AmpliTube 3 User Manual

A M P
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M O D E L I N G
S O F T W A R E
User Manual
AmpliTube 3
PLEASE NOTE
AmpliTube3isnowavailableindifferentversions: AmpliTube3andAmpliTube3FREE. Theonlydifferencebetweenthetwoversionsisinthenumberofgearmodels included.AmpliTube3includes160models,andAmpliTube3FREEincludes24. Whileconsultingthismanual,pleaserefertothespecificgearmodelsincludedin theAmpliTube3versionyouareusing.
AmpliTube 3
AmpliTube 3
Table of Contents
I Contents II Interface III License Agreement Chapter 1 1.1 1.2 1.3 1.4 1.4.1 1.4.2 Chapter 2 2.1 2.2 2.2.1 2.2.2 2.2.2.1 2.2.2.2 2.2.3 2.2.3.1 2.2.3.2 2.2.3.3 2.2.3.4 2.2.4 2.2.4.1 2.2.4.2 2.2.4.3 2.2.4.4 2.2.5 2.2.5.1 2.2.5.2 2.2.5.3 2.2.5.4 2.2.5.5 2.2.5.6 2.2.5.7 2.2.5.8 2.2.5.9 2.2.5.10 2.2.5.11 2.2.5.12 2.2.5.13 2.2.6 2.3 Overview Introduction WhatsnewinAmpliTube3? Plug-inArchitecture UsingtheInterface StandaloneInterface Plug-inInterface Getting started Registration/Authorization StandaloneMode LaunchAmpliTube3Standalone AudioConfiguration Windows Macintosh PlugYourGuitar ConnectingYourGuitar/Bass AdjustingYourLevels QualityModeOptions Tuning Hands-onExamples LoadingaPreset SelectingAmps ChoosingtheCabinet AddingStompandRackEffects FourTrackAudioPlayer/RecorderwithSpeedTrainer ImportanAudioFile WaveformDisplay UsingtheTransportBar TrackControlsDescription PlaybackSpeed Recording AddingEffects ManagingYourResources MasterVolume Export UsingtheMetronome SavingandLoadingYourAmpliTube3ProjectFiles ProjectSampleRate StatusBar Plug-InMode 3 12 14 17 17 17 19 22 22 25 27 27 27 28 28 28 29 30 30 31 31 32 32 32 33 33 34 35 35 37 38 39 41 42 44 46 47 47 48 49 50 50 50
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Chapter 3 3.1 3.2 3.2.1 3.2.2 3.3 3.3.1 3.4 3.4.1 3.4.2 3.4.3 3.4.4 3.4.5 3.5 3.5.1 3.5.2 3.5.3 3.6 3.7 3.8 3.8.1 3.8.2 3.9 3.9.1 3.9.2 3.9.3 3.9.4 3.10 3.10.1 3.10.2 3.10.3 Chapter 4 4.1 4.1.1 4.1.2 4.2 Input/Output Bar Input/OutputBar InputSection InputKnob InputLevelMeter IKControllerSelector UsingtheStompIO/StealthPedaltoControlAmpliTube3 SelectedModule Pan Volume Phase Mix ImplementationTable UsingNoiseGate Threshold Release Depth TunerDisplay SelectedParameterDisplay MasterSection MasterKnob OutputLevelMeter ProgramInformation,PreferencesandMore Lock Preferences(Prefs) Information(Info) UserArea MIDIControl,Automation,andControllers MIDI Automation(Auto) Control(Ctrl) Module/Rig Selector DualRigSignalPath SignalPathPresets StereoIN SelectingModules 51 51 51 51 51 51 52 52 53 53 53 54 54 54 54 55 55 55 56 56 56 56 57 57 58 62 62 63 63 63 63 65 65 65 66 66 69 69 71 71 72 72 72 73 73 75
Chapter 5 Presets and Patches 5.1 WhatisthedifferencebetweenaPresetandaPatch? Chapter 6 6.1 6.2 6.3 6.4 6.5 6.6 Tuner Module On/OffSwitch Mute Tune GraphicalTunerInterface TuneDisplay CentsDisplay
Chapter 7 Stomp Module (Stomp Box Effects) 4
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7.1 7.2 7.3 7.3.1 7.3.1.1 7.3.1.2 7.3.1.3 7.3.2 7.3.2.1 7.3.2.2 7.3.2.3 7.3.2.4 7.3.2.5 7.3.2.6 7.3.2.7 7.3.2.8 7.3.2.9 7.3.2.10 7.3.2.11 7.3.3 7.3.3.1 7.3.3.2 7.3.4 7.3.4.1 7.3.4.2 7.3.5 7.3.5.1 7.3.5.2 7.3.5.3 7.3.5.4 7.3.5.5 7.3.5.6 7.3.5.7 7.3.5.8 7.3.6 7.3.6.1 7.3.6.2 7.3.6.3 7.3.6.4 7.3.6.5 7.3.6.6 7.3.6.7 7.3.7 7.3.7.1 7.3.7.2 7.3.7.3 7.3.7.4 7.3.7.5 7.3.7.6 7.3.7.7 SelectionandNavigationOptions Drag&Dropfeature StompModels Delay Delay EchoMan TapDelay Distortion BigPig Crusher DiodeOverdrive Distortion Feedback MetalDistortion MetalDistortion2 Overdrive OverScream PROdrive TheAmbassdor Dynamics Compressor Dcomp EQ 7BandGraphic 10BandGraphic Filter EnvelopeFilter LFOFilter Rezo StepFilter Wah Wah10 Wah46 Wah47 Fuzz ClassFuzz FuzzAge FuzzAge2 FuzzOne Octa-V RightFuzz XSFuzz Modulation AnalogFlanger Chorus Chorus-1 ElectricFlanger Flanger MetalFlanger OptoTremolo 75 77 78 78 78 79 80 81 81 82 83 84 85 86 87 88 89 90 91 92 92 93 94 94 95 96 96 97 98 99 100 101 102 103 104 104 105 106 107 108 109 110 111 111 112 113 114 115 116 117 5
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6 7.3.7.8 7.3.7.9 7.3.7.10 7.3.7.11 7.3.8 7.3.8.1 7.3.8.2 7.3.8.3 7.3.8.4 7.3.9 7.3.9.1 7.3.9.2 7.3.9.3 7.4 Chapter 8 8.1 8.2 8.3 8.4 8.5 8.5.1 8.5.2 8.5.3 8.6 8.6.1 8.6.1.1 8.6.1.2 8.6.1.3 8.6.1.4 8.6.1.5 8.6.1.6 8.6.1.7 8.6.1.8 8.6.1.9 8.6.2 8.6.2.1 8.6.2.2 8.6.2.3 8.6.2.4 8.6.2.5 8.6.2.6 8.6.2.7 8.6.3 8.6.3.1 8.6.3.2 8.6.3.3 8.6.3.4 8.6.3.5 8.6.3.6 PhazeNine Phazer10 SmallPhazer Uni-V Pitch Harmonator Octav PitchShifter Wharmonator Other Volume StepSlicer Swell StompModels(Table) Amp Module (Amplifier Head) Introduction On/Bypass EQMatch AmpMatch AmpModelTypesandComponents PreModel EQModel AmpModel PreAmpModels Clean AmericanCleanMKIII AmericanTubeClean1 AmericanTubeClean2 AmericanVintageB AmericanVintageD AmericanVintageT CustomSolidStateClean JazzAmp120 MetalCleanT Crunch AmericanTubeVintage BritishBlueTube30TB BritishCopper30TB BritishLeadS100 BritishOR THDBi-Valve TubeVintageCombo Lead AmericanLeadMKIII BritishTubeLead1 BritishTubeLead2 CustomModernHi-Gain CustomSolidStateFuzz CustomSolidStateLead 118 119 120 121 122 122 123 124 125 126 126 127 128 129 133 133 134 134 135 135 136 136 137 138 138 138 140 141 142 143 144 145 146 147 148 148 149 150 151 152 153 154 155 155 157 158 159 160 161
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8.6.3.7 8.6.3.8 8.6.3.9 8.6.3.10 8.6.3.11 8.6.4 8.6.4.1 8.6.4.2 8.6.4.3 8.6.4.4 8.7 8.8 Chapter 9 9.1 9.2 9.2.1 9.2.2 9.2.3 9.2.4 9.3 9.3.1 9.3.1.1 9.3.2 9.3.2.1 9.3.2.2 9.3.2.3 9.3.3 9.3.3.1 9.3.3.2 9.3.3.3 9.3.3.4 9.3.3.5 9.3.3.6 9.3.3.7 9.3.3.8 9.3.3.9 9.3.3.10 9.3.3.11 9.3.3.12 9.3.3.13 9.3.3.14 9.3.3.15 9.3.3.16 9.3.3.17 9.3.3.18 9.3.3.19 9.3.3.20 9.3.3.21 9.3.3.22 MetalLeadT MetalLeadV MetalLeadW ModernTubeLead VintageMetalLead Bass 360BassPreamp Combo150MB GreenBA250 SolidStateBassPreamp PreAmpModels(Table) PowerAmpModels Cab Module (Cabinets + Microphones) Introduction CabinetModel CabModelSelector Bypass Match Size CabinetModels Guitar6 1x6SmallCombo Guitar10 1x10ComboModern 4x10ClosedModern 4x10OpenVintage Guitar12 1x12Combo 1x12MBII 1x12MBIII 1x12OpenModern 1x12OpenVintage 2x12ClosedVintage 2x12GryBritishVint 2x12JPJazz 2x12OpenSL 2x12OpenTJ120 2x12OpenVintage 4x12BritishOr 4x12Closed25C 4x12Closed75C 4x12ClosedJ120 4x12ClosedModern1 4x12ClosedModern2 4x12ClosedVintage1 4x12ClosedVintage2 4x12MetalF1 4x12MetalF2 4x12MetalT1 162 163 164 165 166 167 167 168 169 170 171 172 173 173 174 174 175 175 175 175 176 176 176 176 177 177 178 178 178 179 179 180 180 181 181 182 182 183 183 184 184 185 185 186 186 187 187 188 188 7
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8 9.3.3.23 9.3.3.24 9.3.3.25 9.3.3.26 9.3.3.27 9.3.3.28 9.3.3.29 9.3.3.30 9.3.3.31 9.3.3.32 9.3.4 9.3.4.1 9.3.4.2 9.3.5 9.3.5.1 9.3.5.2 9.3.6 9.3.6.1 9.3.6.2 9.3.7 9.3.7.1 9.3.8 9.3.8.1 9.3.9 9.3.9.1 9.3.9.2 9.4 9.5 9.5.1 9.5.2 9.5.3 9.5.4 9.5.5 9.5.6 9.5.7 9.5.8 9.6 9.6.1 9.6.1.1 9.6.1.2 9.6.1.3 9.6.1.4 9.6.1.5 9.6.1.6 9.6.2 9.6.2.1 9.6.2.2 9.6.2.3 9.6.2.4 9.6.2.5 4x12MetalT2 4x12MetalT3 4x12MetalV1 4x12MetalV2 4x12MetalV3 4x12ModernM1 4x12ModernM2 4x12ModernM3 4x12VintageM1 4x12VintageM2 Guitar15 2x15ClosedBJ130 2x15ClosedDJ130 Bass10 4x10+twBass 4x10+twTEBass Bass12 1x12Bass 1x12BassJz Bass15 1x15BassVintage Bass18 1x18HornBass Rotary Rotary147-1 Rotary147-2 CabinetModels(Table) MicModel MicModelSelector Position Distance Mute Solo Phase Pan MicBlend MicrophoneModels Dynamic Dynamic57 Dynamic20 VintageDynamic20 Dynamic421 Dynamic441 Dynamic609 Condenser Condenser12 Condenser67 Condenser84 Condenser87 Condenser170 189 189 190 190 191 191 192 192 193 193 194 194 194 195 195 195 196 196 196 197 197 197 197 198 198 198 199 201 202 204 206 207 208 208 209 209 210 210 210 211 212 213 214 215 216 216 217 218 219 220
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9.6.2.6 9.6.3 9.6.3.1 9.6.3.2 9.6.3.3 9.7 9.8 9.8.1 9.8.2 9.8.3 9.8.4 9.8.5 9.8.6 9.9 9.9.1 9.9.2 9.9.3 9.9.4 9.9.5 9.9.6 Chapter 10 10.1 10.2 10.3 10.4 10.5 10.5.1 10.5.1.1 10.5.1.2 10.5.1.3 10.5.2 10.5.2.1 10.5.2.2 10.5.2.3 10.5.3 10.5.3.1 10.5.3.2 10.5.4 10.5.4.1 10.5.4.2 10.5.4.3 10.5.4.4 10.5.5 10.5.5.1 10.5.5.2 10.5.6 10.5.6.1 10.5.6.2 10.5.6.3 Condenser414 Ribbon Ribbon121 Ribbon160 Velo-8 MicrophoneModels(Table) Room RoomTypeSelector Mute Solo Phase RoomMicsControls RoomTypePresets RotarySpeaker Introduction RotarySpeakerModels Setup Width Balance Speed Rack FX Module (Post Effects) Introduction On/Bypass RackFXSelector DragandDropFeature RackFXModels Delay&Reverb DigitalDelay DigitalReverb TapDelay EQ&Dynamics GraphicEQ ParametricEQ TubeCompressor Filter Rezo StepFilter Modulation AnalogChorus DigitalChorus DigitalFlanger RotarySpeaker Pitch Harmonator PitchShifter Other StepSlicer StereoEnhancer Swell 221 222 222 223 224 225 226 227 228 228 229 230 232 232 233 233 233 234 235 236 237 237 237 238 238 239 239 239 240 241 242 242 243 244 245 245 246 247 247 248 249 250 251 251 252 253 253 254 254 9
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Chapter 11 AmpliTube 3 Models Chapter 12 12.1 12.2 12.3 Chapter 13 13.1 13.2 13.2.1 13.2.2 13.2.3 13.2.4 Chapter 14 14.1 14.2 14.3 14.3.1 14.3.2 14.4 Expanding AmpliTube 3 using the Custom Shop Overview TheCustomShop Newgearmodelsandcollections Automation AssignAutomationwithineachModule(Stomp,Amp,CabandRack) ManageAutomationAssignmentsviatheAutomationPanel Plug-inParameters DAWAutomation AssignmentProcedure AssignmentSaveandRecall MIDI Introduction MIDIConfiguration AssigningControllers DirectMIDIControlsAssignment(Stomp,Amp,Cab,andRackParameters) ManageMIDIParametersAssignationviatheMIDIControlPanel AdditionalParametersonMIDIControlWindow 255 263 263 263 264 265 265 266 267 268 270 274 275 275 276 277 277 278 283 289 289 291 293 293 295 295 295 296
Chapter 15 Foot Controller Integration 15.1 Introduction Chapter 16 Troubleshooting
Chapter 17 Support 17.1 UserArea Appendix IK Technologies DSMTechnology VRMTechnology BlockDiagram
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Hundreds of different guitar amp and effects presets readytogo.
Module Interface.Choosefrom awidevarietyguitarandbass gearmodels.
Input/Output Interface.
Includes Four Track Audio Player/ Recorder with SpeedTrainer for playing along with your favorite recordings.
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WiththenewonlineCustom Shop, youcantryandbuylacarte StompBoxes,Amplifiers,Cabinets, MicrophonesandRackEffectsfrom avastcollectionofover200gear models.
Two Guitar Rigs.Powerfuland flexibleroutingsystemprovidedby DualRigtechnology.
Five Modules:Tuner,StompBoxes, Amplifiers,Microphones,Cabinets andRackEffects.
Standalone application and VST/ AU/RTAS plug-in for all popular DAWs. Native support for 64-bit applications and operating systems.
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License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
Pleasereadthisdocumentcarefullybeforebreakingthesealonthemediapackage.Thisagreementlicensestheenclosedsoftwaretoyouandcontains warrantyandliabilitydisclaimers. Bybreakingthesealonthemediaenvelope,youareconfirmingtohavetakennoticeoftermsandconditionsofthisagreementandyouacknowledgeyour acceptanceofthesoftwareaswellasyouracceptanceofthetermsofthisagreement.Ifyoudonotwishtodoso,donotbreaktheseal.Instead,promptly returntheentirepackage,includingtheunopenedmediapackage,tothedealerfromwhomyouhaveobtainedit,forafullrefund. 1)DEFINITIONS EULAmeansthisenduserlicenseagreement IKMultimediaProductmeansthesoftwareprogramincludedintheenclosedpackage,andallrelatedupdatessuppliedbyIKMultimedia. IKMultimediaProductmeansthesoftwareprogramandhardware(ifany)includedintheenclosedpackage,therelateddocumentation,models,multimediacontent(suchasanimation,soundandgraphics)andallrelatedupdatessuppliedbyIKMultimedia. Notforresale(NFR)VersionmeansaversionofIKMultimediaProduct,soidentified,isintendedforreviewandevaluationpurposes,only. 2)LICENSE TheIKMultimediaProductisprotectedbycopyrightlawsandinternationalcopyrighttreaties,aswellasotherintellectualpropertylawsandtreaties. TheIKMultimediaProductislicensed,notsold.ThisEULAgrantsyoutherightsasspecifiedherebelow.Allotheractionsandmeansofusageare reservedtothewrittenpermissionoftherightholderIKMultimediaProductionSrl: Applications Software.TheIKMultimediaProductmaybeusedonlybyyou.YoumayinstallandusetheIKMultimediaProduct,oranypriorversion thereofforthesameoperatingsystem,onuptofive(5)computers,providedthat(a)eachcomputerisownedby(orleasedto)andundertheexclusive controlofthelicensee;(b)theprogram(s)shallNOTbeusedsimultaneouslyonmorethanonemachine,and(c)anycomputer(s)withIKMultimedia softwareinstalledshallnotbesold,rented,leased,loanedorotherwiseberemovedfromthelicenseespossessionwithoutfirstremoving(uninstalling) thelicensedsoftware,exceptasprovidedinParagraph4(below)pertainingtoSoftwareTransfer. Storage/Network use.YoumayalsostoreorinstallacopyoftheIKMultimediaProductonastoragedevice,suchasanetworkserver,usedonlytoinstall orruntheIKMultimediaProductonyourothercomputersoveraninternalnetwork;however,youmustacquireanddedicateadistinctlicenseforeach useroftheIKMultimediaProductfromthestoragedevice.AnygivenlicensefortheIKMultimediaProductmaynotbesharedorusedconcurrentlyor otherwiseondifferentcomputersorbydifferentdevelopersinagivenorganization. 3)AUTHORIZATION TheIKMultimediaProductonlyfunctionswhenyouhaveauthorizedit.TheIKMultimediaProductwillbeauthorizeduponcompletingtheauthorizationprocedure.Onceyourproductisauthorized,youmayuseit. Youagreetofollowtheauthorizationprocedureandwillprovidetrue,accurateandcompleteinformationaboutyourself.Ifyouprovideanyinformation thatisuntrue,inaccurate,notcorrectorincomplete,orIKMultimediahasreasonablegroundstosuspectthatsuchinformationisuntrue,inaccurate,not correctorincomplete,IKMultimediahastherighttosuspendortorevokethelicense. Theterminationofthelicenseshallbewithoutprejudicetoanyrights,whatsoever,ofIKMultimedia. 4)DESCRIPTIONOFOTHERRIGHTSANDLIMITATIONS Limitations on Reverse Engineering, Decompilation, and Disassembly. Youmaynotreverseengineer, decompile, or disassemblethe IK Multimedia Product,exceptandonlytotheextentthatsuchactivityisexpresslypermittedbyapplicablelawnotwithstandingthislimitationofcomponents.TheIK MultimediaProductislicensedasasingleproduct.Itscomponentpartsmaynotbeseparatedforuseonmorethanonecomputer. Not for Resale Version.IftheIKMultimediaProductislabeledNotforResaleorNFRorEvaluationCopy,then,notwithstandingothersectionsof thisEULA,youmaynotsell,orotherwisetransfertheIKMultimediaProduct. Rental.Youmaynotrent,lease,orlendtheIKMultimediaProducttoanyparty. Software Transfer.Youmaynottransfer,licenseorsublicenseyourrightsasLicenseeofthesoftwareoranyIKMultimediaproduct,aslicensedtoyou underthisagreementwithoutpriorwrittenconsentoftherightsowner.ThecarrieronwhichtheIKMultimediaproducthasbeendistributedmaybe transferredorotherwisemadeavailabletoanythirdpartyonlywiththepriorwrittenconsentoftherightsownerandprovidedthat(a)theoriginalmedia
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andlicense(s)accompanythecarrierand(b)thepartytransferringthemediadoesnotretainacopyofthemedia. 5)UPGRADES IftheIKMultimediaProductislabeledorotherwiseidentifiedbyIKMultimediaasanupgrade,youmustbeproperlylicensedtouseaproductidentifiedbyIKMultimediaasbeingeligiblefortheupgradeinordertousetheIKMultimediaProduct. AnIKMultimediaProductlabeledorotherwiseidentifiedbyIKMultimediaasanupgradereplacesand/orsupplementstheproductthatformedthebasisforyoureligibilityforsuchupgrade.YoumayusetheresultingupgradedproductonlyinaccordancewiththetermsofthisEULA.IftheIKMultimedia Productisanupgradeofacomponentofapackageofsoftwareprogramsthatyoulicensedasasingleproduct,theIKMultimediaProductmaybeused andtransferredonlyaspartofthatsingleproductpackageandmaynotbeseparatedforuseonmorethanonecomputer. 6)DUAL-MEDIASOFTWARE YoumayreceivetheIKMultimediaProductinmorethanonemedium.Youmaynotloan,rent,lease,orotherwisetransfertheothermediumtoanother user,exceptaspartofthepermanenttransfer(asprovidedabove)oftheIKMultimediaProduct. 7)LIMITEDWARRANTY IKMultimediawarrantstotheoriginalpurchaserofthecomputersoftwareproduct,foraperiodofninety(90)daysfollowingthedateoforiginalpurchase, thatundernormaluse,thesoftwareprogramandtheuserdocumentationarefreefromdefectsthatwillmateriallyinterferewiththeoperationofthe programasdescribedintheencloseduserdocumentation. 8)WARRANTYCLAIMS Tomakeawarrantyclaimundertheabovelimitedwarranty,pleasereturntheproducttothepointofpurchase,accompaniedbyproofofpurchase,your name,yourreturnaddressandastatementofthedefect,orsendtheCD(s)tousatthebelowaddresswithinninety(90)daysofpurchase.Includeacopyof thedatedpurchasereceipt,yourname,yourreturnaddressandastatementofthedefect.IKMultimediaoritsauthorizeddealerwillusereasonablecommercialeffortstorepairorreplacetheproductandreturnittoyou(postageprepaid)orissuetoyouacreditequaltothepurchaseprice,atitsoption. 9)LIMITATIONSONWARRANTY IKMultimediawarrantsonlythattheprogramwillperformasdescribedintheuserdocumentation.Nootheradvertising,descriptionorrepresentation, whethermadebyaIKMultimediadealer,distributor,agentoremployee,shallbebindinguponIKMultimediaorshallchangethetermsofthiswarranty. EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DISCLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED. IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT. 10)CHOICEOFLAW Youagreethatanyandallclaims,suitsorotherdisputesarisingfromyouruseofthesoftwareshallbedeterminedinaccordancewiththelawsofItaly,in theeventIKMultimedia,ismadeapartythereto.YouagreetosubmittothejurisdictionofthecourtinModena,Italyforallactions,whetherincontractor intort,arisingfromyouruseorpurchaseofthesoftware. 11)GENERAL ThisAgreementcontainsthecompleteagreementbetweenthepartieswithrespecttothesubjectmatterhereof,andsupersedesallpriororcontemporaneousagreementsorunderstandings,whetheroralorwritten.AllquestionsconcerningthisAgreementshallbedirectedto: IKMultimediaProductionSrl ViadellIndustria46 41122Modena Italy 2012IKMultimedia.Allrightsreserved.
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Chapter 1 Overview
1.1 Introduction AmpliTube3istheNewKingofTone.Itisamassiveupgradeoftheleading guitar and bass tone gear modeling software that sets the new industry standardofsoundvariety,realism,andcreativepower. AmpliTube3offersover160piecesofgear(includingmodelsfromthemost sought-aftervintagecollectionsandmoderndayworkhorses),51individual stompboxesandeffects,31amplifierpreamp&powersections,46speaker cabinetmodels,15high-endstageandstudiomics,17postamprackeffects, andmuchmoreThankstothenewAmpliTube3openarchitecture,youare abletoconstantlyexpandyoursonicpalettethroughtheadditionofmore packagessuchasAmpliTubeFender,AmpegSVX,etc. IKMultimediaallowsyoutobuildyourcustomintegratedsystemusinganIK AudioInterface/ControllersuchasStompIOorStealthPedal,yourcomputer, andAmpliTube3.Youhavedreamedit.Wevemadeit. Ifyouareaperformer/producerand/orengineersearchingforthatunique tone that describes your artistic vision, AmpliTube 3 is the ultimate tone gearcollectionthatyouneed. 1.2 Whats new in AmpliTube 3? Over160modelsofvintageandmoderngearincludedinonepackage 30newvintagegearmodelsandcreativeeffects New Cabinet Module with two freely movable microphones and cabinetsizecontrol NewRoomambiencewithmicrophonesstereowidthcontrol New rotary speaker simulation using IKs proprietary Volumetric ResponseModeling(VRM)technology NewStomp&RackFXdrag&dropfeature Series/Parallel rigs with 8 signal path presets, selectable mono/ stereoinputandtruestereoprocessing NewadvancedPresetOrganizationandManagementfeature GlobalandSinglegearpresets NewMIDILearnfeatureforcompatibilitywithanyMIDIcontroller FreelyassignableDAWAutomation New4TrackAudioPlayer/Recorderwithindependenttimestretch/ pitchshift* Non destructive recording allows post-effect processing of the recordedaudio* ImportsanyWav,Aiff,sd2,AppleCaf,Flac,MP3audiofile* NewQualityModefeature Newbuilt-inexpandabilitywiththeCustomShop.Youareabletoadd PoweredbyAmpliTubepackageslikeAmpliTubeFender,Ampeg
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SVX,etc.aswellaslacartemodels.See the AmpliTube Custom Shop manual for more information Nativecompatibilitywith64-bitapplicationsandoperatingsystems Expandedpresetandpatchbrowser Enhanced foot controller integration. Direct integration with IKs interfaces/controllers like StompIO, StealthPedal, StealthBoard. No setupneeded 2 simultaneous instruments can be processed with independent audiosettings* Metronomewithselectablesounds* *Standaloneversion Otherfeatures: WindowsandMacOSXPlug-inandStandaloneapplication SupportedPlug-informats:AudioUnits,VST,RTAS(MacOSX)VST, RTAS(Windows) 5separatemodules:Tuner,Stomp,Amp,Cabinet+Microphones,and Rackeffects High-precisionTuner Ultra-accurate analog modeling using IK Multimedias proprietary DynamicSaturationModeling(DSM)technology Host/DAWBPMsynchronization Upto96kHzsupportedsamplingrate Improvedoverallperformance For more information about DSM/VRM technologies and AmpliTube 3 Blockdiagram,see Appendix, IK Technologies and Block Diagram.
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1.3 Plug-in Architecture AmpliTube3issetupasatraditionalguitarrigtoensurepredictableresults andrealworldflexibility.Theuserinterfaceissimpleandeasytonavigate butalsoallowsyoutosetupcomplexguitarrigsandadvancedsignalpaths. Theinterfaceisdividedinto5modules: 1) Tuner
figure1.1
2) Stomp effects
figure1.2
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3) Amp
figure1.3
4) Cab
figure1.4
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5) Rack effects
figure1.5
This musical layout allows you to navigate the different rigs sections withouteffortandprovideseasy accessto eachmodulesspecificcontrols andfeatures. Thefirststepistolistentheincludedpresets.Thepresetslibraryhasbeen skillfullyprogrammedbytheAmpliTube3designerstoaccuratelyreproduce eachparticulartoneandtofuelyourcreativity Formoreinformationaboutcomplexguitarrigsandadvancedsignalrouting,seeChapter4,Module/RigSelector.
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1.4 Using the Interface AmpliTube3worksasPlug-inorStandaloneapplication. 1.4.1 Standalone Interface WhenusingAmpliTube3inStandaloneMode,theinterfacehas6sections (figure1.6):
figure1.6
Belowisabriefdescriptionofeachofthem: 1) Top Header(figure1.7) ItincludesPresetManager,QualityMode,andIKControllerSelectorareas
figure1.7
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Preset Manager: it allows you to search, browse, select, save and deletepresets(figure1.8).
figure1.8
figure1.9
QualityMode:itisaoneclicksystemoptimization.JustselectHi-MidorEcotogetthebestbalancebetweensoundqualityandCPUusage (figure1.9). IK Controller Selector: it allows you to choose your StompIO or StealthPedalcontroller.(figure1.10)
figure1.10
2) Module/Rig Selector(figure1.11)
figure1.11
Itallowsyoutochoosethemodulethatyouwanttouse(Tuner,Stomp,Amp, Cab,orRack),theinputtype(Mono/Stereo)andthesignalpathpresets. 3) Module Interface(figure1.12)
figure1.12
Itdisplaystheselectedmoduleandallitsrelatedcontrols.Thisisthemodule thatyouwillusemostwhileinteractingwithAmpliTube3.
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4) Input/Output Bar(figure1.13)
figure1.13
FromhereyouwillmanagetheInputandOutputlevels,theNoiseGate,and severalmodulerelatedcontrols. 5) Four Track Audio Player/Recorder with Speed Trainer(figure1.14)
figure1.14
Itallowsyoutoplaybackyourfavoritesongs,learnnewriffs,captureyour ideas,recordyourbandsdemo,andmuchmore 6) Status Bar(figure1.15)

figure1.15
ItincludestheInputGainSliderandgivesyouaquickreferenceoftheCPU loadandMIDI.
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1.4.2 Plug-in Interface WhenusingAmpliTube3asaPlug-in,theinterfacehas4sections(figure 1.16):
figure1.16
TopHeader(PresetManager,QualityMode,andIKControllerSelector areas) Module/RigSelector ModuleInterface Input/OutputBar Note:consideringthatthefirst4sectionsoftheAmpliTube3interfaceare thesameinStandaloneandPlug-inModes,thereisnoneedtorepeattheir descriptions.Pleasesee1.4.1.
1 - Overview
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Chapter 2 Getting started
2.1 Registration/Authorization WeknowthatyouareexcitedaboutAmpliTube3soletsgetreadytorock! AfteryouveinstalledAmpliTube3,youhavetoregisterandauthorizeyour product.Notonlytoenablepermanentunrestrictedfunctionality,butalso totakeadvantageofalltheUserAreafeatures.Thisisaverysimpleprocess;youjustneedtofollowtheinstructionsprovidedintheAuthorization Manager. TheAuthorizationManagerisasmartapplicationintegratedtoourwebsite that will guide you through the Registration and Authorization process. WhenyoulaunchAmpliTube3forthefirsttimetheAuthorizationManager willpopupaskingyoutocompletetheprocess,sobecomeanIKRegistered UsertodayandenjoyallthebenefitsthatIKMultimediahastoofferyou! ForinformationaboutAmpliTube3Installation,pleasereadtheInstallation andAuthorizationManuallocatedhere: Windows: Start\Programs\IKMultimedia\AmpliTube3\InstallationandAuthorization Manual Macintosh: HD/Library/Documentation/IK Multimedia/AmpliTube 3/Installation and AuthorizationManual If you have any problems, see Chapter 16, Troubleshooting or visit the FAQwebpageat:www.ikmultimedia.com/faq 2.2 Standalone Mode TheStandaloneversionofAmpliTube3canbeusedtoperformliveorina recordingstudiosituation,usingyourcomputerasanextgenerationmodelingeffectsprocessor.UsingAmpliTube3inStandaloneModeallowsyouto runtheprogramwithouttheneedofahostsequencerapplication(DAW). To play live, we strongly recommend that you control AmpliTube 3 (StandaloneMode)withanIKControllersuchasStompIOorStealthPedal, consideringthattheirintegrationishighly-customizedandoptimized.
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AmpliTube 3
2.2.1 Launch AmpliTube 3 Standalone TolaunchAmpliTube3Standalonegoto: Windows:Start\Programs\AmpliTube3icon Macintosh:Applicationfolder/AmpliTube3icon 2.2.2 Audio Configuration In this section, we will cover how to set up your audio interface in both platforms. However, if you are using an IK audio interface/controller such asStompIOorStealthPedal,nosetupisneededbecauseAmpliTube3offers directintegration. 2.2.2.1 Windows
figure2.1
InAmpliTube3,clickAudio>HardwareSettings. SelectASIO(recommended)orDirectXfromthetopmenu. 28
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InputDevice:youraudiointerfacedriverwillbeautomaticallyselected.If not,pleasechooseitmanually. Left/RightChannel:selecttheaudiointerfaceinputintowhichyourinstrument is plugged. For example, if your instrument is plugged into the first audio interface input, you should select Left Channel-Input 1. However, if itispluggedintothesecondaudiointerfaceinput,youshouldselectRight Channel-Input2,etc.Insomecases,LeftchannelisidentifiedasChannel1 andRightchannelasChannel2. Output Device: select your audio interface output driver. The Input and OutputDeviceshouldbethesame. Left/RightChannel:selectyourdesiredoutputchannels.Forexample,(Left Channel-Output1),(RightChannel-Output2). BufferSize:tochangethebuffersizeofanASIOdevice,clickPanel.Itwill openyouraudiointerfacesControlPanel. 2.2.2.2 Macintosh
figure2.2
InAmpliTube3,clickAudio>HardwareSettings. InputDevice:Youraudiointerfacedriverwillbeautomaticallyselected.If not,pleasechooseitmanually.
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AmpliTube 3
Left/RightChannel:Selecttheaudiointerfaceinputintowhichyourinstrument is plugged. For example, if your instrument is plugged into the first audiointerfaceinput,youshouldselectLeftChannel/Channel1.However,if itispluggedintothesecondaudiointerfaceinput,youshouldselectRight Channel/Channel2,etc.However,ifyouraudiointerfacehasonly1input, theLeftandRightchannelsmenuswilldisplayChannel1. OutputDevice:Selectyouraudiointerfaceoutputdriver.Usually,theInput andOutputDevicesarethesame. Left/RightChannel:Selectyourdesiredoutputchannels.Forexample,(Left Channel-Channel1),(RightChannel-Channel2). Buffer Size: Adjusting the buffer settings will change the audio signal latency. In fact, the amount of latency depends on several factors such as computerspeedandaudiointerfaceperformance.Decreasingthebuffersize valuewillreducetheamountofsignaldelay,sothegoalistogetthelatency aslowaspossiblewithoutgettinganyaudioartifacts.Asastartingpoint, a buffer size of 144 samples should be fine on most modern computers. However,consideringthateachsystemisdifferent;pleaseexperimentwith yoursettingsuntilyougetthebestresult. 2.2.3 Plug Your Guitar NowthatAmpliTube3isinstalledandyouraudiointerfaceisconfiguredwe arereadytomoveforward. 2.2.3.1 Connecting Your Guitar/Bass PlugyourinstrumentintoaHi-ZInput,InstrumentInput,oraMicrophone XLRInput(onlyifyouareusinganactiveDIBOXbetweentheguitar1/4 PlugandtheMicXLRinput). DonotuseRegularLineInputs,-10dBor+4dBInputs,unlessyoureusing anactiveinstrumentoryouareaddinganactivebufferbetweentheinstrumentandthelineinput.
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2.2.3.2 Adjusting Your Levels First of all, check that your instrument volume knob is all the way up Second,letsanalyzehowyouraudiointerfaceandAmpliTube3interact. WhenyouareusingAmpliTube3asStandalone,youcanadjusttheInput levelbymovingitsInputGainSlider(figure2.3).
figure2.3
TheGlobalInputLevelisdeterminedbytheaudiointerfacegainplusthe AmpliTube3InputGainvalue. IncreasetheinputleveluptothepointwheretheclippingLEDstartsblinking.Toavoidclipping,adjustyouraudiointerfacegainknobaccordingly.

figure2.4
ThePresetInputLevelisdeterminedbytheAmpliTube3Inputlevelknob (figure2.4). TheAmpliTube3OutputleveliscontrolledbytheMasterknob(figure2.5). TheAudioInterfaceOutputleveliscontrolledbyitsMasterVolume.
figure2.5
Tip:ifwhilebrowsingAmpliTube3presetsyoufindthatallcleansoundsare tooquietandallleadsoundsaretoohigh,thisprobablymeansthatyoure usingatoolowinputgainonyouraudiointerface. 2.2.3.3 Quality Mode Options TogetthebestbalancebetweensoundqualityandCPUusage,clickoneach Quality Mode button (located in the Top Header section of AmpliTube 3 interface)anddeterminewhichoptionisthebestforyoursystem.
figure2.6
HI:offersthebestsoundqualityatahigherCPUusage MID:offersaverygoodsoundqualityatareasonableCPUusage ECO:offersagoodsoundqualityataverylowCPUusage
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2.2.3.4 Tuning Ifyourinstrumentisoutoftune,youarenotmaximizingAmpliTube3sonic capabilitiessoletsinvestafewminutes 1. ClicktheTunerbuttonlocatedintheModule/RigSelector. 2. TurnOntheTuner. 3. Play one string at a time and check that the Cents indicator is as closeat0aspossible,bothintheGraphicTunerInterfaceandinthe Centsdisplay(figure2.7).
figure2.7
Iftuningyourinstrumentistakingmorethanafewminutes,maybeistime tochangeyourstringsand/orcalibrateyourguitar/bass 2.2.4 Hands-on Examples 2.2.4.1 Loading a Preset To taste AmpliTube 3 sonic flavors play one of your favorite songs, and select different presets from the Preset Selector (figure 2.8). Even better, playariffoverandoverandchangethepresetsviatheUp/Downarrows
figure2.8
Ifyouwanttosearchpresetsbykeywords,attributes,orapplyfilterstoyour search,clickPresetBrowserandenjoyitssmartengine.
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2.2.4.2 Selecting Amps ToexploredifferentAmpModels,clickAmpAandchangethePreAmp,EQ, andAmpModelsusingtheUp/Downarrows(figure2.9).Youcanalsoadjust eachcontrolsettingtogetthatultimatetone.
figure2.9
2.2.4.3 Choosing the Cabinet Doyouwanttolistenanincrediblerotaryspeakersimulation?Noproblem. ClickCabAandselecttheRotary147modelthroughtheCabModelSelector. Doyouhaveanorange?Yes!Selectthe4x12BritishOrmodelandchange thedistanceandpositionofthemicrophonesbymovingthemverticallyand horizontallyyoucanalsoaddRoomAmbienceandchangethewidthofthe Roommics(figure2.10).
figure2.10
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AmpliTube 3
2.2.4.4 Adding Stomp and Rack Effects YoucaneasilyaddStompandRackEffects.Toaddastompbox,clickStomp Aandselectoneofthe51availablemodelsfromtheStompModelSelector (figure2.11).
figure2.11
ToaddaRackEffect,clickRackAandchooseoneofthemodelsincludedin theRackModelSelector(figure2.12).
figure2.12
InAmpliTube3youareabletorearrangetheorderofthestompsandracks modelsusingthedraganddropfeature.Didyoutryit?
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2.2.5 Four Track Audio Player/Recorder with Speed Trainer The Four Track Audio Player/Recorder with Speed Trainer is a very useful newfeaturebecauseitallowsyouto: ImportandplaybackuptofourWav,Aiff,sd2,AppleCaf,Flac,MP3audiofiles ControlVolume,Pan,Pitch,andTempopertrack UseAmpliTube3asanEffect-oneinstancepertrack MaximizeyourresourcesviatheFreezefunction Setaloop ChangethePlaybackSpeed Recordyourideas PracticewithaDigitalMetronome Exportaudio,andmuchmore 2.2.5.1 Import an Audio File Thereare2waystoimportaudiofiles. A)ThroughLoad(figure2.13):
figure2.13
1. ClickLoad. 2. Selecttheaudiofile/sthatyouwanttoimport. 3. ClickOpen/Oketc.Theimportedaudiofileswillbedisplayedinthe AudioFilesListarea(figure2.14).
figure2.14
4. Selectthetrackinwhichyouwanttomovetheaudiofilebyclicking initsnumber(figure2.15).
figure2.15
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AmpliTube 3
5. DragtheselectedaudiofilefromtheAudioFilesListareaanddrop ittotheWaveformDisplay(figure2.16).Ifthetrackinwhichyou are loading an audio file is empty, the file will be automatically loadedonit.
figure2.16
6. TheaudiofilerecentlymovedtotheWaveformDisplaywillshow theassignedtrack#intherightcolumnoftheAudioFileList(T1, T2,etc)(figure2.17).
figure2.17
B)Viathedraganddropfeature. 1. DragtheaudiofilesthatyouwanttoimporttotheAudioFilesList area. 2. DragtheselectedaudiofilefromtheAudioFilesListareaanddrop ittotheWaveformDisplay.Ifthetrackinwhichyouareloadingan audiofileisempty,thefilewillbeautomaticallyloadedonit. 3. TheaudiofilerecentlymovedtotheWaveformDisplaywillshow theassignedtrack#intherightcolumnoftheAudioFileList. Note:ifthesameaudiofilewasdroppedindifferenttracks,(e.g.,track1 and3),bothnumberswillbeshownintherightcolumnoftheAudioFile List(T13)(figure2.18).
figure2.18
Todeleteanaudiofile,dragitfromtheAudioFileListareaanddropitanywhereinyourdesktop.
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2.2.5.2 Waveform Display TheaudiofilepeakwaveformisdisplayedasanaverageoftheL&Rchannels.Thismeansthatyouwillonlyseeonewaveform,evenifyouraudiofile isstereo(figure2.19).
figure2.19
TheZoomIn(+)andZoomOut(-)buttonsarelocatedatthebottomrightof theWaveformDisplay(figure2.20).
figure2.20
TheHorizontalScrollBarwillallowyoutomovethefilewithinthedisplay (figure2.21).ClickitandmoveittothedesiredpositionorusetheLeft/Right arrows(figure2.22).
figure2.21
figure2.22
TocleartheWaveformDisplayclickEmpty(figure2.23).Theaudiofilewillnotbe deleted(itwillremainintheAudioFilesListarea,butwithouttheassignedtack#).
figure2.23
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AmpliTube 3
2.2.5.3 Using the Transport Bar Play/Stop:clickthisbuttontoStart/Stopanaudiofileoruseyourcomputer keyboardspacebar(figure2.24).
figure2.24
Loop:clickthisbuttontoinserttheStart/EndloopmarkersintheWaveform Display(figure2.25).TotrimtheStart/Endlooppoints,holdthemouseon topofeachmarkeranddragthemhorizontally(figure2.26).Toplaybackthe loop,clickPlayorhitthespacebar.
figure2.25
figure2.26
Rec:torecordatrack,clickthetracksrecordbuttonandthentheTransport barRecbutton(figure2.27).
figure2.27
A: AUTOrecord.Itallowsyoutobepreparedfortherecordingsession.Itsets therecordersothatitwillwaitforyoutohitthestringsbeforestartingthe actualrecording(figure2.28).
figure2.28
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Measure Display:itcountsthemeasuresbeingplayed,basedontheselected TimeSignature(SIGN)(figure2.29).
figure2.29
2.2.5.4 Track Controls Description 1-4:itselectsthetrackthatyouwanttoworkon(figure2.30).Clickonthe relatedtracknumberorpress1,2,3,or4inyourcomputerkeyboard.
figure2.30
Input:itallowsyoutoselectinput1,2,orstereo(S).Justclickonittoscroll through the 1, 2, and Stereo options (figure 2.31). By default, Input 1 is assignedtoTrack1.
figure2.31
Rec:clickthisbuttontomonitoryourinstrumentandtorec-armthetrack. (figure2.32)Bydefault,RecisenabledinTrack1,soyouareabletomonitor yourinstrumentassoonasyoulaunchAmpliTube3.
figure2.32
Note:theRecArmbuttonwillbeautomaticallydisabledwhenanaudiofile isdraggedtotheselectedtrack.
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AmpliTube 3
Solo:itallowsyoutolistenonlythattrack,andautomaticallymutestherest (figure2.33).
figure2.33
Mute:itallowsyoutolistenallthetracksexcepttheonethatyouaremuting (figure2.34).
figure2.34
Volume:movingtheslidertotherightincreasethevolumeandviceversa (figure2.35).
figure2.35
Pan:itallowsyoutopanthattracktotheLeft,Center,Right,andeverything inbetween(figure2.36).
figure2.36
Pitch:itallowsyoutoshiftthepitchupordownwithoutchangingthetempo (figure2.37).
figure2.37
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Tempo:itallowsyoutospeeduporslowdownthetempowithoutchanging thepitch(figure2.38).
figure2.38
Link:thisbutton(onbydefault)makesanychangesyouhavemadeonthe Temposlidertobeappliedequallytoall4tracks.IfyouwanttohaveadifferentTemposettingineachtrack,justuncheckthisoption(figure2.39).
figure2.39
2.2.5.5 Playback Speed Toquicklychangetheplaybackspeedofallthefourtracksclick1/2x,1x,or 2x.(figure2.40)
figure2.40
1/2x:halfspeed 1x:normalspeed 2x:doublespeed
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AmpliTube 3
2.2.5.6 Recording Thereare2easywaystorecordinTrack1(selectedandenabledbydefault): A)RecordingusingtheAUTObutton: 1. ClickA(figure2.41).
figure2.41
2. SelectorcreateanewfoldertosaveyourrecordingsandclickOK (figure2.42). 3. Whenyouareready,startplaying.Therecordingsessionwillbegin automatically. 4. ClicktheStopbuttontostoprecording. Note:therecordingdestinationfolderhastobeselectedonlyforthefirst timearecordingisstartedinthesession.

figure2.42
B)Recordingmanually: 1. ClicktheRecbuttonlocatedintheTransportbar(figure2.43).
figure2.43
2. SelectorcreateanewfoldertosaveyourrecordingsandclickOK. 3. Startplaying. 4. ClicktheStopbuttontostoprecording. Note:therecordingdestinationfolderhastobeselectedonlyforthefirst timearecordingisstartedinthesession. Ifyouwanttorecordinanyoftheothertracks,addthesetwostepsbefore theinstructionsprovidedabove: Selectthetrackinwhichyouwanttorecord. Clickitsrecordbutton. AndthencontinuewiththeAorBinstructions.
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Now that youve recorded a couple of licks, lets learn how to work with audiofiles. Ifyouwantto: Findtheaudiofilethatyouvejustrecorded,checktheAudioFilesList.All takesarenumberedconsecutively. Removethecurrenttake,dragthefilefromtheAudioFilesListanddropit anywhereinthedesktop. Note: if you want to actually delete the recorded audio file from the hard diskyouneedtofinditinsidetheselectedrecordingdestinationfolderand deleteitmanually.OnlyremovingtheaudiorecordingfromtheAmpliTube3 AudioFileslistdoesnotactuallydeleteitfromtheharddisk. Freeupthetrackfromtheaudiofileitcontains,clickEmpty.
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AmpliTube 3
2.2.5.7 Adding Effects Think AmpliTube 3 as a plug-in processor. You can add one AmpliTube 3 instancepertrackviatheAmpliTubebutton.Thismeansthatyoucanuse theentireAmpliTube3oranyofitsmodules(Stomp,Amp,CabandRack)to processyouraudiofiles. Track1isautomaticallyloadedwithAmpliTube3whentheapplicationis started.ThisistoavoidyouhavingtomanuallyloadAmpliTube3eachtime whenyouplayliveusinganyoftheIKMultimediahardwareinterfaces,like StompIOorStealthPedal. ToactivateAmpliTube3asaplug-inprocessorinTrack2: 1. SelectTrack2byclickingonitsnumber(figure2.44).
figure2.44
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2. ClicktheAmpliTubebutton,anewAmpliTube3instancewillopen (figure2.45).Todeactivateit,clickAmpliTubeagain.
figure2.45
3. To monitor the track with AmpliTube 3 added as effect, click the Onicon(default).Tobypasstheeffect,clickOnagain(figure2.46).
figure2.46
SelectTrack1andthenTrack2tovisualizeandcomparethesettingsofeach AmpliTube3instance.
2 - Getting started
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AmpliTube 3
2.2.5.8 Managing Your Resources To optimize your system performance, only Track 1 has the Effect feature enabledbydefault. TopreserveyourCPUusage,werecommendfollowingtheseguidelines: Freezeallthetracksthatyouarenotworkingon: Select the track that you are not working and click the Freeze icon (figure2.47).
figure2.47
Anaudiofilewillbecreatedandplacedinyourrecordingdestination folder(figure2.48). DeactivateAmpliTubeinthetracksthatyouarenotworkingon: SelecttherelatedtracksandclicktheAmpliTubebutton.Theinterface willdisappear. Usewhatyouneed: Forexample,ifyouwanttoaddalittlebitofambiencetoyoursound, youcouldusetheDigitalReverbRackforexample,soyouwillprobably dontneedtheentireAmpliTube3justbypassthemodulesthatyou arenotusing.SelecttheStomp,Amp,orxmoduleviatheModule/Rig
figure2.48
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SelectorandclickBypass. UsetheQualityModethatyouneedforthecurrenttask: IfyouarepracticingscalesyoudonotneedtheHiQualityModewith12 Stomps,RoomAmbience,and4RacksHowever,ifyouaremonitoring differentmicmodels,positions,andblendingoptionswithheadphones, youmayneedit.Yougetthepoint. 2.2.5.9 Master Volume Afteryouvemadearawmixofyourbandsdemo,youmaywanttocontrol the volume of the entire Four Track Audio Player/Recorder via its Master slider(figure2.49).
figure2.49
2.2.5.10 Export Click Export to export audio files (figure 2.50). Select the settings in the ExportFilewindowandbrowseyourrecordingdestinationfolder.ClickSave intheSaveaswindowandOKintheExportFilewindow.
figure2.50
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AmpliTube 3
2.2.5.11 Using the Metronome TheMetronomehas5controls(figure2.51).
figure2.51
Metronome:clickthisbuttonenables/disabletheMetronome(figure2.52).
figure2.52
Sound:clickheretoselectyourMetronomessoundandtheAccentoption (figure2.53).
figure2.53
BPM:allowsyoutochangethemetronomestempo(figure2.54).Clickand holdtheBPMvalue.Movingthepointerupwillincreasethevalueandvice versa.YoucanalsosetyourtempobyTAPPING.Todothat,presstheTkey onyourcomputerkeyboardatleast4times.
figure2.54
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Time Signature (Sign): todeterminehowmanybeatsarepermeasure,click andmovethepointerup/downontopofthetopnumber.Todeterminewhat kindofnotevalueconstitutesabeat,clickandmoveup/downthepointeron topofthebottomnumber.Thenumbers3/4,forinstance,meanthreebeats permeasurewithaquarternotegettingonebeat(figure2.55).
figure2.55
Volume:itallowsyoutochangetheMetronomesclickvolume(figure2.56).
figure2.56
2.2.5.12 Saving and Loading Your AmpliTube 3 Project Files ThroughtheFilemenu,AmpliTube3(StandaloneMode)allowsyoutocreate,open,save,andsaveasProjects(figure2.57). AProjectfileincludesalltheinformationanddataincludedinthatparticularproject,frompresets,individualcontrolsettings,totheaudiofilesused intheFourTrackAudioPlayer/Recorder,etc. Once your AmpliTube 3 project is finished you can save it by pressing Command-S(onMac)orCTRL-SonWindows.Alternativelyyoucanselect SavefromtheFilemenu.ASavedialogwillappearallowingyoutoenter yourprojectname,andtoselectthedestinationfolder. Toopenthisprojectlater,justdoubleclickonthefileyouhavepreviously saved and AmpliTube 3 will open it automatically. Alternatively you can selectLoadfromtheFilemenuandlocatethefileyouhavepreviously saved. IfyourealreadyworkingonapreviouslyloadedAmpliTube3projectand just want to save a variation of it just select Save As from the File menu,typeanewnamefortheprojectandselectadestinationfolder.
figure2.57
2 - Getting started
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AmpliTube 3
2.2.5.13 Project Sample Rate ForproperresultstheAmpliTube3Projectsampleratemustmatchtheone setonyourAudioInterface. AmpliTube3automaticallysetstheAudioInterfacesamplerateforyou,soin mostcasestherecantbeamismatch.Butincaseyouhearimportedaudio files playing at wrong speed first thing to check is Sample Rate on your AudioInterface,andsettheAmpliTube3oneaccordingly. TosettheAmpliTube3ProjectSampleRatejustselectProjectProperties fromFilemenuandsettheSampleRateyouneed. 2.2.6 Status Bar The Status Bar includes the MIDI In check box, the Input Gain slider, and theCPULoaddisplay(figure2.58).FormoreinformationaboutMIDIIn,see Chapter 15, Control.
figure2.58
2.3 Plug-In Mode AmpliTube 3 works as a plug-in inside the most common DAW such as Pro Tools, Cubase, Logic Studio, Live, Sonar, Digital Performer, Nuendo, Garageband,AcidPro,Audition,Mainstage,andothers...Inshort,AmpliTube 3 works in any DAW that supports the following plug-in formats: Audio Units,VST,RTAS(MacOSX)VST,RTAS(Windows). Considering that DAWs are in constant update, please refer to their User ManualstolearnhowtoinsertAmpliTube3asaplug-in.
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Chapter 3 Input/Output Bar
3.1 Input/Output Bar The Input/Output Bar includes a noise gate, tuner and value displays, volume,pan,phaseandmixcontrolsandofcourse,inputandoutputlevel sections.Youcancheckimportantinformationaboutyourproduct,customizeyourpreferences,connecttotheUserArea,andopentheMIDI,Auto,and Ctrlpanels 3.2 Input Section TheInputsectionincludestheInputknobanditsmeter(figure3.1).
figure3.1
3.2.1 Input Knob TheInputknobcontrolsthePresetInputLevel. 3.2.2 Input Level Meter TheInputLevelMetershowsyoutheinputlevelthrougha3colorreference; green,yellow,andred.Avoidred 3.3 IK Controller Selector TocontrolAmpliTube3instandaloneorplug-inmodeandtakefulladvantage of its capabilities, IK Multimedia recommends using the StompIO or StealthPedalcontrollers. To understand how the IK Controller selector works, lets analyze these scenarios; If you launch AmpliTube 3 after youve connected and powered on your StompIO or StealthPedal, the application will automatically recognizeyourcontroller,sonosetupneeded. IfyoulaunchAmpliTube3beforeyouveconnectedandpoweredon yourStompIOorStealthPedal,manuallyselectwhichcontrolleryou
3 - Input/Output Bar
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AmpliTube 3
areusingviatheIKControllerselectorandenableitviatheOnbutton(figure3.2.)
figure3.2
3.3.1 Using the StompIO/StealthPedal to Control AmpliTube 3 TheStompIOandStealthPedalareabletocontroloneinstanceofAmpliTube 3atatime.SoifyouhavetwoAmpliTube3instancesopenedinProTools (oneinsertedinthe LeadGuitartrack,andtheotheroneintheRhythmic Guitartrackforexample),clicktheOnbuttonintheAmpliTube3instance thatyouwanttocontrolfirst,e.g.,LeadGuitartrack,andthenclicktheOn buttonintheAmpliTube3instanceinsertedintheRhythmicGuitartrack. Ontheotherhand,ifyouareusingAmpliTube3Standalone,andyouwant tocontroltheAmpliTube3instancethatyouaddedaseffectinTrack2,click theOnbutton. Inshort, If you have only one AmpliTube 3 instance opened, the On button enables/disablestheStompIOorStealthPedalcontrollers. Ifyouhave2ormoreAmpliTube3instancesopened,theOnbutton willallowyoutochoosewhichinstancetocontrol. For more information about StompIO and StealthPedal, please read their relatedUserManuals. 3.4 Selected Module The Selected Module section includes the Pan, Volume, Phase, and Mix controls(figure3.3).
figure3.3
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AmpliTube 3
3.4.1 Pan ThePancontrolallowsyoutoadjustthepanpositionoftheCabandRack modules.Usually,thiscontrolshouldbekeptatitsdefaultposition(center) (figure3.4).
figure3.4
3.4.2 Volume TheVolumecontrolallowsyoutofine-tunetheoutputlevelofeachmodule (figure3.5).
figure3.5
3.4.3 Phase ThePhasecontrolallowsyoutodelaytheDirectsignalortheCabModule signal(figure3.6).
figure3.6
TodelaytheDirectsignal,adjustthePhaseControltonegativevalues (Left). To delay the Cabinet signal, adjust the Phase Control to positive values(Right). For example, you can use the Phase control with dual Cabinets setups to create stereo sounds by delaying one Cabinet (adjust the Phase Control topositivevalues)byafewmillisecondsinrespectoftheotherone.Also, youcanusethiscontroltoexperimentwithdelaybetweentheDirectand Cabinetsoundsonbasssounds. ThePhasecontrolisnormallysetatzero(center)consideringthatcouldbe apositiveornegativevalue,andhastobeusedinconjunctionwiththeMix control.
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AmpliTube 3
3.4.4 Mix TheMixcontrolisnormallysetatzeroasitmixesthesignalcapturedbythe CabmodelmicrophonewiththedirectsignaltakenfromtheStompsoutput. Thisisusefulwithbassamps,tomixthedirectsignalwiththecabinetone, butitcouldalsobeusedwithcertainkindofguitarsounds(figure3.7).
figure3.7
Note:thiscontrolhastobeusedinconjunctionwiththePhasecontrol. Thefollowingtableshowsyouwhichcontrolisimplementedineachmodule. 3.4.5 Implementation Table AmpliTube 3 Modules Selected Modules Control Pan Volume Phase Mix Tuner Stomp Amp Cab Rack
3.5 Using Noise Gate TheNoiseGateallowsyoutominimizetheamountofunnecessarynoise, especiallyifyouareusinghighgain(figure3.8).
figure3.8
3.5.1 Threshold Itsetsthethresholdlevelforthesignal.Whenthesignaldropsbelowthe set threshold level, the noise gate silences the signal. Usually, keep the
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AmpliTube 3
thresholdlevelatthelowestpossiblevalue(fullycounterclockwise)andset ithigheronlywhenyouneedtoactivatethegate(figure3.9).
figure3.9
3.5.2 Release Itsetsthegatereleasetime.Highervalueswillresultinagatethattakes alongeramountoftimetocloseagain,whentheinputsignaldropsbelow thethreshold(figure3.10).
figure3.10
3.5.3 Depth Thiscontroldetermineshowmuchthesignalisattenuatedwhenthegate closes,from-20dBto-100dB. Defaultis-60dB,whichisastrongattenuationthatusuallyworksfinein most cases. If you need to add more attenuation, increase this parameter (figure3.11).
figure3.11
3.6 Tuner Display TheTunerDisplayallowsyoutodoaquickcheckofyourtuningwhileyou areworkinginanymodule.JustclickOn,playastring,andcheckthatthe markerisexactlyinthemiddle(figure3.12).
figure3.12
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AmpliTube 3
3.7 Selected Parameter Display When you adjust a Stomp, Amp, Cab or Rack parameter, or change the settings of the Input/Output bar controls, the actual value (and if applies, itsrelatedunitofmeasurement)willbeshownintheSelectedParameter Display.Forexample,ifyouincreasetheAmpmodulelevel,adB(Decibel) abbreviationwillappearnexttothevalue(figure3.13).
figure3.13
3.8 Master Section The Master Section includes the Master knob and the Output Level Meter (figure3.14).
figure3.14
3.8.1 Master Knob TheMasterknobcontrolstheAmpliTube3Outputlevel. 3.8.2 Output Level Meter The Output Level Meter shows you the output level and an overload light thatworksasaclippingindicator. Theclippingindicatorshouldneverlightup.Ifitdoes,youreprobablyclippingyoursignaldigitally,andasaresult,degradingthesoundquality.This situationcanbefixedbyreducingtheMasterlevelsothattheoutputmaster signalstaysslightlybelowtheclippinglevel.
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3.9 Program Information, Preferences and More 3.9.1 Lock IfyouarerunningAmpliTube3indemomodeandyouclicktheLockbutton (figure3.15),theAuthorizationManagerwillappear.
figure3.15
However,ifyouvealreadyregisteredandauthorizedyourproduct,clicking ontheLockbuttonwillshowyoutheproductSerialNumber(figure3.16).
figure3.16
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3.9.2 Preferences (Prefs) Use the new Quality Mode feature to automatically optimize your system (figure3.17).
figure3.17
However, if you want to manually change AmpliTube 3 preferences, click Prefs(figure3.18)andenable/disablethefollowingoptions(figure3.19):
figure3.18
figure3.19
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Stomps, Pre and Amp Oversampling: Enablingoversamplingimprovesthesoundqualitysignificantlywhenthe signalisheavilydistorted.However,itwillincreaseyourCPUload.Ifyou usehighgainsounds,wesuggestenablingthePreOversamplingoption. Oversampling is enabled by default on Stomps, Preamps and Power ampswhenAmpliTube3issettoHiquality. TIP:youcandisableOversamplingwhenworkingonasessioninrealtimeandactivateitjustbeforebouncingthefinalmix. High Resolution(enabledbydefault): Enabling High Resolution will improve the dynamic and musical responseofthepoweramplifiers,buttheCPUusagewillbesomewhat higher.PleasedisableHighResolutiononlyifyourcomputerdoesnot havesufficientCPUpowerforthecurrentsession. HighResolutionmakesadeeperandmoresophisticatedusageofIK Multimedia proprietary DSM technology, which on some amps result in slightly more compression and stronger/more real saturation of variousampsstages.ThismeansthatincertaincasesenablingHigh Resolutionmightresultinaslightdecreaseoftheaudiolevel,asareal ampdoeswhenitstartscompressingandsaturatingincomparisonwith atheoreticalamp,butontheothersidetherealism,musicality,and qualitywillgreatlybeenhanced. Amps Reverb: Real Spring: (enabled by default when AmpliTube 3 is set in Hi quality mode).WhenthisisenabledAmplifierswithbuilt-inreverbwilluseareal springreverbmodel,directlytakenfromeachamplifiermodel.Thisisthe mostrealisticoption,andeachAmplifierwillhaveitsownsignaturereverb. Digital: when this is enabled, Amplifiers with built-in reverb will use a digitalalgorithmicemulationofaspringreverb.Thisoption,stillsounding great,isalessrealisticalternativeandwillalsosoundthesameonallamps. Room: Real Ambience: (enabled by default when AmpliTube 3 is set in Hi qualitymode).AmpliTube3willuseimpulseresponse(basedonreal rooms and spaces) to achieve maximum realism and deepness from the ambience youre adding to your sound. This will take a little bit moreCPUpowerthantheDigitaloption,butitwillallowyoutochoose between different types of spaces and ambiences delivering an outstandingsound. Digital:AmpliTube3willuseahigh-qualitydigitalreverberationalgo-
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rithmtogeneratetheambienceyoureaddingtoyoursound.Thiswill takelessCPUpowerthantheRealAmbienceoption,butyouwillnotbe abletoselectdifferentspaces. Cabinet Resolution: High: offers the best sound quality at a slightly higher CPU usage (enabledbydefaultwhenAmpliTube3issetinHiqualitymode).Always use this setting when it is possible. This will deliver the best quality fromtheAmpliTube3speakers. Mid:offersaverygoodsoundqualityatareasonableCPUusage. Low:offersagoodsoundqualityataverylowCPUusage.Thisoption has to be used only when you really need to save CPU power as the realism and musicality of the speakers is not really expressed at its maximumpotentialunderthissetting.Also,thissettingshouldnotbe usedonbasscabinetsasthelowfrequencyextensioncouldbeexcessivelylimited. Cabinet Global Bypass: ThisbypassestheCabmoduleglobally,onallpresets,independentlyfrom whateachpresethassetupontheCabinetmodule. ThisisusefulwhenyouplaylivewithAmpliTube3butareusinganexternal realguitarcabinet.Inthiscase,itisveryhelpfulbeingabletodisablethe Cabmoduleonallyourexistingpresetswithouthavingtoeditallofthem onebyone. Tempo Source: ThisoptionallowsyoutoselecttheTemposource. Host/Global(enabledbydefault): TheBPMSyncTemposourceistheHostApplicationTempo,(thetempo oftheapplicationintowhichAmpliTube3isinsertedasaplug-in). WhenyouuseAmpliTube3asstandalone,thedefaultGlobaltempois 120BPM,anditcanbesettodifferentvaluesonthemetronomeBPM value(figure3.20).
figure3.20
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The Host/Global BPM value is displayed in the BPM display in gray (figure3.21).
figure3.21
Thetempocanbeoverriddenbyclicking(tapping)thetempoontheTAP button.Tapatleast4times(figure3.22).
figure3.22
Preset: TheBPMSyncTemposourceisthevaluesavedwiththePreset. ThePresetBPMvalueisdisplayedintheBPMdisplayinorange(figure 3.23).
figure3.23
TosaveaBPMvaluetoaparticularPreset,clickPreferences>enable thePresetoption>andclickOk.IntheBPMdisplay,clicktheBPMvalue, deleteit,typeanewone,andclickSave. Thetempocanbeoverriddenbyclicking(tapping)thetempoontheTAP button.Tapatleast4times(figure3.24).
figure3.24
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3.9.3 Information (Info) ToopentheInformationpage,clickInfo(figure3.25).
figure3.25
Youwillfindtheproductname,itsversionnumber(veryimportantfortechnical supportrequests),andtherelatedtrademarksandcopyrightnotes(figure3.26).
figure3.26
3.9.4 User Area Click on this button to open the IK Multimedia User Area webpage (figure 3.27).Thisisanothercoolfeatureconsideringthatfromthere,youwillbeable todownloadthelatestupdates,search,download,anduploadpresets,etc.
figure3.27
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3.10 MIDI Control, Automation, and Controllers 3.10.1 MIDI ClickMIDItoopenthenewMIDIControlPanel(figure3.28).
figure3.28
Formoreinformation,see Chapter 14, MIDI. 3.10.2 Automation (Auto) ClickAutotoopentheAutomationPanel(figure3.29).
figure3.29
Formoreinformation,see Chapter 13, Automation. 3.10.3 Control (Ctrl) ClickCtrltoopentheStealthPedalControlPanel(figure3.30).
figure3.30
Formoreinformation,see Chapter 15, Control.
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Chapter 4 Module/Rig Selector
TheModule/RigSelector(figure4.1)allowsyouto:
figure4.1
Selectthemodulethatyouwanttouse(Tuner,Stomp,Amp,Cab,orRack). Bypassand/orMuteeachmodule. SelecttheInputType(MonoIn/StereoIn). ChooseaSignalPathPreset(1-8). 4.1 Dual Rig Signal Path AmpliTube3providestwodiscretesignalpaths;eachonecontainingStomp box,Amp,Cab,andRackmodules.Throughtheeightavailablepresets,these twosignalpathscanbeconfiguredinmultiplevariationsallowingatremendousamountofflexibility.Thisisaveryimportantfeaturebecauseitallows youtorouteyourguitarsignaltomultipleamplifiersorcabinets;createtwo separatesixstomppedalsetupsorcreateonebigtwelvepedalsetup. 4.1.1 Signal Path Presets Tochangethesignal pathofyourguitar rig, clickeachoftheSignal Path Presetsbuttons(figure4.2).
figure4.2
Belowabriefdescriptionofeachpreset: 1. 2. 3. 4. 5. Allstompeffectsandrackeffectsintooneamprig. Twoseparateampsetups. Allstompeffectsandrackeffectsintooneamprigwithbothcabinets. Allstompeffectsandrackeffectsintobothamprigs. Twoseparatestompeffectssetupsintooneampwithtwocabinet setups. 6. Twoseparateampsetupswithseparatestompsintotwoindependentrackeffects. 7. Twoseparatestompeffectssetupsintotwoseparateamprigsinto alltherackeffects. 8. Twoseparatestompeffectssetupsintooneampsetupwithallthe rackeffects.
4 - Module/Rig Selector
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4.1.2 Stereo IN Wehaveimplementedanewfullstereosignalpaththatallowsto: UseAmpliTube3ontwoinstrumentssimultaneously,eachonewith theirownrig. UseAmpliTube3asatruestereomulti-effectsunitoneveryinstrumentinyourDAWsession. AddAmpliTube3effectstoyourstereorecordingofdrums,keyboards andmore. SelecttheSignalPathPresets#2or6,andclicktheInputTypebuttonto changefromMonoIntoStereoIn(figure4.3).
figure4.3
4.2 Selecting Modules ToselectanAmpliTube3module,clickontherelatedbutton(Tuner,Stomp A/B,AmpA/B,CabA/B,andRackA/B)(figure4.4).
figure4.4
The selected module will be displayed in the Module Interface section (figure4.5).
figure4.5
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ToBypassand/orMuteaspecificmodule,selectitandclickBypassand/or Mute(figure4.6).
figure4.6
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Chapter 5 Presets and Patches
5.1 What is the difference between a Preset and a Patch? APresetcontainsalloftheinformationforthemodelsselected,thesettings forthosemodelsandthesignalchainthatlinksthemtogether.Presetshave names(forexample,60BritCrunch). A Patch is the combination of a preset and its external controller settings (suchasmastervolume,ampgain,delaylevel,etc.).ThenewPatchmode shows4,000memorylocationswhereyoucanstorepatches.Patcheshave numbers(forexample,200A)ANDnames.Thisisbecausethenameofthe associatedpresetcontainedinsideeachpatchcanalsobethoughtofasthe nameofthepatchsincethepresetcontainedinsideapatchisauniquepresetthatisonlyassociatedwiththatpatchandisnottiedtoanyotherpreset in AmpliTube. Once you save a preset into a patch, the preset becomes a partofthepatchandmaybeeditedindependentlyofthepresetfromwhich itcame. For more information on Presets and Patches, please see the addendum, Whats New in AmpliTube 3.5.
5 - Presets and Patches
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Chapter 6 Tuner Module
The Tuner is the first module. On the Module/Rig Selector, click Tuner to openitsinterface(figure6.1).
figure6.1
Consideringthatthisisafullyautomaticchromatictuner,thereisnoneedto manuallyselectthenoteyouaregoingtotune.Thetunerwillautomatically detectandshowwhichnoteyoureplaying. 6.1 On/Off Switch ThisswitchturnstheTunerModuleOn/Off(figure6.2).
figure6.2
6 - Tuner Module
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6.2 Mute TheMuteswitchallowsyoutosilencetheguitarsignalwhiletuning,avery usefulfeatureforliveperformance(figure6.3).
figure6.3
Note:theOn/OffandMuteswitchesarelinkedtotheBypassandMutebuttonslocatedintheModule/RigSelector. 6.3 Tune TheTuneDisplayshowsthetuningreferencebeingused.Thedefaultreferenceis440Hzbutitcouldbechanged(from425Hzto455Hz)byclicking onthedisplay.Whenthepointerappears,usethebackspacekeyandcursor controlkeysonyourcomputerkeyboardtoeditthevalue(figure6.4).
figure6.4
6.4 Graphical Tuner Interface AmpliTube3sGraphicalTunerInterfaceisbasedonahigh-endrackmounttuner andallowsyoutotuneyourinstrumentfastandaccurately(figure6.5).
figure6.5
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6.5 Tune Display Itshowsthedetectednotename,e.g.,A,B,etc.(figure6.6).ThisisalsovisiblefromtheInput/Outputbar.
figure6.6
6.6 Cents Display Itshowshowmanycentsyouareup(+)ordown(-)inrelationtothenote thatyouaretuning.(figure6.7)
figure6.6
Note:inmusic,acentis1/100ofasemitone.Centsareaconvenientwayof describingsmallincrementsofpitch.
6 - Tuner Module
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Chapter 7 Stomp Module (Stomp Box Effects)
7.1 Selection and Navigation Options ThesecondmoduleinAmpliTube3istheStompmodule. ToaccesstheStompmodule,clicktheStompbuttonlocatedontheModule Selector(figure7.1).
figure7.1
TheStompmoduleflexibilityallowsyoutofreelyconfiguresixstomppedal effectsatatime.Infact,youcanusetheStompmoduleastwoindependent six pedal stomp setups (figure 7.2) or as one twelve pedal stomp setup (figure7.3).Justselectoneoftheeightsignalpathpresetslocatedonthe Module/RigSelector(figure7.4).
figure7.2
figure7.3
figure7.4
7 - Stomp Module
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Thesixstompeffectslotsaredisplayedinthemoduleinterfaceasempty slotsonawoodenpedalboard(figure7.5).
figure7.5
To select a stomp unit, click on each of the six stomp slots (where it says Empty), navigate through each category (Modulation, Delay, etc), and chooseoneofthestompmodels(figure7.6).
figure7.6
Another navigation option is to scroll through the different stomp boxes usingtheUp/Downarrows(figure7.7).
figure7.7
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Like the actual gear itself, each stomp effects controls are displayed on thestompbox(figure7.8).Enable/DisableeachstompthroughtheOn/Off switch(figure7.9).WhentheeffectisOntheredLEDislit(figure7.10).
figure7.8
figure7.9
figure7.10
Whenyouadjustarotaryorslidecontrolonthestompbox,thatcontrols valueisdisplayedintheSelectedParameterDisplay(figure7.11).
figure7.11
7.2 Drag & Drop feature Now,youareabletore-arrangetheorderofthestompsusingthedragand dropfeature.Thisoptionallowsyoutoexperimentdifferentconfigurations andexplorenewsonicterritoriesontheflyBytheway,haveyouevertried torearrange6-12hardwarestomppedals?
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7.3 Stomp Models 7.3.1 Delay 7.3.1.1 Delay Thismodelisbasedonatraditionaldigitaldelaystomppedal(figure7.12). Controls: DELAY:changesthelengthofthedelaybetweeneachecho,from1 msto2000ms. FBK:changestheamountoftimethattheechorepeats,from0%to 100%. LEVEL: setstheleveloftheeffected(orwet)sound,from0to10. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.12
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7.3.1.2 EchoMan A model of a classic bucket-brigade analog echo/delay (with modulation) stomppedaleffect(figure7.13). Controls: DELAY:changesthelengthofthedelaybetweeneachecho,from25 msto500ms. FEEDBACK:changestheamountoftimethattheechorepeats,from 0%to100%. BLEND:mixestheamountofdrysignalwiththeeffectedsignal,from 0%(dry)to100%(effected). CH/VIB: sets the amount of Chorus/Vibrato effect added to the effectedsound,from0%to100%. CHORUS VIBRATO:changeswhetherchorusorvibratocanbeadded totheeffect. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.13
7 - Stomp Module
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7.3.1.3 TapDelay Thiscreativedelayeffectunitcanbeusedtocreateinterestingandunusual delayeffectsthankstothe8totallyindependenttaps.Youcancreategroovingrhythmpatternsbycombiningmoretapswithaspecifictimesignature, andyoucanmixthisupwithpsychedelicreversetapeeffectsyouareable tosetforeachtap(figure7.14). TheTapDelayisactually8delaysinonesingleunit,anditispossibletoset time,timbre,andlevelforeachofthem.Inaddition,youcangloballycontrol with single knobs parameters for all the 8 taps simultaneously, like time, dry/wetmixandfeedbackamount. Controls: TIME:globallyshiftsthedelaytimeofallthe8taps.Thisisarelative control,whensetatthecenterposition(1x)itdoesnotalterthetime that has been setup on each Tap, when set to minimum (0.25x) it dividesalltimesbyfourandwhensettomax(4x)itmultiplyalltimes byfour.Useittogloballychangethedelaytempowithoutchanging therelationsbetweenalltaps. MIX: globally adjust the effect mix between the Dry signal and all the8delaytaps. FEEDBACK: globally adjust the amount of feedback the delay will have.Whensetatmaximum,thedelaywillbesustainingitself. TAP:usethesebuttonstoselectwhichoneamongthe8delaytaps youregoingtoeditwithnextcontrols LEVEL:setstheaudiolevelfortheselecteddelaytap. TIME: sets the delay time for the selected tap. It can be shown in milliseconds or in musical divisions, depending on the BPM Sync switchposition. FILTER:setsthetimbrefortheselecteddelaytap,darkeratminimum andbrighteratmaximum. REVERSE:enablethisbuttontotransformtheselecteddelaytapfrom normaltoreverse.Whensettoreverseadelaytapwillsoundlikea reversedtapeloop. LINK:enablethisbuttontomakeachangestotheabovementioned parameterstoapplytoallthe8tapsatthesametime. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.14
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7.3.2 Distortion 7.3.2.1 BigPig This effect is modeled after an iconic distortion pedal that has stood the testoftime.Capableoftonesfromsmoothsustain&compressiontoheavy buzz-saw distortion, this pedal is perfect for all different styles of metal (figure7.15). Controls: VOLUME:controlstheDistortionpedaloutputlevel.Itdoesnotalter thetimbreofthedistortion,unlessanotherdistortingdevicefollow, likeanotherdistortionpedaloranamplifierathighgainorvolume. SUSTAIN:controlstheamountofdistortionthepedalgives. TONE:controlsthetimbreofthedistortionpedal
figure7.15
7 - Stomp Module
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7.3.2.2 Crusher Thismodelaltersthesoundoftheinputsignalbychangingthesample-rate, cutofffrequencyandbydistortingit.Thiseffectcanproduceveryaggressive distortedsounds,morenoticeablethanoverdrivestompboxes.TheLowpass filterisverycreativewhencombinedtohighdistortionlevels(figure7.16). Controls: CUTOFF:controlsthecutofffrequencyofthelowpassfilter. DECIM: selects the sample-rate-ratio of the processed sound, from 1:1to1:16. GAIN: sets the amount of signal sent to the effect, therefore the distortion.Usefulwhencreatingheavilydistortedsounds,from-40 dBto+40dB. OUT:controlstheoutputvolume,from-40dBto+40dB.
figure7.16
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7.3.2.3 Diode Overdrive Amodelofaclassicoverdrivestompeffect(figure7.17). Controls: TONE:adjustsboostorcutofthehighfrequenciesinthestompeffect, from0to10. DIST:setstheamountofdistortionappliedtotheinputsignalofthe effect,from0to10. LEVEL:setstheleveloftheinputfortheeffect,from0to10.
figure7.17
7 - Stomp Module
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7.3.2.4 Distortion Thiseffectisbasedononeofthemostversatiledistortionboxesevermade. Fromsubtlecrunchtocompletemayhem,thispedalhasbeenusedbycountlessguitaristsofallstyles(figure7.18). Controls: LEVEL: controls the Distortion pedal output level. It does not alter thetimbreofthedistortion,unlessanotherdistortingdevicefollows, likeanotherdistortionpedaloranamplifierathighgainorvolume. DIST:controlstheamountofdistortionthepedalgives. TONE:controlsthetimbreofthedistortionpedal.
figure7.18
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7.3.2.5 Feedback This effect, modeled after a hard-to-find vintage unit, includes a built-in oscillator for infinite sustain. Hold notes to create amazing synth-like soundsorboostsolosformorecuttingtone,combinedwithclassicdistortion timbres(figure7.19). Controls: LEVEL: controls the Distortion pedal output level. It does not alter thetimbreofthedistortion,unlessanotherdistortingdevicefollow, likeanotherdistortionpedaloranamplifierathighgainorvolume. TONE:controlsthetimbreofthedistortionpedal. DIST:controlstheamountofdistortionthepedalgives. OVERTONE:controlstheoctaveforthefeedbackeffect. FBKbutton:pressthisbuttontoactivatethefeedback. Notes: WhenthestompisOn,clickingontheFBKbuttonwillmaketheled flash. WhenusingStompIO,feedbackwillbeautomaticallyactivatedwhen distortionisOn,andtheOn/Offbuttonforthispedalisholddownfor 1secondormore.
figure7.19
7 - Stomp Module
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7.3.2.6 Metal Distortion This effect is based on one of the favorite pedals of some of the heaviest bandsofalltime.Thisunitisperfectforextremegainandsustain.Nothing comparestothispedalforpuredistortionmayhem(figure7.20). Controls: LEVEL: controls the Distortion pedal output level. It does not alter thetimbreofthedistortion,unlessanotherdistortingdevicefollows, likeanotherdistortionpedaloranamplifierathighgainorvolume. DIST:controlstheamountofdistortionthepedalgives. LOW HIGH:coaxialtonecontrol. Center knob:controlsHighfrequencies. External knob:controlsLowfrequencies. MID MIDFREQ:coaxialparametricmidtonecontrol. Center knob:controlsMidslevel. External knob:controlsMidsfrequency.
figure7.20
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7.3.2.7 Metal Distortion 2 Thiseffectismodeledafteraclassicfromthe80s.Itdeliversdeep,distorted crunchperfectforheavymetalandhardrock.Longdiscontinued,thisisa rare vintage find that delivers deep, dark crunch from the 70s, 80s, and beyond(figure7.21). Controls: LEVEL: controls the distortion pedal output level. It does not alter thetimbreofthedistortion,unlessanotherdistortingdevicefollows, likeanotherdistortionpedaloranamplifierathighgainorvolume. DIST:controlstheamountofdistortionthepedalgives. COLOR L:controlstheamountofbasstonesonthesound. COLOR H:controlstheamountofhightonesonthesound.
figure7.21
7 - Stomp Module
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7.3.2.8 Overdrive Thiseffectisbasedononeofthemostcollectiblepedals.Itisoneofthemost aggressive overdrive pedals ever made. From subtle to over-the-top, this effectpushesampsharderwithoutsacrificingclarityandtone(figure7.22). Controls: LEVEL: controls the Overdrive pedal output level. It does not alter thetimbreofthedistortion,unlessanotherdistortingdevicefollows, likeanotherdistortionpedaloranamplifierathighgainorvolume. DRIVE:controlstheamountofoverdrivethepedalgives. TONE:controlsthetimbreoftheoverdrivepedal.
figure7.22
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7.3.2.9 OverScream This is a model of a classic overdrive/distortion pedal which has become thegotooverdrivepedalforsomeofthemostinfluentialguitarplayersof alltime.Itsbasiccontrolsmakeiteasytodialintheexactsoundyouwant (figure7.23). Controls: DRIVE:increasestheamountofclippinginthedistortioncircuit,from 0to10. LEVEL:setstheoutputlevelofthepedal,from0to10. TONE: adjusts boost or cut of high frequencies in the stomp effect, from0to10.
figure7.23
7 - Stomp Module
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7.3.2.10 PROdrive Thiseffectismodeledafteroneofthemostversatiledistortionboxesever. Fromsmooth,lightcrunch,toextremeshredsustainandover-the-topgain, thispedalhasbeenaclassiceversinceitsreleaseintheearly80s(figure 7.24). Controls: DIST:controlstheamountofdistortionthepedalgives. VOLUME:controlsthePROdrivepedaloutputlevel.Itdoesnotalter thetimbreofthedistortion. FILTER:controlsthetimbreofthePROdrivepedal.
figure7.24
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7.3.2.11 The Ambassdor Thispedalisamodelofabeloved80s-eradistortionpedalbyacompany knownformakingampswithamazingdistortion.Thismodelpacksawhole powerfulampintoasinglestompbox(figure7.25). Controls: GAIN:setstheamountofdistortiongeneratedbythepedal. BASS:setstheamountoflowfrequenciesinthesound. MIDDLE:setstheamountofmidrangefrequenciesinthesound. TREBLE:setstheamountofhighfrequenciesinthesound. LEVEL:setstheoutputvolumeofthedistortionpedal.
figure7.25
7 - Stomp Module
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7.3.3 Dynamics 7.3.3.1 Compressor Thiseffectisamodelofaclassichigh-endcompressor.Itiscapableofmild compressionorintensesignalslamming,anddoesitallwithatremendous amountoffinesse(figure7.26). Controls: COMP:setstheamountofcompression,from0to100. LEVEL: changes the output level of the compressor, from -15 dB to +15dB.
figure7.26
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7.3.3.2 Dcomp Thiseffectismodeledafteravintagecompressionstomppedal(figure7.27). Controls: OUTPUT:setstheoutputlevelfortheeffect,frominfto0.0dB. SENSITIVITY:setsthesensitivityofthecompression,from0to10.
figure7.27
7 - Stomp Module
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7.3.4 EQ 7.3.4.1 7 Band Graphic Thismodelisaclean,highlyeffective1octavegraphicequalizer,capableof finetuninganddialinginthatperfecttone.Itisalsoveryusefulwhenyou needtopushthesignalforthenextstompboxoramp(figure7.28). Controls: FREQUENCY BAND LEVEL:eachfrequencybandisoneoctaveapart andallowsfor+/-15dBofadjustment.Thecontrolsinclude100Hz, 200Hz,400Hz,800Hz,1.6kHz,3.2kHz,6.4kHz. LEVEL:setstheoutputlevelofthegraphicEQ,from-15dBto+15dB.
figure7.28
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7.3.4.2 10 Band Graphic IKMultimediaproprietary10BandGraphicEQ.(figure7.29) Controls: BANDS:31,62,125,250,500,1k,2k,4k,8k,16k.Eachbandhas+/-15 dBofboost/cut. GAIN:thegainsliderboostsorcuttheoveralllevelby+/-15dB.
figure7.29
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7.3.5 Filter 7.3.5.1 Envelope Filter Thisstompisanadvancedfiltereffect.Itusestheenvelopeoftheincoming signal to control a synthesizer style filter. It is capable of sounds ranging fromverysimpleautowaheffectstoextremeneverbeforeheardfiltering effects(figure7.30). Controls: FREQ:setsthecutofffrequencyofthefilter,from40Hzto20,480Hz. RESO:setstheresonanceofthefilter,from0.30to10. DEPTH: changes the amount of effect that the envelope has on the filter,from0%to100%. MODE:thesecontrolchangethetypeoffilterusedfortheeffect. 12/24:setstheslopeofthefilter,either12dBperoctaveor24dB peroctave. HP/BP/LP:setsthetypeoffilterbeingused,eitherhighpass,band pass,orlowpass.
figure7.30
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7.3.5.2 LFO Filter ThiscomplexstompeffectusesanLFOtomodulatethefrequencyofitsfilter. WiththeincludedBPMSyncthisisaveryusefuleffectforcreatinginteresting,movingguitarpartswithaminimumamountoftrouble(figure7.31). Controls: FREQ:setsthecutofffrequencyofthefilter,from40Hzto20,480Hz. RESO:setstheresonanceofthefilter,from0.30to10. RATE:adjuststhespeedoftheLFO,from0.05Hzto5Hz. DEPTH: changes the amount of effect that the envelope has on the filterfrom0%to100%. MODE:thesecontrolchangethetypeoffilterusedfortheeffect. 12/24:setstheslopeofthefilter,either12dBperoctaveor24dB peroctave. HP/BP/LP:setsthetypeoffilterbeingused,eitherhighpass,band pass,orlowpass. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.31
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7.3.5.3 Rezo Auniqueeffectthatcanaddsynth-likedronesandsustainingresonancesto yourparts.Makeyourguitarsoundlikeasitarorlikeasynth-dronetocreatesonicresonancestosingonandcontrolthenoteswithyourcontrollerto createarpeggiosandstepswhileplaying(figure7.32). Youhave4resonatingvoicesthatcanbetunedindependentlyfromnoteE0 tonoteB7,inhalftonesteps.Forexample,ifyouwanttocreatearesonating CMajorchord,justsetthefirstthreevoicestoC3,E3andG3. By moving the All slider you can shift the recently created Chord without changingtheintervalsbetweenthevoices. YoucansetthedesiredvoicenotebynotenumberorbyfrequencyinHz. Controls: 1-4 SLIDERS:setsthepitchforeachresonatingvoice. 1-4 VALUE DISPLAY:displayswhichnoteeachvoiceistunedon. NOTE/FREQUENCY SWITCH:turnOnthisswitchtohavethetuningof eachvoicedisplayedasanote.TurnthisOfftohavethetuningofeach voicetobedisplayedasfrequencyinHz. ALL:shiftsallresonatingnotesbythesameamountkeepingrelative intervalsbetweenvoicesidentical. RES:setstheamountofresonanceforeachvoice,frommintomax. Whensettomaxthenotewillsustainbyitself,whensettominthe voicewillnotberesonating SCALE: the Rezo is setup by default to span over a chromatic scale whenyousettheresonatingvoices,meaningthatallhalftonesare possible.Ifyouwanttosetanotherscaleandwanttoremovenotes fromthechromaticscalejustopenthismenuandleaveononlythe notesyouneed. FILTER:determinesthebrightnessoftheresonatingvoices,fromdark (lowerpositions)tobright(upperpositions). MIX:setstheamountofresonatingnotesyouwanttohear.Whenthe controlisatminyoullonlyheartheoriginalsound,whenfullyup youllonlyheartheeffectedsound. OUT:theresonatingnotescanbecomeveryloud.Usethiscontrolto adjusttheoveralloutputleveloftheRezonator.
figure7.32
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7.3.5.4 Step Filter Apowerfulanddeepbeatsynchronizedfiltereffect.YoucanapplyLow/High andBandpassanalogmodeledfilteringonfreelycustomizablepatternsto addgrooveandrhythmicpulsingtoyourparts.Ifyouwant,thiseffectcould makeyourguitarsandbasspartstosoundlikearhythmicsynth(figure7.33). Controls: CUTOFF:setsthecentercutofffrequencyofthefilter.Thisisthecutoff frequencythefilterwillhavewhenthestepsaresettohalfposition. STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodraw acurvewhileholdingthemousewhiledraggingovermultiplesteps. RES: sets the center resonance of the filter. This is the resonance amountthefilterwillhavewhenthestepsaresettohalfposition. DEPTH:setshowdeepthefilterismodulatedbythesteps. HP/BP/LP:setswhichkindoffilterwillbeused:HP:highpass,BP: bandpass,LP:lowpass. 12/24:setsthesteepnessofthefilter,12dB/octwillbesofter,24dB/ octwillbesteeper. DEST:setswhatismodulatedbythestepsbetweenfilterCutoffand/ orfilterResonance.AtfullminimumpositiononlyCutofffrequencyis modulated,atmaxpositiononlyResonanceismodulated. DIVISION:setswhattimeintervaleachsteprepresents. STEPS:setsthenumberofstepsthecyclewillconsistof. MODE:whensettoFreethecyclewillbecontinuousandwillalways coverallthestepsthatarespecifiedintheStepsparameter.Whenset toStrikethecyclewillre-starteachtimeachordoranoteisplayed. SWING:increasethiscontroltogivetothestepsaswingtypequantization. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.33
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7.3.5.5 Wah Thiseffectismodeledaftertheclassicwahpedalusedbymanyofthetop playersfromthe60sand70s.Inadditiontothewaheffectitalsofeatures anautofunction,allowingittobeusedeasilywithoutanexternalcontroller. (figure7.34). Controls: OFF/ON/AUTO:setsthemodeoftheWaheffect,Off,On,orAuto. WAHWAH:thisdirectlycontrolstheWaheffect,from0%to100%.
figure7.34
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7.3.5.6 Wah 10 Thisisafaithfulrenditionofaverysought-afterwahpedal.Basedonamultiplefeedbackopampcircuit,thepedalmodeledhereisaveryexpressive anduniquewahpedal(figure7.35). Controls: WAH: sets the position of the wah pedal. It gives a darker sound whenmovedlower(heelposition)andabrightersoundwhenmoved higher(toeposition). DEPTH: determines how strong the wah effect is. When is set at minimumthewaheffectisbarelynoticeable,butwhenissettomax theeffectisverystrong. GUITAR/BASS SWITCH: modify the response of the wah to make it moresuitabletoguitarorbass.
figure7.35
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7.3.5.7 Wah 46 This effect is based on the most famous Wah-Wah model used by Jimi Hendrix, which became his signature sound in masterpiece tunes like Voodoo Child. Although the original had no auto-Wah features, this additionalfunctionalityhasbeenaddedforamoreconvenientusagewhen playedonacomputer.Theoriginalmodelisconsideredtobeoneofthebest soundingWah-Wahsofalltime(figure7.36). Controls: OFF/ON/AUTO:setsthemodeoftheWaheffect;Off,On,orAuto. OFF:turnstheeffectOff,noWaheffect. ON:thecenterfrequencyoftheWaheffectisonlysetbythepedal.
figure7.36
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7.3.5.8 Wah 47 ThiseffectisbasedontheWahpedalusedbythemostinfluentialguitaristsofthelate60sand70s.TheAutofunctionallowsyoutousethiseffect withoutanexternalcontroller(figure7.37).Thisisagreatfeature! Controls: OFF/ON/AUTO:setsthemodeoftheWaheffect,Off,On,orAuto. WAHWAH:thisdirectlycontrolsthewaheffect,from0%to100%.
figure7.37
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7.3.6 Fuzz 7.3.6.1 Class Fuzz ThiseffectisbasedonthefuzzpedalthatcanbeheardonJimiHendrixs earlyrecordings(figure7.38). Controls: VOLUME:setstheoutputvolumeofthestompeffect,from-infto0.0 dB. DRIVE:setsthefuzzsoundbyincreasingordecreasingtheamountof distortion,from0to10.
figure7.38
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7.3.6.2 Fuzz Age Thiseffectismodeledafteraclassicgermaniumtransistorfuzzstompeffect. Typicallyusedonleadguitar,thiseffecthasremainedapopulardistortion effectthroughouttheyears(figure7.39). Controls: VOL:setstheoutputvolumeofthestompeffect,frominf.to0.0dB. FUZZ:setsthefuzzleveloftheeffect,from0to10.
figure7.39
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7.3.6.3 Fuzz Age 2 Thiseffectismodeledafteraclassicgermaniumtransistorfuzzstompeffect. ThiswasthemainfuzzboxthatJimiHendrixused.Oftencombinedwitha Wah,thiseffectproducedpermanentsustainandendlessdistortion.Itisone ofthemostcollectiblefuzzboxesever(figure7.40). Typicallyusedonleadguitar,thiseffecthasremainedapopulardistortion effectthroughouttheyears. Controls: VOL:setstheoutputvolumeofthestompeffect,frominfto0.0dB. FUZZ:setsthefuzzleveloftheeffect,from0to10.
figure7.40
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7.3.6.4 FuzzOne JimiHendrixbeganusingthisfuzzboxwhileplayinginNewYorkCitybefore foundingtheExperience.Itssoundscanbeheardintheenormouslypopular RollingStonessongSatisfaction(figure7.41). Controls: VOLUME: sets the output volume of the stomp effect, from inf to 0.0dB. ATTACK:adjuststhesoundcharacterbyhavingmoreorlessdistortion.
figure7.41
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7.3.6.5 Octa-V ThiseffectwasfirstusedonPurpleHazeandFire.Itisafuzzboxwith frequency-doublingcircuitrythatproducesasecondnoteanoctaveabove thefundamentalnote(figure7.42). Controls: VOLUME: sets the output volume of the stomp effect, from inf to 0.0dB. DRIVE:setstheamountofdistortiontheunitwillproduce,from0to 10.Thehigheroctavecanbemoredistinctformediumpositionsof thiscontrol.
figure7.42
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7.3.6.6 RightFuzz Thiseffectismodeledafterahighlysought-after,rarefuzzbox.Itwasone ofthefirstcommerciallyavailableflooreffectunits,makingitsfirstappearance in 1966. It doesnt get any more vintage than this when it comes to stomppedals(figure7.43). Controls: VOLUME:setstheoutputvolumeofthestompeffect,from1to6. DEPTH:setsthetimbreofthedistortion,from1to6.
figure7.43
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7.3.6.7 XS Fuzz Thiseffectismodeledaftertheeffectusedonthetitletrackofthealbum AxisBoldasLove.TheoriginalstompcanalsobeheardontheBandof GypsiesandvariousJimiHendrixrecordingspost1968(figure7.44). Controls: VOLUME: sets the output volume of the stomp effect, from inf to 0.0dB. DRIVE:setsthedistortionamount,from0to10.
figure7.44
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7.3.7 Modulation 7.3.7.1 Analog Flanger This effect is based on one of the most flexible flangers ever made. This unit delivers everything from classic tape flange to over-the-top sweeps, vibratos,chorus,andmore!Perfectforaddingclassicmetal-styleflangeto yourrig(figure7.45). Controls: MANUAL:setsthetimbreoftheflangingeffect. DEPTH: sets the amount of modulation the LFO will apply to the flangingeffect.IfDepthiszero,youllgetastaticflangingeffect. RATE:setsthespeedoftheLFOmodulationthatwillbeappliedto theflangingeffect. RES:setstheresonancetheflangereffectwillproduce.
figure7.45
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7.3.7.2 Chorus ThischorusismodeledafteraclassicDigitalChorusstompbox(figure7.46). Controls: RATE:setstherateofthechoruseffect,from0to10. DEPTH:setstheintensityofthechoruseffect,from0to10. LEVEL:setstheinputlevelofthestompeffect,rangesfrom0to10. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.46
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7.3.7.3 Chorus-1 Amodelofaclassicbucket-brigadeanalogChorus/Vibratounit.Itprovides bothanalogChorusandanalogVibratoeffects,wheninChorusmodethe modulationwillbelushandslow,wheninVibratoeffectthemodulationwill befasterandmorenoticeable(figure7.47). Controls: LEVEL:setstheinputlevel.Rangeisfrom15dBto+15dB. CHORUS:setstheintensity(ordepth)oftheChoruseffect,from0to 10. VIBRATO DEPTH:setstheintensityoftheVibratoeffect,from0to10. VIBRATO RATE:setstherateoftheVibratoeffect,from0to10. VIBRATO/CHORUS SWITCH:enablesVibratoorChorusmodes,when VibratomodeisenabledthecorrespondingLEDwillilluminate. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.47
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7.3.7.4 Electric Flanger Thisstompboxisamodelofavintageflanger/filtermatrixusedbymany well-known guitarists to achieve classic sounds. While it has amazing warmth,itisalsocapableofveryversatilechorusandsteadycombfiltering/ matrixthatcanimprintaveryspecificsonicsignaturetothesound(figure 7.48). Controls: RATE:controlsthespeedoftheeffect,fromslowtofast. RANGE:setsthedeepnessoftheeffect,fromsubtletoverystrong COLOR:setstheamountoffeedbackintheflangercircuit,delivering amoreintenseeffectwhensetatmax. MANUAL:thisisnormallysettothelowerposition,whensetatthe upperpositionitstopstheLFO.Thismeansthatyoucanusetheeffect tohavestaticresonanceandfiltermatrixeffects.Adjustthetimbreof theresonanceandfiltersbysettingtheRangeknob,andadjustthe intensityoftheresonancesbysettingtheColorknob. ON/OFF:enablesordisablestheeffect.Whentheeffectisonthered LEDislight. BPM SYNC:makestherateofthephasingeffecttobesynchronized withtheBPMoftheproject.Whenenabled,theRateknobbecomes aselectorthatallowsyoutochoosebetweenvariousmusicalfigures.
figure7.48
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7.3.7.5 Flanger ThisstompboxisamodelofaclassicFlangereffect(figure7.49). Controls: RATE:setstherateoftheFlangereffect,from0to10. DEPTH:setstheintensityoftheFlanger,from0to10. FBK:setsadelayfortheFlangertotakeeffect,from0to10. LEVEL:setstheinputlevelofthestompbox,rangesfrom0to10. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.49
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7.3.7.6 Metal Flanger This effect is modeled after one of the best and most musical modulation effectsever.Aclassicassociationwithaniconic80sguitaristmadeprices eruptsandfloodedthemarketwithreissues.Still,noflangerismorerecognizable,makingthisperfectforhard-rockandmetaltone(figure7.50). Controls: MANUAL:setsthetimbreoftheflangingeffect. WIDTH: sets the amount of modulation the LFO will apply to the flangingeffect.IfWidthiszero,youllgetastaticflangingeffect. SPEED:controlstheamountofhightonesonthesound. REGEN:setstheamountoffeedbacktheinternalflangereffectwill have.
figure7.50
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7.3.7.7 Opto Tremolo ThismodelisbasedonavintageOpto-Tremoloeffect(figure7.51). Controls: RATE:setstherateoftheFlangereffect,from0to10. DEPTH:setstheintensityoftheFlanger,from0to10. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.51
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7.3.7.8 Phaze Nine Thiseffectisbasedononeofthemostpopularphasepedalsofalltimes. Usedbyawiderangeoffirst-classguitarists,thisunitcouldaddalittlebit ofshimmertoyoursolosorgenerateasmooth,wateryeffectwhileplaying chordsandmutedstrumming(figure7.52).DidyoutrythePhazeNineon bass,keyboards,orvocals? Controls: SPEED:controlsthephaseLFOrate.
figure7.52
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7.3.7.9 Phazer10 AmodelofaclassicanalogmultimodePhaserstompbox(figure7.53). Controls: INTENSITY:selectsoneofthefourdifferentPhasermodes.Fromleft torighttheperceivedeffectintensitywillincrease. SPEED:setsthespeedofthemodulation,from0to10.
figure7.53
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7.3.7.10 Small Phazer Thiseffectisamodelofaclassicanalogphaseshifter,capableofarangeof phasereffectsfromgentletooutlandishswirlingeffects.Youmaywonder whyitiscalledsmallwhenyouhearit(figure7.54). Controls RATE:controlsthespeedoftheeffect,fromslowtofast. COLOR:setittothelowerpositionforamoregentlephasingeffect, orsetitattheupperpositionforamorepronouncedanddeepphasingeffect. BPM SYNC:makestherateofthephasingeffecttobesynchronized withtheBPMoftheproject.Whenenabledtherateknobbecomesa selectorthatallowstochoosebetweenvariousmusicalfigures.
figure7.54
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7.3.7.11 Uni-V Thiseffectisbasedonanoriginalopticalphaser/chorus.Thiswasachorus/ rotating-speakersimulatorthatwasintroducedin1969andusedpredominantlyinliveperformances.Thiscreatedaswirlingeffectquitesimilartothe mostfamousrotaryspeakercabinetbutwiththeadditionofspeedcontrol. ThiseffectwasemployedontrackssuchasHeyBaby(TheLandoftheNew RisingSun),EarthBlues,andMachineGun(figure7.55). Controls: VOLUME: sets the output volume of the stomp effect, from inf to 0.0dB. INTENSITY:setsthedepthofthemodulation,from0to10.Thesound isaffectedevenwhentheIntensityknobissettozero. RATE:setstherateoftheChorus/Vibratoeffectfrom0to10.TheLFO rateisgoingfromapprox1Hztoapprox8Hz. CHORUS/VIBRATO SWITCH: selects the Chorus of Vibrato effect. Default:Chorus.
figure7.55
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7.3.8 Pitch 7.3.8.1 Harmonator This effect is a 3 voice digital harmonizer effect. More than just a pitch shifter,thispedalwillcreate3separateharmonyvoiceswithindependent interval values based on a musical scale. Simply select the scale to use, selectthevoiceandthedesiredpitchandplay.Theharmonizednoteswill beaccordingtotheselectedscale(figure7.56). Controls: MIX:blendstheharmonizedvoicewiththeoriginalvoice,from0to 100. KEY-SCALE:controlsthekeyandtypeofscalethatwillbeusedbythe harmonizerasareference.IfyoureplayingasoloinEmajorsetthis toEMajor.Possiblescalestypesare:Major,Dorian,Phrygian,Lydian, Mixolydian,Minor,andLocrian. VOICE:controlsthepropertiesofeachofthe3voicesoftheharmonizer. LEVEL:independentlyadjuststhelevelofeachofthe3voices. 1:selectsvoice1forediting. 2:selectsvoice2forediting. 3:selectsvoice3forediting. INTERVAL: changes the interval of the selected voice, from octave downtooctaveup.
figure7.56
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7.3.8.2 Octav Thisstompeffectismodeledafteraclassicdualvoiceoctavepedal.Itwill producetwoadditionalsounds,oneandtwooctavesbelowthedirectsignal (figure7.57). Controls: OCT 2:setstheoutputlevelofthesecondoctaveeffect,frominfto 0.00dB. OCT 1: sets the output level of the first octave effect, from inf to 0.00dB. DIRECT LEVEL:setstheoutputlevelofthedirectsignal,frominfto 0.00dB.
figure7.57
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7.3.8.3 Pitch Shifter This effect shifts the pitch of the incoming signal. This new pitch shifted signalisblendedwiththeoriginalsoundtocreateharmonyguitarleadsor othertypesofdualpitcheffects(figure7.58). Controls: COARSE: sets the coarse tuning of the pitch shifter. Measured in intervals,from-24to24. FINE:setsthefinetuningofthepitchshifter.Measuredincents,from -50to50. LEVEL:setstheoutputlevelofthepitchshiftedsound,from0to10.
figure7.58
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7.3.8.4 Wharmonator Thiseffectismodeledafteroneofthemostextremeeffectsofalltime.From classicshredtothemostaggressivemodernmetal,thiseffectisanessential partofanyextremeguitarrig(figure7.59). Controls: HARMknob:setstheharmonicintervalrangeyoucanspanwiththe actionofthepedal. BENDknob:setsthebendingrangeyoucanspanwiththeactionof thepedal. MODE:setstheWharmonatoroperatingmode. HARM: this mode gives both original and pitched signal mixed together,usefultocreateharmonies. BEND:thismodeonlygivesthepitchedsignal,usefultocreategreat bendingeffects
figure7.59
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7.3.9 Other 7.3.9.1 Volume Thismodelisatraditionalvolumepedal(figure7.60). Controls: MIN:setstheminimumvolumelevelforthepedal,from0to10. VOLUME:adjuststhevolumeofthesignalpassingthroughit,from 0%to100%.
figure7.60
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7.3.9.2 Step Slicer Add programmed rhythmic parts to your power chords and phrases with thispowerfulandcreativebeatsyncedslicingeffect.Itcanbesetuptocreateanythingfromthemostamazingtremolostothemostcomplexrhythm effectsthatalwaysstayinperfectsyncwiththebeat(figure7.61). 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 willbefull. STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodraw acurvewhileholdingthemousewhiledraggingovermultiplesteps. RAMP:setsthesteepnessofthelevelchangebetweensteps.Setitat lowerpositionstogetamoregate-likeeffectorsetittohigherpositionstogetasmoothereffect. DIVISION:setswhattimeintervaleachsteprepresent. STEPS:setsthenumberofstepsthecyclewillconsistof. MODE:WhensettoFreethecyclewillbecontinuousandwillalways coverallthestepsthatarespecifiedintheStepsparameter.Whenset toStrikethecyclewillre-starteachtimeachordoranoteisplayed. SWING:increasethiscontroltogivetothestepsaswingtypequantization. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.61
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7.3.9.3 Swell Thisisanautovolumeswellprocessorthatcanautomaticallycreatefantastic swell effects while playing without any manual intervention. Use it subtlytoaddgroovetoyourrhythmpartsoruseitwithdeepersettingsto createdreamingpadsorstring-likesounds(figure7.62). Controls: DEPTH:setsthedepthofthevolumeswell,indB.Bydefaultthedepth isatmaxposition,meaningthatthevolumewillstartfromsilence.By loweringthiscontrolyoullmaketheeffecttostarttheswellphase from a level which is higher than silence, up to min position that makestheeffecttohavenoaction. SENS: this control sets the sensitivity for the Swell to recognize a newnoteorchordandthereforestartanewSwellcycle.Setithigher if you want the Swell cycle to start even at the beginning of softer passages,orsetitlowerifyouwanttheSwellcycletoonlystartfor louderstrikes. TIME:setsthelengthoftheSwellcycle.DuringtheSwellcycle(time theswelltakestoopenthepowerLEDbecomesred(itisnormally green).Thishelpstoimmediatelyrecognizewhentheswellistriggered. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempomakingtheswelltimetobespecifiedinmusicalfigures.
figure7.62
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7.4 Stomp Models (Table)

Stomp Models Delay EchoMan TapDelay BigPig Crusher DiodeOverdrive Distortion Feedback MetalDistortion MetalDistortion2 Overdrive OverScream PROdrive TheAmbassdor Compressor Dcomp 7BandGraphic 10BandGraphic EnvelopeFilter LFOFilter Rezo StepFilter Wah Wah10 Wah46 Wah47 ClassFuzz FuzzAge FuzzAge2 Based on* Delay IKMultimedia ElectroHarmonixMemoryMan IKMultimedia Distortion ElectroHarmonixBigMuffPi IKMultimedia IKMultimedia BossDS-1Distortion BossDF-2Superfeedbacker&Distortion BossMT-2Metal-Zone BossHM-2HeavyMetal BossSD-1Distortion IbanezTubeScreamerTS-9 ProCoRATDistortion MarshallGuv'Nor Dynamics IKMultimedia MXRDynacomp EQ IKMultimedia IKMultimedia Filter IKMultimedia IKMultimedia IKMultimedia IKMultimedia IKMultimedia IbanezWH-10 VoxWahV846 VoxWah847 Fuzz RogerMayerClassicFuzz ArbiterFuzzFace ArbiterFuzzFace
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FuzzOne Octa-V RightFuzz XSFuzz AnalogFlanger Chorus Chorus-1 ElectricFlanger Flanger MetalFlanger OptoTremolo PhazeNine Phazer10 SmallPhazer Uni-V Harmonator Octav PitchShifter Wharmonator Volume StepSlicer Swell
MaestroFuzzTone RogerMayerOctavia MosriteFuzzrite RogerMayerAxisFuzz Modulation BossBF-2Flanger IKMultimedia BossCE-1Chorus Electro-HarmonixElectricMistress IKMultimedia MXRFlanger117 FenderSuperReverbAmpOpto-Tremolo MXRPhase90 MXRPhase100 Electro-HarmonixSmallStone UnivoxUni-vibe Pitch IKMultimedia BossOC-2Octaver IKMultimedia DigitechWahmmyWH-1 Other IKMultimedia IKMultimedia IKMultimedia
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinno wayassociatedoraffiliatedwithIKMultimedia.Productnamesareusedsolelyforthepurposeof identifyingthespecificproductsthatwerestudieddurinoIKMultimediassoundmodeldevelopment and for describing certain types of tones produced with IK Multimedias digital modeling technology.Useofthesenamesdoesnotimplyanycooperationorendorsement. ARBITERFUZZFACEisaregisteredtrademarkofArbiterGroupPlc. BOSS,DS-1,DF-2,MT-2,HM-2,SD-1,BF-2,CE-1,OC-2aretrademarksorregisteredtrademarksofRolandCorporation. DIGITECHWHAMMYWH-1isaregisteredtrademarkofHarmanInternationalIndustries, Incorporated. ELECTRO-HARMONIX, Memory Man, Big Muff Pi, Electric Mistress, Small Stone are trademarksorregisteredtrademarksofNewSensorCorporation. FUZZRITEisaregisteredtrademarkofAndyJ.Moseley. IBANEZ,TubeScreamerTS-9,WH-10aretrademarksorregisteredtrademarksofHoshino GakkiCo.Ltd.Corporation. MAESTROFUZZTONEisaregisteredtrademarkofGibsonElectronics. MARSHALL,GuvNoraretrademarksorregisteredtrademarksofMarshallAmplificationPlc. MOSRITEisaregisteredtrademarkofLorettaMoseley. MXR,Dynacomp,Flanger117,Phase90,Phase100aretrademarksorregisteredtrade-
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marksofAppliedResearchandTechnology,Inc. PROCORATisatrademarkofProCoSound,Inc. ROGER MAYER, Classic Fuzz, Axis Fuzz, Octavia, are trademarks and registered trademarksofRogerMayer. UNI-VIBEisatrademarkofKorgUSACorporation. UNIVOXisatrademarkofKorgUSACorporation. VOX,WahV846,Wah847aretrademarksorregisteredtrademarksofVOXAmplification Ltd.
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Chapter 8 Amp Module (Amplifier Head)
8.1 Introduction AmpliTube 3 includes 31 amps organized in 4 categories: Clean, Crunch, Lead,andBass.Eachofthemodeledampsisatruerepresentationofthe originalhardwareunitsandaninvaluableadditiontoyoursonicarsenal.
figure8.1
To access the Amp module, click the Amp button located on the Module/ RigSelector(figure8.1).Therearetwoseparateamplifiermodulesthatcan beaccessedindependently(e.g.,AmpAandAmpB),orparalleledfordual ampsetups.Justselectoneoftheeightsignalpathpresetslocatedonthe Module/RigSelector(figure8.2).
figure8.2
To facilitate the amplifier models navigation, please read the following universalcontrolsdescriptions.
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8.2 On/Bypass This control enables/disables the Amp module from the plug-ins signal (figure8.3).
figure8.3
8.3 EQ Match TheEQmatchcontrolautomaticallyselectstheEQsectionassociatedtothe selectedpreamp(figure8.4).Thisisusefultoquicklyselectaspecificguitar ampwithitsrelatedEQModel.
figure8.4
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8.4 Amp Match The Amp match control selects the power amp stage associated to the selectedpreamp(figure8.5).
figure8.5
TheEQandAmpmatchcontrolsallowsyoutoselectaspecificvintageor boutiqueguitarriginseconds,givingyouaninstanttonegratification 8.5 Amp Model Types and Components SeveralAmpliTube3ampmodels(typicallythosethatwerealreadyincluded inAmpliTube2,AmpliTubeJimiHendrixandsomeoftheampsincludedin AmpliTube Metal) contain separate stages modeling that can be individuallyselected.Inthesecases,theAmpmoduleisdividedintothreeseparate modelsPre,EQ,and(Power)Amp.Thisallowsyoutodesigncustomamps choosingdifferentcomponentsfromavarietyoftop-notchamplifiers. Thisfeatureallowsyoutocreateyourownmixtureofstagesandpromotes experimentation.However,wearestillobsessedwithmodelsaccuracy.For this reason, and to reach a higher level of sonic fidelity (when compared with the original real amps) we added more details and finesse to our modelingtechniquesandimprovedthelevelofinteractionbetweentheamp blocksintheDSP.Basically,makingawholesinglemodeloftheentireamp. Thatswhyallrecentmodelsaremodeledasanentireamp,withoutthepossibilitytoselectsingleinternalstages(Preamp,EQ,andPoweramp).These arecallednon-flexiamps. Award-winningPoweredbyAmpliTubeproductslikeAmpliTubeFenderor AmpegSVXusedthissolutiontoachievemaximumaccuracywhilemodelingtheoriginalamps.
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8.5.1 Pre Model This is the menu where the Amp model is selected. For those amps that havebeenmodeledwithindividualselectablestages,youllbechoosingthe Preampstage. Fornewerampsthathavebeenmodeledasasingleblock(non-flexi),youll beselectingtheentireAmplifier.Asaresult,theEQand(Power)Ampmenus arenotincluded. ThePreModelisthefirststageintheAmpmodule.Thissectionmodelsthe initialpreampanddriveofeachamplifier(figure8.6).
figure8.6
8.5.2 EQ Model TheEQstagefollowsthePreModelandallowsyoutoEQyoursoundand designuniqueguitartones(figure8.7).
figure8.7
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8.5.3 Amp Model ThefinalstageoftheamplifiermoduleistheAmpmodel(figure8.8).For thoseampsthathavebeenmodeledwithindividualselectablestagesyou coulduseaFender-stylepowerampsectiononaMarshall-stylepreamp
figure8.8
BelowisabriefdescriptionofeachPreAmpModels.
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8.6 Pre Amp Models 8.6.1 Clean 8.6.1.1 American Clean MKIII This is a model of the clean channel from a popular and sought after Americanamplifier.Thesignaturetonecanbeheardonmanyalbumsand manystagesaroundtheworld.Experienceasparklingcleanwiththecapabilityforatouchofcrunchwhencrankedup(figure8.9).
figure8.9
Thisbeautifulampiscrystalclearbutcanalsodeliveredgysoundsbypushing the Master volume, and can deliver a nice preamp crunch tone when Rhythm2isengaged. Thisampisextremelyversatileyoucanreallygetmanytypesofcleanor edgytonesfromitsincrediblyflexiblepreamplifier.Byselectingtwodifferentpreampshapes(Rhythm2),andbyadaptingthetonewiththeShiftand Deep switches, you can really shape your clean/edgy sound in almost all possibleways.Addthefinal5bandgraphicEQandthetonalpossibilities arereallywide.Butbecareful,thisisnotasetandforgetamp.Beingit extremelyversatileitcanofcoursebesettoatonethatcouldbetotallyfar fromwhatisneededonthatpart.Itneedsadegreeofexperimentationand experiencebeforeyoucanreallymasterit! Controls: VOLUME:setsthevolumeofthecleanpreamp.Pushitcloserto10for anedgysoundthatstartstocrunch. BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolume controliskeptlow. TREBLE:setstheamountofhighfrequenciesonthesound. 138
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SHIFT:modifiesthefrequencieswheretheBasscontrolworks. BASS:setstheamountoflowfrequenciesonthesound. MIDDLE:setstheamountofmidfrequenciesonthesound. MASTER:determinesthelevelthatissenttothepoweramp.Turning this knob up, makes the power amp to saturate and produce great crunchsounds. RHYTHM 2:whenenabledthepreamphasmoregain,anditisthereforepossibletoobtainextremelymusicalandsweetcrunchsounds. DEEP:whenenabledthebassresponseoftheamplifierisextended. EQ:enablesthegraphicEQ. EQ BANDS:thesesliderscancontroltheequalizationoftheampon 5 distinct frequencies areas. Youll find it extremely musical and a powerfulsoundsculptingtool. PRESENCE: when turned up the amp becomes more present and brighter. REVERB: controls the amount of reverb coming from the internal springunit.
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8.6.1.2 American Tube Clean 1 ThisampismodeledafteraclassicAmericanguitaramp.Thisampisgreat forcleantodirtysounds,makingidealforcleanandcrunchyrhythm,rock, country,blues,andanythingelserequiringacleanampcapableofgettinga littledirtywhenthemusiccallsforit(figure8.10).
figure8.10
Controls: EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.1.3 American Tube Clean 2 This model features yet another classic American amplifier. Unlike the AmericanTubeClean1,thismodelisasmallercomboamp.Thisampdeliversacleanyetwarmtone(figure8.11).
figure8.11
Controls: EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME: adjusts the output level of the power amp stage, from 1 to10.
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8.6.1.4 American Vintage B Thedesignofthisampinfluencedmanyofitssuccessorsandwasusedby JimiHendrixinthestudiorecordingofVoodooChild(figure8.12).
figure8.12
ThisclassicAmericanamplifierwasatfirstdesignedtobeabassamp,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 playingstyles. Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRINGREVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.1.5 American Vintage D JimiHendrixacquiredthis100wattampin1968anduseditin1968-1969 withtheExperiencetour,togetherwithanassortmentofotheramps.The ampsportedabuilt-inspringreverbunit(figure8.13).
figure8.13
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME: adjusts the output level of the power amp stage, from 1 to10.
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8.6.1.6 American Vintage T ThiswasJimiHendrixsampofchoiceduring1965through1966.Itincluded aspringreverb(figure8.14).
figure8.14
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.1.7 Custom Solid State Clean Thisampmodelisclean.Itprovidesaveryuncoloredsignal,perfectforjazz. ItcouldbecomparedtoampsliketheJazzAmp120,idealforsparklingclean tones(figure8.15).
figure8.15
Controls: EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME: adjusts the output level of the power amp stage, from 1 to10.
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8.6.1.8 Jazz Amp 120 ItmayhaveJazzinitsname,butthisversatilecleansoundcanbeheardin manygenres.Manyofthetopmetalplayerskeepthisnot-so-secretweaponin thestudioforgreatcleansounds.Itssonicfeatureisthefantasticbuilt-inanalogchorusandvibratounitthatreallymadethisampaclassic(figure8.16).
figure8.16
Important:thisampcontainsabuilt-instereoChorus/Vibratounit.Toactuallybeabletohearthisinstereoyouwillneedtousetwomicrophonesin frontofitsCabinetandpanthewideLR.Formoreinformationabouthow tosetthis,see Chapter 9.5.7. Controls: BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolume controliskeptlow. VOLUME:setstheoverallampvolume.Theampremainscleanupto volume3or4andstartsdistortingforhigherpositions. DISTORTION:turningthisknobupfromtheminimumpositionbya littlebitturnsOnthedistortioncircuit.Fromthere,continuingrising thecontrolbringsmoreandmoredistortion. REVERB:controlstheamountofreverb. TREBLE:setstheamountofhighfrequenciesonthesound. MIDDLE:setstheamountofmidfrequenciesonthesound. BASS:setstheamountoflowfrequenciesonthesound. VIB/OFF/CHORUS:thisisathreepositionswitch; WhensettoOff,thesoundwillnotbeaffectedbychorusorvibrato. WhensettoVib,vibratowillbeturnedOn. WhensettoChorus,choruswillbeturnedOn. SPEED:setsthespeedoftheVibratoeffect.NotethatChorushasno settings. DEPTH:setstheintensityoftheVibratoeffect.NotethatChorushas nosettings.
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8.6.1.9 Metal Clean T This extremely high-quality amplifier delivers a very detailed and clean responseonthecleanchannel,incrediblywelldefinedistheperfectstarting pointforanykindofsound.Usethischanneltogetyourhyper-drivensounds fromstompsonly,aswellasforcreatingcleanoredgysounds(figure8.17).
figure8.17
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:Setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME: adjusts the output level of the power amp stage, from 1 to10.
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8.6.2 Crunch 8.6.2.1 American Tube Vintage ThisclassicAmericanamplifierwasatfirstdesignedtobeabassamp,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 playingstyles(figure8.18).
figure8.18
Controls: EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.2.2 British Blue Tube 30TB 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 legendarytonehelpedtoputmanyofrocksfoundingfathers(including4 guysfromLiverpool)onthemapandhasbeenahighlysoughtaftersound thatisstillheardonmanyalbumstoday(figure8.19).
figure8.19
Controls: EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. CUT: as on the original, cuts the high frequencies of the amps EQ stagewhenturneddown. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.2.3 British Copper 30TB Take yourself back to the 60s with this quintessential amp. Not just any version,butanaccuratemodelofthewell-knownandlovedversionofan alreadyspectacularamplifier.IfyouwantsomeBritishsound,youcanfind ithere(figure8.20).
figure8.20
The original copper panel model was non-top boost, and you can find it exactlyreplicatedherewhentheswitchTopBoostisOff.TurnitOntoadd thetopboostcircuitinasecondandbethenabletoadjustyoursoundwith BassandTreblepots. Controls: NORMAL:setsthevolumelevelfortheNormalchannel.NormalchannelhasamellowerresponsewhencomparedtotheBrilliantchannel. BRILLIANT:setsthevolumelevelfortheBrilliantchannel. VIB -TREM:setsthevolumelevelfortheVibratoandTremolochannel. TOP BOOST:addstheTopBoostcircuitintheBrilliantchannelsignal path.NormalandVib-Tremchannelsarenotaffectedbythis. BASS:adjuststheleveloflowfrequenciesinthesound.Activeonly onBrilliantchannelandonlywhenTopBoostisOn. TREBLE:adjustthelevelofhighfrequenciesinthesound.Activeonly onBrilliantchannelandonlywhenTopBoostisOn. TONE:setstheoverallbrightnessoftheamp.Itisalwaysactive,on allchannels.WhensettoMintheampisbright,whensettoMaxthe ampismellower. SPEED:setsthespeedoftheTremoloorVibratoeffect. SWITCH:determinesiftheVib-TremchannelwillproduceaVibrato oraTremoloeffect.
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8.6.2.4 British Lead S100 This amp is modeled on the Classic British 100 watt amp Jimi Hendrix is generallyassociatedwith.JimiHendrixoftenusedmultipleampheads(up to6)loopingthemtogethertogetmorepower,asetupthatcanberecreated inAmpliTube3becauseofitsdualrigcapability(figure8.21).
figure8.21
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8.6.2.5 British OR Anexcitingnewadditiontotheline,thismodelcanreallyturnheads.Youll hearthevintagehand-wiredandveryoriginalsoundofthiskillerBritish powerhousefromtheveryfirstnote(figure8.22).
figure8.22
Controls: F.A.C:thiscontrolisauniquetypeoftonecontrolfeaturedonlyonthis amp.Itisasixpositionselectablebasscutinthepreamp.Whenset tothefirstposition(1)itiscuttinglowfrequencyjustabit,whenset tolastposition(6)itiscuttinglotsoflowfrequencies.Intermediate positions deliver intermediate results. Experiment with this control whentheampisoverdrivenandyoullfinditextremelyuseful! Hz:setstheamountoflowfrequenciesinthesound. kHz:setstheamountofhighfrequenciesinthesound. HF.DRIVE:determinesthepresenceandbrightnessoftheamp. GAIN:setsthevolumeoftheamplifier,itisactuallythepoweramp level.
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8.6.2.6 THD Bi-Valve ThisisamodeloftheTHDBiValve*.Thismodernboutiqueamplifierhas becomeverypopularonthestageandinthestudio.Usingasingleended classAdesignitiscapableofwideexpanseoftone.Fromthecleantothe crunchytotheheavilysaturated,theTHDBiValvecancreateallthesetones withease(figure8.23).
figure8.23
Controls: EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.2.7 Tube Vintage Combo Thisisamodelofasmallvintageamplifierthatwasbasicindesignbutbig intone.Thismodelissimplebutsweet(figure8.24).
figure8.24
Controls: EQ MODEL: PRESENCE: cuts the high frequencies of the amps EQ stages when turneddown. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.3 Lead 8.6.3.1 American Lead MKIII Thisistheleadchannelofarenownedthree-channelAmericanamplifier, known for excelling at both clean and lead sounds. This channel can be bigandaggressivewhenyouwantsomeCaliforniacrunchandyoucanget smooth,tastysustainedleadsoundstoo(figure8.25).
figure8.25
Thisampisextremelyversatile,youcanreallygetalmostanytypeofsound from its incredibly flexible preamplifier. By calibrating the various gain stages(Volume->LeadDrive->Master),byselectingtwodifferentpreamp shapes(Rhythm2),andbyadaptingthetonewiththeSHIFTswitches,you can really shape your driven sound in almost all possible ways. Add the final5bandgraphicEQandthetonalpossibilitiesarereallyendless.Butbe careful,thisisnotasetandforgetamp.Beingitextremelyversatileitcan ofcoursebesettoatonethatcouldbetotallyfarfromwhatisneededon thatpart.Itneedsadegreeofexperimentationandexperiencebeforeyou canreallymasterit! Controls: LEAD DRIVE:setstheamountofgainoftheleadstage.Increasethis tohavemoresustainingdistortionanddecreaseittogetamoreedgy andcrunchytypeofdistortion. VOLUME:setsthegainoftheinitialstage.Thisisthegainthatcomes beforeallothersintheampsignalpath. MASTER:setsthepoweramplevel.Thisisthelatestlevelintheamp signal path. Setting high gains in the preamp (Volume and Lead Drive)andalsosettingMastertoaveryhighlevelcanresultinan overlypushedsoundthatcouldbedifficulttoobtainagoodsound. KeepthisathighlevelsonlyifVolumeandLeaddrivearenotsohigh. TREBLE:setstheamountofhighfrequenciesonthesound.
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BASS:setstheamountoflowfrequenciesonthesound. MIDDLE:setstheamountofmidfrequenciesonthesound BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolume controliskeptlow. SHIFT (BASS):modifiesthefrequencieswheretheBasscontrolworks. SHIFT (TREBLE): modifies the frequencies where the Treble control works. RHYTHM 2: when enabled the preamp has even more gain, and slightlychangesitstonalcharacter. DEEP:whenenabledthebassresponseoftheamplifierisextended. EQ:enablesthegraphicEQ. PRESENCE: when turned up the amp becomes more present and brighter. REVERB: controls the amount of reverb coming from the internal springunit.
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8.6.3.2 British Tube Lead 1 Made popular by the hard rockers of the 80s this British guitar amp has remainedaprizedtoneformanyoftodaysguitarplayers.Abletocrankout greattubesaturatedtonewitheasethismodelisagotoampforavarietyof heavyrockguitarsounds(figure8.26).
figure8.26
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8.6.3.3 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,itstillhastheclassictonethathasmadethisfamilyofampsa householdnameinrockguitar(figure8.27).
figure8.27
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8.6.3.4 Custom Modern Hi-Gain Based on the classic AmpliTube model, this amp features lots of gain for thatovertheedgedistortionsound.Similartomoderntubeleadsoundin character,ModernHi-Gainprovidesanadditionaltakeonthattypeofsound (figure8.28).
figure8.28
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8.6.3.5 Custom Solid State Fuzz BasedonAmpliTube1sfuzzamp,thismodelisaverydistinctanddistorted sound,reminiscentof60sfuzzsounds(figure8.29).
figure8.29
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.3.6 Custom Solid State Lead Thismodelfeaturesaprecisesolidstateleadsound.Ithasadarkertoneand excelsathighgainleadtones.Itisverysuitableforhardrockleadsandits gainisverystable,makingiteasytouseatlowvolumelevels(figure8.30).
figure8.30
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.3.7 Metal Lead T This classic amp provides the tightest bass and fastest response, even at extremespeedsandgain.Theresultisperfectforspeed,thrash,andother aggressivemetalstylesaswellassmoother,cleanerstyles,anditisamust forallmodernmetalcontaminations(figure8.31).
figure8.31
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8.6.3.8 Metal Lead V Engineered to the exacting demands of some of the greatest guitarists of alltime,thisampquicklybecameafavoriteoftonepuristsandgainheads alike.Capableofsomeofthecleanestortheheaviesttonesofalltime (figure8.32).
figure8.32
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. BOTTOM:usethisknobtoenhancethespeakerbottomendresonance. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.3.9 Metal Lead W Designedbysomeofthehardestrockersofthe90s,thisampwasbuiltfor puremetalmayhem.Theremaybenoheavier,moreaggressiveampinthe world(figure8.33).
figure8.33
Controls: PRE MODEL: GAIN:adjuststheinputgainofthepreampstage.Usethissettingto drivethepreampstage,from1to10. EQ MODEL: BASS: boosts and cuts the bass frequencies of the amps EQ stage, from1to10. MIDDLE:boostsandcutsthemidfrequenciesoftheampsEQstage, from1to10. TREBLE:boostsandcutsthehighfrequenciesoftheampsEQstage, from1to10. BOTTOM:usethisknobtoenhancethespeakerbottomendresonance. SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar ampsound,from1to10. AMP MODEL: VOLUME:adjuststheoutputlevelofthepowerampstage,from1to 10.
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8.6.3.10 Modern Tube Lead Thisampisamodelofoneoftheleadersinhard,drivenrocktonesmade today.Capableofsearingleadsandheavycrunch,thisamphasbeenrectifiedtocreateamodernrocktonethatishardtobeat(figure8.34).
figure8.34
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8.6.3.11 Vintage Metal Lead Thisampisbasedonanall-timeclassic,fromitsorigininthe70sthrough Aussie hard rock crazy 80s metal and beyond. Few amps have rocked as hard,foraslong(figure8.35).
figure8.35
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8.6.4 Bass 8.6.4.1 360Bass Preamp This amp toured and recorded for years with one of the biggest and bold rockbandsever.Classicrocktonesareanaturalwiththisamp,butitisalso knownforbeingusedbyoneofthemostfamousjazzbassistsofalltime. Shownoquarterandmakeyourbasskillwiththisamp-solidstatebutloud andproud(figure8.36).
figure8.36
When paired with its Matching cabined (1x18 Horn Bass) it can sound reallydarkwhencomparedtotodaysbassamps,butthatsthemagicofit! Controls: BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolume controliskeptlow. VOLUME:setstheoverallvolumeoftheamp.Setitlowforpureand cleantonesandpushitfordrivensounds. TREBLE:setstheamountofmidandhighfrequenciesonthesound. BASS:setstheamountoflowfrequenciesonthesound. RANGE:formsasemi-parametricmidrangeequalizertogetherwith Effect.UsetheRangecontroltoselectthecenterfrequencyofthemid frequencyequalizationprocessamong5positions. EFFECT:formsasemi-parametricmidrangeequalizertogetherwith Range. Use Effect boost or cut the midrange frequencies selected withtheRangecontrol. FUZZ:turnsOnthebuilt-inFuzzeffect. GAIN:setstheoutputvolumeoftheFuzzeffect. ATTACK:setsthetypeofFuzzeffectthatisapplied.WhensettoMin thesoundissimilartoasmoothoverdrive,whenmovedtowardmax thesoundgetsmoreaggressiveandfuzzy.
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8.6.4.2 Combo 150MB Thisisarenditionofthebasscombofordoublebass.Thetonedoesntstop there,though.Electricbassistshaveusedthistinybutmighty(andtoneful) comboampwithgreatsuccess.Greatthingscancomeinsmallsizes,andcan soundsurprisinglybigandfull(figure8.37).
figure8.37
Controls: VOLUME:setsthegainofthepreampstage. CONTOUR:setitatminforaflatandnaturalsound,riseittograduallymixinamidrangescoopthatmakesthetonemorebigandprocessed. HI BOOST:deliversagradualboostonmidandhighfrequencies. LOW CUT ON/OFF: when enabled extremely low frequencies are removedbythepreamp.Thisistoavoidoverloadingtheampbecause ofunwantedlowfrequenciescontent. TREBLE:setstheamountofhighfrequenciesonthesound. HI MIDDLE:setstheamountofmidhighfrequenciesonthesound. LOW MIDDLE:setstheamountofmidlowfrequenciesonthesound. BASS:setstheamountoflowfrequenciesonthesound. OUTPUT LEVEL:setsthevolumeofthepowerampstage. LIMITER:enablesthebuilt-inLimiter.Whenenabledthepoweramp isprotectedfromoverloading. LIMITER LEVEL:setsthethresholdforthelimitertotriggerin.When setlowerthelimiterwilltriggerinsooner,andwhensettohigher valuesthelimiterwilltriggerinathigherlevels.
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8.6.4.3 Green BA250 Thisisamodelofasolidstatepowerhousebassamplifierwithgreattoneshapingcontrols,awarmsoundunlikemostsolidstateamps,andasoughtafterpreamp(figure8.38).
figure8.38
Despitebeingsolidstatethisampdeliversanincrediblywarmandtasteful tone.WithitssignatureMiddlecutpreshapingfeaturewillimmediately bringyoubackto80sbasslines! Controls GRAPHIC EQUALIZATION:turnsOnthegraphicEQwhenenabled. MIDDLE CUT PRE-SHAPING:engagesamidfrequencyshapingthats verycharacteristicofthisamp.WhenitisOff,thepreampisalmost flatandnaturalsounding. GAIN:setsthepreampinputgain.Followwhatthefancyinputlevel LEDmetertellsandyoucantgowrong!Unlessyouwantoverdrive it! GRAPHIC EQUALIZATION:11sliderstocreateyourtone.Onlyafew graphicEQhavethemusicalqualityofthispowerfulsculptingtool. BALANCE: it balances the levels when you engage or disable the GraphicEQ. LEVEL:overallampvolume.Itsetsthelevelthatissenttothepower ampstage.
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8.6.4.4 Solid State Bass Preamp Thismodelfeaturesasolidstatebasspreamp,EQ,andasolidstatepower ampmodule.Itcleansupbeautifullyanddrivesjustashard(figure8.39).
figure8.39
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8.7 Pre Amp Models (Table)

Preamp Models AmericanCleanMKIII AmericanTubeClean1 AmericanTubeClean2 AmericanVintageB AmericanVintageD AmericanVintageT CustomSolidStateClean JazzAmp120 MetalCleanT AmericanTubeVintage BritishBlueTube30TB BritishCopper30TB BritishLeadS100 BritishOR THDBi-Valve TubeVintageCombo AmericanLeadMKIII BritishTubeLead1 BritishTubeLead2 CustomModernHi-Gain CustomSolidStateFuzz CustomSolidStateLead MetalLeadT MetalLeadV MetalLeadW ModernTubeLead VintageMetalLead 360BassPreamp Combo150MB GreenBA250 SolidStateBassPreamp Based on* Clean Mesa/BoogieMarkIIICombo(CleanChannel) FenderSuperReverb FenderDeLuxeReverb65 FenderBassman FenderDualShowman FenderTwinReverb IKMultimedia RolandJC-120 Mesa/BoogieTripleRectifier(CleanChannel) Crunch FenderBassman VoxAC30TopBoost VoxAC30-CopperPanel Marshall1959JTM100SuperLead OrangeOR-120Head THDBiValve SuproLate'50scombo Lead Mesa/BoogieMarkIIICombo(LeadChannel) MarshallJCM800 MarshallJCM900 IKMultimedia IKMultimedia IKMultimedia Mesa/BoogieTripleRectifier(LeadChannel) Peavey5150100Whead RandallWarhead Mesa-BoogieDualRectifier MarshallJMP100head Bass Acoustic360BassPreamp Gallien-KruegerMB150 TraceElliotAH250Head IKMultimedia
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8.8 Power Amp Models

Power Amp Models ClassAEL84 50WEL34 100WEL34 50W6L6 SingleEndedCI.A SolidState 100WKT66 100W6L6 100W6L6D 100W6L6T 100W6L6V 150W6L6MT Based on* VoxAC30models Marshall MarshallJMP100head FenderDeLuxeReverb65 SuproLate'50scombo CleanSolidStatePowerAmp Marshall1959JTM100SuperLead FenderBassman100W6L6 FenderDualShowman100W6L6 FenderTwin100W6L6 Peavey5150100Whead Mesa/BoogieTripleRectifier150W
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinno wayassociatedoraffiliatedwithIKMultimedia.Productnamesareusedsolelyforthepurposeof identifyingthespecificproductsthatwerestudieddurinoIKMultimediassoundmodeldevelopment and for describing certain types of tones produced with IK Multimedias digital modeling technology.Useofthesenamesdoesnotimplyanycooperationorendorsement. ACOUSTIC,360aretrademarksofGuitarCenter,Inc. FENDER, BASSMAN, DELUXE REVERB, SUPER REVERB, DUAL SHOWMAN, TWIN REVERB,TWINareregisteredtrademarksofFenderMusicalInstrumentsCorporation. GALLIEN-KRUEGERMB150isaregisteredtrademarkofGallien-KruegerCorporation. MARSHALL,1959JTM100 SuperLead,JMP100,JCM800,JCM900,GuvNoraretrademarksorregisteredtrademarksofMarshallAmplificationPlc. MESA/BOOGIE,Rectifier,MarkIII,aretrademarksofMesa/BoogieLtd. ORANGE, OR-120are trademarks or registered trademarks property of Orange Music ElectronicCompanyLtd PEAVEYisaregisteredtrademarkofPeaveyElectronicsCorporation. RANDALL,WarheadaretrademarksorregisteredtrademarksofRandallAmplifiersadivision ofU.S.MusicCorp. SUPROisatrademarkofZinkyElectronics. THDBiValveisatrademarkofTHDElectronicsLtd. TRACEELLIOTAH250isaregisteredtrademarkofPeaveyElectronicsCorporation. VOX, AC30, Wah V846, Wah 847 are trademarks or registered trademarks of VOX AmplificationLtd. 5150isaregisteredtrademarkofEdwardVanHalen.
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Chapter 9 Cab Module (Cabinets + Microphones)
9.1 Introduction ToaccesstheCabmodule,clicktheCabbuttonlocatedontheModule/Rig Selector(figure9.1).
figure9.1
TheCabmoduleincludes2models:theCabinetModelandtheMicModel, andanewsectioncalledRoom(figure9.2).
figure9.2
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9.2 Cabinet Model TheCabinetModelincludestheCabModelSelector,theBypassandMatch buttonsandanewexcitingfeaturecalledSize(figure9.3).
figure9.3
9.2.1 Cab Model Selector To select a Cabinet model, click the Cab Model Selector (figure 9.4) and navigatethroughitscategoriesorusetheforward/backarrows(figure9.5).
figure9.4
figure9.5
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9.2.2 Bypass ClickthisbuttontobypasstheCabmodule(figure9.6).
figure9.6
9.2.3 Match If the Match control is enabled (figure 9.7), it will automatically select a cabinet that matches the Amp model that you have selected in the Amp module.Ifyouwanttouseanothercabinet,justturntheCabmatchOffand selectanothermodel.
figure9.7
9.2.4 Size AmpliTube3allowsyoutogobeyondthecabinetphysicallimitationsJust usetheSizecontroltoexpandorreducethesizeofthecabinet.(figure9.8)
figure9.8
Important:toobtainthemostaccuratecabinetsound,thiscontrolshouldbe keptatitsdefaultposition(Center).Thepurposeofthiscontrolistoprovide acreativetoolthatallowsyoutosqueezeorexpandthetonalcolorfor theselectedcab.However,whenyoureaftertheexactreplicaoftheoriginal cabinetsonictexture,remembertokeeptheSizecontrolcentered. 9.3 Cabinet Models AmpliTube 3 offers 45 cabinet models organized by Instrument (Guitar/ Bass) and by Speaker Type (Rotary). The Guitar/Bass categories are suborganized by speaker size, and the Rotary category includes 2 models. PleasetakealookateachmodelandchecktheCabinetModelsTable.
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9.3.1 Guitar 6 9.3.1.1 1x6 Small Combo
figure9.9
9.3.2 Guitar 10 9.3.2.1 1x10 Combo Modern
figure9.10
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9.3.2.2 4x10 Closed Modern
figure9.11
9.3.2.3 4x10 Open Vintage
figure9.10
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9.3.3 Guitar 12 9.3.3.1 1x12 Combo
figure9.13
9.3.3.2 1x12 MB II
figure9.14
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9.3.3.3 1x12 MB III
figure9.15
9.3.3.4 1x12 Open Modern
figure9.11
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figure9.17
9.3.3.6 2x12 Closed Vintage
figure9.18
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9.3.3.7 2x12 Gry British Vint
figure9.19
9.3.3.8 2x12 JP Jazz
figure9.20
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9.3.3.9 2x12 Open SL
figure9.21
9.3.3.10 2x12 Open TJ120
figure9.22
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figure9.23
9.3.3.12 4x12 British Or
figure9.24
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9.3.3.13 4x12 Closed 25 C
figure9.25
9.3.3.14 4x12 Closed 75 C
figure9.26
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9.3.3.15 4x12 Closed J120
figure9.27
9.3.3.16 4x12 Closed Modern 1
figure9.28
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9.3.3.17 4x12 Closed Modern 2
figure9.29
9.3.3.18 4x12 Closed Vintage 1
figure9.30
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9.3.3.19 4x12 Closed Vintage 2
figure9.31
9.3.3.20 4x12 Metal F 1
figure9.32
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9.3.3.21 4x12 Metal F 2
figure9.33
9.3.3.22 4x12 Metal T 1
figure9.34
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9.3.3.23 4x12 Metal T 2
figure9.35
9.3.3.24 4x12 Metal T 3
figure9.37
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9.3.3.25 4x12 Metal V 1
figure9.37
9.3.3.26 4x12 Metal V 2
figure9.38
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9.3.3.27 4x12 Metal V 3
figure9.39
9.3.3.28 4x12 Modern M 1
figure9.40
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9.3.3.29 4x12 Modern M 2
figure9.41
9.3.3.30 4x12 Modern M 3
figure9.42
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9.3.3.31 4x12 Vintage M 1
figure9.43
9.3.3.32 4x12 Vintage M 2
figure9.44
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9.3.4 Guitar 15 9.3.4.1 2x15 Closed B J130
figure9.45
9.3.4.2 2x15 Closed D J130
figure9.46
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9.3.5 Bass 10 9.3.5.1 4x10+tw Bass
figure9.47
9.3.5.2 4x10+tw TE Bass
figure9.48
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9.3.6 Bass 12 9.3.6.1 1x12 Bass
figure9.49
9.3.6.2 1x12 BassJz
figure9.50
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9.3.7 Bass 15 9.3.7.1 1x15 Bass Vintage
figure9.51
9.3.8 Bass 18 9.3.8.1 1x18 Horn Bass
figure9.52
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9.3.9 Rotary 9.3.9.1 Rotary 147-1
figure9.53
9.3.9.2 Rotary 147-2
figure9.54
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9.4 Cabinet Models (Table)

Cabinet Model 1x6SmallCombo Guitar10 1x10ComboModern 4x10ClosedModern 4x10OpenVintage 1x12Combo 1x12MBII 1x12MBIII 1x12OpenModern 1x12OpenVintage 2x12ClosedVintage 2x12GryBritishVint 2x12JPJazz 2x12OpenSL 2x12OpenTJ120 2x12OpenVintage 4x12BritishOr 4x12Closed25C 4x12Closed75C 4x12ClosedJ120 4x12ClosedModern1 4x12ClosedModern2 4x12ClosedVintage1 4x12ClosedVintage2 4x12MetalF1 4x12MetalF2 4x12MetalT1 4x12MetalT2 4x12MetalT3 4x12MetalV1 4x12MetalV2 4x12MetalV3 4x12ModernM1 Guitar 6 FenderSSCombo Mesa/Boogie1x10"SubwayRocket Marshall4x10'90sJCM410 FenderSuperReverb1967 Guitar 12 Marshall1x12Valvestate12 Mesa/BoogieMarkII1x12"EV Mesa/BoogieMarkIII1x12"EV VHTPitbull1x12Combo FenderDeLuxe65 Marshall19222x12Greenbacks VoxAC302x12"'60sGraybacks RolandJC-1202x12" SearsSilvertone2x12 FenderTwin2x12JBLD120F VoxAC30'60sBluebacks 4x12"OrangePPC412 Marshall4x12,Greenbacks Marshall4x12,G1275 Marshall4x12,JBLD120F Marshall4x12'80s1982A Mesa/Boogie4x12Rectifier Marshall4x12Angled,'70sGreenbacks Marshall4x12Straight,Greenbacks Fender4x12MH1 Fender4x12MH2 Mesa/Boogie4x12Rectifier1 Mesa/Boogie4x12Rectifier2 Mesa/Boogie4x12Rectifier3 Peavey51504x121 Peavey51504x122 Peavey51504x123 Marshall4x12JCM8001 Based on*
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4x12ModernM2 4x12ModernM3 4x12VintageM1 4x12VintageM2 2x15ClosedBJ130 2x15ClosedDJ130 4x10+twBass 4x10+twTEBass 1x12Bass 1x12BassJz 1x15BassVintage 1x18HornBass Rotary147-1 Rotary147-2
Marshall4x12JCM8002 Marshall4x12JCM8003 Marshall19604x121 Marshall19604x122 Guitar 15 FenderBassman2x15,JBLD130F FenderDualShowman2x15,JBLD130F Bass 10 SWRGoliath4x10 TraceElliot4x10" Bass 12 CustomBass1x12 Gallien-Krueger1x12"MB150 Bass 15 AmpegB15R15 Bass 18 Acoustic301FoldedHorn18 Rotary Leslie147originalAlNiCowoofer Leslie147modernreplacementwoofer
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinno wayassociatedoraffiliatedwithIKMultimedia.Productnamesareusedsolelyforthepurposeof identifyingthespecificproductsthatwerestudieddurinoIKMultimediassoundmodeldevelopment and for describing certain types of tones produced with IK Multimedias digital modeling technology.Useofthesenamesdoesnotimplyanycooperationorendorsement. ACOUSTIC,301aretrademarksofGuitarCenter,Inc. AMPEG,B15RaretrademarksofLOUDTechnologies,Inc. FENDER,BASSMAN,SUPERREVERB,DUALSHOWMAN,TWIN,MHareregistered trademarksofFenderMusicalInstrumentsCorporation. GALLIEN-KRUEGERMB150isaregisteredtrademarkofGallien-KruegerCorporation. JBLisaregisteredtrademarkofJBLProfessional. LESLIE147isaregisteredtrademarkofHammondSuzukiUSA,Inc. MARSHALL, JCM800, JCM410 are trademarks or registered trademarks of Marshall AmplificationPlc. MESA/BOOGIE, Rectifier, Subway Rocket, Mark II, Mark III, are trademarks of Mesa/ BoogieLtd. ORANGE, PPC412 are trademarks or registered trademarks property of Orange Music ElectronicCompanyLtd. ROLAND,JC-120areregisteredtrademarksofRolandCorporation. SEARSisaregisteredtrademarkofSearsBrand,LLC. SILVERTONEisaregisteredtrademarkofSamickMusicCorporation. SWR,GoliatharetrademarksofSWRSoundCorporation. TRACEELLIOTisaregisteredtrademarkofPeaveyElectronicsCorporation. VHTPitbullisatrademarkofVHTAmplification,Inc. VOX,AC30aretrademarksorregisteredtrademarksofVOXAmplificationLtd.
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9.5 Mic Model TheMicModelincludestheMicModelselector,2microphonestomicand mixeachcabinet,andMute,Solo,Phase,Pan,andMicBlendcontrols(figure 9.55).
figure9.55
Thanks to the new design of the Cab module, you are able to Mute, Solo, changethePhase,andPaneachmicrophoneindividuallyandthencombine their settings via the MIC blend slider. Also, you can easily change each microphonespositionanddistance.Alloftheseoptionsallowyoutorecreateyourmicrophonestechniquesandexpandyourmusicproductionskills. Below,abriefdescriptionofeachcontrol.
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9.5.1 Mic Model Selector Toselectamicrophonemodel,clicktheMicModelSelector(figure9.56)and navigatethroughitscategoriesorusetheforward/backarrows(figure9.57).
figure9.56
figure9.57
Ifyouwanttouse2microphonesselectamicmodelfrombothMic1and Mic2. IfyouwanttousejustonemicrophoneselectNonefromMic2modelslist.
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Note: when loading presets from previous AmpliTube products Mic 2 will beselectedtoNoneautomaticallybecausepreviousproductsonlyhaveone mic.ToaddasecondmicrophoneinAmpliTube3justclicktheMicModel SelectorandchooseamicmodelinsteadofNone(figure9.58).
figure9.58
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9.5.2 Position Tochangethepositionofthemicrophoneinrelationshiptotheconeofthe speaker,movethemicrophone(oritsidentificationnumberlocatedinthe spatialgraphic)(figure9.59)fromlefttoright(orviceversa)untilyoufind thesweetspot.Inotherwords,youwillbeabletochangethemicrophones positionfromoffaxis(outsideedgeofthespeaker)toonaxis(center)and everythinginbetween.
figure9.59
figure9.60
On-Axis means that the microphone is positioned in the center of the speaker. (figure 9.60) Typically, On Axis position delivers a rich tonal balance,withpresenceandhigh-frequencycontent.However,thiscouldbetoo brightorharshforsomeAmpsettings.Inthiscase,trytheOffAxisposition toobtainasweetertone.
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Off-Axismeansthatthemicrophoneispositionedattheoutsideedgeofthe speaker.(figure9.61)
figure9.61
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9.5.3 Distance To change the distance of the microphone in relationship to the speaker, movethemicrophoneUp(Near)(figure9.62)orDown(Far)(figure9.63)or viceversauntilyoufindtheproperdistance.
figure9.62
figure9.63
Tosummarize,movingthemicrophonehorizontallywillchangeitsposition (On/Offaxis)andmovingitverticallywillchangeitsdistance(Near/Far). ProductionTips: To obtain detailed clean sounds, mic up your Cab using the On Axis positionandNeardistancesettings.Ifthesoundistoobigforyourmix, changethemicdistancetoFar. In general, extremely high-gain sounds match well together with an Off-AxispositionandNeardistancesettings,(especiallyifyouareusing abrightmicrophoneliketheDynamic57). 206
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Important:exactlyasitshappeninginrealitywhenyoucombinetwomicrophonesplacedaddifferentdistancesinfrontofanamplifierandyoumix themuptheresultcanbeaphaseysoundaffectedbyweirdcombfiltering. Sometimesthisiswhatitsactuallywanted,butincaseyouhearthisand youdonotlikewhatyougetjustbesuretoalignthetwomicrophonesmore orlessatthesamedistancefromthespeaker. Youcanalsoblendthemicrophonesat25%or75%insteadof50%,this willreducethephaseyeffectwhenmicsareplacedatdifferentdistances. Although,again,thisissometimessomethingwanted! Tip:experimentwiththefantastic3DandsenseofspaceAmpliTube3can deliverbypanningthetwomicrophoneswideL-R(orjustabit)andmoving the microphones in front of the cab. Youll discover some amazingly nice waysofhavingyourtonestobeplacedonthestereofieldandhavingthem togoinsidethemixoroutside,withamazingspatialpresence. 9.5.4 Mute Click this button to Mute the selected microphone (its number will be dimmed(figure9.64).
figure9.64
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9.5.5 Solo Click this button to Solo the selected microphone (the other microphones numberwillbedimmed)(figure9.65).
figure9.65
9.5.6 Phase ClickthisbuttontochangetheselectedmicrophonePhase(figure9.66).You cangetsomereallyweirdtonesbycombiningtwomicrophonesindifferent positionsandreversingphaseonone.Experiment!
figure9.66
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9.5.7 Pan Tochangeamicrophonepansetting,movethePanknob(figure9.67)tothe desiredpositionandcheckitsvalueintheSelectedParameterDisplay.
figure9.67
Tip:whencombiningtwomicrophonesitissometimeveryusefultoslightly open their Pan controls. This can result in some extremely realistic and nicely3Dsoundingtonesthatcanfitbetterinthemixbecausetheycantake advantageofspatialcuttroughinadditionto2Dnormalpanning. 9.5.8 Mic Blend To combine both microphone settings, move the Mic Blend slider to your desiredposition(figure9.68).
figure9.68
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9.6 Microphone Models AmpliTube3offersmicrophonemodelsorganizedin3categories,Dynamic, Condenser,andRibbon. 9.6.1 Dynamic 9.6.1.1 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 guitarampmic(figure9.69).
figure9.69
Typicallyusedinstudiospairedwithasmootherandwarmercondensermic.
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9.6.1.2 Dynamic 20 Thismicmodelrecreatesasmoothreactionacrossawidespectrumoffrequencies,especiallyattractiveinthelowarea.ThismeansthattheDynamic 20isagreatselectionforacousticandelectricbass(figure9.70).
figure9.70
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9.6.1.3 Vintage Dynamic 20 This model is a vintage dynamic large diaphragm microphone that used to be the standard mic for bass amps and kick drums during the 60s. Its warmandpresent,andhasasmoothroll-offathighfrequencies.Ithasa verypleasantmidrangepresencetogetherwithasmoothhighfrequencies rolloffthatdeliversanicevintagesheentothetone(figure9.71).
figure9.71
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9.6.1.4 Dynamic 421 Probablythesecondmostpopulardynamicmictouseonguitaramps,this modelprovidesanequallypleasingsound,butiswarmerthanthe57(figure 9.72).
figure9.72
Italsoaddsaveryfocusedboostonhi-midfrequenciesthatmakesitsuitabletogetaggressivedriventones.
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9.6.1.5 Dynamic 441 Thismodelhasaflatterfrequencyresponsethanmostotherdynamicmics. Thismicishighlyregardedasaguitarmicandusedwidelyinstudiosall overtheworld(figure9.73).
figure9.73
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9.6.1.6 Dynamic 609 Thisisamodelofafaithfulandpopularmicrophoneuseddailyinmanystudiosandcanbefoundhangingaroundthereoronstageseverywhere.This dynamicmicrophonecandeliverhonestyetpunchysounds(figure9.74).
figure9.74
Canresultinverymid-rangeysoundsattimes,butthisissometimeswhat youwant,especiallywhencombinedwithawarmercondensermicrophone.
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9.6.2 Condenser 9.6.2.1 Condenser 12 Thismicmodelisbasedononeofthefirstlegendarytubemicrophonesin thehistoryofrecording(figure9.75).
figure9.75
Extremelydetailedhighfrequenciescansometimesemphasizesomespeakersfizzinessespeciallywhenplacedonaxis,soitistypicallyusedslightly off.
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9.6.2.2 Condenser 67 This mic model is based on one of the most famous multi-purpose studio microphones(figure9.76).
figure9.76
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9.6.2.3 Condenser 84 No microphone collection would be complete without a great small diaphragmcondensermic.Thismodelisbasedonthestandardforsmalldiaphragmmics.Aswithanygoodsmallcondensermic,the84providesaclean clearpictureoftheguitartone(figure9.77).
figure9.77
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9.6.2.4 Condenser 87 Thisisamodelofoneofthemostpopularlargediaphragmmicsever(figure 9.78).Itcanbefoundinanylargerecordingstudiomiclocker.Becauseofits excellentfrequencyresponsecurve,the87hasbecomethego-tomicwhen needingaclean,flatteringsound.
figure9.78
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9.6.2.5 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 high-quality sound with low noise and a very impressive dynamic range (figure9.79).
figure9.79
Thismicrophonewillnotcolorthesoundofthespeaker,oratleastwillcolor itverylittle.Thatswhyitisagreatchoicetohearaverynaturalrendering ofthespeakersoundevenwhenusedalone.
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9.6.2.6 Condenser 414 The Condenser 414 is modeled after another highly regarded large diaphragm condenser microphone (figure 9.80). It is a flat and clean/open microphone that will flatter big full tones and will also blend beautifully whencombinedwithanothercabinet/micsetup.
figure9.80
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9.6.3 Ribbon 9.6.3.1 Ribbon 121 Usethisribbonmicrophonetocaptureapure,naturalsound.Thisismodeled after one of the must-have studio ribbon microphones of our time (figure9.81).
figure9.81
Incrediblypresentmidrangewithanaturalandsmoothrolloffonthehigh frequencies,makesitidealwhenyourehearingtoomuchfizzfromthein axistoneonhighgainandmetaltones,switchingtothismicwillreducethe unwantedhighfrequenciesfizznessinawaythatwillnotreducepresence atall.
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9.6.3.2 Ribbon 160 Thismicis modeledafteradouble-ribbonhypercardioidmicrophone,one of the top choices for capturing the sound of a broad diversity of sources (figure9.82).
figure9.82
Verydetailedandwithafocusonmidrange,trythiswhenyouwantmore midrangepresencewithoutapplyingEQorchangingampsettings.
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9.6.3.3 Velo-8 This is a double-ribbon figure-8 microphone with a unique Neodymium element(figure9.83).Withasilky-smoothhighendandgoodlowendbody, agreatchoiceformorevintage-soundingguitartones,thismicmixesvery wellwithothermicrophonesforveryfull-bodiedrecordings.
figure9.83
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9.7 Microphone Models (Table)

Mic Model Dynamic57 Dynamic20 VintageDynamic20 Dynamic421 Dynamic441 Dynamic609 Condenser12 Condenser67 Condenser84 Condenser87 Condenser170 Condenser414 Ribbon121 Ribbon160 RibbonVelo-8 Based on* Dynamic ShureSM57 Electro-VoiceRE20 AKGD20 SennheiserMD-421 SennheiserMD-441 SennheiserMD609 Condenser AKGC12 NeumannU67 NeumannKM-84 NeumannU-87 NeumannTLM170 AKGC-414ULS Ribbon RoyerR121 BeyerdynamicM160 GrooveTubesVelo-8
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinno wayassociatedoraffiliatedwithIKMultimedia.Productnamesareusedsolelyforthepurposeof identifyingthespecificproductsthatwerestudieddurinoIKMultimediassoundmodeldevelopment and for describing certain types of tones produced with IK Multimedias digital modeling technology.Useofthesenamesdoesnotimplyanycooperationorendorsement. AKG,C12,D20,C-414ULSareregisteredtrademarksofAKGAcousticsGmbH. BEYERDYNAMIC,M160areregisteredtrademarksofBeyerdynamicGmbH&Co. ELECTRO-VOICE,RE20areregisteredtrademarksofElectro-Voice,Inc. GROOVETUBES,Velo-8areregisteredtrademarksofGrooveTubes,LLC. NEUMANN,U67,U87,KM-84,TLM170areregisteredtrademarksofGeorgNeumann GmbH. ROYER,R121areregisteredtrademarksofBulldogAudio,Inc.DBARoyerLabsCorporation. SENNHEISER, MD-421, MD-441, MD609 are registered trademarks of Sennheiser ElectronicCorp. SHURE,SM57areregisteredtrademarksofShureIncorporated.
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9.8 Room ThenewRoomsectionallowsyoutoplacethecabinetinaparticularambienceandcontrolthewidth,pan,andleveloftheRoomMics.Inaddition,it includestheMute,Solo,andPhasebuttons.ExperimentwithalltheCab,Mic Models,andRoomTypestocreateyourperfectcabinetsound(figure9.84).
figure9.84
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9.8.1 Room Type Selector ClicktheRoomTypeSelector(figure9.85)toselectaRoompresetorusethe forward/backarrows(figure9.86).
figure9.85
figure9.86
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9.8.2 Mute ClickthisbuttontoMutetheRoomsection(figure9.87).
figure9.87
9.8.3 Solo Click this button to Solo the Room section (the microphones selected via MicModelwillbemutedandtheiridentificationnumberswillbedimmed) (figure9.88).
figure9.88
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9.8.4 Phase ClickthisbuttontochangetheRoomsPhase(figure9.89).
figure9.89
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9.8.5 Room Mics Controls
figure9.90
Width:usethiscontroltochangethewidthbetweenmicrophones.At0,the microphonesarenexttoeachotherinthecenteroftheroom(figure9.91). At100,onemicrophoneislocatedtotheleftsideandtheothertotheright side(figure9.92).
figure9.91
figure9.92
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UsethiscontroltosettheStereoimagewidththatwillbeproducedbythe ambiencesignal. When set to default (Center), the ambience will be producing a natural stereoroomsound. Iflowered,theimagewillgraduallynarrowuptobecomecompletelymono attheminimumposition. Ifincreased,theimagewillbeexpandedcausingtheimpressionofthestereofieldtobewiderthanthespeakers.Becarefulnotoverdothisbecause thesoundmightbecancelled(orpartially)whenlisteninginmono. Pan:thiscontrolallowsyoutopanbothmicrophonestotheleft,center,or rightwithinthestereoimage(figure9.93).
figure9.93
Level:controlstheRoomMicsLevels.Thisisagreattooltocreatedifferent dimensionswithinyourmix(figure9.94).
figure9.94
ThevaluesoftheWidth,Pan,andLevelcontrolsareshownintheSelected ParameterDisplay.
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9.8.6 Room Type Presets Thereare5RoomTypePresets;AmpCloset,SmallStudio,MidStudio,Large StudioandHall.Listentoeachpresetandselecttheonethatbestfitsyour sound(figure9.95).
figure9.95
9.9 Rotary Speaker
figure9.96
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9.9.1 Introduction TheRotary1471andRotary1472modelsareafaithfuldigitalrecreationofanextremelygoodsoundingalloriginalclassicRotaryspeakerunit producedinthe60s. 9.9.2 Rotary Speaker Models Model147-1comeswithallneworiginalspeakers,whileModel147-2comes withatighterandpowerfulreplacement15speakeronthelowfrequency section. Youcouldchooseeitherofthem,dependingonthetypeofmusicandsound you want to process with the Rotary speaker. Consider Model 147-1 to be moreaccuratewiththeoriginalwithanupfrontmidrange,and147-2tobe morebass-powerfulanddefinedonlowfrequencies. 9.9.3 Setup Thismenu(figure9.97)isusedtoselectvarioustechniquesusedtorecord theRotaryspeakerunitinthestudio:
figure9.97
Open:meansthatthelowfrequencycabinetwasopenduringtherecording. Closed:meansthatthelowfrequencycabinetwasclosedduringtherecording. Front:meansthattherotatinghornmicrophoneswhereplacedatthefront oftheLesliecab,meaningthesoundwaspassingthroughtheslotsonthe panels.
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Back: means that the horn microphones where placed at the back of the Leslie cabinet, meaning the sound was directly taken from the horn, not passingthroughtheslotsonpanels,orjustpartially. Mono: means the bass drum was recorded with only one microphone, in mono. 9.9.4 Width UsethiscontroltosettheStereoimagewidththatwillbeproducedbythe Rotaryspeaker(figure9.98).
figure9.98
Whensettodefault(Center)theRotaryspeakerisproducingaconvincing andnaturalstereoimage. Iflowered,theimagewillgraduallynarrowuptobecomecompletelymono attheminimumposition. If increased, the image will be expanded causing the impression of the stereo field to be wider than the speakers. Be careful not to overdo this becausethesoundmightbecancelled(orpartiallycancelled)whenlisteninginmono.
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9.9.5 Balance Usethiscontroltoalterthebalancebetweenthetoprotatinghornsandthe bottomrotatingdrumontheRotarySpeakerunit.(figure9.99)
figure9.99
At default (center) position the sound is usually balanced, moving the control toward the minimum position makes the level of the top rotating horns(midandhighfrequencies)tobereduced,movingthecontroltoward the maximum position makes the level of the bottom rotating drum (low frequencies)tobereduced.
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9.9.6 Speed SetsthespeedoftheRotarySpeaker(figure9.100).
figure9.100
Slow:makesthehornanddrumtorotateatslowspeed. Fast:makesthehornanddrumtorotateathighspeed. Brake:makesthehornanddrumtostoprotating. Therealrotatingspeakersinsidethisunitaretakingtheirtimetobothslow downorspeedup;thischaracteristicisalsopartofitssound.Themodelhere isbehavinginthesameway,withtheexacttimes.Thatswhyspeedchanges arenotinstantaneous.
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Chapter 10 Rack FX Module (Post Effects)
10.1 Introduction ToaccesstheRackmodule,clicktheRackbuttonlocatedontheModule/Rig Selector(figure10.1).TherearetwoindependentRackmodulesfeaturing4 stereorackeffectseach.Theycanbeusedindependentlyortogetherfora totalof8rackeffects.
figure10.1
TofacilitatetheRackmodelsnavigation,pleasereadthefollowingcontrols descriptions. 10.2 On/Bypass This control enables/disables the Rack module from the plug-ins signal. WhenisOn,theswitchlooksred.(figure10.2)
figure10.2
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10.3 Rack FX Selector To select a rack model, click the Rack Model Selector (figure 10.3) and navigatethroughitscategoriesorusetheforward/backarrows.(figure10.4)
figure10.3
figure10.4
10.4 Drag and Drop Feature ThankstoAmpliTube3drag&dropfeatureyouareabletore-arrangethe orderoftheracksontheflyandmonitortheresultsinreal-time
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10.5 Rack FX Models AmpliTube3offers17rackmodelsorganizedin6categories,Modulation, Delay&Reverb,Filter,Pitch,EQ&Dynamics,andOther. 10.5.1 Delay & Reverb 10.5.1.1 Digital Delay Thisadvanceddelaymodeledeffectcanaddavarietyofdepthtothesound, byprovidingfivedifferentdelaymodes.Thedelaycanalsobesynchedtothe hosttempoprovidingevenmoreflexibility(figure10.5).
figure10.5
Controls: MODE: sets the output mode of the Delay effect; Stereo, Left/Right, Mono,Left/Center/Right,andDoubler. DELAY TIME:setsthetimebetweentheechoes,from1msto2000ms. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempoand changestheRatecontroltobeatvalues. FEEDBACK:changestheamountoftimethatthedelayrepeats,from 0%to100%. FILTER: sets the low pass filter for the delay effect, from 200 Hz to 20kHz.Whensettomidvaluesitgivesanicewarmthtothedelay timbre. MIX:adjuststheamountofwetsoundwiththedrysound,from0% to100%. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.1.2 Digital Reverb Thisdigitalreverbiscapableofaddingsmallamountofspacetoasignalor creatingahugehallaroundtheinstrument(figure10.6).
figure10.6
Controls: DECAY TIME:setsthelengthofthereverb,from0.60secondsto14.00 seconds. DENSITY: sets the number of reflections generated by the reverb, from0to99. COLOUR:setsthereverbcolorationfromdarktolight,from2kHzto 20kHz. MIX:adjuststheamountofwetsoundwiththedrysound,from0% to100%. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.1.3 Tap Delay Thiscreativedelayeffectunitcanbeusedtocreateinterestingandunusual delayeffectsthankstothe8totallyindependenttaps.Youcancreategroovingrhythmpatternsbycombiningmoretapswithaspecifictimesignature, andyoucanmixthisupwithpsychedelicreversetapeeffectsyouareable tosetforeachtap(figure10.7).
figure10.7
TheTapDelayisactually8delaysinonesingleunit,anditallowsyoutoset time,timbreandlevelforeachoneoftheseunits.Inaddition,youcangloballycontrolwithsingleknobsparametersforallthe8tapsatthesametime, liketime,dry/wetmixandfeedbackamount. Controls: TIME:globallyshiftsthedelaytimeofallthe8taps.Thisisarelative controlthatworksinthisway: Whensetatthecenterposition(1x)itdoesnotalterthetimethat hasbeensetuponeachtap. Whensettominimum(0.25x)itdividesalltimesbyfour. Whensettomax(4x)itmultiplyalltimesbyfour. Useittogloballychangethedelaytempowithoutchangingtherelationsbetweenalltaps. MIX: globally adjust the effect mix between the Dry signal and all the8delaytaps. FEEDBACK: globally adjust the amount of feedback the delay will have.Whensetatmaximum,thedelaywithbesustainingitself. TAP:usethesebuttonstoselectwhichoneamongthe8delaytaps youregoingtoeditwithnextcontrols. LEVEL:setstheaudiolevelfortheselecteddelaytap. TIME: sets the delay time for the selected tap. It can be shown in milliseconds or in musical divisions, depending on the BPM Sync switchposition. TAPS DISPLAY: shows each Tap as a vertical bar. The horizontal position of the bar represent the delay time, the height of the bar representtheaudiolevel. FILTER:setsthetimbrefortheselecteddelaytap,darkeratminimum andbrighteratmaximum. REVERSE:enablethisbuttontotransformtheselecteddelaytapfrom normaltoreverse.Whensettoreverseadelaytapwillsoundlikea reversedtapeloop. LINK:enablethisbuttontomakeachangeyoudoontheabovementionedparameterstoapplytoallthe8tapsatthesametime. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
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10.5.2 EQ & Dynamics 10.5.2.1 Graphic EQ IKMultimediaproprietary31bandGraphicEQ(figure10.8);
figure10.8
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. Eachbandhas+/-15dBboost,plusResetbutton(totalresetofallbandsat 0dB),andLevelslider(+/-15dB).
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10.5.2.2 Parametric EQ WithitsthreetotallyindependentEQs,thisparametricEQprovidesenough powertosculpttheperfectguitartoneorsurgicallyenhanceandalterany signalsentthroughit(figure10.9).
figure10.9
Controls: BASS: GAIN:adjuststheboostorcutofthebassparametricEQ,from-15 dBto+15dB. FREQ: changes the center frequency of the bass parametric EQ, from20Hzto20kHz. Q: sets the bandwidth of the bass parametric EQ, from 0.1 (very wide)to8.0(verynarrow). MID: GAIN:adjuststheboostorcutofthemidparametricEQ,from-15 dBto+15dB. FREQ:changesthecenterfrequencyofthemidparametricEQ,from 20Hzto20kHz. Q: sets the bandwidth of the mid parametric EQ, from 0.1 (very wide)to8.0(verynarrow). HI: GAIN:adjuststheboostorcutoftheHiparametricEQ,from-15 dBto+15dB. FREQ:changesthecenterfrequencyoftheHiparametricEQ,from 20Hzto20kHz. Q:setsthebandwidthoftheHiparametricEQ,from0.1(verywide) to8.0(verynarrow). OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.2.3 Tube Compressor This compressor was modeled after a classic tube compressor. It is a very versatile,smoothcompressor,andcanaddgreatcolortothesignal(figure 10.10).
figure10.10
Controls: DRIVE:controlstheamountofsignalthatisinputintotheeffect,settingthecompressionlevel. ATTACK: controls the amount of time that the compressor takes to reacttotheaudiosignal. RELEASE:controlstheamountoftimethatthecompressortakesto returntonormalgainaftersomecompressionhasoccurred. RATIO:controlsthestrengthofthecompression.Highervalueswill resultinamoreevidenteffect. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.3 Filter 10.5.3.1 Rezo Thisrackmodelisauniqueeffectthatcanaddsynth-likedronesandsustainingresonancestoyourparts.Makeyourguitarsoundlikeasitarorlikea synth-dronetocreatesonicresonancestosingonandcontrolthenoteswith yourcontrollertocreatearpeggiosandstepswhileplaying(figure10.11).
figure10.11
Youhave4resonatingvoicesthatcanbetunedindependentlyfromnoteE0 tonoteB7,inhalftonesteps.Forexample,ifyouwanttocreatearesonating CMajorchord,justsetthefirstthreevoicestoC3,E3andG3. By moving the All slider you can shift the recently created Chord without changingtheintervalsbetweenthevoices. YoucansetthedesiredvoicenotebynotenumberofbyfrequencyinHz. 1-4 SLIDERS:setsthepitchforeachresonatingvoice. 1-4 VALUE DISPLAY:displayswhichnoteeachvoiceistunedon. NOTE/FREQUENCY SWITCH:turnonthisswitchtohavethetuningof eachvoicedisplayedasanote.Turnthisofftohavethetuningofeach voicetobedisplayedasfrequencyinHz. ALL:shiftsallresonatingnotesbythesameamountkeepingrelative intervalsbetweenvoicesidentical. RES:setstheamountofresonanceforeachvoice,frommintomax. Whensettomaxthenotewillsustainbyitself,whensettominthe voicewillnotberesonating. SCALE: the Rezonator is setup by default to span over a chromatic scalewhenyousettheresonatingvoices,meaningthatallhalftones are possible. If you want to set another scale and want to remove notesfromthechromaticscalejustopenthismenuandleaveononly thenotesyouneed. FILTER:determinesthebrightnessoftheresonatingvoices,fromdark (lowerpositions)tobright(upperpositions). MIX:setstheamountofresonatingnotesyouwanttohear.Whenthe controlisatminyoullonlyheartheoriginalsound,whenfullyup youllonlyheartheeffectedsound. OUT:theresonatingnotescanbecomeveryloudusethiscontrolto adjusttheoveralloutputleveloftheRezonator.
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10.5.3.2 Step Filter Thisisapowerfulanddeepbeatsyncfiltereffect.Youwillbeabletoapply Low/HighandBandpassanalogmodeledfilteringonfreelycustomizable patternstoaddgrooveandrhythmicpulsingtoyourparts.Thiswillmake your guitars and bass parts to sound like a rhythmic synth, if you want it (figure10.12).
figure10.12
Controls: CUTOFF:setsthecentercutofffrequencyofthefilter.Thisisthecutoff frequencythefilterwillhavewhenthestepsaresettohalfposition. STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodraw acurvewhileholdingthemousewhiledraggingovermultiplesteps. RES: sets the center resonance of the filter. This is the resonance amountthefilterwillhavewhenthestepsaresettohalfposition. DEPTH:setshowdeepthefilterismodulatedbythesteps. HP/BP/LP:setswhichkindoffilterwillbeused:HP:highpass,BP: bandpass,LP:lowpass 12/24:setsthesteepnessofthefilter,12dB/octwillbesofter,24dB/ octwillbesteeper. DEST:setswhatismodulatedbythestepsbetweenfilterCutoffand/ orfilterResonance.AtfullminimumpositiononlyCutofffrequencyis modulated,atmaxpositiononlyResonanceismodulated. DIVISION:setswhattimeintervaleachsteprepresent. STEPS:setsthenumberofstepsthecyclewillconsistof. MODE:WhensettoFreethecyclewillbecontinuousandwillalways coverallthestepsthatarespecifiedintheStepsparameter.Whenset toStrikethecyclewillre-starteachtimeachordoranoteisplayed. SWING:increasethiscontroltogivetothestepsaswingtypequantization. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
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10.5.4 Modulation 10.5.4.1 Analog Chorus Thisclassicanalogstereochorusmodeladdsdepthandspacetotheinput signal(figure10.13).Itcanalsobeusedasavibratoeffect.
figure10.13
Controls: CHORUS/VIBRATO:enablesVibratoorChorusmodes.Chorusmodeis enabledwhenthecorrespondingLEDisilluminated. CHORUS:setstheintensity(ordepth)oftheChoruseffect,from0to 99. VIB RATE:setstherateoftheVibratoeffect,from0.02Hzto8Hz. VIB DEPTH:setstheintensityoftheVibratoeffect,from0to99. STEREO/MONO: changes the rack effect from a stereo to a mono effect.StereoisenabledwhenthecorrespondingLEDisilluminated. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.4.2 Digital Chorus This modeled digital chorus effect creates a clear articulate chorus effect (figure10.14).Liketheanalogchorus,thiseffectaddsdepthandspacetothe inputsignal,butaddsadifferentcolortotheoverallsignal.
figure10.14
Controls: WAVEFORM:selectstheshapeofthechoruseffect,sine,triangle,or squarewave. RATE:setstherateofthechoruseffect,from0.1Hzto8Hz. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempoand changestheRatecontroltobeatvalues. DEPTH:setstheintensityofthechorus,from0to100. STEREO/MONO: changes the rack effect from a stereo to a mono effect.StereoisenabledwhenthecorrespondingLEDisilluminated. MIX:adjuststheamountofwetsoundwiththedrysound,from0% to100%. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.4.3 Digital Flanger Thismodelofadigitalflangercancreateametallicmodulatedsound(figure 10.15).
figure10.15
Controls: WAVEFORM:selectstheshapeoftheflangereffect,sine,triangle,or squarewave. RATE:setstherateoftheFlangereffect,from0.1Hzto8Hz. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempoand changestheRatecontroltobeatvalues. DEPTH:setstheintensityoftheFlanger,from0to100. FEEDBACK:setsthenominalamountofsignalthatisreturnedtothe inputafterprocessingeffect,from0to10. STEREO/MONO: changes the rack effect from a stereo to a mono effect.StereoisenabledwhenthecorrespondingLEDisilluminated. MIX: adjusts the amount of effected sound with the un-effected sound,from0%to100%. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.4.4 Rotary Speaker Thiseffectisamodelofarotaryspeakercabinet.Rotaryspeakercabinets createalushvibrato/choruseffectandaddatremendousamountofdepth tothesound(figure10.16).
figure10.16
Controls: SPEED: sets the speed of the rotary speaker effect, from .50 Hz to 7.80Hz. DRIVE:setstheamountofoverdriveintherotaryspeakereffect,from 0%to100%. BALANCE:changesthebalanceofhighandlowrotorsinthesignal, from0to100. MIX:adjuststheamountofwetsoundwiththedrysound,from0% to100%. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.5 Pitch 10.5.5.1 Harmonator The Harmonator is an advanced harmonizing effect with three separate voices,eachwithindependentharmony,levelandpan.Byenteringthekey andscalethattheinstrumentisplaying,theharmonatoranalyzestheinput signalandtrackthethreeindependentvoicestothecorrectmusickeyand scale(figure10.17).
figure10.17
Controls: KEY:controlsthekeyandtypeofscalethatwillbeusedbytheharmonizerasareference.IfyoureplayingasoloinEmajorsetthisto EMajor,fromCtoB. SCALE:changesthescaleoftheharmonizer,includingMajor,Dorian, Phrygian,Lydian,Mixolydian,Minor,andLocrian. VOICE:controlsthepropertiesofeachofthe3voicesoftheharmonizer. 1:selectsvoice1forediting. 2:selectsvoice2forediting. 3:selectsvoice3forediting. INTERVAL:changestheintervaloftheselectedvoice,fromlowoctave toupoctave. LEVEL:independentlyadjuststhelevelofeachofthe3voices,from 0to100. PAN:independentlyadjuststhepanningofeachofthe3voices,from 1.0Lto1.0R. DRY PAN:adjuststhepanningofthedrysignalindependentlyfrom theharmonizedvoices,from1.0Lto1.0R. MIX:blendstheharmonizedvoicewiththeoriginalvoice,from0% to100%.
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10.5.5.2 Pitch Shifter Thispitchshiftingeffectcreatesanindependentharmonyvoicethatcanbe blendedwiththeoriginalsignaltocreateharmonyleadpartsandduettype guitarlines(figure10.18).
figure10.18
Controls: SHIFT COARSE:setsthecoarsetuningofthepitchshifter.Measured inintervals,from-24to24. SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in cents,from-50to50. STEREO/SPLIT:setstheoutputoftheeffecttosplitthepitchshifted soundandthedrysoundorblendtheminastereolayeredfashion. MIX:adjuststheamountofpitchedshiftedsoundwiththedrysound, from0%to100%. OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
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10.5.6 Other 10.5.6.1 Step Slicer Add programmed rhythmic parts to your power chords and phrases with thispowerfulandcreativebeatsyncedslicingeffect.Itcanbesetuptocreateanythingfromthemostamazingtremolostothemostcomplexrhythm effectsthatalwaysstayinperfectsyncwiththebeat. Itcontainstwoindependentsteppingengines,oneforLevelandoneforPan, so you can create independent patterns for level and panning within the samesynchedeffect(figure10.19).
figure10.19
Controls: LEVEL:setstheamountoflevelmodulationthestepswillgive.Atmin positionthestepswillnothaveeffect,atmaximumthestepsrange willbefull. STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodraw acurvewhileholdingthemousewhiledraggingovermultiplesteps. RAMP:setsthesteepnessofthelevelchangebetweensteps.Setitat lowerpositionstogetamoregate-likeeffect,orsetittohigherpositionstogetasmoothereffect. DIVISION:setswhattimeintervaleachsteprepresents. STEPS:setsthenumberofstepsthecyclewillconsistof. VOLUME:selectthistoworkontheVolumestepspattern. PAN:selectthistoworkonthePanningstepspattern. MODE:WhensettoFree,thecyclewillbecontinuousandwillcover allthestepsthatarespecifiedintheStepsparameter.Whensetto Strike,thecyclewillre-starteachtimeachordoranoteisplayed. SWING:increasethiscontroltogivetothestepsaswingtypequantization. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
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10.5.6.2 Stereo Enhancer Thestereoenhancermodelwidensandnarrowsthestereoimage(figure10.20).
figure10.20
Controls: STEREO IMAGE:changesthewidthofthestereoimage.Normalwidth isinthemiddleoftheslider.Movingtheslidertotherightwidensthe stereoimage.Movingtheslidertotheleftnarrowsthestereoimage. Note:whenprocessingamonosignalwiththisRack,thecontrolwillresult inbeingareversedvolumeslider. 10.5.6.3 Swell Thisisanautovolumeswellprocessorthatcanautomaticallycreatefantastic swell effects while playing without any manual intervention. Use it subtlytoaddgroovetoyourrhythmpartsoruseitwithdeepersettingsto createdreamingpadsorstring-likesounds(figure10.21).
figure10.21
Controls: DEPTH:setsthedepthofthevolumeswell,indB.Bydefaultthedepth isatmaxposition,meaningthatthevolumewillstartfromsilence.By loweringthiscontrolyoullmaketheeffecttostarttheswellphase from a level which is higher than silence, up to min position that makestheeffecttohavenoaction. SENS: this control sets the sensitivity for the Swell to recognize a newnoteorchordandthereforestartanewSwellcycle.Setithigher if you want the Swell cycle to start even at the beginning of softer passages,orsetitlowerifyouwanttheSwellcycletoonlystartfor louderstrikes. TIME:setsthelengthoftheSwellcycle. SWELL:thisLEDgoesOnduringtheSwellphase. OPEN:thisLEDgoesOnwhentheSwellphasehasfinished. BPM SYNC:allowstheeffecttosynchronizetotheprojecttempomakingtheswelltimetobespecifiedinmusicalfigures. 254
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Chapter 11 AmpliTube 3 Models
Stomp Models Delay EchoMan TapDelay BigPig Crusher DiodeOverdrive Distortion Feedback MetalDistortion MetalDistortion2 Overdrive OverScream PROdrive TheAmbassdor Compressor Dcomp 7BandGraphic 10BandGraphic EnvelopeFilter LFOFilter Rezo StepFilter Wah Wah10 Wah46 Wah47 ClassFuzz FuzzAge FuzzAge2 Based on* Delay IKMultimedia ElectroHarmonixMemoryMan IKMultimedia Distortion ElectroHarmonixBigMuffPi IKMultimedia IKMultimedia BossDS-1Distortion BossDF-2Superfeedbacker&Distortion BossMT-2Metal-Zone BossHM-2HeavyMetal BossSD-1Distortion IbanezTubeScreamerTS-9 ProCoRATDistortion MarshallGuv'Nor Dynamics IKMultimedia MXRDynacomp EQ IKMultimedia IKMultimedia Filter IKMultimedia IKMultimedia IKMultimedia IKMultimedia IKMultimedia IbanezWH-10 VoxWahV846 VoxWah847 Fuzz RogerMayerClassicFuzz ArbiterFuzzFace ArbiterFuzzFace
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FuzzOne Octa-V RightFuzz XSFuzz AnalogFlanger Chorus Chorus-1 ElectricFlanger Flanger MetalFlanger OptoTremolo PhazeNine Phazer10 SmallPhazer Uni-V Harmonator Octav PitchShifter Wharmonator Volume StepSlicer Swell
MaestroFuzzTone RogerMayerOctavia MosriteFuzzrite RogerMayerAxisFuzz Modulation BossBF-2Flanger IKMultimedia BossCE-1Chorus Electro-HarmonixElectricMistress IKMultimedia MXRFlanger117 FenderSuperReverbAmpOpto-Tremolo MXRPhase90 MXRPhase100 Electro-HarmonixSmallStone UnivoxUni-vibe Pitch IKMultimedia BossOC-2Octaver IKMultimedia DigitechWahmmyWH-1 Other IKMultimedia IKMultimedia IKMultimedia
Preamp Models AmericanCleanMKIII AmericanTubeClean1 AmericanTubeClean2 AmericanVintageB AmericanVintageD AmericanVintageT CustomSolidStateClean JazzAmp120 MetalCleanT
Based on* Clean Mesa/BoogieMKIIICombo(CleanChannel) FenderSuperReverb FenderDeLuxeReverb65 FenderBassman FenderDualShowman FenderTwinReverb IKMultimedia RolandJC-120 Mesa/BoogieTripleRectifier(CleanChannel)
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AmericanTubeVintage BritishBlueTube30TB BritishCopper30TB BritishLeadS100 BritishOR THDBi-Valve TubeVintageCombo AmericanLeadMKIII BritishTubeLead1 BritishTubeLead2 CustomModernHi-Gain CustomSolidStateFuzz CustomSolidStateLead MetalLeadT MetalLeadV MetalLeadW ModernTubeLead VintageMetalLead 360BassPreamp Combo150MB GreenBA250 SolidStateBassPreamp
Crunch FenderBassman VoxAC30TopBoost VoxAC30-CopperPanel Marshall1959JTM100SuperLead OrangeOR-120Head THDBiValve SuproLate'50scombo Lead Mesa/BoogieMKIIICombo(LeadChannel) MarshallJCM800 MarshallJCM900 IKMultimedia IKMultimedia IKMultimedia Mesa/BoogieTripleRectifier(LeadChannel) Peavey5150100Whead RandallWarhead Mesa-BoogieDualRectifier MarshallJMP100head Bass Acoustic360BassPreamp Gallien-KruegerMB150 TraceElliotAH250Head IKMultimedia
Power Amp Models ClassAEL84 50WEL34 100WEL34 50W6L6 SingleEndedCI.A SolidState 100WKT66 100W6L6 100W6L6D 100W6L6T
Based on* VoxAC30models Marshall MarshallJMP100head FenderDeLuxeReverb65 SuproLate'50scombo CleanSolidStatePowerAmp Marshall1959JTM100SuperLead FenderBassman100W6L6 FenderDualShowman100W6L6 FenderTwin100W6L6
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100W6L6V 150W6L6MT
Peavey5150100Whead Mesa/BoogieTripleRectifier150W
Cabinet Model 1x6SmallCombo Guitar10 1x10ComboModern 4x10ClosedModern 4x10OpenVintage 1x12Combo 1x12MBII 1x12MBIII 1x12OpenModern 1x12OpenVintage 2x12ClosedVintage 2x12GryBritishVint 2x12JPJazz 2x12OpenSL 2x12OpenTJ120 2x12OpenVintage 4x12BritishOr 4x12Closed25C 4x12Closed75C 4x12ClosedJ120 4x12ClosedModern1 4x12ClosedModern2 4x12ClosedVintage1 4x12ClosedVintage2 4x12MetalF1 4x12MetalF2 4x12MetalT1 4x12MetalT2 4x12MetalT3 4x12MetalV1 4x12MetalV2 Guitar 6 FenderSSCombo
Based on*
Mesa/Boogie1x10"SubwayRocket Marshall4x10'90sJCM410 FenderSuperReverb1967 Guitar 12 Marshall1x12Valvestate12 Mesa/BoogieMarkII1x12"EV Mesa/BoogieMarkIII1x12"EV VHTPitbull1x12Combo FenderDeLuxe65 Marshall19222x12Greenbacks VoxAC302x12"'60sGraybacks RolandJC-1202x12" SearsSilvertone2x12 FenderTwin2x12JBLD120F VoxAC30'60sBluebacks 4x12"OrangePPC412 Marshall4x12,Greenbacks Marshall4x12,G1275 Marshall4x12,JBLD120F Marshall4x12'80s1982A Mesa/Boogie4x12Rectifier Marshall4x12Angled,'70sGreenbacks Marshall4x12Straight,Greenbacks Fender4x12MH1 Fender4x12MH2 Mesa/Boogie4x12Rectifier1 Mesa/Boogie4x12Rectifier2 Mesa/Boogie4x12Rectifier3 Peavey51504x121 Peavey51504x122
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4x12MetalV3 4x12ModernM1 4x12ModernM2 4x12ModernM3 4x12VintageM1 4x12VintageM2 2x15ClosedBJ130 2x15ClosedDJ130 4x10+twBass 4x10+twTEBass 1x12Bass 1x12BassJz 1x15BassVintage 1x18HornBass Rotary147-1 Rotary147-2
Peavey51504x123 Marshall4x12JCM8001 Marshall4x12JCM8002 Marshall4x12JCM8003 Marshall19604x121 Marshall19604x122 Guitar 15 FenderBassman2x15,JBLD130F FenderDualShowman2x15,JBLD130F Bass 10 SWRGoliath4x10 TraceElliot4x10" Bass 12 CustomBass1x12 Gallien-Krueger1x12"MB150 Bass 15 AmpegB15R15 Bass 18 Acoustic301FoldedHorn18 Rotary Leslie147originalAlNiCowoofer Leslie147modernreplacementwoofer
Mic Model Dynamic57 Dynamic20 VintageDynamic20 Dynamic421 Dynamic441 Dynamic609 Condenser12 Condenser67 Condenser84 Condenser87 Condenser170
Based on* Dynamic ShureSM57 Electro-VoiceRE20 AKGD20 SennheiserMD-421 SennheiserMD-441 SennheiserMD609 Condenser AKGC12 NeumannU67 NeumannKM-84 NeumannU-87 NeumannTLM170
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Condenser414 Ribbon121 Ribbon160 RibbonVelo-8
AKGC-414ULS Ribbon RoyerR121 BeyerdynamicM160 GrooveTubesVelo-8
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinno wayassociatedoraffiliatedwithIKMultimedia.Productnamesareusedsolelyforthepurposeof identifyingthespecificproductsthatwerestudieddurinoIKMultimediassoundmodeldevelopment and for describing certain types of tones produced with IK Multimedias digital modeling technology.Useofthesenamesdoesnotimplyanycooperationorendorsement. ACOUSTIC,360,301aretrademarksofGuitarCenter,Inc. AKG,C12,D20,C-414ULSareregisteredtrademarksofAKGAcousticsGmbH. AMPEG,B15RaretrademarksofLOUDTechnologies,Inc. ARBITERFUZZFACEisaregisteredtrademarkofArbiterGroupPlc. BEYERDYNAMIC,M160areregisteredtrademarksofBeyerdynamicGmbH&Co. BOSS,DS-1,DF-2,MT-2,HM-2,SD-1,BF-2,CE-1,OC-2aretrademarksorregisteredtrademarksofRolandCorporation. DIGITECHWHAMMYWH-1isaregisteredtrademarkofHarmanInternationalIndustries, Incorporated. ELECTRO-HARMONIX, Memory Man, Big Muff Pi, Electric Mistress, Small Stone are trademarksorregisteredtrademarksofNewSensorCorporation. ELECTRO-VOICE,RE20areregisteredtrademarksofElectro-Voice,Inc. FENDER, BASSMAN, DELUXE REVERB, SUPER REVERB, DUAL SHOWMAN, TWIN REVERB,TWIN,MHareregisteredtrademarksofFenderMusicalInstrumentsCorporation. FUZZRITEisaregisteredtrademarkofAndyJ.Moseley. GALLIEN-KRUEGERMB150isaregisteredtrademarkofGallien-KruegerCorporation. GROOVETUBES,Velo-8areregisteredtrademarksofGrooveTubes,LLC. IBANEZ,TubeScreamerTS-9,WH-10aretrademarksorregisteredtrademarksofHoshino GakkiCo.Ltd.Corporation. JBLisaregisteredtrademarkofJBLProfessional. LESLIE147isaregisteredtrademarkofHammondSuzukiUSA,Inc. MAESTROFUZZTONEisaregisteredtrademarkofGibsonElectronics. MARSHALL,1959JTM100SuperLead,JMP100,JCM800,JCM900,JCM410,Valvestate, GuvNoraretrademarksorregisteredtrademarksofMarshallAmplificationPlc. MESA/BOOGIE,Rectifier,MKIII,SubwayRocket,MarkII,MarkIII,aretrademarksof Mesa/BoogieLtd. MOSRITEisaregisteredtrademarkofLorettaMoseley. MXR,Dynacomp,Flanger117,Phase90,Phase100aretrademarksorregisteredtrademarksofAppliedResearchandTechnology,Inc. NEUMANN,U67,U87,KM-84,TLM170areregisteredtrademarksofGeorgNeumann GmbH. ORANGE, OR-120, PPC412 are trademarks or registered trademarks property of Orange MusicElectronicCompanyLtd. PEAVEYisaregisteredtrademarkofPeaveyElectronicsCorporation. PROCORATisatrademarkofProCoSound,Inc. RANDALL,WarheadaretrademarksorregisteredtrademarksofRandallAmplifiersadivision ofU.S.MusicCorp. ROGER MAYER, Classic Fuzz, Axis Fuzz, Octavia, are trademarks and registered trademarksofRogerMayer. ROLAND,JC-120areregisteredtrademarksofRolandCorporation. ROYER,R121areregisteredtrademarksofBulldogAudio,Inc.DBARoyerLabsCorporation. SEARSisaregisteredtrademarkofSearsBrand,LLC. SENNHEISER, MD-421, MD-441, MD609 are registered trademarks of Sennheiser ElectronicCorp. SHURE,SM57areregisteredtrademarksofShureIncorporated. SILVERTONEisaregisteredtrademarkofSamickMusicCorporation.
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SUPROisatrademarkofZinkyElectronics. SWR,GoliatharetrademarksofSWRSoundCorporation. THDBiValveisatrademarkofTHDElectronicsLtd. TRACEELLIOTAH250isaregisteredtrademarkofPeaveyElectronicsCorporation. UNI-VIBEisatrademarkofKorgUSACorporation. UNIVOXisatrademarkofKorgUSACorporation. VHTPitbullisatrademarkofVHTAmplification,Inc. VOX, AC30, Wah V846, Wah 847 are trademarks or registered trademarks of VOX AmplificationLtd. 5150isaregisteredtrademarkofEdwardVanHalen.
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Chapter 12 Expanding AmpliTube 3 using the Custom Shop
12.1 Overview AmpliTubemakesagiantleapforwardwiththenewCustom Shoptoonce againrevolutionizethewayyoucreateyourtone. Imaginewalkingintothemostcomprehensivestoreofguitarandbassgear evermadetodesignthedreamrigyouhavealwayswanted.Nowyoucan pick and choose stomp boxes, amp heads, speaker cabinets, microphones, rackeffectsandrarevintageequipmentfromthehundredsofmodelsavailable in the online IK Multimedia Custom Shop (including amazing brand newstompbox,amplifiersandcabinetmodelsbyOrange,Fenderandmore). Thislacartemethodofbuildingyourriggivesyouextremeflexibilityin customizingyourtonebylettingyouselectexactlythegearyouneed. Lets say you want the Big Pig stomp box from the standard collection in Amplitube3,andyoualsowanttheclassicBritishLeadS100headfromthe JimiHendrixbundle.Nowyoucangetjustthosetwopiecesofgearwithout havingtobuytwoentirepackages(which,bytheway,areavailableaswell). Nowyourrigcangrowinawaythatisfinelytunedtoyourtonalneedsand musicalvision! YoucanfindadetailedexplanationofthenewCustomShopfeatureonthe HELPpageoftheCustomShopbrowserwindow.Viewitbyclickingthe? iconintheupperleftpartofthewindow. 12.2 The Custom Shop Nowyoucantrythegearbeforeyoubuyit,andyoucanpurchasemodels lacartetocreateyourowncustomizedtonepowerhouse.Simplyclickonthe CustomShopbuttonwithanactiveInternetconnectionandlogintoseethe onlineCustomShophomepage.Thereyoucanbrowsethevastcollection ofover200gearmodelsincludingtheofficiallyapprovedmodelsofworldclassbrandedgearfromFender, Ampeg, Orange, Soldano, Seymour Duncan, Groove Tubes, Gallien Krueger, Jet City, THD, T-Rexandmanymore. Youcansearchgearmodelsbykeywords,orusetheconvenientgeartype menutobrowsethehundredsofgearmodelsavailablewithmodelinformation,interfaceimageandtheamountofcreditsthateachgearmodelcosts. Every gear model can also be tried out for free, the same way you would try an amp in a physical shop. Simply click the TRY button to unlock the modelinAmpliTube3tousethefullyfunctionalmodelfortwodays.This givesyoutheopportunitytotestandevaluatethemodelinboththeplug-in andthestandaloneversiontoseehowitworksforyou.Themodelwillbe lockedafteryourtwo-daytrialperiodends,butyoucantryitagainaftertwo months(orbuyitatanytime,ofcourse!).Thetrialtimeremainingforthe modelwillbedisplayedbesidethemodelpopupdisplaymenuinAmpliTube
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3showingyouthehoursleft. 12.3 New gear models and collections WehaveaddedmanynewmodelsforlacartepurchaseintheCustomShop alongwithallofthemodelsfromtheAmpliTubeFenderandAmpegSVX Collections. You can purchase the AmpliTube Fender and Ampeg SVX models either as individual la carte items or as Collections inside the CustomShop.
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Chapter 13 Automation
AmpliTube3hasaversatileandflexibleAutomationengine.Itallowsyou toassignautomationwithineachmoduleandviatheAutomationPanel. 13.1 Assign Automation within each Module (Stomp, Amp, Cab and Rack) SelecttheStomp,Amp,CaborRackmodulefromtheModule/RigSelector(figure13.1).
figure13.1
Right-clickontopoftheAmpliTube3parameterthatyouaregoingtoassign toAutomation(figure13.2).
figure13.2
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ChoosewhichDAWAutomationparameter#youaregoingtouseforthe AmpliTube3parameterselectedonstep#2(figure13.3).
figure13.3
13.2 Manage Automation Assignments via the Automation Panel AmpliTube3hasmoreparametersthanaudiosequencers(DAWs)cansupport.Forthisreason,ithasitsownAutomationPanel,sothattheenormous number of theoretically automatable parameters in AmpliTube 3 can be grouped in a smaller number to allow all DAWs being able to handle it. Toopenit,clickAUTOontheInput/Outputbar(figure13.4).
figure13.4
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The Automation Panel has two panes. The Left Pane is called Plug-in Parameters,andtheRightPaneiscalledDAWAutomation(13.5).
figure13.5
ThisPanelcanalsobeusedtorecaptheAutomationassignmentmadewith theproceduredescribedon13.1. 13.2.1 Plug-in Parameters The Plug-in Parameters Pane displays AmpliTube 3 Global and Module parameters, as well as all the Stomp, Amp, Cab, and Rack Modules gear (figure13.6).
figure13.6
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Considering that AmpliTube 3 offers dual rig setup, each Module is listed separatelyasStompA,StompB,AmpA,AmpB,CabA,CabB,andRackA, RackB(figure13.7).
figure13.7
ThePlug-inParametersPaneallowsyoutoselectwhichAmpliTube3parameteryouaregoingtoassigntoAutomation. 13.2.2 DAW Automation The DAW Automation Pane lists the 16 Automation parameters that are declaredtotheDAW(figure13.8).
figure13.8
These parameters names (Param 1 to Param 16) are fixed because most 268
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DAWsdonotsupportautomationparameternamechangeswhilethepluginisopen. ThroughtheDAWAutomationPane,youwillbeabletoselectwhichDAW Automationparameter#youregoingtousefortheAmpliTube3parameter selected on the Plug-in Parameters Pane. For example, if youve selected a Time on the Plug-in Parameters Pane and then clicked Add, the DAW AutomationPanewilldisplay: Param1:Swell(AT3)ATime(figure13.9).
figure13.9
Thismeans: Param 1:DAWAutomationparameter#(1inthiscase). Swell:theselectedStompModel. (AT3):nameabbreviationofthePoweredbyAmpliTubeapplication thatincludestheselectedStompModel(e.g.,AmpliTube3). A:RigA. Time:nameoftheparametertobeautomated.
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13.2.3 Assignment Procedure Theeasiestwaytoassignautomationiswithineachmodule,asdescribed in 13.1. However, you can also use the Automation Panel to manage your parameters(moveup/down),usetheRemoveAlloption,etc. To assign an AmpliTube 3 parameter to one of the 16 DAW Automation parametersviatheAutomationPanel,pleasefollowthesesteps: 1. ClickAutoontheInput/Outputbar(figure13.10).
figure13.10
2. OnthePlug-inParametersPane,selectwhichAmpliTube3parameteryouaregoingtoassigntoAutomation(figure13.11).
figure13.11
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3. On the DAW Automation Pane, select which DAW Automation parameter#youaregoingtousefortheAmpliTube3parameter selectedonstep#2(figure13.12).
figure13.12
4. ClickAddtoestablishtheactualassignment(figure13.13).
figure13.13
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5. ClickOKtosavethesetupandclosetheAutomationwindow(figure 13.14).
figure13.14
Toremoveaparticularassignment,pleaseselectitandclickRemove(figure 13.15).
figure13.15
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Toremovealltheassignments,clickRemoveAll(figure13.16).
figure13.16
To move up/down an assignment click the Move Up/Move Down arrows (figure13.17).
figure13.17
Thisisaveryusefulfeaturebecauseitsavesyoutoremovetheassignment fromParam1andcreateanewassignmentforParam2.
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13.2.4 Assignment Save and Recall ClickingOKwillsaveandclosetheAutomationwindow. IfyouareusingAmpliTube3asaplug-in,theautomationassignmentmap willbestoredandrestoredtoandfromthesessionyoureworkingon. EachAmpliTube3instanceisindependentfromtheothers.Thismeansthat savingyourDAWsessionwillsaveeachAmpliTube3instancewithitsown Automationassignmentssetup.
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Chapter 14 MIDI
14.1 Introduction AmpliTube 3 MIDI control allows you to assign MIDI control changes to parametersorcommands,soyoucanremotecontrolAmpliTube3withany kindofhardwareorsoftwaredeviceabletogenerateMIDIControlChanges. AmpliTube3respondstoMIDIControlChangeandProgramChangesmessagesonly.MIDINotenumbers,Aftertouch,PitchBendandothertypesof messagesarenotrecognizedorsupported. TherearetwotypesofMIDIcontrol;GlobalandPreset. Global MIDI control allows you to specify MIDI Control Changes that will controltheselectedparameterforallpresets.Theparametersorcommands thatcanbespecifiedforGlobalMIDIcontrolare: Presetswitch(Previous/Next) Volumepedalcontrol Wahpedalcontrol Wharmonatorpedalcontrol All12stompslotsbypasscontrol PresetMIDIcontrolallowsyoutospecifyMIDIControlsChangesthatwill controltheselectedparameterspecificallyforthecurrentpreset.
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14.2 MIDI Configuration Whenrunningasaplug-in,AmpliTube3willbeabletoreceiveMIDIfrom thehost.RefertoyourhostsequencerorDAWonhowtosetitupsothatit cansendMIDItoaudioplug-ins. WhenrunningasaStandalone,AmpliTube3needstobeconfiguredtoknow fromwhichMIDIportitshouldreadMIDIdatafrom.Todothat; 1. ClickAudio>HardwareSettings 2. SelecttheMIDIinterfacewhereyourcontrollerisconnectedfrom theMIDIInputmenu(figure14.1).
figure14.1
To check that youve correctly setup MIDI Input, try sending MIDI Control ChangesorProgramChangesfromyourcontrollerwhilewatchingtheMIDI INindicator(Standaloneversiononly)(figure14.2).
figure14.2
IftheMIDIInhasbeensetproperly,thisindicatorwilllightupwhenaMIDI commandisreceived.
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14.3 Assigning Controllers 14.3.1 Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters) This method allows you to quickly assign the MIDI control to a specific AmpliTubeparameterwithouthavingtosetupanythingmanually. 1. Right-clickontopoftheAmpliTube3parameterthatyouwantto controlviaMIDIandclickAssignMIDI>Learnparametername (figure14.3).
figure14.3
2. Movetheknob,slider,switchorpedalyouwanttousetocontrol thisparameteronyourMIDIdeviceandtheassignmentwillautomaticallybeapplied. Youcandothisforalltheparametersthatyouwanttocontrolonthispreset. Rememberthatthisassignmentisperpresetanditneedsbedoneonall thepresetsthatyouwanttocontrol.ThisallowsyoutoapplydifferentMIDI controlschemesforallyourpresets.
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14.3.2 Manage MIDI Parameters Assignation via the MIDI Control Panel Thismethodallowsyoutomanuallysetup,edit,andcomparealltheMIDI assignmentsthatyouhavedoneforGlobalcontrolorforPresetcontrolin asinglepanel. ToassignGlobalMIDIcontrol: 1. ClicktheMIDIbuttonlocatedontheInput/Outputbartoopenthe MIDIControlassignmentwindow(figure14.4).
figure14.4
2. ClickGlobal(figure14.5).
figure14.5
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3. Click on the parameter that you want to control on the left pane (figure14.6).
figure14.6
4. ClickLearn.(figure14.7)
figure14.7
5. Moveafader,knob,slider,orswitchonyourMIDIController. 6. Theassignmentwillautomaticallytakeplace. 7. ClickOKtosavetheassociationandclosetheMIDIControlwindow, orCanceltoeraseit.
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Thecontrolassignmentthatyouvecreatedinthisway(Global)isvalidfor allpresets,andwillapplyanypresetloadedornewlycreated. ToassignPresetMIDIcontrol: 1. ClicktheMIDIbuttonlocatedontheInput/Outputbartoopenthe MIDIControlassignmentwindow(figure14.8).
figure14.8
2. ClickPreset(figure14.9).
figure14.9
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3. ClickAdd(figure14.10).
figure14.10
4. FromtheTreemenuselectthecurrentAmpliTube3presetparameteryouregoingtocontrol(figure14.11).
figure14.11
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5. ClickLearn(figure14.12).
figure14.12
6. Moveafader,knob,slider,orswitchonyourMIDIController. 7. Theassignmentwillautomaticallytakeplace. 8. Repeatthestepsfrom#1tohereifyouwanttoaddmorecontrols onthesamepreset. 9. ClickRemovetoremovejustoneoftheassignmentsyoudidfrom thepanel. 10. ClickOKtosavetheassociationandclosetheMIDIControlwindow, orclickCanceltoeraseit. Thecontrolassignmentthatyouvecreatedinthisway(Preset)isvalidfor thecurrentpresetonlyandwillnotapplytotheotherpresets.Thisallows youtocreatespecificMIDIassignmentforeachpreset.
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14.4 Additional Parameters on MIDI Control Window TodeleteaparticularAmpliTube3parameter/MIDICC#association,select it,andclickClear(figure14.13).
figure14.13
TodeleteallAmpliTube3parameters/MIDICC#associationsatonce,click ClearAll(figure14.14).
figure14.14
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Min-Max Range values(figure14.15).
figure14.15
Thesetwovaluesexpressedin%,areusedtodeterminetherangeofthe controlledparameter. Tocontroltheparameteronallitsrangeset: Min0% Max100% Tocontroltheparameterfrommintohalfofitsrangeset: Min0% Max50%
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Curve(figure14.16)
figure14.16
Thisaffectsthewaythecontrolledparameterwillchangewiththeposition oftheMIDIcontrolknob,sliderorpedal.Curverangeisfrom0to10with 5asdefault. Whenitssetto5thecontrolwillbelinear,meaningtheplacingthe MIDIcontrolleratonehalfofitstravelwillresultinthecontrolled parametertoalsosetat50%ofitsrange. Setting lower values on Curve will result in an expanded control curve. Setting higher values on Curve will result in a compressed control curve. Alwaysstartwith5asadefault(linear).
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Latch(figure14.17)
figure14.17
When it is set to Off, the selected parameter will temporarily stay to the valueimposedbytheexternalMIDIControl. WhenitissettoOn,theselectedparameterwilltogglebetweenMinand MaxvalueseachtimetheMIDIControlarrives. Usethiswithfootswitchesorswitchesingeneral,tocontrolOnOffparametersonAmpliTube3.
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Receive channel(14.18)
figure14.18
TochangetheMIDIchannel#,clicktheMIDIChanneldisplayandmovethe pointerUptoselectfrom1-16. Note: AmpliTube 3 MIDI implementation is not associated with StompIO/ StealthPedal MIDI and it works independently from their MIDI ports. To learnmoreaboutStompIO/StealthPedalMIDIimplementation,pleaseread theirUserManuals.
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Chapter 15 Foot Controller Integration
15.1 Introduction WiththelatestversionofAmpliTube3,theprogrammingofyourfootcontroller forliveperformanceusehasneverbeeneasier.Nowyourprogrammingcan alsobedonefromwithintheAmpliTubeplug-inandautomaticallymirroredon thecontrollerforaveryfastandconvenientwayoforganizingyouruniquely tweakedcollectionofpresets. For more information on Foot Controller Integration, please see the addendum, Whats New in AmpliTube 3.5.
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Chapter 16 Troubleshooting
Where can I find my IK product Serial Number? TheSerialNumberis writtenontheRegistration Card(includedwith your IK product, inside the license envelope) or in the email you receivedfromDigitalDelivery@ikmultimedia.com(ifyoupurchasedthe productasDownloadableonlyversion).Inthesnapshot,pleasecheck itsexactlocationontheRegistrationCard(figure16.1).
1)YoucanfindyourSERIALNUMBERhere
2)Atthebottomoftheregistrationcardalegendhelpsyou identifythecharactersinyourSERIALNUMBER figure16.1
Forclearcharactersidentification,pleaseanalyzethelegend. IMPORTANT: the number zero can easily be identified in your Serial Numberbecauseitiscrossedbyaline.
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Why is the Authorization Manager rejecting my Serial Number? Probablybecauseofatypo,herearesomecommonerrors: Typinga0(zeronumber)insteadofanO(oletter) Typing1(onenumber)insteadofanI(iletter) Typing2(twonumber)insteadofaZ(zletter) Typing5(fivenumber)insteadofanS(sletter) Typing8(eightnumber)insteadofaB(bletter) Typinga.(point)insteadofa-(minus) Suggestions: Ifpossible,pleasecopyandpastetheinformation Cutoffalltheleadingandtrailingspaces Please type all codes in UPPERCASE during the installation and registrationprocess CheckthattheSerialNumberthatyouareenteringisincorrelation withtheproductinstalled How can I authorize my product on another computer? Toauthorizeyourproductonanothercomputerjustfollowtheseinstructions: InstalltheproductandtheAuthorizationManageronthatcomputer RuntheAuthorizationManager I need to log in into the User Area but I forgot my User Name and Password. What should I do? YoucanretrieveyourUserArealogindetailsintwodifferentways: RuntheAuthorizationManagerandfollowthestepsuntilyoureachthe loginpage.HereyoujusthavetoclickontheForgotpassword?button andsubmityouremailaddress.Yourlogindetailswillbesenttoyouremail account. In case you have checked the Remember me checkbox before andarenotabletoaccesstheloginpage,justclickontheLOGOUTbutton. Go to www.ikmultimedia.com, click on I forgot my username and/or passwordandsubmityouremailaddress.Yourlogindetailswillbesent toyouremailaccount. I just bought an IK Multimedia software. What should I do to register and authorize my new product? JustruntheAuthorizationManagerandfollowtheinstructions. IncaseyoudonthavetheAuthorizationManager,youcandownloaditforfree fromtheProductspageofourwebsiteat:www.ikmultimedia.com/products.
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Chapter 17 Support
Foranyquestionyoumayhave,pleaserefertotheFAQwebpageat: www.ikmultimedia.com/faq Hereyouwillfindanswerstothemostcommonquestions. TosubmitaTechnicalSupportForm,goto: www.ikmultimedia.com/Support.php ForotherrequestssuchasProduct,Sales,orWebinfo,pleasegoto: www.ikmultimedia.com/ContactIKForm.php 17.1 User Area TheUserAreaisaspecialsectionofourwebsitespecificallydesignedfor ourusers.(figure17.1).
figure17.1
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Ifyouareamemberofourregisteredusersdatabase,youwillbeableto: EdityourPersonaldata ManageyourproductAuthorizationCodes Downloadthelatestproductsupdatesandfreecontent TransferyourLicense GetYourFreeProducts ShareyourAmpliTubepresets RedeemyourIKJamPoints To access the User Area go to www.ikmultimedia.com/userarea or go to www.ikmultimedia.comandclickUserAreafromthenavigationbar. To enter the User Area for the first time, you have to Log in with the Username and Password that youve received from us via e-mail after yourfirstIKproductregistration.IfyouhavechangedyourUsernameand Password,pleaseuseyourmostcurrentinformationtoLogin.
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Appendix IK Technologies
DSM Technology DSMisanewandexclusiveIKMultimediatechnologyusedintheemulation of analog circuitry. DSM was designed to increase the response realismandplayabilityofcriticalanalogcircuitmodels.Musiciansalwaysfelt digitalemulationsofhigh-qualityanaloggear(suchasguitaramplifiers)to begoodbutnotcompletelysatisfyingbecauseofthelackofcertainplayabilityandmusicalityqualitiesthatonlytherealthingprovides.DSMhas beendesignedtoimprovethisaspect. DSM gives special and unique results when applied to circuit emulations wherethenon-linearityisthemaincharacteristicoftheprocessor,suchasin distortion,fuzz,overdrivestompboxes,tubeguitarpreamplifiersandpower amps,andanalogcompressorsandlimiters.TheDSMworkingprincipleis basedonanewapproachneverappliedtoDSPanalogmodelinguntilnow. Analogcircuits,especiallyTubeandClass-Adiscreteones,arenotdynamically-linear,buthavebeenmodeledthiswaybytodaystechnology.Ananalogcircuitscharacterisneverconstantlyshapedbutvariesdependingon lotsofparameters,firstandforemostthestrength,frequency,andharmonic contentoftheincomingsignal. DSMtakesthenextstep.Itcontinuouslyadaptstheshapeoftheanalog circuitinsteadofapplyingastaticsnapshot.Byusingmorecomplexmathematical functions, a more articulated and musical response is possible, makingDSMidealformodelingtubepreampsandtubepoweramps. Traditionalemulationsareforcedtoatradeoffbetween,forexample,those kindofdistortionsthatappearonlywhena22x6L6tubepoweramplifier isdriventoitslimitandthecleanersoundithaswhenitsdrivennormally. DSMdeliversadynamicresponsethatcontinuouslymorphsandfollows theincomingsignal;inotherwords,thatfollowsthemusic. This leads to an accuracy that cannot be found in any other modeling hardwareorsoftwaretoday,respectingallthesignalnuancesexactlylike arealanalogcircuitwoulddowithagradeofrealismandmusicalitynever achievedbefore. VRM Technology VRM (Volumetric Response Modeling) is a new proprietary technology thatIKMultimediadevelopedtoimprovequalityondigitalreproductionof speakersandacousticcabinetsusedwithmusicalinstruments. This technology involves complex and numerous measurements of real
IK Technologies
295
AmpliTube 3
speakers in the studio and the realism and musicality of the recreated speakersoundhasnorival IK Multimedia developed VRM because the technology available at the time of AmpliTube Fender development was not good enough to successfullyrepresenttheVibratonerotaryspeakerinallitsnuancesandcolorful sounds.Wehadtocomeoutwithasolutionthatcouldmakepeoplethink themodelinsideAmpliTubeFenderisarecordingofarealVibratone(actually,averygoodrecording)andnotadigitalmodel,andwevesucceeded! VRM has been continuously improved and allowed the addition of new AmpliTube3featuresliketheflexible2-microphonessetup,withfreepositioningandmixing. TheSpeakersandCabinetsectionincludedinAmpliTube3offerssupreme soundquality,richness,musicality,andfidelitywiththeoriginalsunitsthat itcanreallyhaveafewrivals,ifanyJustlisten! Block Diagram
STOMP MODULE
LEVEL
0-20 ms DELAY
296
IK Technologies
AmpliTube,AmpliTubeMetal,AmpliTubeX-GEAR,SVX,StompIO, StealthPedal,StealthPlug,SpeedTrainer,DSM,VRM,aretrademarksor registeredtrademarkspropertyofIKMultimediaProductionSrl. FENDERandallFENDERamplifiers,logos,andtradedressarethetrademarks ofFMICandusedhereinunderlicense.Allrightsreserved. AMPEGisatrademarkofLOUDTechnologies,Inc. ORANGEisaregisteredtrademarkofOrangeMusicElectronicCompanyLtd. SOLDANOisaregisteredtrademarkofGremlinInc.DBASoldanoCustom AmplificationCorporation. SEYMOURDUNCANisaregisteredtrademarkofCarterDuncanCorporation. GROOVETUBESisaregisteredtrademarkofROKRVentures,Inc. GALLIEN-KRUEGERisaregisteredtrademarkofGallien-KruegerCorporation. JETCITYAMPLIFICATION333isaregisteredtrademarkpropertyof333 EnterprisesIncorporatedDBAJetCityAmplificationCorporation. JIMIHENDRIXnameusedunderlicenseofAuthenticHendrix,LLC. TMAuthenticHendrix,LLC. THDisaregisteredtrademarkofTHDElectronicsLtd. T-REXENGINEERINGisaregisteredtrademarkofT-RexEngineeringApS Corporation. Allotherproductnamesandimages,trademarksandartistsnamesare thepropertyoftheirrespectiveowners,whichareinnowayassociatedor affiliatedwithIKMultimedia.Productnamesareusedsolelyforthepurposeof identifyingthespecificproductsthatwerestudiedduringIKMultimediassound modeldevelopmentandfordescribingcertaintypesoftonesproducedwithIK Multimediasdigitalmodelingtechnology.Useofthesenamesdoesnotimply anycooperationorendorsement. www.amplitube.com
IKMultimediaProduction,Viadellindustria46,41122,Modena,Italy. Phone:+39-059-285496-Fax:+39-059-2861671 IKMultimediaUSLLC,1153SawgrassCorporatePkwy.Sunrise,FL33323 Phone:(954)846-9101-Fax:(954)846-9077 www.ikmultimedia.com
Allspecificationsaresubjecttochangewithoutfurthernotice.
PN:MNU-AT3-0004

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A M P

Chapter 7 Stomp Module (Stomp Box Effects) 4

Chapter 15 Foot Controller Integration 15.1 Introduction Chapter 16 Troubleshooting

Chapter 17 Support 17.1 UserArea Appendix IK Technologies DSMTechnology VRMTechnology BlockDiagram

Hundreds of different guitar amp and effects presets readytogo.

Module Interface.Choosefrom awidevarietyguitarandbass gearmodels.

Two Guitar Rigs.Powerfuland flexibleroutingsystemprovidedby DualRigtechnology.

Five Modules:Tuner,StompBoxes, Amplifiers,Microphones,Cabinets andRackEffects.

III - License Agreement

III - License Agreement

1.3 Plug-in Architecture AmpliTube3issetupasatraditionalguitarrigtoensurepredictableresults andrealworldflexibility.Theuserinterfaceissimpleandeasytonavigate butalsoallowsyoutosetupcomplexguitarrigsandadvancedsignalpaths. Theinterfaceisdividedinto5modules: 1) Tuner

Belowisabriefdescriptionofeachofthem: 1) Top Header(figure1.7) ItincludesPresetManager,QualityMode,andIKControllerSelectorareas

Itallowsyoutochoosethemodulethatyouwanttouse(Tuner,Stomp,Amp, Cab,orRack),theinputtype(Mono/Stereo)andthesignalpathpresets. 3) Module Interface(figure1.12)

FromhereyouwillmanagetheInputandOutputlevels,theNoiseGate,and severalmodulerelatedcontrols. 5) Four Track Audio Player/Recorder with Speed Trainer(figure1.14)

Itallowsyoutoplaybackyourfavoritesongs,learnnewriffs,captureyour ideas,recordyourbandsdemo,andmuchmore 6) Status Bar(figure1.15)

1.4.2 Plug-in Interface WhenusingAmpliTube3asaPlug-in,theinterfacehas4sections(figure 1.16):

TopHeader(PresetManager,QualityMode,andIKControllerSelector areas) Module/RigSelector ModuleInterface Input/OutputBar Note:consideringthatthefirst4sectionsoftheAmpliTube3interfaceare thesameinStandaloneandPlug-inModes,thereisnoneedtorepeattheir descriptions.Pleasesee1.4.1.

InAmpliTube3,clickAudio>HardwareSettings. InputDevice:Youraudiointerfacedriverwillbeautomaticallyselected.If not,pleasechooseitmanually.

TheGlobalInputLevelisdeterminedbytheaudiointerfacegainplusthe AmpliTube3InputGainvalue. IncreasetheinputleveluptothepointwheretheclippingLEDstartsblinking.Toavoidclipping,adjustyouraudiointerfacegainknobaccordingly.

ThePresetInputLevelisdeterminedbytheAmpliTube3Inputlevelknob (figure2.4). TheAmpliTube3OutputleveliscontrolledbytheMasterknob(figure2.5). TheAudioInterfaceOutputleveliscontrolledbyitsMasterVolume.

HI:offersthebestsoundqualityatahigherCPUusage MID:offersaverygoodsoundqualityatareasonableCPUusage ECO:offersagoodsoundqualityataverylowCPUusage

2.2.4.2 Selecting Amps ToexploredifferentAmpModels,clickAmpAandchangethePreAmp,EQ, andAmpModelsusingtheUp/Downarrows(figure2.9).Youcanalsoadjust eachcontrolsettingtogetthatultimatetone.

2.2.4.4 Adding Stomp and Rack Effects YoucaneasilyaddStompandRackEffects.Toaddastompbox,clickStomp Aandselectoneofthe51availablemodelsfromtheStompModelSelector (figure2.11).

1. ClickLoad. 2. Selecttheaudiofile/sthatyouwanttoimport. 3. ClickOpen/Oketc.Theimportedaudiofileswillbedisplayedinthe AudioFilesListarea(figure2.14).

6. TheaudiofilerecentlymovedtotheWaveformDisplaywillshow theassignedtrack#intherightcolumnoftheAudioFileList(T1, T2,etc)(figure2.17).

2.2.5.2 Waveform Display TheaudiofilepeakwaveformisdisplayedasanaverageoftheL&Rchannels.Thismeansthatyouwillonlyseeonewaveform,evenifyouraudiofile isstereo(figure2.19).

TheHorizontalScrollBarwillallowyoutomovethefilewithinthedisplay (figure2.21).ClickitandmoveittothedesiredpositionorusetheLeft/Right arrows(figure2.22).

2.2.5.3 Using the Transport Bar Play/Stop:clickthisbuttontoStart/Stopanaudiofileoruseyourcomputer keyboardspacebar(figure2.24).

Loop:clickthisbuttontoinserttheStart/EndloopmarkersintheWaveform Display(figure2.25).TotrimtheStart/Endlooppoints,holdthemouseon topofeachmarkeranddragthemhorizontally(figure2.26).Toplaybackthe loop,clickPlayorhitthespacebar.

A: AUTOrecord.Itallowsyoutobepreparedfortherecordingsession.Itsets therecordersothatitwillwaitforyoutohitthestringsbeforestartingthe actualrecording(figure2.28).

Measure Display:itcountsthemeasuresbeingplayed,basedontheselected TimeSignature(SIGN)(figure2.29).

2.2.5.4 Track Controls Description 1-4:itselectsthetrackthatyouwanttoworkon(figure2.30).Clickonthe relatedtracknumberorpress1,2,3,or4inyourcomputerkeyboard.

Rec:clickthisbuttontomonitoryourinstrumentandtorec-armthetrack. (figure2.32)Bydefault,RecisenabledinTrack1,soyouareabletomonitor yourinstrumentassoonasyoulaunchAmpliTube3.

2.2.5.5 Playback Speed Toquicklychangetheplaybackspeedofallthefourtracksclick1/2x,1x,or 2x.(figure2.40)

1/2x:halfspeed 1x:normalspeed 2x:doublespeed

2.2.5.6 Recording Thereare2easywaystorecordinTrack1(selectedandenabledbydefault): A)RecordingusingtheAUTObutton: 1. ClickA(figure2.41).

2. SelectorcreateanewfoldertosaveyourrecordingsandclickOK (figure2.42). 3. Whenyouareready,startplaying.Therecordingsessionwillbegin automatically. 4. ClicktheStopbuttontostoprecording. Note:therecordingdestinationfolderhastobeselectedonlyforthefirst timearecordingisstartedinthesession.

2.2.5.11 Using the Metronome TheMetronomehas5controls(figure2.51).

BPM:allowsyoutochangethemetronomestempo(figure2.54).Clickand holdtheBPMvalue.Movingthepointerupwillincreasethevalueandvice versa.YoucanalsosetyourtempobyTAPPING.Todothat,presstheTkey onyourcomputerkeyboardatleast4times.

3.4.1 Pan ThePancontrolallowsyoutoadjustthepanpositionoftheCabandRack modules.Usually,thiscontrolshouldbekeptatitsdefaultposition(center) (figure3.4).

3.4.2 Volume TheVolumecontrolallowsyoutofine-tunetheoutputlevelofeachmodule (figure3.5).

3.4.3 Phase ThePhasecontrolallowsyoutodelaytheDirectsignalortheCabModule signal(figure3.6).

3.4.4 Mix TheMixcontrolisnormallysetatzeroasitmixesthesignalcapturedbythe CabmodelmicrophonewiththedirectsignaltakenfromtheStompsoutput. Thisisusefulwithbassamps,tomixthedirectsignalwiththecabinetone, butitcouldalsobeusedwithcertainkindofguitarsounds(figure3.7).

3.5 Using Noise Gate TheNoiseGateallowsyoutominimizetheamountofunnecessarynoise, especiallyifyouareusinghighgain(figure3.8).

3.5.2 Release Itsetsthegatereleasetime.Highervalueswillresultinagatethattakes alongeramountoftimetocloseagain,whentheinputsignaldropsbelow thethreshold(figure3.10).

3.6 Tuner Display TheTunerDisplayallowsyoutodoaquickcheckofyourtuningwhileyou areworkinginanymodule.JustclickOn,playastring,andcheckthatthe markerisexactlyinthemiddle(figure3.12).

However, if you want to manually change AmpliTube 3 preferences, click Prefs(figure3.18)andenable/disablethefollowingoptions(figure3.19):

Preset: TheBPMSyncTemposourceisthevaluesavedwiththePreset. ThePresetBPMvalueisdisplayedintheBPMdisplayinorange(figure 3.23).

TosaveaBPMvaluetoaparticularPreset,clickPreferences>enable thePresetoption>andclickOk.IntheBPMdisplay,clicktheBPMvalue, deleteit,typeanewone,andclickSave. Thetempocanbeoverriddenbyclicking(tapping)thetempoontheTAP button.Tapatleast4times(figure3.24).

3.9.3 Information (Info) ToopentheInformationpage,clickInfo(figure3.25).

3.10 MIDI Control, Automation, and Controllers 3.10.1 MIDI ClickMIDItoopenthenewMIDIControlPanel(figure3.28).

Formoreinformation,see Chapter 14, MIDI. 3.10.2 Automation (Auto) ClickAutotoopentheAutomationPanel(figure3.29).

Formoreinformation,see Chapter 13, Automation. 3.10.3 Control (Ctrl) ClickCtrltoopentheStealthPedalControlPanel(figure3.30).

Formoreinformation,see Chapter 15, Control.

4.2 Selecting Modules ToselectanAmpliTube3module,clickontherelatedbutton(Tuner,Stomp A/B,AmpA/B,CabA/B,andRackA/B)(figure4.4).

5 - Presets and Patches

5 - Presets and Patches

Consideringthatthisisafullyautomaticchromatictuner,thereisnoneedto manuallyselectthenoteyouaregoingtotune.Thetunerwillautomatically detectandshowwhichnoteyoureplaying. 6.1 On/Off Switch ThisswitchturnstheTunerModuleOn/Off(figure6.2).

6.2 Mute TheMuteswitchallowsyoutosilencetheguitarsignalwhiletuning,avery usefulfeatureforliveperformance(figure6.3).

6.4 Graphical Tuner Interface AmpliTube3sGraphicalTunerInterfaceisbasedonahigh-endrackmounttuner andallowsyoutotuneyourinstrumentfastandaccurately(figure6.5).

6.5 Tune Display Itshowsthedetectednotename,e.g.,A,B,etc.(figure6.6).ThisisalsovisiblefromtheInput/Outputbar.

6.6 Cents Display Itshowshowmanycentsyouareup(+)ordown(-)inrelationtothenote thatyouaretuning.(figure6.7)

7.2 Drag & Drop feature Now,youareabletore-arrangetheorderofthestompsusingthedragand dropfeature.Thisoptionallowsyoutoexperimentdifferentconfigurations andexplorenewsonicterritoriesontheflyBytheway,haveyouevertried torearrange6-12hardwarestomppedals?

7.3.3.2 Dcomp Thiseffectismodeledafteravintagecompressionstomppedal(figure7.27). Controls: OUTPUT:setstheoutputlevelfortheeffect,frominfto0.0dB. SENSITIVITY:setsthesensitivityofthecompression,from0to10.