AMERICAN BLUES: This virtual amp is modelled 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 or 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.
AND DELUXE: A synthesis of a 1960 Fender Blackface Deluxe and a 50s Fender Bassman. The result is a crystal-clear sound that still simlates the edge of the vintage amps. The V-AMP PRO sound control gives you even greater scope than the EQ controls on the originals.
MODERN CLASS A: This amp is characterized by its slight distortion and sounds almost like hi-fi. It is modelled on the Matchless Chieftain, a very expensive, hand-made amp.
CUSTOM CLASS A: The model for this simulation is the Budda Twinmaster. This Class-A amp is renowned for its warm sound combined with irresistible tube distortion. Although the original amp does not have a mid control, we have given the V-AMP PRO the capability of suiting the mid range to your taste.
TWEED COMBO: This was Jeff Becks 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 sound.
SMALL COMBO: This model is based on the 1960 Tweed Champ. The main attraction of this amp simulation is when the DRIVE function is used a lot. Although this amp was actually designed for beginners on the guitar, it soon became a favourite amp of many guitar afficionados. The reason for that was that it produced an amazingly distorted sound even at low volume. 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 sound control on the V-AMP PRO in the mid-range.
CLASSIC CLEAN: Back in the 80s, the Roland JC-120 was the preferred sound of Buzzy Feiten (guitarist with the Dave Weckl Band). The unique quality of this transistor amps sound is the way its brilliance cuts through any mix. It is ideal for the New Wave sound of the 80s that is making a come-back today. By the way, the JC-120 was also popular among Fender Rhodes pianists.
BLACK TWIN: 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. What was unique about it was that it was exceptionally loud and was therefore mainly used for live performances. The secret of the Blackface Twin was that although you could play it extremely loud, the distortion remained relatively low.
BRITISH BLUES: Modeled on the JTM 45, the first Marshall amp ever. This, by the way, was Eric Claptons favorite amp when he was with Cream. The JTM 45 was the forerunner of many of Marshalls later amps with their distinctive, powerful sound. 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.
AND CUSTOM: 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 is more reminiscent of the Budda.
BRITISH CLASS A: This simulation is modeled on the Vox AC 30. This amp was originally designed in the 60s when guitarists wanted amps with enhanced brilliance, a feature that Vox successfully implemented by means of revolutionary bass and treble controls. Brian May and U2s The Edge are probably the best-known users of this sound.
NON TOP BOOST: This is a Vox AC 30 as used by Bryan Adams in the recording studio. Unlike the well-known AC 30 with treble boost, the former amp version did not have this feature. This simulation copies the original amps normal channel.
BRITISH CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp is ideal for producing clean sounds. It was used by Jimi Hendrix, Eric Clapton and Jeff Beck.
CLASSIC 50 W: 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.
BRITISH HI GAIN: Compare this model with a Marshall JCM 800. Although the original was renowned mainly for its distorted sounds, this amp also sounds very good with low gain settings. Its good at reproducing Steve Ray Vaughans and Michael Landaus sounds. In distortion mode it sounds like Gary Moore in his early days, but its also good for heavy metal.
BRITISH CLASS A 15 W: Another Vox model, based on the first channel of an AC 15 from 1960. Unlike the AC 30 this amp had only one 12″ speaker, instead of two, and produced a warmer sound. Tip: to make this simulation sound as authentically as possible, leave the BASS and MID controls in mid-travel position and vary the TREBLE control only.
RECTIFIED HI GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb featuring a modern, high- gain sound that also comes over well in a band context. The tone control is post-gain, which allows you to tailor distorted sounds to great effect. This amp is perfect for heavy metal, but also for Steve Lukather sounds. The best-known user of this amp is Dream Theaters guitarist John Petrucci.
RECTIFIED HEAD: This simulation is modeled on a Mesa Boogie Dual Rectifier top. Unlike the Trem-O-Verb, this amp produces a more modern high-gain sound. The tone control is most effective at high gain settings.
MODERN HI GAIN: Here, too, the tone control is post-gain, allowing the extremely distorted sound to cut through the mix. The MODERN HI GAIN sound is ideal for playing Grunge, but is also used by guitarists such as Steve Vai and Joe Satriani. Among others, Steve Lukather, Nuno Bettencourt and Steve Vai have all popularized the Soldano sound. If youre playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little.
SAVAGE BEAST: Engl is well-known for amps that really cut through. The Savage 120 in particular has built up a large following among guitarists. For some time now Ritchie Black- more has been an major endorser of this German company, and Randy Hanson, the best Hendrix since Jimi, also swears by this amp. The unique feature of the Savage is its extreme power and is therefore highly popular with heavy metal guitarists. Silent Force/Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years. An amp for making yourself heard!
FUZZ BOX: This sound is not actually based on any one amp, but on 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.
CUSTOM HI GAIN: This sound goes back to a 1969 50-Watt Marshall Plexi modified by Jose Arrendondo. Arrendondo was none other than Eddie Van Halens guitar technician. The unique features of this amp are its fine mid-range sounds and its ability to produce the ultimate in gain without making the sound muddy. Warning: highly addictive!
ULTIMATE V-AMP: From clean to brutal hi-gain, this brute covers the entire range. The ULTIMATE V-AMP is basically a souped-up rectifier amp.
ULTIMATE PLUS: Those who find the ULTIMATE V-AMP too tame will find enough gain here for an overdose.
DRIVE V-AMP: This simulation is based on a more modern high-gain lead amp producing a soft but precise sound with plenty of drive, making it ideal for lead guitar work. The DRIVE V-AMP is modeled on the Mesa Boogie Mark III.
CALIFORNIA DRIVE: Based on the Mesa Boogie Mark II c, this is purely a simulation of its drive channeldefinitely the right choice for Santana songs.
CRUNCH V-AMP: This amp is ideal for modern blues or jazz. Its sound is not too subtle, but not in-your-face eitherits crunchy, thats all.
CUSTOM DRIVE: This simulates the Dumble Overdrive Specialan amp that was at the top of many guitarists wish-list but beyond their financial means. Dumble amps are hand-made and can be custom-built for the individual guitarist. What weve done here is simulate the drive channel of one of these rare Dumble amps.
CLEAN V-AMP: Here we have managed to simulate the sound of a Roland JC-120 and comine it with our BRIT CLASSIC model. The result is the brilliance of a transistor amp which, however, features the cutting power of a Marshall Plexi. Turn the GAIN control clockwise and the Marshall comes in.
CALIFORNIA CLEAN: This model is based on the clean channel of the Mesa Boogie Mark II c. It sounds a little like a Fender, but has more of a punch in the mid-range.
TUBE PREAMP: Sound engineers were quick to recognize the appeal of tubes. They used tube amps to add warmth to all kinds of sounds. This amp model is not only for refining guitar sounds. Try putting a vocal track through the V-AMP PRO and give it the finishing touch with TUBE PREAMP.
CUSTOM CLEAN: This simulation is of the clean channel on our Dumble amp.