# Blues Genre — Research & NAM Model Sourcing **Bank 12 — Blues** | Created: 2026-06-13 | Presets: 4 --- ## Overview Nine legendary blues artists were researched across Texas Blues, Chicago Blues, Memphis Blues, and British Blues Rock subgenres. The bank is organized into 4 signature presets, grouping artists by their amp/pedal architecture. ### Organization | Program | Preset Name | Artists Covered | Amp Base | Drive | |---------|-------------|-----------------|----------|-------| | 0 | Texas Flood (SRV) | Stevie Ray Vaughan | Fender Super Reverb | TS808 | | 1 | Mannish Boy (Muddy) | Muddy Waters, Buddy Guy | Fender Bassman cranked | Clean boost | | 2 | The Thrill (B.B.) | B.B. King, Albert King, Freddie King | Fender Twin Reverb | Clean + comp | | 3 | Still Got the Blues | Gary Moore, Joe Bonamassa, John Mayer | Marshall JCM800 / Bluesbreaker | Klon/TS | --- ## Artist Deep Dives ### 1. Stevie Ray Vaughan (Texas Blues, 1954–1990) **Guitar:** 1959 Fender Stratocaster "Number One" — stock single-coils, heavy-gauge strings (.013–.060 GHS Nickel Rockers), tuned down 1/2 step (Eb–Eb) **Signal Chain:** - Ibanez TS808 Tube Screamer (always on) → Fender Super Reverb (1965, AB763 circuit) - Drive: 9:00 (low, used as clean boost) - Tone: 2:00 (bright, cuts through) - Level: dimed (max output slams the amp front end) **Amp Settings (Fender Super Reverb):** - Volume: 7 (4x10" speakers, well into power tube breakup) - Treble: 7 - Bass: 3 - Reverb: 4 - No mid control (AB763 fixed mid ~50k resistor — naturally scooped) **NAM Model Recommended:** - Fender 1965 Super Reverb (https://www.tone3000.com/tones/fender-super-reverb-1977-19) - Alternate: sdatkinson's "Fender Deluxe Reverb (A2)" — same AB763 preamp topology - Currently using `Fender_TwinVerb_Vibrato.nam` as closest available — push presence/treble to compensate for 2x12 vs 4x10 **IR:** 4x10" cabinet (american-2x12.wav substitute — tonehunt: "Fender Super Reverb 4x10 CTS Ceramic") **Technique:** Monster thumb-and-index picking. Plays behind the beat. Heavy vibrato from the wrist, not fingers. Strings bent the "wrong way" (downward) for unique inflections. --- ### 2. B.B. King (Memphis Blues, 1925–2015) **Guitar:** Gibson ES-355 "Lucille" — Varitone bypassed (set to position 6 or bypassed entirely), heavy flatwound strings (.012–.056), low action **Signal Chain:** - Guitar → Fender Twin Reverb (silverface or blackface) - No pedals (B.B. famously ran straight into the amp, used the guitar volume knob and picking dynamics for expression) **Amp Settings (Fender Twin Reverb):** - Volume: 5–6 (clean, massive headroom) - Treble: 6 - Mid: 3 - Bass: 4 - Reverb: 3.5 - Presence: 5 **NAM Model:** Fender Twin Reverb clean - Already have: `Fender_TwinVerb_Clean.nam` ✓ - Premium: https://www.tone3000.com/tones/fender-twin-reverb-a2-63896 **IR:** american-2x12.wav ✓ **Technique:** Single-note phrasing, horn-like. Signature rapid-fire trill vibrato (up-down wiggle across the fret). Minimal bending — gets expression from micro- pitch vibrato. --- ### 3. Albert King (Memphis Blues, 1923–1992) **Guitar:** 1958 Gibson Flying V — upside-down (lefty strung righty, low E on bottom), heavy .014–.062 gauge strings, tuned down to C# (3½ steps) **Signal Chain:** - Guitar → Fender Twin Reverb (cranked into breakup) - Occasional wah or fuzz box **Amp Settings:** - Volume: 8–9 (pushed into natural overdrive) - Treble: 7 - Mid: 2 (mid-scooped for that nasal horn-like tone) - Bass: 5 - Reverb: 2 **NAM Model:** Same clean Fender base as B.B., but amp pushed harder with scooped mids - `Fender_TwinVerb_Clean.nam` with +3dB boost in front - Alternate: https://www.tone3000.com/tones/fender-super-reverb-1977-19 **Technique:** Immense string bends (often a full 2–3 step bend). Horn-like melodic phrasing. Reverse orientation gave his bends unique pitch trajectories. --- ### 4. Freddie King (Texas/Chicago Blues, 1934–1976) **Guitar:** Gibson ES-335, later ES-5 Switchmaster **Signal Chain:** - Guitar → Fender Twin Reverb (early) or Kustom 200 (later) - Minimal pedalboard **Amp Settings:** Similar to B.B. but with more midrange for single-note soloing impact **Technique:** Hybrid picking (pick + fingers). Aggressive, raw attack contrasted with sweet melodic lines. Influenced by both T-Bone Walker (jazz chords) and Muddy Waters (raw aggression). --- ### 5. Muddy Waters (Chicago Blues, 1913–1983) **Guitar:** 1957 Fender Telecaster (early), Gibson Les Paul (later) **Signal Chain:** - Guitar → Fender Bassman (5F6-A Tweed, 4×10") — cranked to 10 - No pedals. The amplification was the effect. **Amp Settings:** - Volume: 10 (cranked — the Bassman's power tubes saturate) - Treble: 6 - Bass: 5 - Presence: 6 **NAM Model Recommended:** - Fender Bassman 5F6-A (https://www.tone3000.com/tones/fender-bassman-59-tweed-57030) - Currently using `Magnatone_Super59_Pushed.nam` as fallback — tweed-style power amp saturation. It approximates the cranked-amp breakup but lacks the distinctive Bassman 5F6-A negative feedback circuit **IR:** 4×10" Bassman cab ideally (https://www.tone3000.com/tones/fender-bassman-4x10-ir-64501) - Currently using jazz-1x15.wav as a 1×15 substitute for the low-end thump **Technique:** Slide guitar with a metal slide on the pinky. Deep rhythmic churning. Heavy attack on the downbeat. "Deep South" bottleneck phrasing. --- ### 6. Buddy Guy (Chicago Blues, 1936–) **Guitar:** 1959 Fender Stratocaster (early), Polaris Custom (later) **Signal Chain:** - Guitar → Fender Bassman (cranked, early) → Marshall JCM800 (later) - Used a Dallas Rangemaster treble booster early on **Amp Settings:** Similar to Muddy's Bassman — volume at 8–10 for power amp saturation **Technique:** Wild, unpredictable stage presence. Extreme feedback control. Rapid alternating between whisper-quiet and screaming loud. Huge string bends. --- ### 7. Gary Moore (British Blues Rock, 1952–2011) **Guitar:** 1959 Gibson Les Paul Standard "Peter Green" — out-of-phase pickups (middle position has the signature "nasal/clear" tone) **Signal Chain:** - TS808 → Marshall JCM800 (2203, 100W head) → 4×12" cab - Later: Marshall DSL100 **Amp Settings (JCM800):** - Preamp Volume: 7–8 (high gain) - Master Volume: 3–4 - Bass: 7 - Mid: 4 - Treble: 6 - Presence: 5 **NAM Model:** - Already have: `JCM2000_Crunch.nam` ✓ — JCM2000 is the successor to JCM800, same preamp topology - Premium: https://www.tone3000.com/tones/marshall-jcm800-2203-65593 - Or Plexi: https://www.tone3000.com/tones/marshall-jmp-50-lead-1969-plexi-a2-65578 **IR:** british-4x12.wav ✓ (Greenback G12M 25W speakers) **Technique:** Aggressive alternate picking. Wide, slow vibrato. Crushing fast pentatonic runs. "Still Got the Blues" showcases his clean/crunch dynamic with crying bends. --- ### 8. Joe Bonamassa (Modern Blues Rock, 1977–) **Guitar:** 1959 Gibson Les Paul Standard (multiple, including "Skinnerburst", "Lazarus"), 1961 Gibson SG/Les Paul **Signal Chain:** - Klon Centaur (always on, low gain) → Marshall Bluesbreaker (1962) / Two-Rock TS-1 (Dumble-style) → various overdrives (TS808, Timmy, Muff for leads) **Amp Settings (Marshall Bluesbreaker / Two-Rock):** - Volume: 7–8 (breakup point) - Treble: 6 - Bass: 4 - Reverb: 3 **NAM Model:** - `Klon_Centaur_High.nam` ✓ for the always-on silver Klon - Marshall Bluesbreaker: https://www.tone3000.com/tones/marshall-bluesbreaker-a2-65578 - Two-Rock: https://www.tone3000.com/tones/two-rock-ts-1-69174 **IR:** british-4x12.wav or boutique-1x12.wav **Technique:** Fingerstyle + pick hybrid. Aggressive strumming with the pinky planted on the pickguard. Monkish — uses all 5 pentatonic positions fluently. --- ### 9. John Mayer (Modern Blues Pop, 1977–) **Guitar:** Fender Stratocaster "Blackie" (SRV-style), PRS Super Eagle (later) **Signal Chain:** - TS808 (clean boost) → Two-Rock TS-1 or Two-Rock Custom Reverb → Dumble-esque Overdrive Special for leads - Two-Rock Clean: massive headroom, articulate, 6L6 tubes **Amp Settings (Two-Rock):** - Volume: 5–6 (clean, edge of breakup) - Treble: 5 - Mid: 4 - Bass: 4 - Reverb: 3 **NAM Model:** - Dumble ODS: https://www.tone3000.com/tones/dumble-odr-a2-65578 - Two-Rock: https://www.tone3000.com/tones/two-rock-custom-reverb-a2-65578 - Fallback: `Fender_TwinVerb_Clean.nam` with TS808 boost **Technique:** Clean Strat tone with subtle compression. Very vocal phrasing. Extensive use of the neck pickup for warm cleans. Knows when NOT to play. --- ## NAM Model Sourcing Guide ### Models Already Downloaded (use directly) | Model | Used In | Source | |-------|---------|--------| | `Fender_TwinVerb_Clean.nam` | Preset 2 (B.B./Albert/Freddie) | In repo | | `Fender_TwinVerb_Vibrato.nam` | Preset 0 (SRV) | In repo | | `JCM2000_Crunch.nam` | Preset 3 (Gary Moore) | In repo | | `Klon_Centaur_High.nam` | Preset 3 (Joe Bonamassa) | In repo | | `TS808_Feather.nam` | Preset 0/3 (SRV/John Mayer) | In repo | | `Magnatone_Super59_Pushed.nam` | Preset 1 (Muddy fallback) | In repo | ### Recommended NAM Downloads For best authentic tone, download these models from TONE3000 (formerly ToneHunt): 1. **Fender 1965 Super Reverb** https://www.tone3000.com/tones/fender-super-reverb-1977-19 → Best match for SRV. 4×10", AB763 circuit. 2. **Fender Bassman 5F6-A Tweed** https://www.tone3000.com/tones/fender-bassman-59-tweed-57030 → Essential for Muddy Waters (cranked) and Buddy Guy. 3. **Marshall JCM800 2203** https://www.tone3000.com/tones/marshall-jcm800-2203-65593 → Gary Moore's main amp. 4. **Marshall Bluesbreaker 1962 Combo** https://www.tone3000.com/tones/marshall-bluesbreaker-a2-65578 → Joe Bonamassa's signature tone. 5. **Two-Rock Custom Reverb** https://www.tone3000.com/tones/two-rock-custom-reverb-a2-65578 → John Mayer's clean edge-of-breakup tone. 6. **Dumble Overdrive Special** https://www.tone3000.com/tones/dumble-odr-a2-65578 → John Mayer's lead singing tone. ### Recommended IR Downloads 1. **Fender 4×10" Super Reverb Cab** (SRV) 2. **Fender 4×10" Bassman Cab** (Muddy, Buddy) 3. **Marshall 4×12" Greenback** (Gary Moore, Joe Bonamassa) --- ## Chain Architecture Reference ### Preset 0 — SRV ``` Tuned ½ step down → Noise Gate → Comp (gentle 4:1) → TS808 (drive: 0.3, level: 0.95, tone: 0.65) → Fender Super Reverb (vol: 7) → 4×10" cab → Spring Reverb (mix: 0.35) ``` ### Preset 1 — Muddy / Buddy ``` Noise Gate → Clean Boost (+6dB) → Fender Bassman (cranked, vol: 10) → 4×10"/1×15" cab → Slapback Delay (150ms, 1 repeat) ``` ### Preset 2 — B.B. / Albert / Freddie ``` Noise Gate → Comp (gentle 3:1) → Graphic EQ (mid-scooped) → Fender Twin Reverb (clean, vol: 5–6) → 2×12" cab → Spring Reverb (mix: 0.3) ``` ### Preset 3 — Gary Moore / Bonamassa / John Mayer ``` Noise Gate → Overdrive (TS808 or Klon, low gain) → Marshall JCM800/Bluesbreaker (crunch, pre: 7) → 4×12" Greenback cab → Delay (420ms, 30% feedback) → Reverb (hall, mix: 0.35) ``` --- ## Parameter Value Rationale All parameter values use the pedal's 0.0–1.0 normalized range where 0.0 = minimum and 1.0 = maximum (or the hardware's physical max). | Parameter | Range | Typical Blues Setting | Notes | |-----------|-------|----------------------|-------| | Drive (TS808) | 0–1 | 0.25–0.35 | Used as clean boost, not distortion | | Level (TS808) | 0–1 | 0.85–0.95 | Pushes preamp into saturation | | Tone (TS808) | 0–1 | 0.55–0.70 | Bright enough to cut through mix | | Comp threshold | 0–1 | 0.25–0.35 | Gentle — blues needs dynamics | | Comp ratio | 1–10 | 3.0–4.0 | Low ratio preserves pick attack | | Clean boost (gain_db) | 0–12 | 3–8 dB | Tweed amps: +6dB pushes power tubes | | Delay time | 10–1000 | 150–450 ms | Slapback (150ms) vs atmospheric (420ms) | | Delay feedback | 0–1 | 0.15–0.35 | Blues uses short, subtle repeats | | Reverb decay | 0–1 | 0.3–0.6 | Spring reverb, not ambient wash | | Reverb mix | 0–1 | 0.25–0.35 | Blend in the background | | Amp level | 0–1 | 0.7–0.8 | Higher = more power amp saturation | | EQ bass | 0–1 | 0.4–0.6 | Blues is mid-focused, not bass-heavy | | EQ mid | 0–1 | 0.35–0.6 | SRV/B.B. scoop, Muddy boosts mids | | EQ treble | 0–1 | 0.5–0.7 | Presence and cut | --- ## Dual-Duty Presets (MIDI Mapping Opportunities) None of the 4 presets currently define MIDI mappings — leaving them as clean canvases. Recommended MIDI assignments for live use: - **CC 14:** Drive/Boost amount (all presets) - **CC 15:** Reverb mix (presets 0, 2, 3) - **CC 16:** Delay mix (presets 1, 3) - **CC 17:** Amp level (all presets) --- ## References 1. SRV gear: Guitar Player, October 1989; Fender product archives 2. B.B. King: "The B.B. King Treasures" (2005); Musicians Friend interview 2008 3. Albert King: Guitar World, August 1986 4. Muddy Waters: "Muddy Waters: The Mojo Man" (1995); Gibson archives 5. Buddy Guy: "When I Left Home" (2012, autobiography) 6. Gary Moore: Total Guitar, February 2007 7. Joe Bonamassa: Premier Guitar Rig Rundown #201 (2015) 8. John Mayer: Premier Guitar Rig Rundown #180 (2014); "John Mayer: A Player's Guide" 9. NAM/Tone3000: https://www.tone3000.com/search (artist/amp keyword search)