User Guide
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11
English
The following is a description of each of the 40 amps modeled in the Black Box.
1. BASMAN (based on Fender Bassman)
The Bassman is a marvelous and very early Fender amp that was embraced by many blues, rock and country guitarists in the ‘60s. With
four 10” speakers and very sweet 40-watt power amp distortion, this one is worthy of the high prices the originals fetch. Excellent
clear as well as overdriven, our hats are off to Leo and the guys. Incidentally, this was the amp that Marshall virtually copied in designing
their early amps.
2. DLXREV (based on Fender Deluxe Reverb)
The Deluxe Reverb is another stellar Fender design. With a single 12”, a very high and intense treble and sweet power amp distortion,
this amp was and still is a popular mid-volume blues/rock amp. The bass folds over a little because of the open back, single 12” design,
but that’s part of the sound. Oddly, they chose to call the tremolo on this early amp “vibrato.” The real amp had only bass and treble
controls, so in adding our Mid control, we tried to stick to the spirit of the Fender design principle by looking at what they did in
subsequent models.
3. TWNREV (based on Fender Twin Reverb)
It seemed that in the ‘70s, just about everybody had a Twin or a friend that had one. With 100 watts in two 12” speakers as well as
intense treble boost, this amp is probably responsible for more tinnitus than any other. It might not achieve that much distortion by
today’s standards, but it gets a sound that’s pure classic Fender.
4. DELUXE (based on Fender Deluxe)
This early Fender delivered great distortion—regardless of whether it was intended or not—by virtue of its low power and relatively
flat EQ before the distortion. I’m not sure if Leo bought into Minimalism with this design, but this little screamer had but one “tone”
control, effectively a treble control. In adding our bass and mid controls, we tried to predict what Leo would have done had he been
less austere.
5. CHAMP (based on Fender Champ)
Intended as a low-cost beginner’s amp, the small ‘60s-vintage tweed unit was embraced by a number of studio players who valued it
for its solid tone and kindness to their backs when carrying it around. The little speaker didn’t deliver much low end, but the uniquely
crisp high end more than makes up for it.
6. MAR 45 (based on Marshall JTM45)
Released in 1962, this amazing amp head has a full, warm and remarkable tone. Though its circuitry is largely copied from the original
Fender Bassman, subtle differences gave it its own distinct and very attractive personality.
7. PLEXI (based on Marshall 100 watt Super Lead “Plexi”)
This wasn’t just an amp but almost an instrument in itself, redefining how guitar is played—it’s that significant. Released in 1966, this
100-watt head is the heart of the famous Marshall stack used by countless bands in the ’60 and ‘70s. Along with the JTM-45, this amp
was usually played with all controls set to full because compared to later high-gain amps, it doesn’t provide that much gain.
8. MAR800 (based on Marshall JCM800)
A very popular evolution of the Plexi, this was one of the first amps to include higher gain, a master volume and an overdrive stage
before the tone controls. Although preamp distortion isn’t quite the same as power amp distortion, it introduced a distinctive tone
similar to putting a distortion stomp box before your amp. The full and intense high gain sound further redefined lead guitar.
9. MAR 2K (based on Marshall JCM2000 TSL100)
This modern amp stretched the Marshall sound to include more versatile tone controls and 3 channels—clean, crunch and lead. You
could easily switch between clean, full mid, scooped mid and super high gain tones just by switching channels. We modeled the lead
channel here and love the full bass and warm treble it serves up.
10. VOKS30 (based on VoxAC30 Top Boost)
A unique and truly inspired design, the VoxAC30 is one of the most famous and coveted amps ever created. It was used by the Beatles,
Rolling Stones, and lots of other British Invasion bands on tons of early recordings, as well as later recordings by Brian May of Queen
and countless others. Originally launched in the late ‘50s, this gem produced a warm and singing power amp distortion by virtue of its
30 watts into two 12” speakers. Both the intense but warm treble and the full bass are characteristically different than other amps,
making it a highly addictive amp to play through.
