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

# 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)