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Modern Hi Gain #2 - This sound is modeled after a Soldano SLO -
Super Lead Overdrive - head. With snake skin tolex covering and
everything! Unlike the X88R preamp used for the Modern Hi Gain Amp
Model, the SLO includes a presence control, plus other little details
that give it a bit of a different sound. With the Drive control
cranked way up, you'll get sustain for days... Go out'n'ave a bite
- when you come back it'll still be sustaining! |
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'89 Soldano X88R Modern Hi Gain - The Soldano sound is intensely overdriven, and
also has EQ after the preamp distortion. This oversaturated tone
is well-suited to thrash metal and grunge bands, but has also been
used more subtly by artists like Eric Clapton. This is a good Amp
Model to use if you want to get a current Van Halen or Joe Satriani
sound. The Modern Hi Gain Amp Model is based on one of Mike Soldano's
rackmount preamps. Talk about high gain preamp tube distortion!
The X88R we studied to create this Amp Model would have been the
rage for Los Angeles studio use in the late '80s. |
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Budda Twinmaster Boutique #3 - This model is based on a Budda Twinmaster head. The
Budda has a great, warm, Class A, sound. This was Budda's first
offering. The Budda philosophy is all about power tube distortion.
Simplicity is the key. With relatively low front end gain, highly
interactive tone controls, and tube rectifier "sag" it's
great at getting a classic cranked sound for small gigs and recording.
Once again, since the Twinmaster has no Mid control, they've added
a little bonus in the form of some pos-TubeTone mid contouring available
via the mid control. As usual, set this control to 12 o'clock to
get groovy with the unadorned Budda-style vibe.
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'87 Roland JC-120 Jazz Clean - This Amp Model is modeled after the classic Roland
JC-120. This transistor amp was known for a strident clean sound
and built-in stereo chorus. When using the Jazz Clean Amp Model,
try cranking up the treble for a shimmering clean sound that'll
cut through just about any mix. It's also perfect for that 80's
"new wave" sound. Alternatively, try backing off on the
treble and turn up the bass and mids for a darker jazz tone. It'll
give you an essentially flat response, providing a balanced tone
across the fret board for jazz chord melodies or single-line phrasing. |
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Dumble Overdrive Special Boutique #1 - Based on the clean channel of the Dumble Overdrive
Special. The Dubmle Overdrive Special is one of those incredibly
expensive, custom amps that most people never get a chance to actually
get close to in this lifetime. Each incarnation of the Dumble magic
is a little bit different, because each of these amps is hand built
for a specific customer, and voiced to match their playing and desires.
With that in mind, Line 6 based this TubeTone Amp Model on the analysis
of several different Dumble Overdrive Specials. Depsite this tuning
to the individual owner, these amplifiers tend to have a number
of features in common; the clean channel is very sensitive to attack,
and dynamically responsive, and the drive channel has a thick, liquid,
singing sustain that doesn't lose string definition when driven
hard. The tone controls on this Amp Model are quite subtle, like
those of the Dumble itself. |
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'60s Dallas-Arbiter FuzzFace Fuzz Box - Although not technically an amp, Line 6 felt that the
unique tonal qualities of the classic 1960's Arbiter FuzzFace earned
it a place among the amps modeled to create Line 6's TubeTone Amp
Models. This fuzz box used broad frequency transistor-based clipping.
The result is a buzzing kind of distortion that has become popular
again with the alternative and grunge set. Jimi Hendrix was among
the first guitarists to popularize the FuzzFace in the States, but
our model is considerably dirtier than the tones found on "Are
You Experienced." Try playing "Satisfaction" by the
Stones, or the lead from "American Woman" by The Guess
Who. Liberal use of the Bass, Mid, and Treble controls will let
you go beyond the tones that the FuzzFace could deliver, enabling
you to discover your own unique recipe for those elusive fuzz tones
in your head. Just a note: when recording Purple Haze, Jimi didn't
even use and amp - just went straight from FuzzFace to an Orange
power amp to a 4x12 cabinet. Which is the same sort of tone you
find here...
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'96 Matchless Chieftain Modern Class A - The '96 Matchless Chieftain, which was studied
for the Modern Class A selection, is a very expensive handmade amp.
Originally designed to sound like a top-boost Vox AC 30, the Matchless
doesn't exactly have a Vox sound, but something unique (largely
due to the complicated EQ scheme); the sound is sort of "future
retro." Its soft clipping is typical of Class A amplifiers;
almost a "hi-fi" sound in a great rock n' roll amplifier.
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'60 Vox AC-15
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'60 Vox AC-30 Brit Class A - Music was changing in the early 60's and guitarists
were asking for more brilliance & twang. So the Jennings Company,
makers of Vox amps, decided to add Treble and Bass controls (and
an extra 12AX7 gain stage, incidentally); this addtional circuit
became known as Top Boost. The AC-30 with Top Boost was the amp
made famous by many British invasion bands. Much of the unique character
of the Vox sound can be attributed to the fact that Class A amps
overdrive in a very different way than Class AB. Brian May of Queen,
Mike Campbell of Tom Petty's Heartbreakers, and The Edge of U2 have
also used classic AC-30's to make their music. On this Amp Model,
the Mid Control acts like the Cut knob on the AC-30. Although usually
played fairly clean, a cranked AC-30 has a great saturated lead
tone, a'la Brian May on the early Queen albums.
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Flextone II Line 6 Clean - To create this Amp Model, Line 6 essentially grafted
the top end of a JC-120 (Roland's popular "Jazz Chorus"
solid state como) onto the bottom end of a classic Marshall JTM-45
tube head, to give you the crisp and clear top end of a solid state
amp, but with a rich, satisfying tube amp-style bottom. |
