Firmware: "Ares" 5.

07 ~ May 6, 2019
MDProd at http://axefx.fr/ & http://forum.fractalaudio.com/

See: New updates in Blue

=> 269 Amp models & 42 Drive models

Manufacturer names and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems.
The names are used only to illustrate sonic and performance characteristics of the Fractal Amplifier TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them.

Content compiled from the Wiki. Suggestions, corrections, etc.: send a PM to MDProd at the Fractal Audio forum
Thanks to Cliff, F.A.S. Team, JMA, Yek and Forum Community.
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1 1959SLP Jump Marshall 1959 SLP 90's Reissue of a late 60’s 100w Marshall Super Lead model 1959. See PLEXI 100W for the
Vintage Reissue Series original. Emulates “jumpering the inputs” on a 4-hole amp
2 1959SLP Normal Marshall 1959 SLP Normal channel, dark
Vintage Reissue Series and has loads of bass.
3 1959SLP Treble Marshall 1959 SLP Treble channel, boosted
Vintage Reissue Series bright tone.
4 1987X Jump Marshall 1987x 90's Reissue of the 50w JMP Lead 1987. Features an “essential” mod to the tonestack of
Vintage Reissue Series this Plexi. Emulates “jumpering the inputs” on a 4-hole amp
5 1987X Normal Marshall 1987x Normal channel, dark
Vintage Reissue Series and has loads of bass.
6 1987X Treble Marshall 1987x Treble channel, boosted
Vintage Reissue Series bright tone.
7 5153 100w Blue EVH 5150 III Blue (medium gain/rhythm) ch. 100w, 6L6. Made in collaboration with Fender.
(Blue)

8 5153 100w Green EVH 5150 III Green (clean) ch.

(Green)

9 5153 100w Red EVH 5150 III Red (high gain/lead) ch.
(Red)

10 5153 50w Blue EVH 5150 III The 50w version has a different input network than the 100w, and as a result has about
(Blue) twice the gain

11 59 Bassguy Fender Bassman (5F6-A-Tweed) 1959, Tweed era, 5F6-A circuit, 4x10. Low-to-medium gain amp designed for bass but
widely adopted by guitarists.

12 5F1 Tweed Fender Champ (5F1-Tweed) 5F1 circuit (‘58-’64), one volume only, Class A, 5w. Single 6”or 8” speaker.
This practice amp exhibits a unique breakup characteristic due to its single-ended design
and simple circuit.

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13 5F1 Tweed EC Fender Eric Clapton Vibro-Champ Eric Clapton 2011 reissue with bias tremolo, Weber 8” Alnico speaker, and power soak.
Turn it up for raunchy, thick mid-range overdrive.
Cliff: "The circuit is slightly different than the original 5F1. It has cathode bypass caps
giving it more gain."

14 5F8 Tweed Fender Twin (5F8-Tweed) 1959 Fender Twin, Keith Urban’s “#1 personnal amp, 80w, 5F8 circuit. 2x12.

15 65 Bassguy Bass Fender Bassman Bass channel of 1965 Blackface version, Dweezil Zappa’s personal amp.
(Bass Ch.) AB165 circuit which is very crunchy and bright. It's a vicious amp that sounds more like a
Plexi than a Fender. Bass channel can also be used with guitar, resulting in a mellow tone.

16 65 Bassguy Normal Fender Bassman Normal ch.,

(Normal Ch.) has a Bright switch
(enabled in the model).

17 6G12 Concert Fender Concert (6G12-Brown) 1959-1963 4x10 brownface, 40w, , 6G12 circuit and two 6L6 tubes. Guitar amp used for
bass by living legend Carol Kaye.

18 6G4 Super Fender Super (6G4-Brown) 1960-1963 2x10 brownface, 40w, 6G4 circuit and two 6L6 tubes. Leo Fender's favorite
amp.

19 AC-20 12AX7 Bass Morgan AC20 Deluxe A Vox-based amp. Bass channel with the preamp tube switch to 12AX7 position, EL84
(12AX7-Bass) tubes.
20 AC-20 12AX7 Morgan AC20 Deluxe Treble channel with the preamp tube switch to 12AX7 position, EL84 tubes.
Treble (12AX7-Treble)
21 AC-20 EF86 Bass Morgan AC20 Deluxe Bass channel with the preamp tube switch to EF86 position, EL84 tubes.
(EF86-Bass)
22 AC-20 EF86 Treble Morgan AC20 Deluxe Treble channel with the preamp tube switch to EF86 position, EL84 tubes.
(EF86-Treble)

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23 Angle Severe 1 ENGL Savage 120 Rough channel Contour = OFF: boosts lower midrange around 500 Hz (warm tone)
(Contour: OFF)

24 Angle Severe 2 ENGL Savage 120 Contour ON: boosts from 1200 Hz and
(Contour: ON) cuts lower midrange (more transparency)

25 Atomica High Cameron Atomica A 100w amp, designed to reproduce the “brown sound” of a Jose Arrendendo modified
(High Gain) Super Lead Plexi.
High gain channel.
26 Atomica Low Cameron Atomica Low gain channel
(Low Gain)

27 Band-Commander Fender Bandmaster 1968 Silverface Fender Bandmaster with the AB763 circuit. 40 watt, two 6L6 tubes.
(AB763-Silver)

28 Big Hair 80’s metal JCM 800 Mids without mud Revive the 80s metal scene (Spandex not included). Should probably be
comparable to a JCM 800. For more ‘80’s revival, add “Detune” Pitch block after the CAB
block and circular delay.

29 Blanknshp Leeds Blankenship Leeds 21 The model was matched to Dweezil's amp. EL84 tubes, Boutique version of a (1965-’66
Marshall Model 1974 “18 Watter” 1×12 Combo) with a big sound at low power. Mercury
Magnetics transformers.

30 Bludojai Clean Bludotone Ojai "Austin Buddy" personal amp. Reported to be an exact clone of Robben Ford’s Tan
(Clean - PAB: OFF) Dumble. Clean mode modeled with Pre Amp Bypass (PAB) Off, as the owner prefers this.

31 Bludojai Lead 1 Bludotone Ojai Lead mode with PAB (Pre Amp Bypass) OFF
(Lead - PAB: OFF)

32 Bludojai Lead 2 Bludotone Ojai Lead mode with PAB (Pre Amp Bypass) ON
(Lead - PAB: ON) It bypasses the tone stack and increases the gain.
33 Bogfish Brown Bogner Fish preamp All-tube 12AX7 preamp from the ’90s. Most famous for its use by Jerry Cantrell.
(Brown Ch.) Brown channel = fat high gain (has the most gain)

34 Bogfish Strato Bogner Fish preamp Strato channel = tight high gain
(Strato Ch.)

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35 Boutique 1 Matchless Chieftain Single channel 40 watts amp, with two EL34 tubes. Medium-gain amp, thick, yet crisp,
with a fair amount of power amp breakup. Based on a Vox circuit.

36 Boutique 2 Matchless Chieftain Added Boost for more gain and

high-frequency emphasis.

37 Brit 800 Marshall JCM800 (2204 - 50w) High input of a Model 2204 (50 watts). Bring the Master up for true 80’s tone. To make it
sound less brittle, turn up MV, or reduce Treble and Presence.

38 Brit 800 #34 Marshall JCM 800 (2203 - 100w) #34 is a Frank Levi modded early 1980s JCM800 Model 2203 from S.I.R., still owned by
(S.I.R. stock #34 modded by Frank Levi) Slash and first used for the recorded parts of Use Your Illusion, (It's Five O'Clock
with Santiago mods Somewhere, Ain't Life Grand, Contraband, Libertad, Slash, Apocalyptic Love and World On
Fire). Modification did not include an extra pre-amp gain stage, but rather certain pre-amp
voicing changes.

39 Brit 800 Mod Marshall JCM800 (Modded) Modded for remove the treble peaker , making the amp “heavier” and “less strident”.

40 Brit AFS100 1 Marshall AFD100 SCE Based on Marshall AFD100 Special Collector's Edition Dual-mode head (#34 / AFD).
Special Collector's Edition It's a reissue of two Marshall amps used by Slash when recording GnR's Appetite for
(#34 mode: JCM 800)
Destruction album.
Brit AFS100 1 is based on the #34 mode (Led Off) wich is a modded JCM800 (2203, 100
watts) 6550 tubes. This was the rental amp (nb. #34) from the S.I.R. studios.
41 Brit AFS100 2 Marshall AFD100 SCE Brit AFS100 2 is based on the AFD mode (LED on), which is a modded 1959 Super Lead
Special Collector's Edition Plexi Tremolo. This was the rental amp (nb. #39 or #36???) from the S.I.R. Modded is an
(AFD mode: SLP)
additionnal Gain Stage and it's based on the legendary "Appetite For Destruction" Amp.
(See Brit Super for model of the famous Amp #39)

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42 Brit Brown Van Halen’s Marshall Faithful recreation of the legendary “Brown Sound” – The modded “#1” Marshall.
100w SLP (Arredondo mods) Saturation parameter is turned on (= Jose Arrendendo mod) , for aggressive tone.

43 Brit JM45 Marshall JTM45 High Treble Ch 1. KT66 tubes, 30 watts,

(Ch 1) no master volume.

44 Brit JM45 Jump Marshall JTM45 Marshall’s copy of the Fender Bassman. Made famous by Clapton and others. Try with a
(Ch 1+2 Jump) Tonebender or Treble Booster. Emulates “jumpering the inputs” on a 4-hole amp.

45 Brit JVM OD1 Green Marshall JVM410H Marshall’s flagship amplifier, supposed to cover multiple sounds JTM 45, Plexi, JCM 800
(OD1, Green) etc. and adding over the top hi-gain.
OD1 channel, Green mode, hot-rodded JCM 800.
46 Brit JVM OD1 Orange Marshall JVM410H OD1 channel, Orange mode, extra gain.
(OD1, Orange)
47 Brit JVM OD1 Red Marshall JVM410H OD1 channel, Red mode, even more gain.
(OD1, Red)
48 Brit JVM OD2 Green Marshall JVM410H OD2 channel, Green mode, lower mids than OD1.
(OD2, Green)
49 Brit JVM OD2 Orange Marshall JVM410H OD2 channel, Orange mode, more gain and lower mids than OD1.
(OD2, Orange)
50 Brit JVM OD2 Red Marshall JVM410H OD2 channel, Red mode, even more gain and lower mids than OD1.
(OD2, Red)
51 Brit Pre Marshall JMP-1 Rack-mount preamplifier version of the Brit 800 OD2 channel Crunchy “ZZ” tone.

52 Brit Silver Marshall Silver Jubilee 100w Marshall Silver Jubilee (2555), commemorative “25/50” model. Slightly darker and
higher gain than JCM800.

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53 Brit Super Marshall JMP 1959T Super Lead Marshall Super Lead Tremolo model, 100w, used by Slash on “Appetite for Destruction”,
(S.I.R. stock #39 modded by Tim Caswell) owned by S.I.R. studios, known as "legendary #39".
The amp had been modded by Tim Caswell, who used the extra Tremolo 12ax7, to
produce more gain. Also added a master volume control.
The amp was desired by every musician that rented it.
The story behind this amp, tell it was also a favorite of George Lynch, for Dokken’s
“Under Lock and Key” tour in late 1985.
This model is based is based on a schematic of the original amp and it sounds different
(more gain, more boosted high end).
See Brit AFS100 1 & 2 for updated models based on the actual amp.

54 Buttery Budda Twinmaster Based loosely on a late 90’s specimen. Relies mostly on power amp distortion.
Model by ear, It’s a great crunch amp
model, like an overdriven Fender.
18 wats, EL84 tubes.

55 CA3+ Clean CAE 3+ SE preamp Custom Audio Electronics preamp. The Clean channel is based on a Blackface Fender Twin
(Ch 1: Clean) Reverb preamp.
56 CA3+ Lead CAE 3+ SE preamp Channel 3 (Lead) Basically an OD-100.
(Ch 3: Lead)
57 CA3+ Rhythm CAE 3+ SE preamp Channel 2 (Rhythm).
(Ch 2: Rythm)
58 Cali Leggy Carvin Legacy VL100 Legacy 1, 100w, EL34. Uses a “James” tone stack which is more like hi-fi tone controls.
Based on Steve Vai’s original signature Legacy amplifier.
To get a Steve Vai tone, keep Treble low, Bass high and not too much Gain.

59 Cameron Ccv 1A Cameron CCV100 (Ch 1: Clean) An amp its creator Mark Cameron calls “one pissed off amp.” The topology is very similar
to a JCM 800. Both channels modeled at various settings. The amp was modeled with the
Voicing switch in the middle position. The “Dark” switch is the Negative feedback control.
Set Negative Feedback to 3.6 = switch in the middle position. Set it to 9.8 = switch in the
right position. 5.0 for left position (default).
60 Cameron Ccv 1B Cameron CCV100 (Ch 1: Clean)
61 Cameron Ccv 2A Cameron CCV100 (Ch 2: Crunch) Ch 2 has Saturation engaged by default. Bright1 switch selects the Bright capacitor, which
can be altered with the BRIGHT CAP setting on the Tone page.
Bright1 switch left, Bright2 switch left, Gain Style switch left.
62 Cameron Ccv 2B Cameron CCV100 (Ch 2: Crunch) Bright1 switch left, Bright2 switch right, Gain Style switch left.
63 Cameron Ccv 2C Cameron CCV100 (Ch 2: Crunch) Bright1 switch left, Bright2 switch left, Gain Style switch right.
64 Cameron Ccv 2D Cameron CCV100 (Ch 2: Crunch) Bright1 switch left, Bright2 switch right, Gain Style switch right.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
65 Capt Hook 1A Hook Captain 34 (V2) A Hand-made boutique amp with high-quality components. Plexi-based 3-channel amp,
(Ch 1: Clean) 100 watts, EL34 power tubes, single input.
EQ and Boost switches off.
66 Capt Hook 1B Hook Captain 34 (V2) EQ and Boost switches on.
(Ch 1: Clean)
67 Capt Hook 2A Hook Captain 34 (V2) Edge switch off.
(Ch2: Rhytm) To simulate the Boost switch use the Boost switch in the amp block.
68 Capt Hook 2B Hook Captain 34 (V2) Edge switch on.
(Ch2: Rhytm) To simulate the Boost switch use the Boost switch in the amp block.
69 Capt Hook 3A Hook Captain 34 (V2) Edge switch off.
(Ch 3: Lead) To simulate the Boost switch use the Boost switch in the amp block.
70 Capt Hook 3B Hook Captain 34 (V2) Edge switch on.
(Ch 3: Lead) To simulate the Boost switch use the Boost switch in the amp block.
71 Car Roamer Carr Rambler Basically a Deluxe Reverb preamp with cathode bias 6L6 power amp and no negative
feedback. Cliff say "Sort of a Fender-meets-Vox thing".
According to Steve Carr (Carr Amplifiers) the Rambler was essentially a mix of a Princeton
Reverb and a Tweed Pro.

72 Carol-Ann OD-2 Carol-Ann OD-2 50W, EL34 or 6L6 tubes. Overdrive channel. Model fine-tuned by the highly respected Alan
(Overdrive) Phillips. A Dumble style amp
but tonal more like a modified Marshall.

73 Carol-Ann Triptik Carol-Ann Triptik Classic channel: A little less gain and low end. Produces 70’s and 80’s British rock tones
Classic (Classic) with a very wide and complex sound stage with no buzz or brittle high frequencies.

74 Carol-Ann Triptik Carol-Ann Triptik 50w, EL34 Clean channel. Aiming to reproduce Classic Rock to Modern tones. “Dumble
Clean (Clean) meets Marshall with a sprinkle of 5150 power amp."
75 Carol-Ann Triptik Carol-Ann Triptik Modern channel: More gain and low end for those more modern heavy rhythm, dropped
Modern (Modern) tunings. Also makes for a superb liquid lead channel with incredible sustain and harmonic
bloom.
76 Carol-Ann Tucana Carol-Ann Tucana 3 Clean channel of this 3-channel amp, with Bias monitoring system, KT88 75W tubes. “One
Clean (Clean) of the best amps in the world,” says Cliff.

77 Carol-Ann Tucana Carol-Ann Tucana 3 Lead channel. This is a great lead amp which
Lead (Lead) works well with many speaker/cab combinations.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
78 Citrus A30 Clean Orange 30w tube head, Clean channel.
AD30HTC
(Clean)

79 Citrus A30 Dirty Orange 30w tube head, Dirty channel.

AD30HTC
(Dirty)

80 Citrus Bass 200 Orange AD200B 200w valve bass head, 6550 tubes.

81 Citrus RV50 Orange Rockerverb “Dirty” channel of the 50w head known for warmth and rich harmonics.

82 Citrus Terrier Orange Tiny Terror 7w or 15w, EL84 tubes. The actual amp has no tone stack (neutral in Axe-Fx) and a single
Hi-Cut tone control.

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83 Class-A 15w TB Vox AC-15 Top Boost 15w, EL84 tubes. The heart of this amp’s tone comes from its power section and no
negative feedback. The James BOND Theme Amp.

84 Class-A 30w Vox AC-30HW Head Based of a non-Top Boost model, 30w, EL84 tubes. Combo that dominated the British
Invasion. Gritty character, warm tone, great feel. For authentic tone, leave the tone
controls at noon and use Hi-Cut to cut treble.

85 Class-A 30W Bright Vox AC-30HW Head (Bright Ch.) Bright channel

86 Class-A 30w Hot Vox AC-30HW Head 30w, EL84 tubes, AC-30HW (Hand Wired) Head. For authenticity, leave all tone controls at
noon." Hot/Cool switch set to Hot position, which bypasses the tone circuitry to create a
more pure sound to achieve richer gain.

87 Class-A 30w TB Vox AC-30 Top Boost 30w, EL84 tubes. Hot/Cool switch set to Cool position, which produces the orthodox Top
Boost sound. Created in response to demand for “more treble”. Great highs and slightly
reduced bass.

88 Comet 60 Komet 60 60 Watts - EL34 tubes. Similar to Trainwreck amp. Response switch = “Fast”. To replicate
(R. switch: Fast) “Gradual” reduce INPUT TRIM to 0.25”.

89 Comet Concourse Komet Concorde 60 Watts - EL34 tubes. Similar to Trainwreck amp. Response switch = “Fast”. To replicate
(R. switch: Fast) “Gradual” reduce INPUT TRIM to 0.25”.
Positioned as a rock amp.

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90 Corncob M50 Cornford MK50H II (Ch: Overdrive) Boutique British amp. Plexi-meets-modern tone with big cojones.
Works great with a Drive in front of it. With the T808 OD (Drive at 0, Level at 7).

91 Das Metall Diezel VH4 EL34 or 6L6 tubes. High-gain, boutique amp famous for its powerful, heavy, aggressive
(Ch 4: Solo) sound. The Das Metal model was done by schematic and/or by ear. Other Diezel VH4
models are based on real amps, see Dizzy V4 Blue 4 .

92 Deluxe Tweed Fender Tweed Deluxe (5E3) Fender Deluxe (5E3) from the 50’s, 15w. The earliest and most popular of the so-called
Tweed amplifiers“60’s hippie rock in a bottle”, says Cliff.
The "Telecaster's Amp".

93 Deluxe Verb Fender Deluxe 1965 Blackface, 22w, AB763 circuit. Great, chimey tone with nice power amp breakup.
Normal Reverb Normal channel.
(Normal)

94 Deluxe Verb Fender Deluxe Vibrato channel.

Vibrato Reverb
(Vibrato)

95 Dirty Shirley Friedman Dirty Shirley 40w, 6L6. Designed to be an ultra-fat, sweet-sounding, classic rock amp.
Based on a JTM45, with less bright, much fatter, it has more gain and a Master Volume.

96 Dirty Shirley 2 Friedman Dirty Shirley Based on an earlier version of this amp with some different component values, a little
(Early version) more aggressive than the regular model.

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97 Div/13 CJ Divided by 13 CJ 11 11w, bassy amp, works best with single coils. High-performing “Tweed” meets “EL34”
(Boost Switch OFF) meets “Master Vol” 1x12. Boost Switch OFF. similar to a Fender Deluxe.

98 Div/13 CJ Boost Divided by 13 CJ 11 Boost Switch ON

(Boost Switch ON)

99 Div/13 FT37 High Divided by 13 FTR 37 Divided by 13 FTR 37, 37w, Class-AB, two channels, 6V6 tubes. Gain Boost ON.
(Gain Boost: ON) Sound like a big clean Fender.

100 Div/13 FT37 Low Divided by 13 FTR 37 Gain Boost OFF.

(Gain Boost: OFF)

101 Dizzy V4 Blue 2 Diezel VH4 "Blue" High-gain boutique amp with heavy, aggressive sound. 6550, EL34 or 6L6.
(Ch 2: Crunch) ”Blue Diezels" sound darker (crank Presence!) than the later Silver ones.
Channel 2, “gritty funk, dynamic clean.
102 Dizzy V4 Blue 3 (Ch 3: Distorsion) Channel 3, the favorite channel for most users, with higher gain but still big dynamic
range.
103 Dizzy V4 Blue 4 (Ch 4: Solo) Channel 4, newer version of Das Metall . A monster of gain which still has great definition
and authority.
104 Dizzy V4 Silver 2 Diezel VH4 "Silver" Later Silver-faced version of the Diezel VH4.
(Ch 2: Crunch) Channel 2.

105 Dizzy V4 Silver 3 (Ch 3: Distorsion) Channel 3, Favorite for most users

106 Dizzy V4 Silver 4 (Ch 4: Solo)

107 Double Verb Fender Twin Reverb 100w, 1966 Blackface, AB763 circuit. Known for amazing clean sounds and nice breakup.
Normal (Normal) Based on Normal channel.

108 Double Verb Fender Twin Reverb Based on the Vibrato channel of a 1971 “Silverface” Fender Twin Reverb.
Silverface (Vibrato)

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109 Double Verb Fender Twin Reverb 100w, 1966 Blackface, AB763 circuit. Known for amazing clean sounds and nice breakup.
Vibrato (Vibrato) Based on the Vibrato channel.

110 Dweezil'S Bassguy Fender Bassman modded Based on th Bass Ch. modded by Blankenship, Dweezil's Fender Bassman 1965.
(Bass Ch. modified) Cliff: "It's Dweezil's Blankenship modified Bassman. Dweezil's Bassman has two channels
like a regular Bassman. The Normal channel is "normal" and corresponds to the 65
Bassguy Nrml model. The Bass Instrument channel is modified and that's the basis for the
new model (Dweezil's B-man). It has a boatload of gain and sounds more like a Plexi than
a Fender."
111 Energyball ENGL Powerball 100w Lead channel, 6L6 tubes. Very high-gain German model. Lots of bass. Great for
(Ch: Lead) aggressive, drop-tuned riffs.

112 Euro Blue Bogner Ecstasy 20th Anniv. Model. Dark amp, turn up Presence or engage Bright. Blue channel, Structure
(Blue: Vintage) switch = ‘V’ (Vintage).
113 Euro Blue Modern Bogner Ecstasy Blue channel,Structure switch = ‘M’ (Modern).
(Blue: Modern)
114 Euro Red Bogner Ecstasy Red channel, Structure switch = ‘V’ (Vintage).
(Red: Vintage)
115 Euro Red Modern Bogner Ecstasy Red channel, Structure switch = ‘M’ (Modern).
(Red: Modern)
116 Euro Uber Bogner Überschall 120w, EL34. High Gain channel. Heavy grinding lows and insane gain. Sweep Presence for
(High Gain Ch.) a wide variety of tones.
“Armageddon in a box”

117 FAS 6160 Peavey EVH 5150 Alternative version of the PVH 6160, more open and less fizzy than the original amp. Also,
a virtual choke has replaced the resistor found on the original’s power supply filter. This
results in a bouncier feel.

118 FAS Bass Fractal Custom Bass Custom Fractal bass model. This amp uses an active tone stack so the Fat switch will have
no effect.

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119 FAS Brootalz ENGL Savage 120 / SLO 100 Great aggressive high gain amp. If you hear some resemblance to the Savage, you’re right.
ENGL Savage model with the input stage (and possibly power amp) from an SLO-100.

120 FAS Brown Van Halen’s Marshall Original BROWN model from the Axe-Fx Standard/Ultra. It sounds very similar to Brit
Brown, a bit more bright and lower in volume.
“Looking for great EVH tones, check Danny Danzi’s posts on the forum“

121 FAS Class-A Carr Rambler A “Blackface” preamp into a cathode-biased 6L6 power amp with no negative feedback.
This was a happy accident when originally modeling the Carr Rambler in the beta version
of firmware v12.03.

122 FAS Crunch Ultimate British amp (Plexi) More dynamic and open than a Plexi, but with more gain.

123 FAS Hot Rod Cliff Modded ideal Marshall From Cliff: the FAS Hot Rod is my version of what a modded Marshall should be. I find the
BE/HBE a little too boomy and scooped. Bogners are too dark. Splawns don’t have enough
compression, etc. So it's my take on a hot-rodded Marshall tone.

124 FAS Lead 1 Mesa Boogie TriAxis (presumed) Neutral high-gain lead with a tight midrange.
125 FAS Lead 2 Mesa Boogie TriAxis (presumed) Hot-rodded British lead sound with a tonestack by Bob Bradshaw (Custom Audio
Electronics).
126 FAS Modern high gain rhythm + lead hybrid High-gain hybrid. Equally well-suited to modern rhythm or lead work. "This model is my
interpretation of the ideal modern metal tone."
127 FAS Modern II high gain rhythm + lead hybrid Tighter version of the popular FAS Modern model with a 5150-style bass boost in the tone
stack.
128 FAS Modern III high gain rhythm + lead hybrid Similar to a Recto, but with tighter bass and a cathode-based power amp.
129 FAS Rhythm British + USA crunch Combines the best features of the British and USA crunch models.

130 FAS Skull Crusher 04.00 Most brutal amp The nastiest, most brutal amp model to ever escape from the seventh layer

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131 FAS Wreck Trainwreck Express Original WRECKER 1 model from the Axe-Fx Ultra.

132 Fox ODS Fuchs Overdrive Dumble clone. Overdrive channel, 50w, 6L6 tubes. Preamp Bypass (PAB) active.
Supreme-50 Deep switch OFF.
(Deep switch: OFF)

133 Fox ODS Deep Fuchs Overdrive

Supreme-50 Deep switch ON,
(Deep switch: ON) slightly increasing the low
frequencies, useful for single-coil guitars.
134 Friedman BE Friedman "Marsha" Based on an old original hand-built Friedman “Marsha”. These is the original BE model
(Brown Eye) from firmware prior to 2.03.
Cliff: It's MUCH darker than Mark's newer BE/HBE ("V" version). In fact it's so dark and
boomy I emailed Dave to make sure the amp was built correctly. Turns out the snubber
cap is the wrong value.

135 Friedman BE C45 01.03 Friedman BE-100 (2018 model) Cliff: "I have one of the very first BE-100s but, on a whim, decided to buy a new one
(Brown Eye) because people said they sound a "little" different. Well... more than a little. They sound
very different. I got in touch with Dave to see what he changed and made those two new
models. "
C45 Switch : ON. It's a treble boost on the input.To replicate that, Put a filter block before
the amp as follows: Type: Tilt EQ - Freq: 700 Hz - Gain: 4.5 dB

136 Friedman BE V1 Friedman BE-100 Based on new Mark Day’s amp. What many call “the ultimate modded Plexi” by Dave
(Brown Eye) Friedman.
Cliff: If you want more clarity in the low mids from the BE/HBE reduce Negative Feedback.
Voice switch toggled right (brighter, more bass).

137 Friedman BE V2 Friedman BE-100 Voice switch toggled left (darker, more mids).
(Brown Eye)
138 Friedman HBE Friedman "Marsha" Based on an old original Friedman “Marsha” with alternate voicing with a gain boost.
(Hairy Brown Eye) These is the original HBE model from firmware prior to 2.03.

139 Friedman HBE 2018 01.03 Friedman BE-100 (2018 model) Cliff: "I have one of the very first BE-100s but, on a whim, decided to buy a new one
(Hairy Brown Eye) because people said they sound a "little" different. Well... more than a little. They sound
very different. I got in touch with Dave to see what he changed and made those two new
models. "

140 Friedman HBE 2018 01.14 Friedman BE-100 (2018 model) C45 Switch : ON. It's a treble boost on the input.To replicate that, Put a filter block before
C45 (Hairy Brown Eye) the amp as follows: Type: Tilt EQ - Freq: 700 Hz - Gain: 4.5 dB

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141 Friedman HBE V1 Friedman BE-100 Based on new Mark Day’s amp. BE amp’s alternate voicing with a gain boost. A killer hi-
(Hairy Brown Eye) gain tone in your arsenal.
Voice switch toggled right
(brighter, more bass).

142 Friedman HBE V2 Friedman BE-100 Voice switch toggled left

(Hairy Brown Eye) (darker, more mids).
143 Friedman Small Box Friedman Small Box 50W, EL34. Channel 2 is the modern/high gain channel.
(Ch 2)

144 Fryette D60 Less Fryette D60H 60w, KT88 or 6550 tubes“Deliverance Sixty”“Less” mode. Popular with metal players
(Less Mode)

145 Fryette D60 More Fryette D60H “More” mode.

(More Mode)

146 Gibtone Scout Gibson Scout 1964 GA17RVT Scout, 17w, vintage clean tones. No tone controls on the real amp.

147 Herbie Ch2+ Diezel Herbert 3-channel 180w, called “looser” and “more familiar” than the VH4. Channel 2+ gets you
(Channel: 2+) into Diezel VH4 territory.

148 Herbie Ch2- (Channel: 2-) Set Ch 2- at 35% gain for a cranked
Plexi tone, 60% for a JCM800 tone.

149 Herbie Ch3 (Channel: 3) Channel 3, voiced for highly

articulate single note lines or for very heavy and massive rhythm guitar.

150 Hipower Brillant Hiwatt DR103 1974 Harry Joyce/Hylight model. Medium-gain, full sound with unique tone-stack and
(Brilliant) chimey, grinding tone. Creates a great clean tone. Glassy but different from a VOX, just
listen to Pink Floyd.
151 Hipower Jumped Hiwatt DR103 Emulates “jumpering the inputs”
(Normal/Brilliant) on a 4-hole amp.

152 Hipower Normal Hiwatt DR103 Normal channel.

(Normal)

153 Hot Kitty Bad Cat Hot Cat 30 30w, EL34, cathode bias, Channel 2. Voted by Guitar Player as “the second best combo of
(Ch 2) all time.”

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
154 Jazz 120 Roland JC-120 120w (stereo: 2x 60w) The only solid-state-based model in the collection, a
quintessential clean tone.

155 JMPRE-1 OD1 Marshall JMP-1 Marshall JMP-1 preamp, a rack-mount preamplifier version of the Brit 800. EL34 tubes.
OD1 OD1: "A warm vintage drive reminiscent of Marshall Super Lead amps through to modern
156 JMPRE-1 OD1 Bass OD1 BS day Master Volumes"
Shift OD2: "This a tightly focused high gain drive which can be smooth or aggressive depending
on the E.Q. and gain settings". Crunchy “ZZ” tone. Also see Brit Pre.
157 JMPRE-1 OD2 OD2
“BS” in the name indicate that the Bass Shift function is engaged

158 JMPRE-1 OD2 Bass OD2 BS

Shift
159 JR Blues Fender Blues Jr. 15w A gutsy little classic with dual EL84s. To get the tone of an Egnater Rebel 20, set the
(FAT switch: OFF) Neg Fdbk to zero.
FAT switch OFF

160 JR Blues Fat Fender Blues Jr. Fat Switch ON

(FAT switch: ON)

161 JS410 Crunch Marshall JVM410 HJS Joe Satriani's 4-channel 100w EL34 signature amp. The Joe Satriani JVM head looks very
Orange (Crunch Orange Ch.) similar to the stock JVM410H but it sound different.
Crunch Orange Channel: based on a JCM800 2203.
162 JS410 Crunch Red Marshall JVM410 HJS Crunch Red Channel: modded JCM800 sound that so defined the ‘80s era
(Crunch Red Ch.)
163 JS410 Lead Orange Marshall JVM410 HJS Lead Orange Ch.
(Lead Orange Ch.)
164 JS410 Lead Red Marshall JVM410 HJS Lead Red Ch.
(Lead Red Ch.)
165 Legato 100 Carvin Legacy VL100 "Based on a one-of-a-kind version owned by a certain Californian guitar player."
(Steve Vai's Amp) SV's personal settings are:
Drive: 7.5 - Bass: 6 - Mid: 4 (5 on Axe-Fx)
Treble: 8 - Presence: 8

166 Matchbox D-30 Matchless DC-30 Matchless DC-30, 30w, Class-A, EL84s. A “better sounding” AC-30.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
167 Mr Z Hwy 66 DrZ Route 66 32w, KT66, EF86 and 12AX7.

168 Mr Z MZ-8 DrZ MAZ 8 8w, EL84 tube. A popular low-wattage, single-ended amp. The actual amp can be run in
Pentode or Triode mode.

169 Mr Z MZ-38 DrZ MAZ 38 SR 38w, EL84 tubes. Popular with country and roots players. The quintessential country
amp.

170 Nuclear-Tone Swart Atomic Space Tone 20w, 6V6As with the actual amp, the bias tremolo is particularly effective. Inspired by the
Gibson Scout.

171 ODS-100 Clean Dumble Overdrive Special (HRM) 100w “HRM” (Hot Rod Marshall) version, Clean channel. A coveted but rare amp made
Clean Ch. famous by Robben Ford.

172 ODS-100 Ford 1 R. Ford Dumble “Non-HRM” version. PreAmp Bypass (PAB) ON. The default tone stack is neutral (with
(PAB: ON) B/M/T at noon the response is flat.)
173 ODS-100 Ford 2 R. Ford Dumble “Non-HRM” version. PreAmp Bypass (PAB) OFF.
(PAB: OFF)
174 ODS-100 Ford Mid R. Ford Dumble The same as ODS-100 Ford 1 with the "Mid" switch engaged (this switch is sometimes
Boost (MID switch: ON) labeled “Deep”). It shorts out the 390 pF cap in the tone stack (which is in series with a 2
nF cap).
175 ODS-100 HRM Dumble Overdrive Special (HRM) Lead channel matched with the PreAmp Bypass (PAB) engaged (which bypasses the input
Lead Ch. (PAB: ON) tone stack) and the Drive control at approximately 7.0.
With PAB active this lowers the lowcut frequency.
Played by the great Larry Carlton and many others!

176 ODS-100 HRM Mid Lead Ch. (MID switch: ON) Lead channel with the “Mid” switch engaged.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
177 Plexi 50w 6550 Marshall SLP 1959 High input of a 1972 50w Marshall “Plexi” with 6550 power tubes.
(1972 - 50w Model) No master volume.
178 Plexi 50w High 1 Marshall SLP 1959 1972 model. Treble channel, boosted bright tone.
(1972 - 50w Model)

179 Plexi 50w High 2 Marshall SLP 1959 Similar to Plexi 50W Hi 1 excep the second triode stage has a 0.68uF cathode bypass
(70's - 50w Model) capacitor. The second bypass capacitor was added in the early 70’s and gives a slightly
brighter tone.
180 Plexi 50w Jump Marshall SLP 1959 Emulates “jumpering the inputs” on a 4-hole amp.
(1972 - 50w Model)

181 Plexi 50w Normal Marshall SLP 1959 Normal channel, dark and has loads of bass.
(1972 - 50w Model)

182 Plexi 100w 1970 Marshall SLP 1959 1970 model. This particular amp has a darker, smoother sound than earlier Plexis.
(1970 - 100w Model) Cliff: “use with Factory Cab #54. Be sure to dial it in like you would in 1970, i.e. turn the
Mid, Treble and Presence way up; turn Norm Drive and Bass down a bit.
183 Plexi 100w High Marshall SLP 1959 1968 model. Classic amp head that gave rise to “the stack.” Great for crunchy rhythm
(1968 - 100w Model) work. As with the real amp, don’t be afraid to turn the bass all the way down or the treble
all the way up, or it’s too flubby. Treble channel.
184 Plexi 100w Jump Marshall SLP 1959 Emulates “jumpering the inputs” on a 4-hole amp. (Boston/Rockman sound) "Plexi Jump:
(1968 - 100w Model) Everything on 7. Put a Filter block in front: Type: Peaking, Freq: ~800 Hz, Q: 0.707, Gain 12
(Ch. 1+2 Jump) dB."
185 Plexi 100w Normal Marshall SLP 1959 Normal ch., dark and has loads of bass.
(1968 - 100w Model) No master volume.
(Normal Ch.)

186 Plexi 2204 01.06 Marshall JMP 2204 MKII Amp model based on a 1981 JMP 50W Master Volume head.
(1981 - 50w Master Model) ► Two EL34 output tubes generating around 50 watts RMS
► Fixed-biased output stage
► Three ECC83 (12AX7) preamp tubes
► Cascading gain stages via “High Sensitivity” input
► Master Volume control
► Solid-state rectification

187 Porta-Bass 02.05 Ampeg B15 Portaflex Based on: Ampeg Portaflex bass amp. Channel 1 has 2 Input, one for Guitar and one for
Bass.

188 Prince Tone 5F2 Fender Princeton Tweed Edition. Class A, 5w5F2-A, AA964 circuits. Modeled after early CBS “Silverface”
(Tweed) model, pre-CBS design and components.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
189 Prince Tone AA964 Fender Princeton Based on Fender silverface Princeton without reverb, AA964
(No Reverb)

190 Prince Tone Reverb Fender Princeton 1966 Reverb Edition, Fender blackface Princeton with reverb, AA964
(1966 Reverb Edition)

191 PVH 6160 Block Peavey EVH 5150 120w, 6L6. An original block letter Peavey EVH 5150. Lead channel. It sounds way better
(Lead) than most 5150s partly due to the fact that this one has a bias mod so it’s biased a bit
warmer than a stock version.

192 PVH 6160+ Peavey 6505+ Called the new standard for "brutality and aggression". 120w, 6L6. Identical to the EVH
Lead (Lead) 5150 II.
193 PVH 6160+ Rhythm Peavey 6505+ Based on Channel 1 (RHY) with the Crunch
(Rhyt) switch depressed and Bright switch out.
194 PVH 6160+ Rhythm Peavey 6505+ Based on Channel 1(RHY) with the
B (Rhyt) Crunch and Bright switches depressed.
195 Recto1 Orange Mesa B. 2 ch Dual Rectifier Orange channel, Modern mode. Presence control now operates like the actual amp in all
Modern (Orange: Modern) Recto models. For those models where there is no negative feedback, the Presence
control is part of the tone stack (not a Hi Cut control.)
196 Recto1 Orange Mesa B. 2 ch Dual Rectifier Orange channel, Normal mode. Warmer and less fizzy
Normal (Orange: Normal) than the 3 channel model.
197 Recto1 Red Mesa B. 2 ch Dual Rectifier Red channel, Modern mode.
(Red: Modern)
198 Recto2 Orange Mesa B. 3 ch Dual Rectifier Orange channel, Modern mode.
Modern (Orange: Modern)
199 Recto2 Orange Mesa B. 3 ch Dual Rectifier Orange channel , Vintage mode.
Vintage (Orange: Vintage)
200 Recto2 Red Mesa B. 3 ch Dual Rectifier Red channel , Modern mode.
Modern (Red: Modern)
201 Recto2 Red Vintage Mesa B. 3 ch Dual Rectifier Red channel , Vintage mode.
(Red: Vintage)

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
202 Ruby Rocket Paul Ruby Rocket Paul Ruby Rocket is based on a Trainwreck Rocket but with some notable differences (also
(Brigh switch: Up) similar to a Vox AC30 TB).
Bright switch in the Up position = BRT OFF
203 Ruby Rocket Bright Paul Ruby Rocket Bright switch in the Down position = BRT ON
(Brigh switch: Down)

204 Shiver Clean Bogner Shiva 20th Anniversary 90w, KT88. 20th anniv. Clean channel, powerful shimmering cleans. Dark amp, turn up
(Clean) Presence or engage Bright.

205 Shiver Lead Bogner Shiva 20th Anniversary Lead channel, sweet, rich-sounding amp with
(Lead) aggressive, English-style midrange punch.

206 Solo 88 Clean Soldano X88R Preamp Clean channel of a Soldano X88R preamp, 6L6.
(Clean) All channels are now represented.
207 Solo 88 Lead Soldano X88R Preamp Lead channel of a Soldano
(Lead) X88R preamp, 6L6.
208 Solo 88 Rhythm Soldano X88R Preamp Rhythm channel of a Soldano
(Rhythm) X88R preamp, 6L6.
209 Solo 99 Clean Soldano/Caswell X99 Preamp Soldano/Caswell midi-motorized X99 preamp Clean channel.
(Clean)

210 Solo 99 Lead Soldano/Caswell X99 Preamp Lead channel.

(Lead)

211 Solo 100 Clean Soldano SLO-100 SLO = Super Lead Overdrive, 100w.
(Nrml/Clean) Normal channel, Clean gain selector.

212 Solo 100 Lead Soldano SLO-100 Snarling Lead channel. This amp likes to be run hard, so the MV defaults to a higher setting
(Lead) than on most other amps (high MV helps thicken up the mids). To achieve the best sound,
also back off the preamp gain.

213 Solo 100 Rhy Soldano SLO-100 Crunch gain selector.

(Nrml/Crunch) Aggressive rhythm.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
214 Spawn Nitrous 1 Splawn Nitro 100w, KT-88, OD1 mode. Splawn tone with more saturation and voiced for a bigger low
(OD1) end and low mids.

215 Spawn Nitrous 2 Splawn Nitro 100w, KT-88, OD2 mode.

(OD2)

216 Spawn Rod OD1-1 Splawn Quick Rod 100w, EL34. Signature Splawn tone with lots of bite, strong mids and 3 gear versatility. 1st
(1st gear) gear, “Hot Rod Plexi’”.
217 Spawn Rod OD1-2 Splawn Quick Rod 2nd gear, “Hot Rod JCM 800”.
(2nd gear)
218 Spawn Rod OD1-3 Splawn Quick Rod 3rd gear, “Super Hot Rod JCM 800”.
(3rd gear)
219 Spawn Rod OD2-1 Splawn Quick Rod 1st gear OD2 switches in a cathode bypass cap which increases the gain of that stage.
(1st gear)
220 Spawn Rod OD2-2 Splawn Quick Rod 2nd gear same as above.
(2nd gear)
221 Spawn Rod OD2-3 Splawn Quick Rod 3rd gear same as above.
(3rd gear)
222 Suhr Badger 18 Suhr Badger 18w 18w version of this EL84-powered tube rectifier classic. Master Volume is VERY powerful
at altering the tone.

223 Suhr Badger 30 Suhr Badger 30w In comparison to the 18w, the 30w features a solid state rectifier. hThey ave a lot of bass,
dial down Bass or use the Cut switch.

224 Super Verb Normal Fender Super Reverb Pre-CBS 1964 Blackface version of this 40w amp, AB763 circuit, 4x10, Normal channel. To
(Normal) simulate the Blackface Pro Reverb model AA165, set Tonestack Type = Blackface and set
Mid = 7-8 to emulate the fixed 6.8K mid resistor.

225 Super Verb Vibrato Fender Super Reverb Based on Vibrato channel
(Vibrato)

226 Supertweed Fender Tweed series Original SUPERTWEED model from the Axe-Fx Ultra. “Like a vintage Tweed amplifier on
steroids.”

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
227 Supremo Trem Supro 1624T Supro 1624T Dual-Tone 1x12, a cool classic, originally intended for bass. 6973 power
(Reissue series) tubes, two channels.

228 SV Bass 1 Ampeg SVT 300w, Super Vacuum Tube bass amp. Used for decades by famous bassists the world over.
Original Model from the Axe FX II.

229 SV Bass 2 02.05 Ampeg SVT Model is now based on a 1970 Ampeg SVT (Super Vacuum Tube or Super Valve Tube)
300w, with 6550 power tubes and the midrange switch in position 3.
Used for decades by famous bassists the world over.Two inputs (for passive and active
basses).

230 Texas Star Clean Mesa Lone Star Clean channel, 50/100w, 6L6Try with a BB Pre drive block.
(Clean)

231 Texas Star Lead Mesa Lone Star Lead channel.

(Lead)

232 Thordendal Mesa Boogie Dual Rectifier Based on the pre-G3 Recto models. Cliff: When G3 came out the models were accurate
Modern (Modern) but Fredrik contacted me and said something like "ahhhhh, I loved the old Recto model".
So I took the old Recto models and made them "Thordendal models."

233 Thordendal Vintage Mesa Boogie Dual Rectifier Based on the pre-G3 Recto models, Fredrik Thordendal’s specifications.
(Vintage)

234 Tremolo Lux Fender Tremolux (AA763) Based on blackface Fender Tremolux, AA763 with 6L6, high and low inputs, smaller version
(Ch: Vibrato) of the Bandmaster.

235 Tube Pre Generic Tube preamp Completely neutral, low-gain tube preamp, useful for “warming up” various sources, such
as vocals, acoustic guitar or a synth, without much distortion.

236 Two Stone J35 1 Two-Rock Jet 35 35w, 6L6. Lead mode, Preamp Bypass ON, which bypasses the input tone stack for a more
(Lead - PB: ON) focused lead sound.

237 Two Stone J35 2 Two-Rock Jet 35 Lead mode, Preamp Bypass OFF.
(Lead - PB: OFF)

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
238 USA Bass 400 1 Mesa B. Bass 400 No less than twelve fan-cooled 6L6 output tubes deliver 500 watt of transient power peaks
(BS: OFF) with cool reliability.
Bass Shift OFF.
239 USA Bass 400 2 Mesa B. Bass 400 Bass Shift ON.
(BS: ON)

240 USA Clean Mesa Boogie Mark IV 85 watt amp with a single input, 6L6 power tubes. Somewhat neutral, clean-sounding
(Rhy 1) model that can pushed into warm clipping. Rhythm 1 channel.

241 USA IIC+ Mesa B. Mark IIC+ (Lead) Famous for its smooth overdrive sound. Pull Bright on amp’s Volume knob = Axe-Fx Bright
Switch. Pull Shift on amp’s Treble knob = Axe-Fx Fat switch.
Pull Bright OFF, Pull Deep OFF.
242 USA IIC+ Bright Pull Bright ON,
Pull Deep OFF.

243 USA IIC+ Bright/Deep Pull Bright ON,

Pull Deep ON.

244 USA IIC+ Deep Pull Bright OFF,

Pull Deep ON.

245 USA IIC++ Mesa Boogie Mark IIC+ Model named by Cliff "Metallica’s amp". This model is part of Metallica’s live sound.

246 USA JP IIC+ Green 05.06 Mesa Boogie JP-2C Mesa Boogie JP-2C John Petrucci signature model. Clean Channel 1, "has less gain and a
(Ch 1) much larger midrange potentiometer than the Usa Clean model". Don(t hesitaten to turn
up Master volume.

247 USA JP IIC+ Red 05.03 Mesa Boogie JP-2C Channel 3 is created with soaring lead sounds in mind. The JP amp has a fixed input gain
(Ch 3) control. The "Gain" control on the amp is actually an Overdrive control. If you use
Authentic controls there is no Input Gain on "Gain".

248 USA JP IIC+ Yellow 05.04 Mesa Boogie JP-2C Channel 2 is the JP-2C’s Crunch generator. To emulate the “Shred” mode turn the High
(Ch 2) Treble control to approximately 3-4 dB (or adjust to taste, you are not limited by a single
switch).

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
249 USA Lead Mesa B. Mark IV Tight, focused, hi-gain sound. Great for fusion and rock leads. Famous for its smooth high-
(Lead) gain tones and endorsement by John Petrucci.
Bright OFF, Mid Gain OFF.
250 USA Lead + Mesa B. Mark IV Bright OFF, Mid Gain ON.
(Lead)
251 USA Lead Bright Mesa B. Mark IV Bright ON, Mid Gain OFF.
(Lead)
252 USA Lead Brt + Mesa B. Mark IV Bright ON, Mid Gain ON.
(Lead)
253 USA Pre Clean Mesa B. TriAxis Rhythm Green channel (“Vintage Fat Rhythm” or “Mark I, blackface”), 6L6.
254 USA Pre LD1 Red Mesa B. TriAxis Lead 1 Red mode (TX-4 board.)
255 USA Pre LD2 Green Mesa B. TriAxis Lead 2 Green mode (Mid Gain Mark IV Lead.)
256 USA Pre LD2 Red Mesa B. TriAxis Lead 2 Red mode (shred.)
257 USA Pre LD2 Yellow Mesa B. TriAxis Lead 2 Yellow mode (Classic Mark IIC+ Lead.)

258 USA Rhythm Mesa Boogie Mark IV THE California crunch rhythm sound. Rhythm Channel 2 with Fat switch OFF.
(Rhy 2)

259 USA Sub Blues Mesa Subway Blues 20w, EL84, 1x10. Bright with FAT voicing. Targeted at the blues and often compared to
amps such as the Fender Blues Junior.

260 Vibra-King Fender Vibro-King Fender Vibro-King Custom FSR, 6L6-60w, 3x10, famous for crystal cleans and powerful
(Fat: OFF) overdrive. The "King of Fender". Fat Switch OFF.

261 Vibra-King Fat Fender Vibro-King Fat Switch ON.

(Fat: ON)

262 Vibrato Lux Fender Vibrolux Reverb 1963 Blackface model, 6L6-35w, 1x12. Early Dire Straits tone.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
263 Vibrato Verb Fender Vibroverb 40w combo, 2x12, that’s great for clear or grinding cleans and gutsy blues. 6G16 circuit,
Brownface era. Vibrato Verb model was ported from the Axe-Fx Ultra.

264 Vibrato Verb AA Fender Vibroverb AA model based on the '64 Cliff's real amp: blackface with AA763 circuit. 6L6-40w, 1x15.
1964 (AA763)

265 Vibrato Verb AB Fender Vibroverb Blackface with AB763 circuit. 6L6-40w, 1x15.
(AB763)

266 Vibrato Verb Fender Vibroverb Vibroverb Custom Reissue (2003-2008), 6L6-40w, 1x15, with the Mod switch on.
Custom Custom reissue Transformer Matching value is based on the output transformer of the actual amp.
Legend has it that SRV used a Bassman transformer which would lead to significant
overmatching. To replicate this increase Xfrmr Match to around 1.8.

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Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION
267 Wrecker Express Trainwreck Express Trainwreck Express, EL34 tubes, which sounds similar to a Marshall Plexi.

268 Wrecker Liverpool Trainwreck Liverpool Trainwreck Express preamp with a Trainwreck Rocket power amp. EL84 tubes.
Marshall meets Vox.

269 Wrecker Rocket Trainwreck Rocket Trainwreck Rocket, EL84 tubes. Based on and sounds like a Vox AC-30 Top Boost with a
rectifier.

29/42
 For More information about an AMP Model: Click on the Link

Great Yek's Guide to Fractal Audio Amplifier Models (By YEK & SIMVIZ) Yek's Guide to Fractal Audio AMP models
Fractal Audio Forum: AMP Models by YEK Yek's Write-ups per AMP models
WIKI By YEK List of All Amp Models with details

Have you got the Last "Amps Models Gallery" ? FAS Amps Models Gallery (by MDProd)

FracTool (by AlGrenadine) - Ultimate Tool for Presets and Compare Amp models FracTool by AlGrenadine

New 1000+ Naked Amps TonePack for the Axe-Fx III by AustinBuddy 1000+ Naked Amps TonePack

Amp Wiki Links 30/42

 Nbr PHOTO Axe FX DRIVE FW DRIVE DESCRIPTION
Xotic BB Preamp. Clean boost with
two band active EQ which adds
1 BB Pre * a wide range of harmonic.

Classic Tonebender circuit. According to some, it is hands down the

absolute best fuzz pedal of all time. The foundation of the Tone Bender
2 Bender Fuzz fuzz sound, is a smooth well-structured EQ, consisting of rich and tight
bass with even mid-harmonics.
Great for single note solos and thick power chords

HEXE Bitcrusher. A black box we found lying in the trash outside Studio
3 Bit Crusher
Harshclip

Based on a Darkglass B7K Analog Bass Preamp. The model was obtained with
the Attack and Grunt switches in the middle positions. The Grunt switch
changes the low-cut frequency therefore the Low Cut control can be used to
4 Blackglass 7K
replicate this switch. The Attack switch controls a shelving filter on the input
and can be replicated using the Tone control. B7K blend control corresponds
to the mix knob on the model.
90's Marshall Blues Breaker. Low-gain overdrive pedal mainly used by John
Mayer.
Cliff: "One of the more impressive circuits is the BluesBreaker. Whoever
5 Blues OD
designed that knew what he was doing. It's unique and the designer
understood the role of resistance in series with the diodes."

Xotic AC Booster. Classic Tube sound

at your fingerTips.
6 Esoteric ACB

Xotic RC Booster. Transparent clean booster.

7 Esoteric RCB

Lovepedal Eternity. A low to medium gain overdrive.

It gives a gigantic warm clean boost, to creamy sustain.
8 Eternal Love *

Dallas Arbiter Fuzz Face. Distortion guitar pedal designed in London by

Arbitrer Electronics Ltd in the autumn of 1966. The high distorted sound
9 Face Fuzz called fuzz.

Drive Models 31/42

 Nbr PHOTO Axe FX DRIVE FW DRIVE DESCRIPTION

Cleanish boost great for boosting vintage amps like Plexis.

Cliff say "It's not based on anything. It's my take on an ideal boost
10 FAS Boost
pedal."

11 FAS LED-Drive * LED diodes have a higher voltage drop than silicon diodes

12 Fat Rat Pro Co FATRAT, a modified Pro Co RAT, a bit fuller and smoother

"Gentle, smooth, clipping booster with tone controls".

If it’s based on a real pedal, it could be a Fulltone’s Fat-Boost
13 FET Boost (discontinued).
The FET Boost is also a favorite method to get a KLON clean boosts from
our Fractal Audio Devices.

Boss FA-1, a JFET preamp pedal

14 FET Preamp
(used by The Edge)

Fulltone Full-Drive 2 overdrive pedal. Similar to a Tube Screamer. The

early orange version in particular is very collectable.
15 Full OD *

Hard-clipping, 60s-style fuzz. Similar to the Bender Fuzz Model with more gain and
treble.
Cliff: "The Fuzz in the Axe-Fx reacts as though there is a buffer in front of it (because there is). It's a limitation inherent
16 Hard Fuzz
to all modeling products. I modeled it using a nominal source resistance. I forget what I used for the source resistance
but it was probably around 100K ohms. To really simulate it you would need a controller to simulate the changing
output impedance of the guitar.”​

Lovepedal OD11, fat, organic tone of an overdriven tube amp

Drive = AxeFX Drive
Level = AxeFX Level
17 Heartpedal 11 3.02 Tonee = AxeFX Tone
Bass = AxeFX Bass Cut

Vemuram Jan Ray. BOOST-OVERDRIVE Pedal with Large head room.

Designed to recreate the punchy clear tone of the Blackface Fender amps from the 60’s. So-called Gain = AxeFX Drive
the “Fender Magic 6” sound. An easy to handle overdrive keeping the characteristics of the guitar,
Volume = AxeFX Level
18 Jam Ray 3.02 with great sustain without any unnatural compression.
Treble = AxeFX Tone
“Magic 6” refers to setting Volume and Treble to 6, Middle to 3 and Bass to 2 (6, 6, and 3x2) on a
Fender amp like the Super Reverb. Bass = AxeFX Bass Cut
Cliff: "The Jan Ray is a slightly modified Timmy"

Drive Models 32/42

 Nbr PHOTO Axe FX DRIVE FW DRIVE DESCRIPTION
1991 Boss MT-2 Metal Zone, popular distortion for extreme gain
settings.
19 M-Zone Dist

1962 Gibson Maestro Fuzz Tone FZ-1A, aka Satisfaction fuzz.

The first Fuzz Pedal used in Satisfaction by The Rolling Stones.
20 Master Fuzz

MXR Micro Amp. Clean boost/volume pedal, part of the first Reference
Series by MXR released between 1973 and 1984. Designed to be a
21 Micro Boost transparent clean volume booster.
Great way to boost your signal for lead or adjust between
2 differents guitars.
Custom FAS mid boost, help the guitar cut through a mix than increasing
its volume level.
22 Mid Boost

Tycobrahe Octavia fuzz pedal. The schematic design for the original
limited production was based on original Roger Mayer Octavia made for
23 Octave Dist Jimi Hendrix in 1967. Used on "Purple Haze" and "Fire". Jimi placed the
Octavia after a fuzz and wah.

Reworked PI Fuzz model based on older

“Triangle” version reference.
24 PI Fuzz 04.00 Electro-Harmonic Big Muff Pi Fuzz.
Distortion/sustain guitar pedal designed
by Bob Myer and Mike Matthews in 1969
and
70's mass produced in
MXR Distortion + 1970.

25 Plus Dist

Pro Co RAT. Distortion pedal by Pro Co Sound & designed by Scott

Burnham and Steve Kiraly in Kalamazoo, Michigan 1978.
26 Rat Dist

Suhr Riot distorsion. Big US sound. It turns a clean amp into a Marshall-
esque high-gain monster. This pedal is praised for sounding like a real Dist = AxeFX Drive
27 Ruckus tube amp. Level = AxeFX Level
Tone = AxeFX Tone

Drive Models 33/42

 Nbr PHOTO Axe FX DRIVE FW DRIVE DESCRIPTION
Suhr Riot distorsion. Specific voicing with the Third position switch that
selects a different diode configurations. Dist = AxeFX Drive
28 Ruckus Led 3.02 Level = AxeFX Level
Tone = AxeFX Tone

Preamp in Korg’s SDD-3000 digital delay

(used by The Edge)
29 SDD Preamp

Cliff own creation. It is primarily intended to be used as a boost for Non-

MV amps like AC-15/30's, Fenders and Plexis.
30 Shimmer Drive

31 Shred Dist 90s Marshall ShredMaster, distorsion Pedal.

Boss SD-1 Super OverDrive. Used to drive a clean amp into blues
territory. Very popular as a boost for rock and metal amps.
32 Super OD * Drive = AxeFX Drive
Tone = AxeFX Tone
Level = AxeFX Level
Ibanez TS9, captures the most popular Tubescreamer mods.
Suitable for blues and all range of rock,
33 T808 Mod * adding tubelike distortion,
good sustain and smooth overdrive.

34 T808 OD * Ibanez TS9 Tube Screamer (used by SRV)

Simulates the clipping of an overdriven reel-to-reel tape deck.

Cliff: "It's just a generic tape distortion simulator. I used an old Ampex EQ curve
35 Tape Dist basically. The tape drive is meant to be used anywhere in the chain. I've been using it
after the amp to fatten things up and it work really well for that. Be careful though, the
drive block is mono so you can get phase issues if you put it after a stereo effect."​

Paul Cochrane Timmy. “Transparent” low gain overdrive with a unique pair of EQ
controls that cut the bass and treble frequencies. Used as a clean boost or Run it after a Gain = AxeFX Drive
fuzz to cut the flub and add extra volume for leads. Or, put it before another drive or a
Volume = AxeFX Level
36 Timothy dirty amp to drive the signal harder and tweak the tonal curve. Considered the best
Treble = AxeFX Tone
overdrive pedal in the world, attributed to its transparent character and mild crunch.
Cliff: "Timmy is a modified Tube Screamer"
Bass = AxeFX Low Cut

Drive Models 34/42

 Nbr PHOTO Axe FX DRIVE FW DRIVE DESCRIPTION
Paul Cochrane Timmy. Transparent boost/overdrive pedal (blue), with the internal
switch set to asymmetrical clipping. Gain = AxeFX Drive
Volume = AxeFX Level
37 Timothy 2 3.02 Treble = AxeFX Tone
Bass = AxeFX Low Cut

Dallas Arbiter Rangemaster Treble Booster. Famously used to enhance

the overall gain and presence of the notoriously dark British-made amps
38 Treble Boost of the ’60s.
It literally makes any rig sound at least 25% better.
It brightens the sound, like the Top Boost on early Vox amps.
Analog Man King of Tone (KOT) Overdrive. It’s based on the Marshall
Bluesbreaker pedal. Fractal Audio has modeled the OD mode.
Drive = AxeFX Drive
The KoT is one of the few overdrive pedals available that is NOT based on a
39 Tone of Kings 3.02 Volume = AxeFX Level
Tube Screamer circuit. In OD mode, it has a little less drive available than a
Tone = AxeFX Tone
Tube Screamer.

BK Butler/Tube Works Tube Driver with a 12AX7, 3-knob version.

Hand-made Tube Driver.
40 Tube Drv 3-Knob Cliff: "The 3-knob version sounds very different than the 4-knob
version."​

BK Butler/Chandler Tube Driver with a 12AX7, 4-knob version.

Hand-made Tube Driver.
41 Tube Drv 4-knob Cliff: "The idea with the 4-knob version is to use the tone controls on the EQ page and
leave the single Tone knob at noon. You can still use the Tone knob if you want but the
model is only accurate with the knob at noon."​

Drive Models 35/42

 Nbr PHOTO Axe FX DRIVE FW DRIVE DESCRIPTION
Hermida/Lovepedal Zendrive (used by Robben Ford).
Recreate the Dumble tone, Gain = AxeFX Drive
Volume = AxeFX Level
42 Zen Master * Robben Ford uses it himself through Fender amps.
Tone = AxeFX Tone
Voice = AxeFX Low Cut

* based on the Tube Screamer

Fractal Audio Forum: Drive Models by YEK
Fractal Audio DRIVE Models

Drive Model with The JRC4558 integrated circuit by Japan Radio Company.
http://www.electrosmash.com/jrc4558-analysis Fractal Audio DRIVE Models: Yek's PDF Guide

Tube Screamer over the Years Fuzz Face over the Years

http://www.electrosmash.com/tube-screamer-analysis

Big Muff PI over the Years http://www.electrosmash.com/fuzz-face

http://www.electrosmash.com/big-muff-pi-analysis

Drive Models 36/42

Nbr PHOTO Axe FX Wah WAH DESCRIPTION
Based on an original Vox V848 Clyde McCoy wah.
Featuring True Bypass and AC input.
1 Clyde

2 Color-Tone Based on a Colorsound wah.

Based on a Dunlop Cry Baby. Wah-Wah pedal

released around 1982. It's a copy of the original
VOX model made by VOX/Thomas Organ Co
in 1970.
3 Cry Babe

Equivalent to the “Bandpass” setting in earlier firmware.

4 FAS Standard

5 Funk Modeled after the “Shaft” sound.

Wah Models 37/42

Nbr PHOTO Axe FX Wah WAH DESCRIPTION

6 Mortal Based on a Morley wah/volume pedal.

Based on a Vox V845. Specifications of the original pedal

developed by VOX in the '60s.
7 VX485

Based on a Vox V846-HW handwired wah.

It is hand-wired in turret board construction
8 VX846 and premium components.

Dunlop Cry Baby Collection

http://www.electrosmash.com/crybaby-gcb-95

Wah Models 38/42

 Leo Fender John - Paul - George Jimi Hendrix BB-King Frank Zappa Jimmy Page Ritchie Blackmore Pete Townshend Jeff Beck Ronnie Montrose

Keith Richards Ron Wood Eric Clapton David Gilmour Rick Nielsen Carlos Santana Brian May Tony Iommi Rory Gallagher Billy Gibbons Paul Stanley

Joe Perry Brad Whitford Ted Nugent Gary Moore Stevie Ray Vaughan Rick Parfitt Joe Walsh Robin Trower Rudolf Shenker Matthias Jabs

70's (Today) 70's (Today)

Alex Lifeson Malcolm Young Angus Young Eddy Van Halen Mark Knopfler Andy Summers Adrian Smith Dave Murrey Brad Gillis Mick Mars
Early 80's (Today) Early 80's (Today)

FAMOUS FACES 39/42

 Michael Schenker Randy Rhoads Steve Morse Michael Landau Peter Frampton Steve Lukather Larry Carlton Robben Ford

Early 80's (Today) Early 80's (Today)

John Scofield Al Di Meola John Sykes George Lynch Joe Satriani Phil Collen Vivian Campbel
Early 80's 2000's Early 80's to 90's 2000's (Today)

Steve Vai The Edge Neal Schon Richie Sambora Carlos Cavazo Jake E Lee Adrian Vandenberg Eric Johnson

Early 80's to 90's 2000's (Today) Early 80's (Today)

Prince Warren Haynes Vitto Bratta Yngwie Malmsteen Warren De Martini John Norum Vinnie Moore Greg Howe Steve Stevens Dave Mustain

FAMOUS FACES 40/42

 Kirk Hammet James Hetfield Slash Zakk Wylde Jason Becker Marty Friedman Ritchie Kotzen
Early 80's (Today) Early 80's (Today) Early 80's (Today)

Dann Huff Vernon Reid Paul Gilbert Andy Timmons Vinny Burns John Petrucci Noel Gallagher Kurt Cobain Doug Aldrich Reb Beach
Early 80's (Today)

Jeff Healey Tom Morello Danny Danzi John Mayer Devin Townsend Matthew Bellamy Mark Tremonti Jim Root Fredrik Thordendal Dweezil Zappa Jerry Cantrell

Guthrie Govan Kiko Loureiro James Valentine Adam Jones Tommy Denander Dave Weiner Joe Bonamassa Keith Urban Andreas Kisser Toshi Yanagi

FAMOUS FACES 41/42

 John Frusciante Brad Paisley Robert Cray Gary Clark Caleb Followill Pete Thorn Ian Thornley Richard Hallebeek Ryan Adams

Carol Kaye Joan Jett Lita Ford Orianthi Glenn Hughes Geddy Lee Adam Clayton Cliff Williams

Neil Young Bruce Springsteen Brian Setzer Lou Reed Bryan Adams Sting Marty Steven Seagal Johnny Depp

Alexander Van Norbert Krief

Cliff Chase Mark Day Austin Buddy Larry Mitchell Louis Bertignac Jean-Louis Aubert
Engelen (Yek) "Nono"

FAMOUS FACES 42/42