AmpliTube 4 Deluxe Gear Models

AmpliTube 4 Deluxe
Gear Models Guide
Guide to the Models available in the

AmpliTube 4 Deluxe Collection
AmpliTube 4 Deluxe Gear Models
PLEASE NOTE
AmpliTube 4 is now available in different versions:
The only difference between the two versions is in the number of gear models
included.
While consulting this manual, please refer to the specific gear models included in
the AmpliTube 4 version you are using.

Table of Contents

I Contents

Chapter 1

1.1

1.2

1.3

1.4

1.5

1.6

1.7

1.8

1.9

1.10
I - Contents
Stomp Box Effects

Delay
Delay
EchoMan
TapDelay
Distortion
Crusher
Diode Overdrive
Overdrive
OverScream
The Ambassdor
Dynamics
Compressor
Dcomp
EQ
7 Band Graphic
10 Band Graphic
Filter
Envelope Filter
LFO Filter
Rezo
Step Filter
Wah
Wah 10
Fuzz
Fuzz Age
Modulation
Chorus
Chorus-1
Electric Flanger
Flanger
Opto Tremolo
Phazer 10
Small Phazer
Pitch
Harmonator
Octav
Pitch Shifter
Other
Volume
Step Slicer
Swell
Acoustic Sim
Model List
5
9
9
9
10
11
12
12
13
14
15
16
17
17
18
19
19
20
21
21
22
23
24
25
26
27
27
28
28
29
30
31
32
33
34
35
35
36
37
38
38
39
40
41
42

Chapter 2

2.1

2.2

2.3

2.4

2.5
Amplifiers
Clean
American Clean MKIII
American Tube Clean 1
Custom Solid State Clean
Jazz Amp 120
Metal Clean T
Crunch
American Tube Vintage
British Tube 30 TB
British Copper 30 TB
Tube Vintage Combo
Lead
American Lead MKIII
Brit 8000
Brit 9000
Brit Silver
Brit Valve Pre
British Tube Lead 1
British Tube Lead 2
Custom Modern Hi-Gain
Custom Solid State Fuzz
Custom Solid State Lead
Modern Tube Lead
Red Pig
Bass
360Bass Preamp
Green BA250
Solid State Bass Preamp
Model List
45
45
45
47
48
49
50
51
52
52
53
54
55
56
56
58
59
60
61
62
63
64
65
66
67
68
69
69
70
71
72

Chapter 3

3.1

3.2

3.3

Cabinets
Guitar 6
1x6 Small Combo
Guitar 10
1x10 Combo Modern
4x10 Closed Modern
4x10 Open Vintage
Guitar 12
1x12 Combo
1x12 MB II
1x12 MB III
1x12 Open Modern
1x12 Open Vintage
2x12 Closed Vintage
2x12 Gry British Vint
2x12 JP Jazz
2x12 Open Vintage
4x12 Closed Modern 1
75
75
75
76
76
77
78
79
79
80
81
82
83
84
85
86
87
88
I - Contents

3.4

3.5

3.6

3.7

3.8

3.9

4x12 Closed Vintage 1
4x12 Brit 30
4x12 Brit 8000
4x12 Brit 9000
4x12 Brit Silver
4x12 Red Pig
Bass 10
4x10+tw Bass
4x10+tw TE Bass
Bass 12
1x12 Bass
Bass 15
1x15 Bass Vintage
Bass 18
1x18 Horn Bass
Rotary
Rotary 147-1
Rotary 147-2
Model List
89
90
91
92
93
94
95
96
97
97
98
99
99
100
100
101
101
102
102
103
104

4

4.1

4.2

4.3

4.4
Microphones
Dynamic
Dynamic 57
Double Dynamic 57
Dynamic 20
Dynamic 421
Dynamic 441
Dynamic 609
Condenser
Condenser 84
Condenser 87
Condenser 170
Condenser 414
Ribbon
Ribbon 121
Velo-8
Model List
107
107
107
108
109
110
111
112
113
113
114
115
116
117
117
118
119

Chapter 5

5.1

5.2

5.3

Rack Effects
Delay & Reverb
Digital Delay
Digital Reverb
Tap Delay
EQ & Dynamics
Graphic EQ
Tube Compressor
Filter
Rezo
121
121
121
122
123
124
124
125
126
126
I - Contents

5.4

5.5

5.6

Step Filter
Modulation
Analog Chorus
Digital Chorus
Digital Flanger
Rotary Speaker
Pitch
Harmonator
Pitch Shifter
Other
Step Slicer
Stereo Enhancer
Swell
127
128
128
129
130
131
132
132
133
134
134
135
136
I - Contents

Chapter 1 Stomp Box Effects

1.1 Delay
Delay
This model is based on a traditional digital delay stomp pedal.
Controls:
DELAY: changes the length of the delay between each echo, from 1
ms to 2000 ms.
FBK: changes the amount of time that the echo repeats, from 0% to
100%.
LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.
BPM SYNC: allows the effect to synchronize to the project tempo.
1 - Stomp Box Effects
EchoMan
A model of a classic bucket-brigade analog echo/delay (with modulation)
stomp pedal effect.
Controls:
DELAY: changes the length of the delay between each echo, from 25
ms to 500 ms.
FEEDBACK: changes the amount of time that the echo repeats, from
0% to 100%.
BLEND: mixes the amount of dry signal with the effected signal, from
0% (dry) to 100% (effected).
CH/VIB: sets the amount of Chorus/Vibrato effect added to the
effected sound, from 0% to 100%.
CHORUS VIBRATO: changes whether chorus or vibrato can be added
to the effect.
10
TapDelay
This creative delay effect unit can be used to create interesting and unusual
delay effects thanks to the 8 totally independent taps. You can create grooving rhythm patterns by combining more taps with a specific time signature,
and you can mix this up with psychedelic reverse tape effects you are able
to set for each tap.
The TapDelay is actually 8 delays in one single unit, and it is possible to set
time, timbre, and level for each of them. In addition, you can globally control
with single knobs parameters for all the 8 taps simultaneously, like time,
dry/wet mix and feedback amount.
Controls:
TIME: globally shifts the delay time of all the 8 taps. This is a relative
control, when set at the center position (1x) it does not alter the time
that has been setup on each Tap, when set to minimum (0.25x) it
divides all times by four and when set to max (4x) it multiply all times
by four. Use it to globally change the delay tempo without changing
the relations between all taps.
MIX: globally adjust the effect mix between the Dry signal and all
the 8 delay taps.
FEEDBACK: globally adjust the amount of feedback the delay will
have. When set at maximum, the delay will be sustaining itself.
TAP: use these buttons to select which one among the 8 delay taps
youre going to edit with next controls
LEVEL: sets the audio level for the selected delay tap.
TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Sync
switch position.
FILTER: sets the timbre for the selected delay tap, darker at minimum
and brighter at maximum.
REVERSE: enable this button to transform the selected delay tap from
normal to reverse. When set to reverse a delay tap will sound like a
reversed tape loop.
LINK: enable this button to make a changes to the above mentioned
parameters to apply to all the 8 taps at the same time.
11
1.2 Distortion
Crusher
This model alters the sound of the input signal by changing the sample-rate,
cutoff frequency and by distorting it. This effect can produce very aggressive
distorted sounds, more noticeable than overdrive stompboxes. The Low pass
filter is very creative when combined to high distortion levels.
Controls:
CUTOFF: controls the cutoff frequency of the low pass filter.
DECIM: selects the sample-rate-ratio of the processed sound, from
1:1 to 1:16.
GAIN: sets the amount of signal sent to the effect, therefore the
distortion. Useful when creating heavily distorted sounds, from -40
dB to +40 dB.
OUT: controls the output volume, from -40 dB to +40 dB.
12
Diode Overdrive
A model of a classic overdrive stomp effect.
Controls:
TONE: adjusts boost or cut of the high frequencies in the stomp effect,
from 0 to 10.
DIST: sets the amount of distortion applied to the input signal of the
effect, from 0 to 10.
LEVEL: sets the level of the input for the effect, from 0 to 10.
13
Overdrive
This effect is based on one of the most collectible pedals. It is one of the most
aggressive overdrive pedals ever made. From subtle to over-the-top, this
effect pushes amps harder without sacrificing clarity and tone.
Controls:
LEVEL: controls the Overdrive pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
like another distortion pedal or an amplifier at high gain or volume.
DRIVE: controls the amount of overdrive the pedal gives.
TONE: controls the timbre of the overdrive pedal.
14
OverScream
This is a model of a classic overdrive/distortion pedal which has become
the go to overdrive pedal for some of the most influential guitar players of
all time. Its basic controls make it easy to dial in the exact sound you want.
Controls:
DRIVE: increases the amount of clipping in the distortion circuit, from
0 to 10.
LEVEL: sets the output level of the pedal, from 0 to 10.
TONE: adjusts boost or cut of high frequencies in the stomp effect,
from 0 to 10.
15
The Ambassdor
This pedal is a model of a beloved 80s-era distortion pedal by a company
known for making amps with amazing distortion. This model packs a whole
powerful amp into a single stomp box.
Controls:
GAIN: sets the amount of distortion generated by the pedal.
BASS: sets the amount of low frequencies in the sound.
MIDDLE: sets the amount of midrange frequencies in the sound.
TREBLE: sets the amount of high frequencies in the sound.
LEVEL: sets the output volume of the distortion pedal.
16
1.3 Dynamics
Compressor
This effect is a model of a classic high-end compressor. It is capable of mild
compression or intense signal slamming, and does it all with a tremendous
amount of finesse.
Controls:
COMP: sets the amount of compression, from 0 to 100.
LEVEL: changes the output level of the compressor, from -15 dB to
+15 dB.
17
Dcomp
This effect is modeled after a vintage compression stomp pedal.
Controls:
OUTPUT: sets the output level for the effect, from inf to 0.0 dB.
SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.
18
1.4 EQ
7 Band Graphic
This model is a clean, highly effective 1 octave graphic equalizer, capable of
fine tuning and dialing in that perfect tone. It is also very useful when you
need to push the signal for the next stompbox or amp.
Controls:
FREQUENCY BAND LEVEL: each frequency band is one octave apart
and allows for +/- 15 dB of adjustment. The controls include 100 Hz,
200 Hz, 400 Hz, 800 Hz, 1.6 kHz, 3.2 kHz, 6.4 kHz.
LEVEL: sets the output level of the graphic EQ, from -15 dB to +15 dB.
19
10 Band Graphic
IK Multimedia proprietary 10 Band Graphic EQ.
Controls:
BANDS: 31, 62, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Each band has +/- 15
dB of boost/cut.
GAIN: the gain slider boosts or cut the overall level by +/- 15 dB.
20
1.5 Filter
Envelope Filter
This stomp is an advanced filter effect. It uses the envelope of the incoming
signal to control a synthesizer style filter. It is capable of sounds ranging
from very simple auto wah effects to extreme never before heard filtering
effects.
Controls:
FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.
RESO: sets the resonance of the filter, from 0.30 to 10.
DEPTH: changes the amount of effect that the envelope has on the
filter, from 0% to 100%.
MODE: these control change the type of filter used for the effect.
12/24: sets the slope of the filter, either 12 dB per octave or 24 dB
per octave.
HP/BP/LP: sets the type of filter being used, either high pass, band
pass, or low pass.
21
LFO Filter
This complex stomp effect uses an LFO to modulate the frequency of its filter.
With the included BPM Sync this is a very useful effect for creating interesting, moving guitar parts with a minimum amount of trouble.
Controls:
FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.
RESO: sets the resonance of the filter, from 0.30 to 10.
RATE: adjusts the speed of the LFO, from 0.05 Hz to 5 Hz.
DEPTH: changes the amount of effect that the envelope has on the
filter from 0% to 100%.
MODE: these control change the type of filter used for the effect.
12/24: sets the slope of the filter, either 12 dB per octave or 24 dB
per octave.
HP/BP/LP: sets the type of filter being used, either high pass, band
pass, or low pass.
22
Rezo
A unique effect that can add synth-like drones and sustaining resonances to
your parts. Make your guitar sound like a sitar or like a synth-drone to create sonic resonances to sing on and control the notes with your controller to
create arpeggios and steps while playing.
You have 4 resonating voices that can be tuned independently from note E0
to note B7, in half tone steps. For example, if you want to create a resonating
C Major chord, just set the first three voices to C3, E3 and G3.
By moving the All slider you can shift the recently created Chord without
changing the intervals between the voices.
You can set the desired voice note by note number or by frequency in Hz.
Controls:
1-4 SLIDERS: sets the pitch for each resonating voice.
1-4 VALUE DISPLAY: displays which note each voice is tuned on.
NOTE/FREQUENCY SWITCH: turn On this switch to have the tuning of
each voice displayed as a note. Turn this Off to have the tuning of each
voice to be displayed as frequency in Hz.
ALL: shifts all resonating notes by the same amount keeping relative
intervals between voices identical.
RES: sets the amount of resonance for each voice, from min to max.
When set to max the note will sustain by itself, when set to min the
voice will not be resonating
SCALE: the Rezo is setup by default to span over a chromatic scale
when you set the resonating voices, meaning that all half tones are
possible. If you want to set another scale and want to remove notes
from the chromatic scale just open this menu and leave on only the
notes you need.
FILTER: determines the brightness of the resonating voices, from dark
(lower positions) to bright (upper positions).
MIX: sets the amount of resonating notes you want to hear. When the
control is at min youll only hear the original sound, when fully up
youll only hear the effected sound.
OUT: the resonating notes can become very loud. Use this control to
adjust the overall output level of the Rezonator.
23
Step Filter
A powerful and deep beat synchronized filter effect. You can apply Low/High
and Band pass analog modeled filtering on freely customizable patterns to
add groove and rhythmic pulsing to your parts. If you want, this effect could
make your guitars and bass parts to sound like a rhythmic synth.
Controls:
CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff
frequency the filter will have when the steps are set to half position.
STEP BAR: click on the Steps to set each step level. You can also draw
a curve while holding the mouse while dragging over multiple steps.
RES: sets the center resonance of the filter. This is the resonance
amount the filter will have when the steps are set to half position.
DEPTH: sets how deep the filter is modulated by the steps.
HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:
band pass, LP: low pass.
12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/
oct will be steeper.
DEST: sets what is modulated by the steps between filter Cutoff and/
or filter Resonance. At full minimum position only Cutoff frequency is
modulated, at max position only Resonance is modulated.
DIVISION: sets what time interval each step represents.
STEPS: sets the number of steps the cycle will consist of.
MODE: when set to Free the cycle will be continuous and will always
cover all the steps that are specified in the Steps parameter. When set
to Strike the cycle will re-start each time a chord or a note is played.
SWING: increase this control to give to the steps a swing type quantization.
24
Wah
This effect is modeled after the classic wah pedal used by many of the top
players from the 60s and 70s. In addition to the wah effect it also features
an auto function, allowing it to be used easily without an external controller.
Controls:
OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto.
WAHWAH: this directly controls the Wah effect, from 0% to 100%.
25
Wah 10
This is a faithful rendition of a very sought-after wah pedal. Based on a
multiple feedback opamp circuit, the pedal modeled here is a very expressive and unique wah pedal.
Controls:
WAH: sets the position of the wah pedal. It gives a darker sound
when moved lower (heel position) and a brighter sound when moved
higher (toe position).
DEPTH: determines how strong the wah effect is. When is set at
minimum the wah effect is barely noticeable, but when is set to max
the effect is very strong.
GUITAR/BASS SWITCH: modify the response of the wah to make it
more suitable to guitar or bass.
26
1.6 Fuzz
Fuzz Age
This effect is modeled after a classic germanium transistor fuzz stomp effect.
Typically used on lead guitar, this effect has remained a popular distortion
effect throughout the years.
Controls:
VOL: sets the output volume of the stomp effect, from inf. to 0.0 dB.
FUZZ: sets the fuzz level of the effect, from 0 to 10.
27
1.7 Modulation
Chorus
This chorus is modeled after a classic Digital Chorus stomp box.
Controls:
RATE: sets the rate of the chorus effect, from 0 to 10.
DEPTH: sets the intensity of the chorus effect, from 0 to 10.
LEVEL: sets the input level of the stomp effect, ranges from 0 to 10.
28
Chorus-1
A model of a classic bucket-brigade analog Chorus/Vibrato unit. It provides
both analog Chorus and analog Vibrato effects, when in Chorus mode the
modulation will be lush and slow, when in Vibrato effect the modulation will
be faster and more noticeable.
Controls:
LEVEL: sets the input level. Range is from 15 dB to +15 dB.
CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to
10.
VIBRATO DEPTH: sets the intensity of the Vibrato effect, from 0 to 10.
VIBRATO RATE: sets the rate of the Vibrato effect, from 0 to 10.
VIBRATO/CHORUS SWITCH: enables Vibrato or Chorus modes, when
Vibrato mode is enabled the corresponding LED will illuminate.
29
Electric Flanger
This stomp box is a model of a vintage flanger/filter matrix used by many
well-known guitarists to achieve classic sounds. While it has amazing
warmth, it is also capable of very versatile chorus and steady comb filtering/
matrix that can imprint a very specific sonic signature to the sound.
Controls:
RATE: controls the speed of the effect, from slow to fast.
RANGE: sets the deepness of the effect, from subtle to very strong
COLOR: sets the amount of feedback in the flanger circuit, delivering
a more intense effect when set at max.
MANUAL: this is normally set to the lower position, when set at the
upper position it stops the LFO. This means that you can use the effect
to have static resonance and filter matrix effects. Adjust the timbre of
the resonance and filters by setting the Range knob, and adjust the
intensity of the resonances by setting the Color knob.
ON/OFF: enables or disables the effect. When the effect is on the red
LED is light.
BPM SYNC: makes the rate of the phasing effect to be synchronized
with the BPM of the project. When enabled, the Rate knob becomes
a selector that allows you to choose between various musical figures.
30
Flanger
This stomp box is a model of a classic Flanger effect.
Controls:
RATE: sets the rate of the Flanger effect, from 0 to 10.
DEPTH: sets the intensity of the Flanger, from 0 to 10.
FBK: sets a delay for the Flanger to take effect, from 0 to 10.
LEVEL: sets the input level of the stomp box, ranges from 0 to 10.
31
Opto Tremolo
This model is based on a vintage Opto-Tremolo effect.
Controls:
RATE: sets the rate of the Flanger effect, from 0 to 10.
32
Phazer 10
A model of a classic analog multimode Phaser stomp box.
Controls:
INTENSITY: selects one of the four different Phaser modes. From left
to right the perceived effect intensity will increase.
SPEED: sets the speed of the modulation, from 0 to 10.
33
Small Phazer
This effect is a model of a classic analog phase shifter, capable of a range of
phaser effects from gentle to outlandish swirling effects. You may wonder
why it is called small when you hear it.
Controls
RATE: controls the speed of the effect, from slow to fast.
COLOR: set it to the lower position for a more gentle phasing effect,
or set it at the upper position for a more pronounced and deep phasing effect.
BPM SYNC: makes the rate of the phasing effect to be synchronized
with the BPM of the project. When enabled the rate knob becomes a
selector that allows to choose between various musical figures.
34
1.8 Pitch
Harmonator
This effect is a 3 voice digital harmonizer effect. More than just a pitch
shifter, this pedal will create 3 separate harmony voices with independent
interval values based on a musical scale. Simply select the scale to use,
select the voice and the desired pitch and play. The harmonized notes will
be according to the selected scale.
Controls:
MIX: blends the harmonized voice with the original voice, from 0 to
100.
KEY-SCALE: controls the key and type of scale that will be used by the
harmonizer as a reference. If youre playing a solo in E major set this
to E Major. Possible scales types are: Major, Dorian, Phrygian, Lydian,
Mixolydian, Minor, and Locrian.
VOICE: controls the properties of each of the 3 voices of the harmonizer.
LEVEL: independently adjusts the level of each of the 3 voices.
1: selects voice 1 for editing.
INTERVAL: changes the interval of the selected voice, from octave
down to octave up.
35
Octav
This stomp effect is modeled after a classic dual voice octave pedal. It will
produce two additional sounds, one and two octaves below the direct signal.
Controls:
OCT 2: sets the output level of the second octave effect, from inf to
0.00 dB.
OCT 1: sets the output level of the first octave effect, from inf to
0.00 dB.
DIRECT LEVEL: sets the output level of the direct signal, from inf to
0.00 dB.
36
Pitch Shifter
This effect shifts the pitch of the incoming signal. This new pitch shifted
signal is blended with the original sound to create harmony guitar leads or
other types of dual pitch effects.
Controls:
COARSE: sets the coarse tuning of the pitch shifter. Measured in
intervals, from -24 to 24.
FINE: sets the fine tuning of the pitch shifter. Measured in cents, from
-50 to 50.
LEVEL: sets the output level of the pitch shifted sound, from 0 to 10.
37
1.9 Other
Volume
This model is a traditional volume pedal.
Controls:
MIN: sets the minimum volume level for the pedal, from 0 to 10.
VOLUME: adjusts the volume of the signal passing through it, from
0% to 100%.
38
Step Slicer
Add programmed rhythmic parts to your power chords and phrases with
this powerful and creative beat synced slicing effect. It can be setup to create anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat.
Controls:
LEVEL: sets the amount of level modulation the steps will give. At
min position the steps will not have effect, at maximum the range
will be full.
RAMP: sets the steepness of the level change between steps. Set it at
lower positions to get a more gate-like effect or set it to higher positions to get a smoother effect.
DIVISION: sets what time interval each step represent.
MODE: When set to Free the cycle will be continuous and will always
39
Swell
This is an auto volume swell processor that can automatically create fantastic swell effects while playing without any manual intervention. Use it
subtly to add groove to your rhythm parts or use it with deeper settings to
create dreaming pads or string-like sounds.
Controls:
DEPTH: sets the depth of the volume swell, in dB. By default the depth
is at max position, meaning that the volume will start from silence. By
lowering this control youll make the effect to start the swell phase
from a level which is higher than silence, up to min position that
makes the effect to have no action.
SENS: this control sets the sensitivity for the Swell to recognize a
new note or chord and therefore start a new Swell cycle. Set it higher
if you want the Swell cycle to start even at the beginning of softer
passages, or set it lower if you want the Swell cycle to only start for
louder strikes.
TIME: sets the length of the Swell cycle. During the Swell cycle (time
the swell takes to open the power LED becomes red (it is normally
green). This helps to immediately recognize when the swell is triggered.
BPM SYNC: allows the effect to synchronize to the project tempo making the swell time to be specified in musical figures.
40
Acoustic Sim
Turn your electric guitar into an acoustic guitar with the Acoustic Sim! Mix
three guitar body styles with three types of top end to dial in your acoustic
sound. Equalize the result with a 2-band post EQ.
Controls:
SOURCE: select the type of pickup you are using: single coil or humbucker.
BODY: choose between three types of acoustic guitar bodies: 1: dreadnought body. 2: 12-string guitar body. 3: Classical guitar body.
TOP: choose between three types of top end response. Although types
A, B, C have originally been designed to match their respective 1, 2, 3,
bodies, you can experiment with any cross combination.
MIX: mixes the acoustic sound with the magnetic pickup sound.
When Mix is set to 0, you get a filtered version of your dry signal,
without any body and top end applied. When Mix is set to 10, you
get the acoustic sound only. Turn Mix from 10 downwards to progressively add the mid frequencies of the magnetic pickup.
BASS: increases/decreases overall bass frequencies.
TREBLE: increases/decreases overall treble frequencies.
IMPORTANT: In order to obtain a satisfying acoustic sound, you should
bypass the amp and cabinet sections by pressing the power icon on these
two sections.
41
1.10 Model List

Stomp Models
Delay
EchoMan
TapDelay
Crusher
Diode Overdrive
Overdrive
OverScream
The Ambassdor
Compressor
Dcomp
7 Band Graphic
10 Band Graphic
Envelope Filter
LFO Filter
Rezo
Step Filter
Wah
Wah 10
Fuzz Age
Chorus
Chorus-1
Electric Flanger
Flanger
Opto Tremolo
Phazer10
Small Phazer
Harmonator
42
Based on*
Delay
IK Multimedia
Electro Harmonix Memory Man
IK Multimedia
Distortion
IK Multimedia
IK Multimedia
Boss SD-1 Distortion
Ibanez Tube Screamer TS-9
Marshall Guv'Nor
Dynamics
IK Multimedia
MXR Dynacomp
EQ
IK Multimedia
IK Multimedia
Filter
IK Multimedia
IK Multimedia
IK Multimedia
IK Multimedia
IK Multimedia
Ibanez WH-10
Fuzz
Arbiter Fuzz Face
Modulation
IK Multimedia
Boss CE-1 Chorus
Electro-Harmonix Electric Mistress
IK Multimedia
Fender Super Reverb Amp Opto-Tremolo
MXR Phase 100
Electro-Harmonix Small Stone
Pitch
IK Multimedia
Octav
Pitch Shifter
Wharmonator
Volume
Step Slicer
Swell
Acoustic Sim
Boss OC-2 Octaver

IK Multimedia
Digitech Wahmmy WH-1
Other
IK Multimedia
IK Multimedia
IK Multimedia
IK Multimedia
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedias sound model development and for describing certain types of tones produced with IK Multimedias digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
ARBITER FUZZ FACE is a registered trademark of Arbiter Group Plc.
BOSS, SD-1, CE-1, OC-2 are trademarks or registered trademarks of Roland Corporation.
ELECTRO-HARMONIX, Memory Man, Electric Mistress, Small Stone are trademarks or
registered trademarks of New Sensor Corporation.
FUZZRITE is a registered trademark of Andy J. Moseley.
IBANEZ, Tube Screamer TS-9, WH-10 are trademarks or registered trademarks of Hoshino
Gakki Co. Ltd. Corporation.
MARSHALL, GuvNor are trademarks or registered trademarks of Marshall Amplification Plc.
MXR, Dynacomp, Phase 100 are trademarks or registered trademarks of Applied Research
and Technology, Inc.
43
44

Chapter 2 Amplifiers
2.1 Clean

This is a model of the clean channel from a popular and sought after
American amplifier. The signature tone can be heard on many albums and
many stages around the world. Experience a sparkling clean with the capability for a touch of crunch when cranked up.
This beautiful amp is crystal clear but can also deliver edgy sounds by pushing the Master volume, and can deliver a nice preamp crunch tone when
Rhythm 2 is engaged.
This amp is extremely versatile you can really get many types of clean or
edgy tones from its incredibly flexible preamplifier. By selecting two different preamp shapes (Rhythm 2), and by adapting the tone with the Shift and
Deep switches, you can really shape your clean/edgy sound in almost all
possible ways. Add the final 5 band graphic EQ and the tonal possibilities
are really wide. But be careful, this is not a set and forget amp. Being it
extremely versatile it can of course be set to a tone that could be totally far
from what is needed on that part. It needs a degree of experimentation and
experience before you can really master it!
Controls:
VOLUME: sets the volume of the clean preamp. Push it closer to 10 for
an edgy sound that starts to crunch.
BRIGHT: boosts brilliance of the preamp, especially when the Volume
control is kept low.
TREBLE: sets the amount of high frequencies on the sound.
2 - Amplifiers
45
SHIFT: modifies the frequencies where the Bass control works.

BASS: sets the amount of low frequencies on the sound.
MIDDLE: sets the amount of mid frequencies on the sound.
MASTER: determines the level that is sent to the power amp. Turning
this knob up, makes the power amp to saturate and produce great
crunch sounds.
RHYTHM 2: when enabled the preamp has more gain, and it is therefore possible to obtain extremely musical and sweet crunch sounds.
DEEP: when enabled the bass response of the amplifier is extended.
EQ: enables the graphic EQ.
EQ BANDS: these sliders can control the equalization of the amp on
5 distinct frequencies areas. Youll find it extremely musical and a
powerful sound sculpting tool.
PRESENCE: when turned up the amp becomes more present and
brighter.
REVERB: controls the amount of reverb coming from the internal
spring unit.
46
2 - Amplifiers

This amp is modeled after a classic American guitar amp. This amp is great
for clean to dirty sounds, making ideal for clean and crunchy rhythm, rock,
country, blues, and anything else requiring a clean amp capable of getting a
little dirty when the music calls for it.
Controls:
EQ MODEL:
BASS: boosts and cuts the bass frequencies of the amps EQ stage,
from 1 to 10.
MIDDLE: boosts and cuts the mid frequencies of the amps EQ stage,
from 1 to 10.
TREBLE: boosts and cuts the high frequencies of the amps EQ stage,
from 1 to 10.
PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
2 - Amplifiers
47

This model features yet another classic American amplifier. Unlike the
American Tube Clean 1, this model is a smaller combo amp. This amp delivers a clean yet warm tone.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
48
2 - Amplifiers

This amp model is clean. It provides a very uncolored signal, perfect for
jazz. It could be compared to amps like the Jazz Amp 120, ideal for sparkling
clean tones.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers
49
Jazz Amp 120

It may have Jazz in its name, but this versatile clean sound can be heard in
many genres. Many of the top metal players keep this not-so-secret weapon
in the studio for great clean sounds. Its sonic feature is the fantastic built-in
analog chorus and vibrato unit that really made this amp a classic.
Important: this amp contains a built-in stereo Chorus/Vibrato unit. To actually be able to hear this in stereo you will need to use two microphones in
front of its Cabinet and pan the wide L R. For more information about how
to set this, see Chapter 9.5.7.
Controls:
VOLUME: sets the overall amp volume. The amp remains clean up to
volume 3 or 4 and starts distorting for higher positions.
DISTORTION: turning this knob up from the minimum position by a
little bit turns On the distortion circuit. From there, continuing rising
the control brings more and more distortion.
REVERB: controls the amount of reverb.
MIDDLE: sets the amount of mid frequencies on the sound.
VIB/OFF/CHORUS: this is a three position switch;
When set to Off, the sound will not be affected by chorus or vibrato.
When set to Vib, vibrato will be turned On.
When set to Chorus, chorus will be turned On.
SPEED: sets the speed of the Vibrato effect. Note that Chorus has no
settings.
DEPTH: sets the intensity of the Vibrato effect. Note that Chorus has
no settings.
50
2 - Amplifiers
Metal Clean T
This extremely high-quality amplifier delivers a very detailed and clean
response on the clean channel, incredibly well defined is the perfect starting
point for any kind of sound. Use this channel to get your hyper-driven sounds
from stomps only, as well as for creating clean or edgy sounds.
Controls:
PRE MODEL:
GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
SPRING REVERB: Sets the level of spring reverb added to the guitar
AMP MODEL:
10.
2 - Amplifiers
51
2.2 Crunch

This classic American amplifier was at first designed to be a bass amp, but
later became one of the most popular American guitar amps ever made.
Great for clean tones, it is also versatile in a variety of music genres and
playing styles.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
52
2 - Amplifiers
British Tube 30 TB
This is a model of a legendary British amplifier which is one of the most
widely recognizable and popular amps of all time. Throughout its life, its
legendary tone helped to put many of rocks founding fathers (including 4
guys from Liverpool) on the map and has been a highly sought after sound
that is still heard on many albums today.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
CUT: as on the original, cuts the high frequencies of the amps EQ
stage when turned down.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
2 - Amplifiers
53
Take yourself back to the 60s with this quintessential amp. Not just any
version, but an accurate model of the well-known and loved version of an
already spectacular amplifier. If you want some British sound, you can find
it here.
The original copper panel model was non-top boost, and you can find it
exactly replicated here when the switch Top Boost is Off. Turn it On to add
the top boost circuit in a second and be then able to adjust your sound with
Bass and Treble pots.
Controls:
NORMAL: sets the volume level for the Normal channel. Normal channel has a mellower response when compared to the Brilliant channel.
BRILLIANT: sets the volume level for the Brilliant channel.
VIB -TREM: sets the volume level for the Vibrato and Tremolo channel.
TOP BOOST: adds the Top Boost circuit in the Brilliant channel signal
path. Normal and Vib-Trem channels are not affected by this.
BASS: adjusts the level of low frequencies in the sound. Active only
on Brilliant channel and only when Top Boost is On.
TREBLE: adjust the level of high frequencies in the sound. Active only
on Brilliant channel and only when Top Boost is On.
TONE: sets the overall brightness of the amp. It is always active, on
all channels. When set to Min the amp is bright, when set to Max the
amp is mellower.
SPEED: sets the speed of the Tremolo or Vibrato effect.
SWITCH: determines if the Vib-Trem channel will produce a Vibrato
or a Tremolo effect.
54
2 - Amplifiers
Tube Vintage Combo

This is a model of a small vintage amplifier that was basic in design but big
in tone. This model is simple but sweet.
Controls:
EQ MODEL:
PRESENCE: cuts the high frequencies of the amps EQ stages when
turned down.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
2 - Amplifiers
55
2.3 Lead
American Lead MKIII

This is the lead channel of a renowned three-channel American amplifier,
known for excelling at both clean and lead sounds. This channel can be
big and aggressive when you want some California crunch and you can get
smooth, tasty sustained lead sounds too.
This amp is extremely versatile, you can really get almost any type of sound
from its incredibly flexible preamplifier. By calibrating the various gain
stages (Volume -> Lead Drive -> Master), by selecting two different preamp
shapes (Rhythm 2), and by adapting the tone with the SHIFT switches, you
can really shape your driven sound in almost all possible ways. Add the
final 5 band graphic EQ and the tonal possibilities are really endless. But be
careful, this is not a set and forget amp. Being it extremely versatile it can
of course be set to a tone that could be totally far from what is needed on
that part. It needs a degree of experimentation and experience before you
can really master it!
Controls:
LEAD DRIVE: sets the amount of gain of the lead stage. Increase this
to have more sustaining distortion and decrease it to get a more edgy
and crunchy type of distortion.
VOLUME: sets the gain of the initial stage. This is the gain that comes
before all others in the amp signal path.
MASTER: sets the power amp level. This is the latest level in the amp
signal path. Setting high gains in the preamp (Volume and Lead
Drive) and also setting Master to a very high level can result in an
overly pushed sound that could be difficult to obtain a good sound.
Keep this at high levels only if Volume and Lead drive are not so high.
56
2 - Amplifiers

MIDDLE: sets the amount of mid frequencies on the sound
SHIFT (BASS): modifies the frequencies where the Bass control
works.
SHIFT (TREBLE): modifies the frequencies where the Treble control
works.
RHYTHM 2: when enabled the preamp has even more gain, and
slightly changes its tonal character.
DEEP: when enabled the bass response of the amplifier is extended.
EQ: enables the graphic EQ.
PRESENCE: when turned up the amp becomes more present and
brighter.
REVERB: controls the amount of reverb coming from the internal
spring unit.
2 - Amplifiers
57
Brit 8000
The new Brit 8000 is based upon the early 80s JCM800, the amp that
although most think of the Plexis as the defining tone of a pushed Marshall,
in reality its the JCM800 that people are hearing. The JCM800 was the first
departure from the Plexi format designed for players who desired a hotter
front end and more control over the overall output volume. The result? More
preamp overdrive and crunch at controllable volumes.
Controls:
SENSITIVITY: switches between High or Low input gain
PRESENCE: boosts high frequencies from 0 to 10.
BASS: boosts and cuts the bass frequencies of the amps EQ stage
from 0 to 10.
MIDDLE: boosts and cuts the mid frequencies of the amps EQ stage
from 0 to 10.
TREBLE: boosts and cuts the high frequencies of the amps EQ stage
from 0 to 10.
MASTER VOLUME: adjusts the final output level of the power amp
stage from 0 to 10.
PRE AMP VOLUME: adjusts the input gain of the preamp stage from
0 to 10.
58
2 - Amplifiers
Brit 9000
The new Brit 9000 is based upon the early 90s introduction of the evolution of the JCM800, the JCM900. This dual channel, dual reverb head was
designed for versatility with channel 1 voiced from clean to low level lead
gain when cranked, and channel 2 voiced with enough gain to provide fearsome lead tones at low gain to screaming solo tones at high gain.
Controls:
from 0 to 10.
from 0 to 10.
from 0 to 10.
MASTER VOLUME: adjusts the final output level of the power amp
stage from 0 to 10.
GAIN SENSITIVITY: boosts the input gain of the main preamp stage
from 0 to 10.
PRE AMP VOLUME: adjusts the input gain of the main preamp stage
from 0 to 10.
POWER LEVEL: switches between High and Low power level.
2 - Amplifiers
59
Brit Silver
Based on the 1987 Marshall Silver Jubilee commemorating the 25th anniversary of the Marshall company, the Brit Silver features the 3-gain mode of the
preamp circuit clean, Rhythm Clip and Lead. The Silver Jubilee was also the
first Marshall to feature an output power section that could be switched from
full to 1/2 power, thus providing that JCM800 tone at reasonable volumes.
The Brit Silver faithfully recreates the original Silver Jubilee down to every
minute detail for hyper-real authentic Marshall tone.
Controls:
from 0 to 10.
from 0 to 10.
from 0 to 10.
OUTPUT MASTER: adjusts the final output level of the power amp
stage from 0 to 10.
PULL CHANNEL: switches between Clean channel and Lead channel
LEAD MASTER: adjusts the final output level of the lead channel from
0 to 10.
INPUT GAIN: adjusts the input gain of the main preamp stage from
0 to 10.
PULL RHYTHM CLIP: adds more gain to the preamp stage.
60
2 - Amplifiers
Brit Valve Pre

Rounding out the new Brit series of amps is a preamp model based on the
Marshall JMP-1 valve preamp. The JMP-1 was Marshalls first foray into the
world of MIDI control with Marshall tone. It allows players to sculpt the
tones they want, then save those tone presets for recall by MIDI control at
any time. Its one of the most simple preamps, very straight forward. It has
the staple Marshall controls like Volume, Gain, Bass, Middle, Treble and
Presence. It features a bass shift, 2 overdrive channels, and 2 clean channels.
For its ease of use and its ready to go sound character, it quickly became
one of the most iconic Guitar preamps of the era. Almost 90% of the pro
players at the time had a JMP-1 in their rack of toys.
Controls:
DATA DISPLAY: Shows the value of the selected parameter
DATA knob: decreases, increases the value of the selected parameter.
GAIN: selects the input gain parameter.
BASS: selects the Bass parameter.
MIDDLE: selects the Middle parameter.
TREBLE: selects the Treble parameter.
PRESENCE: selects the Presence parameter.
OD1: engages the overdrive 1 channel.
OD2: engages the overdrive 2 channel.
BASS SHIFT: enhances the Bass frequencies.
CLEAN 1: engages the Clean 1 channel.
CLEAN 2: engages the Clean 2 channel.
OUTPUT LEVEL: adjusts the final output level of the unit from 0 to 10.
2 - Amplifiers
61
British Tube Lead 1

Made popular by the hard rockers of the 80s this British guitar amp has
remained a prized tone for many of todays guitar players. Able to crank out
great tube saturated tone with ease this model is a go to amp for a variety
of heavy rock guitar sounds.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
62
2 - Amplifiers
British Tube Lead 2

The younger sibling to the British Tube Lead 1, this model is capable of
great rock tone, leads, and heavy crunch. While grittier and a little more
aggressive, it still has the classic tone that has made this family of amps a
household name in rock guitar.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers
63

Based on the classic AmpliTube model, this amp features lots of gain for
that over the edge distortion sound. Similar to modern tube lead sound in
character, Modern Hi-Gain provides an additional take on that type of sound.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
64
2 - Amplifiers

Based on AmpliTube 1s fuzz amp, this model is a very distinct and distorted
sound, reminiscent of 60s fuzz sounds (figure 8.29).
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers
65

This model features a precise solid state lead sound. It has a darker tone and
excels at high gain lead tones. It is very suitable for hard rock leads and its
gain is very stable, making it easy to use at low volume levels.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
66
2 - Amplifiers
Modern Tube Lead

This amp is a model of one of the leaders in hard, driven rock tones made
today. Capable of searing leads and heavy crunch, this amp has been rectified to create a modern rock tone that is hard to beat.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers
67
Red Pig
This gem from the 60s is based on the Marshall Major 200 Pig (as it was
nicknamed) made famous by players like Ritchie Blackmore, Jimmy Page, Joe
Perry and at times Stevie Ray Vaughan. It was originally produced for players who needed more stage volume and sported a full 200 watts powered
by KT88 power tubes. Nicknamed the Pig because it was a full 3 deeper
than Marshalls of the day to accommodate the larger transformers, it quickly
became the favorite of larger venue players.
Controls:
from 0 to 10.
from 0 to 10.
from 0 to 10.
VOLUME 1: adjusts the input gain of the bright channel 1 from 0
to 10.
VOLUME 1: adjusts the input gain of the normal channel 2 from 0
to 10.
1-2 SWITCH: switches between channel 1 and channel 2.
BRIDGE: enables channel bridging. Use the Bridge option to add
more drive.
68
2 - Amplifiers
2.4 Bass
360Bass Preamp
This amp toured and recorded for years with one of the biggest and bold
rock bands ever. Classic rock tones are a natural with this amp, but it is also
known for being used by one of the most famous jazz bassists of all time.
Show no quarter and make your bass kill with this amp-solid state but loud
and proud.
When paired with its Matching cabined (1x18 Horn Bass) it can sound
really dark when compared to todays bass amps, but thats the magic of it!
Controls:
VOLUME: sets the overall volume of the amp. Set it low for pure and
clean tones and push it for driven sounds.
TREBLE: sets the amount of mid and high frequencies on the sound.
RANGE: forms a semi-parametric midrange equalizer together with
Effect. Use the Range control to select the center frequency of the mid
frequency equalization process among 5 positions.
EFFECT: forms a semi-parametric midrange equalizer together with
Range. Use Effect boost or cut the midrange frequencies selected
with the Range control.
FUZZ: turns On the built-in Fuzz effect.
GAIN: sets the output volume of the Fuzz effect.
ATTACK: sets the type of Fuzz effect that is applied. When set to Min
the sound is similar to a smooth overdrive, when moved toward max
the sound gets more aggressive and fuzzy.
2 - Amplifiers
69
Green BA250
This is a model of a solid state powerhouse bass amplifier with great toneshaping controls, a warm sound unlike most solid state amps, and a soughtafter preamp.
Despite being solid state this amp delivers an incredibly warm and tasteful
tone. With its signature Middle cut pre shaping feature will immediately
bring you back to 80s bass lines!
Controls
GRAPHIC EQUALIZATION: turns On the graphic EQ when enabled.
MIDDLE CUT PRE-SHAPING: engages a mid frequency shaping thats
very characteristic of this amp. When it is Off, the preamp is almost
flat and natural sounding.
GAIN: sets the preamp input gain. Follow what the fancy input level
LED meter tells and you cant go wrong! Unless you want overdrive
it!
GRAPHIC EQUALIZATION: 11 sliders to create your tone. Only a few
graphic EQ have the musical quality of this powerful sculpting tool.
BALANCE: it balances the levels when you engage or disable the
Graphic EQ.
LEVEL: overall amp volume. It sets the level that is sent to the power
amp stage.
70
2 - Amplifiers

This model features a solid state bass preamp, EQ, and a solid state power
amp module. It cleans up beautifully and drives just as hard.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers
71
2.5 Model List

Amplifier Models
Jazz Amp 120
Metal Clean T
British Tube 30 TB
Tube Vintage Combo
American Lead MKIII
Brit 8000
Brit 9000
Brit Silver
Brit Valve Pre
British Tube Lead 1
British Tube Lead 2
Modern Tube Lead
Red Pig
360Bass Preamp
Green BA250
Based on*
Clean
Mesa/Boogie Mark III Combo (Clean Channel)
Fender Super Reverb
Fender DeLuxe Reverb 65
IK Multimedia
Roland JC-120
Mesa/Boogie Triple Rectifier (Clean Channel)
Crunch
Fender Bassman
Vox AC30 Top Boost - Blue Panel
Vox AC30 - Copper Panel
Supro Late '50s combo
Lead
Mesa/Boogie Mark III Combo (Lead Channel)
Marshall JCM800 head
Marshall Jubilee head
Marshall JMP-1 tube preamp
IK Multimedia
IK Multimedia
IK Multimedia
Mesa-Boogie Dual Rectifier
Marshall Major head
Bass
Acoustic 360 Bass Preamp
Trace Elliot AH250 Head
IK Multimedia
ACOUSTIC, 360 are trademarks of Guitar Center, Inc.
FENDER, DELUXE REVERB, SUPER REVERB, TWIN are registered trademarks of Fender
Musical Instruments Corporation.
72
2 - Amplifiers

MARSHALL, JCM800, JCM900, Major, GuvNor are trademarks or registered trademarks
of Marshall Amplification Plc.
MESA/BOOGIE, Rectifier, Mark III, are trademarks of Mesa/Boogie Ltd.
SUPRO is a trademark of Zinky Electronics.
TRACE ELLIOT AH250 is a registered trademark of Peavey Electronics Corporation.
VOX, AC30 are trademarks or registered trademarks of VOX Amplification Ltd.
2 - Amplifiers
73
74
2 - Amplifiers

Chapter 3 Cabinets
3.1 Guitar 6
1x6 Small Combo
3 - Cabinets
75
3.2 Guitar 10
1x10 Combo Modern
76
3 - Cabinets
4x10 Closed Modern
3 - Cabinets
77
4x10 Open Vintage
78
3 - Cabinets
3.3 Guitar 12
1x12 Combo
3 - Cabinets
79
1x12 MB II
80
3 - Cabinets
1x12 MB III
3 - Cabinets
81
1x12 Open Modern
82
3 - Cabinets
1x12 Open Vintage
figure 9.17
3 - Cabinets
83
2x12 Closed Vintage
84
3 - Cabinets
3 - Cabinets
85
2x12 JP Jazz
figure 9.20
86
3 - Cabinets
2x12 Open Vintage
3 - Cabinets
87
88
3 - Cabinets
3 - Cabinets
89
90
3 - Cabinets
3 - Cabinets
91
4x12 Brit 30
92
3 - Cabinets
4x12 Brit 8000
3 - Cabinets
93
4x12 Brit 9000
94
3 - Cabinets
4x12 Brit Silver
3 - Cabinets
95
4x12 Red Pig
96
3 - Cabinets
3.4 Bass 10
4x10+tw Bass
3 - Cabinets
97
4x10+tw TE Bass
98
3 - Cabinets
3.5 Bass 12
1x12 Bass
3 - Cabinets
99
3.6 Bass 15
1x15 Bass Vintage
100
3 - Cabinets
3.7 Bass 18
1x18 Horn Bass
3 - Cabinets
101
3.8 Rotary
Rotary 147-1
102
3 - Cabinets
Rotary 147-2
3 - Cabinets
103
3.9 Model List

Cabinet Model
1x6 Small Combo
1x10 Combo Modern
4x10 Closed Modern
4x10 Open Vintage
1x12 Combo
1x12 MB II
1x12 MB III
1x12 Open Modern
1x12 Open Vintage
2x12 Closed Vintage
2x12 JP Jazz
2x12 Open Vintage
4x12 Brit 30
4x12 Brit 8000
4x12 Brit 9000
4x12 Brit Silver
4x12 Red Pig
4x10+tw Bass
4x10+tw TE Bass
1x12 Bass
1x15 Bass Vintage
1x18 Horn Bass
104
Based on*
Guitar 6
Fender SS Combo
Guitar 10
Mesa/Boogie 1x10" Subway Rocket
Marshall 4x10 '90s JCM410
Fender Super Reverb 1967
Guitar 12
Marshall 1x12 Valvestate 12
Mesa/Boogie Mark II 1x12" EV
Mesa/Boogie Mark III 1x12" EV
VHT Pitbull 1x12 Combo
Fender DeLuxe 65
Marshall 1922 2x12 Greenbacks
Vox AC30 2x12" '60s Graybacks
Roland JC-120 2x12"
Vox AC30 '60s Bluebacks
Marshall 4x12 '80s 1982A
Mesa/Boogie 4x12 Rectifier
Marshall 4x12 Angled, '70s Greenbacks
Marshall 4x12 Straight, Greenbacks
Marshall 1960A Lead Vintage 4x12 Slanted, V30
Marshall 1960 Lead Vintage 4x12 Slanted, G12-80
Marshall 1960A Lead Vintage 4x12 Slanted, T75
Marshall 2551A 4x12 Slanted, T75
Marshall Major 4x12 Slanted, T75
Bass 10
SWR Goliath 4x10
Trace Elliot 4x10"
Bass 12
Custom Bass 1x12
Bass 15
Ampeg B15R 15
Bass 18
Acoustic 301 Folded Horn 18
3 - Cabinets
Rotary 147-1
Rotary 147-2
Rotary
Leslie 147 original AlNiCo woofer
Leslie 147 modern replacement woofer
ACOUSTIC, 301 are trademarks of Guitar Center, Inc.
AMPEG, B15R are trademarks of LOUD Technologies, Inc.
FENDER, BASSMAN, SUPER REVERB, DUAL SHOWMAN, are registered trademarks of
Fender Musical Instruments Corporation.
GALLIEN-KRUEGER MB150 is a registered trademark of Gallien-Krueger Corporation.
JBL is a registered trademark of JBL Professional.
LESLIE 147 is a registered trademark of Hammond Suzuki USA, Inc.
MARSHALL, JCM800, JCM410 are trademarks or registered trademarks of Marshall
Amplification Plc.
MESA/BOOGIE, Rectifier, Subway Rocket, Mark II, Mark III, are trademarks of Mesa/
Boogie Ltd.
ROLAND, JC-120 are registered trademarks of Roland Corporation.
SWR, Goliath are trademarks of SWR Sound Corporation.
TRACE ELLIOT is a registered trademark of Peavey Electronics Corporation.
VHT Pitbullis a trademark of VHT Amplification, Inc.
VOX, AC30 are trademarks or registered trademarks of VOX Amplification Ltd.
3 - Cabinets
105
106
3 - Cabinets

4 Microphones
4.1 Dynamic
Dynamic 57
This mic model is based on one of the most popular small diaphragm
dynamic microphones. Its bright, edgy sound has made it a widely used guitar amp mic. Typically used in studios paired with a smoother and warmer
condenser mic.
4 - Microphones
107
Double Dynamic 57
This double mic setup is a typical trick in modern Metal production. It will
capture a fatter sound with a smoother top end.
108
4 - Microphones
Dynamic 20
This mic model recreates a smooth reaction across a wide spectrum of frequencies, especially attractive in the low area. This means that the Dynamic
20 is a great selection for acoustic and electric bass.
4 - Microphones
109
Dynamic 421
Probably the second most popular dynamic mic to use on guitar amps, this
model provides an equally pleasing sound, but is warmer than the 57. It also
adds a very focused boost on hi-mid frequencies that makes it suitable to get
aggressive driven tones.
110
4 - Microphones
Dynamic 441
This model has a flatter frequency response than most other dynamic mics.
This mic is highly regarded as a guitar mic and used widely in studios all
over the world.
4 - Microphones
111
Dynamic 609
This is a model of a faithful and popular microphone used daily in many
studios and can be found hanging around there or on stages everywhere.
This dynamic microphone can deliver honest yet punchy sounds. Can result
in very mid-rangey sounds at times, but this is sometimes what you want,
especially when combined with a warmer condenser microphone.
112
4 - Microphones
4.2 Condenser
Condenser 84
No microphone collection would be complete without a great small diaphragm condenser mic. This model is based on the standard for small diaphragm mics. As with any good small condenser mic, the 84 provides a clean
clear picture of the guitar tone.
4 - Microphones
113
Condenser 87
This is a model of one of the most popular large diaphragm mics ever. It can
be found in any large recording studio mic locker. Because of its excellent
frequency response curve, the 87 has become the go-to mic when needing
a clean, flattering sound.
114
4 - Microphones
Condenser 170
This is a model of a high-quality large-diaphragm condenser microphone
used in famous studios around the world. One of the first with transformerless technology, this microphone came into the world boasting a very highquality sound with low noise and a very impressive dynamic range. This
microphone will not color the sound of the speaker, or at least will color it
very little. Thats why it is a great choice to hear a very natural rendering of
the speaker sound even when used alone.
4 - Microphones
115
Condenser 414
The Condenser 414 is modeled after another highly regarded large diaphragm condenser microphone. It is a flat and clean/open microphone that
will flatter big full tones and will also blend beautifully when combined
with another cabinet/mic setup.
116
4 - Microphones
4.3 Ribbon
Ribbon 121
Use this ribbon microphone to capture a pure, natural sound. This is modeled after one of the must-have studio ribbon microphones of our time.
Incredibly present mid range with a natural and smooth roll off on the high
frequencies, makes it ideal when youre hearing too much fizz from the in
axis tone on high gain and metal tones, switching to this mic will reduce the
unwanted high frequencies fizzness in a way that will not reduce presence
at all.
4 - Microphones
117
Velo-8
This is a double-ribbon figure-8 microphone with a unique Neodymium element. With a silky-smooth high end and good low end body, a great choice
for more vintage-sounding guitar tones, this mic mixes very well with other
microphones for very full-bodied recordings.
118
4 - Microphones
4.4 Model List

Microphone Model
Dynamic 57
Double Dynamic 57
Dynamic 20
Dynamic 421
Dynamic 441
Dynamic 609
Condenser 84
Condenser 87
Condenser 170
Condenser 414
Ribbon 121
Ribbon Velo-8
Based on*
Dynamic
Shure SM57
Shure SM57
Electro-Voice RE20
Sennheiser MD-421
Sennheiser MD-441
Sennheiser MD609
Condenser
Neumann KM-84
Neumann U-87
Neumann TLM 170
AKG C-414 ULS
Ribbon
Royer R121
Groove Tubes Velo-8
AKG, C-414 ULS are registered trademarks of AKG Acoustics GmbH.
ELECTRO-VOICE, RE20 are registered trademarks of Electro-Voice, Inc.
GROOVE TUBES, Velo-8 are registered trademarks of Groove Tubes, LLC.
NEUMANN, U67, U87, TLM 170 are registered trademarks of Georg Neumann GmbH.
ROYER, R121 are registered trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation.
SENNHEISER, MD-421, MD-441, MD609 are registered trademarks of Sennheiser
Electronic Corp.
SHURE, SM57 are registered trademarks of Shure Incorporated.
4 - Microphones
119
120
4 - Microphones
Chapter 5 Rack Effects
5.1 Delay & Reverb
Digital Delay
This advanced delay modeled effect can add a variety of depth to the sound,
by providing five different delay modes. The delay can also be synched to the
host tempo providing even more flexibility.
Controls:
MODE: sets the output mode of the Delay effect; Stereo, Left/Right,
Mono, Left/Center/Right, and Doubler.
DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms.
BPM SYNC: allows the effect to synchronize to the project tempo and
changes the Rate control to beat values.
FEEDBACK: changes the amount of time that the delay repeats, from
0% to 100%.
FILTER: sets the low pass filter for the delay effect, from 200 Hz to
20 kHz. When set to mid values it gives a nice warmth to the delay
timbre.
MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
5 - Rack Effects
121
Digital Reverb
This digital reverb is capable of adding small amount of space to a signal or
creating a huge hall around the instrument.
Controls:
DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00
seconds.
DENSITY: sets the number of reflections generated by the reverb,
from 0 to 99.
COLOUR: sets the reverb coloration from dark to light, from 2 kHz to
20 kHz.
to 100%.
122
5 - Rack Effects
Tap Delay
This creative delay effect unit can be used to create interesting and unusual
delay effects thanks to the 8 totally independent taps. You can create grooving rhythm patterns by combining more taps with a specific time signature,
and you can mix this up with psychedelic reverse tape effects you are able
to set for each tap.
The TapDelay is actually 8 delays in one single unit, and it allows you to set
time, timbre and level for each one of these units. In addition, you can globally control with single knobs parameters for all the 8 taps at the same time,
like time, dry/wet mix and feedback amount.
Controls:
TIME: globally shifts the delay time of all the 8 taps. This is a relative
control that works in this way:
When set at the center position (1x) it does not alter the time that
has been setup on each tap.
When set to minimum (0.25x) it divides all times by four.
When set to max (4x) it multiply all times by four.
Use it to globally change the delay tempo without changing the relations between all taps.
MIX: globally adjust the effect mix between the Dry signal and all
the 8 delay taps.
FEEDBACK: globally adjust the amount of feedback the delay will
have. When set at maximum, the delay with be sustaining itself.
TAP: use these buttons to select which one among the 8 delay taps
youre going to edit with next controls.
LEVEL: sets the audio level for the selected delay tap.
TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Sync
switch position.
TAPS DISPLAY: shows each Tap as a vertical bar. The horizontal
position of the bar represent the delay time, the height of the bar
represent the audio level.
FILTER: sets the timbre for the selected delay tap, darker at minimum
and brighter at maximum.
REVERSE: enable this button to transform the selected delay tap from
normal to reverse. When set to reverse a delay tap will sound like a
reversed tape loop.
LINK: enable this button to make a change you do on the above mentioned parameters to apply to all the 8 taps at the same time.
5 - Rack Effects
123
5.2 EQ & Dynamics
Graphic EQ
IK Multimedia proprietary 31 band Graphic EQ.
20, 25, 31.5, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1k,
1.25k, 1.6k, 2k, 2.5k, 3.15k, 4k, 5k, 6.3k, 8k, 10k, 12.5k, 16k, 20k.
Each band has +/- 15 dB boost, plus Reset button (total reset of all bands at
0 dB), and Level slider (+/- 15 dB).
124
5 - Rack Effects
Tube Compressor
This compressor was modeled after a classic tube compressor. It is a very
versatile, smooth compressor, and can add great color to the signal.
Controls:
DRIVE: controls the amount of signal that is input into the effect, setting the compression level.
ATTACK: controls the amount of time that the compressor takes to
react to the audio signal.
RELEASE: controls the amount of time that the compressor takes to
return to normal gain after some compression has occurred.
RATIO: controls the strength of the compression. Higher values will
result in a more evident effect.
5 - Rack Effects
125
5.3 Filter
Rezo
This rack model is a unique effect that can add synth-like drones and sustaining resonances to your parts. Make your guitar sound like a sitar or like a
synth-drone to create sonic resonances to sing on and control the notes with
your controller to create arpeggios and steps while playing.
You have 4 resonating voices that can be tuned independently from note E0
to note B7, in half tone steps. For example, if you want to create a resonating
C Major chord, just set the first three voices to C3, E3 and G3.
By moving the All slider you can shift the recently created Chord without
changing the intervals between the voices.
You can set the desired voice note by note number of by frequency in Hz.
1-4 SLIDERS: sets the pitch for each resonating voice.
1-4 VALUE DISPLAY: displays which note each voice is tuned on.
NOTE/FREQUENCY SWITCH: turn on this switch to have the tuning of
each voice displayed as a note. Turn this off to have the tuning of each
voice to be displayed as frequency in Hz.
ALL: shifts all resonating notes by the same amount keeping relative
intervals between voices identical.
RES: sets the amount of resonance for each voice, from min to max.
When set to max the note will sustain by itself, when set to min the
voice will not be resonating.
SCALE: the Rezonator is setup by default to span over a chromatic
scale when you set the resonating voices, meaning that all half tones
are possible. If you want to set another scale and want to remove
notes from the chromatic scale just open this menu and leave on only
the notes you need.
FILTER: determines the brightness of the resonating voices, from dark
(lower positions) to bright (upper positions).
MIX: sets the amount of resonating notes you want to hear. When the
control is at min youll only hear the original sound, when fully up
youll only hear the effected sound.
OUT: the resonating notes can become very loud use this control to
adjust the overall output level of the Rezonator.
126
5 - Rack Effects
Step Filter
This is a powerful and deep beat sync filter effect. You will be able to apply
Low/High and Band pass analog modeled filtering on freely customizable
patterns to add groove and rhythmic pulsing to your parts. This will make
your guitars and bass parts to sound like a rhythmic synth, if you want it.
Controls:
CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff
frequency the filter will have when the steps are set to half position.
RES: sets the center resonance of the filter. This is the resonance
amount the filter will have when the steps are set to half position.
DEPTH: sets how deep the filter is modulated by the steps.
HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:
band pass, LP: low pass
12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/
oct will be steeper.
DEST: sets what is modulated by the steps between filter Cutoff and/
or filter Resonance. At full minimum position only Cutoff frequency is
modulated, at max position only Resonance is modulated.
DIVISION: sets what time interval each step represent.
MODE: When set to Free the cycle will be continuous and will always
5 - Rack Effects
127
5.4 Modulation
Analog Chorus
This classic analog stereo chorus model adds depth and space to the input
signal. It can also be used as a vibrato effect.
Controls:
CHORUS/VIBRATO: enables Vibrato or Chorus modes. Chorus mode is
enabled when the corresponding LED is illuminated.
CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to
99.
VIB RATE: sets the rate of the Vibrato effect, from 0.02 Hz to 8 Hz.
VIB DEPTH: sets the intensity of the Vibrato effect, from 0 to 99.
STEREO/MONO: changes the rack effect from a stereo to a mono
effect. Stereo is enabled when the corresponding LED is illuminated.
128
5 - Rack Effects
Digital Chorus
This modeled digital chorus effect creates a clear articulate chorus effect.
Like the analog chorus, this effect adds depth and space to the input signal,
but adds a different color to the overall signal.
Controls:
WAVEFORM: selects the shape of the chorus effect, sine, triangle, or
square wave.
RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz.
DEPTH: sets the intensity of the chorus, from 0 to 100.
to 100%.
5 - Rack Effects
129
Digital Flanger
This model of a digital flanger can create a metallic modulated sound.
Controls:
WAVEFORM: selects the shape of the flanger effect, sine, triangle, or
square wave.
RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz.
FEEDBACK: sets the nominal amount of signal that is returned to the
input after processing effect, from 0 to 10.
MIX: adjusts the amount of effected sound with the un-effected
sound, from 0% to 100%.
130
5 - Rack Effects
Rotary Speaker
This effect is a model of a rotary speaker cabinet. Rotary speaker cabinets
create a lush vibrato/chorus effect and add a tremendous amount of depth
to the sound.
Controls:
SPEED: sets the speed of the rotary speaker effect, from .50 Hz to
7.80 Hz.
DRIVE: sets the amount of overdrive in the rotary speaker effect, from
0% to 100%.
BALANCE: changes the balance of high and low rotors in the signal,
from 0 to 100.
to 100%.
5 - Rack Effects
131
5.5 Pitch
Harmonator
The Harmonator is an advanced harmonizing effect with three separate
voices, each with independent harmony, level and pan. By entering the key
and scale that the instrument is playing, the harmonator analyzes the input
signal and track the three independent voices to the correct music key and
scale (figure 10.17).
figure 10.17
Controls:
KEY: controls the key and type of scale that will be used by the harmonizer as a reference. If youre playing a solo in E major set this to
E Major, from C to B.
SCALE: changes the scale of the harmonizer, including Major, Dorian,
Phrygian, Lydian, Mixolydian, Minor, and Locrian.
VOICE: controls the properties of each of the 3 voices of the harmonizer.
INTERVAL: changes the interval of the selected voice, from low octave
to up octave.
LEVEL: independently adjusts the level of each of the 3 voices, from
0 to 100.
PAN: independently adjusts the panning of each of the 3 voices, from
1.0L to 1.0R.
DRY PAN: adjusts the panning of the dry signal independently from
the harmonized voices, from 1.0L to 1.0R.
MIX: blends the harmonized voice with the original voice, from 0%
to 100%.
132
5 - Rack Effects
Pitch Shifter
This pitch shifting effect creates an independent harmony voice that can be
blended with the original signal to create harmony lead parts and duet type
guitar lines (figure 10.18).
figure 10.18
Controls:
SHIFT COARSE: sets the coarse tuning of the pitch shifter. Measured
in intervals, from -24 to 24.
SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in
cents, from -50 to 50.
STEREO/SPLIT: sets the output of the effect to split the pitch shifted
sound and the dry sound or blend them in a stereo layered fashion.
MIX: adjusts the amount of pitched shifted sound with the dry sound,
from 0% to 100%.
5 - Rack Effects
133
5.6 Other
Step Slicer
Add programmed rhythmic parts to your power chords and phrases with
this powerful and creative beat synced slicing effect. It can be setup to create anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat.
It contains two independent stepping engines, one for Level and one for
Pan, so you can create independent patterns for level and panning within
the same synched effect.
Controls:
LEVEL: sets the amount of level modulation the steps will give. At min
position the steps will not have effect, at maximum the steps range
will be full.
RAMP: sets the steepness of the level change between steps. Set it at
lower positions to get a more gate-like effect, or set it to higher positions to get a smoother effect.
DIVISION: sets what time interval each step represents.
VOLUME: select this to work on the Volume steps pattern.
PAN: select this to work on the Panning steps pattern.
MODE: When set to Free, the cycle will be continuous and will cover
all the steps that are specified in the Steps parameter. When set to
Strike, the cycle will re-start each time a chord or a note is played.
134
5 - Rack Effects
Stereo Enhancer
The stereo enhancer model widens and narrows the stereo image.
Controls:
STEREO IMAGE: changes the width of the stereo image. Normal width
is in the middle of the slider. Moving the slider to the right widens the
stereo image. Moving the slider to the left narrows the stereo image.
Note: when processing a mono signal with this Rack, the control will result
in being a reversed volume slider.
5 - Rack Effects
135
Swell
This is an auto volume swell processor that can automatically create fantastic swell effects while playing without any manual intervention. Use it
subtly to add groove to your rhythm parts or use it with deeper settings to
create dreaming pads or string-like sounds.
Controls:
DEPTH: sets the depth of the volume swell, in dB. By default the depth
is at max position, meaning that the volume will start from silence. By
lowering this control youll make the effect to start the swell phase
from a level which is higher than silence, up to min position that
makes the effect to have no action.
SENS: this control sets the sensitivity for the Swell to recognize a
new note or chord and therefore start a new Swell cycle. Set it higher
if you want the Swell cycle to start even at the beginning of softer
passages, or set it lower if you want the Swell cycle to only start for
louder strikes.
TIME: sets the length of the Swell cycle.
SWELL: this LED goes On during the Swell phase.
OPEN: this LED goes On when the Swell phase has finished.
BPM SYNC: allows the effect to synchronize to the project tempo making the swell time to be specified in musical figures.
136
5 - Rack Effects
AmpliTube, AmpliTube Metal, AmpliTube X-GEAR, SVX, StompIO,

StealthPedal, StealthPlug, SpeedTrainer, DSM, VRM, are trademarks or
registered trademarks property of IK Multimedia Production Srl.
FENDER and all FENDER amplifiers, logos, and trade dress are the trademarks
of FMIC and used herein under license. All rights reserved.
AMPEG is a trademark of LOUD Technologies, Inc.
ORANGE is a registered trademark of Orange Music Electronic Company Ltd.
SOLDANO is a registered trademark of Gremlin Inc. DBA Soldano Custom
Amplification Corporation.
SEYMOUR DUNCAN is a registered trademark of Carter Duncan Corporation.
GROOVE TUBES is a registered trademark of ROKR Ventures, Inc.
GALLIEN-KRUEGER is a registered trademark of Gallien-Krueger Corporation.
JET CITY AMPLIFICATION 333 is a registered trademark property of 333
Enterprises Incorporated DBA Jet City Amplification Corporation.
JIMI HENDRIX name used under license of Authentic Hendrix, LLC.
TM Authentic Hendrix, LLC.
THD is a registered trademark of THD Electronics Ltd.
T-REX ENGINEERING is a registered trademark of T-Rex Engineering ApS
Corporation.
All other product names and images, trademarks and artists names are
the property of their respective owners, which are in no way associated or
affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied during IK Multimedias sound
model development and for describing certain types of tones produced with IK
Multimedias digital modeling technology. Use of these names does not imply
any cooperation or endorsement.
www.amplitube.com
IK Multimedia Production, Via dellindustria 46, 41122, Modena, Italy.

Phone: +39-059-285496 - Fax: +39-059-2861671
IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323
Phone: (954) 846-9101 - Fax: (954) 846-9077
www.ikmultimedia.com
All specifications are subject to change without further notice.

Latest update: 2015/10/28
PN: MNU-AT4DLX-G01

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Gear Models Guide

Guide to the Models available in the