PRS DG30 (Amp Model Project)?

bleujazz3

bleujazz3

Fractal Fanatic
Hi,

Am hoping someone can direct me to an amp model that is a close approximation of the PRS DG30/2x12 amp head/cab.

My understanding is that the DG30 is similar to a modded Plexi that gravitates towards a "brown" sound, per Dave Grissom's prefs.

Anyone been able to build a preset based on Dave's simple rig, which consists of his DG30/2x12 Greenback cab, Jetter Grissom, EP Booster, Orion chorus, and Strymon El Capitan Delay?
 
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Research thus far:

Dave prefers single-channel tweed amps that reside in the "brown" area of amp breakup, which can be accomplished by rolling off some of the top cut (knob on DG30 reverse side). For this, my amp choices will be a Tweed 5F1 EC and an AC-20 model running in parallel. The AC-20 can apply hi-cut.

Although I don't know if my choices will prove to be what is needed for DG's sound, it's at least a starting point. It may be necessary for me to add a looper block and audition several amps and cabs (including modded Plexi's and greenback cabs) instead of going about this blindly. (It may also be possible to go the boutique amp route as well, perhaps a Carr or similar model).

Although I've not spent time with both these amp models yet, my intuition tells me either one or the other will be satisfactory for producing clean, boost, drive, and lead tones. Other scenes include a 2290 Chorus, Harmonic Trem, and Rotary (the latter 2 in parallel with my Delay) and Dry (no effects).

My drive block consists of a Tone of Kings (in place of DG's Jetter "Grissom" OD), and I'll likely use the amps' input boosts on a separate channel for pushing the amps further instead of adding a 2nd drive boost block. Lastly, a simple slap back 30ms Delay (2290 w/ Modulation), and Reverb (Music Hall).

EDIT: Additional research shows that Dave uses military-grade EL84 tubes (EL84M) in his DG30. Also, the DG30 is the only PRS amp which sports a tube rectifier. Celestion V30 speakers in his 2x12.
 
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EDIT:

Updated preset config:
AMPS: Tweed 5F1 (Ch. A) & Tweed 5F8 Normal (Ch. B) + AC-20 EF86 Bass amps.
CABS: Stereo Zilla 2x12 V30 57/121s.
EFFECTS: Drive: Tone of Kings; Chorus: 2290 Digital Chorus; Delay: 2290 30ms Slapback; Pan/Trem: Harmonic Trem: Envelope Follower on Rate Modifier; Rotary: Envelope Follower on Rate Modifier; Reverb: Music Hall, Stock Settings.

Preset can be found in FM9 Preset Exchange. Enjoy.
 
bleujazz3 said:
EDIT:

Updated preset config:
AMPS: Tweed 5F1 (Ch. A) & Tweed 5F8 Normal (Ch. B) + AC-20 EF86 Bass amps.
CABS: Stereo Zilla 2x12 V30 57/121s.
EFFECTS: Drive: Tone of Kings; Chorus: 2290 Digital Chorus; Delay: 2290 30ms Slapback; Pan/Trem: Harmonic Trem: Envelope Follower on Rate Modifier; Rotary: Envelope Follower on Rate Modifier; Reverb: Music Hall, Stock Settings.

Preset can be found in FM9 Preset Exchange. Enjoy.
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I’ll check it out later - thanks !

I assume FM9 presets translate ok to A3 ?
 
Gregmang said:
I’ll check it out later - thanks !

I assume FM9 presets translate ok to A3 ?
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All amps/cabs/effects used with this preset regards my FM9 also exist within the Axe FX III.

Only thing you might need do is be sure that the envelope follower modifiers translate to the FX3.

Am currently using HR FRFR108s set about 1 o'clock, and FM9 output set to 12N. YMMV with other FRFRs/speakers/power amps.
 
AxeManDan said:
Worth noting that Grissom built his career on a Marshall plexi.
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Yep. And he’s another player who sounds very much the same on any amp after he gets the knobs where he wants them because he’s using the amp for edge of breakup. His boost and distortion pedal push beyond that, and he plays LOTS of double and triple stops that are emphasized by the amp+drive distortion. So much of his sound is in his hands.

Grissom says the amp is based on his Plexi, with parts of the sound modeled on a Blackface and a Hiwatt. I’d work from the Plexi, looking at the components that the modeler lets us change and see how they differ from the Blackface and the Hiwatt, and start changing things around. Can’t hurt nothin’.
 
bleujazz3 said:
Am hoping someone can direct me to an amp model that is a close approximation of the PRS DG30/2x12 amp head/cab.
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“Initially, I told Doug I wanted the tight bottom of a 50-watt Plexi, the warm top of my [Fender] tweed Deluxe, the midrange of my favorite [Vox] AC30, reverb and a midrange control like my old 50-watt Hiwatt, going from scooped American to more British,” he says.
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Did you try Matchless DC-30 model? I have a feeling it is the closest thing to what you are looking for.. Also, take a look at FAS Buttery.
https://wiki.fractalaudio.com/wiki/...dels_list#MATCHBOX_D-30_.28Matchless_DC-30.29
https://wiki.fractalaudio.com/wiki/...er_models_list#FAS_BUTTERY_.28custom_model.29
 
Chromatizm said:
Did you try Matchless DC-30 model? I have a feeling it is the closest thing to what you are looking for.. Also, take a look at FAS Buttery.
https://wiki.fractalaudio.com/wiki/...dels_list#MATCHBOX_D-30_.28Matchless_DC-30.29
https://wiki.fractalaudio.com/wiki/...er_models_list#FAS_BUTTERY_.28custom_model.29
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Greg Ferguson said:
Yep. And he’s another player who sounds very much the same on any amp after he gets the knobs where he wants them because he’s using the amp for edge of breakup. His boost and distortion pedal push beyond that, and he plays LOTS of double and triple stops that are emphasized by the amp+drive distortion. So much of his sound is in his hands.

Grissom says the amp is based on his Plexi, with parts of the sound modeled on a Blackface and a Hiwatt. I’d work from the Plexi, looking at the components that the modeler lets us change and see how they differ from the Blackface and the Hiwatt, and start changing things around. Can’t hurt nothin’.
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Thanks. I think the Tweed plus AC-20 amps do an adequate job. When you roll off the bass of the Tweed amps, it tightens up the lower end. That, and using low & hi-cut for amps, cabs, and effects.

I might try to work with Plexi (mebbe the new 50W one) and add an AC-20 to fill in some of the top-end chime Dave likes when he plays clean. That way, one can have two different flavors of presets that essentially do the same thing...fill the "hankering" for what you think you'll want.
 
Greg Ferguson said:
Yep. And he’s another player who sounds very much the same on any amp after he gets the knobs where he wants them because he’s using the amp for edge of breakup. His boost and distortion pedal push beyond that, and he plays LOTS of double and triple stops that are emphasized by the amp+drive distortion. So much of his sound is in his hands.
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It was noted that a lot of David's sound is based off ZZ Top-style riffs, where double/triple stops act discordantly with other strings, which creates a unique tone and chordal palette. It's this type of chording I hope to imitate, simply because my jazz studies have not progressed in the direction I'd like them to be. The double/triple stop chords produce interesting blues flavors one normally might not hear in traditional blues/rock music voicings. While it may not supplement my jazz studies, it will hopefully improve my blues studies which might need help first.
Greg Ferguson said:
Grissom says the amp is based on his Plexi, with parts of the sound modeled on a Blackface and a Hiwatt. I’d work from the Plexi, looking at the components that the modeler lets us change and see how they differ from the Blackface and the Hiwatt, and start changing things around. Can’t hurt nothin’.
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From previous YT videos you've already provided, it was possible to glean from these the information needed to build an approximate DG30 model. My next project will likely be building a similar model based from a Plexi/AC-20 or comparable amps.
 
bleujazz3 said:
It was noted that a lot of David's sound is based off ZZ Top-style riffs, where double/triple stops act discordantly with other strings, which creates a unique tone and chordal palette. It's this type of chording I hope to imitate, simply because my jazz studies have not progressed in the direction I'd like them to be. The double/triple stop chords produce interesting blues flavors one normally might not hear in traditional blues/rock music voicings. While it may not supplement my jazz studies, it will hopefully improve my blues studies which might need help first.

From previous YT videos you've already provided, it was possible to glean from these the information needed to build an approximate DG30 model. My next project will likely be building a similar model based from a Plexi/AC-20 or comparable amps.
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Very different mindset for Texas blues and Jazz. I mess around with both SRV and Kenny Burrell.

Look at @Greg Ferguson signature quotes from SRV. LOL.

“I use heavy strings, tune low, play hard, and floor it. Floor it. That's technical talk.” — Stevie Ray Vaughn

It is an attitude and vibe and play rhythm hard as hell.
Grissom is actually a little more delicate than ZZ Top or SRV in my opinion who were/are more balls out.

I talked to him once. As nice a guy as he appears.
 
Lkdog said:
Very different mindset for Texas blues and Jazz. I mess around with both SRV and Kenny Burrell.

Look at @Greg Ferguson signature quotes from SRV. LOL.

“I use heavy strings, tune low, play hard, and floor it. Floor it. That's technical talk.” — Stevie Ray Vaughn

It is an attitude and vibe and play rhythm hard as hell.
Grissom is actually a little more delicate than ZZ Top or SRV in my opinion who were/are more balls out.

I talked to him once. As nice a guy as he appears.
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Yup. That's why I personally gravitate towards DG's style...proficient, but restrained...you can see it in his stage presence and character...both ZZ & SRV exuded a lot of showmanship...DG prefers subtlety over form or popularity factor...gotta respect that in a guy...
 
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