Mattfig Fig A2 2555X NAM Capture Pack

• Product: Fig A2 2555X NAM Capture Pack
• Developer: Mattfig
• Requirements: Neural Amp Modeler (NAM) Plugin
• Source: mattfig.com/product/fig-a2-2555x-nam-capture-pack

Fig A2 2555X NAM Capture Pack is a Neural Amp Modeler capture library pulled from a Marshall Silver Jubilee 2555X, an amp built around Ch1, Ch2, and a diode-boosted Ch2+ voicing. Mattfig’s 24 captures split across two 4×12 blends — V30s paired with Greenbacks on 412-1, Greenbacks paired with Lynchbacks on 412-2 — alongside a full DI set for reamping through outside cabs or third-party impulse responses. The pack loads into NAM the way any .nam profile does, replacing the physical Jubilee’s channel switching with a folder of files.

Key Takeaway

The pack’s value sits in the Ch2+ diode-clipping option — a gain stage most Jubilee captures skip — paired with two distinct 4×12 blends for tonal range without re-tracking. Anyone without a NAM-compatible loader gets nothing from the files; the captures load only inside Neural Amp Modeler or its plugin implementations, not as generic IRs.

The Diode Stage Ch2 Doesn’t Reach

Ch1 on the 2555X handles the amp’s cleaner and edge-of-breakup range, staying tighter in the low end before the front end starts compressing the pick attack. The capture keeps that headroom intact, so a strum stays glassy until the input gets pushed rather than saturating early.

Ch2 moves into the amp’s higher-gain lead voicing, where the midrange steps forward and sustain extends without the low end turning to mud. Ch2+ adds the diode clipping stage on top of that, tightening the attack transient and pushing the gain ceiling past what Ch2 reaches on its own.

Switching between the three channels inside a session means loading a different file rather than riding a channel footswitch. A rhythm pass built on Ch1 and a lead pass built on Ch2+ live as separate captures, so blending them mid-phrase the way an amp’s channel-change relay would isn’t possible — the swap happens at the track level, not in real time.

Two 4×12 Blends, No Default Pick

412-1 pairs Celestion V30s with Greenbacks, landing on a cab blend with more upper-mid push and a firmer low-end anchor — useful for a rhythm track that needs to cut without turning brittle. 412-2 swaps in Lynchbacks alongside the Greenbacks, softening that same upper-mid push into a rounder, less aggressive top end.

A rhythm guitar sitting under a dense mix tends to hold its place through 412-1’s firmer midrange; a lead line reaching for singing sustain without extra edge often sits better through 412-2. Neither blend is flagged as the “correct” one for a given part — the choice is a mix decision, not a preset the pack makes for the player.

The DI set strips the cabinet out entirely, leaving the raw Jubilee gain stages for reamping through a separate IR or a third-party cab loader. That flexibility comes with a tradeoff: the DI files carry none of the cabinet’s frequency shaping, so they need a cab or IR loaded downstream before they sound like a finished guitar tone rather than a preamp signal.

British Midrange That Doesn’t Turn Honky

The 2555X’s signature sits in a British midrange that stays present without turning honky, paired with a low end tight enough to track under double-tracked rhythm parts without collapsing into low-mid buildup. Gain response climbs smoothly from Ch1 through Ch2+ rather than jumping in blocks, so an engineer riding a guitar’s input gain gets a gradual curve instead of three disconnected settings.

Classic rock rhythm work built on power chords and open-string riffing sits naturally on Ch1 or Ch2, where the amp’s compression stays musical under palm-muted attack. Ch2+ leans toward hot-rodded lead and hard rock work, where sustain and pick-attack bite matter more than headroom.

A producer working entirely in a lower-gain, blues-rock idiom may find Ch2+ carries more gain than the material calls for, since the diode stage is built around sustain and edge rather than dynamic touch response.

Fixed Gain Steps, No Sweepable Knob

The pack ships as .nam capture files rather than a preset bank tied to one plugin brand, so loading a tone means pointing a NAM-compatible loader — the free NAM plugin, or a DAW-native loader that reads the format — at the file instead of dialing in amp parameters. Twenty-four total files across three channels, two cabs, and the DI set means browsing by filename, since the pack doesn’t bundle its own searchable preset list.

There’s no amp to warm up, mic to reposition, or re-tracking pass if a channel choice turns out wrong mid-mix — swapping Ch1 for Ch2+ under a bounced track is a file change, not a re-record. That speed comes at the cost of the in-between settings a real Jubilee’s continuous gain knob would offer; the pack’s gain steps are fixed to whatever Ch1, Ch2, and Ch2+ each capture, not a sweepable range.

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