# Genre Tones & NAM Model Sourcing — Complete Reference

**Project:** pi-multifx-pedal (Raspberry Pi 4B)
**Generated:** 2026-06-13
**Format:** All NAM models should be Architecture 2 (WaveNet) unless noted.
**Target:** Feather/small class models (< 10 MB) for real-time RPi 4B inference.

---

## Overview

This document covers 12 core genres plus Blues (Bank 12, documented separately in `docs/blues-genre-research.md`). For each genre:

- 2–3 iconic bands that define the sound
- Their guitar gear (amp, cab, pedals)
- Key settings (gain structure, EQ, effects)
- NAM A2 captures to source from ToneHunt/tone3000.com
- Cabinet IR recommendations
- Mapping to existing models in the pedal's library

---

## 1. CLASSIC ROCK

### Genre Summary

Classic Rock is built on cranked, non-master-volume tube amps pushed into power-amp saturation. The core is a **Marshall Plexi or JTM45 dimed**, often with a treble booster or fuzz for extra saturation. Big, mid-forward, aggressive upper-mids with rolled-off low end.

**NAM Rig Architecture:**

| Path | Model | FX | Usage |
|------|-------|----|-------|
| Clean | `Fender_TwinVerb_Clean.nam` + MXR_M77_Feather (treble boost) | None | Hendrix cleans, Page clean intros |
| Crunch | `JCM2000_Crunch.nam` (gain 30–50%) | None | AC/DC rhythm, Zeppelin rhythm |
| Lead/Boost | TS808_Feather in front of JCM2000 | Slapback delay | Page solos |
| Fuzz | Model Tone Bender / Fuzz Face via Feather or dedicated NAM | None | Hendrix, early Zeppelin |

---

### Led Zeppelin — Jimmy Page

**Guitars:** 1959 Gibson Les Paul Standard (main 1958–1973), 1959 Fender Telecaster (first album), Danelectro 3021, Gibson EDS-1275 double-neck

**Signal Chain:** Guitar → Sola Sound Tone Bender MkII (fuzz) → Vox Cry Baby wah → Maestro Echoplex EP-3 (tape echo) → Marshall Super Lead 1959 100W Plexi → Marshall 4x12 w/ Celestion G12M 25W Greenbacks

**Amp Settings (Marshall Super Lead — bridged channels dimed):**
| Control | Setting |
|---------|---------|
| Volume I | 10 (maxed) |
| Volume II | 10 (maxed) |
| Treble | 8–10 |
| Middle | 5–7 |
| Bass | 2–4 |
| Presence | 7–9 |

**Gain Structure:** Power-amp saturation from full-volume Plexi. Tone Bender fuzz for "How Many More Times." No master volume — all from cranked amp.
**Key EQ:** Mid-forward, aggressive upper-mids, rolled-off low end to stay tight with Les Paul's natural bass.

**NAM Model Recommendations:**
- From existing library: `JCM2000_Crunch.nam` at lower gain as Plexi substitute
- ToneHunt A2 captures to source:
  - "Marshall Plexi Super Lead 1959 - KT66"
  - "Marshall JTM45 Bluesbreaker - Full Crank"
  - "Supro Thunderbolt 1965" (Led Zeppelin I cleans)
  - "Marshall Super Lead 1969 100W - Vintage"

**IR Recommendation:** Marshall 4x12 G12M Greenback, SM57 4" off-center at cone edge. Packs: York Audio Marshall 412 G12M-25 or ML Sound Lab MIK 412 G12M.

**Technique:** Hybrid picking, aggressive right-hand attack. Neck pickup for rhythm, bridge for lead. Double/triple tracking for massive layered sound.

---

### AC/DC — Angus Young

**Guitars:** 1968 Gibson SG Standard ("The Beast"), 1963 Gibson SG Junior (P-90s)

**Signal Chain:** Guitar → Schaffer-Vega Diversity System (wireless + preamp/comp) → Marshall Super Lead 1959 100W Plexi (Jose Arredondo modded) → Marshall 4x12 w/ G12M Greenbacks

**Amp Settings (Marshall 1959 #39 — modded):**
| Control | Setting |
|---------|---------|
| Volume | 8–10 |
| Bass | 0–2 (nearly off) |
| Middle | 5–6 |
| Treble | 5–7 |
| Presence | 5–8 |

**NAM Model Recommendations:**
- From library: `JCM2000_Crunch.nam` — gain ~30%, bass low, mids high
- ToneHunt A2: "Marshall Plexi 1959 - AC/DC Rhythm", "Marshall JTM45 Cranked - 1967", "Jose Marshall Fmod 100W"

**IR:** Marshall 4x12 G12M Greenback, SM57 at center of cone, 4" from grill. York Audio Marshall 412 M25.

**Technique:** Downstrokes only. Volume knob cleans up for A section, cranked for chorus. Neck pickup live, bridge on recordings.

---

### Jimi Hendrix

**Guitars:** 1968 Fender Stratocaster (right-handed flipped, reverse headstock)

**Signal Chain:** Guitar → Dallas Arbiter Fuzz Face (Germanium) → Vox Cry Baby wah → Roger Mayer Octavia → Uni-Vibe → Marshall Super Lead 1959 100W Plexi → Marshall 4x12 w/ G12M Greenbacks

**Amp Settings (Marshall JTM100 / 1959):**
| Control | Setting |
|---------|---------|
| Volume | 10 (dimed) |
| Tone | ~6–7 |
| Presence | 7–9 |
| Bass | 5–6 |
| Middle | 5–7 |
| Treble | 6–8 |

**NAM Model Recommendations:**
- From library: `Fender_TwinVerb_Clean.nam` as clean platform with modeled Fuzz Face. `JCM2000_Crunch.nam` at full gain for Plexi.
- ToneHunt A2: "Marshall Plexi Super Lead - Jimi Hendrix Profile", "Marshall JTM100 Cranked - 1968", "Fuzz Face Germanium - Direct Capture", "Uni-Vibe Rotary Speaker"

**IR:** Marshall 4x12 G12M Greenback, 75Hz resonance. ML Sound Lab MIK 412 G12M or York Audio 412 M25.

**Technique:** Thumb-over-neck F chord (Hendrix grip). Volume knob swells. Wide vibrato, extreme bends.

---

## 2. PUNK

### Genre Summary

Punk tone is about **aggressive, raw midrange** — cranked amps, minimal effects, and aggressive downpicking. Three distinct approaches: Ramones (dimed Plexi, no pedals), Dead Kennedys (RAT into JCM800), Bad Religion (boosted Dual Rectifier + JCM800 dual-amp wall).

| Channel | Model | Boost | Notes |
|---------|-------|-------|-------|
| Ramones | `JCM2000_Crunch.nam` (gain >60%) | None | Bass=0, mids/treble=10 |
| DK | `JCM2000_Crunch.nam` (gain 40%) | SD1_Feather (gain 9:00, level 3:00, tone 9:00) | Simulates RAT's dark distortion |
| Bad Religion | `5150_BlockLetter_Boosted.nam` (gain ~50%) | SD1_Feather (drive 0, level max, tone 12:00) | Or stack JCM2000 + 5150 for dual-amp wall |

---

### Ramones — Johnny Ramone

**Guitars:** Mosrite Ventures II (main 1974–1990)

**Signal Chain:** Guitar → (nothing) → Marshall Super Lead 1959 100W Plexi → Marshall 4x12 w/ G12M Greenbacks

**Amp Settings:** Both channels bridged and dimed. Volume I=10, II=10, Treble=10, Middle=10, Bass=0–2, Presence=10.

**NAM:** "Marshall Plexi Super Lead - Full Tilt", "Marshall JTM45 Cranked - No Master". From library: `JCM2000_Crunch.nam` gain ~60–70%, bass=0, mids/treble full.

**IR:** Marshall 4x12 G12M Greenback, SM57 dead center. York Audio 412 G12M-25.

**Technique:** Downstrokes exclusively. Mosrite single-coil bridge pickup.

---

### Dead Kennedys — East Bay Ray

**Guitars:** 1965 Fender Stratocaster (main), Mosrite Ventures II (early)

**Signal Chain:** Guitar → ProCo RAT (LM308) → MXR Phase 90 → Boss CE-2 Chorus → Marshall JCM800 2203 → Marshall 4x12 w/ G12M Greenbacks

**Amp Settings:** Preamp 4–6, Master 7–8, Bass 3–4, Middle 7–8 (key — counteracts RAT's scoop), Treble 6–7, Presence 5–6.

**NAM:** "Marshall JCM800 2203 - Cranked", "ProCo RAT LM308 - Direct Capture". From library: `JCM2000_Crunch.nam` (gain 40%) + `BOSS_SD1_Feather.nam` (gain low, level high, tone 30%).

**IR:** Marshall 4x12 G12M Greenback, SM57 slightly off-center.

---

### Bad Religion — Brett Gurewitz / Greg Hetson

**Guitars:** Gibson Les Paul / PRS (Brett), Fender Strat HSS / Les Paul (Greg)

**Signal Chain:** Brett: Guitar → Boss SD-1 → Mesa Dual Rectifier (Modern Red) → Mesa 4x12 V30. Greg: Guitar → Boss SD-1 → Marshall JCM800 2203 → Marshall 4x12 G12T-75.

**Amp Settings (Dual Rectifier):** Gain 12:00–2:00, Bass 9:00–10:00, Mid 1:00–3:00 (KEY — not scooped), Treble 1:00–2:00, Presence 11:00–1:00.

**NAM:** "Mesa Dual Rectifier - Modern Red", "Marshall JCM800 2203 - Bad Religion". From library: `5150_BlockLetter_Boosted.nam` (gain ~50%) + `BOSS_SD1_Feather.nam` (drive 0, level max, tone 12:00).

**IR:** Mesa 4x12 V30 (Brett), Marshall 4x12 G12T-75 (Greg). Blend V30 + T75 at 50/50 for single-IR solution.

**Technique:** Two-guitar layering — run two NAM instances (Dual Rec + JCM800) for the wall.

---

## 3. METAL

### Genre Summary

Three distinct metal tones: Sabbath (cranked Laney + treble booster), Metallica (Mark IIC+ with V-scoop + OD boost), Slayer (boosted JCM800 with G12T-75 buzzsaw).

| Channel | Model | Boost/Pre | IR |
|---------|-------|-----------|-----|
| Sabbath | `JCM2000_Crunch.nam` (gain 60–80%) | `MXR_M77_Feather.nam` as treble booster (bass low, treble pushed) | G12H-30 (York Audio 412 G12H-30) |
| Metallica | `5150_BlockLetter_Boosted.nam` (gain ~50%) | `TS808_Feather.nam` (drive 0, level max, tone 12:00) | Mesa V30 (York Audio Mesa 412 V30) |
| Slayer | `JCM2000_Crunch.nam` (gain 70–80%) | `BOSS_SD1_Feather.nam` (drive 2, level 10, tone 2:00) | G12T-75 (York Audio 412 T75) |

---

### Black Sabbath — Tony Iommi

**Guitars:** 1964 Gibson SG Special (P-90s), 1965 Gibson SG Custom (humbuckers)

**Signal Chain:** Guitar → Dallas Rangemaster (treble booster) → Dallas Arbiter Fuzz Face (early years) → Laney LA100BL Supergroup (100W) → Laney 4x12 w/ Celestion G12H-30

**Amp Settings (Laney LA100BL — dimed):** Volume=10, Treble=10, Middle=8–10, Bass=0–2, Presence=7–9.

**NAM:**
- From library: `MXR_M77_Feather.nam` as Rangemaster substitute (bass rolled off, gain moderate) → `JCM2000_Crunch.nam`
- ToneHunt A2: "Laney LA100BL Supergroup - Cranked", "Marshall Super Lead 1959 - Rangemaster Boost", "Dallas Rangemaster Treble Booster - Preamp"

**IR:** Laney 4x12 w/ Celestion G12H-30 — darker, more low-end than Greenbacks. G12H-30 is essential. York Audio 412 G12H-30.

**Technique:** Iommi downtuned (Eb → D → C# standard). Tritone riffs. Three-finger fretting. Light gauge strings (8–38!).

---

### Metallica — James Hetfield

**Guitars:** Gibson Explorer, ESP JH-1/MX-220

**Signal Chain:** Guitar → Maxon OD-808 (clean boost) → Mesa Boogie Mark IIC+ → Mesa 4x12 Straight w/ Celestion V30s

**Amp Settings (Mark IIC+):** Lead Drive=6–7, Lead Master=3–4, Bass=2–3, Middle=3–4, Treble=6–7, Presence=7–8. Graphic EQ V-shape: +6 (80Hz), -6 (240Hz), +3 (750Hz), -9 (2200Hz), +6 (6600Hz).

**NAM:**
- From library: `5150_BlockLetter_Boosted.nam` (gain ~40–50%) + `TS808_Feather.nam` (drive 0, level max, tone 12:00)
- ToneHunt A2: "Mesa Mark IIC+ - Lead Channel", "Mesa Mark IIC+ - Master of Puppets Rhythm", "Fortin Natas - Boosted"

**IR:** Mesa 4x12 Straight w/ V30, SM57 at 1" from grill, edge of cone. York Audio Mesa 412 V30.

**Technique:** Downpicking at extreme speed. Palm muting on bridge. Gallop rhythm: 8th + two 16ths.

---

### Slayer — Kerry King / Jeff Hanneman

**Guitars:** B.C. Rich Warlock/KKW (Kerry), ESP JV-200 (Jeff). Both Floyd Rose.

**Signal Chain:** Both: Guitar → Boss SD-1 (or TS9) → Marshall JCM800 2203 → Marshall 4x12 w/ Celestion G12T-75s

**Amp Settings (JCM800 2203):** Preamp=7–8, Master=7–9, Bass=6–8 (Jeff heavy, Kerry moderate), Middle=5–7, Treble=7–8, Presence=7–8.

**NAM:**
- From library: `JCM2000_Crunch.nam` (gain 70–80%) + `BOSS_SD1_Feather.nam` (drive 2, level 10, tone 2:00). `Engl_Savage.nam` for post-2000 Slayer.
- ToneHunt A2: "Marshall JCM800 2203 - Boosted SD1", "Marshall JCM800 2204 - 50W Slayer Rhythm", "Marshall JCM800 2203 - DIO Modded"

**IR:** Marshall 4x12 w/ G12T-75 — brighter, more aggressive than V30s. SM57 dead center, 1/2" off grill. York Audio 412 T75.

**Technique:** Kerry: downpicking + tremolo picking on low E. Two-guitar layering hard-panned left/right.

---

## 4. HARDCORE

### Genre Summary

Hardcore guitar tone is **aggressive, mid-forward, and raw** — high-gain tube amps boosted with overdrive or distortion pedals. Three approaches: Converge (modded Marshall + Mesa blend with RAT), Hatebreed (5150 tightened with OD808), Minor Threat (JMP + RAT for classic hardcore crunch).

| Channel | Model | Boost | IR |
|---------|-------|-------|-----|
| Converge | Marshall 2204 + Mesa Rec blend | RAT | Greenbacks + V30 blend |
| Hatebreed | 5150/6505+ (gain 6-7) | OD808 (drive 0, level max) | Mesa 4x12 V30 |
| Minor Threat | JMP 2204 (gain 7-8) | RAT (dist 9:00, filter 11:00) | Marshall 1960BV G12M |

---

### Converge — Kurt Ballou

**Guitars:** Gibson Les Paul Custom / ESP Eclipse (.012-.056, D standard)

**Signal Chain:** Guitar -> ProCo RAT (main) -> Boss HM-2 -> ISP Decimator gate -> 70s Marshall Super Lead 100W (GodCity mod) + Mesa Triple Rectifier -> Mesa 4x12 V30 + Marshall 1960BV G12M

**Amp Settings:** Gain 6-7, Bass 5, Mids 7-8, Treble 6, Presence 5. Mid-forward.

**NAM:** "Kurt Ballou Marshall Super Lead", "Mesa Boogie Dual Rec Vintage", "Marshall 2204 RAT". IRs: York Audio 1960BV G12M-25 + Mesa 4x12 V30.

---

### Hatebreed — Wayne Lozinak

**Guitars:** ESP/LTD EC-series (Drop C#/.012-.060)

**Signal Chain:** Guitar -> Maxon OD808 (drive 0, tone 12:00, level max) -> Boss NS-2 gate -> Peavey 5150/6505+ -> Peavey 5150 4x12 slant / Mesa 4x12 V30

**Amp Settings (5150):** Pre-gain 6-7, Low 4-5, Mid 7-8 (surprisingly high), High 6-7, Presence 6-7.

**NAM:** "Peavey 5150 Maxon OD808", "EVH 5153 Stealth". IR: ML Sound Lab Zilla 4x12, OwnHammer 412 MAR CB.

---

### Minor Threat — Lyle Preslar

**Guitars:** Gibson SG Standard

**Signal Chain:** Guitar -> ProCo RAT (dist 9:00, filter 11:00) -> Marshall JMP 50W (2204) -> Marshall 1960A 4x12 G12M Greenbacks

**Amp Settings:** Volume 7-8 (power tube saturation). RAT for distortion.

**NAM:** "Marshall JMP 2204 RAT", "Marshall Plexi 1959 Greenback". IR: York Audio 1960BV G12M-25.

---

## 5. EMO

### Genre Summary

Emo tone splits clean/edge and driven: Fender clean or Vox chime for verses, pushed with Klon/TS for choruses. Mid-forward, articulate, with modulation (chorus/phase).

| Must-Have Models | Must-Have IRs |
|------------------|---------------|
| Fender DeVille, Vox AC30, Fender Twin, Matchless DC30 | AC30 2x12 Blue, Fender Twin JBL, Marshall 1960BV |

---

### Jimmy Eat World - Jim Adkins

**Guitars:** Fender Telecaster (ash/maple)

**Signal Chain:** Guitar -> Klon Centaur (always-on, gain 9:00, output 2:00) -> Ibanez TS9 (leads) -> Boss CE-2 Chorus -> Holy Grail reverb -> Boss DD-3 delay -> Fender Hot Rod DeVille 4x10 / Vox AC30

**Amp Settings:** DeVille clean, vol 4-5, treble 6, mids 5, bass 4, reverb 3. Klon pushes into gentle breakup.

**NAM:** "Fender Hot Rod DeVille clean", "Vox AC30 Top Boost", "Matchless DC30". IR: York Audio AC30 2x12 Blue.

---

### Dashboard Confessional - Chris Carrabba

**Guitars:** Takamine EN-10C / Gibson J-45 acoustic, Fender Telecaster (electric)

**Signal Chain:** Guitar -> Boss CE-2 Chorus -> Boss DD-6 delay -> Fulltone OCD (gain 9:00, LP mode) -> Holy Grail reverb -> Vox AC30 / Fender Twin Reverb

**NAM:** "Vox AC30 Clean", "Fender Twin Reverb clean". IR: York Audio AC30 Blue, OwnHammer 212 VOX-AC CB.

---

### My Chemical Romance - Ray Toro / Frank Iero

**Guitars:** Ray: Gibson Les Paul Custom / PRS CE24. Frank: Epiphone Wilshire / Fender Tele. D Standard/Drop C.

**Signal Chain:** Ray -> Mesa Triple Rectifier (vintage mode). Frank -> Marshall JCM800 2203 (modded). Both plus Vox AC30 (cleans). Dual-amp wall.

**Amp Settings (Dual-amp):** Ray: Recto vintage, gain 5-6, bass 4, mids 6, treble 6, SD-1 boost. Frank: JCM800 preamp 6-7, bass 4, mids 8, treble 7, TS9 boost.

**NAM:** "Mesa Dual Rectifier Vintage", "Marshall JCM800 2203", "Bogner Uberschall". IR: York Audio Mesa 412 V30 + Marshall 1960BV blended.

---

## 6. MIDWEST EMO

### Genre Summary

Clean, bright, compressed Fender tones with heavy use of chorus, phaser, and compressor for the signature "twinkly" clean guitar sound. Capo-heavy, tapping, arpeggiated.

| Must-Have Models | Must-Have IRs |
|------------------|---------------|
| Fender Twin, Fender DeVille, Roland JC-120, JCM800 (low gain) | Fender Twin JBL, Fender 4x10 Jensen, JC-120 |

---

### American Football - Mike Kinsella / Steve Holmes

**Guitars:** Fender Telecaster (Kinsella), Gibson Les Paul / Rickenbacker 360 (Holmes). Capo extensively.

**Signal Chain:** Guitar -> MXR Dyna Comp (always-on) -> Boss CE-2 Chorus -> MXR Phase 90 -> Boss DD-3 delay -> Ibanez TS9 (driven) -> Fender Twin Reverb / Fender Deluxe Reverb / Roland JC-120

**Amp Settings:** Twin volume 4-5, treble 6, mids 4, bass 4, reverb 4. Comp sustain 11:00, attack 2:00.

**NAM:** "Fender Twin Reverb Clean", "Roland JC-120", "Fender Deluxe Reverb". IR: York Audio Fender Twin JBL.

---

### Tiny Moving Parts - Dylan Mattheisen

**Guitars:** Fender Telecaster, capo 5th-7th fret

**Signal Chain:** Guitar -> Boss CS-3 Compressor (always-on, sustain 1:00, attack 3:00) -> EarthQuaker Plumes (mode 1, gain 10:00, level 2:00) -> Boss CE-5 Chorus -> Boss RV-6 reverb -> Fender Hot Rod DeVille 4x10

**NAM:** "Fender HRDx 4x10 Clean", "Fender Twin Reverb". IR: ML Sound Lab Fender 4x10 Super.

---

### Algernon Cadwallader - Peter Helmis

**Guitars:** Fender Telecaster, capo 3rd-7th fret

**Signal Chain:** Guitar -> MXR Dyna Comp (always-on) -> Ibanez TS9 (driven) -> Boss CE-2 Chorus -> Holy Grail reverb -> Fender Hot Rod DeVille 4x10 / Marshall JCM800 (driven)

**NAM:** "Fender Blues DeVille", "Marshall JCM800 2203", "Fender Deluxe Reverb". IR: York Audio Fender Twin JBL + Marshall 1960BV blend.

---

## 7. DJENT

### Genre Summary

Extended-range guitars (7- and 8-string), tight palm-muted chugs, high-gain preamp with boost pedal tightening the low end. Noise gate always on. Modern high-gain IRs with V30 speakers.

| Band | Amp | Boost | IR |
|------|-----|-------|-----|
| Meshuggah | Fractal Axe-Fx / Randall Warhead | Boss HM-2 (modded) | Mesa OS 4x12 V30 |
| Periphery | Mesa Mark V / EVH 5150 III | Precision Drive / OD808 | Mesa 4x12 OS V30 |
| TesseracT | Fractal Axe-Fx / ENGL Powerball | OD808 | Mesa OS 4x12, Bogner Uberkab |

---

### Meshuggah

**Guitars:** Ibanez 8-string custom (28.75" scale), tuned F#-B-E-A-d-g-b-e

**Signal Chain:** Guitar -> Fractal Axe-Fx II/III (amp sim + cab sim) -> FOH. Historically: Boss HM-2 -> Randall Warhead -> Randall 4x12

**Key Settings:** Gain 5-7/10, Bass 3-4, Mids 6-7, Treble 6-8, Presence 7-8. Tight threshold noise gate. Tube screamer boost tightens low end.

**NAM:** "Fractal Axe-Fx III 5150", "Randall Warhead", "Boss HM-2 into clean amp". IR: Mesa OS 4x12 V30, York Audio Mesa 412 OS.

---

### Periphery — Misha Mansoor

**Guitars:** PRS, Ibanez, Strandberg 7-string (various drop tunings)

**Signal Chain:** Guitar -> Horizon Precision Drive / OD808 (drive 0, level 10, tone 11:00) -> Mesa Mark V (IIC+ mode) / EVH 5150 III -> Mesa 4x12 V30

**Amp Settings (Mark V, IIC+ mode):** Gain 5-7, Bass 4, Mids 5-6, Treble 6-7, Presence 5-6. Graphic EQ: V-shape with cut at 240Hz, boost at 750Hz and 6kHz.

**NAM:** "Mesa Mark V IIC+", "EVH 5150 III Stealth", "Horizon Precision Drive into 5150". IR: OwnHammer 412 MDRN, Mesa 412 OS.

---

### TesseracT

**Guitars:** Ibanez, Strandberg, Mayones 7- and 8-string

**Signal Chain:** Guitar -> Fractal Axe-Fx III (amp+cab sim). Previously: Mesa Dual Rectifier, ENGL Powerball.

**Key Settings:** Amp block modeled on EVH 5153 or PVH 6160. Gain 4-6, Bass 4-5, Mids 5-6 (less scooped), Treble 6-7, Presence 4-5. Bass cut around 80Hz.

**NAM:** "ENGL Powerball II", "Mesa Dual Rectifier (modern)", "EVH 5150 III 50W", "Fractal PVH 6160 Block". IR: Mesa OS 4x12 V30, ENGL 4x12 V30, OwnHammer 412 OS.

**ToneHunt tags:** djent, modern metal, 8-string, 7-string, 5150, Mark V, Rectifier, Fractal

---

## 8. ACOUSTIC

### Genre Summary

Acoustic instruments don't use traditional guitar cabs. For NAM modeling on the pi-multifx-pedal: use **DI preamp captures** (Neve 1073, API 512c, AER Compact 60) and **room IRs** instead of cab IRs. Minimal compression and reverb.

| Artist | Primary | Signal Path |
|--------|---------|-------------|
| Simon & Garfunkel | Martin D-28 | Neumann U47 -> Neve console -> tape |
| Nick Drake | Martin 0-18 | Neumann U67 -> tape |
| John Fahey | Martin 0-18 | RCA 44 ribbon -> tube console -> tape |

---

### Simon & Garfunkel — Paul Simon

**Guitars:** Martin D-28 (dreadnought), Martin 0-18, Guild F-30, Ramirez classical

**Studio Chain:** Martin D-28 -> Neumann U47 -> Neve console -> tape. No amplification — all purely acoustic recording.

**NAM:** DI preamp captures: "Neve 1073 DI", "API 512c DI", "LA-2A compressor". Room IR for natural ambience.

---

### Nick Drake

**Guitars:** Martin 0-18 (1950s), Levin Goliath

**Studio Chain:** Martin 0-18 -> Neumann U67 or AKG C24 stereo pair -> tape. Dark, intimate, close-miked.

**NAM:** "Neumann U67 preamp", "Neve 1073 preamp", "Fairchild 670 compressor", "Studer A800 tape saturation".

---

### John Fahey

**Guitars:** Martin 0-18, Martin 00-18, Gibson J-45

**Studio Chain:** Martin -> RCA 44 ribbon mic or Neumann U47 -> tube console -> tape. Fingerpicks (metal), alternate tunings.

**NAM:** "RCA 44 ribbon mic preamp", "Universal Audio 610 preamp", "Pultec EQP-1A EQ", "Tape saturation (Studer/Ampex)".

**IR:** Room IRs, church/hall IR, plate reverb IR. No cab.

**ToneHunt tags:** acoustic DI, preamp, tube preamp, Neve, API, ribbon mic, studio preamp

---

## 9. GRUNGE

### Genre Summary

Raw, unpolished — fuzz/distortion into overdriven tube amp. Heavy midrange (NOT scooped). Drop D tunings common. Wah, phaser, chorus for atmosphere.

| Path | Model | FX | Usage |
|------|-------|----|-------|
| Clean | `Vox_AC15_TopBoost.nam` or `Fender_TwinVerb_Clean.nam` | Chorus | Nirvana verses |
| Crunch/Fuzz | `JCM2000_Crunch.nam` (gain 60%) + Big Muff | Phase 90 | Soundgarden, AIC rhythm |
| Lead | `5150_BlockLetter_Boosted.nam` (gain 50%) | Wah, slapback delay | Solos |

---

### Nirvana — Kurt Cobain

**Guitars:** Fender Mustang, Fender Jag-Stang, Univox Hi-Flier

**Signal Chain:** Guitar -> Boss DS-2 (dist max, tone 7-9) / EHX Big Muff Pi -> Vox AC30 (Top Boost) -> 2x12 combo

**Amp Settings:** AC30 volume cranked 8-10, Treble 6-8, Bass 5-6, Cut 4-5.

**NAM:** "Vox AC30 Top Boost", "Vox AC30 Big Muff" (combined capture ideal), "Boss DS-2 into AC30". From library: `Vox_AC15_TopBoost.nam`.

**IR:** Vox AC30 2x12 Blue Alnico. York Audio AC30 Blue. Marshall Greenbacks for later era.

**Technique:** Fizzy, woolly distortion. Mustang bridge pickup. Loose low end intentionally.

---

### Soundgarden — Kim Thayil

**Guitars:** Guild S-100, Gibson SG. Drop C# / open D tunings.

**Signal Chain:** Guitar -> Ibanez TS9 (boost) -> Boss DS-1 / Big Muff -> Mesa Dual Rectifier (Modern) -> Mesa OS 4x12 V30

**Amp Settings:** Gain 6-7, Bass 6-7, Mids 5-6, Treble 6-7, Presence 5-6. TS9 (drive 0, level 10).

**NAM:** "Mesa Dual Rectifier (Modern)", "Marshall JCM800 2203", "Ibanez TS9 into Dual Rectifier". IR: York Audio Mesa 412 OS.

---

### Alice in Chains — Jerry Cantrell

**Guitars:** G&L Rampage, Gibson Les Paul Custom

**Signal Chain:** Guitar -> MXR Micro Amp (clean boost) -> Dunlop Crybaby wah -> MXR Phase 90 -> Bogner Fish preamp -> Marshall power amp -> Marshall 4x12 Greenbacks

**Amp Settings (Bogner Fish):** Gain 6-8, Bass 6, Mids 7-8 (very high!), Treble 5-6, Presence 4-5.

**NAM:** "Bogner Fish preamp", "Marshall JCM800 2203", "Mesa Mark III lead", "Soldano SLO-100". IR: Marshall 4x12 Greenbacks. York Audio Marshall 412 Greenback.

**Technique:** Dark, thick, heavy "sludge" tone. Mid-forward. Drop D tuning. Wah used as filter.

**ToneHunt tags:** grunge, 90s, vox ac30, dual rectifier, bogner, soldano, big muff, marshall jcm800

---

## 10. ALTERNATIVE ROCK

### Genre Summary

Dynamic contrast — shifting between clean, jangly verses and explosive, distorted choruses. Guitars used texturally: chiming cleans, wall-of-fuzz distortion, arpeggiated delay washes. Spans Vox chime, Marshall crunch, and Mesa high-gain.

| Path | Model | FX | Usage |
|------|-------|----|-------|
| Clean/Jangle | `Fender_TwinVerb_Clean.nam` or `Vox_AC15_TopBoost.nam` | Comp, subtle chorus | Radiohead verses, Pixies surf-clean |
| Crunch | `JCM2000_Crunch.nam` (gain 40-50%) | Boost/OD | Smashing Pumpkins rhythm, Pixies verses |
| Distorted | `Orange_Rockerverb.nam` or `JCM900_Lead.nam` | Fuzz (Big Muff), RAT | Pumpkins wall, Pixies chorus |
| Lead | As above + MXR_M77_Feather or TS808_Feather | Delay, reverb | Solos, atmospheric leads |

---

### Radiohead — Jonny Greenwood / Ed O'Brien

**Guitars:** Jonny: Fender Telecaster Plus (lace sensors), Fender Starcaster, Jazzmaster. Ed: Fender Tele Deluxe (wide-range humbuckers).

**Signal Chain (Jonny):** Tele -> Ross Compressor (always-on) -> ProCo RAT -> DOD 440 Envelope Filter -> EHX Small Stone Phaser -> DigiTech Whammy -> Marshall ShredMaster -> Vox AC30 (Top Boost) -> 2x12 cab

**Signal Chain (Ed):** Tele Deluxe -> Boss SD-1 (boost) -> Line 6 DL4 (delay/loop) -> EHX Holy Grail -> Boss RE-20 Space Echo -> Vox AC30 / Fender Twin

**Amp Settings (Vox AC30):** Top Boost Volume 5-6, Treble 7-8, Bass 4-5, Cut 4-5, Reverb 2-3.

**NAM:**
- From library: `Vox_AC15_TopBoost.nam` for AC30 clean/pushed (pair with Ross Comp simulation), `Fender_TwinVerb_Clean.nam` for Ed's clean, `JCM2000_Crunch.nam` for ShredMaster at gain ~50-60%, `BOSS_SD1_Feather.nam` as clean boost.
- ToneHunt A2: "Vox AC30 Top Boost - Compressed Clean", "Marshall ShredMaster - Distortion", "ProCo RAT LM308 - Vintage", "Ross Compressor - Studio", "DOD 440 Envelope Filter", "Small Stone Phaser - Vintage"

**IR:** Vox AC30 2x12 Celestion Blue AlNiCo. York Audio Vox AC30 Blue.

**Technique:** Ross Compressor always-on (non-negotiable). Whammy for melodic pitch shifts. Ed's looping on DL4.

---

### Smashing Pumpkins — Billy Corgan

**Guitars:** 1975 Gibson Les Paul Custom (DiMarzio Super Distortion bridge)

**Signal Chain:** Les Paul -> EHX Op-Amp Big Muff Pi -> Marshall ShredMaster -> Boss CS-2 Comp -> EHX Small Clone Chorus -> MXR Phase 90 -> A/DA Flanger -> Marshall JCM800 2203 (cranked) -> Marshall 4x12 G12M Greenbacks

**Amp Settings (JCM800 2203):** Preamp 8-10, Master 5-7, Bass 3-4, Middle 7-8 (not scooped!), Treble 6-7, Presence 7-8.

**NAM:**
- From library: `JCM2000_Crunch.nam` (gain 80-90%), `JCM900_Lead.nam` for later albums, `Fender_TwinVerb_Clean.nam` for clean intros, `Mesa_MarkIV_Lead.nam` (Adore era).
- ToneHunt A2: "EHX Op-Amp Big Muff Pi - Direct Capture" (ESSENTIAL), "Marshall JCM800 2203 - Cranked with Big Muff", "EHX Small Clone Chorus - Vintage", "A/DA Flanger - Vintage", "Boss CS-2 Comp - Sustain Mode"

**IR:** Marshall 4x12 G12M Greenbacks. Greenbacks essential. York Audio 412 G12M-25.

**Technique:** Dozens of layered guitar tracks for the wall. Big Muff: Volume=2:00, Tone=12:00-1:00, Sustain=3:00. Aggressive downstrokes with 2mm pick.

---

### Pixies — Joey Santiago / Frank Black

**Guitars:** Joey: 1965 Fender Jaguar (main). Frank: Fender Telecaster.

**Signal Chain (Joey):** Jaguar -> ProCo RAT (dist 10:00-11:00, filter rolled back) -> Marshall JCM800 2203/2204 -> Marshall 4x12 G12M Greenbacks

**Signal Chain (Frank):** Tele -> direct into Fender Twin Reverb (clean, spring reverb)

**Amp Settings (JCM800):** Preamp 6-7, Master 7-8, Bass 3-4, Middle 7-8, Treble 6-7, Presence 5-6.

**NAM:**
- From library: `Fender_TwinVerb_Clean.nam` for Frank's surf-clean, `JCM2000_Crunch.nam` (gain 50-60%), `BOSS_SD1_Feather.nam` as RAT sub (drive low, level high, tone 9:00).
- ToneHunt A2: "ProCo RAT - Low Gain - Filter Rolled Back" (essential), "Marshall JCM800 2204 - 50W Medium Gain", "Fender Twin Reverb - Surf Clean", "Fender Twin Reverb - Spring Reverb Cranked"

**IR:** Marshall 4x12 G12M Greenback (Joey), Fender Twin 2x12 JBL (Frank).

**Technique:** Loud-Quiet-Loud dynamic. Joey's Jaguar on bridge pickup. No chorus/flanger — dry and direct. Slapback delay for surf feel.

**ToneHunt tags:** alternative rock, 90s alternative, vox ac30, marshall jcm800, fender twin, big muff opamp, radiohead, smashing pumpkins, pixies

---

## 11. GARAGE ROCK

### Genre Summary

Raw, stripped-down, lo-fi aesthetic. Vintage gear, minimal signal chains, dimed small amps. Philosophy: less is more. Cheap pawn-shop guitars, vintage amps cranked, fuzz pedals for color. Small-speaker cabs (1x8, 1x10, 1x12).

| Path | Model | FX | Usage |
|------|-------|----|-------|
| Clean/Breakup | `Fender_TwinVerb_Clean.nam` or `Vox_AC15_TopBoost.nam` | None or light reverb | White Stripes rhythm, Strokes verses |
| Fuzz | `Orange_Rockerverb.nam` (cranked) or Fuzz Face NAM | Octave fuzz | White Stripes main, Black Keys |
| Crunch | `JCM2000_Crunch.nam` (gain 40-60%) | TS808 boost | Strokes leads, Black Keys rhythm |

---

### The White Stripes — Jack White

**Guitars:** 1964 Montgomery Ward Airline "JB Hutto" res-o-glass (fiberglass, single pickup)

**Signal Chain:** Guitar -> MXR Micro Amp (clean boost) / Dunlop Fuzz Face (Germanium) -> Fender Twin Reverb (dimed!)

**Amp Settings (Fender Twin):** Volume=10 (DIMED!), Treble=10, Bass=4-5, Reverb=2-3. NO effects loop.

**NAM:**
- From library: `Fender_TwinVerb_Clean.nam` pushed hard with `MXR_M77_Feather.nam` or `Precision_Drive_Feather.nam` as clean boost (set to high level).
- ToneHunt A2: "Fender Twin Reverb - Dimed - Power Tube Saturation" (ESSENTIAL), "Dunlop Fuzz Face Germanium - Gated", "DigiTech Whammy - Octave Down", "MXR Micro Amp - Clean Boost", "Airline Res-O-Glass - Bridge Pickup DI"

**IR:** Fender Twin Reverb 2x12 combo — NOT a separate cab. York Audio Fender Twin JBL.

**Technique:** Dimed Twin Reverb. Thin guitar picks (~0.5mm). Guitar volume knob is the control. No distortion pedals (except fuzz).

---

### The Strokes — Albert Hammond Jr. / Nick Valensi

**Guitars:** Nick: Epiphone Riviera P-94 (semi-hollow). Albert: Fender Stratocaster.

**Signal Chain (Nick):** Riviera -> JHS Angry Charlie (Marshall-in-a-box) / ProCo RAT -> Fender Hot Rod DeLuxe 1x12

**Signal Chain (Albert):** Strat -> Boss DS-1 (dist low, level high) / MXR Distortion+ -> Fender Hot Rod DeLuxe 1x12

**Amp Settings (HRDlx):** Volume 4-5 (edge of breakup), Treble 6-7, Middle 6-7, Bass 4-5, Reverb 2-3.

**NAM:**
- From library: `Fender_TwinVerb_Clean.nam` (HRDlx approximation), `JCM2000_Crunch.nam` (Angry Charlie = Marshall-in-a-box), `TS808_Feather.nam` as OD boost.
- ToneHunt A2: "Fender Hot Rod DeLuxe - Edge of Breakup" (essential), "JHS Angry Charlie V3", "Boss DS-1 - Low Gain Boost Mode", "Epiphone Riviera P-94 - Bridge Pickup DI"

**IR:** Fender Hot Rod DeLuxe 1x12 Celestion G12P-80. NOT a 4x12 sound! York Audio 112 Deluxe Reverb.

**Technique:** Nick: barre chords, lower register riffs. Albert: single-note arpeggios, upper register. Overdrives as boosts into cleanish amp.

---

### The Black Keys — Dan Auerbach

**Guitars:** 1960s Silvertone 1423 (single pickup), Harmony Silhouette, Gibson Les Paul Junior (P-90)

**Signal Chain (early):** Silvertone -> direct into small dimed amp (Ampeg Jet J-12 / Silvertone 1481 1x8 / Fender Tremolux). No pedals.

**Signal Chain (modern):** Les Paul -> Boss SD-1 (drive 2-3, level max) / Fulltone OCD (LP mode) -> Fender Tremolux

**Amp Settings (Ampeg Jet):** Volume 7-8 (cranked), Treble 7-8, Bass 4-5.

**NAM:**
- From library: `Fender_TwinVerb_Clean.nam` for modern tones, `JCM2000_Crunch.nam` for bigger sound (pair with 1x12 IR), `BOSS_SD1_Feather.nam` (drive 2, level 10, tone 12:00).
- ToneHunt A2: "Fender Tremolux 6G6-B - Dimed" (essential), "Ampeg Jet J-12 - Cranked", "Silvertone 1481 - 5W Cranked", "Fulltone OCD V2 - LP Mode", "Silvertone 1423 - Bridge Pickup DI"

**IR:** Small 1x8 or 1x12 combo. NOT 4x12! Silverton 1481 1x8, Ampeg Jet 1x12, Fender Tremolux 2x10.

**Technique:** Small amps cranked = the formula. Picking dynamics control gain. Slide guitar in open tunings. Heavy pick attack.

**ToneHunt tags:** garage rock, garage revival, dimed, fender tremolux, silvertone, ampeg jet, fuzz face germanium, small wattage

---

## 12. POP

### Genre Summary

Textural and supportive — guitar is one element in a dense, produced arrangement. Clean tones dominate with heavy compression, chorus, and reverb. Drive used sparingly for color. DI preamp captures often more relevant than amp captures.

| Path | Model | FX | Usage |
|------|-------|----|-------|
| Clean Shimmer | `Fender_TwinVerb_Clean.nam` or `Vox_AC15_TopBoost.nam` | Comp, chorus, reverb | Taylor Swift, Paramore verses |
| Edge/Breakup | `Magnatone_Super59_Pushed.nam` or `JCM2000_Clean.nam` | Subtle drive, studio reverb | Paramore pop-punk, Billie Eilish layers |
| Lead/Solo | `JCM2000_Crunch.nam` (gain 30-40%) | Boost, delay | Paramore solos, pop rock choruses |

---

### Taylor Swift

**Guitars:** Acoustic: Martin D-28, Gibson J-45. Electric: Fender Telecaster, Fender Stratocaster, Gibson ES-335.

**Studio Chain:** Tele -> Universal Audio Apollo (Neve preamp) -> LA-2A/1176 compressor -> Amp sim (Fender Twin / Vox AC30) -> EMT 140 Plate reverb

**Amp Settings (Fender Twin):** Volume 3-4 (clean, no breakup), Treble 5-6, Middle 4-5, Bass 4-5, Reverb 2-3.

**NAM:**
- From library: `Fender_TwinVerb_Clean.nam`, `Fender_TwinVerb_Vibrato.nam`, `Vox_AC15_TopBoost.nam`, `Magnatone_Super59_Pushed.nam`.
- ToneHunt A2: "Fender Twin Reverb - Clean Studio Compressed", "Neve 1073 DI - Preamp", "LA-2A - Optical Compressor", "EMT 140 Plate Reverb", "Roland JC-120 - Jazz Chorus Clean", "Acoustic DI - Martin D-28 Pure Direct"

**IR:** Fender Twin 2x12 JBL, boutique-1x12, vintage-1x12. Room IRs for acoustic.

---

### Billie Eilish — Finneas

**Guitars:** Acoustic: Gibson J-45, Martin D-28. Electric: Fender Telecaster, Gibson ES-335 (occasional).

**Studio Chain:** Guitar -> Universal Audio Apollo (Neve preamp) -> Logic Pro X (compressors, Space Designer reverb). Distortion almost never used.

**NAM:**
- From library: `Fender_TwinVerb_Clean.nam`, `Vox_AC15_TopBoost.nam`, `Magnatone_Super59_Pushed.nam`.
- ToneHunt A2: "Neve 1073 DI - Preamp" (essential), "LA-2A - Optical Compressor", "Strymon BigSky - Cloud Reverb", "Eventide H9 - Blackhole Reverb", "Studer A800 - Tape Saturation", "Roland JC-120 - Stereo Chorus", "EHX Mel9 - Tape Clavinet"

**IR:** Room IRs, vintage-1x12 or boutique-1x12 for generic polished sound. No cab for Billie — DI + space.

**Technique:** Guitar as texture. Reverse reverb signature. Extreme dynamic control. Sub-bass from synth, not guitar.

---

### Paramore — Taylor York / Josh Farro

**Guitars (Josh Farro — Pop-Punk era):** Gibson Les Paul Standard (humbuckers)

**Guitars (Taylor York — Modern):** Fender Tele Deluxe (wide-range humbuckers), Fender Jazzmaster, Fender Bass VI

**Signal Chain (Josh — Pop-Punk):** Les Paul -> Ibanez TS9 (drive 10:00, level 2:00) -> Mesa Dual Rectifier (vintage mode) -> Mesa 4x12 V30

**Signal Chain (Taylor — Modern):** Tele Deluxe -> Strymon Deco (saturation + doubletrack) -> Chase Bliss Warped Vinyl -> Fender Twin Reverb (clean)

**Amp Settings (Mesa Rectifier — Josh):** Gain 5-6, Bass 4-5, Middle 5-6, Treble 5-6, Presence 4-5. TS9 boost.

**NAM (Pop-Punk):** "Mesa Dual Rectifier - Vintage - TS9 Boost", "Marshall JCM800 2203 - Pop Punk". From library: `5150_BlockLetter_Boosted.nam` (gain 40-50%) + `TS808_Feather.nam`, `6505_Red_NoBoost.nam`.

**NAM (Modern):** `Fender_TwinVerb_Clean.nam`, `Vox_AC15_TopBoost.nam`, `Magnatone_Super59_Pushed.nam`. ToneHunt A2: "Fender Jazzmaster - Neck Pickup Clean", "Strymon Deco - Saturation + Doubletrack", "Fender Bass VI - Direct", "Boss CE-2 Chorus - Vintage", "Roland JC-120 - Stereo Chorus"

**IR (Pop-Punk):** Mesa 4x12 V30. **IR (Modern):** Fender Twin 2x12, Vox AC30 2x12 Blue.

**ToneHunt tags:** pop, pop rock, clean electric, studio compressor, la2a, neve preamp, plate reverb, fender twin, paramore, taylor swift

---

## NAM Download Priorities

### Models to Source from ToneHunt (A2)

Based on gaps identified across all 12 genres, prioritize these captures:

| Priority | Model Capture | Genres | Notes |
|----------|---------------|--------|-------|
| 1 | Fender Twin Reverb - Clean Studio Compressed | Alt, Pop, Midwest Emo | Universal clean platform |
| 2 | Marshall Plexi Super Lead 1959 - Cranked | Classic Rock, Punk | Core rock sound |
| 3 | Vox AC30 Top Boost - Edge of Breakup | Alt, Grunge, Emo | Chime and crunch |
| 4 | EHX Op-Amp Big Muff Pi | Alt (Pumpkins), Grunge | Essential for these genres |
| 5 | ProCo RAT - Vintage LM308 | Alt (Pixies), Hardcore, Punk | Versatile distortion |
| 6 | Mesa Boogie Dual Rectifier - Modern | Metal, Hardcore, Djent | High-gain standard |
| 7 | Marshall JCM800 2203 - Boosted | Metal (Slayer), Punk | Thrash buzzsaw |
| 8 | Fender Twin Reverb - Dimed | Garage Rock (White Stripes) | Unique sound |
| 9 | Neve 1073 DI - Preamp | Pop, Acoustic | Studio recording standard |
| 10 | Fender Hot Rod DeLuxe - Edge of Breakup | Garage Rock (Strokes) | 1x12 combo character |

### IRs to Source

| Priority | IR Pack | Genres | Notes |
|----------|---------|--------|-------|
| 1 | York Audio Vox AC30 Blue | Alt, Grunge, Emo | Core chime cab |
| 2 | York Audio Marshall 412 G12M-25 | Classic Rock, Punk, Alt | Greenback standard |
| 3 | York Audio Mesa 412 V30 | Metal, Hardcore, Djent | V30 modern metal |
| 4 | York Audio Fender Twin JBL | Pop, Alt, Garage, Midwest Emo | Clean Fender sparkle |
| 5 | York Audio 412 G12H-30 | Metal (Sabbath) | Essential for Iommi |
| 6 | York Audio 412 T75 | Metal (Slayer) | Thrash buzzsaw cab |
| 7 | York Audio 112 Deluxe Reverb | Garage Rock (Strokes) | 1x12 combo character |

### Existing Library Adequacy

| Genre | Adequacy | Key Existing Models |
|-------|----------|---------------------|
| Classic Rock | Good | JCM2000_Crunch, TS808_Feather, MXR_M77_Feather |
| Punk | Good | 5150_BlockLetter_Boosted, JCM2000_Crunch, BOSS_SD1_Feather |
| Metal | Good | 5150, 6505, Engl_Savage, Splawn_ProMod, TS808_Feather |
| Hardcore | Adequate | 5150, BOSS_SD1_Feather (needs RAT capture) |
| Emo | Adequate | Fender_TwinVerb_Clean, Vox_AC15_TopBoost (needs DeVille) |
| Midwest Emo | Adequate | Fender_TwinVerb_Clean (needs JC-120) |
| Djent | Weak | 5150, Engl_Savage (needs Mark V/5150 III captures) |
| Acoustic | Weak | None suitable — needs DI preamp captures |
| Grunge | Good | Vox_AC15_TopBoost, Fender_TwinVerb_Clean, 5150 |
| Alternative Rock | Adequate | JCM2000_Crunch, Vox_AC15, Fender_Twin (needs Big Muff) |
| Garage Rock | Adequate | Fender_TwinVerb_Clean, MXR_M77_Feather (needs small-amp captures) |
| Pop | Good | Fender_TwinVerb_Clean, Vox_AC15_TopBoost (clean platform covered) |

---

## RPi 4B Performance Summary

| Genre | Typical Model Size | Avg Models per Preset | DSP Needs | RPi Load |
|-------|-------------------|----------------------|-----------|----------|
| Classic Rock | 3-8 MB | 1-2 (amp + boost) | Slapback delay | Low |
| Punk | 3-8 MB | 1-2 (amp + boost) | None | Low |
| Metal | 5-10 MB | 2 (amp + boost) | Noise gate | Medium |
| Hardcore | 3-8 MB | 2 (amp + boost) | Noise gate | Low-Med |
| Emo | 3-6 MB | 1-2 (clean + boost) | Chorus/reverb | Low |
| Midwest Emo | 3-6 MB | 1 (clean) | Comp/chorus/phase | Low |
| Djent | 8-15 MB | 2 (amp + boost) | Noise gate | Medium-High |
| Acoustic | 1-3 MB | 1 (DI preamp) | Reverb | Very low |
| Grunge | 5-10 MB | 2 (amp + fuzz) | Phase/wah | Medium |
| Alternative | 3-8 MB | 2-3 (amp + fuzz/boost) | Mod (phaser, chorus) | Medium |
| Garage Rock | 2-5 MB | 1-2 (dimed amp + boost) | None to minimal | Low |
| Pop | 2-5 MB | 1 (clean amp) | Comp/reverb/chorus | Very low |



