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Sleepy Doom
The user requested a doom metal tone inspired by Sleep's 'Dopesmoker'. This requires a heavily distorted, thick, and resonant amp tone. I've chosen the '69 Plexiglas 100W' for its classic high-gain Marshall character, suitable for doom. For the cabinet, the '4x12 Classic 30W' provides a complementary sound. The error in the previous attempt was an incorrect 'MicType' value; it has been corrected to a valid integer option.
Dokken Walk Away Solo
To achieve the Dokken 'Walk Away' solo tone, I've focused on a high-gain amp with a strong mid-range presence and a clear, articulate lead character. The '99 PV51 II Lead' amp provides the necessary gain and EQ shaping for that signature 80s metal lead sound. A 'Treble Booster' is added to push the amp further and add extra bite, mimicking the increased gain and sustain often heard in George Lynch's solos. Finally, a 'Tape Echo' provides subtle, rhythmic repeats characteristic of the era, and a 'Spring Reverb' adds depth and dimension without washing out the tone.
Motley Crue Girls Girls Girls Solo
For the Mötley Crüe 'Girls, Girls, Girls' solo tone, I've aimed for a thick, saturated, and slightly aggressive sound with prominent mids and a good amount of gain for sustain. The '89 SL-100 Drive' amp model is chosen for its characteristic high-gain, British-rock voicing. The 'Green JRC-OD' is used to push the amp further, adding saturation and a tighter low-end response, common in this era of rock. A 'Spring Reverb' is added for depth, and a 'Tape Echo' provides subtle, rhythmic repeats to fill out the solo.
Skid Row I Remember You Solo
The Skid Row 'I Remember You' solo tone requires a lead-focused sound that balances a prominent, singing sustain with clarity. The '89 SL-100 Drive' amp provides a strong foundation with good mid-range. The 'Green JRC-OD' is used to further boost the gain and tighten the tone for the solo. A moderate amount of 'Tape Echo' adds width and rhythmic dimension, while the 'Spring Reverb' provides essential ambience and sustain for the melodic solo lines.
Zakk Wylde Miracle Man Solo
To capture Zakk Wylde's 'Miracle Man' solo tone, I've aimed for a very aggressive, saturated, and mid-focused sound with plenty of sustain. The '85 M-2 Lead' amp model is a great starting point for its high-gain capabilities and ability to produce a thick, powerful tone. I've engaged the 'Bright' switch for added cut and pushed the 'GainA' (Volume) and 'GainB' (Drive) to achieve that signature overdriven crunch. The '99 PV51 II Lead' amp is added after the initial amp to further push the gain and sustain, creating a more compressed and singing lead tone. A 'Spring Reverb' adds necessary depth and sustain to the solo lines.
ZZ Top Rough Boy Intro
To emulate the ZZ Top 'Rough Boy' intro tone, I've focused on a gritty, slightly compressed, and mid-heavy sound with a distinct, almost 'chugging' quality. The '69 Blue Line Scoop' amp provides a good foundation with its characteristic bass amp tone. I've boosted the 'Mid' and 'Presence' to get that cutting, slightly nasal quality, and dialed in enough 'GainA' (Gain) to achieve a touch of breakup without becoming overly saturated. The 'Slab O Meat' is used as a boost to push the amp further, adding grit and sustain. A 'Graphic EQ' is employed to further sculpt the mid-range and add that signature scooped-mid, prominent-mid-high sound. Finally, a touch of 'Spring Reverb' adds a bit of space.
KISS Crazy Nights Solo
For the KISS 'Crazy Nights' solo tone, I've aimed for a thick, soaring lead sound with plenty of sustain and a strong mid-range presence that cuts through the mix. The '99 PV51 II Lead' amp provides the high-gain foundation needed for that aggressive 80s metal sound. I've added the 'Green JRC-OD' to push the amp's gain further and tighten up the low-end, giving it that characteristic sustain and bite. The 'Tape Echo' is used for subtle, rhythmic repeats to add width and dimension to the solo, and a 'Spring Reverb' provides a touch of ambience.
WASP Wild Child Solo
For the W.A.S.P. 'Wild Child' solo tone, I've focused on achieving a powerful, aggressive, and harmonically rich sound with a pronounced mid-range and significant gain for sustain. The '82 Lead 800 100W' amp provides the classic high-gain, Marshall-esque crunch. I've increased the 'GainA' and 'Master' to get a strong driven tone. The '99 PV51 II Lead' is used as a boost to further saturate the signal and enhance sustain, giving it that extra edge. A 'Spring Reverb' is added for depth and ambience characteristic of the era.
Chris Buck 50 Shades of Gain
La Yamaha Revstar RS520T, con i suoi pickup P90 (VP5 Alnico II) e il Dry Switch, si sposa magnificamente con il concetto di '50 sfumature di gain' di Chris Buck. Ecco come ottenere il meglio da questa combinazione: **1. I Pickups P90 (VP5 Alnico II):** Questi pickup sono noti per la loro chiarezza, il punch nel midrange e una buona uscita, pur mantenendo un'ottima definizione. Sono meno compressi degli humbucker ma più 'grassi' dei single coil tradizionali. Questo li rende ideali per interagire con i diversi stadi di gain: * **Gray Comp (Compressore):** Con i P90, usa il compressore in modo sottile. I P90 sono già dinamici, quindi un 'Sustain' intorno a 30-40% e un 'Level' per bilanciare il volume ti darà una maggiore tenuta senza uccidere la naturale risposta al tocco della chitarra. * **K Drive (Overdrive Trasparente):** Il K Drive sarà perfetto per spingere l'amplificatore o gli altri pedali senza colorare troppo il carattere dei P90. Ti darà un boost pulito e una leggera saturazione, esaltando la loro brillantezza e articolazione. Prova 'Drive' tra 20-40% e 'Level' per un boost di volume, 'Tone' a 50% o leggermente più alto se vuoi più mordente. * **Glorious Drive (Overdrive Low-Mid Gain):** Questo pedale aggiungerà una pasta più ricca e un crunch bluesy/rock che si fonderà bene con il midrange dei P90. Lasciando 'Gain' su 'Low' e 'Drive' intorno a 40-60%, otterrai un crunch espressivo e reattivo al tocco. Il 'Tone' può essere leggermente abbassato (40-45%) se i P90 risultano troppo squillanti, o alzato per più brillantezza. * **Green JRC-OD (Tube Screamer-style):** Questo pedale classico, con il suo 'mid-hump', sarà eccellente per i lead o per un overdrive più sostenuto. I P90 con il Green JRC-OD ti daranno un suono grosso e cantabile, perfetto per i soli. Puoi impostare il 'Drive' intorno a 50-70% e il 'Level' alto per spingere ulteriormente l'amplificatore, con il 'Tone' a 60-70% per far cantare le note. **2. Amplificatore e Cassa (64 Black Lux Norm / 1x12 Black Panel Lux):** L'amplificatore in stile Fender Deluxe Reverb è una base pulita e dinamica, ideale per i P90. Questi pickup reagiranno splendidamente al 'breakup' naturale dell'amplificatore man mano che aumenti il 'Volume' (GainA). Mantieni il 'Treble' e il 'Bass' bilanciati (intorno a 50-60%) e aggiusta in base alla stanza. I P90 si sentiranno a casa in questo tipo di amplificazione. **3. Il Dry Switch della Revstar RS520T:** Questa è una funzione cruciale da esplorare! Il Dry Switch taglia le basse frequenze, rendendo il suono più brillante e 'tagliente', quasi come un single coil tradizionale, ma senza perdita di volume o rumore di fondo. Puoi usarlo in diversi modi: * **Per chiarezza:** Attivalo quando stai usando più pedali di gain per evitare che il suono diventi impastato o troppo 'bassy'. Ti aiuterà a definire gli accordi e le singole note anche con molta distorsione. * **Per variazioni timbriche:** Usalo come una sorta di boost di brillantezza per passaggi che necessitano di maggiore presenza o per simulare un suono più 'vintage' da single coil in alcune parti. **4. Effetti di Modulazione e Ambiente (C2 Chorus, BBD Delay, Spring Reverb):** La chiarezza dei P90 farà sì che questi effetti risaltino splendidamente. Il 'C2 Chorus' darà una leggera profondità, il 'BBD Delay' un'eco calda e il 'Spring Reverb' un tocco spaziale, il tutto senza compromettere la definizione dei pickup. **Consigli operativi:** * **Volume della Chitarra:** Sfrutta il potenziometro del volume della tua Revstar. Riduci il volume sulla chitarra per pulire il suono anche con i pedali attivi, poi alza per più gain e sustain. I P90 sono molto reattivi a questo tipo di controllo. * **Stacking dei Pedali:** Sperimenta l'ordine e l'attivazione dei pedali di overdrive. Inizia con l'ampli pulito o leggermente in crunch. Usa il K Drive come un boost trasparente. Poi aggiungi il Glorious Drive per un crunch ricco. Infine, il Green JRC-OD per un lead che taglia il mix. La tua Revstar ti permetterà di sentire ogni sfumatura di questa catena di gain. * **Dry Switch & Overdrive:** Prova ad attivare il Dry Switch con il Green JRC-OD per un suono lead più 'snappy' e definito, o con il K Drive per un crunch più brillante e meno saturo, ideale per ritmiche funky o arpeggi rock. È un 'interruttore segreto' per trovare nuove sfumature di gain con questo rig!
2000s Pop Punk SG Rig
For your 2000s pop-punk sound with a Gibson SG, I've crafted a versatile rig based around a Marshall-style amp, known for its punchy mid-range and aggressive drive. The chosen pedals allow for easy switching between clean, rhythm distorted, and lead distorted tones, plus a classic flange effect. The signal chain is designed for tightness and clarity, crucial for pop-punk. Here's how to achieve your desired channels with this rig: * **Rhythm Distorted Channel (Default Rig Setup):** The 'Green JRC-OD' (Tube Screamer style) is enabled and set to push the '82 Lead 800 100W' amp (JCM800 style) for tight, articulate distortion suitable for power chords and riffs. The 'Gate' keeps the sound precise. * **Lead Distorted Channel (Solos):** For solos, keep the 'Green JRC-OD' and amp settings the same as the rhythm channel. Engage the 'Gray Comp' for added sustain and a slight volume boost. You can also engage the 'Flanger' and 'Tape Echo' for specific solo effects. * **Clean Channel:** Bypass (disable) the 'Green JRC-OD' pedal. Reduce the 'GainA' (PreAmp) on the '82 Lead 800 100W' amp to around 20-30% and compensate with the 'Master' volume. Engage the 'Gray Comp' for a thicker, sustained clean tone, and ensure the 'Spring Reverb' is active for ambience. The 'Flanger' can be used on cleans for a classic chorus-like swirl. The 'Gate' should remain enabled for noise suppression. The '4x12 Classic 30W' cabinet with a 'Dyn 57' mic is a common choice for this genre, providing a focused, present sound. The 'Tape Echo' adds atmospheric delay for solos, and the 'Spring Reverb' provides a general sense of space without muddying the mix.
Angus Young 'Hells Bells' Crunch
You asked for a rig inspired by 'August young hell bells', which I interpret as Angus Young's iconic tone for AC/DC's 'Hells Bells'. Starting from the previous Ritchie Blackmore rig, I've retained the core Marshall amplifier sound, as it's fundamental to both guitarists. The '69 Plexiglas 100W' amp remains, but I've adjusted its EQ and gain to deliver Angus's raw, powerful, and slightly brighter crunch, with prominent mids for his characteristic punch. The 'Treble Booster' is kept to drive the amp harder, giving it that searing lead tone. The '4x12 Green 25W' cabinet is perfect for his sound, offering the classic British speaker breakup. Crucially, I've removed the 'Spring Reverb' from the previous rig, as Angus Young's tone is typically much drier and more direct, focusing on the pure amp and guitar interaction.
Ritchie Blackmore Classic Rig
Based on the name 'Richty blacemore', I infer you are referring to Ritchie Blackmore, a legendary guitarist known for his distinctive overdriven tone with Marshall amplifiers, often boosted by a treble booster, and a characteristic spring reverb. This rig aims to capture that classic sound. I've chosen the '69 Plexiglas 100W' amp for its authentic British rock crunch, paired with a '4x12 Green 25W' cabinet to provide the classic speaker response. A 'Treble Booster' is placed before the amp to push it into its signature aggressive yet articulate lead territory. Finally, a 'Spring Reverb' adds the essential wetness and depth, characteristic of Blackmore's live and studio tones.
U2-Inspired Shimmering Clean
To achieve a U2-inspired tone, I've focused on a clean, chimey amplifier foundation, followed by a series of atmospheric effects characteristic of The Edge's sound. The `66 AC Hi Boost` amp provides excellent clean headroom and bright character. The `K Drive` offers a subtle boost to push the amp into its sweet spot without heavy distortion. A `Multi Chorus` creates lush stereo width. The `Tape Echo` is essential for rhythmic, evolving repeats with analog warmth, while the `Shimmer` pedal adds ethereal, octave-up textures, a hallmark of the band's ambient soundscapes. Finally, a `Eleven Reverb` in 'Concert Hall' mode provides a large, spacious tail to complete the atmospheric quality.
Muse Bass Foundation
Para emular el tono de bajo de Muse, he creado un rig centrado en la flexibilidad y la agresión. El núcleo es un amplificador tipo SVT ('69 Blue Line Bass') con su cabina clásica 8x10, proporcionando una base potente y con pegada. Para la distorsión, que es clave en el sonido de Chris Wolstenholme, he incluido el 'B Dist 7000', modelado a partir de un preamplificador Darkglass, ideal para los tonos metálicos y modernos de canciones como 'Hysteria', mezclado con la señal limpia para no perder los graves. También he añadido un 'Tri Fuzz' (desactivado) para sonidos fuzz más clásicos y un compresor al inicio de la cadena para mantener la dinámica controlada y consistente. El rig se completa con un EQ gráfico para moldear el sonido final y efectos opcionales como un sintetizador y un chorus para capturar la versatilidad sónica de Muse.
Lemmy Ace of Bass
This rig is designed to capture the iconic, aggressive bass tone of Lemmy Kilmister from Motörhead. The core of the sound comes from a '69 Plexiglas 100W amp, mimicking the Marshall Super Bass heads he famously used, with both channels cranked to achieve a powerful, natural tube overdrive. The EQ is set with heavily boosted mids and reduced bass to replicate his signature clanky, mid-forward sound that cuts through the mix like a rhythm guitar. A Green JRC-OD is used as a clean boost (Drive low, Level high) to tighten the low-end and push the amp harder. The rig is completed with a 4x12 cabinet with Green 25W speakers and a dynamic 57 microphone to capture the raw, punchy character.
Blackened Treadplate
This rig captures the iconic high-gain tones of Metallica's 'Black Album' era, built around the '92 Treadplate Modern' amp for a powerful, saturated sound. It is designed to be a versatile '3-in-1' rig. The default state provides the tight, mid-scooped rhythm tone using the 'G EQ'. For the searing lead tone, enable the 'Green JRC-OD' (for a mid-boost), the 'AIR Delay', and the 'Black Wah', while disabling the 'G EQ' to let your solos cut through. For the classic clean sound, disable the EQ and OD, enable the 'Multi Chorus', and roll back your guitar's volume knob to clean up the amp's response.
Liverpool Jangle
This rig is designed to capture the iconic tones of The Beatles, focusing on the versatile sound of their mid-to-late period. The core of the tone is the '66 AC Hi Boost amp paired with a '2x12 AC Blue' cabinet, emulating the classic Vox AC30 sound responsible for their signature jangle and chime. For their heavier, more psychedelic tones, a 'Round Fuzz' is included, reminiscent of the fuzz boxes used on tracks like 'Taxman'. A 'Tape Echo' provides subtle slapback delay, while the 'Rotary' and 'Tube Tremolo' effects are ready to replicate the band's famous studio experimentation. A light compression at the start of the chain helps to even out the classic jangly rhythm parts.
HR-CCR Tone
This rig is designed to capture the classic, twangy, and slightly gritty tone of Creedence Clearwater Revival. The core of the sound comes from the '64 Black Lux Vib amp, set to the edge of breakup for a responsive clean tone. Its built-in tremolo is enabled and set to a signature CCR speed and depth. A 2x12 Black Panel Duo cabinet with a Dynamic 57 microphone provides the appropriate speaker character. A subtle spring reverb adds space, while a light overdrive is included to push the amp for lead parts or more aggressive rhythm playing.
Men I Trust - Show Me
This rig is crafted to replicate the dreamy, lo-fi, and chorus-laden clean tone from "Show Me How" by Men I Trust. It starts with a subtle compressor for dynamic consistency. The core of the tone is the '64 Black Lux Norm' amp, set very clean and warm, paired with a 1x12 cabinet miked with a Ribbon mic to capture a smooth, vintage sound without harshness. The signature 'wobble' is achieved with the Dimension Chorus, while a Tape Echo adds subtle depth and a long Plate Reverb creates the spacious, atmospheric feel. A final EQ block gently rolls off the highest frequencies to complete the warm, mellow vibe.
Kravitz Go My Way
This rig is designed to capture the classic, crunchy, and slightly fuzzy tone of Lenny Kravitz's "Are You Gonna Go My Way". The core of the sound comes from the '68 Plexiglas 50W amp, pushed into a natural breakup, paired with a classic 4x12 Green 25W cabinet. The 'Round Fuzz' is engaged for the main riff to add that signature aggressive and slightly unruly texture. For the iconic swirling solo, a 'Rotary' effect is placed before the amp, set to a fast speed. A subtle plate reverb is added at the end of the chain to give the tone some space without sounding washed out.
Sabbath Iron Man
This rig is designed to capture the iconic, heavy, and sludgy tone of Black Sabbath's 'Iron Man.' The core sound comes from a '69 Plexiglas 100W, emulating Tony Iommi's classic Laney Supergroup amps. It's pushed hard by a Treble Booster to achieve that signature fuzzy saturation. A 4x12 cabinet with Green 25W speakers and a Ribbon 121 mic provides the necessary thickness and vintage character. The Shine Wah is set to a fixed position to nail the vocal-like filter effect in the intro, while a slow Orange Phaser is included for the swirling solo tone. A subtle studio reverb adds a touch of space without washing out the sound.