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'90 Marshall JCM800 Brit Hi Gain - This updated version of the plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes. Line 6 worked with a 1990 JCM 800 with Master Volume to develop this model. Incidentally, some versions of JCM 800's get their distortion from clipping a diode. The amp the modeled uses a tube for distortion. This is the metal sound Marshall made famous. Although not many people play Marshalls clean, it's a great tone, so you should also be sure to check out this model with a low drive setting, too. Of course, you can always pump up the drive and rage... Default Speaker Cabinet: 4x12" '78 Marshall with stock 70's |
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'68 Marshall Plexi |
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'65 Marshall JTM-45 Brit Blues - This Amp Model is based on a circa 1964-65 JTM-45
head with block logo (predates the "scrolled" Marshall
logo), complete with a gold Plexiglass (Plexi) front panel, although
the sound normally associated with Plexi amps coms from the late
60's, 50-watt version that was the inspiration for the next in the
line up of TubeTone Amp Models. The JTM-45 marked the beginning
of Marshall's transition from a mellower Fender-like tone to the
distinctive bright "crunchy" sound of the later Marshalls. |
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'59 Fender Bassman Tweed Blues - The classic 1959 Fender Bassman 4x10 combo was the
amp that started it all - instant rock and roll tone. Originally
a bass guitar amp, the Bassman became a Blues staple for 6-string
guitarists. It has the fat bottom end you'd expect from a bass amp
but also has the Fender twang on the top. The Bassman was the "blueprint"
for Line 6's Tweed Blues. Incidentally, when Jim Marshall built
his first amps with Ken bran they were heavily influenced by the
early Bassman. One of the interesting things about the Bassman is
just how interactive the Mid and Treble controls are. The Mid 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 the Mid knob higher than halfway up, you'll find
that the Treble Control might give you more bright than you really
want. On the other hand, when you turn the Mid 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 through your headphones even! Try
a drive setting of about 4 or 5 - it's guaranteed to dredge up the
best R&B licks you know. |
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'65 Blackface Fender Twin Black Panel #2 - The classic blackface Fender Twin Reverb (in this
case, a 1965 Twin) was a real workhorse. Everybody used it from
jazz and country players to serious rockers. The Twin has a lot
of tonal flexibility and is at home in a great many different situations.
It never gets extremely overdriven and dirty, mostly just louder;
a lot louder. This is the amp for the classic surf sound. Dial up
the spring reverb, switch on the tremolo, crank up the volume, and
look out for bikinis. |
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'64 Blackface Fender Deluxe Black Panel - The Holy Grail for many blues, country, and "roots"
players has been a blackface Fender Deluxe Reverb (Of course, now
that may all change). After listening to quite a few candidates
for modeling, Line 6 stumbled upon an extremely cool '64 Deluxe.
Most players love a Deluxe 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, and is nicely
captured. The Deluxe itself has only a Bass and Treble controls.
That left one knob with nothing to say for itself. But fear not,
Line 6 set up the Mid for some post-TubeTone Midrange contouring
for a little more flexibility. Once again, set the Mid knob to its
"neutral" 12 o'clock position for the classic Deluxe sound.
Tweaked up right, this tone will cut through and sing. |
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'60 Fender Tweed Champ Small Tweed #2 - Modeled after a 1960 Tweed Champ, this is a great
sound when the Drive is cranked (not bad clean, either). These amps
were originally designed to be sold to beginners, but rock and rollers
quickly discovered that you could get a great distorted sound at
fairly low volume levels. Many of the classic guitar solos of the
50's were recorded through a Champ. The Champ had no tone control,
only Volume. It's easy to get a classic Champ tone. Just leave all
the Bass, Mid, and Treble controls of the MAIN Row parked at 12
o'clock, which means they are "flat," making no contribution
to the tone. Still, Line 6 hates to waste those things, so they
put the Bass, Mid, and Treble controls to work post-TubeTone in
the manner described above. Remember, for the authentic emulated
sound of the Champ, set all the tone controls at 12 o'clock. |
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'52 Fender Tweed Deluxe Small Tweed - Modeled after a 1952 "wide panel" Fender
Tweed Deluxe, this Amp Model will snarl with the best of them. The
original amp had only a single tone control, essentially a Treble
roll off. Line 6 set up the Treble knob to give you this Treble
roll off when using this Amp Model. Which left the Bass and Mid
knobs just sitting there. That just didn't seem right, so Line 6
figured out a way to put those knobs to work without mucking about
with the authenticity of this Amp Model's Treble tone control. They
set up the Bass and Mid as post-TubeTone controls, which essentially
lets you EQ up your tone as you would do on a mixing console after
recording your amp. Set the Bass and Mid knobs at halfway for a
classic Tweed sound.
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'85 Mesa Boogie Mark IIc+ California Crunch #1 - The first of the "boutique" amp
makers was probably Mesa Boogie. Boogie made their mark in the late
70's and early 80's by adding master volumes and more gain stages
to amps with Fender-style circuitry. You can hear the Fender heritage
but with more "punch" in the mids. This model is based
on the Clean Channel of the classic Boogie Mark IIc, with the enhancements
of the + version of the Mark IIc circuitry design. |
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'94 Mesa Boogie Trem-O-Verb Rectified - This model is modeled after a 1994 Mesa Boogie Dual
Rectifier Trem-O-Verb combo. You can use this Amp Model to get that
tight, high gain sound used by bands like Dream Theater or Metallica.
Boogie made their mark in the late 70's and early 80's by adding
master volumes and more gain stages to amps with Fender-style circuitry.
You can hear the Fender heritage but with more "punch"
in the mids. The Boogie Dual Rectifier's Tone controls are post-distortion,
and as with the tone sections of most of the amps Line 6 based their
models on, the individual controls interact with each other and
with the drive. With high drive settings, you can scoop the mids
and crank the bottom end for some great Seattle grunge sounds. |
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'95 Mesa Boogie Dual Rectifier Rectified #2 - This Amp Model is modeled after a 1995 Mesa Boogie
Dual Rectifier Head. As Boogie did with the Trem-O-Verb combo that
was modeled for the Rectified Amp Model, with the Dual Rectifier
Boogie took a more modern, high gain approach for that "big
hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's
tone controls have more influence at high gain settings, so you
can scoop the mids and increase the bottom end. |
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