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Fractal Audio AMP models: Brit AFS100 and Brit Super (Marshall AFD100)


* EDIT: Up-to-date information is available in Yek's Guide to the Fractal Audio Amplifier Models *

Brit AFS100 and Brit Super: based on Marshall AFD100SCE

NOTE: you should listen to Gun 'N Roses' Appetite For Destruction while reading this article.

The AFD Special Collector’s Edition is Slash’s signature amp, produced in a small quantity. It’s a replica of a famous amp used by Slash to record the GnR album Appetite For Destruction (AFD). People love the raw rock tones on that album, widely regarded as one of the best rock albums ever. The amp has a silver front panel (borrowed from the Marshall Silver Jubilee) with the signature of Slash on it. So I guess the thought behind the name of the model simply is: Appetite For Slash (AFS).

The AFD is a 100 watts head with 6550 tubes, offering two modes which represent legendary Marshalls: #34 and AFD.

Mode #34 (LED off) is a modded JCM 800, model 2203. This was a rental amp (number #34) from the company S.I.R., which was used for a few parts on the Appetite for Destruction album. It was modded to sound similar to amps #36 and #39, see below.

Modeled by Fractal Audio as “Brit AFS100 1”.

Mode AFD (LED on): supposedly a Super Lead Plexi. Modified to add gain and a master volume. It’s thicker and has more gain than mode #34. It’s responsible for THE sound that defines the Appetite For Destruction album. The story goes that this was a rental amp loved so much by Slash that he falsely reported the amp as stolen. The amp was reclaimed later by the rental company. And Slash never replicated that AFD tone on later albums.

The story goes that it was a modified Super Lead Tremolo, model 1959T, S.I.R. rental #39. This was an amp of almost mystical proportions. Modded and sounding so good that everybody wanted to rent it. It’s gone missing and nobody knows its current whereabouts. This is the story told in the amp's manual.

However, according to this report, which seems based on proper investigating and is a great read (read all 3 pages), Slash didn’t use S.I.R. rental amp #39. He used a substitute model 1959 (S.I.R. rental #36), which had been modded in the same way as #39.

The AFD mode has been modeled by Fractal Audio as “Brit AFS100 2”.

The AFD mode is also modeled in the “Brit Super” model. Unlike the AFS100 "AFD" model, Brit Super is based on a schematic of the original amp and therefore sounds different (more gain, more boosted high end). It was introduced before the AFS100 models, so you might say it has been superceded by those.

If you didn’t like the AFS models before, due to their harshness, try again. They are much improved in Quantum 2.01 and later.


"I have an actual Slash signature model and spent a lot of time measuring, listening and comparing .“​

Besides the Mode switch, the amp has Presence, Bass, Middle, Treble, Master Volume and Gain controls, and Low/High inputs. As always, the models are based on the High input.

The amp has a Master Volume. So the amp’s distortion is created by the preamp and power tubes. You have to decide for yourself what setting in the model works for you best. Don’t hesitate to turn it up.

According to the amp’s manual, Slash sets all controls around 1 o’clock. And this works on the model too, with Presence and Master at default. And use a Les Paul, of course.

Remember: while the gain (Input Drive, Overdrive) and tone controls (B/M/T) in all models visually match the controls on the original amps (within 10%), Master Volume / Presence / Depth do not.​

Slash uses V30s in his Marshall cabs. Take your pick from the stock cabs.

Here's a review in iGuitar. And a selection of YouTube videos:

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this afternoon i will play in big studio with axe fx2 mkii and a stereo power amp el34 to have my settings for non home usage. as slash is part of our gig i will definitely try the amps and see which gives me the tone i need and want?

again: Thanks Yek!


From his biography:
"We started going through different Marshall heads-many of them actually, and it was an ardous process. I remember getting every rental amp, putting in the studio room, miking it, and pluggin in. I'd play few chords then my tech, Mike Clink, and I would tweak the head, then I'd play a few more. [...] I kept renting and returning amps; we went through about eight before I found the one that sounded exactly how I wanted it to. It was a Marshall customized by someone. [...] I plugged into it, as I had all of the others, and hit a few chords-and that was it. It was that perfect Les Paul/Marshall combination where the depth of the guitar's tone and the crunch of the amp come together perfectly. It just sounded amazing.
"Hold on" Mike said "Dont move. Don't do anything."
He made a few minor tweaks to the head and it sounded even better. And that was that [...] no mikes were moved, no knobs turned, nothing. We'd found the sound I'd been looking for and we weren't going to lose it".


Been awhile since I've been on this one. Looking forward to hearing improvements.

Now finding the right V30 CAB to match...


wow....another daily revelation...this amp is truly Slash. my cabs of choice stereoUltrares
CK Brit TV SM57-R121 F01 on left, OH 412 MAR-CB V30-MB-08-PVNT 06 right


wow....another daily revelation...this amp is truly Slash. my cabs of choice stereoUltrares
CK Brit TV SM57-R121 F01 on left, OH 412 MAR-CB V30-MB-08-PVNT 06 right
Yep, this is the Slash tone for sure. I use some stuff from Cab Pack 7 & 8 blended, but I can't remember which files I blended together. I have 2 sets of IRs I've blended, one is for older Slash tones, and the other is for the more modern stuff (mostly the "Ain't Life Grand" era).


Fractal Fanatic
Just played this last night. I noticed that the Sweet Child preset on the AX8 uses AFS 1... I immediately remedied this with AFS 2. Much improved :sunglasses:


Power User
I remember the description of how they came up with this amp a few years ago, by analysing the AFD album stems to capture the harmonics of the amp or something. So basically Marshall used a studio recorded (i.e. close-mic'd) sound to develop the real-world amp, and now that amp is modelled by FAS and I am able to play/listen through FRFR at what it would sound like in the studio / close mic'd.

That must be classified as irony or karma or.. something with a name!
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