pi-multifx-pedal/docs/genre-research.md

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.

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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

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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

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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.

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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.

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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.

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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

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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.

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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.

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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.

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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)

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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!).

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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.

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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.

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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

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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.

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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.

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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.

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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

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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.

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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.

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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.

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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

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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.

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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.

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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.

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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

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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.

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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.

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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

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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

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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.

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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".

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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

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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

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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.

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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.

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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

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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

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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.

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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.

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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

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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

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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).

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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.

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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

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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

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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.

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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.

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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

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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)

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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