Mémo
59 DELUXE GAIN MOD
59 TWEED BASS
1959 Fender Bassman Holy grail of tone for pioneering country, rock, and blues guitarists of the '50s and '60s. "Jumped," so you can feed both the Bright and Normal inputs; zero either the Instrument or Mic channel volume to un-jump.
59 TWEED DELUXE
1959 Fender "Tweed" Deluxe ZZ Top's Billy Gibbons to jazz/fusion legend Larry Carlton. With just a simple tone control, 50s-era Deluxe amps deliver crunchy clean sounds when used with single-coil pickups, and fat leads when driven with humbuckers. "Jumped," so you can feed both the Instrument and Mic inputs in parallel; zero the Instrument or Mic channel
to un-jump the channels.
59 TWEED PRINCE
64 BLACK LUX NORM
'64 Fender Deluxe Reverb 20w tube combo Small club amp; has been used to record countless #1 hits in Nashville. At low volumes it achieves a crisp, clean high-end with single-coil pickups. But push the amp past 7 with a humbucking pickup, and you've got an amazingly dynamic lead. Normal is a single gain version, Vibrato adds the additional gain stage like the original.
64 BLACK LUX VIB
64 BLACK VIB
1964 Fender Vibroverb combo amp Somewhere between the crunch of smaller models in the line and the hall-filling clean tones of the larger models. Four Tremolo settings. Midrange control for more tonal versatility. Set it to ~7 to match the flat response of the original amp.
65 BLACK MINI
1965 Fender Champ 6w combo Sweet, gently driven tones and straight-ahead spank in droves. '60s-era 6-watt tube combo amp, with a single 8-inch speaker in an open-back configuration.
65 BLACK SR
1965 blackface Fender Super Reverb combo Chiming clean tones at comparatively high volumes. 40-watt combo amp featured an all-tube design, tremolo and spring reverb effects, and four 10-inch speakers in an open-back configuration. Legend among country pickers, blues players, and other guitarists who favor high-volume clean tones.
65 BLACK PRINCE
Fender Princeton
65 BLACK PRINCE REV
Fender Princeton reverb
65 J45
1965 Marshall JTM45 head Originally based on the Fender Bassman. W
arm, clean Fender Tweed-like sound, dirtier bluesy sound when cranked. Bridged input channels, each with volume setting which can be blended together using the Volume 1 and Volume 2 controls. Both have different tonalities—Channel 1 offers a fairly flat tonal response, while Channel 2 is somewhat darker-sounding.
66 AC Hi BOOST
66 AC Hi BOOST MOD
1966 VOX® AC30
Top Boost Beatles, Tom Petty and The Heartbreakers, REM, Radiohead; U2's "Pride (In The Name ofLove)" showcase the amp's distinctive high-end chime and glassiness. "Jumped" Normal and Brilliant channels. Tremolo and Cut (presence) are active on both channels. However, like the original, the Treble and Bass controls are only part of the Brilliant channel, and have no effect on the Normal channel.
66 FLIP BASS
Ampeg Flip Top Bass Amp
67 BLACK DUO
1967 Fender Twin Reverb blackface combo Classic Fender clean sound - even at high volume levels. Bright switch. As you turn the Volume knob up, the Bright switch has less of an effect. Dial the Volume knob around 3 or 4 with the Bright switch on, and you'll get that ultra-clean snap that it's famous for.
67 BLACK SHIMMER
67 PLEXIGLAS VARI
1967 Marshall Super Lead Plexi head (with Variac mod) Pete Townsend, Eric Clapton, Angus Young, Eddie Van Halen "Brown" tone. The amp's two channels, which can be blended together using the two volume controls, offer different tones —Channel 1 has a fairly flat tonal response, while Channel 2 is somewhat darker-sounding.
68 PLEXI EL84 MOD
HeadRush v2.0 Amp Models
68 PLEXIGLAS 50W
1968 Marshall Super Lead 50w head Super Lead Plexi with more brightness / crunch... break up at lower levels than its 100-watt counterpart. We also "jumped" both channels for even more gain.
69 BLUE LINE BASS
1969 Ampeg SVT 300w bass head Pair it with the 8x10 Blue Line speaker to recreate that massive legendary sound. U-Lo
and U-Hi controls are continuously variable, so you can use them to add low or high harmonics to your tone.
69 BLUE LINE SCOOP
69 PLEXIGLAS 100W
1969 Marshall® 1959 100-watt Super Lead Eric Clapton / Pete Townsend. Has "lay down" transformers favored by Eddie Van Halen. "Jumped" both channels like Eric Johnson's setup.
82 LEAD 800 100W
1982 Marshall JCM800 2203 100- Watt head Massive distorted rhythm sounds, cascaded preamp design,4 EL34 tubes, master volume. Dave Navarro, Rage Against The Machine's Tom Morello
82 LEAD 800 BASS MOD
JCM800 w/ more bass & gain Bright switch and a Fender-style Tremolo. Use a humbucker in the bridge position and you'll have a tone that can shred with the best of them.
82 LEAD 800 BRIGHT
82 LEAD 800 50W
Marshall JCM800 50Watt version
82 LEAD 800 TS MOD
Marshall JCM800 modified with TS6550 tubes
85 M-2 LEAD
1985 Mesa/Boogie® Mark IIc+ (Drive channel) Dream Theater's John Petrucci, Metallica's James Hetfield set the EQ in a"V" curve to maintain a tight bass sound. We based our emulation on the Lead channel, with the Fat, Bright, and Gain Boost options on—and we even re-created the classic "V" EQ curve!
85 M-2 LEAD CAP MOD
Mesa Boogie Mark IIc+ Lead Channel with Coupling Cap mod
89 SL-100 CLEAN
89 SL-100 CRUNCH
89 SL-100 DRIVE
89 SL-100 EXT RANGE
1989 Soldano SLO-100 Super Lead Overdrive Singing sustain and clear articulation. W
arren Haynes' (The Allman Brothers) bright switch mod. Set to Normal, the amp is stock. With Mod engaged, the treble boost that would normally happen at lower gain settings is removed, leading to a rounder, thicker sound. The Mod circuit has progressively less effect as the gain is raised, and no effect when the preamp is set to 10.
92 TREADPLATE MODERN
1992 Mesa/Boogie Dual Rectifier Red channel using 6L6s, a silicon rectifier
, and the Bold power setting for a tight,
aggressive tone.
92 TREADPLATE VINTAGE
Mesa/Boogie Dual Rectifier Orange channel with 6L6s, a tube rectifier, and the Spongy power setting for a more fluid lead tone.
92 TREADPLATE RAW
Mesa Boogie Dual Rectifer channel Raw
93 MS30
Matchless - Boutique amp inspired by the Vox AC30.
97 RB-01B RED
97 RB-01B BLUE
97 RB-01B GREEN
Bogner Ecstasy 101B head Red (lead), Blue (rhythm), and Green (clean) - discrete preamp circuit for each channel. Huge range of vintage amp tones. The Red channel excels at high-gain lead tones, Blue is suited to chunky rhythm playing, and Green focuses on clean tones.
