The Amp Factory JC-120, plus Air Chorus plus some delay will get you immediately into Cure land.
When distorting use a pedal in one of the slots, l recommend the Muffin for that squishy, slightly inarticulate sound.
Also, here's a Gilmourish video tutorial by Gundry Keller.
The Edge and Gilmour Style Delays
I am a big fan of the sound of The Edge and David Gilmour. Our delay algorithms are inspired by them.
The Edge and Gilmore do not use two delays in series, from what I know and hear. They use two delays in parallel to achieve a stereo effect. This is a dual delay.
Chose Tap delay.
Set both delay sides to 3/16 clock (that is dotted eights)
Setup a reasonable feedback (50% ?)
Set mix to a high value (80% and more?)
Tap the desired tempo in regular quarter notes
Adjust the feedback, create a rolloff by turning up Bandwidth.
Play eights notes on your guitar, as The Edge or Gilmore do (not fast 16th, as the delay will fill in the 16th).
There you are!
Select Clock Left and Clock Right to 3/16
Play 8th notes.
You will get The Edge’s delay as a ping pong delay. A bit harder to play, but crazier, more stereo, more rhythmic. I wonder if our heroes have ever used that delay setting.
For more alternative delay patterns try the following pairs for Clock Left and Right:
3/16 and 2/16
3/16 and 4/16
5/16 and 3/16 (my favorite).
The best rig for me by far is And44's (Amp Factory) 59 Bassman. Absolutely nails Hendrix clean, hairy-clean and OD tones. Pop a fuzz face in front and it's Hendrix heaven. Best £4.99 I've ever spent.
Other ones are Mesa TA-30 CruncTweed and Stomp_Lovepedal Tchu.
I think I got pretty close to this with Andy's 'Bassman 59 Clean+' profile with a Strat, neck pickup:
put a treble booster in front: Tone -3, Volume +2,5;
add EQ post-stack, one band cutting the bass: 43,3 Hz; 0,98 Q; -10,6 dB. And one band narrowly cutting the highs: 3162 Hz; 3,09 Q; -13 dB;
later I added more cut: 54,5 Hz; 2,11 Q; -6,1 dB. And 3079 Hz; 2,32 Q; -4,4 dB.
In the following Hendrix-inspired piece, the Kemper forum user guenterhaas used Soundside.de’s JVM 410H. The different sounds (from nearly clean to hi-gain) are done with the volume-poti of a Fender Custom Shop-strat ('56 reissue):
Hendrix used whatever he could get his hands on in the studio. I've read somewhere that his cleaner sounds were mostly Fender amps. A Dual Showman even made it on stage during the "Experience" tour. Look for any vintage Fender profile and you have a good starting point. As always Andy44 has some very good stuff.
Hendrix distorted sounds were always Marshall though. But the distortion didn't came out of his amps exclusively. Actually the Superleads he was playing were moderate gain amps according to modern standards. To get such an amp to really distort you'd need a pedal of some sort. Some people were using treble-boosters like the Dallas Range Master (Clapton, Blackmore, Rory Gallagher), but Jimi used a Fuzz Face. That might be the reason you are hearing Jimi more in the amps you mentioned. They all have more gain or more distortion right from the start. A vintage Plexi Marshall has not.
To emulate the original setup you'll need a profile of a vintage Plexi (there are quite some on the Exchange and again Andy44 has some of the best) and put a Fuzz in one of the stomp-slots. I'm not sure which Fuzz they modelled for the Profiler so be prepared it will sound a bit different. As for the cab look for a Marshall with G12H30. I think Andy44 has a couple of them even in his original (free) pack. Also the blackback Marshall cab in Rig Pack 1 are G12H30, so that would work as well (it's the cab on the Rig "talk to me" or on all Siggi Mehl 50 amps. The Siggi Mehl without "50" has a G12M25 though also magic cab, you might want to try it too). Most other Marshall cabs (factory or exchange) have V30 speakers and you don't want them for Hendrix. They are not even remotely close.
That is correct, in the studio, Jimi used a lot of Fender amps--Bassman (Voodoo Chile), Dual Showman, and Twins. Also, he did use slightly different Marshalls, a JTM45/100 which is a JTM45 increased to 100 watts along with having JBLs in some of his speaker cabinets. So, he had a lot higher headroom in some of his sounds than the typical amp would have. If you use a standard Plexi or JTM patch, it will break up too soon. Like Garrincha said, he basically used whatever he could get his hands on and probably didn't use the same amp or settings twice.
If you go and really listen to the Hendrix tones on records, they may not be what you think they are. What we think the Jimi sound is and what is actually was are often two different things I find.
We do a few Hendrix covers and after auditioning everything, I also settled on the And44 TwoRock stuff since it has a little more chime to it and gets me where I want it to sound. Sure, Jimi didn't play a Two Rock but, it sounds and plays the way I want it to so, it don't matter much!
As far as pedals, Jimi used a variety of fuzzes--silicon and germanium, even a Big Muff later on. So, even the standard Fuzz Face doesn't quite get you there on every tune.
For sure he used a cranked Bassman on Voodoo Chile (supposedly just straight in, no fuzz on that one).
From what I've heard he rarely used Marshalls in the studio, since they were a bit too loud to control.
For the non-clean stuff I prefer his live Marshall tones but for the clean stuff I like the studio Fender stuff better. Considering the Bassman and JTM45 are nearly identical, I would imagine you can cover all the Hendrix sounds with that profile, perhaps tweaking some cabinets along the way.
Last night I messed around with the "Blackface Bass Dimed" profile (I think it's a factory profile?) and got some wicked Voodoo Chile tones. Stick a Univibe in front of that amp and it was pretty fun.
One suggestion, put the Phaser/Univibe before your distortion pedals... only have your wah in front of the Univibe.
That Hey Joe klanky attack sound
Set the gain for the solo sound, with your guitar turned up all the way, playing those lines with that emotional quality. When you pull back the guitar volume (on the guitar, not with a pedal), you will get that sparkly chords sound, and it will respond to your playing dynamics and pickup changes. Most of that "clank" is coming from the way you hit the strings. Lean into a strat with the gain set as above, and pretty much any blackface or JTM will give you the sound. Turn up the guitar some, or all the way, for the incidental and solo lines.
My guess is he just turned his amps all the way up, and tamed the treble enough on them for a bridge pickup sound (I hear it in some of the overdubbed lines) . The tone controls for the other two pickups may also be useful - it will depend on the individual guitar.
There may be some fuzz in this particular song, but if so, it is subtle enough for the amp gain to cover it for me.
In Discussion boards, some say it was a Blackface or Tweed Fender, some say a JTM Marshall. Any of those will get you there - the Blackface or JTM are closest (the Tweed Fenders usually have more midrange).
The "studio" sound is pretty easy to get, with any vintage sounding clean-ish Fender-ish amp. I haven't settled on one yet. There are some overdubbed parts, panned to the side - I may use something slightly different for those, but he probably didn't ;)
Needless to say, for the original "live" sound, JTM Marshall, with the gain set for the Live solo sound, and pull the guitar volume back for chords.
You may have to dial the gain back on some of these (and maybe turn off effects that are there for other songs):
Some from the Rig Exchange -
Hendrix Blues Blackf
GB 18 watt St Hendrix
Hendrix Little Wing
DP 64 Bassman
Some Factory rigs -
TAF-Go Jimi Go
UWE JTM (several rigs)
Blackface Bass Dimed
S. Mehl 50 (several rigs)
Most AC30 profiles are from the bright channel of a Topboost AC30. Brian May uses the normal channel of his amp (and I believe he has a non-top-boost) and an external treble booster. In earlier years he used a Dallas Rangemaster and later a Pete Cornish model. The very best base for this kind of sound is the AC30 copper top - one of And44's commercial profiles. When I put a treble booster in front of it it's instant Brian May. I use a BSM RM (Dallas Rangemaster clone) because I don't like the Profiler's treble booster that much. But the guitar plays an important role as well. The solo in Bohemian is his "out-of-phase" setting on his guitar that is nearly impossible to recreate with anything else but that guitar.
If you don't find the ideal Vox, pick something else with similar gain, and the Stomps EQ can give you some of that out of phase sound.
I've had pretty good luck getting a Mayish tone using the AC30 HW profile by Reznor with a lead boost applied.
We play "Friends will be friends" and for the solo I use a tweaked version of the 69 factory preset with a Lead boost in front and a Geq in X boosting mids and highs. All this with my DiMarzio equipped strat.
Additionally, in Lasse Lammert's Signature Rig Pack there is a rig named "LL - Nineties Finest", which is an excellent way to get that great Metallica tone. It is particularly effective when using a guitar that has a Seymour Duncan JB humbucker in the bridge.
Forum member Djemass profiled in 2014 his Mesa/Boogie MARKIIC+, which tend to nail Petrucci tones. Even if he posted a large amount of profiles in the Rig Exchange, he created a website fully dedicated to the profiling of this mythical amp : http://markiicplusprofiled.jimdo.com/
He even recorded some audioclips of each JP pack profile.
Forum member Djemass stated previously that for Petrucci's live lead tone buy MKV Stack and Elmwood from Soundside. Each one sounds good but combining the MKV amp with the Elmwwod cab gives this boogie tube mojo. You know, this creamy and not fizzy tone which can send you straight in the ballpark. Add a graphic eq by dropping the 600 Hz boost slightly the low end and the 2.5 kHz band and voila. Don’t forget also to add the stereo widener, amazing effect! And even if the noise gate is better than the decimator, remove it.
Forum member ivan91 played and posted this sound clip comparison here on the Kemper forum and he also shared this Petrucci profile on the Kemper rig exchange.
Using an eq plugin in the signal chain when profiling is one of several ways to create tone matched profiles. GUITAR -> KPA -> AMP -> CAB -> MIC -> DAW -> PLUGIN -> KPA Return.
First the original song, then the Kemper profiler amp. A/B comparison. Petrucci, Dream Theater, "About The Crash".
Here's a Nile Rodgers Style video tutorial by Gundy Keller.
The Stones used Ampeg VTs during the Exile period. There is a pretty good Ampeg VT40 profile among the factory rigs. It is called "MS039-00". Try that for a start, it really has that Stones vibe. It could use a little more gain though but it can be tweaked to sound just like Exile. Keith and Mick used a VT-2 so you have to tweak a bit anyway but you are in the ballpark with said profile.
Also make sure to try the Vibroverb profile from Alexis Boyer at the Rig Exchange. That's great for the Fenderish Stones sounds (Sticky Fingers probably was more Fender than Ampeg).
For older Vai tones, I find the "VAI.GOD" rig  gets pretty close. I made some modifications: added Compressor, One DS, Studio EQ, Delay, and Reverb. I also changed the cab to one of Till's Marshall 1960 cab profiles. You can find my rig here.
For later Vai tones, Erik Stam's Carvin Legacy profiles  are pretty much as good as it gets for profiles of that amp. Then you can try the same tricks I did above.
Van Halen\Brown Sound
Follow this link for a thread about the brown sound.
Here you can find a thread related to Okstrat's commercial rigs for the brown sound.
Here's an EVH\Brown Sound tutorial from Gundy Keller.
Flanger Settings (Unchained)
NOTE: The KPA comes loaded with an EVH Flanger preset. I think it's called FLA Unchained or FLA Chain or FLA EVH or something like that. I only found this after investigating and writing below, but this is worth reading to learn more about dialing-in a flanger.
I wanted to share the EVH Unchained settings I used for the Flanger. Unfortunately I don't have my KPA in front of me. From memory, I think they were about as follows:
Flanger in pre (Stomp) placement
Rate: 0.1 HZ (1/10 s)
Here's a breakdown of how I got there.
The first question is pre or post. For EVH, the answer is pre (aka Stomp). This will make the flanging effect more subtle - it is still quite clearly noticeable, but the giant swooshing is a bit more mellow. What it really affects is the resulting distortion tone from the amp. I tend not to like a flanger in post placement - the effect is too prominent and distracting to your actual playing IMO. But in pre, it plays more with the distortion tone, which is more interesting, but without burying your actual playing with the effect.
The most obvious parameter to adjust is rate. For EVH, it's a nice slow rate. I'm not exactly sure, but it's going to be something like 0.05 to 0.2 HZ. What I do is I play the main riff from Unchained. The first time through you want to hear the flanger sweep "upwards" on the palm mutes after the initial Db chords (tuning of drop Db). The second time through, you want to hear the sweep go "downwards" on the palm mutes. The rate itself can be difficult to hear if you don't set the other parameters correctly. So I usually set it around 0.1 Hz initially, dial in the other parameters, then come back and get the precise rate I want last.
The important thing to realize about Depth and Manual is that they play against each other. If you have Depth set to high and Manual set low, you'll get a weird double-swoosh sound at the extremes of the sweep, instead of a nice smooth swoosh that moves up and down on a perfect sine wave pattern. The lower you set Depth, the lower you can set Manual without hearing the off-putting double-swoosh.
Manual is a bit counter-intuitive at first. It is really designed so that you can set Depth to 0 and set Manual to an expression pedal, where you can manually control the swoosh. However, it will affect the operation of the effect even if you don't actively manipulate it. Flangers work by delaying a signal and mixing it with the original to get a comb filter effect. By constantly changing the delay amount, the filtered frequencies move up and down the frequency spectrum. Manual is a fixed delay amount. Now it makes sense how you can control the flanger sweep using this parameter - you are manually altering the delay amount.
Now when you use Depth > 0, Manual is the "baseline" delay amount. Depth will sweep the delay from x ms below to x ms above whatever you set Manual. So for instance, if Depth is 3 ms and Manual is 20 ms, the sweep would cycle from 17 - 23 ms and back. CKemper chimed in and informed me that the double-swoosh I refer to is when the comb filter's nulls cross key spots the amp focuses in for distortion.
The key to the EVH sound is to only set Depth high enough to sweep the sweet spot, where you have the clear swoosh effect on palm mutes. You can also hear it on single notes very well, while chords tend to sound only slightly affected. This is good - it lets the chords shine through instead of turning everything into a swirly mess.
But first you have the sweet spot. This is best done by setting Depth very low or even to 0 and turning the Manual parameter as you play palm mutes. I find a lower settings work best, where you are sweeping from around 1 - 6. The sweet spot is the center of that range. I find it's around 3 or 3.5.
Now slowly turn Depth up as you keep playing palm mutes. Now you can hear more and more of a swoosh. If you go too high, you find you'll get the double-swoosh mentioned above. But even before you hit that point, you'll notice the high point of your sweep seems to "get lost", where you don't hear the strong effect on palm mutes any more. And if you try to play chords, the flanger clearly affects them more heavily on the "high" side of the sweep. Again, you ONLY want to set Depth high enough so that the sweep is clearly affecting palm mutes. I find the value is around 3.5.
Feedback is what really makes the flanger sound crazy. Without any feedback, you're left with a boring comb filter. With 100% feedback, it sounds like you're on Los Angeles International's main runway! I find I like to set this value pretty high - like 60-90%. This can be a bit extreme - I compensate with the Mix parameter. A mix of anywhere from 50-80% tends to work well.
Stevie Ray Vaughan
Plug in a Strat, dial up factory profile Till's JVM 2 Mics 5, dial back gain to around noon, tweak the treble for your guitar (in my case down a bit to between 10 and 11 o'clock). Thank me when you come for air after an hour or two.