The sound clip above is from a brother called Joe N. Here’s what he said about these captures. Glad you love them, brother!:
“I’ve tried countless amp modelers, spent tons of money on IRs, and experimented with just about everything under the sun, but they all lacked character and definition. When I say this is truly plug-and-play, I mean it.
As a newer guitar player, I need to spend my time practicing rather than building tones, and this has made my life so much easier. Not only is it incredibly simple to use, but it outperforms everything else I’ve tried.
I could talk all day about how good the tone is, but what I told Troy sums it up perfectly: “This tone lifted so much stress off my shoulders. I finally feel confident in my playing and my tone. I finally feel like I can freely worship while playing guitar.”
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 ToneX 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 tones, edge-of-breakup tones, and more pushed tones where the amps are already breaking up quite a bit and you get that natural grit and sizzle right away.
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.
This pack provides 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 more full and “Fender-y” but have a little chime underneath.
Naming Convention
GFHG [Amp Name] [Character] [Blend] [Tone Profile] [Gain Level]
Examples:
- GFHG AC+SONIC A 5050 BAL 2 = A clean-to-edge-of-breakup, slightly warmer 50/50 blend of the two amps.
- GFHG AC+SONIC 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+SONIC 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: The 3–7 “Rule”
These captures respond really well to adjustments inside your unit. You can shape them using gain, bass, mid, treble, and presence.
For best results, try keeping those controls between 3 and 7. In my experience, going beyond that range can push the capture too far from its original character, causing it to lose some of its authenticity and life. That’s not always the case, but it’s something to keep in mind.
Always start with Depth and Presence before reaching for EQ. Most of the time, those two controls are all you need to get a capture where you want it. Depth can help tighten things up and reduce any woofiness, while Presence can bring the tone to life and make it feel more like an amp in the top end.
- Want a bit more warmth? Lower Presence to around 3. If you’d like it warmer still, reduce Treble slightly.
- Looking for more low-end fullness? Increase Depth to 6–7. If you want more, add a bit of Bass.
- Want to reduce any “woof” or mud? Reduce Depth to 3–4.
- Need more presence and top end? Raise Presence to 6–7. If you’d like even more, add a touch of Treble.
Working with Gain Levels
Here’s the approach I recommend:
Want more drive/saturation?
Step 1: Increase the gain on the capture itself, ideally not much beyond 7. If you’re still wanting more after that, move to Step 2.
Step 2: Move up to the next gain level capture and, if it’s a bit too much, reduce the 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 gain and compensate for the volume loss by increasing the capture’s volume control. For example, if you want something in between Gain Level 1 and 2, start with a Level 2 capture and reduce the gain to taste.
Level Matching
To balance volume between captures, use the Model Volume control.
Input Trim
Input Trim: I prefer this between 1 and 3, and generally find myself landing at 1.5. To each their own, of course, but this range has worked really well for me.
As always, I am here to help. If you have questions, do not hesitate to reach out.
Coram Deo,
Troy
GuitarforHISGLORY
troy@guitarforhisglory.com
