduced. This may be detectable as a slightly more open and less compressed tone. If you desire the slightly more compressed sound of Version 6.00, this can be obtained by increasing the Transformer Match to a value of 1.1." [http://forum.fractalaudio.com/axe-fx-ii-discussion/52338-one-most-powerful-controls-amp-block.html#post669709 Source]
* Cliff: "Don't overlook this parameter when your MV is set high. It is extremely powerful. A little in either direction can make a big difference. If you want a more open tone, turn it down slightly. If you want more compression and sustain, turn it up a bit. This parameter is essentially a "turns ratio" for the OT." [http://forum.fractalaudio.com/axe-fx-ii-discussion/56382-transformer-match.html#post709437 Source]
* Cliff: "Higher values are "warmer" but more compressed. Lower values are more open but harsher. Only small adjustments are needed. Transformer Match is the single most powerful advanced parameter when dealing with non-MV amps (i.e. when you have the MV cranked)." [http://forum.fractalaudio.com/axe-fx-ii-discussion/59934-warmth-6-0-9-0-a.html#post747355 Source]
* Cliff: "The most powerful advanced parameter is Transformer Match. When people try different tube brands or rebias their amp to use a different type of tube they make all kinds of hyperbolic claims about those tubes but it isn't really the tube that made the difference. Well it is but it's not because the tube is doing something special. It's simply because the tube has a different transconductance (gain). Amp designers choose an OT turns ratio such that the amp is "matched" to the load. However "matched" is a nebulous term since tube gains vary, speaker impedance is variable and bias point is adjustable. Therefore there is no absolute turns ratio that ensures perfect matching. Matching implies that the swing at the power tube grids just pushes the plates to the rails. If the output transformer is undermatched, the grids will clip before the plates hit the rails and vice-versa. Designers also select the turns ratio based on personal preference. Some designers prefer undermatched OT since this gives a more "open" sound, while others prefer overmatched since this gives more touch response. For example, a Trainwreck is highly overmatched. For a given OT, if the tubes have higher gain than originally then this effectively overmatches the OT and vice-versa. Now this matters most for non-MV amps that get their distortion from the power amp, i.e. old Marshall, Fender, etc. So... if you are going to experiment with any advanced parameter, start with Transformer Match. A little bit in either direction can make a big difference. Note that the Transformer Match parameter is relative to the internal value." [http://forum.fractalaudio.com/axe-fx-ii-discussion/61820-most-powerful-advanced-amp-parameter.html#post768301 Source]
* Cliff: "Transformer match has nothing to do with the physical size of the transformer. It is the turns ratio. The higher the turns ratio (higher Transformer Match) the higher the reflected impedance from the speaker and vice-versa. The higher the value the sooner the power tubes distort. The optimum turns ratio is such that the maximum power can be obtained. Tube amps tend to be slightly undermatched though since the speaker impedance is not constant. This varies with the make/model of amp and is encoded in the model data. The size of the transformer is dictated by the necessary power handling. You can simulate smaller/larger transformers by adjusting the Transformer Drive parameter." [http://forum.fractalaudio.com/axe-fx-ii-discussion/63263-x-former-match-3.html#post784589 Source]

=ADV page=

==INPUT SELECT==

==INPUT TRIM==
* This parameter lets you adjust the range of gain of the amp. It's the same thing as the Amp Gain parameter in the Global menu but Input Trim operates per preset.
* Cliff: "They (Amp Gain and Input Trim) are basically the same thing. The global amp gain has a smaller range as it's designed to be for fine-tuning between guitars whereas the local trim allows you to radically alter the response of the model. The local trim is equivalent to -20 to +20 dB." [http://forum.fractalaudio.com/axe-fx-ii-discussion/40418-input-trim-global-amp-gain.html#post545862 Source]
* Input Trim can be attached to a controller, using the Modifier menu, for a variable boost.
* Adam: "You might want to convert the Input Trim parameter to dB if you're used to thinking of it that way. As a rule of thumb, every 2x multiplier = +6dB boost. In other words, Input Trim = 4.0 produces a +12dB boost. Here's a [http://www.sengpielaudio.com/calculator-db.htm handy calculator]." [http://forum.fractalaudio.com/axe-fx-ii-wish-list/57127-amp-block-boost-switch-level-control.html#post716617 Source]

==MSTR VOL TRIM (Master Volume Trim)==
* See DRIVE, MASTER VOLUME.

==LOW CUT FREQ, HI CUT FREQ==
* Low Cut Freq controls the amount of lows the amp sim sees AT THE INPUT. Ranges from 10-1000Hz, with the lowest setting basically letting all the lows you feed it in. The main practical use for this is to tighten up a tubby bass end. Somewhere between 10-150Hz is generally where it will sound best for standard guitar tones. I sweep this by ear in that range to get a good balance of bass punch and defined string snap.
* Hi Cut Freq is a low-pass filter positioned at the end of the preamp section that will Chop all frequencies above the value you select. Ranges from 2000-20000Hz. This will make your top end sound smooth and silky, the lower the value, brilliant and defined, the higher the value. Try changing values from stock when you want to fine tune a sound. I have found it useful for putting a vintage sounding ‘sheen’ on overly crisp patches (dropping the stock setting down).

==DEFINITION==
* Firmware 6: "Added Definition control to Amp block. This parameter allows changing the fundamental character of the amp from vintage to modern or vice-versa. Positive values increase the amount of upper overtone saturation whilst negative values reinforce lower harmonics."

==CHARACTER, CHARACTER FREQ==
* These two parameters control extremely powerful “inverse homomorphic filters”. When playing softly these dynamic filters have little effect on the sound. As the amount of distortion increases, the influence of these filters increases. The Character Frequency control sets the center frequency of the filters while the Character control sets how pronounced the effect is. For example, to darken the tone when playing harder, one might set the frequency to 10 kHz and the amount to -5. Setting the amount to +5 will make the tone brighter when playing hard. The amount defaults to zero whenever an amp type is selected.

==BRIGHT CAP==

==TONESTACK TYPE==
* The tonestack is the set of tone controls for an amplifier. Use Global > Config to set the default for all amps: active or passive. Use the Advanced page in the Amp block to select a different tonestack for an amp.
* "Passive" means the default stack for the amp is selected. So if you select a 59 Bassman amp model, you get the 59 Bassman tone-stack. If you select ODS-100, you get the Skyline tone-stack. You can over-ride the default tone-stack by selecting Active (for a generic active EQ) or selecting a tone-stack from the other amp models. IOW, if you select a 59 Bassman amp model and set the tone-stack to "Passive" it's the same as setting the tone-stack to "Bassguy".
* Forum member DonPetersen generated a frequency curve graph of the tonestack of each amp type in the Standard/Ultra, using white noise. You can view the graphs in [http://forum.fractalaudio.com/axe-fx-general-discussion/38943-tonestack-curves.html this thread.] Note that the graphs for the Axe-Fx II models will be different.
* Firmware 6: "Reworked most tone stacks based on amp matching results. In general most knobs now behave exactly like the actual amp when possible. In a few instances there may be minor discrepancies between the knob position of the model and actual amp due to programming constraints and/or peculiarities of the actual amp (such as poor potentiometer tolerance). Due to variations in presence circuit topologies the taper of the Presence parameter, in particular, may vary between the model and the actual amp. In other words, a different setting on the model may be required to achieve the same response as the actual amp. In most cases however, the Drive, Treble, Mid, and Bass knobs will be accurate to within 10% of the actual amp."
* Cliff: "In most cases the knobs do translate. Usually within 10%." [http://forum.fractalaudio.com/axe-fx-ii-discussion/58613-axe-sounding-terrible-through-guitar-cab.html#post732551 Source]

==TONESTACK FREQ==

==TONE LOCATIONS==
* With some amp sims, such as the Lonestar, moving the tonestack results in a loss of volume.

==PRESENCE FREQ, DEPTH FREQ==

==GRID MODELING, EXCURSION==
* Firmware 4.00 added the Grid Modeling parameter. This answers requests from users to be able to remove "real world" high frequency fizz from tones.
* Cliff: "I prefer the "fizz" on probably because I grew up with it. I just like the extra grit. When you're playing in a group context that grit seems to make the guitar cut better and fills out the sound. Without it things sound sterile. I spent months trying to capture that. One day one of my employees came by the lab while I was working on the new algorithms. I was trying to explain the grit to him that I heard in my JCM800. "Hear that sizzle on top of the notes? Hear that raspy, bacon frying sound? That's what modelers are missing." So I spent months figuring out where that came from and how to replicate it. All IMHO..." [http://forum.fractalaudio.com/axe-fx-ii-discussion/45253-so-thats-what-you-were-calling-fizz.html#post592172 Source]
* Cliff: "The input of a tube looks like a diode. If the grid voltage exceeds the cathode voltage by a few volts it starts to conduct. This does two things: 1. It clips the waveform. 2. It shifts the bias since it it charges the coupling cap between the stages. A little grid conduction actually fattens up the tone. Too much can sound "farty"." [http://forum.fractalaudio.com/axe-fx-ii-discussion/45258-grid-modeling-off-observation-4.html#post595594 Source]
* Firmware 4.00: "Added “Grid Modeling” parameter to Amp block. Turning this to OFF bypasses the grid modeling in the power amp which can reduce subjectively undesirable distortion."
* Firmware 5: "Much improved grid modeling in Amp block preamp and power amp stages. New modeling very accurately replicates grid conduction and resulting bias excursion. This results in a more dynamic, thicker and bouncier tone. The power tube grid conduction parameters are exposed to the user in the GUI. The Bias Excursion parameter controls how much the grid voltage droops when the grids conduct. The Excursion Time and Recovery Time parameters control the time constants associated with the excursion."
* Firmware 6.01: "Changed Grid Modeling switch in amp block so that Off turns off ALL grid modeling including preamp tubes."
* Firmware 10: "Removed grid excursion parameters. These parameters can still be accessed via Axe-Edit."

==PWR TUBE TYPE==
* Firmware 10: "Added Tube Type parameter to amp block. This allows selecting Tetrode (i.e. 6L6, KT66, etc.) or Pentode (i.e. EL34, 6BQ5, etc.) power tube types. The type defaults to the appropriate value when a model is chosen but may be overridden by the user."

==PWR TUBE BIAS==
* Cliff: "Increase Power Tube Bias to decrease crossover distortion and vice-versa." [http://forum.fractalaudio.com/axe-fx-ii-recordings/68269-strange-buzzing-through-axe.html#post839065 Source]

==DAMPING==
* Adjusting this parameter affects the amp's volume level. If the power amp is saturated, both damp and level must be increased to maintain level the same.
* Cliff: "The Axe-Fx attempts to normalize the volume as you change the damping. (...) However, if you are driving the "power amp" hard the equation falls apart because it assumes linear operation. Therefore there may be some volume change. This is done since otherwise you would constantly have to adjust your output volume as you change the damping. Unfortunately it is impossible to predict how saturated the power amp is since that depends on input level. The compensation isn't perfect, the idea is to minimize the volume fluctuations since without compensation the volume would fluctuate wildly."
* Cliff: "Note that when you set Damping to 0 that Presence becomes a Hi-Cut so if you have the Presence turned up you'll lose high end when you turn Damping to 0. Also, Depth does not work at a Damping of 0 since Depth modifies the feedback and there is no feedback." [http://forum.fractalaudio.com/axe-fx-ii-discussion/59333-damping.html#post740665 Source]

==PWR SUPPLY TYPE==
* Firmware 10: "Amp block power supply modeling now models AC rectification and resulting supply ripple (if Pwr Supply Type is set to ‘AC’). The power supply type can be selected between AC and DC with the Pwr Supply Type parameter. The line frequency can be selected with the AC Line Freq parameter. Note that high values of Sag along with low B+ Time Constant values can cause “ghost notes” when the supply type is AC (as in a real amp). Lower B+ Time Constant values will make the amp feel “faster” but too low can cause ghost notes."
* AC = Alternating Current. DC = Direct Current.
* Cliff: "The most notable thing would be the ghost notes. There is also a slight difference in feel."[http://forum.fractalaudio.com/axe-fx-ii-discussion/67073-ac-power-frequency.html#post826893 Source]

==B+ TIME CONST==
* Cliff: "It's both attack and release. B+ Time Constant is the time constant associated with the Supply Sag parameter. The power tubes draw current from the supply. The supply has a finite resistance. As the power tubes draw more current the supply voltage droops. The rate of change of the droop and recovery is dictated by the supply capacitance. The product of the resistance and capacitance is the time constant. It's typically around 10 ms. You can vary this using the B+ Time Constant parameter. It is not a simply compression though. As the supply sags, the headroom is reduced but many other things happen. One thing that happens is that the screen voltage droops. The screen voltage is derived from the B+. However the screen has it's own dynamic response, which is often 2nd-order since there is often a filter choke. If you listen carefully to the models with a filter choke you can hear the screen voltage "bounce" when you hit a power chord. The damping of the screen filter is not exposed to the user. When the screen voltage droops, the power tube gain decreases. It effectively shifts the bias point. There is quiescent draw from the supply as well. As you increase the bias (Power Tube Bias) the quiescent draw increases which decreases available headroom. The Axe-Fx II does not model all this stuff with compressors, like other products do. It actually uses a differential equation for the supply and the current from the power tubes. It then solves the equation at each sample instant to find the supply voltage and screen voltage." [http://forum.fractalaudio.com/axe-fx-ii-discussion/46615-b-time-constant.html Source]
* Cliff: "The effect of lower B+ is equivalent to increasing Transformer Match. A lower B+ means the plates clip sooner which is the same as increasing the turns ratio on the transformer. This is assuming that you rebias since typically lower the B+ affects the bias." [http://forum.fractalaudio.com/axe-fx-ii-discussion/60172-there-parameter-manipulate-b-voltage-video-inside.html#post751161 Source]
* Firmware 10: "Note that high values of Sag along with low B+ Time Constant values can cause “ghost notes” when the supply type is AC (as in a real amp). Lower B+ Time Constant values will make the amp feel “faster” but too low can cause ghost notes."

==AC LINE FREQ==
* See PWR SUPPLY TYPE.

==TRIODE PLATE FREQ==
* Cliff: "It sets the cutoff frequency of the resistor/cap combination on the plate of the last triode stage (the previous stages are not user adjustable). Most amps have no cap on the last stage but a few do. You can vary this parameter to simulate increasing/decreasing the capacitor value. The frequency is only approximate since the actual frequency varies with the bias point/cathode impedance/drive/etc."
* Groovenut: "It will give you some control over the high harmonics that are created during clipping. The cap in question forms a low pass filter with the plate resistor on the triode stage. In English, it will allow you to control the buzziness that sometimes occurs with higher gain settings. It can also serve as a gain dependent tone control of sorts." [http://forum.fractalaudio.com/axe-fx-ii/38144-amp-block-triode-plate-frequency.html Source]
* Firmware 2.0 and up also expose Triode1 Plate Freq. and Triode2 Plate Freq. Release notes: "This parameter sets the cutoff frequency of the plate impedance for the next-to-last triode in the chain. Many amps have a capacitor across this triode’s plate resistor. This capacitor is used to smooth the response and reduce noise. You can adjust the amount of capacitance, and the resulting frequency, using this parameter. The last triode plate capacitor is also exposed: Triode2 Plate Freq."

==MV LOCATION (Master Volume Location)==
* Cliff: "Most amps are Pre-PI, including Dumbles. Post-PI is rare and often does as a mod. This causes the PI to distort rather than the power tubes. It is a harsher sound." [http://www.thegearpage.net/board/showpost.php?p=14422541&postcount=28 Source]

==AMP VOICING==
* Firmware 3.0: "This parameter voices the amp to a variety of tonal styles. Voicings take the guesswork out of mix engineering by automatically crafting the tone like a professional engineer would. Choose “Neutral” for the raw amp sound. Choose one of the other voicings to rapidly achieve a mix-ready tone."
* Voicing adjusts the PWR AMP LOCUT and HICUT parameters and applies some parametric EQ.
* Firmware 10: Amp Voicing has been moved to the Advanced tab.

==PWR AMP LOCUT, PWR AMP HICUT==
* These settings are adjusted automatically when changing the Amp Voicing parameter.

==DYNAMICS TIME, PREAMP DYN TIME==
* See DYNAMICS.

==TRIODE HARDNESS==
* Firmware 2.0: "This parameter controls how sharply the triodes enter saturation and can be used to simulate softer or harder tubes. The default value is 5.0 and is set to this value whenever the type is changed. The effect of this is subtle and most apparent at edge of breakup. Lower values give softer saturation, higher values give a more aggressive breakup. NOTE: Existing presets should be checked as this value may load to a value of other than 5.0 depeding upon what version of firmware was originally used to create the preset. All factory presets have been reworked as the factory presets will load to 0.0."
* Firmware 6.02: "When resetting an amp, this value defaults to 0.0. To achieve the sound of 6.00 firmware, set this to 5.0. Note that all presets created prior to Version 6.02 will have this value set to 0.0. You may override this value by setting the desired value and then saving the preset."
* Firmware 10: "The Triode Hardness parameter operates differently than before and also defaults to an appropriate value when the model type is selected. Existing presets are automatically updated upon recall."
* Cliff: "There is no correspondence that I can offer as the modeling algorithm is different. What the parameter does now is control the asymmetry of the triode model. The higher the value, the more asymmetrical the clipping. A value of zero would be completely symmetrical which will decrease the even harmonics and increase the odd harmonics. Triodes are very asymmetrical. The default values are rounded to the nearest 0.5 based on the MIMIC measurement for that amp." [http://forum.fractalaudio.com/axe-fx-ii-discussion/67091-v-10-triode-hardness.html#post826849 Source]
* Cliff: "You could probably say that since lower values will have less even and more odd harmonics. The smoothness/harshness of distortion is a function of the ratio of even to odd harmonics. The more symmetrical the clipping, the more odd and less even harmonics. [http://forum.fractalaudio.com/axe-fx-ii-discussion/67091-v-10-triode-hardness.html#post826877 Source]

==PREAMP BIAS==
* Firmware 7: "Exposed the bias point of the last tube stage in the preamp modeling. This parameter, called PREAMP BIAS, sets the bias point of the last triode (cathode follower not counted). Depending on the bias points of the previous stages increasing or decreasing this value can alter both the harmonic content and the attack characteristics. Typically, if the previous stage has a negative bias then increasing this value will be more noticeable and vice-versa. This value is set to a default value for the model whenever the type is changed but can be overridden by the user."

==USE MIMIC==
* Instructs the Axe-Fx to use or not use the MIMIC data for the selected model.

=TREM/MIX page=

==TREM FREQ, TREM DEPTH (Bias Tremolo)==
* Firmware 10: "Added Bias Tremolo to Amp block. This is a true bias tremolo and works by varying the bias of the virtual power tubes. The tremolo action is therefore different than other types of tremolo and the amount of tremolo varies with a multitude of variables, most importantly the tremolo is “self-ducking” and decreases at higher signal amplitudes. Note particularly that bias tremolo is a somewhat crude tremolo circuit and it’s interaction with the power amp depends on many things including damping, bias, etc. On some amps high values of bias trem depth can result in excessive crossover distortion. On other amps the amount of tremolo can vary greatly between loud and soft playing. All this, however, is part of the allure of bias tremolo as it results in a particularly “organic” sound. Control of the bias tremolo is afforded by the Trem Freq and Trem Depth parameters. A modifier can be attached to Trem Depth to facilitate engaging and disengaging the tremolo via footswitch or for other applications."
* Cliff: "If the power tubes are being overdriven the bias tremolo can add lots of crossover distortion." [If the power tubes are being overdriven the bias tremolo can add lots of crossover distortion Source]

[[category:Presets and effects]]
[[Category:Connecting_to_a_monitor_or_amplifier]]