The reference amplifier comes from Swansong productions, the label created by Led Zeppelin, as it can be seen in this document written by their manager Peter Grant. The head is dated 1972 and its Serial Number is 4073D. It’s interesting to note that this is a 50-watt head, even if some forums and magazines say that Jimmy Page was using 100-watt amplifiers. The head came with the red 4×12 cabinet, dated 1971.

Made-In-Rock is an organization, which manages a vast collection of items related to the history of rock, including musical instruments, guitar and bass amplifiers and cabinets, effects, and clothing and stage items owned by legendary artists who made the history of rock, as well as magazines, posters, fliers, tickets, and books of that era. The purpose is to preserve those items and bring their knowledge to younger generations

Also called schematic-assisted capturing, Overloud’s Fluid Capturing is an innovative amp simulation process that combines the advantages of both the modelling and capturing techniques. An amp capture is a super-realistic but static picture of the amp sampled with a particular knob setting and operating level.

A single capture cannot replicate the amp tone of all the knob settings. Instead, a modelled amp reacts like the original, at all dynamic ranges and knob positions. However, tone may not 100% match a particular sample, due to component tolerances, tube conditions, servicing history and customizations. With Fluid Capturing, Overloud both models the amp and samples it with many settings. Putting together these data points allows them to create a digital model, which is flexible like a modeled amp and realistic like a captured amp.

The TH-U Jim P head has two input Channels. Channel 1 is brighter and more crunchy, with a lot of presence. Channel 2 is much richer on the low frequencies and a bit more fuzzy.

Inputs 1 and 2 were often connected with a jumper to have both channels mixed together. Using the two volume knobs, you can balance the top end and the amount of bottom end, and experiment with an infinite combination of tones. Overloud has even replicated the red marks on the front panel where Jimmy’s engineer used to set the knobs.

The matched cabinet is the red 4 x 12″ with Celestion T1511 speakers, which enhance the crunchy tone of the head. It has been captured with 18 microphones as high-resolution nonlinear IRs. Thanks to Overloud Fluid Convolution, you can place up to 4 microphones in the 3D space around the cab and blend them with custom IRs. The ReSPiRe option adds air and the feeling of standing near the cabinet.

A picture in the June 1995 issue of the New Musical Express magazine shows Noel Gallagher playing a heavily customized AC30 amp at the Locomotive Studios. The amplifier is now part of the Made In Rock collection. It has serial number 7368B, so the model is a mid to late 1963 edition. It is equipped with a pair of Blue Bulldog 30W Alnico speakers.

Made-In-Rock is an organization which manages a vast collection of items related to the history of rock, including musical instrument, guitar and bass amplifiers and cabinets, effects, clothing, and stage items owned by legendary artists who made the history of rock, as well as magazines, posters, fliers, tickets, and books of that era. The purpose is to preserve those items and bring their knowledge to younger generations

Also called schematic-assisted capturing, Overloud’s Fluid Capturing is an innovative amp simulation process that combines the advantages of both the modeling and capturing techniques. An amp capture is a super-realistic but static picture of the amp sampled with a particular knob setting and operating level.

A single capture cannot replicate the amp tone at all the knob settings. Instead, a modelled amp reacts like the original, at all dynamic ranges and knob positions. However tone may not 100% match a particular sample, due to component tolerances, tube conditions, servicing history and customizations. With Fluid Capturing, Overloud both models the amp and samples it with lot many settings. Putting together these data points allows them to create a digital model which is flexible like a modeled amp and realistic like a captured amp.

The TH-U NG30 head emulates all the three Channels of the original ’63 AC30. The Normal channel has a standard voicing, with a tight tone ranging from super clean to mid crunchy tones. The Brillant channel reduces the energy on the low end, very musically, adding a lot of presence and helping to balance the crunch tone. It is not a Top Boost amplifier, and it can be boosted using the overdrive pedals included in the pack.

The Vibrato/Tremolo channel enables the modulation circuit. The selector allows you to choose between the Vibrato modulation, which slightly changes the pitch, and the Tremolo modulation, which recreates the classic Vox pulsating tone.

The built-in cabinet is based on the Vox Blue Bulldog 30W Alnico speakers. They deliver a very brilliant tone, which is slightly attenuated by the piece of cloth added to this particular amp, making it truly unique. It has been captured with 18 microphones with high-resolution nonlinear IRs; thanks to Overloud Fluid Convolution, you can place up to 4 microphones in the 3D space around the cab and blend them with custom IRs. The ReSPiRe option adds the feeling of standing nearby the cabinet.

This model allows the playing of any TH-U compatible Rig. Combine other TH-U amp models with the cabinets and FX in this library, or vice versa, for unique combinations and sounds.

The Darkface ’65 is a superclean classic American tube amp. This amp found its way into various musical styles because of its ability to preserve the guitar’s natural tonal characteristics.

The amp was designed to stay clean at very high volumes. Try playing clean arpeggiated chords on this amplifier, and you will understand why it has been used on so many records.

The Rock ’75 was one of the most popular British tube amps in the ’80s. Although used in a lot of hard rock bands, it is very capable of handling clean arpeggiated chords.

This amp is popular amongst blues rock players because of its beautiful crunchy overdrive, which responds well to guitar players’ dynamics. This 100W amplifier is considered a hot amplifier because it has more gain stages than comparable amplifiers.

This amplifier is an original design by Overloud. It has been developed to create the typical progressive metal tone: very high gain but smooth, with a perfect balance on all the frequencies. It allows you to play chords without losing the clarity of each string.

The Slo 88 (US) amp is based on an American all-tube guitar preamp released in the late ’80s on the West Coast. The amp includes three distinct channels giving much flexibility and versatility to guitar players.

The third channel is wonderful for lead guitar work. The distortion of the Slo 88 (US) is very musical and will add a lot of gain to your guitar without changing its character. This channel also works great for heavier hard rock riffs. Your guitar will cut nicely through the mix because of the naturally bright voicing of this channel.

This 1 x 12” guitar cabinet is a great choice for any musical style. Equipped with Celestion speakers, this module is a favorite amongst many players who require a single speaker tone that can handle cleans, overdriven tones, and heavier lead sounds.

Many blues rock players have made this 1 x 12″ Clst (UK) guitar cabinet the central part of their set up. Because it is a single speaker cab, your tone will sound more focused and take a little less space.

This 2 x 12” cabinet is perfect for clean tones and lead tones. It is voiced on the brighter side, which is a great asset when trying to cut through the mix.

Being that this module has two 12” speakers, it will make your guitar sound more focused than a 4 x 10” cabinet. This makes the 2 x 12″ OB Darkface ’65 (US) particularly useful for solo work. It is a great choice for Blues, Jazz, or Rock.

This 2 x 12″ guitar cab is modeled after a classic British guitar cab made famous for its ability to carry out all the nuances of your playing. The original cab was released in the early ’60s and still remains a favorite amongst many professional guitar players.

This 4 x 12″ guitar cabinet is modeled after a famous modern guitar made in California. This module is the perfect complement to any guitar amplifier. The 4 x 12″ Modern (US) is comfortable with any musical style and will add clarity to your tone without coloring your original signal.

This 4 x 12” guitar cab is modeled after a classic British cab released in the early ’60s. If you’ve ever been to a rock concert, it is more than likely that you saw those cabs onstage.

This module will give your tone huge depth and tons of character. It is comfortable in most musical situations, but will really shine with the drive knob of your amp cranked up.

This special treble booster allows you to control separately the total amount of boost and the amount of treble boost. The Boost knob sets the total amount of gain. The Tone knob sets the amount of gain of the high frequencies. This pedal is particularly useful to push into saturation the amp of the ’60’s which, without a treble booster, may sound too muddy on the low end.

The CHR-2 chorus is modeled after a very popular Japanese stomp box effect pedal released in the early ’80s. This pedal will give you a classic sounding chorus as heard on many classic rock records.

The CHR-2 works great with arpeggiated chords and does a great job at preserving your guitar’s original tonal character. This discreet sounding chorus is perfect for clean tones. It will enhance your sound without overcoloring your original tone.

The SDriveOne guitar overdrive is modeled after a very famous Japanese stomp pedal. It offers a supersmooth and musical overdriven tone that does a fantastic job at preserving the subtle nuances of your playing.

The SDriveOne module is perfect for Blues and Rock. It adds a natural tube sounding voicing to any guitar rig. Turning the Drive knob all the way up will produce a heavy creamy sound reminiscent of British overdriven amps. This makes it great for punchy rock riffs or solos.

The D-Reverb is powered by Overloud’s BREVERB and produces beautiful musical digital reverberation. This effect offers a very pure echo to your sound that will work in many musical situations.

Add to this effect to a clean arpeggio guitar section to make its more musical. Try it with an overdriven guitar tone to add more depth in space to your sound. The D-Reverb Is a very simple guitar pedal to use and makes any guitar tone sound richer.

The D-Delay is modeled after a very famous stomp box pedal effect made by a well known Japanese manufacturer. This pedal is a digital delay and will give you a very clean and precise processed signal.

The effect offers a Tap function, allowing you to match the repetitions to the tempo of the song you are playing. The D-Delay is a stereo effect and allows you to bounce the delayed track left and right which works wonderfully on clean arpeggiated sections.

The TubeNine is modeled after the famous Japanese tube enhancer guitar effect pedal. This pedal simulates the tone you would get with a warmed up tube guitar amplifier.

This pedal is great to add even more realism and feel to any of Overloud’s already super-realistic models. In addition to the tone control knob, the TubeNine offers a built in mid hump, which enhances the mid frequencies. This makes it a very useful pedal as it will help your guitar sections cut through the mix.

The 7-Band GEQ is modeled after a famous Japanese stomp box guitar effect manufacturer. This pedal is very easy to use. It offers seven adjustable frequencies without the complexity of certain studio rackmount equalizers. Each frequency can be boosted or cut by 15 dB.

This gives you tons of flexibility and control over your guitar tones. Adding the 7-Band GEQ after a distortion unit can also be very useful to eliminate unwanted noises by decreasing the higher frequencies. This is a must-have pedal for any guitar players wanting to shape their tone.

The AQTX Spring Reverb is modeled after one of the most famous spring reverbs in the world. Adding this effect to any guitar track will add a genuine reverberated sound to it, as heard in many the vintage guitar amplifiers. The effect offers a Spring section, which allows you to set the length and tension of the modeled spring, which in turn affects the type of reverb you hear.

Because of its analog character, the AQTX Spring Reverb Works particularly well when the combined with classic warm tube amps. Adding this module to your guitar effect rig when playing blues or jazz will do wonders to your tone.

The Parametric EQ is an Overloud custom equalizer that allows you to shape your tone further than what most guitar amplifiers allow you to do. Two separate frequencies can be adjusted.

This module is particularly useful when trying to make a lead guitar stand out in a mix. Increasing the mids will give you more definition and help you cut through the other tracks. Scooping the mids will give you a super heavy tone when used in conjunction of a heavily distorted amp.

Like the above Parametric EQ, the Parametric EQ 4 Bands allow you to shape your tone, but now with 4-band sculpting.

The reference amplifier comes from Bonhams, and the 2020 it is part of the Made In Rock collection. The head is dated 1979 and its Serial Number is 32002163.

The head can output 300W with almost no distortion and has a huge dynamic range. It was originally used with its matched 1 x 18″ speaker, the Model 371, as it can be seen from the pictures of the Judas Priest stages. Lately, it has also been played with an 8 x 10″ modern cabinet.

Made-In-Rock is an organization which manages a vast collection of items related to the history of rock, including musical instrument, guitar and bass amplifiers and cabinets, effects, clothing, and stage items owned by legendary artists who made the history of rock, as well as magazines, posters, fliers, tickets, and books of that era. The purpose is to preserve those items and bring their knowledge to younger generations.

Also called schematic-assisted capturing, Overloud’s Fluid Capturing is an innovative amp simulation process that combines the advantages of both the modeling and capturing techniques. An amp capture is a super-realistic but static picture of the amp sampled with a particular knob setting and operating level.

A single capture cannot replicate the amp tone at all the knob settings. Instead, a modeled amp reacts like the original, at all dynamic ranges and knob positions. However tone may not 100% match a particular sample, due to component tolerances, tube conditions, servicing history and customizations. With Fluid Capturing, Overloud both models the amp and samples it with lot many settings. Putting together these data points allows them to create a digital model, which is flexible like a modeled amp and realistic like a captured amp.

The TH-U JUP 320 head has two input Channels, A and B, which can be selected or blended together with different EQ settings. The power boost switch increases the output power on the bass frequencies in order to increase the deepness of the tone.

A graphic EQ allows to shape the tone with precision: the bands are centered on the frequencies, which were typically used on the ’80s to sculpt the bass tones during that era. Overloud even replicated the red marks on the EQ front panel, where Judas’s engineer used to set the faders for Ian’s tone.

The 371 cabinet is based on a huge 1 x 18″ speaker with a very vintage flavor. Given the high flexibility of the 320 head, ILIO decided to add the model of a more modern 8 x 10″ bass cabinet for ’90s tones. Both cabinets have been captured with 18 microphones with high-resolution nonlinear IRs; thanks to Overloud Fluid Convolution, you can place up to 4 microphones in the 3D space around the cab and blend them with custom IRs. The ReSPiRe option adds the feeling of standing nearby the cabinet.

This model allows the playing of any TH-U compatible Rig. Combine other TH-U amp models with the cabinets and FX in this library, or vice versa, for unique combinations and sounds.

The Darkface ’65 is a superclean classic American tube amp. This amp found its way into various musical styles because of its ability to preserve the guitar’s natural tonal characteristics.

The amp was designed to stay clean at very high volumes. Try playing clean arpeggiated chords on this amplifier, and you will understand why it has been used on so many records.

The Rock ’75 was one of the most popular British tube amps in the ’80s. Although used in a lot of hard rock bands, it is very capable of handling clean arpeggiated chords.

This amp is popular amongst blues rock players because of its beautiful crunchy overdrive, which responds well to guitar players’ dynamics. This 100W amplifier is considered a hot amplifier because it has more gain stages than comparable amplifiers.

This amplifier is an original design by Overloud. It has been developed to create the typical progressive metal tone: very high gain but smooth, with a perfect balance on all the frequencies. It allows you to play chords without losing the clarity of each string.

The Slo 88 (US) amp is based on an American all-tube guitar preamp released in the late ’80s on the West Coast. The amp includes three distinct channels giving much flexibility and versatility to guitar players.

The third channel is wonderful for lead guitar work. The distortion of the Slo 88 (US) is very musical and will add a lot of gain to your guitar without changing its character. This channel also works great for heavier hard rock riffs. Your guitar will cut nicely through the mix because of the natural bright voicing of this channel.

This 1 x 12” guitar cabinet is a great choice for any musical style. Equipped with Celestion speakers, this module is a favorite amongst many players who require a single speaker tone that can handle cleans, overdriven tones, and heavier lead sounds.

Many blues rock players have made this 1 x 12″ Clst (UK) guitar cabinet the central part of their setup. Because it is a single speaker cab, your tone will sound more focused and take a little less space.

This 2 x 12” cabinet is perfect for clean tones and lead tones. It is voiced on the brighter side, which is a great asset when trying to cut through the mix.

Being that this module has two 12” speakers, it will make your guitar sound more focused than a 4 x 10” cabinet. This makes the 2 x 12″ OB Darkface ’65 (US) particularly useful for solo work. It is a great choice for Blues, Jazz, or Rock.

This 2 x 12″ guitar cab is modeled after a classic British guitar cab made famous for its ability to carry out all the nuances of your playing. The original cab was released in the early ’60s and still remains a favorite amongst many professional guitar players.

This 4 x 12″ guitar cabinet is modeled after a famous modern guitar made in California. This module is the perfect complement to any guitar amplifier. The 4 x 12″ Modern (US) This comfortable with any musical styles and will add clarity to your tone without coloring your original signal.

This 4 x 12” guitar cab is modeled after a classic British cab released in the early ’60s. If you’ve ever been to a rock concert, it is more than likely that you saw those cabs onstage.

This module will give your tone huge depth and tons of character. It is comfortable in most musical situations, but will really shine with the drive knob of your amp cranked up.

The CHR-2 chorus is modeled after a very popular Japanese stomp box effect pedal released in the early ’80s. This pedal will give you a classic sounding chorus as heard on many classic rock records.

The CHR-2 works great with arpeggiated chords and does a great job at preserving your guitar’s original tonal character. This discreet sounding chorus is perfect for clean tones. It will enhance your sound without overcoloring your original tone.

The SDriveOne guitar overdrive is modeled after a very famous Japanese stomp pedal. It offers a super smooth and musical overdriven tone that does a fantastic job at preserving the subtle nuances of your playing.

The SDriveOne module is perfect for Blues and Rock. It adds a natural tube sounding voicing to any guitar rig. Turning the Drive knob all the way up will produces a heavy creamy sound reminiscent of British overdriven amps. This makes it great for punchy rock riffs or solos.

The D-Reverb is powered by Overloud’s BREVERB and produces beautiful musical digital reverberation. This effect offers a very pure echo to your sound that will work in any musical situations.

Add to this effect to a clean arpeggio guitar section to make its more musical. Try it with an overdriven guitar tone to add more depth in space to your sound. The D-Reverb Is a very simple guitar pedal to use and makes any guitar tone sound richer.

The D-Delay is modeled after a very famous stomp box pedal effect made by a well known Japanese manufacturer. This pedal is a digital delay and will give you a very clean and precise processed signal.

The effect offers a Tap function allowing you to match the repetitions to the tempo of the song you are playing. The D-Delay is a stereo effect and allows you to bounce the delayed track left and right which works wonderfully on clean arpeggiated sections.

The TubeNine is modeled after the famous Japanese tube enhancer guitar effect pedal. This pedal simulates the tone you would get with a warmed up tube guitar amplifier.

This pedal is great to add even more realism and feel to any of Overloud’s already super-realistic models. In addition to the tone control knob, the TubeNine offers a built in mid hump which enhances the mid frequencies. This makes it a very useful pedal as it will help your guitar sections cut through the mix.

The 7-Band GEQ is modeled after a famous Japanese stomp box guitar effect manufacturer. This pedal is very easy to use. It offers seven adjustable frequencies without the complexity of certain studio rack mount equalizers. Each frequency can be boosted or cut by 15 dB.

This gives you tons of flexibility and control over your guitar tones. Adding the 7-Band GEQ after a distortion unit can also be very useful to eliminate unwanted noises by decreasing the higher frequencies. This is a must pedal for any guitar players wanting to shape their tone.

The AQTX Spring Reverb is modeled after one of the most famous spring reverbs in the world. Adding this effect to any guitar track will add a genuine reverberated sound to it, as heard in many the vintage guitar amplifiers. The effect offers a Spring section, which allows you to set the length and tension of the modeled spring and in turn affects the type of reverb you hear.

Because of its analog character, the AQTX Spring Reverb Works particularly well when the combined with classic warm tube amps. Adding this module to your guitar effect rig when playing blues or jazz will do wonders to your tone.

The Parametric EQ is an Overloud custom equalizer that allows you to shape your tone further than what most guitar amplifiers allow you to. Two separate frequencies can be adjusted.

This module is particularly useful when trying to make a lead guitar stand out in a mix. Increasing the mids will give you more definition and help you cut through the other tracks. Scooping the mids will give you a superheavy tone when used in conjunction of a heavily distorted amp.

Like the above Parametric EQ, the Parametric EQ 4 Bands allows you to shape your tone, but now with 4-band sculpting.