Gear Database
Every pedal, amp, cab, and mic referenced in our tone recipes — with modeler equivalents across all major platforms.
Effects Pedals
16 items · Drive, modulation, delay, reverb, and more
Amps
22 items · Fender, Marshall, Vox, Mesa, and beyond
Guitars
17 items · The instruments behind the tones
Cabinets
1 items · Speaker configurations and voicings
Microphones
1 items · Mic choices that shape the final tone
Effects Pedals
The building blocks of every signal chain. Click any pedal to see its controls, modeler equivalents, and the recipes that use it.
Distortion3
Boss
Boss DS-1 Distortion
The most popular distortion pedal ever made. Bright, aggressive, and cheap. Kurt Cobain's primary drive pedal. Also used by Prince, Steve Vai, and Joe Satriani.
MXR
MXR Distortion+
One of the first commercially available distortion pedals. Simple two-knob design (Output and Distortion) delivering a gritty, mid-focused drive. Randy Rhoads used it as his primary distortion pedal to push his Marshalls into aggressive overdrive territory.
Marshall
Marshall Shredmaster
A high-gain distortion pedal from the early 1990s. Jonny Greenwood of Radiohead used it to create the massive wall of distortion on Creep's choruses. Discontinued and now highly sought after by collectors for its thick, aggressive character.
Fuzz2
Electro-Harmonix
Electro-Harmonix Big Muff Pi
Thick, sustaining fuzz with a distinctive scooped mid character. David Gilmour's signature lead tone pedal. The sound of Comfortably Numb, Time, and countless Pink Floyd solos.
Dallas Arbiter
Dallas Arbiter Fuzz Face
Hendrix's fuzz pedal. Round, thick, woolly fuzz that cleans up beautifully with the guitar volume knob. Germanium transistors give it a warm, organic character.
Chorus2
Electro-Harmonix
Electro-Harmonix Small Clone
Simple, lush analog chorus. Only one knob (Rate) and a depth switch. Kurt Cobain used it on Come As You Are and throughout Nirvana's catalog for that watery, underwater quality.
Boss
Boss CE-1 Chorus Ensemble
The original Boss chorus pedal, a large floor unit that preceded the compact pedal line. Features both chorus and vibrato modes with a warm, lush analog character and a built-in preamp stage that adds subtle coloration. Used by Alex Lifeson, Andy Summers, and John Frusciante.
Modulation3
Shin-Ei
Shin-Ei Uni-Vibe
A photocell-based modulation effect that produces a lush, swirling, chorus-like sound. Hendrix used it prominently on Machine Gun and other Band of Gypsys material. Not a true chorus or phaser; it's its own thing.
MXR
MXR Phase 90
A simple, single-knob phaser that adds a swirling, jet-like modulation. Eddie Van Halen used it on the first two Van Halen albums for that unmistakable swooshing quality layered over his brown sound.
MXR
MXR Flanger/Doubler
A studio-grade flanger that produces jet-like sweeps and metallic textures. Used by Eddie Van Halen and Alex Lifeson for dramatic modulation effects. Can produce subtle thickening or extreme, swooshing sounds depending on settings.
Amps
The heart of every tone. See exact settings and what each amp maps to on your modeler.
Fender
Fender Vibroverb (Blackface)
A 1964 blackface Fender combo with 1x15 JBL speaker. SRV's primary amp. Rich, warm cleans that break up beautifully when pushed. Spring reverb and vibrato built in.
Hiwatt
Hiwatt DR103 Custom 100
David Gilmour's primary amp. Extremely loud, extremely clean headroom. Where a Marshall breaks up early, a Hiwatt stays clean much longer, providing a pristine platform for effects. The pedal-friendly amp.
Marshall
Marshall Super Lead 1959
The Marshall Plexi. The sound of rock guitar. Hendrix, Page, Angus Young, Slash. Cranked to full volume, it produces the most iconic overdrive tone in guitar history.
Marshall
Marshall JCM800 2203
The definitive 1980s rock amp. A single-channel, high-gain evolution of the Plexi circuit. Slash, Zakk Wylde, Tom Morello, and countless others built their tone on the JCM800's aggressive, punchy overdrive with tight low end and searing mids.
Vox
Vox AC30
The British clean machine. The AC30's chiming, jangly top end and warm compression when pushed define the sound of The Beatles, Queen, U2, and Radiohead. The Top Boost channel adds treble and bass controls with a distinctive, glassy overdrive character.
Two Rock
Two Rock Custom Reverb
A boutique, hand-wired amplifier favored by John Mayer. Inspired by blackface Fender circuits but with more headroom, richer harmonics, and a sweeter overdrive. Responds beautifully to pick dynamics and guitar volume changes.
Fender
Fender Champ
A tiny 5-watt, single-ended, 1x8 practice amp that became a secret weapon in recording studios. When cranked to full volume, the Champ produces a rich, creamy overdrive with natural compression. Used on countless classic recordings including Layla and early Clapton sessions.
Fender
Fender Bassman
Originally designed as a bass amp, the tweed Bassman became one of the most influential guitar amps ever made. Its warm, fat overdrive inspired the Marshall JTM45 and countless other designs. B.B. King, Buddy Guy, and countless blues players built their tone on the Bassman.
Silvertone
Silvertone 1485 Amp
A budget department-store amp from the 1960s that Jack White turned into a signature sound. Six 10-inch speakers, tube-driven, with a raw, lo-fi character that breaks up beautifully when pushed. The definition of garage rock tone.
Mesa/Boogie
Mesa/Boogie Mark IIC+
The holy grail of metal amps. The Mark IIC+ is the most sought-after Mesa/Boogie ever made, with a tight, aggressive lead channel that defined 1980s thrash metal. Metallica's Master of Puppets, Ride the Lightning, and ...And Justice for All were all recorded with Mark IIC+ amps.
Marshall
Marshall JTM45
The original Marshall amp, essentially a clone of the Fender Bassman circuit built in London. Warm, bluesy overdrive with a British voice. Used by Angus Young, Eric Clapton, and countless classic rock players. Lower gain than the later Plexi but with a sweeter, more organic breakup.
Mesa/Boogie
Mesa/Boogie Mark I
Randall Smith's modified Fender Princeton that launched Mesa/Boogie. The Mark I's cascading gain stages produce singing sustain with a rich, warm midrange character. Carlos Santana's primary amp, defining the smooth, creamy lead tone heard on Abraxas and Supernatural.
Fender
Fender Twin Reverb
The loudest Fender combo amp. 85 watts of clean headroom through two 12-inch speakers make the Twin Reverb the gold standard for pristine, sparkling clean tone. Its lush built-in spring reverb and vibrato circuit are studio staples. Used by everyone from Jerry Garcia to Keith Richards.
Laney
Laney LA100BL Supergroup
Tony Iommi's amplifier of choice. The Laney Supergroup is a high-powered British valve head with a thick, grinding overdrive and heavy low-end response. Its dark, saturated character is the foundation of Black Sabbath's doom-laden sound and the blueprint for heavy metal amp tone.
Randall
Randall Century 200
A solid-state amp head that Dimebag Darrell used to define Pantera's crushing groove metal tone. Unlike tube amps, the Randall's solid-state power section delivers tight, precise distortion with razor-sharp articulation. The scooped midrange and surgical gain structure make it perfect for aggressive metal riffing.
Supro
Supro Thunderbolt S6420
A low-watt tube combo from the 1960s with a rich, compressed overdrive. Jimmy Page used a Supro on Led Zeppelin's first album for its thick, gritty breakup at low volumes. The Thunderbolt's single 15-inch speaker delivers a warm, round bass response.
Mesa/Boogie
Mesa/Boogie Mark IV
A versatile three-channel Mesa head that took the Mark series into modern high-gain territory. The Mark IV's lead channel delivers a tight, focused distortion with surgical EQ control via the five-band graphic equalizer. James Hetfield used it on the Black Album for Metallica's massive rhythm tone.
Diezel
Diezel VH4
A German boutique four-channel high-gain head renowned for its massive low end, tight response, and rich harmonic content. Adam Jones of Tool uses the VH4 for its dark, thick distortion that retains clarity even at extreme gain settings. A favorite of modern progressive and alternative metal players.
Fender
Fender Deluxe Reverb
A 22-watt Fender combo with a single 12-inch speaker, revered for its sweet breakup at manageable volumes. The Deluxe Reverb is the Goldilocks Fender -- louder and fuller than a Princeton but still breaks up beautifully unlike the ultra-clean Twin. A studio and club standard for decades.
Fender
Fender Vibro-King
A high-end, hand-wired Fender combo with three 10-inch speakers and a fat, warm clean tone. The Vibro-King combines Fender sparkle with extra midrange warmth and a lush vibrato circuit. Gary Clark Jr.'s primary amp, delivering the foundation for his modern blues tone.
Dumble
Dumble Overdrive Special
The holy grail of boutique amplifiers. Hand-built by Howard Dumble, fewer than 300 were ever made. The Overdrive Special delivers a transparent, touch-sensitive overdrive with crystalline cleans and a singing lead tone. Joe Bonamassa, John Mayer, and Robben Ford are among the few players to own one.
Ampeg
Ampeg VT-40
A 60-watt guitar combo from Ampeg, originally designed as a guitar amplifier with 4x10 speakers. Josh Homme runs his guitar through Ampeg bass-oriented amps for the thick, woolly low-end and compressed midrange that define the Queens of the Stone Age sound. The VT-40 delivers massive, earth-shaking fundamentals.
Guitars
Pickup configuration and body type shape the raw signal before anything else in the chain.
Fender
Fender Stratocaster
The most versatile electric guitar ever made. Three single-coil pickups, 5-way switch, tremolo bridge. The sound of blues, rock, funk, and country.
Gibson
Gibson Les Paul Standard
The classic dual-humbucker rock guitar. Mahogany body and neck with a maple cap deliver thick, warm sustain. The PAF-style humbuckers produce a fat, creamy tone that defines hard rock and blues.
Charvel/Custom
EVH Frankenstrat
Eddie Van Halen's legendary homemade guitar. A Charvel/Strat-style body with a single Gibson PAF humbucker in the bridge, Floyd Rose tremolo, and the iconic red/black/white striped paint job. Built for speed, dive bombs, and the 'brown sound.'
Gibson
Gibson SG Standard
The devilish sibling of the Les Paul. Thinner body, double cutaway, lighter weight. The SG has a brighter, more aggressive attack than the Les Paul with slightly less sustain. Favored by Angus Young, Tony Iommi, and Eric Clapton during the Cream era.
Gibson
Gibson ES-355 (Lucille)
B.B. King's beloved 'Lucille.' A semi-hollow ES-355 with dual humbuckers, Varitone switch, and a warm, singing tone. The semi-hollow body provides natural resonance and sustain that makes single notes sing like a human voice.
Kay
Kay Hollowbody
A cheap vintage hollowbody guitar from the 1960s that Jack White made famous. The low-output pickups, hollow body resonance, and generally rough build quality contribute to a raw, lo-fi tone that is central to the White Stripes' garage rock aesthetic.
ESP
ESP Explorer
James Hetfield's weapon of choice during Metallica's classic era. The Explorer body shape with active EMG pickups delivers a tight, aggressive tone with scooped mids and razor-sharp attack. Built for fast, percussive downpicking.
PRS
PRS Custom 24
Paul Reed Smith's flagship guitar, bridging the gap between a Les Paul and a Stratocaster. Dual humbuckers with coil-splitting, a 25-inch scale length, and a carved maple top deliver a warm, rich tone with exceptional sustain. Carlos Santana's signature guitar since the late 1980s.
Fender
Fender Telecaster
The first commercially successful solid-body electric guitar. Two single-coil pickups deliver a bright, twangy tone with a snappy attack. The bridge pickup cuts through any mix, while the neck pickup offers warm, round tones. Keith Richards' weapon of choice, often in open-G tuning.
Rickenbacker
Rickenbacker 330
A semi-hollow electric guitar with a distinctive jangly, chimey tone. The high-output single-coil pickups and through-body neck produce a bright, articulate sound with natural compression. Associated with The Byrds, The Beatles, and Johnny Marr of The Smiths.
Dean
Dean ML
A sharp, angular guitar designed by Dean Zelinsky in 1977. The V-meets-Explorer body shape with high-output humbuckers delivers an aggressive, tight tone. Dimebag Darrell made the Dean ML synonymous with groove metal through his work with Pantera.
Epiphone
Epiphone Riviera
A semi-hollow body guitar with mini-humbuckers that produces a jangly, open tone. The thin body and mini-humbuckers give it a brighter, more articulate character than a full-sized humbucker semi-hollow. Noel Gallagher's main guitar during Oasis's peak years.
Ibanez
Ibanez JS Series
Joe Satriani's signature guitar. A superstrat with a basswood body, DiMarzio humbuckers (Fred and PAF Pro), and an Edge tremolo system. The fast neck profile, jumbo frets, and high-output pickups make it ideal for legato playing, tapping, and whammy bar acrobatics.
Custom (Brian May)
Brian May Red Special
A homemade guitar built by Brian May and his father from an 18th-century fireplace mantel. Three Burns Tri-Sonic single-coil pickups with individual on/off and phase switches create an enormous range of tonal combinations. Played with a sixpence coin instead of a pick for its unique attack and harmonic content.
Manson Guitar Works
Manson MB-1
Matt Bellamy's custom guitar built by Hugh Manson. Features built-in Fernandes Sustainer, MIDI controllers, Kaoss pad, and kill switch. The guitar's aluminum body and custom pickups produce a bright, aggressive tone that can sustain indefinitely and produce synthesizer-like effects without external pedals.
Gibson
Gibson Les Paul Junior
A stripped-down, single-pickup Les Paul with a wraparound bridge and a single P-90 pickup. The Junior's simplicity is its strength -- the bridge P-90 delivers a raw, aggressive tone with more grit and edge than a humbucker. A favorite of punk, blues, and garage rock players.
Ovation
Ovation GP
A solid-body electric guitar by Ovation, famously used by Josh Homme of Queens of the Stone Age. Unlike Ovation's well-known acoustic guitars, the GP is a double-cutaway solid-body with a thick, warm tone that pairs well with detuned, heavy playing styles.
Cabinets
Speaker size, configuration, and voicing shape the final character of the tone.
Microphones
Mic choice and placement are the last link in the chain — they determine what the audience actually hears.
See this gear in action.
Every piece of gear in this database is used in at least one tone recipe. Browse recipes to see exact settings on your platform.