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 kind of tone, and it takes some intentionality to get amps responding well with all the drives, wet effects, and modulation we throw at them.
I’ve also got guitars with single coils, humbuckers, and Filter’Trons, so I wanted to make sure these translate well across the board. With the range of gain levels and tone profiles provided in this pack, you’ll have plenty of solid options to fit your setup.
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
22 captures based on the Benson Redland 35, covering clean tones, edge-of-breakup tones, and more pushed tones where the amp is already breaking up and you get that natural grit and sizzle right away.
The Redland is typical Benson in that it’s its own thing entirely. It definitely nods at the Fender blackface thing, but only slightly. The cleans are big, warm, and round; but turn it up and it starts to get into that Benson grind territory. Such a unique amp, and one I was very happy to add to the stable. Pair this one with a brighter amp that has some chime and you’ll be very happy.
Naming Convention
GFHG [Amp Name] [Tone Profile] [Gain Level]
Example: GFHG BENRED35 BAL 1
Tone Profile: Balanced, Sparkle
- Balanced / BAL = Even response across the spectrum.
- Sparkle = More open on the top end.
Gain Level: 1, 1.5, 2, 2.5, etc.
- 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 warmth, balance, and edge of breakup.”
- Tone Profile: Start with a Balanced tone profile.
- Gain Level: Since you play single coils, you may want to start around Gain Level 2 and see how that treats you.
“I have humbuckers or Filter’Trons, and I’m looking for more clarity and top-end life.”
- Tone Profile: Start with a Sparkle tone profile.
- Gain Level: Level 1.5 or 2 will probably be a nice starting point. If it feels like too much, back the gain down slightly inside ToneX.
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.
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
