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https://soundcloud.com/user-512214365/glemy-pod-hd-ezdrummer Viewing the following Real amp images (click to expand), you can see exactly which controls are actually present in every Helix modeled amp, so you can deduce which controls are instead added "bonuses" which essentially lets you modify the unadorned original amp sound. -Invented control starting point for neutral settings (setting to simulate the real stuff, without those invented parameters). But you can play with this values, it's up to you (no limits): Presence for No Presence amps should be zero (all the way counterclockwise). Exception Jazz Rivet (P: 50%). Eq bonus controls to noon (50%) for No Mid, No Bass, No Treble amps. Master parameter for no master amps to 100%. (Power Amp) Note 1: Real amps (Without Master) with Volume means Gain- Drive (Pre) in Helix. Volume in Helix is like a mixer to compensate final modeled output level (obviusly it doesn't exist in any of the real amps). Note 2 : To attenuate "Crossover Distorsion", the best parameter in Helix is "Bias", increase it from 6 to 8 as general rule just in case you need to mitigate it. Note 3: The default Line6 amp settings parametrs for Helix, when you open a modeled amp, are also a good starting point, normally they are close or exactly in concordance with this. Tip : double click in the parameter to come back to the default one. Note 4: For Pre Amps models in Helx, some power amp related parametrs (i.e presence in general ; or cut tone with vox amp )are not present, but they modeled also Master and Sag with PreAmps. All amps are modeled on the Input 1 (High). If you want simulate Input 2 (low), then use a gain block to take 6dB off the signal, and change the input impedance to something lower; somewhere between 68k and 150k. The Guitar In has the variable input impedance circuit and an analog pad. The Aux In is a low impedance, line level input. Using one of the returns set to instrument level would be the closest to the Guitar In. ---------------------------------------------------------------------------------------------------------------------- '64 Fender Deluxe Reverb [us Deluxe] (no mid, no presence, no master) the tone controls are exactly like that or a twin reverb except the 10k linear midrange knob is replaced with a fixed 6.8k resistor. If you want to match the model to the actual amp, set the model between 6.1 and 6.8 (values drift in the real amps). The idea, though, was to make the midrange knob on the deluxe behave like the midrange knob on other black-face fender circuits that have a midrange control. While the Twin Reverb set the standard as the large-club amp, its smaller sibling the Deluxe Reverb established itself as perhaps the most popular small-to-medium club and studio amp of all time. And now, in this age of improved sound reinforcement and lower stage volumes, a Deluxe Reverb remains all the amp that plenty of players need to get their mojo going, whatever size the venue. With 22 watts from two 6V6GT output tubes in class AB, a single 12 Oxford 12K5-6 speaker, and tasty tube reverb and tremolo (the latter errantly dubbed vibrato on Fender control panels), the Deluxe Reverb is a grab n go combo that has proved a pivotal tone tool for too many major players to begin to mention. Its clean tones exhibit classic mid-60s Fender sparkle and bite, while its overdrive is extremely dynamic and expressive. Plenty of guitarists consider this the ultimate Tele amp, but inject just about any style axe and the Deluxe Reverb will deal out gorgeous tones with equal finesse. The Holy Grail for many blues, country, and "roots" players has been a blackface Fender® Deluxe Reverb®. After listening to quite a few candidates back when we were seeking the ultimate Deluxe Reverb® for our 1964 Blackface 'Lux model to be based on, we stumbled upon an extremely cool '64 Deluxe Reverb®. We still haven't found one better. Most players love a Deluxe Reverb® when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here. The Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we've set up the model's Middle knob so you can add some post-Amp Model Midrange contouring for a little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its "neutral" 12 o'clock position and the Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing. We jacked into Input 1 of the Normal and Vibrato Channel to get this model cooked up. US Deluxe NRM: The Normal channel is the mellower of the two, with less brightness and gain than the Vibrato channel. us Deluxe VIB: The Vibrato channel is a separate preamp circuit with tone and clipping characteristics that are different than the Normal channel due to an additional 12AX7 tube stage. High frequencies are increased due to the addition of a bright cap across the volume knob. Tips: We matched the knob positions in the amp models. If anyone here has used a Deluxe Reverb you know that after about 4-5, the amp stop getting louder. Once the amp goes past 7-8 it can get pretty ugly. The model behaves the same. Once the drive passes 40% or so, it'll never be a clean amp. Cranking the drive will never give a tight distortion, it'll blow out the power amp. Some think this sounds awesome, some think it sounds ugly. That's totally subjective. But if you are using a model and you want more drive, think of how that model would sound when cranked. Sometimes it sounds a lot better to put a drive pedal in front of an amp than to push an amp to its limits. ----------------------------------------------------------------------------------------------------------------------- '65 Fender Twin Reverb [us DOUBLE] (No Presence, No Master) An all-time classic of biting twang and shimmering clean tones, the Fender Twin Reverb first hit the scene in 1964 and quickly became the standard for large, fully featured touring combos. Everybody used it, from jazz and country players to serious rockers. With 100 watts of power, 2x12 Jensen speakers, and lush onboard tremolo and reverb, the Twin Reverb has remained a go-to amp for countless players for going on five decades, and has earned its place in the annals of tone history many times over. Played clean but singing with a Telecaster, this is the sound of Roy Buchanan; cranked with a Les Paul, its pure Michael Bloomfield. It never gets extremely overdriven and dirty, mostly just louder“a lot louder. Double NRM: The Normal channel is the mellower of the two, with less gain than the Vibrato channel. Double VIB: The Vibrato channel is a separate preamp circuit with clipping characteristics that are different than the Normal channel due to an additional 12AX7 tube stage. ---------------------------------------------------------------------------------------------------------------------- '73 Hiwatt DR-103 [WhoWatt100] Although it might have looked somewhat Marshall-esque from the outside with its black, business like British styling and four EL34 output section, the HiwatCustom 100 was a very different beast. When Dave Reeves began prototyping his Hiwatts in 1967 it was with the objective of building the best guitar amp available, period. A look inside a good Custom 100 shows you how thoroughly he achieved that goal (due in part to Reeves hiring of ˜mil-spec wiring spec Harry Joyce). With their immaculate wire runs, military-grade circuit work, and high-end transformers, Hiwatt amps achieved tones that ranged from multi-dimensional cleans to ungodly aggressive overdrive, all at unprecedented volume levels. This was the sound that propelled Pete Townshends Live at Leeds-era tone with The Who in the late 60s, as well as David Gilmour's soaring lead work with Pink Floyd in the 70s. Amp with a brilliant chimey tone and unique tone-stack. If you need more gain, crank the drive and master. This amp has a special Master, an additional gain stage between the master volume and the phase inverter, then the model matches this trait. ----------------------------------------------------------------------------------------------------------------------- '60s Supro S6616 [soup Pro] (it has only volume and 1 tone control, no master) With its single-ended 6V6 output stage, unusual preamp circuitry, and oval 6 x 9 speaker, the SuproS6616 of the late 50s and early 60s”manufactured by Valco in Chicago”might seem an unlikely candidate for œclassic amp status. Yet more of the stuff of legend, Jimmy Page has admitted to using a Supro amp to record most of the first two Led Zeppelin albums. The only problem is, he never copped to which Supro model he used. Talk about a real communication breakdown! Wind it up, and the S6616 offers juicy, brown overdrive that can sound like a raging stack when mixed with the track, yet with a character all its own. Reined in to clean volumes, it is beautifully spanky and crisp. And at all levels the 6 x9 speaker yields nodes and peaks that contribute to an unusual and distinctive sonic voice that has come to be known as the Supro sound. We don't know if this is ˜the one or not, but it sure sounds like it to us! (Dragon pants not included.) t its distinctively fat, thick, organic smoothie of tone has made it a go-to tool in studios around the world. ----------------------------------------------------------------------------------------------------------------------- '39 Gibson EH-185 [stone Age 185] (no mid, no presence, no master) EH-185 With its hot microphone input and a well-worn 12 field-coil speaker, this little 1939-42 combo has become a favorite of blues guitarists and studio players alike. This was the Gibson company's first amp designed for the electric guitar “ previous models were designed for Hawaiian lap steels, an extremely popular instrument during this era. Nothing else quite nails the round, warm, woody tone and easy breakup of its octal preamp stage and dual-6L6 output stage. The EH-185 makes a surprisingly versatile voice for sculpting anything from vintage jazz tones to raw rock n roll when cranked up, and sits beautifully in a full-band mix, both live and in the studio. Seminal jazzer Charlie Christian is believed to have moved up to an EH-185 combo before his death, about the same time that he stepped up from his original GibsonES-150 guitar to an ES-250. In a more modern setting, it has shared the stage with Queen Of The Stone Ages Josh Homme. After almost 4 months of daily Internet searches, Line 6 finally located and procured a Gibson® EH-185 for its HD (after for Helix) modeling collection. The immaculate specimen was boxed and shipped like a crown jewel and arrived safe and sound from its native Mississippi. Like kids at Christmas, anxious Line 6ers gathered 'round for the great unveiling. After some lightly rejuvenating spa treatment from one of LA's top amp techs, the EH-185 was modeled with incredible results. ---------------------------------------------------------------------------------------------------------------------- '58 Fender Bassman [TWEED Blues] (no master) Simply the crème de la crème of vintage amps from the 50s, the Fender5F6-A Bassman combo with 4x10 Jensen alnico speakers was the amp that started it all “ instant rock and roll tone. Originally a bass guitar amp, the Bassman became a blues and country staple for 6-string guitarists. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman. Its 5AR4 tube rectifier aids in its outstanding dynamic response, and it boasts great touch-sensitivity thanks to a highly interactive three-knob cathode-follower tone stack. The Bassman doesn't have a master volume, so like all amps of this era, you had to crank this mutha up to get that dirty tone revered by all Bassman enthusiasts! As Buddy Guy, Bruce Springsteen, Jimmy Vaughan, and so many others would tell you, when you're talking vintage amps, the Bassman really is ground-zero for big-combo tone. Tweed Blues NRM: The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. Tweed Blues BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to the addition of a bright cap across the volume knob. It has the fat bottom end you'd expect from a bass amp, but also has the Fender® twang on the top. One of the interesting things about the Bassman is just how interactive the Middle and Treble controls are. The Middle control isn't a bandpass, as in most tone control setups. Instead, it's almost like a second treble control. The two are additive, so if you're running your Middle knob higher than halfway up with this model, you'll find that the Treble control might give you more bright than you really want. On the other hand, when you turn the Middle knob down, you'll probably want to boost the Treble. The Bassman®, like many of the amps modeled didn't have a master volume. So to get the kind of tone that the Bassman® can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. Now you can get that kind of tone at a bedroom or studio level ” or even through your headphones! Try a Drive setting of about 4 or 5 ” it's guaranteed to dredge up the best R & B licks you know. Tips: Master 10, Drive 3 to 5 aprox Try with a Booster Drive (Treble). ---------------------------------------------------------------------------------------------------------------------- Divided by 13 JRT 9/15 [Divided Duo] (it has his own 2 eq controls, 2 interactive volume controls, no presence, no master) Fred Taconne, a relative newcomer to the boutique amp market, but one that brings several unique twists to his designs, by referencing some of the more unusual tube complements of the past as well as combining unexpected feature sets”all in hand-built amplifiers of the highest quality. The company's JRT 9/15 is a case in point: using a pair of 5879 pentode preamp tubes (best known for their use in the Gibson GA-40 Les Paul Amp of the 50s), Divided by 13 creates two differently voiced but blendable channels for a simple yet incredibly versatile front end. Running this through one of two switchable output stages built into the same amp”a pair of 6V6GTs in class A for 9 watts, or a pair of EL84s in class AB for 15 watts”further augments this amps voice exponentially. The result is a palette of tones that remind you of the best American tweed and classic British amps, while somehow sounding entirely unique throughout their range. A single G12H30 Celestion Speaker. Each volume controls the two 5879 tubes. One is voiced with more gain and darker, the other is brighter with less gain ----------------------------------------------------------------------------------------------------------------------- Dr. Z Route 66 [interstate Zed] (no mid, no presence, no master) One of the most original and successful, designers and manufacturers in the contemporary boutique scene, Dr Z is known for establishing new tonal templates, rather than cloning the vintage standards. The popular Route 66 is perhaps the best case in point: based around a pair of KT66 output tubes (a ruggedized, military-spec version of the 6L6), with an EF86 pentode in the preamp, the Route 66 manages to make the most of high-end ultra-linear output transformers that are popular in the tube audio world, but have foiled guitar amp makers for decades. The result is an amp that achieves an extremely touch sensitive, full-bodied milkshake thick overdrive when pushed, without ever losing its impressive clarity and definition. In short, a new and original classic. The Route 66 features a 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 a tightest bass response. Tips: Treble and bass operate regularly until 50%, and dial in gain once turned past 50%. To put this amp into overdrive, crank all three controls (Drive, Treble, Bass), use humbuckers and possibly an overdrive pedal. --------------------------------------------------------------------------------------------------------------------- '60 Vox AC-15 [Essex A-15] (it has only volume and 1 tone control, no presence, no master) Designed by D Denney for Tom Jenningss JMI company in 1957 and often lauded as the first tube amplifier specifically designed for the electric guitar, the AC-15 has been hailed as one of the juiciest distortion generators ever created, and sought after as a top-flight tone machine for five decades. With one channel utilizing an EF86 pentode preamp tube, a second utilizing an ECC83 (12AX7), luscious tremolo, and a pair of EL84s in hot cathode bias with no negative feedback (aka class A), it emits an extremely complex, harmonically-saturated distortion tone when driven hard, and classic British jangle and chime when reined in. The bloom, depth and dimension of this combo is further enhanced by its legendary speaker, the alnico Celestion Blue (G12 T530). An EZ81 tube rectifier contributes to its stunning touch sensitivity. Quite simply, this is one of the most copied amps in history, the inspiration to countless boutique designs, and truly a tone to die for. There was no master volume on the original circuit, and there is only one preamp stage before the signal hits the power amp. Normally, we put the master volume right before the power amp, but if we did this then we have the Drive knob and the Master Volume knob in pretty much the same place in the modeled amp circuit. So, for the AC-15, the master volume is post-phase-inverter in the full amp model. This allow the user to use the Drive knob to hit just the Phase Inverter tubes harder. However, in this amp the power tubes can distort a LOT. When this is combined with the fact that the preamp doesn't distort a whole lot on its own, it can produce a situation where turning the preamp up and the master volume down will clean up the sound quite a bit. The preamp barely distorts and the power amp distorts a TON. This is the opposite of many amps where the preamp is designed to distort and, while the power amp can distort as well, most of the crunch comes from smashing the preamp. ----------------------------------------------------------------------------------------------------------------------- '67 Vox AC-30 with Top Boost [Essex A-30] (it has his own cut tone control, no mid, no presence, no master) With four EL84s generating around 36 watts vs the AC-15s two EL84 at 18 watts, the AC-30 was originally designed simply as twice an AC-15 for British pop bands that needed the power to take them to the larger venues (and stadiums) that this new music was reaching. Through the course of the early 60s, however, this soon-legendary combo evolved into something very much its own. The EF86 pentode was dropped from the preamp early on, replaced by another 12ax7 ECC83, but the most distinguishing factor arrived in 1961 in the form of the highly interactive Top Boost tone circuit. First available as a back-to-factory modification, Top Boost became a standard option in 1964, and amps from that era”with a pair of Celestion alnico Silver Bell (G12) speakers”represent the archetypal AC-30s in the minds of most players. With a broad, blooming, three-dimensional tone and volume levels that belie its 36-watt rating, the AC-30 has been a cornerstone of tone for The Beatles, The Shadows, Tom Petty & The Heartbreakers, Brian May of Queen, Peter Buck of R.E.M., and many, many others. Model is based on* a Vox® AC 30. Music was changing in the early '60s 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) in addition to the Treble Cut knob it already had (which in actuality was a sliding bandpass filter that always seemed like it was working backwards); this additional 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 all used classic AC 30s to make their music. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone, a la Brian May on the early Queen albums. On this Amp Model, the Middle control acts like the original Cut knob on the AC 30. We plugged into the Hi gain input of the AC 30's Brilliant channel when creating it. An AC30 has no power amp feedback so it doesn't have presence controls. It has a "Cut" control which is basically an adjustable snubber on the phase inverter. Tips: Starting Point: Master 10, set Drive to taste, Mid 5 (50%) Instead of turning up Drive, try boosting the input signal before the amp. Cabinet suggestion: Alinco Silver Or use (or combine with) Marshall greenbacks (4x12 20w or 25w). Alternative: Red Wirez Vox and Marshall greenbacks, Ownhammer Blue and greenbacks ------------------------------------------------------------------------------------------------------------------------