Chapter 3: Exploring Rigs 31
’92 Treadplate Modern and
Vintage
Released in 1989, the amp that inspired our ‘92
Treadplate Modern and Vintage models seemed
cooler than a high-performance racecar. With
more tone-tweaking options and distortion
than any amp before it, the amp became the in-
dustry standard for players looking to achieve a
massive sound.
With the ability to run on either 6L6 or EL34
tubes, this amp offered a choice between either
tube or silicon diode rectifier circuits. On top of
that, an AC power selection switch offered a
Bold or a Spongy option, which would drop the
voltage like a Variac for a more “brown” sound.
For our Treadplate, we modeled two different
channels and selected the appropriate rectifier
and AC power switch setting. For Treadplate M
(for Modern), we set it on the Red channel using
6L6s, a silicon rectifier, and the Bold power set-
ting for a tight, aggressive tone. For Treadplate V
(for Vintage), we modeled the orange channel
with 6L6s, a tube rectifier, and the spongy power
setting for a more fluid lead tone.
‘93 MS-30
The MS-30 amp model is based on a US-made,
early-90s boutique combo amp, the first design
by its manufacturer. Featuring a 30-watt EL84-
based power section and two twelve-inch speak-
ers in an open-back configuration, it excels at a
range of sounds, from squeaky-clean all the way
to beautifully-overdrive high-gain tones.
Known for finely-tuned, interactive tone con-
trols, and a fresh take on classic “Class-A” amp
topologies, this amp claims a long list of celeb-
rity fans.
‘97 RB-01b Red, Blue, and Green
These amp models are based on the three dis-
tinct channels in a US-made, late-90s 100-watt
boutique tube head.
At a time when racked-up multi-preamp/exter-
nal power amp setups seemed de rigueur for vari-
ety-hungry guitarists, this amp was designed to
cover a huge range of vintage amp tones with-
out the tonal and ergonomic issues of modular
amp setups. To that end, it came with three sep-
arate, distinct preamp circuits, one for each
channel.
The Red channel excels at high-gain lead tones,
while the Blue is suited to chunky rhythm play-
ing, and the Green focuses on clean tones.
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