Amplifier models list

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Printable version

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• Behavior of the amp controls:
  • If the real amp has no master volume control: Master Volume in the model defaults at 10.
  • If the real amp has two gain controls: the closest one to the 1/4" input on the real amp is Input Drive in the model, the other one is Overdrive.
  • If the real amp only has a single Tone control: it's mapped to Treble or Presence/HiCut in the model, depending on the amp.
  • If the real amp has two inputs (f.e. low and high): the model is based on the high input. Set Input Trim to 0.500 to get the equivalent of using the low input.
  • The controls of the models match the tapers of the real amp within 10%, except for Master Volume, Presence/HiCut and Depth.
  • Amp parameters explained.
• Quick Reference Guide, by jma.
• Pictures of the real amps, by MDProd.
• List of the stock cabs.
• The pictures below do not necessarily reflect the modeled amp.

5F1 TWEED (based on tweed Fender Champ)

1. Based on a tweed Fender Champ. 5F1 circuit ('58-'64), Class-A, single-ended, 5 watts, single 6V6 tube. High and low inputs.
2. Suggested cabs: Fender 8", "Champlier".
3. Original controls: Volume, no tone controls.
4. Fender website.
5. Wikipedia: "The Fender Champ was a guitar amplifier made by Fender. It was introduced in 1948 and discontinued in 1982. The Champ had the lowest power output and the simplest circuit for all of the Fender tube amps. The Champ had only one power tube, which meant that the circuit is single-ended and class A. Five watts and the simple toneful circuit allowed the Champ to be used easily and often in recording studios."

5F8 TWEED (based on Keith Urban's '59 tweed High Power Fender Twin)

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1. Based on: '59 tweed High Power Fender Twin (Twin Amp), owned by Keith Urban. '59 tweed, 5F8 circuit, 65 watts, 6L6 tubes.
2. Suggested cabs: Fender "Double Amp" (2xP12).
3. Original controls: Volume, Bass, Middle, Treble, Presence.
4. More info: see Double Verb model (Twin Reverb).
5. It's a dark amp, especially when combined with its stock cab. Turn up Presence, just like Keith Urban.
6. Fender website.
7. Keith Urban's rig rundown, including his amp settings.
8. 5F8 story.

6G4 SUPER (based on '60 brownface Fender Super)

1. Based on: brownface '60 Fender Super, 6G4 circuit, 40 watts, 6L6 tubes. Low and high inputs. Normal and Vibrato channel (modeled: Vibrato channel).
2. Suggested cabs: Fender 2x10" (Jensen P10R, P10Q, Oxford 10K5).
3. Original controls: Volume, Bass, Treble, Presence, Vibrato.
4. Fender website.
5. Wikipedia: "The Fender Super was a guitar amplifier made by Fender between 1947 and 1963 and, as the Super Reverb, until 1981. Though it was designed for a clean sound, its overdriven sound is praised by players and critics. The Super evolved from the so-called Dual Professional, "often cited as the world's first twin-speaker amplifier," which was introduced in 1947. The Dual Professional had two slightly angled 10" Jensen speakers, and had two 6L6 tubes producing 18 watts. It was renamed the Super in the fall of 1947. The amplifier's circuit was changed in 1955 (until then it was identical to the Fender Pro, except for the speaker configuration) when the 6L6 tubes were exchanged for 6V6 tubes; the 1956 5F4 model was again equipped with 6L6 tubes, so its circuitry was again almost identical to that of the Pro (5E5-A model) and the Bandmaster (5E7 model). The 5F4 model had Presence, Bass, and Treble controls, and separate Volume controls for the microphone and instrument inputs. It used 12AY7 pre-amplifier tubes for "more clarity and headroom" than a 12AX7 would. A fixed-bias output stage and split-phase inverters helped the Super overdrive more quickly than the Fender Bassman and produce a sound that, according to Vintage Guitar's Dave Hunter, "in the estimation of many a vintage-amp fan, is among the sweetest and most delectable of any amp ever made."
6. Ampwares.

6G12 CONCERT (based on '60 brownface Fender Concert)

1. Based on: brownface '60 Fender Concert. 6G12 circuit, 40 watts, 6L6 tubes. Low and high inputs. Normal and Vibrato channels (modeled: Vibrato channel). Said to be the same as a Pro but with 4x10" speakers.
2. Suggested cabs: Fender 4x10" (P10R, P10Q, C10R).
3. Original controls: Volume, Bass, Treble, Presence, Vibrato.
4. Fender website.
5. Wikipedia.
6. Premier Guitar article: "The Concert amp was first introduced into the Fender line in 1959. It was a two-channel amp and came in a 4x10 combo configuration. Its only effect was vibrato, as reverb had not yet found its way into the Fender amp line. I really don’t have too much information about the 1959 version of the Concert, except for the fact that it was produced using the 5G12 schematic, which seems to be a pretty elusive item. The 5G13 Vibrasonic schematic is available, however (the two amps were electrically the same in 1960), and there are very minimal differences between it and the Concert’s 6G12 schematic, so I would assume that the 1959 and 1960 versions of the Concert were very similar. The next versions of Concert amps, the amps in question here, produced from 1960 to 1963 actually differ in two ways. One was cosmetic and the other electrical. Cosmetically, there were four different versions produced during this time. The Concerts produced in 1960 originally sported light brown vinyl and tweed-era grille cloth. This changed in early 1961 to a marooncolored grille cloth, and then later in 1961 the vinyl was changed to a darker brown. In 1962, Fender again changed the grille from the maroon color to a wheat-colored cloth. Electrically, there were two different versions of the Concert produced between 1960 and 1963. The first version, produced in 1960, was based on the 6G12 schematic and was, as stated above, electrically the same as the Vibrasonic amp of the same era. The “12” in the schematic number is actually the model number of the amp. In comparison, the model number of the Vibrasonic is 13. This would indicate that design work on the Concert preceded that of the Vibrasonic, but according to those knowledgeable on the subject, the Vibrasonic was released earlier than the Concert. This version of the Concert can be quickly recognized by checking the tube compliment. If you’re seeing five preamp tubes across the back, the amp is an early- to mid-1960 Concert produced using the 6G12 circuit. Another recognizable and interesting attribute of these amps was the controls, which were backwards from what we’re used to seeing on the face of a traditional Fender amp. Following the input jacks, the controls were Bass, Treble then Volume, not the traditional Volume, Treble, Bass. One glaring error on the 6G12 schematic, as well as the Vibrasonic 5G13 schematic, is the fact that the 470-ohm output tube screen grid resistors are marked as 470K ohm. That’s a design parameter that definitely would not work. The other version of the Concert during this period was produced between late 1960 and 1963. This version utilized the 6G12-A circuit. As with all of the Concerts during this time, it was also a two-channel amp, but the vibrato circuit had been substantially changed and now required the addition of another preamp tube. Looking at the schematic of this amp, it appears the greatest change to the vibrato circuitry is in the oscillator area of the circuit. This part of the circuit became much more simplified than its predecessor, and by the looks of it became the basis for the oscillator found in the popular opto-isolator version used today. While there indeed was another tube added to this new design, the tube was used to take the output of the oscillator circuit and produce two out-of-phase oscillator signals. These were then fed to the modulation part of the circuit, which would modulate the audio signal. The audio signal was split in order to feed two different amplifiers in the modulation circuit, but because the signal was split through different RC (resistor/ capacitor) networks, there was a slightly different signal being fed to each of the two amplifiers. Once combined together again, these slightly different signals being modulated by two out-of-phase oscillator signals provided the resulting pitch shifting aspect of this vibrato circuit. If you see six preamp tubes across the back of the amp, you have this 6G12-A version. Between the two, the 6G12-A is my personal favorite. The vibrato in these amps is wonderful sounding. It’s one of the only circuits utilized in a Fender amp that actually lives up to the term vibrato, which by definition needs to include some form of pitch shifting. This circuit achieves that to some degree. The other versions of vibrato used in Fender amps, be it the opto-isolator version or the bias-varying method, are actually forms of tremolo, not vibrato. These circuits do nothing more than vary the amplitude of the circuit. "
7. Ampwares.

59 BASSGUY (based on '59 tweed Fender Bassman)

1. Based on: 1959 tweed Fender Bassman, a low-to-medium gain amp designed for bass but more widely adopted by guitarists. 5F6-A circuit, high and low inputs, 6L6 tubes. Modeled channels: Normal and Bright.
2. Suggested cabs: Fender 4x10" (P10R, P10Q), "Bassguy".
3. Original controls: Volume, Bass, Treble, Presence.
4. Try with a Treble Booster, FET boost or a clean boost.
5. 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."
6. 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."
7. Wikipedia.
8. Amp Of The Week forum thread.
9. Cliff's comments:
   • "There is no "High" channel on a 59 Bassman. There is a Normal and Bright channel. The Bright channel model is selected by turning on the Bright switch. The models are based on the higher gain input (the "1" input). To simulate the lower gain input simply set Input Trim to 0.5." source

65 BASSGUY BASS (based on '65 blackface Fender Bassman)

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1. Based on: 1965 blackface Fender Bassman with a AB165 circuit (CBS). Dweezil Zappa’s personal amp. Modeled channels: Bass and Normal. High and low inputs, 6L6 tubes.
2. Suggested cabs: Fender 4x10" or 2x12", "Bassguy".
3. Original controls: Volume, Bass, Treble, fixed Presence circuit.
4. Presence should be at 10 (default).
5. Try it with a high Drive setting for an overdriven, crunchy tone.
6. Fender website.
7. Wikipedia.
8. Fenderguru.com.
9. Tyler Grund's video.
10. Premier Guitar.
11. Forum thread.
12. Cliff's comments:
    • "Definitely not your father's Bassman. Has a pissed-off Marshall vibe to it."
    • "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."
    • "The AB165 uses 7025 preamp tubes (which are relabeled 12AX7). The phase inverter, however, is a 12AT7. The secret to the AB165 is the summing stage. It uses a inverting summing amp to sum the Normal and Bass inputs. This stage clips, because of all the local negative feedback, quite hard."

65 BASSGUY NRML

• See above.

1959SLP JUMP (based on Marshall Super Lead Plexi 1959)

1. Based on: Marshall Super Lead 1959 (reissue), the classic "Plexi" amp head that gave rise to “the stack”. 4 inputs, EL34 tubes, 100 watts. Modeled channels: Normal, Treble (High) and jumpered inputs.
2. Suggested cabs: Marshall, G12M (greenbacks), G12H, G12L.
3. Original controls: Volume, Bass, Middle, Treble, Presence.
4. Marshall website.
5. Manual.
6. Wikipedia.
7. Plexi demo.
8. For another take on the Plexi tone, try the other "Plexi" models: 100w, 50w, '70.
9. For EVH's "brown sound", dime all controls, set Presence to taste.
10. Cliff's comments:
    • (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."
    • (about fizz) "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
    • "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."
    • "The old one (Plexi 100w model) has a 2.7K cathode resistor on the first stage, the new one (1959SLP) has an 820 ohm." source
    • "I based the SLP on using it with G12H(55) speakers which have a resonance of 55 Hz. When mounted in a typical cab the resonance will be in the low 70s. There is no right or wrong. Whatever sounds best." source
    • "My settings for a "typical" Plexi tone are Bass: 2, Mid: 8, Treble 7.5. Adjust Presence to taste." source

1959SLP NORMAL

• See above.

1959SLP TREBLE

• See above.

1987X JUMP (based on Marshall 1987X Vintage Series)

1. Based on: Marshall 1987X Vintage Series, reissue of the Marshall 50w JMP Lead 1987, more agressive than the '60s Plexis. Features what many consider to be an “essential” mod to the tonestack of this Plexi. 4 inputs, 50 watts, EL34 tubes. Modeled channels: Normal, Treble and jumpered inputs.
2. Suggested cabs: Marshall, G12M (greenbacks), G12H, G12L.
3. Original controls: Bass, Middle, Treble, Volume, Presence.
4. The 1987x is bass-heavy. Try turning down Bass all the way.
5. Manual.
6. Marshall website.
7. Wikipedia.
8. ProGuitarShop demo.
9. Cliff's comments:
   • "The 1987x doesn't have the 0.68uF cap on the last triode. Gives it a smoother distortion." source
   • "My settings for a "typical" Plexi tone are Bass: 2, Mid: 8, Treble 7.5. Adjust Presence to taste." source
10. More info: see 1959 SLP and Plexi.

1987X NORMAL

• See above.

1987X TREBLE

• See above.

5153 50W BLUE (based on EVH 5150 III)

1. Based on: EVH 5150 III, made in collaboration with Fender, a holy grail of modern tone. 6L6 tubes, 100 watts. Modeled channels: Green (clean), Blue (medium gain) and Red (high gain). Modeled channel of 50 watts amp: Blue.
2. Suggested cabs: 5150, G12H, G12EVH.
3. Original controls: Gain, Low, Middle, High, Volume, Presence. Resonance control (only on 50w model).
4. 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."
5. Other Axe-Fx II models of EVH amps: PVH 6160 and PVH 6160 II.
6. Manual.
7. EVH's amp settings.
8. Information about the 5150 amp.
9. Ola Englund's demo.
10. Another demo.
11. Reviews: iGuitar, Premier Guitar.
12. Cliff's comments:
    • "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 amp has sooo many toobz it must sound awesome" marketing makes it understandable. It's incredibly heavy though." source
    • "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
    • "The 50W version has a different input network than the 100W version for that channel. The 50W version has about twice the gain as a result. Otherwise things are pretty similar. You can simulate this using the Input Trim knob." source
    • "The red channels (of 50w and 100w models) are identical." source

5153 100W BLUE

• See above.

5153 100W GREEN

• See above.

5153 100W RED

• See above.

AC-20 12AX7 B (based on Morgan AC20 Deluxe)

1. Based on: Morgan AC20 Deluxe. EL84 tubes, 20 watts, switchable EF86/12AX7 preamp tubes. Models: EF86 B(ass) and T(reble), 12AX7 B(ass) and T(reble).
2. Suggested cabs: Morgan ("AC-20"), Alnico Blue, G12M (greenback), G12H.
3. Original controls: Volume, Cut (model: Hi-Cut), Bright switch, Brilliance (cuts bass), power scaling, EF86/12AX7 switch.
4. Morgan website and audio samples.
5. 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."
6. Try the EF86 with single-coils, and the 12AX7 with humbuckers.
7. Video.
8. About the differences between EF86 and 12AX7.
9. Cliff's comments:
   • "The AC-20 model is based on the amp with the power scaling at maximum power which effectively disables it (and sounds best IMO)." source
   • "As with the real amp I dial in quite a bit of Hi-Cut." source

AC-20 12AX7 T

• See above.

AC-20 EF86 B

• See above.

AC-20 EF86 T

• See above.

ANGEL SEVERE 1 (based on Engl Savage 120)

1. Based on: Engl Savage 120w, Channel 2 "Rough". Models: Contour Off (model 1) and Contour On (model 2).
2. Suggested cabs: Engl, V30.
3. Original controls: Gain (input sensitivity), Lead (degree of distortion), Lead Boost switch, Contour switch, Bass/Middle/Treble, Rough/Smooth switch, Master, Presence, Depth Boost switch. Other controls not modeled.
4. Engl website: "One of the best-known ENGL heads, the Savage 120 sets new standards in modern rock music with its unique sound. Fast response and attack plus punchy headroom & dynamics are the trademarks of this workhorse. 4 basic sounds plus lots of handy features make the Savage 120 the ideal choice at the heart of a modern rock rig."
5. Manual.
6. Engl manual:
   • about Rough overdrive mode: "emphasis on high and low ends, great for rhythm playing with a pronounced bottom end and gritty, biting highs. Use Bass (11:00-13:00) sparingly. Keep Depth Boost (80 Hz +6dB) off."
   • about Contour: "OFF boosts lower midrange around 500 Hz (warm tone). ON boosts from 1200 Hz and cuts lower midrange (more transparency)."
7. Cliff's comments:
   • "From noon and up it's a presence boost, from noon down it's a presence cut." source

ANGEL SEVERE 2

• See above.

ATOMICA HIGH (based on Cameron Atomica)

1. Based on: Cameron Atomica, a "brown sound" 100w amp. EL34 tubes. Modeled channels: low gain and high gain.
2. Suggested cabs: G12H.
3. Original controls: Thump (model: Depth), Presence, Bass, Middle, Treble, Master, Gain, Edge (model: Bright switch), 3-way gain switch.
4. Saturation is engaged by default.
5. Mark Day demo.
6. Cliff's comments:
   • "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."
   • "In the design of some amps the lowcut frequency is dependent upon the Drive setting. In these cases the Lowcut parameter defaults to 10 Hz and the actual lowcut filtering is calculated as part of the Drive knob function." source

ATOMICA LOW

• See above.

BAND-COMMANDER (based on Fender Band-Master)

1. Based on: 1968 silverface Fender Band-Master. AB763 circuit. High and low inputs, 6L6 tubes. Normal and Vibrato channels (model: Vibrato channel).
2. Suggested cabs: Fender 3x10", 2x12" (C12N).
3. Original controls on Vibrato channel: Volume, Bright switch, Treble, Bass, Tremolo controls.
4. 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."
5. 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 noticeable 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."
6. Wikipedia.
7. Demo.

BIG HAIR (FAS custom model)

1. Custom Fractal model, mids without mud. Revive the 80s metal scene (Spandex not included).
2. 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."

BLANKNSHP LEEDS (based on Blankenship Leeds 21)

1. Based on: Blankenship Leeds 21, 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 tubes, two channels.
2. Suggested cabs: Fender 2x10" (C10Q), Alnico Blue.
3. Original controls: Volume, Tone (model: Treble).
4. Cliff's comments:
   • "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
   • "The amp has no hi-cut circuit therefore the control won't do anything. Neither will the Depth." source

BLUDOJAI CLEAN (based on Bludotone Ojai)

1. Based on: Bludotone Ojai, an exact clone of Robben Ford's Tan Dumble. 6L6 tubes. Modeled: Clean and OD channel, with (LD1) and without (LD2) preamp boost engaged.
2. Suggested cabs: Dumble, G12-65, EVM, V30.
3. Original controls: Volume (model: Input Drive), Overdrive Level (model: Overdrive, OD channel only), Treble, Middle, Bass, Ratio, Master Volume, Presence, Bright and Mid boost switches, Preamp boost (PAB).
4. Bludotone website.
5. Audio samples.
6. 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."
7. 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."
8. 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."
   • "For the Bludo CLEAN amp, take the tone stack from "default" and replace it with either the Skyline or Skyline Deep tonestack. Next, set the master volume to 5 (it has a brite cap on it, so the louder the master, the less trebly; Ford sets his around 5). Next, set the Drive control to literally 1 or 1.5 - pretty low, and the guitar input gain control to 0.5. (Think about how Robben constantly uses that volume pedal to control the amount of guitar signal going into the amp...this gives you some room). Now you have a very nice sounding Dumble Fender on Steroids with mids clean, with Bass at 5, Mids at 3-5, treble at 5, presence at 3-5. Jack up the Level output volume to compensate for the lower gain settings. Pair it with a G12-65H speaker. Cab Pack 17 has many choices (full disclosure, I produced 5 of the 6 Cabs in that Cab Pack). The BludoMix Cab in factory firmware is a 1x12 Alnico dual port cab, and will sound good but perhaps a tad darker (great for Jazz) on clean sounds than the G12-65H will. Now, if you like, put a Zen drive in front on the BludoClean amp....or a boost...and listen to how that clean channel wakes up fast for grittier leads and touch-responsiveness. For BludoLead, take the Lead default amp values. Put the Master Volume on 5. Put drive at 4-5 and Overdrive at 4-5, and experiment with the tone stack swaps above. If you want the amp to feedback effortlessly on a note, raise the overdrive setting higher combined with the gain, provided you have sufficient volume coming out your speakers to hit your guitar pickups in a reinforcing loop, it will do it! Throw a boost or Zen drive on that, if you like."
   • "The BludoOjai is a Robben Ford voiced amp, but it was originally modeled sometime back with the "pre-amp boost" set to ON, pre G3 and pre Quantum era. It's my amp. For lead or gain tones it is still pretty great (really cuts through a band at high volumes in voicing) but it means the clean channel is pretty gainy. So here are some tips, some of this is in the Amp Wiki too. Paco would already know this, but for other thread readers, for the Bludo CLEAN amp, take the tone stack from "default" and replace it with either the Skyline or Skyline Deep tonestack. Next, set the master volume to 5 (it has a brite cap on it, so the louder the master, the less trebly; Ford sets his around 5). Next, set the Drive control to literally 1 or 1.5 - pretty low, and the guitar input gain control to 0.5. (Think about how Robben constantly uses that volume pedal to control the amount of guitar signal going into the amp...this gives you some room). Now you have a very nice sounding Dumble Fender on Steroids with mids clean, with Bass at 5, Mids at 3-5, treble at 5, presence at 3-5. Jack up the Level output volume to compensate for the lower gain settings. Pair it with a G12-65H speaker. Cab Pack 17 has many choices (full disclosure, I produced 5 of the 6 Cabs in that Cab Pack). The BludoMix Cab in factory firmware is a 1x12 Alnico dual port cab, and will sound good but perhaps a tad darker (great for Jazz) on clean sounds than the G12-65H will. Now, if you like, put a Zen drive in front on the BludoClean amp....or a boost...and listen to how that clean channel wakes up fast for grittier leads and touch-responsiveness. For BludoLead, take the Lead default amp values. Put the Master Volume on 5. Put drive at 4-5 and Overdrive at 4-5, and experiment with the tone stack swaps above. If you want the amp to feedback effortlessly on a note, raise the overdrive setting higher combined with the gain, provided you have sufficient volume coming out your speakers to hit your guitar pickups in a reinforcing loop, it will do it! Throw a boost or Zen drive on that, if you like..." source
9. Pictures of Robben Ford's amp settings: 1, 2.
10. Scott Lerner's Ojai 1, 2 Scott Lerner's Ojai 2.
11. Try engaging the Bright switch (clean and OD models).

BLUDOJAI LD1

• See above.

BLUDOJAI LD2

• See above.

BOGFISH BROWN (based on Bogner Fish)

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1. Based on: Bogner Fish preamp, a blue 4-channel tube preamp. EL34 tubes. Modeled: Strato (tight high gain) and Brown (fat high gain) channels.
2. Suggested cabs: n/a.
3. Original controls (Strato and Brown): Master, Presence, Gain, Volume, Bass, Mid, Treble.
4. Cliff's comments:
   • "I used the power amp models from the XTC." source
   • "People think Bogners are dark but they really aren't. The reason they seem that way is the pot tapers. Most people assume knobs should be set somewhere around noon. If you do this on a Bogner it's like turning the treble way down on a Marshall. Close your eyes and adjust the tone controls with your ears. Don't be afraid to turn them way up or way down." source
   • "Human nature is to put the knobs near noon. We are reticent to deviate much from noon. Amp designers exploit this and use different tapers to change the sound of their amps WITH THE KNOBS AT NOON. A prime example are Bogner amps. Everyone says "Bogner amps are dark". No they aren't. But he uses a Log10A taper for the treble pot. It's a standard Marshall tone stack. Usually a linear taper pot is used for the treble. The treble knob at 5.0 (noon) on a Bogner is equivalent to the treble knob at 1.0 on a Marshall. People put the knob at 5.0 and go "wow, this amp is dark". No it isn't. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi but humans are reticent to turn the knobs to extremes. Amp designers know this and exploit it to give their amps a "signature sound"." source
5. Bogner website.
6. Wikipedia.
7. Tone Merchants demo.

BOGFISH STRATO

• See above.

BOUTIQUE 1 (based on Matchless Chieftain)

1. 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. EL34 tubes.
2. Suggested cabs: Matchless, "Boutique", combo of G12M and G12H.
3. Original controls: Volume, Master, Bass, Treble, Brilliance (model: HiCut).
4. Based on a Vox circuit.
5. For more preamp distortion, lower Master Volume and use Drive for gain.
6. Matchless website.
7. Manual.
8. Wikipedia.
9. Demo.
10. Vinai's demo.

BOUTIQUE 2

• See above.

BRIT 800 MOD (based on modded Marshall JCM800)

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

BRIT 800 (based on Marshall JCM800)

1. Based on: Marshall JCM800, the vaunted model 2204. Bring the Master up for true 80's tone. EL34 tubes.
2. Suggested cabs: G12M, G12H, G12-75, V30, Marshall.
3. Original controls: Gain, Bass, Middle, Treble, Presence, Master.
4. Marshall website.
5. Wikipedia: JCM800
6. Turn up Master Volume. Try with a TS808 or Tube Drive block (set the Drive block to minimal Drive and full Level).
7. Cliff's comments:
   • "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
   • "The saturation switch switches in a zener diode clipping stage right before the tone stack. This is the Arrendondo Mod."
   • "Rips my head off here. I have to turn the presence way down. Check the MV. Too high and will get muddy." source
   • "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
   • "Those amps are all designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter." source
   • "It's a vertical input Canada export version. I went through several before settling on this one as it was the best sounding by far." source
8. Thread about JCM800.
9. The BRIT AFS100 1 is based on the JCM800 2203.

BRIT AFS100 1 (based on Marshall AFD100SCE)

1. Based on: Marshall AFD100 100w dual-mode head, Special Collectors Edition. The AFD100SCE is a remake of the amp used by Slash when recording GnR's Appetite for Destruction album (believed to be a modified 1959 Tremolo). The Brit AFS100 1 model is based on the #34/AFD switch in the #34 mode (LED off), which is the equivalent of a modded JCM800 2203. The Brit AFS100 2 model is in the AFD mode (LED on), with extra gain. 6550 tubes. Low and high inputs.
2. Suggested cabs: V30.
3. Original controls: Gain, Bass, Middle, Treble, Presence, Volume. Power attenuation.
4. According to the AFD100 manual Slash sets all controls between 5 and 7.
5. Manual.
6. Marshall website.
7. Wikipedia.
8. Demo.
9. The “Appetite”-Amp Story.
10. The Brit Super model is based on a schematic of the AFD100 amp, rather than on the real amp.

BRIT AFS100 2

• See above.

BRIT BROWN (FAS custom model)

1. Custom Fractal model, a faithful recreation of the pure, raw "Brown Sound" - The Modded “#1” Marshall.
2. Suggested cabs: G12M, G12H, G12-EVH.
3. Saturation parameter is engaged by default.
4. Cliff's comments:
   • "Not based on any specific amp." source
   • "The Brit Brown was built by ear." source
   • "Brit Brown is my personal take on what the ultimate "Brown" plexi should sound like. It's based on a 100W SLP with Arredondo mods and a few little voicing tweaks." source

BRIT JM45 JUMP (based on Marshall JTM 45)

1. Based on: Marshall JTM 45, made famous by Clapton and others; actually a modified Bassman design. 45w, EL34 tubes. Modeled: channel 1 (High Treble) and jumpered inputs (all 4).
2. Suggested cabs: G12M, G12H, G12L, Marshall.
3. Original controls: Volume, Bass, Middle, Treble, Presence.
4. It's a bass-heavy amp. Decreasing Bass and/or try the Cut switch.
5. Try with a Tonebender or Treble Booster Drive block.
6. Great for clean tones as well as rock tones (with Input Drive and the tone controls dimed).
7. Marshall website.
8. Wikipedia.
9. Demo.
10. Cliff's comments:
    • "They had no Master Volumes so people rarely got the Drive past 3.00 since it would melt your face. Without the specter of having your skin flayed off as is afforded by a model of the amp, the temptation is to turn the Drive way up. When you do this the low notes get very muddy. Single notes can form an almost perfect square wave which will sound like a synthesizer." source

BRIT JM45

• See above.

BRIT JVM OD1 Gn (based on Marshall JVM410)

1. Based on the Marshall JVM 100w amp, a popular high gain 4 channel 100W head. EL34 tubes. OD1 Gn: Green (hot-rodded JCM). OD1 Or: Orange (extra gain). OD1 Rd: Red (even more gain). OD2 Gn: lower mids than OD1. OD2 Or and OD2 Rd: more gain and lower mids than OD1.
2. Suggested cabs: combo of V30 and G12H, Marshall.
3. Original controls: Volume, Bass, Middle, Treble, Gain, Presence.
4. Manual.
5. Marshall website.
6. Wikipedia.
7. JVM forum.
8. Cliff's comments:
   • "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. It's a very bright amp. Keep Presence low.
10. Demo.

BRIT JVM OD1 Or

• See above.

BRIT JVM OD1 Rd

• See above.

BRIT JVM OD2 Gn

• See above.

BRIT JVM OD2 Or

• See above.

BRIT JVM OD2 Rd

• See above.

BRIT PRE (based on Marshall JMP-1)

1. Based on: Marshall JMP-1 preamp, a rack-mount preamplifier version of the Brit 900. EL34 tubes. For crunchy “ZZ” tones.
2. Suggested cabs: n/a.
3. Original controls: Volume, Gain, Bass, Mid, Treble, Presence, Bass shift.
4. Manual.
5. Marshall website.
6. Wikipedia.
7. The preamp model includes a Marshall power amp model.
8. Cliff's comments:
   • "The two channels have preset tone stacks. Then there is a digitally controlled 4-band graphic EQ which is the B/M/T and Presence. This technique gets around the problem of trying to digitally control a tone stack. The Triaxis uses LDRs in place of potentiometers. The Soldano X-99 uses motorized pots. Both techniques being expensive. So the JMP-1 uses a fixed tone stack and then a digitally controlled graphic EQ. The Axe-Fx model of the JMP-1 is "better" in the sense that the tone controls control the tone stack rather than a graphic EQ. You then have the separate graphic EQ to further tailor the sound. What I didn't do, and why people probably feel the model differs, is "normalize" the tone controls so that with B/M/T at noon the tone stacks match. On the Axe-Fx you might need to set the Bass to 3, Mid to 7, etc. to get the tone to match. I just used a standard Marshall tone stack whereas the JMP-1 uses a standard Marshall tone stack but the pots are replaced with fixed resistors but those values don't necessarily correspond to the pots at noon." source
9. There are four more models based on the Marshall JMP-1 rack preamp: the JMPre-1 models.
10. JMP-1 Artist settings.

BRIT SILVER (based on Marshall Silver Jubilee)

1. 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, EL34 tubes, 1 input.
2. Suggested cabs: Lerxst, EVM, G12M, G12H, Marshall, V30.
3. Notes: see Brit 800.
4. Joe Bonamassa's settings.

BRIT SUPER (based on Marshall AFD100)

1. See Brit AFS100.
2. This model is based on a schematic of the amp. The Brit AFS100 models are based on a real version of the AFD100 amp.

BUTTERY (based on Budda Twinmaster)

1. Based loosely on a late 90s specimen Budda Twinmaster. Relies mostly on power amp distortion. EL84 tubes.
2. Suggested cabs: Vox, Alnico, G12M, G12H.
3. Original controls: Bass, Treble, Volume.
4. Manual.
5. Budda website.
6. Wikipedia.
7. Cliff's comments:
   • "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."
   • "It's still the "ear tuned" version. I bought the amp but because it was so popular as-is I didn't dare change it." source
   • "Buttery is a virtual amp model that was created by ear. There is no physical, real amp that exists upon which it was based. It's like the FAS models. They exist solely in the virtual world. They all still benefit from the Quantum stuff though as they use the same underlying algorithms for the tube modeling. The amp model, regardless of how accurate it is (and it's probably grossly inaccurate as I never compared it to any actual amp) is very popular and that's why it was never matched to any real amp." source
8. Budda is now owned by Peavey.

CA OD-2 (based on Carol-Ann OD-2)

1. Based on: Carol-Ann OD-2. The model was fine-tuned by the highly respected Alan Phillips himself. 6L6 tubes. Modeled: Overdrive channel.
2. Suggested cabs: Dumble, EVM, Classic Lead 80.
3. Original controls: Master, Pre Gain (model: Input Drive), Drive (model: Overdrive), Bass, Middle, Treble, Presence, Sparkle (clean and overdrive channel), Shift switch.
4. Carol-Ann website.
5. 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 modeled 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."
6. Clips and videos.

CA TRIPTIK CLN (based on Carol-Ann TripTik)

1. Based on: Carol-Ann Triptik, 50w. EL34 tubes. Three channels.
2. Suggested cabs: Triptik, various.
3. Original controls: Input Level (model: Input Drive), Drive on channels 2 and 3 (model: Overdrive), Bass, Middle, Treble, Presence, Master, Classic/Modern voicing switching.
4. Carol-Ann website.
5. Clips and videos.
6. 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."
7. Model based on 50w EL34 amp supplied by forum member jharpersj (source). Jharpers: "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." source
8. Cliff's comments:
   • "This TripTik is badass. Dumble meets Marshall with a sprinkle of 5150 power amp." source
   • "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." source
9. Alan Phillips from Carol-Ann:
   • comment and comment.
   • (about the Classic mode): "On the real amp, you would set the Input level at 2 O'clock and the Gain at 1 to 2 O'clock to get a great classic rock rhythm tone. It's not overly different in character to the modern setting, less gain and less low end essentially." source
   • "The Triptik uses EL34s driven from a 12AX7 PI." source
10. For a great clean channel tone (like the Shiva), crank Master Volume.

CA TRIPTIK CLSC

• See above.

CA TRIPTIK MDRN

• See above.

CA TUCANA CLN (based on Carol-Ann Tucana 3)

1. Based on: Carol-Ann Tucana 3 clean and lead channels. This is a 3-channel amp (lead channels 2 and 3 are the same) with a Bias monitoring system, KT88 75W tubes.
2. Suggested cabs: G12-65, V30, G12-75.
3. Original controls: Input Level (Clean and Overdrive channels), Bass/Mid/Treble (Clean and Overdrive channels), Gain (Overdrive channel), Master (all channels), Presence.
4. Carol-Ann website.
5. Introduction by Carol-Ann.
6. Clips and videos.
7. Website: "Welcome to our flagship model! The Tucana 3 is our latest amp in the Tucana range. Tonally these amps are designed to cover many styles and are very suited to session players and players who need a very wide palette of excellent tones. With the 3 channels, they can stray into higher gain levels , yet still retain full note definition and separation even with complex chord passages and have an ultra-quiet noise floor. The first new feature of this amp are the separate Input Level Controls for the Clean and OD channels. This gives much greater flexibility than any of the previous models. It is possible to set the Clean Channel for a little more crunch or for maximum clean headroom The overdrive range can be set very easily with the OD Input Level to suit the playing styles or musical genre from a range of blues through rock to modern high gain styles. The Tucana 3 features our new BiasMon(TM) Bias Monitoring system, that constantly monitors the dissipation power of the power tubes by measuring the plate voltage, cathode current and screen dissipation in order to calculate the perfect bias point. The bias point is very easily set by using the two red and one green LED on the back panel. The adjustment is made from the back panel. This makes it a total breeze to re-tube the amp without the need for any tools or bias monitor. Just turn the pot until the green LED indicates. The other advantage of this system is that you can very quickly make adjustments for changes in mains power at different venues. This ensure your amp is ALWAYS running optimally. The power amp section runs the KT88s at a moderate 75W ensuring very long tube life. The transformer set has been designed to retain a ton of warmth, a tightness in the low end that has not been previously seen in the Tucana series. The Tucana 3 is very forgiving on cabinet choice and works well with many speaker / cab combinations."
8. Carol-Ann:
   • "Now I can only speak for the actual amp, but my preference of speaker is a Celestion Creamback 65, though I gig these regularly with a 2x12 with Celestion T75's. Its pretty forgiving on speakers compared with some models. The foot controller and bias monitor are two of the wonderful features of the actual amp, but are both moot in the model......unless Cliff wants to model the effects of real world mains power fluctuations from place to place, but the 'green zone' of the bias monitor is 62-65% plate idle dissipation power and it measures and compensates for plate voltage and screen power , which means the real amp runs best at a slightly cooler bias. The bias monitor just allows you to set that consistently from venue to venue regardless of the main power." source
   • "The Tucana 3 uses KT88s driven from a 12AT7 PI." source
   • "It's very very difficult for anyone to get a bad tone out of the real amp. It's designed that way, the range and limits on the controls, even the biasmon system makes it difficult for even a very inexperienced player to FU. The real amp has a more British overtone to it due to the fact I am British and I designed it. The gain staging, overdrive voicing and output stage are night and day to ANYTHING Mesa, any owner of the real amp would attest to that." source
   • "The Tuc 3 is very very tolerant of most cabs and speakers, unlike say the OD2. I feel people need to approach this model very simply. Don't mess with extended parameters, basically don't try and redesign it. Use a reliable Celestion based cabinet model. I have a fantastic 4x12 with 2 old greenbacks and two old v30s that is the best cab I've played the real amp through. In actual levels of gain with the two adjustable gain controls, the amp has a maximum gain level very similar to the Triptik, the setting of these two controls with respect to each other is critical." source
   • "Real world, it has the same amount of actual gain as the Triptik. Way more than most people would need for recording or live playing. Input gain on 10 o clock, gain on 2 o clock is a 70s /80s lead tone, put the input level up to 2 o click and it's a very sustained lead tone or a very modern heavy rhythm tone." source
   • "You don't need to crank the real amp to get a ton of overdrive. I actually designed the original for myself and I play in a rock cover band. There's nowhere I would ever be able to get the amp to the point of pushing the power tubes in to overdrive. You gain stage a design based on its application. For a design that needs a lot of overdrive at a low volume, you do most of that and the harmonic makeup in the preamp. The Tucana falls in to this category. The master volumes in a 500 seat club rarely get above 10 O Clock on the real amp and at that point there's still tons of clean headroom left. Of course the power amp adds to the harmonic content, but it adds very little overdrive. Another interesting point to note is that the Tucana has a high pass filter in the power amp feedback loop, which gives you a nice tight low end because the bass is subjected to more gain. For an amp designed to be pushed hard in to power tube overdrive, this should be omitted as all bets are off in the feedback loop when you hit the rails. In other words that filter requires headroom to function properly, as does the presence control of any amp where it's a component of the feedback loop." source
9. Cliff's comments:
   • "One of the best amps in the world IMO. I have a Dumble and a Trainwreck and various other boutique amps and the Tucana is better than all of them." source

CA TUCANA LEAD

• See above.

CA3+ CLEAN (based on CAE 3+ SE)

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1. Based on: CAE 3+ SE, a preamp designed by Custom Audio Electronics. 6L6 tubes. Clean, rhythm and lead channels.
2. Suggested cabs: n/a.
3. Original controls: Gain, Bass, Middle, Treble, Master, Bright switch, post EQ (punch/presence).
4. Manual.
5. CAE website.
6. The clean channel is based on a blackface Fender preamp.
7. Cliff's comments:
   • "An OD100 is the head version of a CAE 3+." source

CA3+ LEAD

• See above.

CA3+ RHY

• See above.

CALI LEGGY (based on Carvin Legacy VL100)

1. Based on: Steve Vai's original signature Carvin Legacy VL100 amplifier. 100w, EL34 tubes.
2. Suggested cabs: Carvin, V30.
3. Original controls on Lead channel: Presence, Treble (11kHz), Mid (650Hz), Bass (80Hz), Drive, Volume.
4. Manual.
5. Carvin website.
6. Audio demo.
7. Forum comments.
8. Cliff's comments:
   • "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 CCV 1A (based on Cameron CCV-100)

1. Based on: Cameron CCV-100, an amp its creator Mark Cameron calls “one pissed off amp". EL34 tubes. Modeled: both channels, various bright and gain settings.
2. Models:
   • 2A: Bright1 switch left, Bright2 switch left, Gain Style switch left.
   • 2B: Bright1 switch left, Bright2 switch right, Gain Style switch left.
   • 2C: Bright1 switch left, Bright2 switch left, Gain Style switch right.
   • 2D: Bright1 switch left, Bright2 switch right, Gain Style switch right.
   • Bright1 switch selects the Bright capacitor which you can alter via the Advanced menu.
3. Suggested cabs: G12H.
4. Original controls channel 1: Bass, Middle, Treble, Gain, Master, Gain/Clipping switch, Bright switch. Original controls channel 2: Bass, Middle, Treble, Gain 1, Gain 2, Gain/Clipping switch, Bright, Master. Presence, Punch.
5. Saturation is engaged by default.
6. It's a very bright amp at default.
7. Cliff's comments:
   • "The amp was modeled with the Voicing switch in the middle position. The "Dark" switch is the Negative feedback control. Set Negative Feedback to 3.6 to reproduce the switch in the middle position. Set it to 9.8 to reproduce the switch in the right position. 5.0 for left position (default). The amp has a dozen switches and, frankly, there isn't a lot of difference between some of the settings. The Drive switch sounds virtually identical whether left or right. I don't like it in the middle." source
   • "Our reference amp has a linear taper pot so the behavior is very abrupt. The model matches the amp extremely accurately (as do all G3 models)." source
   • "It's a bit of a quirky amp and kind of a one-trick pony but, man, what a trick." source
   • "Yes, it's actually not a very high gain amp. The topology is very similar to a JCM800." source
   • "The key to the CCV sound is the Sat Switch."
8. Cameron Ch 2 has Saturation engaged by default.
9. Manual.
10. Demo.
11. Audio clip.

CAMERON CCV 1B

• See above.

CAMERON CCV 2A

• See above.

CAMERON CCV 2B

• See above.

CAMERON CCV 2C

• See above.

CAMERON CCV 2D

• See above.

CAR ROAMER (based on Carr Rambler)

1. Based on: Car Rambler, similar to a Fender. 6L6 tubes, 28w pentode/14w triode, cathode bias.
2. Suggested cabs: Carr, "Roamer", 12" Eminence Elsinore, Fender 12", EVM.
3. Original controls: Reverb, Tremolo, Pentode/Triode, Volume, Treble, Middle, Bass.
4. Mid control: "Varies the mid frequencies and is very influential in taking the tone from a 60’s blackface sound (minimum to 11 o’clock) to a pushed tweed mid sound (11 o’clock to full)".
5. Triode/Pentode Switch: "Changes the way the output tubes operate. Pentode sounds loud and punchy with great headroom while Triode is more vintage and warm with very thick midrange. The Pentode mode is the Rambler’s full power setting, producing 28 watts. The Triode mode makes 14 watts".
6. Carr website: "Is the Rambler basically the same as a Fender Deluxe, but better? Both amps more or less occupy the same place in the general range of amps out there, so it's easy to see why people compare them, but the Rambler and the Deluxe behave very differently in practical use. At 28 watts it makes more power and is cleaner than a Deluxe, and their pre-amp sections are similar. Having said that, the Rambler's power section is much more like a Tweed Pro and its phase inverter is based on a Princeton. So, the Rambler shares heritage with a few Fender classics."
7. Manual.
8. FAQ.
9. Cliff's comments:
   • "It's basically a Deluxe Reverb preamp with a cathode bias 6L6 power amp and no negative feedback. Sort of a Fender-meets-Vox thing." source

CITRUS A30 CLN (based on Orange AD30HTC)

1. Based on: Orange AD30HTC, 30w tube head, two channels, EL84 tubes.
2. Suggested cabs: Orange, "Citrus", G12H, V30.
3. Original controls: Gain, Master, Bass, Middle, Treble.
4. Manual.
5. Orange website.
6. Wikipedia.

CITRUS A30 DRTY

• See above.

CITRUS BASS 200 (based on Orange AD200B)

1. Based on: Orange AD200B 200w valve bass head, 6550 tubes.
2. Original controls: Volume, Gain, Bass, Middle, Treble.
3. Orange website.
4. Manual.

CITRUS RV50 (based on Orange Rockerverb)

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1. Based on: 50W Orange Rockerverb MkII, a 50w head known for warmth and rich harmonics. EL34 tubes.
2. Suggested cabs: Orange, "Citrus", V30.
3. Original controls on dirty channel: Volume, Gain, Treble, Middle, Bass, Reverb.
4. Manual.
5. Orange website.
6. Wikipedia.
7. Demo.
8. Demo.
9. Cliff's comments:
   • "The model is based on a MKII." source

CITRUS TERRIER (based on Orange Tiny Terror)

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1. Based on: Orange Tiny Terror, 7 or 15w (modeled: 15w), EL84 tubes.
2. Suggested cabs: Orange, "Citrus", G12H.
3. Original controls: Volume, Gain, Tone (model: HiCut), 7w/15w switch.
4. Manual.
5. Orange website.
6. Wikipedia.
7. Demo.
8. Release notes: "The tone control is actually a high cut control in the power amp and is therefore replicated by the Hi Cut parameter. The Hi Cut set fully CCW is equivalent to the amp’s tone knob fully CW. The model uses a neutral tone stack. Set T/M/B to noon for authentic sounds or adjust to taste."
9. Cliff's comments:
   • "It's inaudible when clean." source

CLASS-A 15W TB (based on 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.
2. Suggested cabs: G12M, Alnico, Vox.
3. Original controls: Volume, Cut (model: Hi-Cut), Bass, Treble.
4. Vox website.
5. Manual.
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.

CLASS-A 30W (based on Vox AC-30)

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1. Based on: Vox AC-30, a combo that dominated the British Invasion, and Vox AC-30TB. Gritty character, warm tone, great feel. 30W, EL84 tubes.
2. Suggested cabs: Alnico, G12M, Vox.
3. Original controls AC-30: Volume, Tone (model: Hi-Cut). For authentic tone: leave the tone controls at noon and use Hi-Cut to cut treble.
4. Original controls AC-30TB: Volume, Cut (model: Hi-Cut), Bass, Treble.
5. Original controls AC-30HW: Volume, Cut (model: Hi-Cut), Bass, Treble, Bright switch, Hot/Cool switch.
6. Instead of turning up Drive, try boosting the input signal before the amp, for example with Tape Dist or FET Boost.
7. Try with a Tonebender or Treble Booster.
8. 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."
9. Vox website.
10. Manual.
11. Wikipedia.
12. Demo.
13. Audio clip.
14. This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control.
15. Cliff's comments:
    • "Note that the particular AC-30 used for the model has this scratchy high end. This is reflected in the high Dyn Pres value. It's a hand-wired version and that can lead to this type of sound as the parasitics cause boosting of the very high frequencies when the amp is driven hard. The obvious solution is to turn Dyn Pres down." source
    • "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. Modern AC30's don't have this flaw. They use a Fender-style tone stack with a fixed mid resistor." source
    • "The bright cap value is normalized to a Drive pot of 1M. An AC30 has a 500K pot so the value will read out as half the actual value. IOW, it's displaying 60 pF which is equivalent to 120 pF." source
16. The Hot model models the AC-30HW model set to Hot. This bypasses the EQ for more gain. For authenticity, leave all tone controls at noon.

CLASS-A 30W BRT

• See above.

CLASS-A 30W HOT

• See above.

CLASS-A 30W TB

• See above.

COMET 60 (based on Komet 60)

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1. Based on: Komet 60. EL34 tubes.
2. Suggested cabs: G12M, G12H, V30.
3. Komet website.
4. Original controls: Volume, Treble, Middle, Bass, Presence, High Cut (not modeled), Touch Response.
5. Review of 19-watter in Premier Guitar.
6. See notes below about Input Trim and Hi-Cut.

COMET CONCOURSE (based on Komet Concorde)

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1. Based on: Komet Concorde (which is based on a Trainwreck). EL34 tubes.
2. Suggested cabs: G12M, G12H, V30.
3. Original controls: Volume, Treble, Middle, Bass, Presence, High Cut (not modeled), Touch Response (Fast/Gradual).
4. Komet website and audio samples.
5. 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".
6. Pete Thorn videos: Fast mode and Gradual mode Clean with Strat.
7. Cliffç comments:
   • "The model does not have the hi-cut control." source

CORNCOB M50 (based on Cornford MK50 II)

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1. Based on: Cornford MK50 II, a boutique British amp. Plexi-meets-Modern tone with big cojones. 50w, EL34 tubes.
2. Suggested cabs: V30.
3. Original controls: Gain (model: Input Drive), Overdrive (model: Over-Drive), Bass, Middle (500Hz), Treble, Master, Presence, Resonance (model: Depth).
4. Manual (and suggested settings).
5. Cornford website. Cornford is not in business anymore, its successor is Victory amps.
6. The Cornford model in the Standard/Ultra was a RK100.
7. Demo.

DAS METALL (based on 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, 6L6 tubes.
2. Suggested cabs: V30, G12-100.
3. Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz), Bright switch (not on channels 3 and 4).
4. The Das Metal model was done by schematic and/or by ear (source). Other Diezel VH4 models are based on real amps.
5. Manual.
6. Diezel website.
7. Wikipedia.
8. Demo.
9. Audio clip.
10. Cliff's comments:
    • "People think the VH4 is a metal amp which it most definitely is not. It's a mid-gain amp. If you try to use it for detuned death-metal it won't sound good because that's not its intended usage." source
    • (Quantum 1.00) "The Dizzy and Herbie models were completely redone as I figured out the secret to the Diezel sound." source

DELUXE TWEED (based on Fender Deluxe)

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1. Based on a narrow panel Fender Deluxe (5E3), the earliest and most popular of the so-called Tweed amplifiers. 12-15 watts, 6V6 tubes.
2. Suggested cabs: Fender 12" (P12R, C12N), Alnico.
3. Original controls: Volume, Tone (model: Treble).
4. For Neil Young's fuzzy Tweed Deluxe tone: crank both Drive and Treble.
5. Fender website.
6. Wikipedia.
7. 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."
8. 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." Forum thread.
9. This amp, like the original, starts to distort at low volume levels already. It also has loads of bass, so use the Cut switch or cut bass in another way.
10. Cliff's comments:
    • "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
    • "The G3 version of the 5E3 Deluxe Tweed model is a hoot. Totally unpredictable, nasty, gnarly and raunchy. I couldn't stop playing it yesterday. Just like the real amp you have to be careful with your volume control and how you approach the amp so that you keep it right on the edge of playability. So cool." source
    • "The 5E3 model in the Axe-Fx was actually matched to a Victoria." source
    • "Yup, that's the key. Crank the treble almost all the way up." source

DELUXE VERB NRM (based on 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. Low and high inputs. 6V6 tubes. Normal and Vibrato channels.
2. Suggested cabs: Fender 1x12" (C12Q), EVM 12L, JBL D120, or 2x10" (C10N, C10Q, P10R).
3. Original controls: Volume, Bass, Treble, Reverb, Tremolo controls.
4. Wikipedia.
5. 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."
6. 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."
7. ToneQuest: Under 40 Watt of Whoop Ass: "An equally fine choice for a versatile small club amp is the Vibrolux Reverb’s little brother, the Blackface Deluxe Reverb (1964 through 1967). It is rated at just 24 watts or so (with two 6V6 power tubes), but the overall circuitry in the amp is virtually the same as the Vibrolux Reverb. It has two channels, but I only use the second channel, again, due to the extra stage of gain. It drives a single 12" speaker. Most of the Deluxe Reverbs that Fender built have a very inefficient Oxford 12" in them. The first thing you should do to make this amp really worthy is to install a much larger ceramic magnet speaker. A better 12" is essential to having a Deluxe sound as good as it possibly can (and that is very good indeed.) The Deluxe Reverb will not have as much bottom as a Vibrolux Reverb, due to it’s smaller power tubes, but anyone who’s heard a Deluxe Reverb set at about "6" for leads knows how sweet the 6V6 power tubes sound. Again, you need to run this amp at "6" or above in terms of volume to really bring out the classic overdriven Fender tone. I find that setting my guitar’s volume knob on "10" for leads works wonderfully, then when I back it off to say "7" or so for rhythm, the amp naturally cleans up. That’s a neat trick to use. If you are hesitant to change your original speaker, consider acquiring a second speaker cabinet for your new and improved speaker. But remember, amps are tone machines, not museum pieces, so if you are torn between swapping out the speaker, keep in mind that you can always store it away and reinstall it if you decide to sell the amp later. I have an extension cabinet with a 15" Electrovoice SRO speaker in it, and I sometimes run my own Deluxe Reverb through that setup. It dramatically improves the tone—huge fat bottom, low mids, and much more overall volume."
8. Cliff's comments:
   • "A Deluxe Reverb"has no Mid pot but a fixed resistor. The value of that resistor is 6.8K. If you use a "Fixed Mid" tone stack the value of the virtual resistor will be 6.8K when the Mid control is at noon." And: "If you use a "Fixed Mid" tone stack the value of the virtual resistor will be 6.8K when the Mid control is at noon." source
   • "A DR is numbered 1-10 so 3 on a DR is around 2.2 on the Axe-Fx. The model is based on the Vibrato input #1 which has more gain than the normal input. To simulate plugging into the #2 jack (which has half the gain) set Input Trim to 0.5." source
   • "We got our reference Deluxe Reverb out of storage today, hooked it up and measured and compared. Gain measures spot-on and A/B testing sounds identical. With a Suhr Modern guitar with stock pickups both the amp and the model were starting to break up around 3 (which equals 2.2 on the Axe-Fx since the knobs start at zero not one). A Deluxe Reverb breaks up easily since it has 6V6 power tubes. The preamp is virtually identical to a Twin Reverb but 6V6s break up earlier than 6L6s. For a given voltage into the power amp a 6V6 has about 70% of the headroom compared to a 6L6." source
   • "The values for the Deluxe Reverb model are based on measurements of an actual 65 Deluxe Reverb, not some hypothetical values on some spec sheet." source

DELUXE VERB VIB

• See above.

DIRTY SHIRLEY (based on Friedman Dirty Shirley)

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1. Based on: Dirty Shirley amp by Dave Friedman of Rack Systems, designed to be an ultra Fat Sweet sounding Classic Rock Amp. 5881/EL34 tubes, 40w, single channel. Based on a JTM-45.
2. Suggested cabs: G12M, G12H, V30, Marshall.
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence.
4. Demo.
5. Friedman website.
6. Audio clip.
7. Also great for clean tones (turn down Input Drive).
8. Cliff's comments:
   • (about Friedman amps) "The design is weird as the negative feedback is taken off the speaker jack. So if you use a 16-ohm speaker you get more feedback (and much more bass) than if you use an 8-ohm speaker. The model is based on using the matching cab. It's too much bass for me so I turn down the Depth and reduce Negative Feedback a bit." source

DIV/13 CJ BOOST (based on Divided by 13 CJ 11)

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1. Based on: Divided by 13 CJ 11, 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, 6V6. Models: boost and non-boost (volume knob pulled out (boost switch)).
2. Suggested cabs: Divided by 13, G12M.
3. Original controls: Volume, Treble, Bass, Master.
4. Divided by 13 website: "When asked, by Corky James, amongst 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."
5. Cliff's comments:
   • "It is a bassy amp. Works best with single coils." source
   • "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
6. Demo.

DIV/13 CJ

• See above.

DIV/13 FT37 HI (based on Divided by 13 FTR 37)

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1. Based on: Divided by 13 FTR 37, 37w, Class-AB, two channels, 6V6 tubes, push/pull Mid/Gain Boost. “LO”: Gain Boost off, “HI”: Gain Boost on.
2. Suggested cabs: Div13, combo of G12H and Alnico.
3. Original controls: Volume, Treble, Bass.
4. Divided by 13 website: "Capturing and exceeding some of the best tones offered by our favorite amp from Fullerton and our favorite amp from England, the FTR 37 from 1 to 10 can produce the most pure and bodied clean tones, to varying degrees of medium and over-the-top types of complex and full-bodied overdrive."
5. YouTube demo.
6. If the combination of Alnico and G12H30 is too bright, try replacing the Alnico with a G12M.

DIV/13 FT37 LO

• See above.

DIZZY V4 BLUE 2 (based on Diezel VH4 'blue')

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1. Based on: Diezel VH4. 100w, 6L6 tubes. Channel 2 (Crunch): said to be great for gritty funk, dynamic clean. Based on original "Blue Face" VH4 amp supplied by forum member jharpersj (source). Channel 3 (Distortion): higher gain but still big dynamic range. Channel 4 (Solo): a monster of gain which still has great definition and authority.
2. Suggested cabs: V30, G12-100.
3. Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz), Bright switch (not on channels 3 and 4).
4. Manual.
5. Diezel website.
6. Wikipedia.
7. Demo.
8. Audio clip (channel 3).
9. Cliff's comments:
   • "I think part of the issue is people think the VH4 is a metal amp which it most definitely is not. It's a mid-gain amp. If you try to use it for detuned death-metal it won't sound good because that's not its intended usage." source
   • (Quantum 1.00) "The Dizzy and Herbie models were completely redone as I figured out the secret to the Diezel sound." source

DIZZY V4 BLUE 3

• See above.

DIZZY V4 BLUE 4

• See above.

DIZZY V4 SLVR 2 (based on Diezel VH4 'silver')

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1. Same as above but based on the model with the silver faceplate.

DIZZY V4 SLVR 3

• See above.

DIZZY V4 SLVR 4

• See above.

DOUBLE VERB NRM (based on Fender Twin Reverb)

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1. Based on: "Double Verb NRM/VIB" 'models are based on a '66 blackface Fender Twin Reverb, an indispensable icon, known for amazing cleans. AB763 circuit, 6L6 tubes, low and high inputs, 100w. Normal and Vibrato channels. The “Double Verb SF” model is based on the Vibrato channel of a 1971 “Silverface” Fender Twin Reverb.
2. Suggested cabs: Fender 2x12" (C12N), JBL D120, EVM.
3. Original controls: Volume, Bass, Middle, Treble, Bright switch, Reverb.
4. The model is based on a '66 Twin Reverb, tuned by Andy Fuchs.
5. Wikipedia.
6. 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."
7. 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."
8. Cliff's comments:
   • "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."
   • To make the Twin cleaner: "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." source
   • "The Twin Reverb that the model is based on breaks up like that. The model is MIMIC'd and is extremely accurate. It's a Blackface Twin which breaks up easy compared to later Twins. Furthermore, as with all models, it is modeled on the "Hi" input. If you don't want it to break up as easy turn Input Trim to 0.5 to simulate using the "Low" input, reduce Input Drive and MV as necessary. You may want to turn the Bright Switch off as well. People who want squeaky clean usually turn the Bright Switch off on these amps. However, you'd be surprised that a Twin isn't nearly as clean as you think. It's just so damn loud that you get the sensation that it's clean because a light touch on the strings creates a lot of volume." source
9. Try switching off the Bright switch (turn up Treble), and Drive at 6.
10. The 5F8 Tweed model is also a Twin.

DOUBLE VERB SF

• See above.

DOUBLE VERB VIB

• See above.

ENERGYBALL (based on Engl Powerball)

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1. Based on: Engl Powerball, a very high-gain German model with lots of bass, great for aggressive, drop-tuned riff work. 100W, 6L6 tubes. Modeled: lead channel.
2. Suggested cabs: V30, Engl.
3. Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Punch Depth, Bottom, Open or Focused (boosts 300-500 Hz) mode.
4. Engl website.
5. Manual.
6. Wikipedia.

EURO BLUE MDRN (based on Bogner Ecstasy)

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1. Based on: Bogner Ecstasy (XTC), based on the 20th Anniversary model, 6L6 tubes (source). Blue / Red: Structure switch set to V(intage). Blue Mdrn/ Red Mdrn: Structure switch set to M(odern).
2. Suggested cabs: V30, G12M, Bogner.
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence, Bright switch, Structure switch (gain reduction), Old/New Style switch, Excursion switch, Gain switch, Plexi Mode.
4. Manual.
5. Wikipedia.
6. It's a dark amp, turn up Presence.
7. The Bright switch will not only brighten the tone but also adds gain. Its impact decreases as Drive is turned up.
8. 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).
9. Here's how to use these models as drive blocks (pedals) instead of amps: Like the Bogner pedals? You got them already!.
10. Review in Premier Guitar.
11. 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."
12. Cliff's comments:
    • "People think Bogners are dark but they really aren't. The reason they seem that way is the pot tapers. Most people assume knobs should be set somewhere around noon. If you do this on a Bogner it's like turning the treble way down on a Marshall. Close your eyes and adjust the tone controls with your ears. Don't be afraid to turn them way up or way down." source
    • "Human nature is to put the knobs near noon. We are reticent to deviate much from noon. Amp designers exploit this and use different tapers to change the sound of their amps WITH THE KNOBS AT NOON. A prime example are Bogner amps. Everyone says "Bogner amps are dark". No they aren't. But he uses a Log10A taper for the treble pot. It's a standard Marshall tone stack. Usually a linear taper pot is used for the treble. The treble knob at 5.0 (noon) on a Bogner is equivalent to the treble knob at 1.0 on a Marshall. People put the knob at 5.0 and go "wow, this amp is dark". No it isn't. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi but humans are reticent to turn the knobs to extremes. Amp designers know this and exploit it to give their amps a "signature sound"." source
    • "Our reference amp is a a 20th anniversary and N is Bright Off, B1 is 150 pF and B2 is 1000 pF for both channels. The models default to B1. Change the Bright Cap value to 1 nF to emulate B2. Or better yet use your ears to select a value that sounds best." source

EURO BLUE

• See above.

EURO RED MDRN

• See above.

EURO RED

• See above.

EURO UBER (based on 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.
2. Suggested cabs: Bogner Uberkab, combo of G12-75 and V30.
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence.
4. Manual.
5. Wikipedia.
6. Amp Of The Week forum thread.
7. Audio clip.
8. Check this site for a video demos of the Bogner Uberschall pedal. It explains the amp controls clearly (same as the pedal equivalent).
9. Use the Cut switch in the model if the bass is too booming. Or try another cabinet.
10. 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."
11. 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."
12. Cliff's comments:
    • "People think Bogners are dark but they really aren't. The reason they seem that way is the pot tapers. Most people assume knobs should be set somewhere around noon. If you do this on a Bogner it's like turning the treble way down on a Marshall. Close your eyes and adjust the tone controls with your ears. Don't be afraid to turn them way up or way down." source
    • "Human nature is to put the knobs near noon. We are reticent to deviate much from noon. Amp designers exploit this and use different tapers to change the sound of their amps WITH THE KNOBS AT NOON. A prime example are Bogner amps. Everyone says "Bogner amps are dark". No they aren't. But he uses a Log10A taper for the treble pot. It's a standard Marshall tone stack. Usually a linear taper pot is used for the treble. The treble knob at 5.0 (noon) on a Bogner is equivalent to the treble knob at 1.0 on a Marshall. People put the knob at 5.0 and go "wow, this amp is dark". No it isn't. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi but humans are reticent to turn the knobs to extremes. Amp designers know this and exploit it to give their amps a "signature sound"." source
    • "The feedback circuit is responsible for the behavior of the Presence and Depth controls. Certain Bogners and Diezels have a unique type of feedback circuit. There are no new parameters and nothing to do except twist the Presence and Depth knobs to your desired tone. Note that an Uberschall doesn't have a Depth knob. The default Depth value when you select the Euro Uber model is equivalent to the amp's fixed depth circuit." source

FAS 6160 (FAS custom model, based on Peavey 5150)

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

FAS BASS (FAS custom model)

1. Custom Fractal bass mode. Active controls.

FAS BROOTALZ (FAS custom model)

1. Custom Fractal model, "brings teh brootalz".
2. Cliff's comments:
   • "This amp was an accident. I was working on the Savage model and accidentally used the input stage from an SLO100. So it's the front end of an SLO100 with the back end of a Savage. It's probably an SLO100 power amp too but I'd have to check." source

FAS BROWN (FAS custom model, based on the "Brown Sound")

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

FAS CLASS-A (FAS custom model, based on Vox)

1. "A “Blackface” preamp into a cathode-biased 6L6 power amp with no negative feedback. This was a happy accident when originally modeling the Carr Rambler in the beta version of this release. Several mistakes were made in the model prior to MIMIC’ing the amp but the model was so well liked that we decided to make it into its own custom amp model."

FAS CRUNCH (FAS custom model)

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

FAS HOT ROD (FAS custom model, based on a modded Marshall)

1. Custom Fractal model.
2. Cliff's comments:
   • "FAS Hot Rod is my version of what a modded Marshall should be. I find the BE/HBE a little too boomy and scooped. Bogners are too dark. Splawns don't have enough compression. Etc. So it's my take on a hot-rodded Marshall tone." source

FAS LEAD 1 (FAS custom model)

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

FAS LEAD 2 (FAS custom model)

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

FAS MODERN II (FAS custom model)

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

FAS MODERN III (FAS custom model)

1. Similar to a Recto but with tighter bass and a cathode-biased power amp.

FAS MODERN (FAS custom model)

1. A high gain hybrid tone that’s equally suited to modern rhythm and lead work.
2. Cliffs comments:
   • "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 (FAS custom model)

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

FAS WRECK (FAS custom model, based on a Trainwreck)

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

FOX ODS DEEP (based on Fuchs Overdrive Supreme)

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1. Based on: Fuchs Overdrive Supreme, based on an amp that's based on an amp. Overdrive channel, 50w, 6L6 tubes. "ODS" model: Deep switch off, "DEEP" model: Deep switch on. Both models are modeled with the Preamp Bypass (PAB) active.
2. Suggested cabs: Dumble, G12-65, EVM.
3. Original controls: Gain (model: Input Drive), High (pull: mid boost), Mid (pull: gain boost), Low, Input (model: Over-Drive), Brite switch, Deep switch, Rock/Jazz switch, Master, Accent (presence/edge).
4. Fuchs website.
5. Manual.
6. Demo.
7. Cliff's comments:
   • "Supposedly a Dumble ODS clone but our reference amp has way more gain than our Dumble." source

FOX ODS

• See above.

FRIEDMAN BE (based on Friedman BE-100)

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1. Based on: amp by Dave Friedman of Rack Systems, what many call “the ultimate modded Plexi”. HBE: the amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal. EL34 tubes, 50 or 100w.
2. Suggested cabs: V30, G12M, G12H, Marshall.
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence. Switches: FAT (model: Fat), C45, SAT (model: Sat).
4. This amp was previously named "Marsha".
5. The HBE mode is a second input on the amp, with a preamp triode boost for additional gain.
6. Friedman website.
7. Demos: 1, 2.
8. Premier Guitar review.
9. Amp of the week forum thread.
10. Audio clip (BE).
11. Audio clip (HBE).
12. Cliff's comments:
    • "The BE/HBE has a fixed depth circuit that gives a lot of bass boost. The model defaults the Depth to match this." source.
    • "If you want more clarity in the low mids from the BE/HBE reduce Negative Feedback. Friedman's designs are a bit odd in that he takes the feedback off the speaker jack rather than off a transformer tap. The mating cab for a BE/HBE is 16 ohms which means lots of feedback. But if you connect the amp to an 8 ohm load there is about 30% less feedback. The amp will sound tighter and clearer in the low mids." source
    • (about Friedman amps) "The design is weird as the negative feedback is taken off the speaker jack. So if you use a 16-ohm speaker you get more feedback (and much more bass) than if you use an 8-ohm speaker. The model is based on using the matching cab. It's too much bass for me so I turn down the Depth and reduce Negative Feedback a bit." source

FRIEDMAN HBE

• See above.

FRIEDMAN SM BOX (based on Friedman Smallbox)

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1. Based on: amp by Dave Friedman of Rack Systems. 50w, EL34 tubes, two channels. Channel 1: "Clean/Plexi". Channel 2 (modeled): modern hi-gain.
2. Suggested cabs: V30, G12M, G12H, Marshall.
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence. Channel 1: Bright switch.
4. Website: "Designed for guitarists that want the classic tones reminiscent of great vintage plexis as well as Friedman’s more modern high gain offerings".
5. Friedman website.
6. Videos: Guitar Center, Sean Ashe.
7. Cliff's comments:
   • "The schematic shows a 2.2 nF coupling cap off the first stage but the actual amp has a 4.7 nF. 2.2 nF would mean less bass. I can only assume the amp was built to the latest specs. If an amp model is "G3'd" it is deadly accurate. I go through the amps and check the values of each component, measure the voltages, compare the frequency response to the model, etc., etc., etc. If the model is too bassy for you then you would find the real amp too bassy, or at least our particular reference model." source
8. Cliff's comments:
   • (about Friedman amps) "The design is weird as the negative feedback is taken off the speaker jack. So if you use a 16-ohm speaker you get more feedback (and much more bass) than if you use an 8-ohm speaker. The model is based on using the matching cab. It's too much bass for me so I turn down the Depth and reduce Negative Feedback a bit." source

FRYETTE D60 L (based on Fryette Deliverance Sixty)

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1. Based on: Fryette Amplification Deliverance Sixty in the "Less" resp. "More" mode. 60w, KT88 tubes.
2. Suggested cabs: Fryette P50E.
3. Original controls: Gain 1 (model: Input Drive), Gain 2 (model: Over-Drive), Volume, Bass, Middle, Treble, Presence, Depth, More/Less switch.
4. "Less" mode: 3 gain stages. "More" mode: 4 gain stages.
5. Fryette was formerly named VHT.
6. Manual.
7. Fryette website.
8. Wikipedia.
9. Audio demo.
10. Website: "The P50E speaker is custom built to SFD specifications by Eminence, and is only available from Steven Fryette Design, Inc. The P50E is not an OEM version of the Eminence Redcoat or Patriot series speaker lines. It is difficult to discuss the sonic characteristics of the P50E or any speaker for that matter, in isolation because so much of speaker behavior depends on the environment in which it is operating - that is to say, 2X12 cab, 4X12 cab, front-mount, rear-mount, wood type, construction style, playing volume, etc, etc. Having said all that lets talk about the P50E versus the popular Celestion Vintage 30 in a Fryette 4X12 FatBottom straight cab. The P50E is actually a 50-watt speaker. The V30, although officially rated at 60 watts is in reality closer to 75 watts. The P50E has a smaller magnet than the V30, which insures that the speaker will break up at lower amplifier power than a V30. However, the V30 has a more compliant suspension, which together with the larger magnet causes the speaker to move more-low end. This also causes more distortion in the higher frequencies contributing to a harsh top end. The highly compliant suspension makes it difficult for the speaker to track low frequencies especially at high volume levels and this causes a “woofy” sound when playing staccato chording (‘palm muting”). It is also partly why the P50E, although lower in power handling capacity, seems to produce about as much low end as a V30, yet with better control of the low end. The smaller magnet on the P50E also contributes to a softer, more natural sounding high-end response, which is not smeared out by the sloppy suspension, as is the case with the V30. Finally, the Fryette cabinet is a front loaded type, producing a more open, well-dispersed sound. Front mounting a V30 is less desirable as the harshness on the top end, which is normally masked in a rear-mounted enclosure, is now more audible. (...) Comparing the FatBottom to the Deliverance cabs, the FatBottom series cabs loaded with the P50 speaker is considered modern sounding and exhibits lots of projection, low-end control and excellent tonal detail. The Deliverance cab on the other hand will sound warmer, looser and sweeter than the FatBottom cab even though they use the same speaker. The Deliverance cab is designed to make the speaker fatter and warmer sounding, as might happen in a traditional 4X12 cab design, but without the traditional boomy, sloppy rattling low end." source

FRYETTE D60 M

• See above.

GIBSON SCOUT (based on Gibson Scout)

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1. Based on: Gibson GA17RVT Scout (1964). If you love vintage clean tones, this 17-watter got 'em. 17w, two inputs, 6AQ5 tube.
2. Suggested cabs: Fender 1x10", G12M.
3. Original controls: Reverb, Tremolo, Volume, no tone controls.

HERBIE CH2+ (based on Diezel Herbert)

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1. Based on: Diezel Herbert, 3-channel head (ch 2 with +/- modes), called looser and more familiar than the VH4. 180w, KT66 tubes.
2. Suggested cabs: V30, G12-100.
3. 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).
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. Manual.
6. 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."
7. Wikipedia.
8. Demos.
9. Audio clip.
10. To reproduce the Herbert’s Mid Cut function: "use a Peak EQ filter at 400 Hz with a Q of 1.4. Decrease its Gain until the desired scoop is achieved. Play with the Q to set the width of the scoop." source
11. Cliff's comments:
    • (Quantum 1.00) "The Dizzy and Herbie models were completely redone as I figured out the secret to the Diezel sound." source

HERBIE CH2-

• See above.

HERBIE CH3

• See above.

HIPOWER BRILLNT (based on Hiwatt DR103)

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1. Based on: Hiwatt DR103, an amp with an unique tone-stack and a brilliant chimey tone. Normal and Brilliant channels. 100w, 4 inputs, EL34 tubes.
2. Suggested cabs: Fane.
3. Original controls: Volume, Master, Bass, Middle, Treble.
4. The jumpered type is modeled with the 4 inputs jumpered.
5. Need more gain? Use the Brilliant channel and crank the Master Volume and Drive.
6. Hiwatt website.
7. Wikipedia.
8. Hiwatt DR103 review.
9. Pete Townsend's settings
10. Audio clip.
11. Cliff's comments:
    • "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."

HIPOWER JUMPED

• See above.

HIPOWER NORMAL

• See above.

HOT KITTY (based on Bad Cat Hot Cat 30r)

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1. Based on: Bad Cat Hot Cat 30r (channel 2), voted by Guitar Player as "the second best combo of all time". 30w, EL34 tubes, cathode bias.
2. Suggested cabs: Bad Cat Hot Kitty (proprietary Celestion).
3. Original controls: Gain/Level, Bass, Middle, Treble, Brilliance (model: Hi-Cut), Edge (model: use Bright), Master.
4. The tone controls (Bass, Treble, Hi-Cut) are pretty radical. Don't hesitate to turn up Hi-Cut a lot (to make the tone less brittle).
5. 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."
6. Manual.
7. Demos.
8. Audio clip.
9. Cliff's comments:
   • "Brilliance is their name for Hi-Cut. I set the Edge control to where I thought it sounded best. It essentially does the same thing as the Bright knob though less precise."
   • "The amp has a Hi Cut but it's labeled Brilliance. It's wired backwards so turning it CW gets brighter." source

JAZZ 120 (based on Roland Jazz Chorus JC-120)

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1. Based on: Roland Jazz Chorus JC-120, the only solid-state-based model in the collection; a quintessential clean tone. 120w (stereo: 2x 60W).
2. Suggested cabs: Roland 12" "silver", Fender 12".
3. Original controls: Volume, Bass, Mid, Treble, Bright switch. Stereo Chorus and Reverb controls.
4. The real amp has no Master Volume. Try cranking the Master control.
5. Engage the Bright switch (disabled by default) to add some bite.
6. Manual.
7. Roland website including video demo.
8. Wikipedia.

JMPRE-1 OD1 BS (based on Marshall JMP-1)

1. Based on: Marshall JMP-1 preamp, a rack-mount preamplifier version of the Brit 900. EL34 tubes. OD1: "A warm vintage drive reminiscent of Marshall Super Lead amps through to modern day Master Volumes". OD2: "This a tightly focused high gain drive which can be smooth or aggressive depending on the E.Q. and gain settings". The models with “BS” in the name indicate that the Bass Shift function is engaged. Note that the model defaults to the power amp simulation active. The power amp model is based on a typical Marshall 100W power amp of that era.
2. Suggested cabs: n/a.
3. Original controls: Volume, Gain, Bass, Mid, Treble, Presence, Bass shift.
4. Bass Shift: subtle low frequency character control. When selected it thickens the bottom end of the sound and tightens the playing feel. On clean selections it adds body and on overdrive provides the extra low end “throb” so essential for heavy rock sound.
5. Manual.
6. Marshall website.
7. Wikipedia.
8. The JMPRE-1 models were added in firmware Quantum 1.00. There's also a BRIT PRE model based on the JMP.
9. Cliff's comments:
   • "The JMP-1 tone controls have more range than the actual preamp. The preamp has about +/- 8 dB for each tone control while the model has the standard +/- 12 dB."
10. JMP-1 Artist settings.

JMPRE-1 OD1

• See above.

JMPRE-1 OD2 BS

• See above.

JMPRE-1 OD2

• See above.

JR BLUES FAT (based on Fender Blues Junior)

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1. Based on: Fender Blues Jr., a gutsy little classic with dual EL84s. The Jr Blues Fat model is the same, with the Fat switch enabled. 15w.
2. Suggested cabs: Fender 8" or 12" (C12N or P12R).
3. Original controls: Bass, Middle, Treble, Gain, Volume, FAT boost.
4. 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."
5. 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."
6. 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." source
7. Cliff's comments:
   • "The Blues Jr. amp has a fixed presence circuit." source

JR BLUES

• See above.

JS410 CRUNCH OR (based on Marshall JVM410HJS)

1. Based on: Marshall JVM410HJS, Joe Satriani's 4-channel 100w signature amp. EL34 tubes. Each channel has 3 modes. Crunch OR: based on a JCM 2203. Crunch RD: based on a modded JCM 2203. Lead OR: more gain. Lead RD: even more gain.
2. Suggested cabs: G12-75, greenbacks, G12-H30.
3. Original controls: Mid-Shift (around 650hz off and around 500hz on), Volume, Gain, Bass, Middle, Treble, Gate, Master. Gate. Presence, Resonance.
4. Website: "The Joe Satriani JVM head looks very similar to the stock JVM410H, but look and listen a little closer. You’ll realise just how different this amp is. The reverb pots have been replaced by four independent, studio-quality noise gates, one for each channel and, as specified by Joe, a footswitchable Mid-Shift button has been added (around 650hz off and around 500hz on). Tonally, this amp is very different from the stock JVMs. The clean channel is based on the 30th anniversary 6100 when in green mode, with the orange and red modes being hotter variations of that. The crunch channel includes some of the popular AFD circuitry, and the overdrive channels are voice matched for smoother transition between modes. The channels and modes have been re-voiced to Joe’s exact specifications after experimenting with prototypes on tour and during recording sessions. This awesome amp also features individual channel EQ, two master volumes and a switch memory that can recall your reverb, FX loop and master settings. There is also an emulated output that can be used for recording or, as Joe does, used to monitor on stage."
5. Handbook.
6. Demo.
7. Cliff's comments:
   • "Joe said he puts all the tone controls at around 10:00." source

JS410 CRUNCH RD

• See above.

JS410 LEAD OR

• See above.

JS410 LEAD RD

• See above.

MATCHBOX D-30 (based on Matchless DC-30)

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1. Based on: Matchless DC-30, 30w, Class-A, EL84 tubes. Modeled: channel 1 (12AX7), with master volume bypassed.
2. Suggested cabs: Matchless, combo of G12M and G12H.
3. Original controls on modeled channel 1: Volume, Master, Bass, Treble, Cut, Master (bypassed in modeled channel).
4. DC stands for: dual combo. Current version is the C-30.
5. Matchless website.
6. Sample settings.
7. Wikipedia.
8. Cliff's comments:
   • "The DC-30 is basically an AC-30 copy. The voltages are a bit different but the topology is nearly identical. However, IMO, it does sound better. Not sure why. Perhaps the better quality components. AC-30's have kind of crappy OTs." source

MR Z HWY 66 (based on Dr. Z Route 66)

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1. Based on: Dr. Z Route 66. 32w, KT66, EF86 and 12AX7 tues.
2. Suggested cabs: combo of V30 and G12H.
3. Original controls: Volume, Bass, Treble.
4. Dr. Z website: "This tube generates the "Milkshake Thick" tones, as heard on John Mayall’s "Bluesbreaker" album featuring Eric Clapton (the "Beano Album" as it is known to many). This is not a duplicate of the Marshall JTM-45, but completely original spin with new tonal end results. The Route 66 has an EF-86 front-end. For those not familiar with this tube, it is a 9 pin pentode that offers incredible gain and input dynamics. It is normally used in high-end stereos, most often for its accurate transfer of input signal, balance, and headroom. The Route 66 features a deceptively simple tone stack, consisting of Volume, Bass, and Treble, which feeds a non-negative feedback Phase Inverter, for true harmonic content and full output tube dynamics. It has a GZ-34 Tube Rectifier to complete the round enveloped tone. The amp has piano-like clarity with endless sustain, even at low volumes. Its 32 watts truly sing when driven hard in a focused, thick distortion, with the tightest bass response you've ever heard."
5. Treble and bass operate regularly until 12:00, and dial in gain once turned past noon.
6. To put this amp into overdrive, crank all three controls (Volume, Treble, Bass), use humbuckers and possibly an overdrive pedal.
7. Manual.
8. Wikipedia.
9. Guitar Buyer review.

MR Z MZ-8 (based on Dr. Z MAZ 8)

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1. Based on: Dr. Z MAZ 8, a popular low-wattage, single-ended amp, EL84 tubes, 8w.
2. Suggested cabs: 1xG12H.
3. Original controls: Volume, Master, Bass, Mid, Treble, Cut, Reverb, Pentode/Triode switch.
4. This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control.
5. Manual.
6. Dr. Z website: "Based on the modern day classic Maz 18 platform, the Maz 8 is set to become the new standard in single ended class A amps. If you are tired of thinking of ways to win the volume wars with sound guys, club owners, and recording engineers the Maz 8 is the solution. The Maz 8 is a full featured 8 watt amp that will give you an incredible range of shimmering cleans to full on rock action at reasonable volume levels. The Maz 8 gives you the true class A experience. The single EL84 output section can be run in Pentode or Triode mode. In Pentode mode you get the sonic signature of the Maz 18. The chimey top end and sweet low end bloom are all there, but at a significantly lower volume. The pentode setting gives you plenty of dynamic range for clean country picking to grinding riff rock bliss. You can even take it a step beyond with the footswitchable EQ bypass function. This gives you a great gain boost for effortless leads that will sustain for days. The Maz 8 takes on a much different dialect in triode mode with more of a vintage feel and sound. In triode, the volume level drops back and the tone fattens up making you think you plugged into a lost gem from the 1950s. Kicking on the EQ bypass in triode mode will have you reaching for your slide in no time. The front panel features Volume, Treble, Middle, Bass, Reverb, Master, and the ever versatile cut control. Think of the cut control as a tone knob for the output section. The 1x12 comes standard with a Celestion H30 speaker."
7. Wikipedia.
8. Review of 8-watter in Premier Guitar.
9. Cliff's comments:
   • "Dr. Z is the quintessential country amp." source

MR Z MZ-38 (based on Dr. Z MAZ 38 SR)

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1. Based on: Dr. Z MAZ 38 SR, popular with country and roots players. EL84 tubes, 38w.
2. Suggested cabs: 1xG12H.
3. Original controls: Volume, Master, Bass, Mid, Treble, Cut, Reverb.
4. This amp has no negative feedback (Damping is 0), therefore Presence turns into a Hi-Cut control.
5. Manual.
6. 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."
7. Wikipedia.
8. YouTube.
9. YouTube.
10. Cliff's comments:
    • "Dr. Z is the quintessential country amp." source

NUCLEAR-TONE (based on Swart Atomic Space Tone)

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1. Based on: Swart Atomic Space Tone, a cool little, gritty, stylishly retro all-tube combo. Try the Bias Trem! 20w, 6V6 tubes. Lo and Hi inputs.
2. Suggested cabs: Atomic/Nuclear, G12M.
3. Original controls: Volume, Tone (model: Treble), and reverb and tremolo controls.
4. Firmware 10 release notes: "As with the actual amp the bias tremolo is particularly effective."
5. 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."
6. Manual.
7. Audio samples.
8. Video.
9. Cliff's comments:
   • "It's unique character comes from the PI. It's a cathodyne phase inverter so it doesn't drive the grids as hard." source

ODS-100 CLEAN (based on Dumble OD Special)

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1. Based on: Dumble OD Special, EL34 tubes. A coveted but rare amp brand. Famous Dumble players are Robben Ford, SRV, and others. Clean and OD channels. Cliff's Dumble has a HRM circuit, serial number 213. "HRM" models: based on HRM circuit. "Ford" models: based on schematics of Robben Ford's #102 Dumble. "Ford 1": PAB On. "Ford 2": PAB Off. "Ford MD": PAB On and Mid switch On. The "Md/Mid" models were modelled with the mid-boost switch engaged.
2. Suggested cabs: Dumble, G12-65, EVM.
3. Original controls: Volume (model: Input Drive), Bass, Middle, Treble, Overdrive Level (model: Overdrive), Ratio (Master Volume for the overdrive channel), Master Volume, Presence, Bright switch, Mid boost switch, Preamp boost (PAB).
4. Previous to firmware 10 the ODS models were based on the Bludotone Ojai (now a separate model).
5. Wikipedia.
6. Firmware 10: "The preamp bypass (PAB) bypasses the input tone stack. 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".
7. Cliff's comments:
   • "The ODS100 has two drive controls, one is right at the input, the other is in the lead boost section."
   • "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." source
   • "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." source
   • "The default tone stack in Lead 2 is neutral. With all tone controls at noon the response is flat." source
   • "My Dumble is S/N 0213 IIRC. It's an EL-34 ODS HRM." source
   • "The ODS-100 Ford 2 model is not based on the HRM model with the HRM tonestack removed. Whether or not the model matches any particular Dumble is unknown as we have not been able to procure a non-HRM Dumble yet. The model is based on schematics that were given to us that supposedly accurately represent Robben Ford's Dumble. Whether or not the schematics are accurate I do not know. The voltage divider at the output of V1B is set to 0.078 which is based on the values that are indicated on the schematic for the set-point of the trimmer. As no two Dumbles are identical it stands to reason that one person's interpretation of the ideal Dumble voicing may not agree with another's. Since V1 is running clean you can get more gain by simply increasing Input Trim. It will have basically the same effect as increasing the trimmer."
   • "A signal divider, which is more correctly called a voltage divider, is calculated by taking the resistance to ground divided by the sum of the resistances. In this case the voltage divider would be 26.7/317 = 0.084. This is very close to the values that we were given (which yield 0.078). Our model also uses local feedback on V1B (which is about 2-3 dB less gain) and accounts for the voltage divider's affect on the AC load line. In fact all stages in a Dumble typically have an AC load-line that's different than the DC load-line due to the load resistance being significant in relation to the plate resistor. Since V1A and V1B run clean (linear) Input Trim will accomplish the same thing as increasing the trimmer into the drive stages. This is because a linear system is commutative (see any introductory Signals and Systems text for properties of linear systems). The commutative property is where A x B = B x A. Therefore it does not matter if the gain is before or after the linear stages."
   • "The Mid switch, sometimes labeled "Deep", shorts out the 390 pF cap in the tone stack (which is in series with a 2 nF cap). All that is left then is the 2 nF cap. With PAB active this lowers the lowcut frequency." source
8. Pictures of Robben Ford's Dumble settings: 1, 2.

ODS-100 FORD 1

• See above.

ODS-100 FORD 2

• See above.

ODS-100 FORD MD

• See above.

ODS-100 HRM MID

• See above.

ODS-100 HRM

• See above.

PLEXI 50W 6550 (based on Marshall Super Lead 1959)

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1. Based on: Marshall Super Lead 1959, the classic "Plexi" amp head that gave rise to “the stack”. Models: '69 100w and '72 50w heads (EL 34), '72 50w with 6550 power tubes, '70 Marshall 1959SLP 100. The Plexi 100W 1970 has a darker, smoother sound than earlier Plexis. Plexi Hi 2 is similar to Plexi 50W Hi 1 except the second triode stage has a 0.68uF cathode bypass capacitor (added in the early 70’s and gives a slightly brighter tone).
2. Suggested cabs: Marshall, G12M, G12H, G12L.
3. Original controls: Volume, Bass, Middle, Treble, Presence.
4. Try diming all controls, except Presence (set to taste) and Bass (low or off).
5. Try the Brit JM45 tonestack to get a modded Plexi tone.
6. Marshall website.
7. Manual.
8. Wikipedia.
9. Plexi demo.
10. Audio clip ('68 50w, Variac).
11. Audio clip (José mod).
12. Cliff's comments:
    • "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."
    • "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
    • "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."
    • "My settings for a "typical" Plexi tone are Bass: 2, Mid: 8, Treble 7.5. Adjust Presence to taste." source
    • (about Quantum 2.0) "Try the Plexi 100W 1970 with Factory Cab 54. Be sure to dial it in like you would in 1970, i.e. turn the Mid, Treble and Presence way up; turn Norm Drive and Bass down a bit." source

PLEXI 50W HI 1

• See above.

PLEXI 50W HI 2

• See above.

PLEXI 50W JUMP

• See above

PLEXI 50W NRML

• See above.

PLEXI 100W 1970

• See above.

PLEXI 100W HIGH

• See above.

PLEXI 100W JUMP

• See above.

PLEXI 100W NRML

• See above.

PRINCE TONE NR (based on Fender Princeton)

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1. 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, 6V6 tubes, low wattage, single-ended power section.
2. Suggested cabs: Fender Princeton (C10N).
3. Original controls: Volume, Tone (model: Treble).
4. Fender website.
5. Wikipedia.
6. 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 inefficient 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."
7. ToneQuest: Under 40 Watt of Whoop Ass: "Hey, that’s a practice amp you say, and you’re right, PRs are not widely recognized as gigging amps. However, under the right conditions, this amp will work extremely well in a small room. Like the Deluxe Reverb, Princetons were equipped with an inefficient 10" speaker. Same thing goes with this as with the Deluxe Reverb’s original speaker. Remove it and install a bigger, more efficient 10", or even better by far, get a 12" Jensen reissue or other efficient speaker with a ceramic magnet. Installing a 12" will involve cutting a new baffle board from three-quarter inch plywood, transferring the original grill cloth and saving the original baffleboard just in case you ever want to sell the amp. But believe me when I tell you the extra work and expense are definitely worth it. An efficient 12" speaker in a properly biased and maintained Princeton will change your tone—lovin’ life forever. Still another option for the Princeton is to use a second cabinet with a larger speaker. My 15" SRO sounds incredibly fine with this amp."
8. Cliff's comments:
   • "A Princeton Reverb has an extra gain stage due to the reverb recovery. Hence it has more gain." source

PRINCE TONE REV

• See above.

PRINCE TONE

• See above.

PVH 6160 BLOCK (based on Peavey EVH 5150 "Block Letter")

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1. Based on: Peavey EVH 5150 "block letter", the high-input lead channel of an amp named after the criminally insane. 6L6 tubes, 120w.
2. Suggested cabs: 5150 (Sheffield 1200), G12M, G12H.
3. Original controls: pre- and post-Gain, Volume, Bass, Mid, Treble, Presence, Resonance.
4. Wikipedia.
5. Information about the 5150 amp.
6. Firmware 10 release notes: "Based on “Block Letter” EVH 5150. This model has been renamed PVH 6160 Block.”
7. Cliff's comments:
   • "I have a "holy grail" Block Letter 5150 (supposedly). It sounds way better than most 5150s for some reason which is a good thing for you guys. I think it's partly due to the fact that it has a bias mod so it's biased a bit warmer than a stock version." source

PVH 6160+ LD (based on Peavey 6505+)

1. Based on: Peavey 6505+ (identical to the EVH II), called the new standard for "brutality and aggression". 6L6 tubes, 120w. The RHY B model is based on Channel 1 with the Crunch and Bright switches depressed. The RHY model is based on Channel 1 with the Crunch switch depressed and Bright out.
2. Suggested cabs: 5150 (Sheffield 1200), G12M, G12H.
3. Original controls: Bass, Middle, Treble, Presence, Resonance, Pre (Drive), Post (Master).
4. Peavey website.
5. Manual.
6. Cliff's comments:
   • "Chris Quigley's 6505 was the reference amp. It's my amp now. It's a very good sounding one." source
   • (about channel 1) "Someone was looking for that amp model recently so I dug our 6505+ out and was surprised at how nice that channel sounds. I then spent the day modeling it." source

PVH 6160+ RHY

• See above.

PVH 6160+ RHY B

• See above.

RECTO1 ORG MDRN (based on Mesa Dual Rectifier, 2-channel)

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1. Based on: original rev. F two-channel (Recto1 model) and three-channel (Recto2 model) Dual Rectifier, high-gain masterpieces with crushing power and tightness. 6L6 tubes. Modeled: Orange and Red channels in Normal, Vintage and Modern modes.
2. Suggested cabs: 4x12 V30, 4x12 Classic Lead 80, Mesa C90.
3. Original controls: Gain, Master, Bass, Middle, Treble, Presence/HiCut.
4. Manual.
5. Mesa website.
6. Wikipedia.
7. Firmware revisions:
   • Firmware 10: "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."
   • Firmware 14: "Improved Recto models tone stack accuracy. The Recto models now use an exact digital replica of the unique tone control network used in those amps. Furthermore the Presence control now operates like the actual amp in all models (i.e. for those models where there is no negative feedback the Presence control is actually part of the tone stack). NOTE: If the power amp modeling is defeated the Presence control usually operates as a shelving filter with noon being neutral. For the Recto models where the Presence control is part of the tone stack this will not be the case. The Presence control will continue to act as it does when the power amp modeling is active since it is part of the preamp."
8. Recto Modern: the Damping parameter (Negative Feedback) doesn't default to 0 (zero). Cliff: "That is intentional. It's a software trick to force the model not to use Hi Cut but Presence instead. That amount of feedback is inaudible." source
9. Cliff's comments:
   • "Real Rectos are bassy/fizzy beasts but that tone works great for certain genres." source
   • "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." source
   • "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." source
   • "Depth works by varying the negative feedback at low frequencies. There is no NFB in the Modern Red mode so the Depth knob won't do anything. NFB is set to 0.01 just to fool the GUI into displaying Presence instead of HiCut below the left knob." And: "When you put a Recto into Modern Red mode it opens a relay which removes the NFB." source
   • "All passive tone controls interact and all the Axe-Fx tone stacks replicate this behavior. The unique thing about a Dual Recto tone stack is that the Presence control is part of the tone stack. So the Recto tone controls also interact with the presence control." source
   • "If you are using the Modern mode then it's all about the Spkr page. Since that mode has no negative feedback the speaker resonance has a tremendous effect on the sound. Adjust LF Res, Freq and Q to get desired response." source
   • "Another thing with the Modern modes is that the power amp distorts early (again since there is no negative feedback and, therefore, the power amp has a lot more gain). At 9:00 on the Master the power amp is distorting (it's probably a linear taper pot for the ol' "Wow, this amp is loud bro!"). The taper of the Axe-Fx Master Volume is not the same and you have to turn it up higher to get the same amount of virtual power amp distortion. Another thing is that if you put ANYTHING in the loop of a Recto it changes the tone significantly. Even just a short cable. All the models were made with the loop off. And another thing is that Rectos changed a lot. I have three of them and they all sound completely different. One of them has a different value Gain pot than the others. One of them has a different value bright cap than the one with the same Gain pot. Since the gain pot and bright cap interact this makes a HUGE difference. Experiment with the Bright Cap value. The Recto1 models are based on our Rev. F (IIRC, whatever the desirable ones are). The Recto2 models are based on the latest version." source

RECTO1 ORG NORM

• See above.

RECTO1 RED MDRN

• See above.

RECTO2 ORG MDRN (based on Mesa Dual Rectifier, 3-channel)

• See above.

RECTO2 ORG VNTG

• See above.

RECTO2 RED MDRN

• See above.

RECTO2 RED VNTG

• See above.

RUBY ROCKET (based on Paul Ruby Rocket)

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1. Based on: Paul Ruby Rocket, a Trainwreck Rocket clone (similar to a Vox). EL84 tubes. The BRT model was modeled with the Bright switch in the up position, the other one with the Bright switch in the down position.
2. Suggested cabs: Alnico, G12M.
3. Original controls: Volume, Bass, Treble, Cut.
4. Paul Ruby website.
5. Trainwreck Rocket information.
6. Trainwreck Rocket video.
7. Cliff's comments:
   • "The Ruby Rocket is not the same as an actual Trainwreck Rocket. There are topology differences and the amps don't sound the same." source

RUBY ROCKET BRT

• See above.

SHIVER CLEAN (based on Bogner Shiva)

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1. Based on: Bogner Shiva Clean, 20th Anniversary model with KT88 tubes (source).
2. Clean: powerful shimmering cleans. Lead: a sweet, rich-sounding amp with aggressive, English-style midrange punch.
3. Suggested cabs: Bogner, V30, G12M.
4. 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 (use Input Trim as Boost).
5. Cranking Master Volume works well with the clean channel.
6. Manual.
7. Bogner website.
8. Audio samples.
9. Wikipedia.
10. Review in Premier Guitar.
11. Amp of the Month Thread AOTM.
12. Cliff's comments:
    • "People think Bogners are dark but they really aren't. The reason they seem that way is the pot tapers. Most people assume knobs should be set somewhere around noon. If you do this on a Bogner it's like turning the treble way down on a Marshall. Close your eyes and adjust the tone controls with your ears. Don't be afraid to turn them way up or way down." source
    • "Human nature is to put the knobs near noon. We are reticent to deviate much from noon. Amp designers exploit this and use different tapers to change the sound of their amps WITH THE KNOBS AT NOON. A prime example are Bogner amps. Everyone says "Bogner amps are dark". No they aren't. But he uses a Log10A taper for the treble pot. It's a standard Marshall tone stack. Usually a linear taper pot is used for the treble. The treble knob at 5.0 (noon) on a Bogner is equivalent to the treble knob at 1.0 on a Marshall. People put the knob at 5.0 and go "wow, this amp is dark". No it isn't. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi but humans are reticent to turn the knobs to extremes. Amp designers know this and exploit it to give their amps a "signature sound"." source
    • "The original Shiva models were based on a borrowed amp. We now have a 20th Anniversary Shiva (with KT88s) and the new models are based on that amp. We did notice that this amp has less gain than the one used originally but the model is faithful to the amp." source

SHIVER LEAD

• See above.

SOLO 88 CLEAN (based on Soldano X88)

1. Based on: the clean, rhythm and lead channels of a Soldano X88R preamp, 6L6 tubes.
2. Suggested cabs: n/a.
3. Original controls: Gain, Bass, Middle, Treble, Volume.
4. Soldano website.
5. Wikipedia.
6. Cliff's comments:
   • "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 88 LEAD (based on Soldano X88)

• See above.

SOLO 88 RHYTHM

• See above.

SOLO 99 CLEAN (based on Soldano X99)

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1. Based on: the clean and lead channels of a Soldano/Caswell midi-motorized Soldano X99 preamp. 6L6 tubes.
2. Suggested cabs: n/a.
3. Original controls: Gain, Bass, Middle, Treble, Volume.
4. Soldano website.
5. Wikipedia.
6. Cliff's comments:
   • "The rhythm channel of an X99 is identical to a SLO 100." source
   • "Power amp: same as SLO100." source

SOLO 99 LEAD

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• See above.

SOLO 100 CLEAN (based on 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. Normal (Clean / Crunch) and snarling Lead channel, 100w, 6L6 tubes.
2. Suggested cabs: Soldano (12" Eminence), EVM.
3. Original controls: Gain, Bass, Middle, Treble, Master, Presence, Bright switch (Normal channel).
4. 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."
5. Wikipedia.
6. Audio clip.
7. Emulating Warren Hayes' tone.
8. 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." Source Cliff: "Yup, this is why the MV defaults to a higher setting than other MV amps." source
9. Cliff's comments:
   • "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."
   • "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
   • (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." source
   • "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." source
   • "The key to an SLO100 is to run the MV high so that the mids thicken up. Otherwise it's a shrill mess. In certain contexts with the right IR it can be a cool sound." source
   • "Note that the knobs on '5' on the Axe-Fx correspond to '6' on an SLO because they go to 11. 'Noon' on an SLO isn't actually the knobs at half-way. The range of the knobs is like 8:00 to 6:00 as opposed to 7:00 to 5:00. They're biased clockwise." source
   • "Another caveat when comparing amps: many times the knobs aren't "centered". IOW if you put the Treble knob at noon it isn't actually at 50%. You can see this by turning the knob all the way down and all the way up. It may not be symmetrical. This happens when the pots don't have a flat spot and/or the pot is rotated within the mounting hole. Or in the case of an SLO100 it is intentional. On an SLO100 all the way down is around 8:00 and all the way up is 6:00 so 50% is around 1:00 not noon." source
   • "Many people find SLOs too bright. The "Warren Haynes" mod is a popular mod to reduce the brightness." source
   • "Those amps are all designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter." source

SOLO 100 LEAD

• See above.

SOLO 100 RHY

• See above.

SPAWN NITROUS 2 (based on Splawn Nitro)

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1. Based on: Splawn Nitro, lots of saturation and big lows. 100w, KT88 tubes. Models: OD-1 and OD-2 2 channels.
2. Suggested cabs: G12M, G12-65, V30.
3. Original controls: Resonance, Presence, Bass, Middle, Treble, Master, Gain.
4. Splawn website: "All the Splawn tone with more saturation and voiced for a bigger low end and low mids."
5. Manual.
6. Audio samples.
7. Review in iGuitar.
8. Audio clip.
9. Audio clip.

SPAWN NITROUS 2

• See above.

SPAWN ROD OD1-1 (based on Splawn Quickrod)

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1. Based on: Splawn Quick Rod, an amp with bold body and a bit of bite. 100w, EL34 tubes. Clean channel and overdrive channel with 3 modes (1st gear = Plexi, 2nd gear = Hot Rod JCM 800, 3rd gear = Super Hot Rod 800). OD-2: additional gain boost.
2. Suggested cabs: G12M, G12-65, V30.
3. Original controls: Presence, Bass, Middle, Treble, Solo, Volume, Gain, Mode.
4. Splawn website: "Signature Splawn tone with lots of bite, strong mids and 3 gear versatility."
5. Manual.
6. Audio samples.
7. Audio clip.
8. Audio clip.
9. Cliff's commnents:
   • "The reason Splawns sound weird is because the tone stack is plate driven. You lose the cathode follower compression and the high source resistance of the plate alters the tone stack frequency response. The plate driven tone stack in the Splawn reduces the highs considerably. You can see this is you run Tone Stack Calculator for the Marshall tone stack and increase the source resistance." source
   • "OD2 switches in a cathode bypass cap which increases the gain of that stage." source
   • "The Quick Rod is a bit odd in that the Drive pot is linear taper. Most amps use an audio taper pot. This means that at noon the amp is nearly at full gain. Not sure why they did it that way but it is what it is." source

SPAWN ROD OD1-2

• See above.

SPAWN ROD OD1-3

• See above.

SPAWN ROD OD2-1

• See above.

SPAWN ROD OD2-2

• See above.

SPAWN ROD OD2-3

• See above.

SUHR BADGER 18 (based on Suhr Badger 18)

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1. 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 and EL34 tubes.
2. Suggested cabs: V30, G12M.
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. For 100% clean sounds, use the Badger 30 instead of the Badger 18.
6. Firmware 17.03: "Note that these amps do not have Hi-Cut controls and the Hi-Cut control in the model is therefore non-functional."
7. See website for suggested settings.
8. Suhr website.
9. Manual Badger 30.
10. Manual Badger 18.
11. Badger 30 demo by Pete Thorn.
12. Badger 18 demo by Pete Thorn.
13. Badger 30 demo by Haar Guitars.
14. Demo by Haar Guitars.
15. Cliff's comments:
    • "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." source

SUHR BADGER 30 (based on Suhr Badger 30)

• See above.

SUPER VERB NRM (based on Fender Super Reverb)

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1. Based on: pre-CBS 1964 blackface Fender Super Reverb, AB763 circuit, 6L6, 40w, low and high inputs, Normal and Vibrato channel. Speakers: 4x10 Jensen C10R, C10Q, P10R
2. Suggested cabs: Fender 4x10"
3. Original controls: Volume, Bass, Middle, Treble, Bright switch, tremolo controls
4. 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"
5. Wikipedia
6. 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 difficulty 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 beyond 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"
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"
8. 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" Source
9. Several forum members recommend using the "Magic Six" settings: Volume 6, Treble 6, Middle 3, Bass 2 (6, 6, and 3x2=6). And Bright switched on
10. Cliff's comments:
    • "A Pro Reverb is basically identical to a Super Reverb except for the speakers (and faceplate)." Source And: "The Blackface Pro Reverb, model AA165, was virtually identical to the AB763 Super Reverb except for the speakers and tone stacks. If you use the Super Verb model and set the Tone Stack type to Blackface you'll basically have a Pro Reverb. Set the Mid control fairly high to emulate the fixed 6.8K mid resistor. I'd say around 7 or 8" Source
    • (about blackface versions) "Not a huge change with the Silverfaced versions. They're a little cleaner and brighter but the topology is the same. Some minor circuit changes here and there. Same transformers. The biggest change, IMO, was changing the PI resistors to 47K which gives you a little less gain in the PI." source
11. Try Drive around 6, Bright disengaged and Treble turned up

SUPER VERB VIB

• See above.

SUPERTWEED (FAS custom model)

1. Ported model from the Ultra: Deluxe Tweed on stereoids
2. Suggested cabs: Fender 12", Alnico
3. This amp, like the original, starts to distort at low volume levels. Don't hesitate to set Input Drive really low, i.e. "0.75"
4. It has loads of bass, so use the Cut switch or cut bass in another way

SUPREMO TREM (based on Supro 1964T)

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1. Based on: Supro 1964T, a cool classic, built in Chicago by Valco, originally intended for bass. 6973 tubes. Speakers: 6" oval speaker, 12" or 15" Jensen
2. Suggested cabs: Supro, Fender 12" or 15"
3. Original controls: Volume, Tone (Axe-Fx: Treble)
4. Youtube
5. Firmware 10 release notes: "Renamed “SUPER TREM” model to “SUPREMO TREM” to avoid confusion with other models"
6. It's a very bright amp. Use Tone (Treble) to tame it

SV BASS (based on 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, 6550 tubes, 300W. Speakers: 8x10
2. Suggested cabs: bass cabs
3. Original controls: Gain, Bass, Mid (and Mid Frequency), Treble, Master
4. Ampeg website
5. Manual

THORDENDAL MDRN (based on Fredrik Thordendal’s specifications)

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1. Based on: Fredrik Thordendal’s (Meshuggah) specifications, two modes, 6L6
2. Suggested cabs: n/a
3. Original controls: n/a
4. Cliff's comments:
   • "It's not a DAR model. It's a custom model based on input from Fredrik." source
   • "What happened was this: the old Recto models weren't terribly accurate. When G3 came out the models were accurate but Fredrik contacted me and said something like "ahhhhh, I loved the old Recto model". So I took the old Recto models and made them "Thordendal" models." source

THORDENDAL VINT

• See above

TREMOLO LUX (based on Fender AA763 Tremolux)

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1. Based on a Fender AA763 Tremolux. 6L6, high and low inputs, 6L6, Normal and Vibrato channels. Speakers: 2x10"
2. Suggested cabs: Fender 2x10"
3. Original controls (Vibrato channel): Volume, Bright switch, Treble, Bass, Tremolo controls
4. Fender website
5. Fenderguru.com: "The blackface Fender Tremolux was produced just a few years between 1963 and 1966 and had one circuit model; the blackface Tremolux AA763. In terms of power and clean headroom it is the smallest of all the Fender piggy back amps. Its history is much less complex than the bigger Bassman and Bandmaster amps who experienced a rapid development in terms of different circuit models and tube configurations. The blackface Tremolux and Bandmaster (AB763) are almost identical amps, just that the Tremolux is sized for smaller events and gigs. The Tremolux had tube rectifier, while the blackface Bandmaster had diode. Both amps had tremolo but no reverb. The Tremolux speaker cabinet was 2×10″ and not 2×12″. The Tremolux had smaller transformers (power and output) than the Bassman and Bandmaster. All these things add up to an amp with less volume, less clean headroom and more sag/compression; a more forgiving tone. What does the blackface Tremolux sound like? It feels very much like the blackface Bandmaster, the normal channel of the Vibrolux Reverb and Pro Reverb or the normal channel of the earliest blackface Bassman (AA864). The sound is nice and clean and the tone remains relatively clean when one turns the volume knob. One does not reach the sweet spot as early as with the Reverb-amps with an additional gain stage in the preamp section. The Tremolux uses only one 12ax7 tube in the preamp section in both channels before the signal enters the phase inverter. The Tremolux is appreciated for its simple and basic circuit. A less complicated circuit means fewer things that can go wrong, less component drift issues, it’s easier to service and has less potential for noise problems. The Tremolux is rarer than the other blackface piggy back amps since it was produced over a shorter period of time. It was discontinued in 1966 and had no silverface models to follow. All the narrow-panel tweed, blonde and blackface Tremoluxes are very valuable today with a well-deserved collector status. The 2×10″ closed cabinet that came with the Tremolux is practically sized and performs well on most stages. Oxfords or CTS speakers were delivered with these cabinets in the blackface years. A 2×10″ cabinet is easier to carry around than a 2×12″ cabinet, and with the right (wrong) speakers it can almost get as loud as the twelves just with less spread, lower bass and mids. Jumping channels in the AA763 Tremolux can give you a wider spectrum of tones than by using just one channel. You may for example use the normal channel to deliver the bass tones and the vibrato channel for sparkling clean sound with bright switch on and zero bass. This will give you an full and meaty tone which you won’t get using just one channel. The Tremolux came without a mid pot"
6. Turn up Drive. Try disengaging Bright and turning up Treble

TUBE PRE

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1. Based on: a completely neutral, low-gain tube preamp, useful for “warming up” various sources or to act as a power amplifier
2. Suggested cabs: n/a
3. 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 Source

• Cliff: "If you only need power amp modeling, for example when using an external pre-amp through the Axe-Fx, use the Tube Pre model. It uses the Vintage tonestack which is flat when the tone controls are at noon." source

TWO STONE J35 1 (based on Two-Rock Jet 35)

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1. Based on: Two-Rock Jet 35, 35w tube amp, 6L6. Model 1: lead mode, Preamp Bypass engaged (Bypass switch bypasses the input tone stack to give a more focused lead sound. Model 2: lead mode, Preamp Bypass off. Speakers: G12-65.
2. Suggested cabs: Dumble, G12-65, EVM.
3. Original controls: Treble, Mid, Bass, Gain (Axe-Fx: Input Gain), Master, Lead Gain (Axe-Fx: Overdrive), pull bright.
4. Two-Rock website.
5. Manual.
6. 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 available by a "pull" pot on the front of the amp."
7. 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."
8. 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
9. Videos.

TWO STONE J35 2

• See above.

TX STAR CLEAN (based on Mesa Lone Star)

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1. Based on the clean and lead channels of a Mesa Lone Star. 6L6 (Classic version). Speakers: Mesa C90.
2. Suggested cabs: V30, EVM, Classic Lead 80, Mesa C90.
3. Original controls: Drive (Axe-Fx: Input Drive), Gain (Axe-Fx: Overdrive, Lead channel), Treble, Mid, Bass, Presence, Master, Voicing.
4. 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."
5. Manual.
6. Wikipedia.
7. Andy Timmons' Lone Star settings.

TX STAR LEAD

• See above.

USA BASS 400 1 (based on Mesa Bass 400)

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1. Based on: Mesa Boogie Bass 400 tube amplifier. Model 2 has Bass Shift engaged.
2. Suggested cabs: bass cabs.
3. Original controls: Bass, Middle, Treble, Pull Bright, Bass/Mid/Treble Shift, 7-band GEQ.
4. Manual.

USA BASS 400 2

• See above.

USA CLEAN (based on Mesa Mark IV)

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1. Based on: Mesa Boogie Mark IV. 6L6 tubes.
   • CLEAN 1: based on Rhythm 1 channel, a beautiful clean-sounding model that can pushed into warm clipping.
   • LEAD models: tight, focused, hi-gain sound, great for fusion and rock leads.
     • LEAD: Mid Gain switched off, Pull Bright off.
     • LEAD+: Mid Gain switched on, Pull Bright off.
     • LEAD BRT: Mid Gain switched off, Pull Bright on.
     • LEAD BRT+: Mid Gain on, Pull Bright on.
   • RHYTHM: based on Rhythm 2 channel, THE California crunch rhythm sound.
2. Suggested cabs: V30, EVM, Classic Lead 80, Mesa C90.
3. Original controls: Rhythm 1 Gain / Rhythm 2 Gain (Axe-Fx: Input Drive), Lead Drive (Axe-Fx: Overdrive), Treble, Bass, Mid, Pull Bright (Rhythm 1 mode), Pull Fat (Rhythm 2 and Lead modes), Presence (with Pull Shift in Rhythm 2 and Lead modes), Master, GEQ.
4. Mesa website.
5. Manual.
6. Wikipedia1, Wikipedia2
7. Use the GEQ page (5-band type) in the model to simulate the graphic EQ on the real Mark amps. For example: Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0. Use the EQ Location parameter to set the position of the graphic EQ to Pre Power Amp.
8. John Petrucci videos.
9. Firmware 10: "(...) 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."
10. Firmware 17:
    • "An exact solution has been implemented for the power amp feedback network in the “USA” amp models. As such all these amp models have been redone accordingly with the exception of the “USA Pre” amp models which use a more conventional power amp model. Note: due to the unique topology of the feedback network in these amps the Depth control is non-functional."
    • "A “Presence Shift” switch has been added to certain “USA” amp models (those based on amps with a “Pull Shift” on the Presence knob). This switch is found under the Presence control and replicates the behavior when the Presence knob is pulled out on these amps. Note that the behavior of this switch is authentic and may result in volume reduction when active since the negative feedback is increased which lowers the loop gain."
11. Cliff's comments:
    1. "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
    2. "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."
    3. "The actual amount of feedback is reduced by the presence network. Setting it max was necessary to allow the unique feedback network topology to be compatible with the existing framework." source
    4. On Lead models with Mid Gain switched off, Lead Voicing on the real amp was set to "Harmonics". source
    5. "The Depth knob is inactive on that amp model. The real amp doesn't have one either." source
    6. "Fat and Presence shift work as the real amp." source
    7. "USA Clean is based on the MKIV." source
    8. "With the presence control at noon it's roughly neutral. Turn it down and you are actually boosting bass and reducing treble." source
    9. "I have a Mark IIC+, a Mark IV, a Mark V and a Triaxis. They're all completely different. Mesa always says things like "sounds the same as a IIC+" but the circuits are different and, probably most important, the knob tapers are completely different." source
    10. "The key to a good Boogie sound, IMO, is the Fat Switch. This is the treble Pull Shift on the IIC+ and the Pull Fat on the Mark IV. Mesa knew this and the Lead 2 modes on the Triaxis all had the treble shift engaged by default." source

USA IIC+ BRIGHT (based on Mesa Mark IIC+)

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1. Based on: Mesa Boogie Mark IIC+ Simul-Class with reverb, an US-made amp famous for its smooth overdrive sound ('liquid lead'). 6L6 tubes, 100w. IIC+ model: Pull Bright off, Pull Deep off. IIC+ BRIGHT model: Pull Bright on, Pull Deep off. IIC+ BRT/DP model: Pull Bright on, Pull Deep on. IIC+ DEEP model: Pull Bright off, Pull Deep on. Speakers: EVM 12L.
2. Suggested cabs: EVM, Classic Lead 80, Mesa C90.
3. Original controls: Volume / Pull Bright, Treble / Pull Shift, Bass / Pull Shift, Middle, Master / Pull Deep, Lead Drive / Pull Bright. Simul-Class / Class A switch. No graphic equalizer.
4. Firmware 18.08: The Pull Bright on the amp’s Volume knob is equivalent to the model’s Bright Switch under the Treble control and the Pull Shift on the amp’s Treble knob is equivalent to the model’s Fat switch under the Mid control.
5. Alternatively try the USA PRE Yellow model (Triaxis).
6. Manual.
7. Additional information: see first USA model.
8. Simul-Class is a technology developed by Mesa/Boogie that allows an amplifier with 4 power tubes to run in 2 power classes at once. With Simul-class, the outer pair of power tubes run in Class A and the inner pair of tubes run in Class AB.
9. Cliff's comments:
   1. "To match a Mark V on the IIC+ (v11.01 and later): select the appropriate USA IIC+ 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." source
   2. "The mode in the Mark V is based on the later SimulClass version" source. "If you want the sound of the non-SimulClass version set Triode 1 Plate Freq to 1350 Hz." source
   3. "The Bright Switch in the amp block switches in a virtual "bright cap" on the virtual Drive potentiometer. The Pull Bright on a Mark II/III/IV amp switches in a 0.22uF capacitor on the cathode of the last lead stage." source
   4. "Look what arrived today"
   5. "The Pull Bright on the Volume knob is the classic "Bright Cap" which engages a capacitor across the potentiometer. This is already modeled in the Axe-Fx via the Bright Switch. The Pull Bright on the Lead Master knob engages a 0.22uF cap on the cathode of the last triode in the overdrive circuit. As there is no switch for this in the Axe-Fx it requires a separate model. Cathode caps are very common in tube amps. If the value is large the stage has more gain and the response is relatively flat. If the value is small the stage has more gain at higher frequencies. Amp designers use cathode caps to shape the frequency response. Caps in the range of 0.1 to 1.0 uF are commonly used to reduce bass response. A cathode cap works by decreasing the amount of negative feedback through shunting higher frequencies to ground. This reduced negative feedback increases the gain (and reduces linearity). FWIW the Axe-Fx is the only modeler of which I'm aware that actually models triodes using a feedback technique. Other modelers use static waveshapers. The Axe-Fx triode models incorporate feedback so if there is a virtual cathode cap the stage is less linear in addition to having more gain." source
   6. "The IIC+ does not have a gain boost and doesn't need one. There is plenty of gain. The Pull Deep switch engages a large cathode cap on the final triode stage. With Pull Deep off there is actually a shelving response into the power amp (bass is reduced)."
   7. (to emulate Bass Pull Shift) "Put a Tilt EQ before the amp block with a frequency of 320 Hz and a gain of -3 dB. Set the Level to +3 dB". source
   8. "With the presence control at noon it's roughly neutral. Turn it down and you are actually boosting bass and reducing treble." source
   9. "I have a Mark IIC+, a Mark IV, a Mark V and a Triaxis. They're all completely different. Mesa always says things like "sounds the same as a IIC+" but the circuits are different and, probably most important, the knob tapers are completely different." source
   10. "The key to a good Boogie sound, IMO, is the Fat Switch. This is the treble Pull Shift on the IIC+ and the Pull Fat on the Mark IV. Mesa knew this and the Lead 2 modes on the Triaxis all had the treble shift engaged by default." source

USA IIC+ BRT/DP

• See above.

USA IIC+ DEEP

• See above.

USA IIC+

• See above.

USA LEAD + (based on Mesa Mark IV)

• See USA CLEAN 1 model above.

USA LEAD BRT +

• See USA CLEAN 1 model above.

USA LEAD BRT

• See USA CLEAN 1 model above.

USA LEAD

• See USA CLEAN model above.

USA PRE CLEAN (based on Mesa Triaxis)

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1. Based on: Mesa Boogie Triaxis preamp. 6L6 tubes.
   • Rhythm Green: “Vintage Fat Rhythm" or "old Black Face".
   • Lead 2 Green: "Mid Gain Mark IV Lead".
   • Yellow: "Classic MKII Lead".
   • Lead 1 Red: "TX-4 board".
   • Lead 2 Red: "shred".
2. Suggested cabs: n/a.
3. Original controls: Drive (Axe-Fx: Input Drive), Lead Drive (Axe-Fx: Overdrive), Treble, Middle, Bass, Presence, Master. Dynamic Voice (EQ) not modeled.
4. Mesa website.
5. Manual.
6. Wikipedia.
7. To emulate Dynamic Voice on the real preamp: Band 80: 7, Band 240: -0.47. Band 750: -7.46. Band 2200: 2.36. Band 6600: 0. Use the EQ Location parameter to set the position of the graphic EQ.
8. Firmware release notes:
   • 10: "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."
   • 13.07: added the “Bright” control to the Amp block. This high treble control is a shelving filter between the preamp and power amp and may be used to darken or brighten the output of the preamp. This control also accurately replicates the “Presence” control found in the Mesa Triaxis preamp when set to negative values (the Presence control in the Triaxis is actually a high frequency cut shelving filter).
   • 17: "An exact solution has been implemented for the power amp feedback network in the “USA” amp models. As such all these amp models have been redone accordingly with the exception of the “USA Pre” amp models which use a more conventional power amp model. Any presets using these amp models should be reset either by deselecting then reselecting the amp model or by using the “Update Amps Default” in the Utility->Preset menu. Note: due to the unique topology of the feedback network in these amps the Depth control is non-functional."
9. Cliff's comments:
   1. "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."
   2. "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." source
   3. "I can nail the sound of my Triaxis now by setting it (Bright) around 9:00 - 10:00." source. And: "10 on the Triaxis would be 0 dB on the Bright parameter. Anything below 10 is equivalent to less than noon on the Bright parameter. The "Presence" control on a Triaxis is always a hi cut, it never boosts. The Bright parameter is not an exact match to the Triaxis Presence control though. It is a fixed shelving filter. The Triaxis Presence control is passive so the center frequency changes with the amount of cut. It also changes the load on the plate which distorts the frequency response a bit too. The Presence parameter should be set to 5.00, which is neutral (see the manual for details)."
   4. "I have a Mark IIC+, a Mark IV, a Mark V and a Triaxis. They're all completely different. Mesa always says things like "sounds the same as a IIC+" but the circuits are different and, probably most important, the knob tapers are completely different." source
   5. "The key to a good Boogie sound, IMO, is the Fat Switch. This is the treble Pull Shift on the IIC+ and the Pull Fat on the Mark IV. Mesa knew this and the Lead 2 modes on the Triaxis all had the treble shift engaged by default." source

USA PRE LD1 RED

• See USA PRE CLEAN.

USA PRE LD2 GRN

• See USA PRE CLEAN.

USA PRE LD2 RED

• See USA PRE CLEAN.

USA PRE LD2 YLW

• See USA PRE CLEAN.

USA RHYTHM (based on Mesa Mark IV)

• See USA CLEAN 1 model above.

USA SUB BLUES (based on Mesa Subway Blues)

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1. Based on: Mesa Subway Blues, 20w, EL84.
2. Suggested cabs: Fender 10" (Eminence Black Shadow Eminence).
3. Original controls: Volume, Bass, Mid, Treble, Reverb, Bright/FAT.
4. Manual.
5. Mesa website.
6. Wikipedia.

VIBRA-KING FAT (based on Fender Vibro-King)

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1. Based on: Fender Vibro-King, famous for crystal cleans and powerful overdrive. Models: Fat engaged and Fat disengaged. 6L6 tubes.
2. Original controls: Volume, Treble, Bass, Middle, Fat switch (no Bright switch), Tremolo controls, Reverb controls.
3. Suggested cabs: Fender 3x10".
4. 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."
5. Cliff's comments:
   1. "The model is based on the custom version which has higher plate voltages which causes more overdrive on the power tubes."

VIBRA-KING

• See above.

VIBRATO LUX (based on Fender Vibrolux Reverb)

1. Based on: 1963 "brownface" Fender Vibrolux Reverb, legendary amp called the "little Vibro-King". 6L6 tubes, low and high inputs, 35w, Normal and Vibrato channels (modeled: Vibrato channel).
2. Suggested cabs: Fender 2x10" (Jensen C10Q), 1x12" (Oxford).
3. Original controls (Vibrato channel): Volume, Bass, Treble, Reverb, Speed, Intensity.
4. 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."
5. 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."
6. The Vibrolux was used to record Sultans of swing. source
7. ToneQuest: Under 40 Watt of Whoop Ass: "If I had to recommend just one amp to a player, this would be the one. First, it’s 35 friendly watts (two 6L6 power tubes). That’s plenty of power to produce great lows and low mids when you need them. Second, it has a 5AR4 rectifier tube, which provides adequate sag and natural compression to help give you a nice hard attack and improve overall sustain. Third, it has two decent sized 10" speakers, which are desirable for two reasons; you’ll love the crunch of 10" speakers at higher volumes, and you’ll be pushing more air with two speakers, providing more headroom than a single 12", while not moving the volume of air as a much louder Super Reverb with four 10"s. Some claim that the output transformer in a Vibrolux Reverb is a bit wimpy, and to a point that is true; however for smaller gigs, what makes the bottom end sometimes seem a little loose also makes your highs and leads sing brilliantly. So there is a trade off, but the overall sound of a stock blackface Vibrolux Reverb is outstanding. Your tone will also benefit from having a great pair of speakers in this amp (a subject for later articles). I find Jensen C10Ns in particular, to be excellent. Crank It! The key to great tone at a show is to run your amp fairly full to bring the most out of it. To me, a Fender doesn't begin to find its voice until just past "5", into the "6" range on the volume control. I also run the treble fairly high, the bass somewhat high as well, with reverb on about "3" or so, and the "bright" switch off. I prefer the "effects" or second channel because I love the sound of Fender reverb, but I also use the second channel since it has one more stage of gain in the pre-amp. And remember, that’s where all of your tone and harmonics are defined. The harder you hit the power section with a hot signal, the better the harmonics and tone will be. The Vibrolux Reverb will certainly take you where you want to go in the search for tone, but, I repeat, you’ll have to run it at "5" or higher, and try boosting those highs and lows with your treble and bass controls. Doing so adds a lot. At louder volumes, you may notice a bit of looseness in the bottom end. That’s characteristic of these amps and it’s related to the size of the output transformer, but it’s still a very versatile amp. Other advantages of the Vibrolux Reverb are that it’s comparatively light, small, fits into your car easily and it won’t break your back hauling it around. If you want to own just one Fender Blackface amp, this is the one to have."
8. Cliff's comments:
   1. "Early Dire Straits tone is a Vibrolux (Vibrato Lux model). The Vibrato Lux model is based on the same model and year amp used on the eponymous album. There's a cab in there too." source
   2. "It's a brown face." source

VIBRATO VERB AA (based on Fender Vibroverb)

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1. Based on: 40w Fender Vibroverb, great for clear or grinding cleans and gutsy blues. 6L6 tubes, low and high inputs, Normal and Vibrato channels (modeled: Vibrato channel).
   • Vibrato Verb model: ported from the Axe-Fx Ultra.
   • AA model (Cliff's real amp): blackface with AA763 circuit.
   • AB model: AB763 circuit.
   • CS model: based on a Vibroverb Custom Reissue with the Mod switch on.
2. Suggested cabs: 1x15" (Jensen C15N, JBL D130, Eminence), 2x10" (Jensen C10Q).
3. Original controls: Volume, Bass, Treble, Reverb, Tremolo controls.
4. Fender website.
5. Wikipedia.
6. 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 extremely valuable and collectible. 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 interfere 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."
7. YouTube.
8. The Transformer Matching value for the CS model is based on the output transformer in the actual amp. Legend has it that SRV used a Bassman transformer which would lead to significant overmatching. To replicate this increase Xfrmr Match to around 1.8.

VIBRATO VERB AB

• See above.

VIBRATO VERB CS

• See above.

VIBRATO VERB

• See above.

WRECKER EXPRESS (based on Trainwreck Express)

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1. Based on: Trainwreck Express, designed and built by the late, great Ken Fischer. EL34 tubes.
2. Suggested cabs: G12M.
3. Original controls: Volume, Bas, Mid, Treble, Presence, Bright switch.
4. Trainwreck FAQ.
5. YouTube: "Can you hear it ring".
6. Demos.
7. Cliff's comments:
   1. "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."
   2. "The secret to a Trainwreck is the output transformer. The impedance ratio is about twice that of other amps. I.e. typical 50W Marshall has a primary impedance of about 3200 ohms. A Trainwreck is about 6500 ohms. The causes the power tubes to clip much sooner." source

WRECKER LVRPOOL (based on Trainwreck Liverpool)

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1. Based on: Trainwreck Liverpool. Basically a Trainwreck Express preamp with a Trainwreck Rocket power amp. EL84 tubes.
2. Suggested cabs: G12M.
3. Original controls: Volume, Bas, Mid, Treble, Presence, Bright switch.
4. Trainwreck FAQ.
5. Demos.

WRECKER ROCKET (based on Trainwreck Rocket)

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1. Based on: Trainwreck Rocket, designed and built by the late, great Ken Fischer. EL84 tubes.
2. Suggested cabs: see Vox.
3. Original controls: Volume, Treble, Bass, Cut (a passive tone control in the output stage of the amplifier, to adjust the contour of treble frequencies).
4. Trainwreck FAQ.
5. The Rocket is similar to a Vox AC-30.

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