AmpStamp 1.6 Presets

Welcome to AmpStamp 1.6! From blues revival to early thrash metal, there is a lot of ground to cover. Here are some new and revised presets, with better accuracy, and more control over your tone.


THRASH

Entering the High-Gain era amps became tighter, with more distortion at lower volumes. This defined a new kind of crunch for the next generation of rock and heavy metal. That sound is on full display here with the VG408D Amplifier. Crank the Volume control for more chunk, using the (preamp) Gain control to dial in the right amount of crunch. The tone stack is subtle, but useable. Paired with the VG 4x12B 260W ’82 Cabinet, it won’t be long before you recognize this sound, get ready to shred.


LIQUID

This amplifier is so versatile, it’s hard to contain in just one preset so stay tuned for more info. From crunch to blistering leads, use the Deep option to fatten your tone and the Treble Shift option to tighten the bass. The 5-Band Graphic EQ speaks for itself… Also, dial back the Master 1 control to reduce flub in the bass and increase the Master control to compensate for the volume drop. This will allow a steeper “V” in the EQ section, creating a classic heavy metal tone made famous by bands like Metallica.


Woodstock V

We just can’t seem to pull away from this preset. Perhaps the passage of time has made it harder to capture exactly what was going on with Hendrix’s signal chain at Woodstock, but with version V we think we’ve come one step closer. With this update, we have moved the FZ102 Fuzz after the PH100 Phaser. To our ears it’s become clear that the white knob Fuze Face that Hendrix used at Woodstock was most likely a boost. It just sounds right, and we think you’ll agree. But enough talking, let’s try it out!

Woman Tone

Import Preset: SunshineImport Preset: Sunshine

Let’s take another quick look at one of the ultimate classic guitar tones, a sound Eric Clapton once described as “Woman Tone.” We’ll spare you the history of the band, but if you’re not aware, do yourself of favor and look them up. Better yet, get yourself acquainted with their music.

As part of their farewell concert, Clapton gave an interview where he described exactly how to get this sound. In his own words, either “by using the bass pickup, or the lead pickup but with all the bass off…on the tone control. Turn it down to one or ‘oh.'” Watch and learn from the man himself.

If you’re lucky enough to have an SG, Epiphone or otherwise, that will help. But a Strat can certainly come close when using the same pickup strategy. The elements are simple enough, we’ve lined up the perfect combination in AmpStamp:

  • VG402B Amplifier set to use the Normal channel
  • VG 4x12A 100W ’67 Cabinet
  •  WH100 Wah
  •  AMB400 Plate Reverb
SUNSHINE

For the rhythm tone, set the amp to direct output, bypassing the cabinet altogether. It’s likely this was done with the amp or a pedal, but you’ll instantly hear the clarity and top end that Clapton gets from his guitar. For the lead tone, use the neck pickup, or the bridge pickup with the tone down to zero, or to taste. You can’t miss this epic sound. Enjoy!

Import Preset: SunshineImport Preset: Sunshine

AmpStamp 1.6 – The Gold Standard

Welcome to the eighties! With the release of AmpStamp 1.6, we are ushering in the era of high gain amps with some serious tone sculpting, effects loops, MIDI control …oh the technology! From blues revival to early thrash metal, there is a lot of ground to cover. Classics were becoming classics and modifying said gear was in vogue. Everyone was searching for something uniquely theirs, the ability to stand out from the pack. Now it’s your turn to relive some of the early tones from the most decadent of decades.

MIDI CONTROL

With support for MIDI Control, you can now take your tone live! Using basic MIDI messages, you can change presets, toggle switches, control knobs, and of course use the expression pedal, all from the perspective of the Floor Controller.

By using the Routing Editor to configure how each of the controls interacts with your effects, amp, cabinets, and ambience, there is a virtually limitless combination of control that you can program. Combined with hands-free access, it’s time to rock!

HIGH GAIN CLASSICS (WITH FX LOOPS!)

What is there to say about the amp that defined high gain for the ’80’s and continues to be sought after today? Well, here it is, the VG802C Amplifier. Those in the know might understand that this amplifier went through several revisions and was getting constantly tweaked until it finally arrived at its most coveted version. We’ve captured that here, as well as an optional flaw/feature with the original implementation of the FX Loop.

Which brings us to FX Loops! What would go on to define a modern feature set for an amplifier in the ’80’s definitely included an FX Loop. With all of the gain now happening in the preamp section, it made sense that things like echo should be after the distortion for a more realistic sound, similar to what studio engineers could provide during the recording process. Doing this also cleaned up effects like chorus and flangers too!

Speaking of modern feature sets, the VG408D Amplifier would define the next several decades of modernism in amplifier design. With channel switching, an FX Loop, and built-in Reverb, it was all there. This amp would gain some notoriety for including a diode limiting section, and also went through several revisions.

We’ve captured one of the earlier incarnations, and on playback we think that you’ll agree, this is a classic! Don’t miss out on the awesome clean channel too, there is a lot of tone to be had with this one.

SUGGESTED MULTI-SPEAKER PAIRINGS

Of course with each great amplifier must come a great cabinet. And we’ve got just the thing for the new high gain amps. The VG 4x12HBA 250W ’85 Cabinet and the VG 4x12B 260W ’82 Cabinet. We suggest mixing and matching to find your tone. These ’80s cabs also sound great with some earlier classic amps too, more to come on that soon!

Each cabinet features either two different speakers, or a blend of similar speakers in different positions. We think you’ll instantly fall in love with these cabinets.

MORE EFFECTS

Here we have the definitive overdrive, perfectly complementing a high gain amp, cleaning up some flub in the bass, and adding just a little nudge during a ripping solo. The OD101 Overdrive definitely delivers. We’re exited to explore the wonderful world of overdrives in parallel with our extensive collection of fuzzes.

And of course, the ’80s would not be complete without a chorus pedal. The CH102 Chorus may not have been the first but it certainly is one of the most distinctive. Add a subtle shimmering effect to clean tones, more width to distorted tones, or crank up the speed for some otherworldly sounds!

But don’t bother listening to us, just plug in and play…

SAME SUBSCRIPTION, MORE GREAT PRODUCTS

As always, we think you’ll find that AmpStamp has endless variations of tone to satisfy guitarists in any genre of music. If you’re already a subscriber then thank you! If you haven’t subscribed yet, then hurry up! You’re missing out! Check out the Gear Shop and stay tuned for new products.

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Killer Queen

Import Preset: Killer QueenImport Preset: Killer Queen

Let’s take a quick look at one of the ultimate classic guitar tones, the one and only Brian May of Queen. We’ll spare you the history of the band, but if you’re not aware, do yourself of favor and look them up. Better yet, get yourself acquainted with their music.

In a rare moment for this business, Brian actually cut a near 30 minute video back in 1983 detailing how he achieved his now legendary sound. If you have the time, we highly recommend watching it.

Here are a few key points that we gleaned from watching the master at work:

  • uses AC30’s without Top Boost, can achieve a similar tone by playing through the Normal channel
  • starts with a really woolly tone and refines it using a Dallas Rangemaster Treble Booster
  • plays with a metal pick
  • adds a chorus pedal using two or more amplifiers for true stereo operation
  • also adds a delay pedal panning repeats to opposite amplifiers

Oh right, and Brian’s guitar is obviously a one-of-a-kind! But that’s OK. We’ve lined up a few of the required elements in AmpStamp:

  • VG302E Amplifier set to use the Normal channel
  • EQ100 Treble Boost
  • VG 4x12B 100W ’73 Cabinet for rhythm tones
  • VG 2x12C 30W ’67 Cabinet for lead tones
Killer Queen

Disable the boost for mellow cleans, tap into solo mode for blistering leads, and enable echo to bring in other-worldly harmonies while soloing. This preset has you covered for all occasions. We’ve also added room ambience to capture the studio sound found on recordings of rock bands during the mid-’70’s. But enough talking for now, check out how it sounds!

Import Preset: Killer QueenImport Preset: Killer Queen

Tone Spotlight: The Hall of Fame

As we continue to make progress capturing unique and desirable tones throughout the recorded history of the guitar, let’s take stock for a moment. In the stompbox bible, Analog Man’s Guide to Vintage Effects, turn to chapter nine for a look at Analog Mike’s Hall of Fame. We thought we’d call out each effect here and provide a quick status on what’s available in AmpStamp. Though we’re nowhere near finished, we think we’ve covered quite a few classic stompboxes. If you’d like to help prioritize what we tackle next, let us know in the comments!


Uni-Vibe

Artists: Jimi Hendrix, Robin Trower, Harvey Mandel

Debut: 1968

History: Designed by Fumio Mieda, originally part of the Psychedelic Machine distributed by Honey in Japan and first sold as the Vibra-Chorus. Inspired by filtering effects heard from short wave radio interference.

AmpStamp: PH100 Phaser


Fuzz Face

Artists: Jimi Hendrix, David Gilmour, Eric Johnson, Stevie Ray Vaughn

Debut: 1966

History: Physical enclosure designed by Ivor Arbiter, influenced by the base of a microphone stand. The circuit may have also been based on Ivor’s suggestion to use a Schmidt Trigger to increase distortion.

AmpStamp: FZ102 Fuzz


TS-808 Tube Screamer

Artists: Stevie Ray Vaughn, Kirk Hammett

Debut: 1979

History: Designed by S. Tamura for Maxon in Japan. This was an evolution of the Overdrive pedal intended to capture the dynamics of tube distortion.


Cry Baby

Artists: Jimi Hendrix, Eric Clapton, and everyone else

Debut: 1968

History: Designed by Brad Plunkett with Del Casher, originally sold via partnership between Vox/JMI and Thomas Organ, debuting as the Clyde McCoy. Later renamed model V846 under Vox, and Cry Baby under Thomas Organ.

AmpStamp: WH100 Wah


Big Muff

Artists: Carlos Santana, Ernie Isley, David Gilmour, J. Mascis, Billy Corgan

Debut: 1970

History: Designed by Bob Meyer with Mike Matthews, based off of the Guild Foxey Lady. They iterated on the Axis Fuzz, then Muff Fuzz, finally landing on the four-transistor design with the Big Muff.

AmpStamp: FZ104A Fuzz


Phase 90 / Small Stone

Artists: Eddie Van Halen

Debut: 1974

History: The former was inspired by the Maestro Phase Shifter, the latter by the EMS Synthi Hi-Fli. Designed by Keith Barr and David Cockerell, respectively. Though each features a different topology, both effects sweep dual notches in the frequency spectrum creating their signature whooshing sound.


Mu-Tron III

Artists: Stevie Wonder, Bootsy Collins, Jerry Garcia, Flea

Debut: 1972

History: Designed by Mike Beigel originally for a synthesizer by Guild. When the deal fell through a new company and product was born.


Boss CE-1

Artists: Herbie Hancock, Andy Summers, John Frusciante

Debut: 1976

History: The first chorus effect in pedal form, and the first effect for Boss. Also incorporated into the JC-120 amplifier produced by Roland. This was the first effect to feature stereo outputs.


A/DA Flanger

Artists: ?

Debut: 1977

History: Designed by David Tarnowski, this is the flanger. With a wider range than its competitors, gating threshold, built-in compressor, and tuned feedback, it has a sound all to its own. Additionally, the effect featured an external control pedal that could be used to sweep the flanger.


Dallas Rangemaster

Artists: Eric Clapton, Tony Iommi, Brian May, Ritchie Blackmore, Rory Gallagher

Debut: 1965

History: A product of Dallas Music Ltd., production was short lived as the company eventually merged with Arbiter, forming Dallas-Arbiter of Fuzz Face fame.

AmpStamp: EQ100 Treble Boost


Ross Compressor

Artists: ?

Debut: 1977

History: Not just a clone of the MXR Dynacomp, this pedal was actually an improvement, maintaining the same qualities as the original script-logo MXR version while also providing a warmer sound and better stability.


Orange Squeezer

Artists: Jay Graydon, Jeff “Skunk” Baxter, Mark Knopfler

Debut: ?

History: Designed by Dan Armstrong, this effect came in a small box meant to be plugged directly into the guitar’s output jack. Despite its hard to use form factor this effect became a must-have for LA session musicians during the 70’s.


This is quite a list! But remember, as important as it is to have inspiring effects, you’ll also need an inspiring amp. Make sure to check out our Gear Shop to see everything that AmpStamp currently has to offer. And don’t forget to leave a comment if there’s something you’d like to see next!

AmpStamp 1.5 Presets

Welcome to AmpStamp 1.5! From proto punk and college rock, to rockabilly and psychedelia, we think you’re going to find endless inspiration from playing and tinkering. Here are some new and revised presets, with better accuracy, and more control over your tone.

Import All 4 New PresetsImport All 4 New Presets

Import All 2 Revised PresetsImport All 2 Revised Presets


Raw Power

Proto punks. The godfathers of punk. The Stooges. We stumbled upon James Williamson’s lacerating tone from Raw Power, and we think you’ll agree, this tone cuts like a knife. Harnessing the unique sound of mixing elements of Vox and Marshall gear, Williamson found the perfect match to Iggy’s intense delivery. The only requirement is that you play it loud.

Import Raw PowerImport Raw Power


Monster

By the time R.E.M. recorded their album Monster, they were looking for a new sound. Something harder, rockier, and faster paced. Guitarist Peter Buck found that in a small 2×12 combo known for its grit and particular voicing for guitar. Armed with only that amplifier, Buck would record instant classics, making use of the raw tone of the amplifier at full volume, as well as the novel vibrato channel.

Import MonsterImport Monster


Slapback

Take a second to play this slapback tape delay and relive some of the finest moments recorded at Sun Studio. From Jerry Lee Lewis and Elvis, to Johnny Cash, there’s a reason why musicians were clamoring for this new sound. Take what you can from it, and reinvent rock n’ roll once again.

Import SlapbackImport Slapback


Sunshine

While recording their album Disraeli Gears, Cream, and specifically Eric Clapton, would truly push what a guitar could do in pop music. Taking cues from seasoned blues players, Clapton effortlessly weaved inspired lead lines into simple song structures that served as platforms for improvisation during their live shows. But what was even more interesting was that sound he was putting to tape. A guitar had never quite sounded like that, and hasn’t since, until now.

Import SunshineImport Sunshine


Nellcôte II

Locked away from the rest of the world, living in hiding, living in excess. This was life for one of the most popular rock bands in history. Though the days may have blended into nights, interrupted by breakfast boats on the Italian Riviera, music happened. It needed to happen. It had to happen. And with a simple amplifier, a modest 2×12 combo, good times were rolling. Updated with speaker Color controls, for a darker, rounder tone, and Early Reflections to capture the sound of the studio.

Import Nellcôte IIImport Nellcôte II


Woodstock IV

Updated with a different amplifier and cabinet, and an improved, more accurate PH100 Phaser algorithm. As soon as you strike the first three notes of the Anthem, we think you’ll find that it can’t get any closer unless you happen to have the exact guitar that Hendrix used during performance. For the moment, this is one of rock’s all time greatest tones now available anywhere, anytime. Enjoy!

Import Woodstock IVImport Woodstock IV

AmpStamp 1.5 – The Color of Tone

With the release of AmpStamp 1.5, we’ve added an entirely new category of products–Ambience effects, expanded the tonal capabilities of all cabinets, and added a new 2×12 combo that has been a missing link at the heart of countless classic tones. As we continue to iterate, the number of unique tones that you can achieve with AmpStamp is ever-increasing. With more accuracy, and amazing levels of touch sensitivity, we think you’re going to find endless inspiration in your playing. Let’s take a quick look at what’s new!

Color and Offset

Color and OffsetWe have updated all cabinets with Color and Offset controls. Color transitions between the unique sound of miking a speaker at its center (Bright) versus all the way out at the very edge (Dark). Offset places a second angled microphone near the edge, simulating a common technique used to tame a bright top end.

This makes the unique tonal combinations with just one cabinet very deep, not to mention when blending two cabinets together. The possibilities are wide and varied, and we encourage lots of experimentation with these new controls!

Ambience

AMB400 Plate ReverbWe’re also excited to announce the addition of Ambience effects to AmpStamp! Once you have the right amplifier, cabinet, and effects, that will get you extremely close to your favorite records. But that last mile of the signal chain, for instance adding something like a plate reverb, really puts a finishing touch on your tone.

Expensive, hard to find, and hard to maintain, the legendary sound of plate reverb is now at your fingertips with the AMB400 Plate Reverb. We’ve also added a few conveniences like high and low pass filters, as well as pre-delay, elements commonly used in the studio to shape the final guitar sound.

AMB100 Early ReflectionsAnd for close-in, tight room sounds, we’ve added something more basic. Check out AMB100 Early Reflections. This effect captures a series of reflections in three dimensions, similar to how an acoustically treated studio might sound. But of course, you can exaggerate the effect, with a bigger, longer echo, or get closer and more claustrophobic, like an isolated booth typically used when driving amplifiers at full volume.

With this new category of effects you can now get that much closer to the recorded guitars on your favorite records. So keep exploring!

The Missing Link

VG302E AmplifierIt was surprising to find out just how many artists have used this amplifier in its various incarnations. Once we plugged into the VG302E Amplifier, it became obvious why. This amp is awesome! With relatively low power, an absence of negative feedback, and a now-classic top boost tone circuit, there is a lot that contributes to this amp’s unique sound.

But don’t bother listening to us, just plug in and play. We think you’ll instantly fall in love with this classic. And make sure to try various cabinets, as even today, modern versions will sell with two very different speaker options.

Same Subscription, More Great Products

As always, we think you’ll find that AmpStamp has endless variations of tone to satisfy guitarists in any genre of music. If you’re already a subscriber then thank you! If you haven’t subscribed yet, then hurry up! You’re missing out! Check out the Gear Shop and stay tuned for new products.

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AmpStamp 1.4 Presets

With the release of AmpStamp V1.4 we’d like to highlight a few sounds that combine some of the latest gear now available in the shop. We’ve added a classic tweed combo, another legendary 4×12 cabinet, one of the baddest fuzz effects, and the ultimate phaser. Let’s dig in!

Import All 4 PresetsImport All 4 Presets


Immodium

What’s left to say about such a classic fuzz? We provided three of the most desired variations and in this preset are running the pedal through a hybrid combo for best tone. But the whole point is to find your own sound and I think it won’t be hard with this effect. Make sure to tweak the Miller capacitance setting under the More Control section.

Import this preset – ImmodiumImport this preset – Immodium


Two Speed

This phaser has turned up on more recordings than you would expect. From classic recordings in the 70’s considered cutting edge at the time to grunge rock artists in the 90’s probably looking to revisit the sounds they grew up hearing, it’s an endlessly fun pedal due mostly to its complexity of control. Stacking two phasers seems like a simple task but once you start experimenting you’ll see it’s easy to get lost in the details. Best advice is to forget about the signal path and focus on what sounds good to your ear.

Import this preset – Two SpeedImport this preset – Two Speed


Larryland

When Mr. 335 came to this particular session it was just like any other. He grabbed his guitar, grabbed his amp, and headed over. What was not clear was that the combination of his signature “sweet” tone would explode when collided with the songwriting capabilities of the members of Steely Dan. Not to mention his ability to craft amazing lead lines over some of rock’s most complex progressions, it’s safe to say this classic studio tone is still in demand.

Import this preset – LarrylandImport this preset – Larryland


Lady

The mid-70’s… disco, electronic art music, “middle of the road,” acoustic jazz, it was an interesting decade. The “Me” decade. If musicians learned one thing from this time period it was that the fuzz goes after the phaser, but that wouldn’t be so for Ernie Isley. Wanting to take advantage of some of the latest effects technology for guitarists he would have to learn this lesson for himself. And with a top ten single we all got to experience this amalgamation. Considered a classic today, it’s now yours to avoid at all cost and secretly cherish at the same time.

Import this preset – LadyImport this preset – Lady

AmpStamp 1.4 – Legendary Tone

We think you’re going to love this next revision of AmpStamp, version 1.4. It’s vintage gear done right so you can sound closer to recorded tones, more than ever before. There are so many sounds packed into this release we didn’t know where to begin so lets just start by giving an overview of what’s new. Stay tuned for more detail about how to achieve some seriously legendary tones with our Classic Sounds Series.

Classic Combo

VG207A AmplifierWe’re sure by now that you’ve heard of the mojo tweed amplifiers can add to your playing. Loaded with an upgraded speaker (VG 1X12C 15W ’68 Cabinet), this amp will place you in one of several places… a hot studio in Miami recording some assorted love songs, the studio scene in LA circa 1976/77, or amidst the second guitar revolution that was launched in 1978. Regardless of the year, the tone is unmistakable so make sure to check out the VG207A Amplifier, you won’t be disappointed.

Another 100W Cabinet?

VG 4X12B 100W '73 CabinetYou heard us right, we have another 100W cabinet. This time capturing classic tone from 1973. This cabinet barks and howls at exactly the right moments bringing you instantly into it’s sonic temple. From quiet finger-picked passages to blistering leads and everything in between, make sure to check out the VG4X12B100W73 Cabinet.

Heavy Fuzz

FZ104A FuzzSpeaking of blistering leads, get ready for some serious fuzz with the FZ104A Fuzz. What’s most impressive is how different this pedal sounds depending on which amplifier it’s being run through. We encourage experimentation and think you’ll find some really interesting tones. Turning the tone down will add more bass helping to overdrive small combos while turning it up will yield a high end sizzle ready to cut through any mix.

Ultimate Phaser

PH102B PhaserLast but not least is this awesome pedal, the PH102B Phaser. There is a lot going on with this effect. Simply put, it’s two phasers in one. And you can run them in series or parallel, with the latter configuration giving its characteristic deep phasing effect. But that’s just where the fun begins, the second phaser can also be controlled by a second LFO. In this configuration setting different speeds for each LFO will provide endless variations on some very unpredictable rhythms. Then, each LFO can be toggled between sine and square waves for even more interesting effects. As if that weren’t enough we’ve also provided a twist that allows the first LFO to be modulated by the second LFO. Needless to say there are a lot of options. Oh and try adjusting LDR sensitivity for a brighter or more mellow sound.

Same Subscription, More Great Products

As always, we think you’ll find that AmpStamp has endless variations of tone to satisfy guitar players in any genre of music. If you’re already a subscriber then thank you! If you haven’t subscribed yet, then hurry up! You’re missing out! Check out our product page for more details and stay tuned for new products.

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