Your support means the world to my family and me. I truly hope you find the captures helpful in your service to the Lord and His people.
Goal: I dial these in with the worship player in mind, because that’s the lane I primarily stay in. We’re after a particular tone, and it takes some intentionality to dial in amps to behave well with all the drives, wet effects, and modulation we throw at them.
GuitarforHISGLORY Fusion Helix Stadium packs are built by taking two amps that naturally complement each other and blending them together during the capture process.
A simple way to think about it is this: You might have an AC30-style amp with incredible chime and top end, but it can feel a little light in the low end. Pair that with something that’s tighter and rounder down low, and now you’ve got something new and fresh, but not so different that it feels foreign.
Or take it the opposite way. If you have something that’s round, full, and warm, but want a little more top-end sizzle, pair it with an amp that excels in those areas and blend accordingly during the capture process.
When I capture, I’m working toward three main goals:
- Capture the amp in the tonal character it’s best known for, using a balanced EQ.
This is about letting the amp be what it naturally is, with an honest representation of its core voice, the way most people would recognize and expect it to sound. - Capture that same core tone with a bit more top-end presence.
This opens it up slightly while staying true to the amp. It gives you a version that sits a little more forward in a mix and makes the capture feel a bit more lively. This isn’t better than method 1; it’s different. - If possible, and if the results are favorable, capture one or two variations that sit just left or right of that familiar center.
This takes the tone in a slightly different direction without losing its core identity. I’ll do this by introducing subtle EQ changes and other variables during the capture process, experimenting with different approaches that bring out a different side of the amp. These aren’t drastic changes, just alternative starting points that can feel better depending on your guitar, your rig, etc. These often end up being some of my favorites, especially when I’m looking for something a little different from what I’d normally reach for.
What’s Included
- 48 captures based on the ‘99 UK Vox AC30/6TB and Fender Prosonic fused together, covering clean/clean-ish tones to edge-of-breakup/breakup tones.
- Two all-in-one presets with drives, modulation, multiple reverbs, multiple delays, and snapshots dialed in and ready to go.
- Three blend types: 50/50, AC30 as the lead amp, named 70/30, and Prosonic as the lead amp, named 30/70.
The AC30-led blends lean more into chime, while the Prosonic-led blends are warmer and rounder.
This one takes the AC30 feel and fills it out with the Prosonic. The AC30 brings that bouncy jangle, while the Prosonic adds more body and smooths out the top end a bit. It still has that familiar AC character, just not as thin. There’s a little more underneath it.
The Prosonic is this sleeper of an amp that has an amazing clean channel that nods toward traditional Fender cleans but has something different, something special, going on. This combo is just magical.
Getting Started
To import the clones, just go to your Library in Helix Stadium Edit, click Clones, then click Import.
From there, find the clones from the pack you purchased and import them. Once they’re in your library, you can replace the blocks inside the preset with the proper clones.
For the Stronger preset, I used the GFHG Solo CD65 drive clone, the GFHG AC+SONIC A 30 Bal 3 amp clone, and the GFHG AC+SONIC A 70 SPRKLE 3 amp clone.
For the GFHG AC+SONIC all-in-one preset, I used the GFHG Superbolt 1 drive clone, and the GFHG AC+SONIC A 50 Bal 2 amp clone on both left and right.
Easy as that!
Naming Convention
GFHG [Amp Name] [Character] [Tone Profile] [Blend] [Gain Level]
Examples:
- GFHG AC+SON A 5050 BAL 2 = A clean-to-edge-of-breakup, slightly warmer 50/50 blend of the two amps.
- GFHG AC+SON B 7030 SPARKLE 3 = An edge-of-breakup, brighter 70/30 blend of the two amps, with the AC30 as the dominant voice.
- GFHG AC+SON A 3070 BAL 1 = A cleaner 30/70 blend, with the Prosonic as the dominant voice and a warmer overall character.
Character: A, B
- A = Warmer overall.
- B = More sizzle in the upper mids and top end.
Tone Profile: Balanced, Sparkle
- Balanced / Bal = Even response across the spectrum.
- Sparkle = Added top-end presence and a little extra shine without getting harsh.
Gain Level: 1, 2, 3, 4
- Higher number = more breakup from the start.
Where To Start
Here are two examples to help guide where to start. There are no rules, but this framework should give you a helpful starting point.
“I have a single coil guitar, and I’m looking for edge of breakup, warmth, and balance.”
- Blend: Looking for warm? Try the 5050 or 3070 blends first.
- Character: Start with A.
- Tone Profile: Start with a Balanced tone profile, because you don’t want too much high end.
- Gain Level: Since you play single coils, you’ll likely need a capture with a bit more gain, so start with Gain Level 3 and see how that treats you.
“I have PAF-style humbuckers, and I’m looking for high-end bite and nice breakup.”
- Blend: Looking for chime? Try the 7030 blends first.
- Character: Start with B.
- Tone Profile: Start with a Sparkle tone profile.
- Gain Level: Level 2 will be a nice starting point, but I wouldn’t dismiss starting with 3 and backing down the gain a touch.
See below for best practices for making adjustments within the capture.
Making Adjustments
These captures respond really well to adjustments inside your unit. You can shape them using the parameters inside the Helix Stadium.
- Prefer a little more presence and high end? Start by reducing the bass slightly. If it still needs clarity, add a bit of treble.
- Prefer a little more warmth? Start by lowering the treble.
Working with Gain Levels
Here’s the approach I recommend:
Want more drive/saturation?
Step 1: Increase the Pre Gain on the capture itself, but don’t go crazy. If there’s not enough gain available in the current capture, move to Step 2.
Step 2: Move up to the next gain level capture and, if it’s a bit too much, reduce the Pre Gain to match your desired feel.
Tip: This is a really great way to increase the headroom of a capture while still keeping the amount of gain where you want it. A lot of players end up preferring this approach.
Want less drive/saturation?
The opposite applies as well. If you need to clean up a capture and reduce the amount of overdrive, lower the Pre Gain and compensate for the volume loss by increasing the capture’s Post Gain control. For example, if you want something in between Gain Level 1 and 2, start with a Level 2 capture and reduce the Pre Gain to taste.
Level Matching
To balance volume between captures, use the Post Gain control inside the capture block, or use the Merge Mixer block and adjust the A Level, left amp, and B Level, right amp. Just don’t forget you’ve done this, because if you start swapping amp blocks, it might drive you nuts trying to level things if you forget. 🤪
As always, I am here to help. If you have questions, do not hesitate to reach out.
Coram Deo,
Troy
GuitarforHISGLORY
troy@guitarforhisglory.com
