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shawn e11956881f Add Bank 12: Blues genre presets — SRV, Muddy/Buddy, B.B. King, Gary Moore 
Bank 12 (Blues) with 4 factory presets covering 9 legendary blues artists:
- Preset 0: Texas Flood (SRV) — TS808 + Fender Super Reverb
- Preset 1: Mannish Boy (Muddy Waters) — Fender Bassman cranked w/ slapback
- Preset 2: The Thrill (B.B. King) — Twin Reverb clean w/ comp
- Preset 3: Still Got the Blues (Gary Moore) — Marshall crunch w/ delay

Includes docs/blues-genre-research.md with full gear deep-dives, NAM
model sourcing guide (Tone3000 URLs), chain architectures, and
parameter value rationale for all 9 artists (SRV, B.B. King, Albert King,
Freddie King, Muddy Waters, Buddy Guy, Gary Moore, Joe Bonamassa,
John Mayer).
2026-06-13 00:52:28 -04:00

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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

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

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:

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:

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:

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:

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)
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