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, characters, and tone profiles provided in this pack, you’ll have plenty of solid options to fit your setup.
GFHG Worship Essentials: Amps is a curated collection of amp captures for my brothers and sisters who serve on Sundays.
How Is This Pack Different From My First Release?
The first release was created by capturing my original Kemper profiles, so a capture of a capture, which I loved. That was necessary at the time because I had sold the amps those profiles came from, but I still wanted to preserve and share those tones because they turned out so good.
Since then, I’ve collected many of those same amps again, along with several others, and I wanted to revisit the idea with new “from the source” captures. These are captures of my actual amps and reflect more of what I’ve learned over the years about dialing in tones and capturing them.
This version also includes a few more gain levels, tone profiles, and voicings than the original release, but the purpose is still the same: to give you a curated group of amp tones from across the GFHG capture library so you can get to great tones quickly.
What’s Included
22 updated captures, with two gain levels of each:
- 1999 UK AC30/6 TB
- Fender Prosonic
- Benson Chimera
- Matchless HC-30 Normal Channel
- Matchless HC-30 EF86 Channel
- 1966 Deluxe Reverb
- 1999 UK AC30/6 TB + Benson Chimera Fusion 30/70
- 1999 UK AC30/6 TB + Benson Chimera Fusion 70/30
- 1999 UK AC30/6 TB + Prosonic Fusion 30/70
- 1999 UK AC30/6 TB + Prosonic Fusion 70/30
- Matchless HC-30 + ‘66 Deluxe Reverb Fusion 50/50
Naming Convention
GFHG [Amp Name] [Character] [Tone Profile] [Gain Level]
Example: GFHG FEN DLX VRB A BAL 1
Example Fusion Capture: GFHG MATCH30+DVRB A 30 BAL 2 or GFHG AC+SONIC A 5050 BAL 2
Character: A, B
More detailed descriptions of each amp and capture can be found in the individual product listings at GuitarforHISGLORY.com.
Tone Profile: Balanced, Sparkle, Shaped
- Balanced / Bal = Even response across the spectrum.
- Sparkle = Added top-end presence and a little extra shine without getting harsh.
- Shaped = “Shaped” is where I shift things around a bit using EQ during the capture process, bringing out a slightly different character. It still feels like the captured amp, just from a different angle.
Gain Level: 1, 2, 3…
- Higher number = more breakup from the start.
Starter Pairings
- UK AC30/6 TB paired with Fender Prosonic
- UK AC30/6 TB paired with Benson Chimera
- UK AC30/6 TB paired with Deluxe Reverb
- Matchless HC-30 paired with Deluxe Reverb
- UK AC30/6 TB + Benson Chimera Fusion 70/30 paired with UK AC30/6 TB + Benson Chimera Fusion 30/70
- UK AC30/6 TB paired with UK AC30/6 TB + Benson Chimera Fusion 30/70
- UK AC30/6 TB + Fender Prosonic Fusion 70/30 paired with UK AC30/6 TB + Fender Prosonic Fusion 30/70
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
