feat(nam): download 10 new A2 models for bass, orange, and other missing categories
Bank 7 — Bass: Ampeg PF20T, Aguilar Tone Hammer 500, GK 800RB (Gallien-Krueger), Aguilar DB751 Bank 7 — Orange: Orange Rocker 30 Dirty + Natural Bank 7 — Others: Fender Bassman dimed, Hiwatt DR103 Bright + Cornish, Supro Black Magick M3 All SlimmableContainer v0.7.0, ~287-295 KB, verified JSON. Also fixed Bank 2 Tone3000 storage keys to include .nam extension (Tone3000 changed URL format). Inventory updated: 54 → 64 total models.
This commit is contained in:
@@ -0,0 +1,835 @@
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# Genre Tones & NAM Model Sourcing — Complete Reference
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**Project:** pi-multifx-pedal (Raspberry Pi 4B)
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**Generated:** 2026-06-13
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**Format:** All NAM models should be Architecture 2 (WaveNet) unless noted.
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**Target:** Feather/small class models (< 10 MB) for real-time RPi 4B inference.
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---
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## Overview
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This document covers 12 core genres plus Blues (Bank 12, documented separately in `docs/blues-genre-research.md`). For each genre:
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- 2–3 iconic bands that define the sound
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- Their guitar gear (amp, cab, pedals)
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- Key settings (gain structure, EQ, effects)
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- NAM A2 captures to source from ToneHunt/tone3000.com
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- Cabinet IR recommendations
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- Mapping to existing models in the pedal's library
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---
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## 1. CLASSIC ROCK
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### Genre Summary
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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.
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**NAM Rig Architecture:**
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| Path | Model | FX | Usage |
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|------|-------|----|-------|
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| Clean | `Fender_TwinVerb_Clean.nam` + MXR_M77_Feather (treble boost) | None | Hendrix cleans, Page clean intros |
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| Crunch | `JCM2000_Crunch.nam` (gain 30–50%) | None | AC/DC rhythm, Zeppelin rhythm |
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| Lead/Boost | TS808_Feather in front of JCM2000 | Slapback delay | Page solos |
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| Fuzz | Model Tone Bender / Fuzz Face via Feather or dedicated NAM | None | Hendrix, early Zeppelin |
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---
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### Led Zeppelin — Jimmy Page
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**Guitars:** 1959 Gibson Les Paul Standard (main 1958–1973), 1959 Fender Telecaster (first album), Danelectro 3021, Gibson EDS-1275 double-neck
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**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
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**Amp Settings (Marshall Super Lead — bridged channels dimed):**
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| Control | Setting |
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|---------|---------|
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| Volume I | 10 (maxed) |
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| Volume II | 10 (maxed) |
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| Treble | 8–10 |
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| Middle | 5–7 |
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| Bass | 2–4 |
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| Presence | 7–9 |
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**Gain Structure:** Power-amp saturation from full-volume Plexi. Tone Bender fuzz for "How Many More Times." No master volume — all from cranked amp.
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**Key EQ:** Mid-forward, aggressive upper-mids, rolled-off low end to stay tight with Les Paul's natural bass.
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**NAM Model Recommendations:**
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- From existing library: `JCM2000_Crunch.nam` at lower gain as Plexi substitute
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- ToneHunt A2 captures to source:
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- "Marshall Plexi Super Lead 1959 - KT66"
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- "Marshall JTM45 Bluesbreaker - Full Crank"
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- "Supro Thunderbolt 1965" (Led Zeppelin I cleans)
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- "Marshall Super Lead 1969 100W - Vintage"
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**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.
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**Technique:** Hybrid picking, aggressive right-hand attack. Neck pickup for rhythm, bridge for lead. Double/triple tracking for massive layered sound.
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---
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### AC/DC — Angus Young
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**Guitars:** 1968 Gibson SG Standard ("The Beast"), 1963 Gibson SG Junior (P-90s)
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**Signal Chain:** Guitar → Schaffer-Vega Diversity System (wireless + preamp/comp) → Marshall Super Lead 1959 100W Plexi (Jose Arredondo modded) → Marshall 4x12 w/ G12M Greenbacks
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**Amp Settings (Marshall 1959 #39 — modded):**
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| Control | Setting |
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|---------|---------|
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| Volume | 8–10 |
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| Bass | 0–2 (nearly off) |
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| Middle | 5–6 |
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| Treble | 5–7 |
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| Presence | 5–8 |
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**NAM Model Recommendations:**
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- From library: `JCM2000_Crunch.nam` — gain ~30%, bass low, mids high
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- ToneHunt A2: "Marshall Plexi 1959 - AC/DC Rhythm", "Marshall JTM45 Cranked - 1967", "Jose Marshall Fmod 100W"
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**IR:** Marshall 4x12 G12M Greenback, SM57 at center of cone, 4" from grill. York Audio Marshall 412 M25.
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**Technique:** Downstrokes only. Volume knob cleans up for A section, cranked for chorus. Neck pickup live, bridge on recordings.
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---
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### Jimi Hendrix
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**Guitars:** 1968 Fender Stratocaster (right-handed flipped, reverse headstock)
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**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
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**Amp Settings (Marshall JTM100 / 1959):**
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| Control | Setting |
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|---------|---------|
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| Volume | 10 (dimed) |
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| Tone | ~6–7 |
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| Presence | 7–9 |
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| Bass | 5–6 |
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| Middle | 5–7 |
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| Treble | 6–8 |
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**NAM Model Recommendations:**
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- From library: `Fender_TwinVerb_Clean.nam` as clean platform with modeled Fuzz Face. `JCM2000_Crunch.nam` at full gain for Plexi.
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- ToneHunt A2: "Marshall Plexi Super Lead - Jimi Hendrix Profile", "Marshall JTM100 Cranked - 1968", "Fuzz Face Germanium - Direct Capture", "Uni-Vibe Rotary Speaker"
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**IR:** Marshall 4x12 G12M Greenback, 75Hz resonance. ML Sound Lab MIK 412 G12M or York Audio 412 M25.
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**Technique:** Thumb-over-neck F chord (Hendrix grip). Volume knob swells. Wide vibrato, extreme bends.
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---
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## 2. PUNK
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### Genre Summary
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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).
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| Channel | Model | Boost | Notes |
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|---------|-------|-------|-------|
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| Ramones | `JCM2000_Crunch.nam` (gain >60%) | None | Bass=0, mids/treble=10 |
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| DK | `JCM2000_Crunch.nam` (gain 40%) | SD1_Feather (gain 9:00, level 3:00, tone 9:00) | Simulates RAT's dark distortion |
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| 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 |
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---
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### Ramones — Johnny Ramone
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**Guitars:** Mosrite Ventures II (main 1974–1990)
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**Signal Chain:** Guitar → (nothing) → Marshall Super Lead 1959 100W Plexi → Marshall 4x12 w/ G12M Greenbacks
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**Amp Settings:** Both channels bridged and dimed. Volume I=10, II=10, Treble=10, Middle=10, Bass=0–2, Presence=10.
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**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.
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**IR:** Marshall 4x12 G12M Greenback, SM57 dead center. York Audio 412 G12M-25.
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**Technique:** Downstrokes exclusively. Mosrite single-coil bridge pickup.
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---
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### Dead Kennedys — East Bay Ray
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**Guitars:** 1965 Fender Stratocaster (main), Mosrite Ventures II (early)
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**Signal Chain:** Guitar → ProCo RAT (LM308) → MXR Phase 90 → Boss CE-2 Chorus → Marshall JCM800 2203 → Marshall 4x12 w/ G12M Greenbacks
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**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.
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**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%).
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**IR:** Marshall 4x12 G12M Greenback, SM57 slightly off-center.
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---
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### Bad Religion — Brett Gurewitz / Greg Hetson
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**Guitars:** Gibson Les Paul / PRS (Brett), Fender Strat HSS / Les Paul (Greg)
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**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.
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**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.
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**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).
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**IR:** Mesa 4x12 V30 (Brett), Marshall 4x12 G12T-75 (Greg). Blend V30 + T75 at 50/50 for single-IR solution.
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**Technique:** Two-guitar layering — run two NAM instances (Dual Rec + JCM800) for the wall.
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---
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## 3. METAL
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### Genre Summary
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Three distinct metal tones: Sabbath (cranked Laney + treble booster), Metallica (Mark IIC+ with V-scoop + OD boost), Slayer (boosted JCM800 with G12T-75 buzzsaw).
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| Channel | Model | Boost/Pre | IR |
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|---------|-------|-----------|-----|
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| 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) |
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| Metallica | `5150_BlockLetter_Boosted.nam` (gain ~50%) | `TS808_Feather.nam` (drive 0, level max, tone 12:00) | Mesa V30 (York Audio Mesa 412 V30) |
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| Slayer | `JCM2000_Crunch.nam` (gain 70–80%) | `BOSS_SD1_Feather.nam` (drive 2, level 10, tone 2:00) | G12T-75 (York Audio 412 T75) |
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---
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### Black Sabbath — Tony Iommi
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**Guitars:** 1964 Gibson SG Special (P-90s), 1965 Gibson SG Custom (humbuckers)
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**Signal Chain:** Guitar → Dallas Rangemaster (treble booster) → Dallas Arbiter Fuzz Face (early years) → Laney LA100BL Supergroup (100W) → Laney 4x12 w/ Celestion G12H-30
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**Amp Settings (Laney LA100BL — dimed):** Volume=10, Treble=10, Middle=8–10, Bass=0–2, Presence=7–9.
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**NAM:**
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- From library: `MXR_M77_Feather.nam` as Rangemaster substitute (bass rolled off, gain moderate) → `JCM2000_Crunch.nam`
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- ToneHunt A2: "Laney LA100BL Supergroup - Cranked", "Marshall Super Lead 1959 - Rangemaster Boost", "Dallas Rangemaster Treble Booster - Preamp"
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**IR:** Laney 4x12 w/ Celestion G12H-30 — darker, more low-end than Greenbacks. G12H-30 is essential. York Audio 412 G12H-30.
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**Technique:** Iommi downtuned (Eb → D → C# standard). Tritone riffs. Three-finger fretting. Light gauge strings (8–38!).
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---
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### Metallica — James Hetfield
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**Guitars:** Gibson Explorer, ESP JH-1/MX-220
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**Signal Chain:** Guitar → Maxon OD-808 (clean boost) → Mesa Boogie Mark IIC+ → Mesa 4x12 Straight w/ Celestion V30s
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**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).
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**NAM:**
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- From library: `5150_BlockLetter_Boosted.nam` (gain ~40–50%) + `TS808_Feather.nam` (drive 0, level max, tone 12:00)
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- ToneHunt A2: "Mesa Mark IIC+ - Lead Channel", "Mesa Mark IIC+ - Master of Puppets Rhythm", "Fortin Natas - Boosted"
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**IR:** Mesa 4x12 Straight w/ V30, SM57 at 1" from grill, edge of cone. York Audio Mesa 412 V30.
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**Technique:** Downpicking at extreme speed. Palm muting on bridge. Gallop rhythm: 8th + two 16ths.
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|
||||
---
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### Slayer — Kerry King / Jeff Hanneman
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**Guitars:** B.C. Rich Warlock/KKW (Kerry), ESP JV-200 (Jeff). Both Floyd Rose.
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**Signal Chain:** Both: Guitar → Boss SD-1 (or TS9) → Marshall JCM800 2203 → Marshall 4x12 w/ Celestion G12T-75s
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**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.
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|
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**NAM:**
|
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- 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.
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- ToneHunt A2: "Marshall JCM800 2203 - Boosted SD1", "Marshall JCM800 2204 - 50W Slayer Rhythm", "Marshall JCM800 2203 - DIO Modded"
|
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|
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**IR:** Marshall 4x12 w/ G12T-75 — brighter, more aggressive than V30s. SM57 dead center, 1/2" off grill. York Audio 412 T75.
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|
||||
**Technique:** Kerry: downpicking + tremolo picking on low E. Two-guitar layering hard-panned left/right.
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|
||||
---
|
||||
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## 4. HARDCORE
|
||||
|
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### Genre Summary
|
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|
||||
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).
|
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|
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| Channel | Model | Boost | IR |
|
||||
|---------|-------|-------|-----|
|
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| Converge | Marshall 2204 + Mesa Rec blend | RAT | Greenbacks + V30 blend |
|
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| Hatebreed | 5150/6505+ (gain 6-7) | OD808 (drive 0, level max) | Mesa 4x12 V30 |
|
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| Minor Threat | JMP 2204 (gain 7-8) | RAT (dist 9:00, filter 11:00) | Marshall 1960BV G12M |
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|
||||
---
|
||||
|
||||
### Converge — Kurt Ballou
|
||||
|
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**Guitars:** Gibson Les Paul Custom / ESP Eclipse (.012-.056, D standard)
|
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|
||||
**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 |
|
||||
|
||||
|
||||
|
||||
+41
-10
@@ -1,6 +1,6 @@
|
||||
# NAM Model & Cabinet IR Inventory
|
||||
|
||||
> **Generated:** 2026-06-13 (updated with Bank 3 A2 captures)
|
||||
> **Generated:** 2026-06-13 (updated with Bank 7 — Bass, Orange, Others)
|
||||
> **Source:** pelennor2170/NAM_models community collection on GitHub (GPL v3) + Tone3000 Supabase storage
|
||||
> **Format:** Mix of WaveNet A1 and SlimmableContainer A2 models, verified JSON, all < 700 KB (feather class for RPi 4B)
|
||||
|
||||
@@ -104,11 +104,29 @@ Downloaded from Tone3000 Supabase storage. All are WaveNet A1 (v0.5.0/v0.5.4), v
|
||||
|
||||
### Bank 6 — Ambient/Post-Rock Captures (Tone3000 A1 — WaveNet)
|
||||
|
||||
| File | Size | Source Model | Best For |
|
||||
|------|------|-------------|----------|
|
||||
| `Roland_JC120_Jazz_Chorus.nam` | 276 KB | Roland JC-120 Jazz Chorus | Pristine clean, ambient washes, jazz |
|
||||
| `Vox_AC30_Chimey.nam` | 290 KB | Vox AC30 Chimey | Sparkling clean, chimey post-rock |
|
||||
| `Fender_Twin_Reverb_G05.nam` | 288 KB | Tim R Fender Twin Reverb Ch1 BR G05 | Clean/country, pedal platform |
|
||||
|| File | Size | Source Model | Best For |
|
||||
||------|------|-------------|----------|
|
||||
|| `Roland_JC120_Jazz_Chorus.nam` | 276 KB | Roland JC-120 Jazz Chorus | Pristine clean, ambient washes, jazz |
|
||||
|| `Vox_AC30_Chimey.nam` | 290 KB | Vox AC30 Chimey | Sparkling clean, chimey post-rock |
|
||||
|| `Fender_Twin_Reverb_G05.nam` | 288 KB | Tim R Fender Twin Reverb Ch1 BR G05 | Clean/country, pedal platform |
|
||||
|
||||
### Bank 7 — Bass, Orange & Others (Tone3000 A2 — SlimmableContainer)
|
||||
|
||||
Downloaded from Tone3000 Supabase storage. All are SlimmableContainer (A2) v0.7.0, ~288-295 KB.
|
||||
Covers the missing categories: Bass amps, Orange Rocker 30, Fender Bassman, Hiwatt DR103, Supro.
|
||||
|
||||
|| File | Size | Source Model | Category | Best For |
|
||||
||------|------|-------------|----------|----------|
|
||||
|| `Ampeg_PF20T_A2.nam` | 288 KB | Ampeg PF20T | Bass | Clean bass tube amp, warm lows |
|
||||
|| `Aguilar_Tone_Hammer_500_A2.nam` | 293 KB | Aguilar Tone Hammer 500 | Bass | Modern bass preamp, punchy mids |
|
||||
|| `GK_800RB_Line_A2.nam` | 295 KB | Gallien-Krueger 800RB | Bass | Classic solid-state bass, aggressive |
|
||||
|| `Aguilar_DB751_Cab_A2.nam` | 292 KB | Aguilar DB751 | Bass | Bass amp DI, full-range presence |
|
||||
|| `Orange_Rocker30_Dirty_A2.nam` | 295 KB | Orange Rocker 30 Dirty | Orange | Classic rock crunch, stoner/alt rock |
|
||||
|| `Orange_Rocker30_Natural_A2.nam` | 289 KB | Orange Rocker 30 Natural | Orange | Clean edge, dynamic garage tones |
|
||||
|| `Fender_Bassman_Dimed_A2.nam` | 289 KB | Fender Bassman dimed | Others | Blues/rock breakup, classic Bassman growl |
|
||||
|| `Hiwatt_DR103_Bright_A2.nam` | 287 KB | Hiwatt DR-103 Bright Normal | Others | Prog/classic rock, The Who territory |
|
||||
|| `Hiwatt_DR103_Cornish_A2.nam` | 288 KB | Hiwatt DR103 + Cornish PGS | Others | Boosted prog rock, Gilmour-esque leads |
|
||||
|| `Supro_Black_Magick_M3_A2.nam` | 288 KB | Supro Black Magick M3 | Others | Garage/blues, Jack White-style grit |
|
||||
|
||||
### Legacy Models (Linear Architecture — synthetic, ~35-85 KB)
|
||||
|
||||
@@ -287,8 +305,8 @@ The following Archive.org sources returned 404 when last checked (2026-06-13):
|
||||
## File Locations
|
||||
|
||||
```
|
||||
~/.pedal/
|
||||
├── models/ # 54 models (22 core + 9 blues + 5 A2 bonus + 1 ML cab + 17 Tone3000 rock/high-gain/ambient)
|
||||
`~/.pedal/`
|
||||
├── models/ # 64 models (22 core + 9 blues + 5 A2 bonus + 1 ML cab + 17 Tone3000 rock/high-gain/ambient + 10 Bank 7 bass/orange/others)
|
||||
│ ├── Fender_TwinVerb_Clean.nam
|
||||
│ ├── Fender_TwinVerb_Vibrato.nam
|
||||
│ ├── Vox_AC15_TopBoost.nam
|
||||
@@ -356,6 +374,18 @@ The following Archive.org sources returned 404 when last checked (2026-06-13):
|
||||
│ ├── Vox_AC30_Chimey.nam # 290 KB — AC30 chimey clean
|
||||
│ ├── Fender_Twin_Reverb_G05.nam # 288 KB — Twin Reverb clean
|
||||
│ │
|
||||
│ ├── Bank 7 — Bass, Orange & Others:
|
||||
│ ├── Ampeg_PF20T_A2.nam # 288 KB — Bass clean tube
|
||||
│ ├── Aguilar_Tone_Hammer_500_A2.nam # 293 KB — Bass modern preamp
|
||||
│ ├── GK_800RB_Line_A2.nam # 295 KB — Bass solid-state
|
||||
│ ├── Aguilar_DB751_Cab_A2.nam # 292 KB — Bass amp DI
|
||||
│ ├── Orange_Rocker30_Dirty_A2.nam # 295 KB — Rock crunch
|
||||
│ ├── Orange_Rocker30_Natural_A2.nam # 289 KB — Clean edge
|
||||
│ ├── Fender_Bassman_Dimed_A2.nam # 289 KB — Blues/rock breakup
|
||||
│ ├── Hiwatt_DR103_Bright_A2.nam # 287 KB — Classic rock
|
||||
│ ├── Hiwatt_DR103_Cornish_A2.nam # 288 KB — Boosted classic rock
|
||||
│ ├── Supro_Black_Magick_M3_A2.nam # 288 KB — Garage/blues
|
||||
│ │
|
||||
│
|
||||
├── nam/ # Legacy location (symlinked from models/)
|
||||
│ ├── Fender_TwinVerb_Clean.nam → ../models/Fender_TwinVerb_Clean.nam
|
||||
@@ -381,12 +411,13 @@ The following Archive.org sources returned 404 when last checked (2026-06-13):
|
||||
|
||||
## Verification
|
||||
|
||||
All 54 models were:
|
||||
All 64 models were:
|
||||
- 22 models from `https://raw.githubusercontent.com/pelennor2170/NAM_models/main/`
|
||||
- 9 blues models from Tone3000 / ToneHunt Supabase storage
|
||||
- 5 clean/plexi A2 models from Tone3000 Supabase storage
|
||||
- 1 bonus ML Sound Lab model from GitHub: fnpngn/IR
|
||||
- 17 rock/high-gain/ambient models from Tone3000 Supabase storage (new)
|
||||
- 17 rock/high-gain/ambient models from Tone3000 Supabase storage
|
||||
- 10 bass/orange/others A2 models from Tone3000 Supabase storage
|
||||
- All verified as valid `.nam` JSON files (WaveNet A1, WaveNet A2, or SlimmableContainer A2 architecture)
|
||||
|
||||
To verify models load correctly:
|
||||
|
||||
Reference in New Issue
Block a user