ninjaTONE Lab

Five presets from glass clean to saturated screamer. Henderson drives the amp — minimal pedals, all gain from the EL34 power section. Volume knob is the primary gain control. Bass always low. Get the midrange from the guitar's tone knob.

Five presets from session shimmer to Hendrix supernova. Landau keeps the amp surgically clean and does everything with pedals. SD-9 with tone almost off and level dimed. AC+ always on as a clean boost. The polar opposite of Henderson — same amp, completely different philosophy.

Henderson and Landau merged into one rig. Six presets from session clean to Hendrix psychedelic. Every setting optimised for ML Standard pickups. Full pedalboard with switching combinations — clean platform amp with pedals doing the work, or flip to Henderson mode for amp-driven gain.

Seven tones nobody asked for. The sounds that live in the gaps between genres — self-oscillating fuzz into bit-crushers, barber pole phase illusions, ring-modulated industrial chaos, and vowel-morphing ghost choirs. Every Strymon machine you’ve never touched. Every pedal abused.

Five Shades of Purple Haze. The Badger 18's EL84s and tube rectifier sag are the secret weapon — spongey, saggy, natural compression that blooms when you push it. From Little Wing clean to Star Spangled Cosmos full psychedelic. Henderson's amp gain meets Landau's effects meets Hendrix's controlled chaos.

Five definitive presets, one locked amp. The Badger 18 power-scaled to bedroom volume — you never touch the amp. All changes come from AC+ channel switching, Mobius and Timeline presets. Silk clean → Honey breakup → Torch crunch → Blaze lead → Fever Dream psychedelic. Set and forget.

Same rig, different guitar, different universe. Five presets recalibrated for humbuckers — less bass, less mids, more treble, less gain. Glass House shimmer → Split Personality (auto-split trick) → Knuckleduster crunch → Liquid Metal lead → Event Horizon high gain.

Four worlds. Twenty tones. Henderson, Landau, Hendrix, and something that doesn't have a name yet. All power-scaled. All wet/dry through two amps. Four different amp settings for four different philosophies. SD-9, AC+, Mobius, Timeline. Set up once. Play for years.

One preset. Guitar volume does everything. At 5 it's Landau session clean. At 7 it's liquid Holdsworth sax. At 10 it's filthy Henderson crunch. Everything always on. Nothing switches. Your pinky on the volume knob does the tone. Go practice.

The deep dive. Six tubes, three jobs. Why the 5Y3GT rectifier makes it breathe. Why Power Scaling beats attenuators. Why Drive must stay within 2 of Power. Why it sounds better at bedroom volume than most amps at full blast. Written for guitarists, not engineers.

Every pedal. Every combination. Two amps. AC+ goes BEFORE the SD-9 this time — fattening the signal before it clips. Seven presets from pure silk to full entropy Event Horizon. The order change that unlocks a completely different distortion character. Holdsworth liquid, Landau session, Henderson raw, and a full gain stack that justifies owning both pedals.

Different guitar, different rules. 59/09 humbuckers with Alnico 2 magnets push harder and warmer than ML Standards — every amp and pedal setting recalibrated for mahogany body, shorter scale, and hotter pickups. Set A: full wet/dry chain. Set B: stripped back to one pedal and one amp. Eight presets that show you what the PRS can do that neither Suhr can.

Five new directions. None overlap The Definitive Four — each tone crosses two player philosophies into something new. The Confessional (2am whisper), Desert Voodoo (Uni-Vibe swagger), The Seance (Leslie chord melody), Tribal Sky Church (shimmer fusion lead), The Nocturne (one note a minute). Same rig, completely new territory.

Five tones that rip at whisper volume. Real EL84 power-tube breakup at 1–2 watts using the Power Scaling Rule: Power low, Drive within 2 of Power, Gain does what Gain does. From whisper crunch to bedroom Plexi — genuine tube compression without the neighbours calling. Start with M4 and feel the EL84s squash at conversation volume.

Why the Classic S likes Hall reverb at medium decay. ML Standard single coils at 6.5K through alder give glassy, three-dimensional sound that wants a room around it. Hall mode, decay 2 sec, warm tone. The Big Sky adds dimension without smearing single-coil top end. Volume knob maps the full palette from glass to crunch.

The polar opposite of the Classic S. SSH+ bridge at ~12K with Alnico V pushes mids forward aggressively, basswood is darker and more compressed. Hall reverb would turn this into mush — this guitar needs faster, brighter Plate reverb with shorter decay. A slap of dimension behind hot legato lines, not a wash.

The easiest to dial reverb for and the trickiest to get wrong. 59/09 humbuckers with Alnico 2 magnets give natural compression and blooming sustain. Mahogany body adds woody warmth. The Big Sky stays out of the way — Spring reverb, short, bright, almost not there. Anything more and you smother what makes the PRS a PRS.

Landau's most aggressive tone. When the session calls for sustain that won't quit and the producer wants “more” without touching the amp knobs. SD-9 with everything maxed except tone. AC+ as a pre-clip booster. Fuzz Factory for the chaos peaks that bend strings on their own.

Five lead-voice tones, each one a singing platform. Different gain shapes, different sustain curves, same pitch focus. Dialed for clarity at any volume from bedroom to stage. The set you reach for when the rhythm part is locked and the solo needs to cut.

When the Landau preset needs to push past polite. Same pedal chain. Dialed harder. Front-of-house gain only — the amp stays clean. This is what happens when you take session-clean Landau and stop apologizing for the volume.

Strat-specific tone shop. Single coils into low-headroom amp gain, with the bridge pickup tone knob doing the heavy lifting. SD-9 used lightly to fatten, AC+ as a compressor more than a boost. Get the grease without losing the glass.

If you only ran one Landau preset for the rest of your life, this is it. One amp setting locked in. One pedal stack always on. Your hands and your volume knob do the rest of the work. The opposite of preset-flipping — pure dynamics-as-tone.

Bending technique drilled to muscle memory. Pitch accuracy with reference tones, vibrato AFTER the bend (not before), three-finger reinforcement so your weakest hand can still hit pitch, and why half-bends ruin solos when you don't commit.

Finger studies in the Landau idiom. Position shifts that don't lose the line, voice-leading on adjacent strings, sustained legato passages where the pick barely moves. Built to grow the kind of tone that doesn't disappear when you swap amps.

Eight-bar phrases drilled against a metronome. Pure timing focus — locking the feel of behind-the-beat phrasing without dragging the bar line. Lazy-feel is a learned mechanic, not an attitude. This is how you build it.

Modal exercises in Bm and Dm Aeolian — the home keys of both players. Built to expose how Landau lines move through the modes vs how Henderson grids them. Same scale. Different mental model. Drill both, learn the difference.

Interval studies broken into player-specific neck zones. How Landau reaches across the neck through string-skipping wide intervals vs how Henderson grids it into adjacent-string clusters. Same intervals. Two completely different geographies.

Key landscape map for the Renegade Destruction practice piece. Every chord, every key change, exactly where to be on the neck. Cross-referenced against both players' line vocabularies so you can choose your approach per section.

Five essential scales mapped over Bm. Pentatonic, Aeolian, Dorian, Mixolydian, Lydian. With targeted Landau-Henderson exercises per shape that highlight what each player does differently inside the same scale. The biggest single practice doc here.

A musical practice sequence that walks Bm across all 22 frets in connected positions. No isolated boxes — a continuous melodic neck where every position knows where the next one starts. The path out of pentatonic-box jail.

Chord-by-chord melody construction. Target tones per chord, when to play through changes vs land on them. The bridge from running scales to building actual phrases. The thing most practice guides skip.

Modal breakdown of Renegade Destruction. Every section keyed and modally annotated, with practice drills for the tricky transitions where modal flavor needs to flip mid-bar. Get the whole piece under your fingers without faking the changes.

The practice rig for learning Renegade Destruction end-to-end. Manual-accurate v2 console with section looping, tempo control, and position cues that show you where on the neck the line lives. The training wheels you take off section by section.

Two-chord modal vamp in Bm9 ↔ Em9. Fertile ground for Dorian/Aeolian over the I and Mixolydian over the IV. Endless improvisation runway — the kind of backing where every choice you make sounds intentional.

Blues riffs in Bm that get stuck in your hands. Each one rewards repetition — the kind of phrases that show up uninvited in jams because your fingers already know them. The set you steal from yourself when nothing else is coming.

Standalone riff library extracted from Renegade Destruction. Play them as exercises, or steal them for your own compositions. The good bits without the whole piece — the way blues guitarists learned licks from records in the 60s.

Twelve-bar blues sequence library at 60 BPM. Sequences = phrases that move through the form, not just licks over one chord. The difference between “I know blues” and “I can actually play through a blues.”

Slow blues in A. Loop, jam, find your phrasing. The track stays out of your way — drums, bass, comping piano, no lead guitar in the mix. The room for you. Stretch the bends, let the rests breathe.

Five fusion progressions that retrain your comping. Inside the changes, voice-led, with the upper-structure triads written out — the difference between “jazzy” and actually fusion. The companion piece to the Bm9 ↔ Em9 vamp.

Every fusion chord that lives in Bm. Relative-key Dorian and Aeolian, ii-V-i resolutions, tritone subs, slash voicings — the whole ecosystem mapped to one key. The sister piece to the Five Progressions, locked to a single tonal centre so you can drill it into muscle memory.

Progressions you almost never hear, written for Bm / D Major. Sus-add-9, lydian II, parallel-key borrowing, ostinato-bass moves. The things that sound expensive without being technically difficult. Steal them.