The Slightly Technical ToneXamplifier captures are tone models of amps that are unique in manyways. Some are from my personal collection, while others belong to myfriends or clients. All the amplifiers have been modified or tweakedby me to achieve unique tonal qualities. These tone models are directinput (DI) captures of amps and are intended to be used with variousIRs. The profiles available are just examples of how the tone can bedesigned, but I strongly advise exploring the raw Tone Models anddesigning your own unique presets.

This is a collection of presets that are snapshots of my personal 1976 Marshall JMP Superlead with extensive and unique modifications. This amp features two essential modes of operation – 1959 and 2203 – making it possibly the only amplifier in the world capable of delivering both sounds immaculately. The modifications are done the right way: each mode operates true to its original circuit, with all non-essential circuits from the other mode being fully hard-bypassed.

The Tone Models in this collection are my favorite snapshots of the amplifier operating in 1959, or the Superlead mode – what people normally refer to the Marshall Plexi (Even though this one is a metal plate one). This amp has a unique sound due to a custom-designed power transformer and an exquisite wiring technique.

At the time of creating these models, the amp was equipped with 3x 12AX7 NOS Ei Yugoslavia preamp tubes and 4x JJ EL34 II power tubes.

This collection includes 11 different Tone Models, which represent snapshots of the amplifier at various settings, ranging from clean sounds and different crunch levels to boosted high-gain tones. It also includes 2 custom IR mixes of my preferred speaker cabinets. The Tone Models were created with different gain and equalizer settings to provide a wide palette of options that work well with various guitars and speaker cabinets.

The captures were made in two modes of operation – A and B. Amongst other mods, this amp has a switch that switches the bright capacitor on the volume pot of the bright channel between 100p and 4.7n. Marshall nerds will understand what I’m talking about here, but if you don’t, that’s fine, think of mode A being a bit more clean and “Superbassy” sounding, where mode B is the 70s crunchy rock machine we all know and love.

The presets are captured at various gain levels – B1 is less gain that B2, and EQ sweet spots were chosen for each capture – the cab used for capturing was the Greenback Marshall cab. I have included the V30 cab, as it is really useful to have and sounds great, but it might need a bit of EQ intervention on your side.

Captures have been made only of the Bright Input, which is a the classic Marshall tight crunch type of sound, and there are also captures of the jumpered combination – which is also a classic way of using the Plexi circuit – being a bit fatter then the Bright Input by itself as the Normal Channel was blended to taste.