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Amp Descriptions
CLEAN
TUBE PREAMP: Sound engineers were quick to recognize the appeal of tubes. They used tube amps to add warmth to all kinds of sounds. By default, this amp model does not use a speaker simulation, and can be used with vocals, but adding a speaker cab produces good clean tones for guitar as well.
SMALL COMBO: This model is based on one of the most simple yet effective guitar amps of all time, the Fender Champ. Being as small as it is, you can easily take it beyond its clean range, and the Champ rewards you with compression and rich distortion. Originally designed for begin- ners, the amp soon became a favorite of many guitar aficionados due to its amazing distortion at manageably low volume.
CLASSIC CLEAN: Back in the 80s, the Roland
TWEED COMBO: This was Jeff Beck’s favorite when he recorded the albums Blow by Blow and Wired. This amp was not actually designed for heavy distortion, but due to its low power, it is ideal for uncompromising overdrive. The Tweed Champ had a volume control, but no EQ control. If you want to get the most authentic sound out of this amp, keep the EQ on your
CALIFORNIA CLEAN: This model is based on the clean channel of the Mesa Boogie Mark II C. It sounds like a Fender, but has more punch in the midrange.
BLACKTWIN: This simulation was modeled on a Fender Blackface Twin from 1965. In the‘60s, this amp was used by jazz, country, and even rock guitarists. The Blackface Twin was unique for being exceptionally loud while the amount of distortion remained relatively low.
CUSTOM CLEAN: This model simulates the clean channel from a Dumble, an expensive boutique amp. The clean sound really cuts through, especially when used with compressor attack settings around 2 milliseconds.
BLUES
AMERICAN: This virtual amp is modeled on the Fender Bassman 4 x 10 Combo. Originally designed as a bass amp, it soon became a standard amp of blues legends such as Steve Ray Vaughan and Billy Gibbons due to its characteristic distortion. As you would expect, it packs a solid punch in the bass range, but is still flexible enough in the mid and treble ranges.
FUZZ BOX: This sound is not actually based on any one amp, but instead simulates a particular fuzz box. Jimi Hendrix was one of the first guitarists to recognize the potential in this legendary broadband transistor distortion. The humming distortion sound of the FUZZ BOX has returned to popularity with Alternative Rock and Grunge.
DELUXE BLUES: A synthesis of a 1960 Fender Blackface Deluxe and a ‘50s Fender Bassman. The result is a crystal clear sound that still simulates the edge of the vintage amps. The EQ controls on this model give you even greater scope than the EQ controls on the original amp.
BRIT BLUES: Modeled on the JTM 45, the first Marshall amp ever designed. Extreme gain settings produce a highly compressed and really “dirty”sounding distortion. Combined with a 2 x 12" speaker simulation, it produces impressive Bluesbreaker sounds.
CUSTOM BLUES: This simulation is based on a 1965 Marshall JTM 45 Bluesbreaker, but has more flexibility of sound control. Turn the GAIN control to the left and this simulation sounds like a Marshall; turn it to the right and it builds a thick boutique distortion tone.
BRIT CLASSIC 50W: This is also a Plexi, but we have extensively widened its sound range. The sound controls on the original Marshall Plexi 50 Watt hardly had any effect on the sound if distortion was high.
METAL
NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier