Amp models list

• Amp icons: provided by forum member SynFactory. Updated by forum member CBoothe01. Source.
• Cabinet info:
  • List of all stock cabinets mentioned below
  • The Kalthallen stock cabs and new cabs in firmware 10, have not yet been added to the suggestions below.
• Forum member Shasha put together an Excel spreadsheet which shows the suggested cabinets for each amp model (firmware 9). You can download the file here.
• Forum member MisterE created basic presets combining all amps with corresponding cabs (firmware 9). Source: http://forum.fractalaudio.com/axe-fx-ii-preset-exchange/62938-v9-02-all-amps-cabs.html

1987X Normal / Treble (Marshall 1987x Vintage Series)

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1. Based on: Marshall 1987x Vintage Series, features what many consider to be an “essential” mod to the tonestack of this Plexi. Normal: Normal channel. Treble: Treble channel. 50w reissue of the 60's Marshall 1959SLP. 4x12 greenbacks or G12H speakers
2. Stock cabinet suggestions: #16, #34, #35, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Bass, Middle, Treble, Volume, Presence, no Master
4. Notes: see Plexi
5. Original manual
6. Marshall website
7. Wikipedia
8. Discussion about the Bright Cap on the 1987x

5153 Green / Blue / Red (EVH 5150 III)

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1. Based on: EVH 5150 III, made in collaboration with Fender. Green, Blue and Red channels, 100w version, 6L6, Celestion G12EVH speakers
2. Stock cabinet suggestions: G12M greenbacks or #49
3. Original controls: Gain, Bass, Mid, Treble, Volume, Presence
4. Specifications and website
5. 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 it understandable. It's incredibly heavy though." Source
6. EVH's personal settings
7. 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." Source
8. Information about the 5150 amp

59 Bassguy ('59 Fender Bassman)

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1. Based on: 1959 Fender Bassman, a low-to-medium gain amp designed for bass but more widely adopted by guitarists. 5F6-A circuit, normal and bright channel, Tweed era, 4x10 Jensen or Eminence speakers
2. Stock cabinet suggestions: #32, #33
3. Original controls: Volume, Bass, Middle, Treble, Presence, no Master
4. It's not difficult to distort a Fender when using humbuckers. Turn down Drive
5. Try with a Treble Booster
6. Fender website
7. Wikipedia
8. More information
9. 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" Source

65 Bassguy ('65 Fender Bassman)

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1. Based on: 1965 Fender Bassman, blackface version with a different circuit design (AB165), 4x10 Jensen or Eminence speakers
2. Stock cabinet suggestion: #32, #33
3. Original controls: Volume, Bass, Middle, Treble, Presence, no Master
4. It's not difficult to distort a Fender when using humbuckers. Turn down Drive
5. Try with a Treble Booster
6. Cliff: "Definitely not your father's Bassman. Has a pissed-off Marshall vibe to it." Source
7. Fender website
8. Wikipedia
9. 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." Source
10. More information
11. 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" Source
12. Firmware 10 release notes: "Completely reworked 65 Bassguy model.  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.  For best results it is recommended to reset the model by selecting another model and then reselecting the desired model."

Atomica Low / High (Cameron Atomica)

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1. Based on: Cameron Atomica, 100 watt. Used with G12H speakers
2. Stock cabinet suggestions: #16, #34, #57
3. Original controls: Thump (Axe-Fx: Depth), Presence, Bass, Middle, Treble, Master, Gain, Edge (Axe-Fx: Bright), 3-way gain switch (rear).
4. Youtube
5. 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." Source

Band-Commander (1968 Fender Bandmaster)

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1. Based on: 1968 silverface Fender Bandmaster, two channels
2. Stock cabinet suggestions: #22
3. Original controls (Vibrato channel): Volume, Bright, Treble, Bass
4. Fender website
5. Wikipedia
6. More information

Blanknshp Leeds (Blankenship Leeds)

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1. Based on: Blankenship Leeds which is a boutique version of an 18W Marshall. This particular amp is known for sounding “big” despite being relatively low power. Mercury Magnetics transformers. EL84. Two channels. 1x12 Greenback, Celestion V30 or 2x10 Jensen C10Q.
2. Stock cabinet suggestions: #41, #43, #44, #47, #48, #51, #53, #59, #62, #63
3. Original controls: Volume, Tone, no Master
4. 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." Source

Boutique 1 / 2 (Matchless Chieftain)

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1. Based on: Matchless Chieftain, a medium-gain amp, thick, yet crisp, with a fair amount of power amp breakup. Boutique 2: same amp with a boost for more gain and high-frequency emphasis. Used with G12M and G12H speakers
2. Stock cabinet suggestions: #26, #30
3. Original controls: Volume, Master, Bass, Treble, Brilliance
4. Original manual
5. Wikipedia
6. Based on a Vox circuit
7. For more preamp distortion, lower Master and use Drive for Gain

Brit 800 (Marshall JCM800 2204)

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1. Based on: Marshall JCM800, the vaunted model 2204. Bring the Master up for true 80's tone. 4x12 greenbacks, V30 or T75 speakers
2. Stock cabinet suggestions: #34, #35, #36, #37, #38, #39, #41, #43, #44, #47, #48, #50, #51, #52, #53, #57, #58, #59, #60, #61, #62, #63 
3. Original controls: Gain, Bass, Middle, Treble, Presence, Volume
4. Marshall website
5. Wikipedia
6. Try with a TS808 or Tube Drive block (set the Drive block to minimal Drive and full Level)
7. 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." Source
8. User comments
9. 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." Source
10. Cliff: "Rips my head off here. I have to turn the presence way down. Check the MV. Too high and will get muddy." Source
11. 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." Source

Brit Brown (EVH Marshall)

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1. A faithful recreation of the pure, raw "Brown Sound" - The Modded “#1” Marshall. Greenback speakers
2. Stock cabinet suggestions: #36, #37, #38, #58, #60, #61
3. Original controls: Volume, Bass, Middle, Treble, Presence, Bright cap
4. Marshall website
5. Wikipedia
6. Orignally named "Brown". Renamed after addition of FAS Brown model
7. This model has the Saturation parameter engaged by default
8. Cliff: "Which, perhaps ironically, is not based on a any specific amp." Source

Brit JM45 (Marshall JTM45)

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1. Based on: channel 1 (High Treble, Source) of the Marshall JTM45, made famous by Clapton and others; actually a modified Bassman design. 45W, 4x12 greenbacks or G12H speakers
2. Stock cabinet suggestions: #16, #34, #35, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Volume, Bass, Middle, Treble, no Master
4. For a cranked tone try diming all tone controls, Master and Drive 
5. Try with a Tonebender or Treble Booster
6. Marshall website
7. Wikipedia

Brit JVM OD1 / OD2 (Marshall JVM410)

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1. Based on the Marshall JVM 100-watt amp, OD1 and OD2 channels, Orange mode. Used with Celestion V30 and Celestion Heritage speakers (combo version)
2. Stock cabinet suggestions: #34, #41, #43, #44, #47, #48, #51, #57, #62, #63
3. Original controls: Volume, Bass, Middle, Treble, Gain
4. Original manual
5. Marshall website
6. Marshall in Wikipedia
7. JVM forumo
8. 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." Source
9. Firmware 6 release notes: "There are now two “Brit JVM” models: Brit JVM OD1 and Brit JMV OD2. Both models are based on the “Orange” modes of the amplifier. The “Red” modes of the amplifier are equivalent to engaging the Boost switch (select Type and press Enter)."
10. Cliff: "JVM Crunch mode just removes a gain stage. Turn down the Input Trim to simulate." Source

Brit Pre (Marshall JMP-1)

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1. Based on: Marshall JMP-1 preamp, a rack-mount preamplifier version of the Brit 900. OD2 channel. Crunchy “ZZ” tone
2. Stock cabinet suggestions: see Brit 800
3. Original controls: Volume, Gain, Bass, Mid, Treble, Presence, Bass shift
4. Original manual
5. Marshall website
6. Wikipedia
7. 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." Source

Brit Silver (Marshall Silver Jubilee)

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1. Based on: Marshall Silver Jubilee (mod. 2555), 100w
2. Stock cabinet suggestions: see Marshall JCM800
3. Original controls: see Marshall JCM800
4. Marshall website
5. Wikipedia

Brit Super (Marshall AFD100)

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1. 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 modes: AFD and #34 (based on a JCM800 2203 used by Slash). 6550 tubes. Used with V30 speakers
2. Stock cabinet suggestions: #34, #35, #36, #37, #38, #39, #41, #47, #48, #50, #51, #52, #53, #57, #58, #59, #60, #61, #62, #63
3. Original controls: Gain, Bass, Middle, Treble, Presence, Volume
4. Original manual
5. Marshall website
6. Wikipedia
7. According to the manual Slash sets all controls at around 6 on his amp
8. This is a very bright amp. Turn down Presence

Buttery (Budda Twinmaster)

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1. Based (loosely) on: Budda Twinmaster, a late 90s specimen. Relies mostly on power amp distortion. Often used with greenback or G12H speakers
2. Stock cabinet suggestions: #34, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Bass, Treble, Volume (no Master Volume), Bright cap on Volume (Bright switch)
4. Original manual
5. Budda website
6. Wikipedia
7. Cliff talking about the G1 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."

CA3+ Clean / Rhy / Lead (CAE 3+ SE)

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1. Based on: CAE 3+ SE, a preamp designed by the great Bob Bradshaw. Rhy = channel 2 (Rhythm). Ld = channel 3 (Lead). Clean = clean channel
2. Stock cabinet suggestions: n/a
3. Original controls (ch 2/3): Gain, Volume, Bass, Middle, Treble, post EQ (punch, presence), Bright switch for each channel
4. Original manual
5. CAE website

Cali Leggy (Carvin Legacy)

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1. Based on: Carvin Legacy VL100 (version 1), 100w, EL34, Celestion V30 speakers
2. Stock cabinet suggestions: #41, #43, #44, #47, #48, #51, #53, #59, #62
3. Original controls: Presence, Treble (11k Hz), Mid (650Hz), Bass (80Hz), Drive, Volume 
4. Original manual
5. Carvin website
6. 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. Source

Cameron Ch 1 / Ch 2 (Cameron CCV)

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1. Based on: Cameron CCV-100, what its creator Mark Cameron calls “one pissed off amp". Designed to be used with G12H speakers
2. Stock cabinet suggestions: #16, #34, #57
3. Original controls: ...
4. Cameron Ch 2 has Saturation engaged by default. It's a very bright amp, keep Presence low
5. Demo

Carol-Ann Od-2 (Carol-Ann OD-2r)

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1. Based on: the celebrated Carol-Ann OD-2r. Model was fine-tuned by the highly respected Alan Phillips himself! Overdrive channel, 50W, EL34 or 6L6 tubes. Used with EVM 12L or Celestion Classic Lead 80 speaker(s) 
2. Stock cabinet suggestions: #8, #12
3. Original controls: Master, Gain, Bass, Middle, Treble, Presence, Bright switch (clean and overdrive channel), Shift switch
4. Original manual
5. Carol-Ann website
6. 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."

Citrus RV50 (Orange Rockerverb)

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1. Based on: "dirty" channel of a 50W Orange Rockerverb head, known for warmth and rich harmonics. EL34 tubes. Used with V30 speakers
2. Stock cabinet suggestions: #53
3. Original controls on dirty channel: Volume, Gain, Treble, Mid, Bass
4. Original manual
5. Orange website
6. Wikipedia

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

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1. Based on: Vox AC-15. The heart of this amp’s tone comes from its power section and no negative feedback. 15W, EL84 tubes, 1x12 greenback
2. Stock cabinet suggestions: #36, #37, #38, #58, #60, #61
3. Original controls: Volume, Cut (Presence), Bass, Treble, no Master
4. Vox website
5. Wikipedia
6. This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control

Class-A 30W (Vox AC-30)

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1. Based on: Vox AC-30, a combo that dominated the British Invasion. Gritty character, warm tone, great feel. 30W, EL84 tubes, 2x12 greenbacks or Alnico Blue speakers
2. Stock cabinet suggestions: #7, #11, #15, #20, #24, #25, #36, #37, #38, #55, #58, #60, #61
3. Original controls: Volume, Tone, no Master
4. For authentic tone: leave the tone controls at noon and use Hi-Cut to cut treble
5. Try with a Tonebender or Treble Booster
6. Vox website
7. Wikipedia
8. This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control

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

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1. Based on: Vox AC-30 TBX (Topboost), created in response to demand for "More treble". Great highs and slightly reduced bass. 30W, EL84 tubes, 2x12 greenbacks or Alnico Blue speakers
2. Stock cabinet suggestions: see Class-A 30W 
3. Original controls: Volume, Cut, Bass, Treble
4. Instead of turning up Drive, try boosting the input signal before the amp, for example with a Tape Dist or FET Boost
5. Vox website
6. Wikipedia
7. 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)"
8. This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control
9.  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." Source "Furthermore, modern AC30's don't have this flaw. They use a Fender-style tone stack with a fixed mid resistor." Source

Corncob M50 (Cornford MK50II)

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1. Based on: Cornford MK50II, a boutique British amp. Plexi-meets-Modern tone with big cojones. 50w, 6L6/5881, one channel. Used with V30 speakers
2. Stock cabinet suggestions: #41, #47, #48, #51, #59, #62, #63, #65
3. Original controls: Volume, Gain, Bass, Middle (500Hz), Treble, Volume, Presence, Resonance
4. Original manual (and suggested settings)
5. Cornford website
6. The Cornford model in the Standard/Ultra was a Cornford RK100

Das Metall (Diezel VH4)

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1. Based on: Diezel VH4, a high-gain, boutique amp famous for its powerful, heavy, aggressive sound. 4 channels, 6550 tubes (or EL34 or 6L6). Used with V30 or G12-K100 speakers
2. Stock cabinet suggestions: #41, #43, #44, #47, #48, #51, #53, #54, #59, #62, #63
3. Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz)
4. Original manual
5. Diezel website
6. Wikipedia
7. The Das Metal model was done by schematic and/or by ear. Source See below for VH4 models based on real amps

Deluxe Tweed (Fender Tweed Deluxe)

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1. Based on a Fender Deluxe (5E3) from the 50's, covered in brown tweed, 15 watts, two channels, four inputs. Used with a 12" Jensen P12R of Alnico Blue
2. Stock cabinet suggestions: #5, #13, #14
3. Original controls: Volume, Tone
4. Crank Treble for more gain
5. Increase Input Trim or Boost for more gain (think Neil Young)
6. Fender website
7. Wikipedia
8. Release notes v8: 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.
9. 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."Source
10. More information
11. 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." Source

Deluxe Verb (Fender Deluxe Reverb)

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1. Based on: '65 blackface Fender Deluxe Reverb, great, chimey tone with nice power amp breakup when you push the Master. AB763 circuit, 22W, normal and vibrato channel (Vibrato channel is modeled, Source), Blackface era, 1x12 Jensen C12Q speaker
2. Stock cabinet suggestions: #5, #13, #14
3. Original controls: Volume, Bass, Treble, no Master
4. It's not difficult to distort a Fender when using humbuckers. Turn down Drive
5. Fender website
6. Wikipedia
7. More information
8. 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" Source

Dirty Shirley (Friedman Dirty Shirley)

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1. Based on: Dirty Shirley amp by Dave Friedman of Rack Systems, 6L6 40w single channel classic rock amp (based on a JTM-45), used with G12M and G12H speakers
2. Stock cabinet suggestions: #16, #34, #35, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence
4. Website
5. Demo

Division13 CJ (Divided by 13 CJ11)

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1. Based on: Divided by 13 CJ11, which is based on a 1959 tweed Fender amp made in Fullerton, 11w, single channel, 1x G12M speaker
2. Stock cabinet suggestions: #36, #37, #38, #58, #60, #61
3. Original controls: Volume, Treble, Bass, Master
4. 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 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." 
5. Cliff: "It is a bassy amp. Works best with single coils." Source
6. 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." Source
7. Demo

Dizzy V4 2 / 3 / 4 (Diezel VH4)

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1. Based on: Diezel VH4 (based on real amp, see above for another VH4 model), a high-gain, boutique amp famous for its powerful, heavy, aggressive sound. 4 channels, 6550 tubes (or EL34 or 6L6). Used with V30 or G12K100 speakers
2. Stock cabinet suggestions: #41, #43, #44, #47, #48, #51, #53, #54, #59, #62, #63
3. Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz)
4. Original manual
5. Diezel website
6. Wikipedia
7. This one is matched to a real VH4 Source

Double Verb (Fender Twin Reverb)

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1. Based on: Fender Twin Reverb. Known for amazing clean sounds and nice breakup. The Twin Reverb is considered a standard model for players seeking a clean sound. '66 AB763 circuit, normal and vibrato channel (Vibrato channel is modeled), Blackface era, 100W, 2x12 Jensen C12N, JBL D120, Oxford 12T6 or EVM-12L speakers
2. Stock cabinet suggestions: #6, #8, #12, #19, #21, #22
3. Original controls: Volume, Bass, Middle, Treble, Bright switch (On by default), no Master
4. It's not difficult to distort a Fender when using humbuckers. Turn down Drive
5. Fender website
6. Wikipedia
7. More information
8. Cliff: "Twins break up. That's why people like them." Source
9. 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." Source
10. 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" Source
11. The model in firmware 10 is based on a '66 Twin Reverb that was tuned up by Andy Fuchs.

Energyball (Engl Powerball)

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1. Based on: Engl Powerball, a very high-gain German model. Lots of bass. Great for aggressive, drop-tuned riff work. Lead channel, 100W, 6L6 tubes. Used with V30 (or custom V60) speakers
2. Stock cabinet suggestions: #47, #48
3. Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Depth, Bottom, Open/Focused mode, Bright switch for low gain channels only
4. Original manual
5. Engl website
6. Wikipedia

Euro Blue / Red (Bogner Ecstasy 20th Anniversary)

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1. Based on: Bogner Ecstasy, 20th Anniversary model. Blue: Blue channel with Boost/Structure OFF. Red: Red channel with Boost/Structure ON. 12" V30 speakers 
2. Stock cabinet suggestions: #47, #48, #51, #59, #63
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence, Bright switches, Structure
4. Original manual
5. Bogner website
6. Wikipedia
7. It's a dark amp. Try turning up Presence
8. The Blue model is modeled with Boost off and low Structure, meaning that it's quite low gain 
9. The Bright switch will not only brighten the tone but also adds gain. Its impact decreases as Drive is turned up
10. Check 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)

Euro Uber (Bogner Uberschall)

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1. Based on: Bogner Uberschall, the "High Gain" channel of this 120W head. Heavy grinding lows and insane gain. EL34 tubes. V30/G12T75 speakers (Uberkab)
2. Stock cabinet suggestions: #50, #51, #52, #63
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence
4. Original manual
5. Bogner website
6. Wikipedia
7. 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"
8. Check this site for a video demos of the Bogner Uberschall pedal. It explains the amp controls clearly (same as the pedal equivalent)

FAS 6160 (Peavey 5150)

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1. Based on: Peavey EVH 5150, alternative version of PVH 6160 model, more open and less fizzy than the original amp. Also, a virtual choke has replaced the resistor found on the original’s power supply filter. This results in a bouncier feel. See PVH 6160
2. Stock cabinet suggestions: see PVH 6160
3. Original controls: see PVH 6160
4. Original manual
5. Peavey website
6. Wikipedia
7. Notes: see PVH 6160

FAS Big Hair

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1. Mids without mud. Revive the 80s metal scene (Spandex not included)
2. Stock cabinet suggestions: ...
3. Original controls: n/a
4. 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 (Van Halen's Marshall)

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1. The original BROWN model from the Axe-Fx Standard/Ultra
2. Stock cabinet suggestions: see Brit Brown
3. Original controls: see Brit Brown

FAS Crunch

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1. Created by Fractal Audio Systems. Fractal's take on the ultimate British-sounding amp. More dynamic and open than a Plexi, but with more gain
2. Stock cabinet suggestion: see Marshall Plexi
3. Original controls: n/a

FAS Lead 1

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1. Created by Fractal Audio Systems. Neutral high-gain lead with a tight midrange. Presumedly based on the Mesa Boogie Triaxis
2. Stock cabinet suggestions: ...
3. Original controls: n/a

FAS Lead 2

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1. Created by Fractal Audio Systems. Hot-rodded British lead sound with a tonestack by the one and only Bob Bradshaw. Presumedly based on the Mesa Boogie Triaxis
2. Stock cabinet suggestion: ...
3. Original controls: n/a

FAS Modern

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1. Created by Fractal Audio Systems. A high-gain hybrid. Equally well-suited to modern rhythm and lead work
2. Stock cabinet suggestion: ...
3. Original controls: n/a
4. 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." Source

FAS Rhythm

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1. Created by Fractal Audio Systems. Combines the best features of the British and USA crunch models
2. Stock cabinet suggestions: ...
3. Original controls: n/a

FAS Wreck (Trainwreck Express)

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1. The original WRECKER 1 model from the Axe-Fx Ultra
2. Stock cabinet suggestions: see Wrecker
3. Original controls: see Wrecker
4. For authentic tone: see Wrecker
5. FAQ
6. Trainwreck website
7. Notes: see Wrecker

Fox ODS I / II (Fuchs Overdrive Supreme)

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1. Based on: Fuchs Overdrive Supreme, Overdrive channel, 50w, 6L6 tubes
2. Stock cabinet suggestions: #56
3. Original controls (Overdrive channel): High (pull: mid boost), Mid (pull: gain boost), Low, Bright, Deep. Plus: OD-in, OD-out, Master, Accent (presence/edge) 
4. Fuchs website
5. Demo

Friedman BE / HBE (Friedman Brown Eye and Hairy Brown Eye)

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1. Based on: Friedman amp by Dave Friedman of Rack Systems. BE: Brown Eye, what many call “the ultimate modded Plexi”. HBE: Hairy Brown Eye, the BE amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal. EL34, 50 or 100W
2. Stock cabinet suggestions: #34, #35, #36, #37, #38, #39, #41, #47, #48, #50, #51, #52, #57, #58, #59, #61, #62, #63, #65
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence
4. Website
5. Demo
6. Another demo
7. Friedman BE/HBE was previously named "Marsha"
8. From a 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." Source

Fryette D60 L / M (Fryette Deliverance 60)

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1. Based on: Fryette Amplification Deliverance 60 in the "Less" resp. "More" mode. 60W, KT88 or 6550 tubes. Used with Eminence P50E speakers 
2. Stock cabinet suggestions: ?
3. Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Depth, More/Less switch
4. Original manual
5. Fryette website
6. Wikipedia

Gibtone Scout (Gibson Scout)

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1. Based on: Gibson GA17RVT Scout (1964), low wattage, two inputs
2. Stock cabinet suggestions: ?
3. Original controls: Reverb, Tremolo, Volume, no tone controls

Herbie CH2- / CH2+ / CH3 (Diezel Herbert)

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1. Based on: Diezel Herbert, 3-channel head (ch 2 with +/- modes), 180w, used with with V30 (or G12K100) speakers
2. Stock cabinet suggestions:  #41, #43, #44, #47, #48, #51, #53, #54, #59, #62, #63
3. Original controls: Gain, Bass, Mid, Treble, Master, Presence (> 3kHz), Deep (120Hz)
4. 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
5. Original manual
6. Diezel website
7. Wikipedia

HiPower Normal / Brilliant (Hiwatt DR103)

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1. Based on: Hiwatt DR103, medium-gain, full sound amp with an unique tone-stack and a chimey, grinding tone. Normal: normal channel. Brillnt: brighter model based on the amp’s "Brilliant" channel. 100w, 4x12 Fane speakers
2. Stock cabinet suggestions: #42
3. Original controls: Volume, Master, Bass, Middle, Treble, Presence
4. Hiwatt website
5. Wikipedia
6. 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."

Hot Kitty (Bad Cat Hot Cat 30R)

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1. Based on: Bad Cat Hot Cat 30R (channel 2), 30w, EL34, cathode bias, speaker: Bad Cat Proprietary Celestion
2. Stock cabinet suggestions: #26, #30
3. Original controls: Gain, Edge, Level, Bass, Treble, Brilliance (similar to Presence), Master
4. Bad Cat website
5. Original manual

Jazz 120 (Roland JC-120)

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1. Based on: Roland JC-120, the only solid-state-based model in the collection; a quintessential clean tone. 120W (stereo: 2x 60W). Used with 2x12 Roland speakers
2. Stock cabinet suggestions: #27
3. Original controls: Volume, Bass, Mid, Treble, no Master
4. Original manual
5. Roland website
6. Wikipedia

JR Blues (Fender Blues Junior)

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1. Based on: Fender Blues Jr., a gutsy little classic with dual EL84s. 15W, 1x12 Jensen C12N or P12R speaker
2. Stock cabinet suggestions: #2, #22
3. Original controls: Bass, Middle, Treble, Gain, Volume, FAT boost
4. Fender website
5. Wikipedia
6. Use the JR Blues model with no Damping (no negative feedback) to get the tone of an Egnater Rebel 20. Cliff: "The Eggie is very similar to a Blues Jr. Basically the same preamp with some minor tweaks." Source

MR Z 38 Sr (Dr. Z Maz 38 SR)

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1. Based on: Dr. Z Maz 38 SR, an amp popular with country and roots players. EL84 tubes, 38W, Alnico Blue speaker and G12H
2. Stock cabinet suggestions: #11, #15, #16, #20, #24, #25, #34, #55, #57
3. Original controls: Volume, Master, Bass, Middle, Treble, Cut
4. Original manual
5. Dr. Z website
6. Wikipedia
7. Amp settings database
8. YouTube clip 1 YouTube clip 2
9. Cliff: "It's a low output amp. Turn up the Master."
10. This amp has no negative feedback (Damping = 0), therefore Presence turns into a Hi-Cut control

ODS-100 Clean / Lead (Dumble OD Special)

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1. Based on: Dumble OD Special, a coveted but rare amp made famous by Robben Ford. Clean: based on the Clean channel. Lead: the same amp, OD channel
2. Stock cabinet suggestions: #8, #12, #56
3. Original controls: Volume, Bass, Middle, Treble, Master, Presence
4. Wikipedia
5. Previous to firmware 10 the ODS models were based on the Bludotone Ojai. 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. Any more and you lose the clean OD sound in my clips. It gets more modern. Not a bad thing, but not the RF thing." Source
6. 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.  The lead channel was also modeled with the Drive control at approximately 7.0.  The Input Trim parameter can be used to increase or decrease the drive.  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."

Plexi Normal / Treble (Marshall Super Lead 1959)

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1. Based on: Marshall Super Lead 1959, the classic amp head that gave rise to “the stack”. Great for crunchy rhythm work. Normal": normal channel. Treble: “High Treble” channel. 4x12 greenbacks or G12H speakers
2. Stock cabinet suggestions: #16, #34, #35, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Volume, Bass, Middle, Treble, no Master, 
4. Try cranking all tone controls and Presence
5. Marshall website
6. Wikipedia
7. Cliff: "The Plexi Normal has no treble peaker that's why it's bassy." Source
8. 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."
9. Cliff (about the fizzyness of the Plexi model): "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." Source
10. 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." Source

Prince Tone (Fender Princeton)

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1. Based on: Fender Princeton, 5F2-A circuit, a single-ended amp. 5W, Class A. Used with 10" Jensen or Oxford speakers
2. Stock cabinet suggestions: #3, #32, #34
3. Original controls: Volume, Tone (treble)
4. Fender website
5. Wikipedia
6. More information
7. 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." Source

Prince Tone 2 (Fender Princeton)

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1. Another model based on the Fender Princeton, model AA964. See first model for details. This is modeled after an early CBS “Silverface” model, with AA964 circuit, pre-CBS design and components
2. More information
3. 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." Source

PVH 6160 Block (Peavey EVH 5150 "block")

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1. Based on: Peavey EVH 5150, the high-input lead channel of an amp named after the criminally insane. Hi input, 6L6, 120W, Sheffield 1200 speakers
2. Stock cabinet suggestions: #49 or greenbacks
3. Original controls: pre- and post-Gain, Volume, Bass, Mid, Treble, Presence, Resonance, Bright switch (rhythm channel only)
4. Original manual
5. Peavey website
6. Wikipedia
7. Information about the 5150 amp

PVH 6160 II (Peavey 6505+))

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1. Based on: Peavey 6505+, identical to the EVH II.
2. Stock cabinet suggestions: 
3. Original controls: 

Recto Orange / Red, Vintage / Modern (Mesa Boogie Dual Rectifier)

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1. Based on: late model of Mesa Boogie's Dual Rectifier, a high-gain masterpiece with crushing power and tighness. Orange and Red channels, Vintage and Modern modes. V30 speakers
2. Stock cabinet suggestions: #43, #44
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence/HiCut
4. Original manual
5. Mesa website
6. Wikipedia
7. Cliff: "Real Rectos are bassy/fizzy beasts but that tone works great for certain genres." Source
8. 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."

Shiver Clean / Lead (Bogner Shiva 20th Anniversary)

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1. Based on: Bogner Shiva Clean, 20th Anniversary model, 90w. Clean: powerful shimmering cleans. Lead: a sweet, rich-sounding amp with aggressive, English-style midrange punch. KT88 tubes. V30 speakers
2. Stock cabinet suggestions: #47, #48, #51, #59, #63
3. Original controls for Clean channel: Bass, Treble, Volume, Master, Presence, Bright switch (less to none effective the higher Drive is set)
4. Original controls for Lead  channel: Bass, Middle, Treble, Volume, Master, Presence, Bright switch (less effective the higher Drive is set but still noticeable)
5. Boost, Mode and Shift controls on the original amp are not modeled
6. Original manual
7. Bogner website
8. Wikipedia
9. It's a dark amp. Try turning up Presence

Solo 88 Rhythm (Soldano X88)

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1. Based on: the rhythm channel of a Soldano X88R preamp  
2. Stock cabinet suggestions: n/a
3. Original controls: Gain, Bass, Middle, Treble, Volume
4. Soldano website
5. Wikipedia
6. Notes: see Solo 100
7. 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." Source

Solo 99 Clean (Soldano X99)

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1. Based on: the clean channel of a Soldano/Caswell midi-motorized Soldano X99 preamp
2. Stock cabinet suggestions: #45, #46
3. Original controls: Gain, Bass, Middle, Treble, Volume
4. Soldano website
5. Wikipedia
6. Notes: see Solo 100

Solo 100 Rhy / Lead / Clean (Soldano SLO-100)

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1. Based on: Soldano SLO-100 (Super Lead Overdrive), noted for its hot-rod chrome chassis and aggressive rhythm tone. Rhy = Normal channel. Ld = based on the snarling lead channel. Clean = clean channel. 100W. Used with 12" Eminence speakers 
2. Stock cabinet suggestions: #45, #46
3. Original controls (Normal/Lead): Gain, Bass, Middle, Treble, Master, Presence, Bright switch only on normal channel
4. Soldano website
5. Wikipedia
6. 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."
7. Emulating Warren Hayes' tone
8. 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." Source
9. Cliff: "The G2 model is scary close to my "Blackface" SLO-100. Many people find SLOs too bright. The "Warren Haynes" mod is a popular mod to reduce the brightness." Source

Solo X99 Lead (Soldano X99)

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1. Based on: the lead channel of a Soldano/Caswell midi-motorized Soldano X99 preamp
2. Stock cabinet suggestions: n/a
3. Original controls: Gain, Bass, Middle, Treble, Volume
4. Soldano website
5. Wikipedia
6. Notes: see Solo 100

Spawn Nitrous (Splawn Nitro)

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1. Based on: Splawn Nitro (website: all the Splawn tone with more saturation and voiced for a bigger low end and low mids), KT-88 power tubes, overdrive channel, 100w
2. Stock cabinet suggestions: G12H or V30s
3. Original controls: Resonance, Presence, Bass, Middle, Treble, Master, Gain
4. Original manual
5. Splawn website

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

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1. Based on: Splawn Quick Rod (website: signature Splawn tone with lots of bite, strong mids and 3 gear versatility), 100w, two channels, used with G12M or G12H speakers. Modeled: Channel 2, 1st gear (Plexi), 2nd gear (Hot Rod JCM 800), 3rd gear (Super Hot Rod 800)
2. Stock cabinet suggestions: #16, #34, #35, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Presence, Bass, Middle, Treble, Solo, Volume, Gain, Mode
4. Original manual
5. Splawn website

SV Bass (Ampeg SVT)

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1. Based on: Ampeg SVT, a bass head used for decades by famous bassists the world over. Super Vacuum Tube bass amp, 300W. Used with 8x10 speakers
2. Stock cabinet suggestions: #68
3. Original controls: ...
4. Ampeg website

Suhr Badger 18 / 30

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1. Based on: Suhr Badger, 18w and 30w models, single channel, EL84, used with V30 speakers
2. Stock cabinet suggestions: #41, #47, #48, #51, #59, #62, #63
3. Original controls: Bass, Middle, Treble, Gain, Power (controls Power Scaling), Drive (acts as Master with Power at 10)
4. When increasing Gain, turn down Bass
5. See website for suggested settings
6. Original manual
7. Suhr website
8. 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." Source
9. Demo by Pete Thorn

Super Trem (Supro 1964T)

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1. Based on: Supro 1964T. Used with 6" oval speaker or 15" Jensen
2. Stock cabinet suggestions: #1, #18
3. Original controls: Volume, Tone
4. Youtube

Supertweed

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1. Ported model from the Ultra

Super Verb (1964 Fender Super Reverb)

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1. Based on: 1964 blackface Fender Super Reverb, AB763 circuit, 40w, Normal and Vibrato channel (Vibrato channel is modeled), speakers: 4x10 Jensen C10r (JBL speakers were optional)
2. Stock cabinet suggestions: 4x10 Bassman or 12" Jensen speakers
3. Original controls (Vibrato channel): Volume, Bass, Middle, Treble, Bright 
4. Fender website
5. Wikipedia
6. More information
7. 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." Source
8. 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." Source

Tube Pre (generic tube preamp)

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1. A completely neutral, low-gain tube pre useful for “warming up” various sources
2. Stock cabinet suggestions: n/a
3. Original controls: n/a

Two Stone J-35 (Two-Rock Jet 35)

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1. 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
2. Stock cabinet suggestions: #56
3. Original controls: Bass, Middle, Treble, Gain, Master, pull bright/mid/deep
4. Original manual
5. Two-Rock website
6. 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." Source
7. 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." Source

TX Star Lead (Mesa Boogie Lone Star)

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1. Based on the lead channel of a Mesa Lone Star. 50/100 watt amp (later editions also feature lower wattages), two channels, 6L6 tubes (Classic) or EL84 (Special). Used with C90 speakers
2. Stock cabinet suggestions: #8, #12, #43, #44, #65
3. Original controls: Gain, Treble, Mid, Bass, Presence, Master, Resonance, Presence
4. Original manual with sample settings
5. Mesa website
6. Wikipedia
7. YouTube video: Andy Timmons' Lone Star settings. Try with a BB drive block 
8. Clif: "Tone stacks can have a lot of insertion loss and that particular one does. Moving it to any location other than the default will drastically reduce the volume. Don't move it." Source
9. Demo by Andy Timmons

USA IIC+ Norm / Bright (Mesa Boogie Mark IIC+)

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1. Based on: Mesa Boogie Mark IIC+ Lead, a US-made amp famous for its smooth overdrive sound with pull bright OFF / ON. EVM 12L speakers
2. Stock cabinet suggestions: #8, #12
3. Original controls: Volume, Master, Bass, Mid, Treble, Presence, Bright switch pullout, Treble Shift. Graphic equalizer and Gain Boost not modeled
4. Original manual
5. Mesa website
6. Wikipedia1 Wikipedia2
7. The graphic EQ on the real amp is positioned between the preamp and the power amp section. As such it can't be simulated exactly. See the Mother-of-all-pedal-and-effects-emulations thread for the EQ settings
8. Cliff: "The Drive control on the Axe is your Volume 1 or whatever. if you want more Lead Drive, increase the trim." Source

USA Clean 1 (Mesa Boogie Mark IV)

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1. Based on: Mesa Boogie Mark IV (Rhythm 1 channel). A somewhat neutral, clean-sounding model that can pushed into warm clipping. 14x12 Mesa C90 speakers
2. Stock cabinet suggestion: #8, #12, #43, #44, #65
3. Original controls: Gain, Volume, Treble, Mid, Bass, Presence, Bright switch. Graphic Equalizer not modeled
4. Original manual
5. Mesa website
6. Wikipedia1 Wikipedia2
7. The graphic EQ on the real amp is positioned between the preamp and the power amp section. As such it can't be simulated exactly. See the Mother-of-all-pedal-and-effects-emulations thread for the EQ settings
8. 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." Source
9. Cliff: "Increasing the trim isn't exactly the same as increasing the Lead Drive but it's so close that you shouldn't hear a difference. It isn't actually where the gain is applied that makes the difference. Both gains are early in the chain and well before any significant distortion is occurring. The reason the two controls behave different is that the Gain control has a bright cap across it while the Drive control does not. There is a slight Miller frequency dependence on the Drive control but it's insignificant. Therefore... you can treat the Input Trim as the Drive control." Source
10. 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." Source

USA Clean 2 (Mesa Boogie Triaxis)

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1. Based on: Mesa Boogie Triaxis preamp (Green channel), “Vintage Fat Rhythm" (Mark I, Blackface) channel
2. Stock cabinet suggestion: n/a
3. Original controls: Gain, Volume, Treble, Mid, Bass, Presence, Bright switch. Graphic Equalizer not modeled
4. Mesa website
5. Wikipedia1
6. 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." Source
7. Cliff: "Increasing the trim isn't exactly the same as increasing the Lead Drive but it's so close that you shouldn't hear a difference. It isn't actually where the gain is applied that makes the difference. Both gains are early in the chain and well before any significant distortion is occurring. The reason the two controls behave different is that the Gain control has a bright cap across it while the Drive control does not. There is a slight Miller frequency dependence on the Drive control but it's insignificant. Therefore... you can treat the Input Trim as the Drive control." Source

USA Lead / Lead Brt / Lead + / Lead Brt + (Mesa Boogie Mark IV)

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1. Based on: Mesa Boogie Mark IV. Lead: this model has a tight, focused, hi-gain sound. Great for fusion and rock leads. Lead Brt: Pull Bright. Mesa C90 speakers
2. Stock cabinet suggestions: #8, #12, #43, #44, #65
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence, pull Bright switch. Graphic Equalizer not modeled
4. Original manual
5. Mesa website
6. Wikipedia1 Wikipedia2
7. The graphic EQ on the real amp is positioned between the preamp and the power amp section. As such it can't be simulated exactly. See the Mother-of-all-pedal-and-effects-emulations thread for the EQ settings
8. 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." Source
9. Cliff: "Increasing the trim isn't exactly the same as increasing the Lead Drive but it's so close that you shouldn't hear a difference. It isn't actually where the gain is applied that makes the difference. Both gains are early in the chain and well before any significant distortion is occurring. The reason the two controls behave different is that the Gain control has a bright cap across it while the Drive control does not. There is a slight Miller frequency dependence on the Drive control but it's insignificant. Therefore... you can treat the Input Trim as the Drive control." Source
10. Lead/Lead Brt models have Mid Gain. The + models have Mid Gain switched on
11. 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." Source
12. Firmware 10 release notes: "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 gain of these models has been increased by about two as most people set the Drive knob higher than the setting used in the original models. You can fine-tune the gain using the Input Trim parameter in the Advanced menu. 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."

USA PRE Green /Yellow (Mesa Triaxis LD2)

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1. Based on: Mesa Triaxis preamp, LD2 modes
2. Stock cabinet suggestions: n/a
3. Original controls:
4. Mesa website
5. Wikipedia1 
6. 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." Source
7. Firmware 10 release notes: "Added “USA Pre Green” and “USA Pre Yellow amp models 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."

USA Rhythm (Mesa Boogie Mark IV)

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1. Based on: Mesa Boogie Mark IV (Rhythm 2 channel), THE California crunch rhythm sound. Rhythm Ch. 2 with “Fat” switch OFF. 4x12 Mesa C90 speakers
2. Stock cabinet suggestion: #8, #12, #43, #44, #65
3. Original controls: Gain, Volume, Treble, Mid, Bass, Presence. Graphic Equalizer not modeled
4. Original manual
5. Mesa website
6. Wikipedia1 Wikipedia2
7. The graphic EQ on the real amp is positioned between the preamp and the power amp section. As such it can't be simulated exactly. See the Mother-of-all-pedal-and-effects-emulations thread for the EQ settings
8. 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." Source
9. Cliff: "The MK IV and Triaxis models were modeled with the Lead Drive set to 5. Increasing the trim isn't exactly the same as increasing the Lead Drive but it's so close that you shouldn't hear a difference. It isn't actually where the gain is applied that makes the difference. Both gains are early in the chain and well before any significant distortion is occurring. The reason the two controls behave different is that the Gain control has a bright cap across it while the Drive control does not. There is a slight Miller frequency dependence on the Drive control but it's insignificant. Therefore... you can treat the Input Trim as the Drive control." Source
10. 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." Source

Vibrato Verb (Fender Vibroverb)

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1. Based on: Fender Vibroverb, a 40W combo that's great for clear or grinding cleans and gutsy blues. 6G16 circuit, normal and bright channel, Brownface era, 2x10 Oxford speakers or 1x15
2. Stock cabinet suggestions: #3, #8, #12, #18, #31
3. Original controls: Volume, Bass, Treble, no Master. The original amp has a “tapped” treble circuit, meaning that treble is “flat” at setting “5”. Cutting or boosting the treble was possible by turning the knob down (below 5) or up (above 5)
4. It's not difficult to distort a Fender when using humbuckers. Turn down Drive
5. Fender website
6. Wikipedia
7. More information
8. 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" Source

Vibrato-King (Fender Vibro-King)

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1. Based on: Fender Vibro-King
2. Stock cabinet suggestions: 
3. Original controls: 
4. Fender website
5. Known to be a very bright (harsh) amp
6. 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." Source
7. 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."

... (Fender Vibrolux)

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1. Based on: Fender Vibrolux
2. Stock cabinet suggestions: 
3. Original controls: 
4. It's not difficult to distort a Fender when using humbuckers. Turn down Drive
5.  
6. Fender website
7. Wikipedia
8. More information
9. 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" Source

Wrecker 1 (Trainwreck Express)

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1. Based on: Trainwreck Express, designed and built by the late, great Ken Fischer. Often used with greenbacks or G12H speakers 
2. Stock cabinet suggestions: #34, #35, #36, #37, #38, #57, #58, #60, #61
3. Original controls: Volume, Bas, Mid, Treble, Presence, Bright switch, no Master
4. FAQ
5. Trainwreck website
6. 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."
7. Firmware 3.0: added a second Trainwreck model: FAS Wreck
8. YouTube clip