Paradise Guitar Studio Manual

Updated January 13, 2026 20:51

Paradise Guitar Studio gives you all the tools you need to easily record and mix pro-quality guitar tracks.

What is Paradise Guitar Studio?

Paradise Guitar Studio is an end-to-end virtual studio for guitar sounds. With authentic amp emulations, classic mic and speaker pairings, and onboard studio and stompbox effects, you’ll get record-ready tones in seconds.

Award-winning UAD amps and cabinets

Acclaimed amp emulations from our UAFX pedals let you create rich vintage tones, with real touch-sensitivity and tube feel. Whether you need jangly cleans, natural overdrive, or rare boutique sounds, you can dial in whatever your track needs. Combine 11 of our best "golden unit" vintage and modified tube amps with a professionally miked cabinet from our curated selection of 35 different cab/mic combinations, for nearly limitless tone shaping.

Stompboxes and studio effects

We modeled dozens of stompboxes and studio effects, including many new designs introduced in Paradise Guitar Studio, so you can craft an entire signal chain within the plug-in. From iconic overdrive pedals and choruses, to classic 1176 compression, plate and spring reverbs, tape delays, and more, they all work cohesively so you can keep your focus on the tone.

Get an entire pro guitar recording chain in your DAW, complete with classic amps, cabs, mics, pedals, studio effects, and more
Explore 11 hand-picked vintage and modified tube amps, a “golden unit” collection of essential clean, crunch, and boutique tones
Capture your perfect sound in minutes with curated speaker cabinets and expertly-placed studio mics
Shape your final tone with studio effects like 1176 compression, vintage tape echo, spring and plate reverbs, EQ, and more
Stay inspired with over 300 presets spanning rock, blues, indie, metal, funk, pop, and beyond

Paradise Guitar Studio

Getting Started with Paradise Guitar Studio

To begin, insert Paradise Guitar Studio in your DAW, and set the correct input level. Then, browse some presets to get an idea of what it can do.

If this is your first time playing a UAD guitar amp plug-in, take a look at our Getting Started guide for helpful tips.

Adjust input levels

Paradise Guitar Studio is calibrated to provide the same tone and response as the original amps when used with the Hi-Z instrument inputs on most audio interfaces, such as Apollo and Volt, without added preamp gain.

For the best tone and response:

Connect to your audio interface's Hi-Z instrument input
Set the audio interface channel's preamp gain control to minimum (no added gain)
Set the plug-in's IN knob to the noon position
Reduce the IN knob level for preamplified tracks, or if the input meter shows red levels with your loudest notes
Increase the IN knob if your input level is low (for example, when plugging an instrument into a line-level input without a Hi-Z or Instrument switch)
For onscreen input level guidance, hover on the IN knob, then click ⓘ

Tip: When the input level is too high (input overloaded), the input meter turns solid red. Reduce the input level if this occurs.

Tune your instrument

Paradise Guitar Studio includes a chromatic tuner.

To open the tuner, click the tuning fork icon at the top of the plug-in, next to the preset selector.
Play a note. The tuner detects the note's pitch.
Adjust your instrument's tuning to adjust its pitch towards the middle of the tuner display. If the triangle points right ▶, the note is flat. If it points left ◀, the note is sharp.
Click the X at the upper right corner of the tuner when finished.

Tuner options

By default, your instrument is muted when the tuner is active. To hear your instrument while tuning, disable MUTE.
To set the pitch reference for A4 (A above middle C), drag the pitch value. The default reference pitch is 440.0 Hz (concert pitch).
- Click the up and down triangles to adjust the pitch reference in 1 Hz increments.
- Shift+drag to adjust in 0.1 Hz increments.
To show the Mini Tuner in the header bar, enable this option in the tuner overlay. It indicates pitch accuracy using a directional triangle pointing toward the detected note. The Mini Tuner does not mute your signal.

Browsing presets

Paradise Guitar Studio includes hundreds of professionally designed presets spanning multiple genres and styles. Cycle through presets by clicking the arrows, or click on the preset name at the top of the plug-in to open the preset browser.

In the preset browser, click on one or more preset tags to narrow your search by style, character, or amp type, or begin typing to search for a specific preset. Click the star next to a preset to tag it as a Favorite.

Tip: The IN knob doesn't move when you switch presets, so your input level is always correct for your setup.

Mono and stereo plug-in support

Paradise Guitar Studio supports mono, stereo, and mono-to-stereo plug-in and effects operation.

Pre FX (before Amp and Cab & Mics)

You can configure the Pre FX section to process effects in either mono or stereo.

Using stereo Pre FX preserves any incoming stereo effects (like reverb or modulation) but requires more processing power than the default mono setting. You can switch between mono and stereo Pre FX in [Settings].

Post FX (after Amp and Cab & Mics)

In stereo or mono-to-stereo plug-in instances, Post FX always maintain the stereo signal. Even if a specific effect within the Post FX section is set to process in mono, the overall signal remains stereo, ensuring any previous stereo effects (like a stereo delay) are preserved.

Understanding Paradise Guitar Studio

A Paradise Guitar Studio sound can include:

As many as five Pre FX (effects placed before the Amp and Cab & Mics)
An amp and miked cab
An independently adjustable Room sound
As many as five Post FX (effects placed after the Amp and Cab & Mics and Room)
An optional noise gate and output limiter

Processor sections

Paradise Guitar Studio has three main sections, in groups across the top of the plug-in. The sections contain icons for the effects, amp, and cab:

Pre FX (1)
Amp and Cab & Mics (2)
Post FX (3)

Your instrument's signal flows from left to right through the plug-in.

Paradise Guitar Studio processors in the Navigation bar

You can add up to five unique effects in the Pre FX and Post FX sections. Click on a section to view it in the main panel for editing.

Navigating in Paradise Guitar Studio

In the Navigation Bar at the top of the plug-in, click a section to display it in the main panel. The Navigation Bar highlights the selected section.

Navigation Bar tips

Shift-click an individual effect to toggle bypass/active.
Shift-click the amp and cab section to toggle bypass/active.

(1) Header Bar

At the top of Paradise Guitar Studio, the header bar provides access to the tuner, presets, settings, and bypass.

(2) Levels & Navigation Bar

The Levels & Navigation Bar includes controls for plug-in levels, processors, and the gate and limiter.

IN provides input level adjustment (see Getting Started above).
GATE provides controls to eliminate noise.
You can choose which section to display in the main panel (Pre FX, Amps & Cabs, or Post FX) and bypass or enable those sections.

Tip: The selected section is saved so that you can return to the same effect or amp and cab section when closing and reopening the plug-in, or when switching presets.

Level faders and level meters for Pre FX, Amps, Cabs & Mics, and the plug-in OUT knob allow you to balance your levels across the plug-in and at the output.
LIMIT enables a hard limiter at the output to prevent clipping.

Displaying Pre FX, Amp and Cab & Mics, and Post FX

Setting levels for Pre FX and Amp and Cab & Mics

Effects in Paradise Guitar Studio can significantly increase or decrease gain levels. For example, increasing EQ levels can significantly increase the output level. For this reason, most effects have a level or volume control, and the Pre FX and Amp and Cab & Mics sections have their own output meters and level controls.

To adjust levels for the Pre FX or Amp and Cab & Mics, drag the level sliders.

Tip: To return a level to its default, Option-click (macOS) or Alt-click (Windows).

Bypassing Pre FX, Amp and Cab & Mics, or Post FX

You can easily bypass an entire section with the navigation bar. Hover over the section until a circle appears at the top left corner. This button toggles a section on/off. Processors are active when this button is lit, and bypassed when the button is unlit (processors are also dimmed when bypassed).

Effect section active (top) and bypassed (bottom)

Using the gate

Paradise Guitar Studio's noise gate silences extraneous noise by detecting your guitar signal at the input but acting after the amp, before PostFX and the output knob and limiter. This design is extremely effective at detecting and eliminating extraneous noise.

Note: Gate settings are saved with presets.

Hover over the Gate, then toggle the Noise Gate with its button. Drag the Gate triangle up or down to adjust the noise gate Threshold.

To adjust more Gate settings, click ••• when hovering. Drag up/down or left/right to adjust the slider values.

Gate settings

Threshold: Sets the level where the gate opens/closes. Adjust while playing to suppress noise without cutting off your lightest notes.
Attack: Sets how fast the gate opens when the signal exceeds the Threshold. Set the attack as fast as possible to sound natural. If you hear a "jumpy" or clipped transient, slow the attack until the transients are preserved without any unwanted artifacts.
Release: Sets the closing rate (time) after the signal drops below the Threshold. Adjust this for a natural note decay/release.
Attenuation: Sets the noise reduction level. Higher settings reduce amplifier noise. Lower it only if you wish to allow some noise through.
Hold: Sets how long the note is held after dropping below the Threshold, before the Release time begins. Works with Release to prevent "note chatter" and ensure notes decay naturally.

Using the limiter

To prevent digital clipping the plug-in's output, click the LIMIT button. When lit, a hard limiter prevents the level from exceeding 0 dBFS.

Note: With very loud signals, the limiter might noticeably distort when limiting. It is better to reduce the output level to prevent clipping than to rely on the limiter for anything except occasional brief peaks.

(3) Main Panel

The Main Panel is the workspace for effects and amp features. When browsing presets, the Main Panel stays focused on the view you last used (Pre FX, Post FX, or Amp and Cab & Mics).

In the Main Panel you can:

Add and remove Pre FX and Post FX
Reorder effects
Adjust settings for Pre FX and Post FX
Choose an amp and adjust amp settings
Choose a miked cab
Adjust the Room level

(4) Amp Controls

In the Amp Controls section, you configure the amp's front panel controls. You can also bypass the amp using its power switch/LED.

Bypassing Paradise Guitar Studio

To bypass the plug-in for comparing to the unprocessed sound, click the IN button in the UAD Toolbar, or the UA logo in the upper-right of the plug-in.

Two bypass methods for Paradise Guitar Studio

When bypassed, the plug-in is dimmed.

Adjusting controls in Paradise Guitar Studio

Controls in the plug-in are represented by knobs, sliders, and switches.

Drag a knob, slider, or switch to adjust the value. The value is displayed while you are adjusting the control.
To adjust a control with more precision, hold your keyboard's Shift key while dragging the control.
To return most controls to their default values, Option-click (macOS) or Alt-click (Windows) the control.
You can also adjust controls with your MIDI controller. See the MIDI Learn article for details.

Using galleries to choose an amp, cab, or effect

You choose amps, cabs, and effects from galleries, which appear in the main panel.

Cabs & Mics gallery

General gallery controls

Choose (single-click) an item to hear its sound, then click the X on the upper right to close the gallery. Information about the selected item is shown in the right panel.

Double-click an item to load it and close the gallery.
Scroll the gallery with the scroll bar or mouse wheel, if the items aren't on one page.
Use the arrow keys on your keyboard to move through the items and change selections. You hear an item immediately when it is selected.

Searching a gallery (Cabs & Mics and FX)

Search for an item based on characteristics, brands, names, or sound. Click the magnifier icon, then begin typing the search term. Any matching items are shown.

Amp gallery additional features

Lion '68 and Enigmatic '82 amps have multiple models. You can choose the model in the right panel of the gallery.

Cabs & Mics gallery additional features

By default, All is selected at the top of the gallery, and all cabs and mics are shown.
To narrow the list by the number of speakers in the cab, click the one, two, or four speaker cabinet icons.

Cabs & Mics gallery with four-speaker cabinet category displayed

You can also choose a cab from the main panel, when Amps and Cabs & Mics are displayed. Hover over the cab and click the < and > brackets to the left and right of the cab image to switch to the previous or next cab. This is a simple way to quickly choose cabs while listening.

FX gallery additional features

By default, All is selected at the top of the gallery, and all effects are shown.
To narrow the list by the category of effect, click a category at the top of the gallery.
If an effect is already in use in the current effect section (Pre FX or Post FX), the effect is dimmed and labeled IN USE, and cannot be selected.
After choosing an effect, you can adjust its controls in the right panel of the gallery.

Opening galleries to choose items

To open a gallery from the main view, double-click any slot in the navigation bar.
You can also open a gallery by clicking on a section in the navigation bar, then clicking the amp, cab, or effect name.

Paradise Guitar Studio Settings

Click the gear / metronome icon to open the plug-in settings.

Paradise Guitar Studio settings

Input Mode

Choose Mono to send the signal through mono Pre FX and a mono amp/cab, and a stereo signal out to the Room and Post FX. The Mono setting uses less CPU.
Choose Stereo if you are running a stereo input to the plug-in, and you want to preserve the stereo sound through the Pre FX and amp/cab. The Stereo setting requires more CPU processing.

Tempo

You can sync Paradise Guitar Studio's time-based effects to the DAW tempo, or you can manually set a tempo.

Choose DAW to sync time-based effects to your DAW's tempo.
Choose Manual to use a specified tempo.
- Drag to set the tempo.
- Click the up and down triangles to adjust the tempo in 1 BPM increments.
- Shift+drag to adjust the tempo with more precision.
- Click the tap button to set a tempo by tapping. Tapped tempos are more accurate after you have clicked at least 4 times.

Tip: To control tap-tempo with a MIDI foot controller, use MIDI Learn to map your controller to the tap tempo control.

Using Amps and Cabs & Mics

The Amp and Cab & Mics panel is the core of the Paradise Guitar Studio sound. Multiple vintage amp setups, some with multiple variations, are included to cover a wide range of sounds.

[Learn about Paradise Guitar Studio Amps] | [Learn about Paradise Guitar Studio Cabs & Mics]

Bypassing the amp and cab

On any amp, toggle the power switch off to bypass the amp and cab. The amp and cab are dimmed when bypassed, and the amp's power LED is unlit.
To bypass just the speaker cabinet, choose Direct.
Note: The Room control and sound are removed when Direct is selected.

Amp and cab bypassed with amp power switch

Cab bypassed with Direct selected

Using Effects

You can add effects into the Pre FX and Post FX sections. Pre FX are effects applied before the Amp and Cab & Mics, and Post FX are effects applied after them.

Effect instances

You can use one instance of a specific effect per section.

For example, you can have a TS Overdrive in the Pre FX section and a TS Overdrive in the Post FX section. However, you cannot have two TS Overdrives in the Pre FX section.

Tempo Sync

For time-based effects (like delay and some modulation effects):

Enable Sync within the effect to adjust time settings to sync with the tempo.
The effect syncs to either the DAW tempo or a specified tempo (specified in Paradise Guitar Studio's [Settings]).
When synced, time-based controls display note subdivisions (for example, 1/8D for a dotted eighth note) instead of milliseconds.

See [Tempo] for related information.

Adjusting effect controls

You can adjust effects in the gallery's right panel while choosing effects so you can hear the changes.
After you add the effect, you can also adjust its settings in the main panel.

Tape EP-III in effect gallery

Tape EP-III in main display effect slot

Bypassing and enabling effects

Each individual effect has its own bypass "footswitch" and LED near the bottom of the effect. To toggle an effect on/off, click its footswitch or LED. When an effect is active, its LED is lit. When disabled, the LED is unlit, and the effect is dimmed in the Pre FX or Post FX section in the Navigation Bar.

Reordering effects

To reorder an effect, drag it to the left or right. If dragged on top of another effect, they swap positions.

Removing effects

To remove an effect from the effect view, hover over the effect name plate, then click the X.
To remove an effect from the gallery view, click its name above the effect, then select "None".

Setting Controls for Automation

You can adjust amp and effect control values with DAW automation. Up to 24 unique controls (parameters) of the current amp and effects can be assigned for automation.

Because each effect and amp has unique controls, you must first assign the specific control for the currently focused effect or amp before it can be automated in your DAW.

Note: You don't need to assign controls to adjust them with MIDI Learn. Assignment is only needed for DAW automation.

Some controls are always available for automation, such as:

Pre FX and Post FX power for each slot
Amp Power controls
Input, Gate, and Output section controls

Note: Changing an effect or amp clears automated controls. If you change or remove the type of effect or amp you're using (for example, by removing a Tape EP-III Delay), the automation controls you previously added for the effect are removed from the list.

Adding a control to automate

Right-click on a control on an effect or amp in the plug-in. The automation list menu is revealed, with the current control name at the top.
Hover over a slot. The + appears.
Click the slot to add the control.

Removing an automation control

Right-click on any control on an effect or amp in the plug-in. The automation list menu is revealed, with the current control name at the top.
Hover over a populated slot. An X appears to the right of the control name.
Click the X to remove the automation control.

Paradise Guitar Studio Effects

Big Fuzz

Big slice of pi! Super saturated, with a huge low end and massive sustain. Thick, heavy, and loose. Bypass the tone knob for even more gain and mids.

Big Fuzz tips

The tone control on these pedals is an unusual "tilt" design that increases highs while reducing lows,and vice-versa. This can yield massive tonal changes with small moves. Set low for extremely dark "in a cave" tones, or high for AM radio-type effects.
Pair with Lion's Bass model and the UK GB30 4x12 cab for a huge '90s alternative rock sound. Adjusting the Volume between 11 and 1 o'clock yields a wide range of tones.

Gold Overdrive

Ultra rare and highly coveted, this mythical overdrive works as a clean boost at low gain settings, with thick midrange-forward drive when gain is set higher.

Gold Overdrive tips

The Gain control is really a blend control that blends a clean and distorted signal. Many players prefer to use the Gold Overdrive as a clean boost. Set Gain at the minimum and push the Output for a mid-forward boost sound.
For a classic Gold Overdrive lead sound with a clean amp, set Gain to 3 o'clock, Treble to noon, and Output to 9 o'clock. These are close to the default settings when you Option-click (macOS) or Alt-click (Windows) all controls.

Nashville Overdrive

Prized for warm, transparent tube-like distortion, this Nashville favorite is often paired with Dream- and Showtime-style amps to enhance their natural compression and drive. The original Nashville OD can have more bass than you need, but we put it on a knob so you can dial it down. Bass has the stock sound when set to 10.

Nashville Overdrive tips

The Spectrum control is unusual. Below noon, treble and bass are reduced, for a very mid-forward sound. At high settings, the sound gets scooped with extra bass and treble. Use high spectrum settings to brighten the Ruby normal channel, and lower settings to de-emphasize the scooped sound of Dream.
For a fat boost effect, set Bass and Level to Max, set Drive to minimum, then adjust Spectrum to taste.

RAW Distortion

Black sheet metal box distortion, with plenty of raw, face-melting distortion on tap. Underrated for syrupy lead sounds. Like the original, the Filter knob cuts the highs when turned clockwise.

RAW Distortion tips

At low gain settings (below noon) Raw reduces bass. Boost the low end with an EQ after Raw to restore the missing low end.
At gain settings above noon, the low end increases, and at very high gain settings, RAW provides a very liquid, fuzz-like lead sound.

TS Overdrive

The green pedalboard staple for pushing a clean amp into overdrive, or an overdriven amp into distortion. Adds midrange and cuts low end, great to tighten up looser saturated sounds.

TS Overdrive tips

To tighten loose low end and add gain to a distorted amp, set overdrive to the minimum and level to the maximum, then adjust the tone to taste.
To reduce the harshness of Ruby's Brilliant channel when Ruby is gained up, reduce the Tone and Overdrive to 0, and adjust Level to taste.

Vintage Fuzz

The classic silicon transistor fuzz, with all the syrupy lead tones and torn speaker sounds you could hope for. The custom Sputter control intentionally misbiases the transistors for sputtery, gated sounds.

Vintage Fuzz tips

For wild, unpredictable gated fuzz effects, set Sputter high, and pair with low output humbuckers or single coil pickups.
Pair with the Lion Bass model for soaring psychedelic blues tones. For more brightness and clarity, use Lion's Low inputs.

Blue Flanger

Jet-style flanging, broad phasey sweeps, or more subtle doubler effects, all in one pedal.

Blue Flanger tips

For "frozen" phasey flanger sounds, set Width to 0.
For unique manual flanging, automate the Manual control, with Width set to 0.

Brigade Chorus

Warm, lush bucket-brigade chorus and vibrato, with specific controls for each effect. Classic mode hard-pans the dry and wet signals.

Brigade Chorus tips

You can add significant gain with the Level control, so use the Brigade Chorus in a Pre FX slot to add warbling, chewy gain to your amp.
Use Dual mode in stereo configurations for wide stereo choruses and vibrato sounds.

Micropitch Shifter

Tweakable chorus and detune effect for lush and wide modulation, especially in stereo.

Micropitch Shifter tips

To shift chorusing to the left or right in stereo, use the blend knob.
At high levels, the Depth knob can create "seasick" or almost robotic sounds.

Multi-Chorus

Multi-tap six-voice chorus with deep flexibility for broad textures and soundscapes.

Multi-Chorus tips

Reduce Level and increase Regen for wild sci-fi "sound in a tunnel" effects.
Try high Regen settings combined with six taps, high Depth, and the square wave shape to create bell-like, FM synth-style soundscapes.

Orange Phaser

The original orange, single-knob phaser for bubbling, swirling modulation. Switch between vintage "script" and modern "block" models.

Orange Phaser tips

For classic, vintage phasing, use the Vintage ("Script") phaser. The effect is less aggressive and mellower.
For more pronounced, pulsing phasing, the Modern ("Block") phaser feeds some signal back into the phaser output, for more midrange and a more aggressive sweep.

Trem 65

Amp-style tube tremolo circuit with the added versatility of tempo sync, stereo operation, and square or sine wave modulation.

Trem 65 tips

Try the square wave for "glitchy" tremolo sounds. This is especially effective when the speed is adjusted freely when Sync is off.
Enable Sync with the sine wave in stereo for luscious synchronized swimming tremolo sounds.

Vintage Vibrato

Vintage-inspired true vibrato and chorus with sine, square, and random modulation. Familiar classic vibey sounds in mono, with beautiful and lush sonics in stereo.

Vintage Vibrato tips

Try the random waveform for glitchy sounds.
Yes, it's a vibrato, but the Choral mode creates an authentic analog-sounding chorus, with the option of square or random modulation for more chaos.

1176 Compressor

UA's staple ultra-fast FET compressor. Choose a ratio, or shift-click for unique "All Buttons In" mode. Rotate Attack/Release knobs clockwise for faster operation. Deselect the ratio for just the 1176 preamp.

1176 Compressor tips

Deselect Ratio and turn Input up to max for huge, sputtery, vocal distortion that rivals classic overdrive and fuzz sounds.
Set Attack and Release to max for fastest response, and some pleasant distortion.

Red Comp

The original stompbox compressor. The signal is somewhat clipped when pushed, with plenty of over-the-top squish. Not the most subtle compressor, so blend it with the custom Mix knob.

Red Comp tips

For classic picking, set the sensitivity high (2 to 4 o'clock), and adjust Output to match unity level. Great for fast picking runs with an edgy bite when you dig in.
For a more subtle always-on compressor, set Sensitivity between 9 and 10 o'clock, and Output to taste. Blend in initial pick attack with the Mix knob.

Analog Memory Delay

Syrupy repeats, thick modulation, and mind-bending sci-fi effects are the hallmarks of this vintage American bucket-brigade delay. Add the preamp to color the dry tone, and use the vibrato and chorus to add texture to repeats.

Analog Memory Delay tips

Enable the warm preamp circuit with the Color switch. Set Blend to minimum, and crank up Level to add warmth and gain, when placed in the Pre FX section. Set Color off to add gain only to delayed signals.
Enable Sync for the ultra-famous Dublin dotted eighth delay (1/8D). As a bonus, two dual delay settings are available at the end of the delay knob: 1/4 + 1/8D, and 1/4 + 1/8. In the Post FX section, the dual delays are panned in stereo.

Digital Delay

Pristine, mirror-image repeats with dynamic, shimmering modulation effects. Lots of options to filter, sync, and tweak your echoes. Enable Sync to add dual time offsets like 1/4 + 1/8 in stereo.

Digital Delay tips

Use the low and high cut filters for creative delay washes. For example, create a dark atmosphere by setting Low Cut to minimum and High Cut in the 300-400 Hz range.
For long repeat trails without runaway, you can set Feedback as high as 100%. Unlike analog delay models, Digital Delay never goes into self-oscillation.

EP-III Tape Echo

A complete circuit emulation of the classic tape delay. Wow & flutter, randomness, hiss, wobble, and an incredibly musical preamp circuit round out the tone. Tweak your repeats with Mint, Worn, and Old tape machines for color and texture. Enable Sync to add dual time offsets like 1/4 + 1/8 in stereo.

EP-III Tape Echo tips

In a Post FX slot, higher levels of Wonk make the delay repeats take on more random stereo character as they warble less and less in sync with each other.
The EP-III preamp has been a favorite of guitarists for more than 50 years. Switch Color on, and reduce Mix to the minimum for instant preamp warmth.

Pitch Shift Delay

Pitch-shifted, circuit-bent bucket brigade echoes for wild creative effects. Use Dirt to misalign the compander circuit for swell and crunch-type feedback sounds. Separate Speed and Depth controls with three LFO choices deliver subtle to sharp modulation tweaks. Enable Sync to add dual time offsets like 1/4 + 1/8 in stereo.

Pitch Shift Delay tips

Enable Dirt and set feedback high for self-oscillations. Use at very low mix settings for wildly distorted background sound design-style beds.
Delay is mono, but in Sync mode, two stereo dual delay settings are included at the end of the delay knob.

Digital Reverb

Flexible reverb specifically voiced for great guitar sounds, with four algorithms ranging from tight rooms to huge spaces.

Digital Reverb tips

Use the Church algorithm for lush, large reverb tails with great warmth and a real sense of space. Place this reverb type after a delay with modulated echoes to create a beautiful shimmering tail for guitar chord work and solo guitar sounds.
Use the Studio algorithm at short decay for the tight room sound of a well-designed studio space.

Plate 140 Reverb

Big, dense, and lush metallic reflections, with a smooth decay. Dark, warm, and colored mid-range wash.

Plate 140 Reverb tips

Add modulation for subtle swirling modulation on the reverb tails.
Set Decay to 4.0 seconds for a classic album-ready plate reverb.

Reverb 224

Early digital reverb with long, smooth decays and characteristic graininess and warmth. Individual sliders for bass/mid/treble reverb response.

Reverb 224 tips

Reverb 224 can add realistic space to your sound without sounding overly processed. Try the default settings for each algorithm, and adjust to taste.
Bass and Mid faders add reverb time in seconds, and the Treble fader controls the high frequency rolloff. There is a lot of range in the last segment of the Bass and Mid fader scale (from 7.5 seconds to 70 seconds). Push these faders up for long, sustaining atmospheric sounds. At very high settings, the reverb self-oscillates.

Drip Spring 65 Reverb

Drippy, syrupy spring reverb, warmed by tubes and with your choice of three different tanks, plus bass and treble controls.

Tank A: Bright drip and pingy aggressiveness
Tank B: Midrange warmth and longer sustain
Tank C: Smooth and warm tube spring ambience

Drip Spring 65 Reverb tips

This reverb is always mono, for true spring reverb authenticity.
Use the EQ knobs to adjust the reverb tone in the mix. Increase treble for lively, snappy, out-front reverb, and reduce Treble and increase Bass for dark subtlety.

10-Band Graphic EQ

Precise control of 10 EQ bands for your sound. Use for tone shaping or emphasizing certain frequencies to drive an amp harder.

10-Band Graphic EQ tips

Use to shape your sound before or after a distortion pedal. For example, you can boost low frequencies after the Raw Distortion pedal (which reduces bass at low gain settings), or cut some mid frequencies from the Gold Overdrive (which can be mid-heavy).
Create your own treble booster in a Pre FX slot before Ruby's Normal channel: Boost all of the bands between 1k and 16k on the EQ, then add gain with the OUT knob.

Studio EQ

Semi-parametric four-band EQ for sculpting your sound, with additional low and high cut filters.

Studio EQ tips

For instant S-Verb amp sound, place in front of the Showtime amp with the Bright switch on and the S-Verb cab, and cut 6-10 dB with the LMF fader at the default 400 Hz.
Mix helper: easily brighten a dark amp to cut through a dense mix, or cut crucial lows or mids to sit better in the mix. Use the Studio EQ in a Post FX slot and have at it!

Volume

Volume pedal. Ideal for swells and balancing your sounds.

Volume tips

Automate the volume pedal in a Pre FX or Post FX slot and map it to a MIDI foot controller for smooth volume swells. Adjust Shape counter-clockwise to have the fader respond more like a guitar volume knob, making a more logarithmic curve.
Set a minimum and maximum volume for more control over the sweep range. The Volume effect can add up to 12 dB of boost at the maximum setting.

Paradise Guitar Studio Amps

Six amps are available in Paradise Guitar Studio. Some amp selections offer multiple models or custom mods.

Dream '65 – The essential American tube combo
Enigmatic '82 – 30 years of rare ODS amps, plus build your own D-Style amp in Custom Mode
Lion '68 – The classic 100-watt plexiglass-faced British amplifiers that defined rock & roll
Ruby '63 – The classic valve amps that powered the British Invasion
Showtime '64 – The vintage tube-amp that defined early rock, pop, surf, and soul
Woodrow '55 – The legendary mid-'50s American tweed amp

Dream '65

The essential American tube combo. It features bold clean tones, sweet tube breakup when pushed, and divine spring reverb and vibrato (tremolo), along with popular custom amp mods.

Amp Controls

Bright: Toggles a high-frequency boost on/off. Normal disables the boost (reduces brightness).
Volume: Adjusts the amp's gain. Increasing the volume adds more overdrive and compression, changing the amp's character.
Treble: Adjusts the high-frequency response of the amp's tone stack.
Bass: Adjusts the low-frequency response of the amp's tone stack.
Reverb:
- Click the LED button to toggle the Reverb circuit (on when lit).
- The Reverb knob adjusts the amount of the tube-driven spring reverb.
- Note that as gain increases and the amp compresses/saturates, the reverb may appear less loud. This behavior accurately models the original tube amplifier.
Vibrato Controls (Tremolo):
- Click the LED button between the Speed and Intensity knobs to toggle the Vibrato (on when lit). Note that Vibrato controls are unavailable when the Mod is set to D-TEX and Boost is on, as with the original hardware modification.

Speed adjusts the rate of the vibrato effect.
Intensity adjusts the depth of the vibrato effect.

Dream '65 Mods

These modifications are modeled after common hardware customizations. Each Mod offers a unique sound.

Stock: The original amplifier circuit. Use the Boost control for added clean gain.
Lead: Removes the tone stack for increased gain. Also bypasses the bright cap when Boost is on, resulting in a warmer sound at lower Boost settings. As Boost is increased, it adds mid-range presence ("lead boost").
D-Tex: Known as the "SRV mod." Provides more midrange and significantly higher preamp gain.
- Vibrato is only available when Boost is disabled.
- Use for soft, SRV-style compression and an open midrange.
- Increasing the Boost control reduces the effect of the Bass and Treble knobs, completely bypassing them at the maximum setting.

Enigmatic '82

Based on four super-rare, highly-coveted, custom-made amplifiers, Enigmatic '82 covers a massive range of tones, from warm cleans to saturated gain.

Enigmatic '82 amp variations

Suede: Compressed and high-gain, with abundant midrange warmth.
Silver: Open and less compressed than Suede. Features noticeable tube sag and fullness, with a thicker midrange than Cream and Black.
Cream: Extended low-end response, with a strong push in the midrange and high-end frequencies.
Black: Compared to the other options, this variation has a higher-fidelity power supply, resulting in a full-range, responsive, snappy, and articulate tone.

Enigmatic '82 controls

Enigmatic has standard amp controls that are always visible, and an additional set of circuit tweaks available to customize the sound. Click [Customize Circuit] to reveal additional circuit controls and tweaks.

Input (FET/NOR): Selects between the Normal (NOR) input, which has fixed gain, and the FET input.
- The FET input changes the input characteristics and can add gain. Use the FET Trim control in the Customize Circuit section to adjust FET gain, from sparkly clean to slightly distorted.
- At very low settings, the FET input can be extremely quiet.
Volume: Adjusts the gain level of the first gain stage (the clean channel). This stage cascades into the Overdrive gain.
Bright: Toggles the Bright cap on (up) or off (down). See Bright Cap in the Customize Circuit section for details.
Deep / Mid: Toggles the selected setting on (up) or off (down). The switch label depends on the selected Tone Stack Type (Classic = DEEP, Skyline = MID).
- Deep (Classic) cuts high-end frequencies, shifting the sound toward the low end.
- Mid (Skyline) adds a thick midrange boost.
Rock / Jazz: Switches between two different amp settings that provide unique gain structures and sounds.
- Rock provides a punchy tone with a midrange push and higher overall gain.
- Jazz provides a mellow, softer, scooped blackface-style EQ with lower gain and less mids.
Boost: Press this button to activate the Preamp Boost. This removes the tone stack, increasing overall preamp gain. When on (lit), the EQ knobs (Treble/Middle/Bass) are inactive, but Deep or Mid can still be used.
Treble / Middle / Bass: Controls the passive tone stack. These EQ controls are voiced differently based on the Skyline or Classic tone stack setting. They are inactive when Preamp Boost is on.
Overdrive: Engages and controls the overdrive circuit, which adds gain and saturation. The Volume gain cascades into the Overdrive gain and both contribute to the final gain amount. The available overdrive amount can be adjusted with the [Overdrive Trim] control.
- Toggle Overdrive on/off using the LED button.
- Overdrive Level adjusts the amount of overdrive gain.
- Overdrive Ratio adjusts the output level of the Overdrive channel.
Master: Adjusts the tube power amp output level. Increase this control to add power tube distortion.
Presence: Adds high-frequency sparkle to the sound.

Enigmatic '82 Customizations

You can make further tweaks to the sound of Enigmatic using customizations. These controls are revealed when you click Customize Circuit, and you can hide these controls by clicking the X to the right of the amplifier description. Drag left/right or up/down to adjust these controls.

FET Trim: Adjusts the level of FET input gain. This control is only active when the FET input is selected.
Bright Cap: Selects one of three bright cap values: 150 pF, 196 pF, or 300 pF.
- Active when the Bright switch is on.
- Higher values produce a brighter tone.
- The bright cap's effect becomes less noticeable as the sound is more overdriven.
Tone Stack: Selects the amp's EQ configuration.
- Classic is the earlier American blackface-style EQ. Features a slightly hollower sound and less gain. Enables the Deep switch.
- Skyline is the later "Skyliner" EQ. More aggressive, higher-gain, and British-sounding, with a tighter low end and accentuated mids and highs. Enables the Mid switch.
Overdrive Trim: Adjusts the available gain range for the Overdrive channel. The Overdrive Level knob then sets the final gain amount. Note that low Overdrive Trim settings can result in low overdrive levels and low overall volume.
HRM EQ: The HRM (Hot Rubber Monkey) circuit activates a separate passive post-gain tone stack for the Overdrive channel. HRM is a more scooped EQ with enhanced low and high end, useful for pushing the overdrive into heavier or soaring, liquid gain territory. This EQ can provide more tone shaping when the Treble/Middle/Bass controls are disabled with the Preamp Boost function.
- Toggle HRM EQ with the button to the left of the label.
- Drag up and down on the controls to adjust the EQ amount for each band.
- HRM EQ is only audible when Overdrive is engaged.

Lion '68

The classic 100-watt plexiglass-faced amplifiers that defined the sound of an era of rock guitar.

Lion '68 amp variations

Lead: The standard Plexi amp, voiced for guitar with extra gain and brightness.
- Cleans up well, with a wide EQ range, warm low end, and full top end.
- Ideal for heavy rhythm and warm leads when pushed.
Bass: The "super bass" head, popular among rock guitarists.
- The cleanest of the Plexi models, with the biggest low end.
- Excellent as a pedal platform or for a big, clean sound. Growls when pushed.
- No bright cap, resulting in less edgy treble than the Lead and Brown models.
Brown: A modded version of the Lead amp, creating a particular "brown" high-gain, saturated Plexi sound.
- Models a Variac (voltage reducer) and component changes that create a classic, sought-after hot-rodded tone.
- Great at lower volumes for glassy cleans.

Lion '68 controls

Lion '68 has standard amp controls that are always visible, and an additional set of circuit tweaks available to customize the sound when the Amp is focused in the main panel.

Presence: Controls the overall brilliance and gain of the power amp section. Increasing Presence adds more available gain and edge to the sound.
Bass: Adjusts the low-frequency response of the amp's tone stack.
Middle: Adjusts the mid-frequency response of the amp's tone stack. Reduce Mids for F-style scooped tones, or increase them for more lead impact and warmth.
Treble: Adjusts the high-frequency component of the amp's tone stack.
Volume 1 / Volume 2: Adjusts the gain for each channel. Increasing one or both controls leads to a more saturated and distorted sound. Note that these are the gain controls. For clean, post-amp volume adjustments, use the OUT knob.
- Channel 1 is brighter and more aggressive when turned up.
- Channel 2 is darker, with increased low end.

Lion Inputs (Input Routing)

Lion '68 emulates the detailed signal path of the original amp inputs. By default, inputs are routed as if you are plugging into the High inputs with a Y cable (same signal, no coloration/attenuation), and when only one Volume is set above 0, the amp behaves as if you are only plugged into the input for that channel.

Click on an input pair to select it. Click again on the currently selected input pair to Jump the inputs.
High (Default): Y cable into High inputs. Brighter sound with more gain and edge.
Low: Y cable into Low inputs. Cleaner, slightly darker sound.
Jumped: Replicates plugging into High input 1 and connecting a short patch cable ("jumping") from the Low input of Channel 1 to the High input of Channel 2. Subtle tonal differences include less treble and slightly less gain from Volume 2.

Lion Extra Controls

These controls are available when the amp is focused in the main panel. The feature is on when the button is lit.

Boost: Boost adds color and gain via multiple combined elements to create harmonic density.
- Click the button below the Boost knob to toggle.
- Enabling Boost activates the EP-III preamp for color and warmth.
- Increasing Boost toward 10 o'clock adds clean gain to push the amp's front end.
- Past 10 o'clock, a graphic EQ pedal's midrange boost curve adds thick character.
Bright Cap: Toggles the Bright Cap on Channel 1. Adds brightness at lower gain settings, but its effect is reduced as Volume 1 increases, and the bright cap is completely removed at maximum gain.
- Default is on for Lead and off for Brown. Bright Cap is not available on the Bass amp model.
Ghost Notes: Models harmonics resulting from intermodulation distortion in the original amp's transformer and power supply. This can add "life" and "scream" to higher notes.
- Ghost Notes are on by default.
- When off, the model uses a cleaner power supply, reducing transformer hum and eliminating ghost notes.

Ruby '63

Based on '60s Top Boost and non-Top Boost amplifiers, Ruby provides chimey, sweet cleans, complex overdrive, and classic vibrato effects. A staple of modern and classic rock.

Ruby '63 controls

Volume: Adjusts the amp's gain. Increasing volume adds overdrive and compression. Note that the minimum volume level is set to the lowest usable volume of the original hardware. Output volume is automatically compensated as you turn the knob up.
Treble/Bass: Reduces the high and low frequency response, respectively, of the tone stack on the Brilliant channel only. As with the original vintage amp, rotating clockwise cuts treble or bass frequencies. Note that the Bass and Treble knobs are highly interactive and only function on the Brilliant channel. Turned fully counter-clockwise (all the way down), they create an extreme "smiley-face" EQ (scooped midrange). Set around noon for a more natural, flatter, and fuller tone with more midrange.
Cut: A power amp filter that reduces high frequencies. Rotating clockwise makes the amp tone darker. Note that the usable range of the knob has been expanded from the original hardware to more easily find the "sweet spot," though the total available EQ amount is identical.

Vibrato (Tremolo) controls

Click the LED button to toggle the circuit (on when lit). Vibrato is only available when the VIB-TREM channel is selected. Note that adjusting vibrato controls when VIB-TREM is disabled may cause a slight change in the amp's volume, as with the original hardware.

Speed: Adjusts the rate of the vibrato effect.
Vib-Trem: Adjusts the intensity (depth) of the vibrato effect.

Channels and Boost

Ruby '63 includes three channels, each with a unique character and boost type. Click the channel name or input in the INPUTS area to select a channel.

Use the Boost knob to add gain at the amp's input. Click the button next to the Boost knob to enable the circuit. Boost is on when the button is lit.

VIB-TREM Channel:
- Based on the classic '63 "top-boost" amplifier.
- Enables the Vibrato circuit.
- Boost adds clean gain to the input.
NORMAL Channel:
- Based on the '61 "non-top-boost" amplifier.
- Simple controls (volume, tone, and boost).
- Boost adds gain from a Germanium treble booster circuit.
BRILLIANT Channel:
- Based on a '63 "top-boost" amplifier.
- Brighter tone with much more gain than the Normal channel, and flexible EQ with Treble, Bass, and Cut controls.
- Boost adds gain from the preamp of an EP-III tape echo.

Showtime '64

A '60s high-headroom tube amp known as a great pedal platform. Its warm, lush vibrato circuit and huge low end also make it useful for detuned guitars and basses.

Showtime '64 controls

Showtime '64 has standard amp controls that are always visible.

Bright / Normal: Toggles the Bright cap (high-end boost) on/off. Normal disables the cap (reduces brightness).

Note: The Bright cap's effect is most noticeable at lower Volume settings and decreases as Volume is turned up, accurately modeling the original hardware.
Volume: Adjusts the amp's gain. Increasing volume adds overdrive and compression. Note that the minimum volume level is set to the lowest usable volume of the original hardware. Output volume is automatically compensated as you turn the knob up. Use the OUT knob for clean, post-amp volume adjustments.
Treble / Middle / Bass: Adjusts the high, mid, and low frequencies of the amplifier's tone stack.

Vibrato Controls (Tremolo)

Click the LED button between the Speed and Intensity knobs to toggle the Vibrato circuit (on when lit).

Speed: Adjusts the rate of the vibrato effect.
Intensity: Adjusts the depth of the vibrato effect.

Woodrow '55

Vintage tweed combo amp renowned for its highly dynamic response, rich midrange, and unique touch-sensitive overdrive.

Woodrow '55 Controls

Tone: Adjusts the amp's treble frequencies. The Tone control is interactive with gain: increasing Tone also increases overdrive and distortion.
Inst Vol / Mic Vol: Adjusts the gain for the Instrument and Mic channels (both are always on).
- The Instrument channel is slightly brighter and more aggressive when turned up.
- The Mic channel is darker and cleaner, with more low end.
- Increasing one or both controls leads to a more overdriven and compressed sound.
Inputs: Click an input to "plug in" to that input.
- Lower inputs (1): Higher gain and brighter.
- Upper inputs (2): Lower gain and mellower.

Boost

To add gain before the amp inputs, enable Boost and adjust the Boost knob. Click the preamp name under the amp image to change the boost type.

Stock: Increases gain and shifts tonal balance toward mids/highs.
KP-3K: A renowned preamp boost from an '80s digital delay, known for being bright and detailed.
EP-III: The preamp section from an EP-III tape echo. Thick and warm, with plenty of additional gain. Adds instant thickness when on, even at the minimum setting.

Paradise Guitar Studio Cabs & Mics

No Speaker

Direct: Choose Direct when you want to hear the amp without any cabinet processing.

1x12 Cabinets

1x12 EV12 Classic: Classic 12", 200 watt EV12 speaker with a massive magnet in a 1x12 cabinet, miked with a 414 condenser. Focused single speaker, thick and tight bottom, with airy top end. A wonderful, versatile speaker when clean or overdriven.
1x12 EV12 Deluxe: Classic '80s EV12 speaker with a massive magnet in a 1x12 cabinet, miked with a 414 condenser. Focused single speaker, thick and tight bottom, with airy top end. A wonderful, versatile speaker. High pass disabled for a bit more subsonic punch.
1x12 GB25: 1x12 cab with a 25-watt greenback speaker, miked with a ribbon 160. Greenback warmth with clarity, and a nicely balanced high end. Good for thick cleans and punchy overdrive tones.
1x12 Gold TR: 1x12 boutique cab with a "gold" speaker, miked with a 421 dynamic. Narrower sound, midrange forward, thicker with less high end.
1x12 JBG125 Deluxe: Custom made "D" cab with vintage JBG-125, miked with a 421 dynamic. Rare speaker with a silk dust cap. Clarity with a sweeter top end than the JBG D-120F. Delivers an articulate sound for cleans but with a warmer overall tone.
1x12 Oxford: An original Oxford 12K5-6 speaker in a blackface deluxe amp, miked with a 57 dynamic. The classic sound right off the shelf from 1965.
1x12 Tweed Blu15: 15W Blue alnico speaker in the 1x12 tweed combo, miked with a 67 condenser. Darker than the stock JP12R.
1x12 Tweed GB25: 25W greenback in the 1x12 tweed combo, miked with a 57 dynamic. Modern and thick with a clear high end, fuller with distortion pedals or higher gain.
1x12 Tweed JBF120: American 1x12 cab with vintage JB speaker, miked with a 414 condenser. Bright, hi-fi, and midrange-y.
1x12 Tweed JP12: Stock JP12R in the 1x12 tweed combo, miked with a 57 dynamic. Stock speaker, on the thinner and less aggressive side.

2x12 Cabinets

2x12 Blue Mod: 2x12 cabinet with modern blue bulldog alnico speakers, miked with a 57 dynamic. Brighter and with more chime, clarity, and jangle than blue vintage cab.
2x12 Blue Vintage: Original blue bulldog speakers in a 2x12 combo cabinet, miked with a 57 dynamic. Classic speaker with more high end and chime.
2x12 Boutique D-EV12: Rare oversized 70s "D" 2x12 closed-back cab with massive EV12 speakers, miked with a 414. Made for a '70s artist and heard on a famous live recording. Bigger & warmer than its 1x12 cousin. Front port delivers a uniquely vocal midrange quality with a narrower frequency range. Great for mild OD, slide, and sweet melodies.
2x12 Boutique D65: A boutique 2x12 extension cab with D65s, miked with a 57 dynamic and a 121 ribbon. Classic California ported combo cabinet sound, great for mildly overdriven sounds and cleans up well.
2x12 Boutique D65 Thick: Custom ported 2x12 cabinet with British 65-watt speakers, miked with a 57 dynamic and a ribbon 121. Tight bottom end and crisp high end clarity, favored by many blues and rock players. Mixed with the 121 louder for a thicker sound.
2x12 Brute: '90s 2x12 partial open-back "D" cabinet with massive EV12 speakers, custom made for an artist and miked with a 67 condenser. Round, warm lows, thick and midrange forward, with soft top end. Never strident, even with heaps of gain.
2x12 D65: Custom ported 2x12 cabinet with British 65-watt speakers, miked with a 421 dynamic and a ribbon 121. Tight bottom end clarity, favored by many blues and rock players.
2x12 Green Ace: Modern G12H speakers in a 2x12 combo cabinet, miked with a 160 ribbon. More midrange honk and tamer highs, thicker when used with distortion.
2x12 JBF120: Vintage 1968 2x12 "twin" cab with original JBF120 speakers, miked with a 57 dynamic and a 121 ribbon. Very detailed cabinet, great for clean and low gain, excellent for fingerstyle playing. Very forward and sizzly when used with more gain.
2x12 JBF120 Thick: Late '60s 2x12 cab with JBF120 speakers, miked with a dynamic 57 and a 414 condenser. Bright, crisp, and airy. Shines with loud and clean tube amps. Used by the biggest players in country, surf, and psychedelic rock, who relied on the incredible punch and articulation of these speakers.
2x12 Match: 2x12 "Match" cabinet with G12H speakers, miked with a 57 dynamic. Muscular and modern take on classic chime. Great with an overdrive or distortion pedal in front of the amp.
2x12 Silver Ace: Rare 15W silver bulldog speakers in a 2x12 combo cabinet, miked with a 57 dynamic. High end warmth and sheen, with open midrange.
2x12 Twin Classic: 2x12 "twin" speaker cab miked with a 57 dynamic blended with a ribbon 121, for a classic combination. The 57 provides aggressive upper midrange punch and presence, while the 121 fills out the sound with rich, smooth, low end and reduced top end.
2x12 Twin Modern: 2x12 "twin" speaker cab miked with a condenser 414 for a detailed and transparent sound that is distinctly different from a dynamic mic. With extended low and high frequency response, the 414 captures a full-bodied representation of the amp.
2x12 Twin Vintage: 2x12 "twin" speaker cab miked with a unique hypercardioid double-ribbon 160 mic, providing a very focused sound with detail and warmth. Its natural sound with a smooth top-end tames the higher frequencies often present in tube amplifiers. This choice is especially smooth when adding distortion or overdrive to a clean amp.

4x10 Cabinets

4x10 S-Verb: Vintage 1966 4x10 S-Verb cab with original speakers, miked with a 414 condenser. Plenty of midrange, great for surf sounds, almost lo-fi.
4x10 Tweed B-Man: Vintage 4x10 Tweed B-man cab with P10R speakers, miked with a 57 dynamic. Great scooped, high fidelity sound when used clean. Use with low gain sounds for clean, somewhat pristine sounds.

4x12 Cabinets

4x12 Stripped GB: 4x12 with greenback speakers in a raw wood cabinet stripped of Tolex and grill cloth, miked with a ribbon 160 and a 57 dynamic. Power, bottom-end girth, and warmth. Great for mellowing out overdriven sounds.
4x12 Stripped Off-Axis: Vintage 1968 basketweave 4x12 cabinet with vinyl removed, with greenback speakers. Miked with a ribbon 160 and a dynamic 57. Classic greenback bark with the smooth open midrange of a '60s ribbon mic and the edge of a 57. Off-axis for smoother and darker tones.
4x12 Stripped On-Axis: Vintage 1968 basketweave 4x12 cabinet with vinyl removed, with greenback speakers. Miked with a ribbon 160 and a dynamic 57. Classic greenback bark with the smooth open midrange of a '60s ribbon mic and the edge of a 57. On-axis for brighter and livelier tones.
4x12 UK Brown JB: 1968 basketweave 4x12 cabinet with vinyl removed, with two greenback speakers and two JBF120 speakers. Both speaker types are miked separately with dynamic 57s, and pre-mixed. Combines the girth and midrange of the greenbacks with the high end sizzle of the JBF speakers.
4x12 UK GB30: Vintage greenback 30-watt speakers in a 4x12 closed-back cab, miked with a 57 dynamic and a ribbon 121. Tight bass response and good treble definition, great for distorted classic rock tones.
4x12 UK V30: UK-built 4x12 with V30 speakers, miked with a 421 dynamic. Bottom end chunk and fullness. Great for a big lead sound or thick rhythm sounds.
4x12 UK V30 Modern: 4x12 cabinet with British V30 speakers, miked with a 414 condenser. A standard for modern rock and metal, with a tight bottom end and high end punch. If you want a more scooped sound, this is it.

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