Amplitube 3 Manual.pdf 3x7060

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Manual

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AmpliTube 3

PLEASE NOTE AmpliTube 3 is now available in different versions: AmpliTube 3 and AmpliTube 3 FREE. The only difference between the two versions is in the number of gear models included. AmpliTube 3 includes 160 models, and AmpliTube 3 FREE includes 24. While consulting this manual, please refer to the specific gear models included in the AmpliTube 3 version you are using.

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AmpliTube 3

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AmpliTube 3 Table of Contents

I Contents

3



II Interface

12



III License Agreement

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Chapter 1 1.1 1.2 1.3 1.4 1.4.1 1.4.2

Overview Introduction What’s new in AmpliTube 3? Plug-in Architecture Using the Interface Standalone Interface Plug-in Interface

17 17 17 19 22 22 25



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

Getting started Registration/Authorization Standalone Mode Launch AmpliTube 3 Standalone Audio Configuration Windows® Macintosh® Plug Your Guitar Connecting Your Guitar/Bass Adjusting Your Levels Quality Mode Options Tuning Hands-on Examples Loading a Preset Selecting Amps Choosing the Cabinet Adding Stomp and Rack Effects Four Track Audio Player/Recorder with Speed Trainer Import an Audio File Waveform Display Using the Transport Bar Track Controls Description Playback Speed Recording Adding Effects Managing Your Resources Master Volume Export Using the Metronome Saving and Loading Your AmpliTube 3 Project Files Project Sample Rate Status Bar Plug-In Mode

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

Input/Output Bar Input/Output Bar Input Section Input Knob Input Level Meter IK Controller Selector Using the StompIO/StealthPedal to Control AmpliTube 3 Selected Module Pan Volume Phase Mix Implementation Table Using Noise Gate Threshold Release Depth Tuner Display Selected Parameter Display Master Section Master Knob Output Level Meter Program Information, Preferences and More Lock Preferences (Prefs) Information (Info) Area MIDI Control, Automation, and Controllers MIDI Automation (Auto) Control (Ctrl)

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



Chapter 4 4.1 4.1.1 4.1.2 4.2

Module/Rig Selector Dual Rig Signal Path Signal Path Presets Stereo IN Selecting Modules

65 65 65 66 66



Chapter 5 Presets and Patches 5.1 What is the difference between a Preset and a Patch?

69 69



Chapter 6 6.1 6.2 6.3 6.4 6.5 6.6

Tuner Module On/Off Switch Mute Tune Graphical Tuner Interface Tune Display Cents Display

71 71 72 72 72 73 73



Chapter 7 Stomp Module (Stomp Box Effects)

75

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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

Selection and Navigation Options Drag & Drop feature Stomp Models Delay Delay EchoMan TapDelay Distortion BigPig Crusher Diode Overdrive Distortion Metal Distortion Metal Distortion 2 Overdrive OverScream PROdrive The Ambass’dor Dynamics Compressor Dcomp EQ 7 Band Graphic 10 Band Graphic Filter Envelope Filter LFO Filter Rezo Step Filter Wah Wah 10 Wah 46 Wah 47 Fuzz Class Fuzz Fuzz Age Fuzz Age 2 FuzzOne Octa-V RightFuzz XS Fuzz Modulation Analog Flanger Chorus Chorus-1 Electric Flanger Flanger Metal Flanger Opto Tremolo

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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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

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Phaze Nine Phazer10 Small Phazer Uni-V Pitch Harmonator Octav Pitch Shifter Wharmonator Other Volume Step Slicer Swell Stomp Models (Table)

118 119 120 121 122 122 123 124 125 126 126 127 128 129

Amp Module (Amplifier Head) Introduction On/By EQ Match Amp Match Amp Model Types and Components Pre Model EQ Model Amp Model Pre Amp Models Clean American Clean MKIII American Tube Clean 1 American Tube Clean 2 American Vintage B American Vintage D American Vintage T Custom Solid State Clean Jazz Amp 120 Metal Clean T Crunch American Tube Vintage British Blue Tube 30TB British Copper 30TB British Lead S100 British OR THD Bi-Valve Tube Vintage Combo Lead American Lead MKIII British Tube Lead 1 British Tube Lead 2 Custom Modern Hi-Gain Custom Solid State Fuzz Custom Solid State Lead

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

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Metal Lead T Metal Lead V Metal Lead W Modern Tube Lead Vintage Metal Lead Bass 360Bass Preamp Combo 150MB Green BA250 Solid State Bass Preamp Pre Amp Models (Table) Power Amp Models

162 163 164 165 166 167 167 168 169 170 171 172

Cab Module (Cabinets + Microphones) Introduction Cabinet Model Cab Model Selector By Match Size Cabinet Models Guitar 6” 1x6 Small Combo Guitar 10” 1x10 Combo Modern 4x10 Closed Modern 4x10 Open Vintage Guitar 12” 1x12 Combo 1x12 MB II 1x12 MB III 1x12 Open Modern 1x12 Open Vintage 2x12 Closed Vintage 2x12 Gry British Vint 2x12 JP Jazz 2x12 Open SL 2x12 Open TJ120 2x12 Open Vintage 4x12 British Or 4x12 Closed 25 C 4x12 Closed 75 C 4x12 Closed J120 4x12 Closed Modern 1 4x12 Closed Modern 2 4x12 Closed Vintage 1 4x12 Closed Vintage 2 4x12 Metal F 1 4x12 Metal F 2 4x12 Metal T 1

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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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

4x12 Metal T 2 4x12 Metal T 3 4x12 Metal V 1 4x12 Metal V 2 4x12 Metal V 3 4x12 Modern M 1 4x12 Modern M 2 4x12 Modern M 3 4x12 Vintage M 1 4x12 Vintage M 2 Guitar 15” 2x15 Closed B J130 2x15 Closed D J130 Bass 10” 4x10+tw Bass 4x10+tw TE Bass Bass 12” 1x12 Bass 1x12 BassJz Bass 15” 1x15 Bass Vintage Bass 18” 1x18 Horn Bass Rotary Rotary 147-1 Rotary 147-2 Cabinet Models (Table) Mic Model Mic Model Selector Position Distance Mute Solo Phase Pan Mic Blend Microphone Models Dynamic Dynamic 57 Dynamic 20 Vintage Dynamic 20 Dynamic 421 Dynamic 441 Dynamic 609 Condenser Condenser 12 Condenser 67 Condenser 84 Condenser 87 Condenser 170

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

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Condenser 414 Ribbon Ribbon 121 Ribbon 160 Velo-8 Microphone Models (Table) Room Room Type Selector Mute Solo Phase Room Mics Controls Room Type Presets Rotary Speaker Introduction Rotary Speaker Models Setup Width Balance Speed

221 222 222 223 224 225 226 227 228 228 229 230 232 232 233 233 233 234 235 236

Rack FX Module (Post Effects) Introduction On/By Rack FX Selector Drag and Drop Feature Rack FX Models Delay & Reverb Digital Delay Digital Reverb Tap Delay EQ & Dynamics Graphic EQ Parametric EQ Tube Compressor Filter Rezo Step Filter Modulation Analog Chorus Digital Chorus Digital Flanger Rotary Speaker Pitch Harmonator Pitch Shifter Other Step Slicer Stereo Enhancer Swell

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

255



Chapter 12 12.1 12.2 12.3

Expanding AmpliTube 3 using the Custom Shop Overview The Custom Shop New gear models and collections

263 263 263 264



Chapter 13 13.1 13.2 13.2.1 13.2.2 13.2.3 13.2.4

Automation Assign Automation within each Module (Stomp, Amp, Cab and Rack) Manage Automation Assignments via the Automation Plug-in Parameters DAW Automation Assignment Procedure Assignment Save and Recall

265 265 266 267 268 270 274



Chapter 14 14.1 14.2 14.3 14.3.1 14.3.2 14.4

MIDI Introduction MIDI Configuration Asg Controllers Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters) Manage MIDI Parameters Assignation via the MIDI Control Additional Parameters on MIDI Control Window

275 275 276 277 277 278 283



Chapter 15 Foot Controller Integration 15.1 Introduction

289 289



Chapter 16 Troubleshooting

291



Chapter 17 17.1 Area

293 293

Appendix

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IK Technologies DSM™ Technology VRM™ Technology Block Diagram

295 295 295 296

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AmpliTube 3

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AmpliTube 3

Hundreds of different guitar amp and effects presets ready to go.

Module Interface. Choose from a wide variety guitar and bass gear models.

Input/Output Interface.

Includes Four Track Audio Player/ Recorder with SpeedTrainer for playing along with your favorite recordings.

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AmpliTube 3 With the new online Custom Shop, you can try and buy à la carte Stomp Boxes, Amplifiers, Cabinets, Microphones and Rack Effects from a vast collection of over 200 gear models.

Two Guitar Rigs. Powerful and flexible routing system provided by Dual Rig technology.

Five Modules: Tuner, Stomp Boxes, Amplifiers, Microphones, Cabinets and Rack Effects.

Standalone application and VST/ AU/RTAS plug-in for all popular DAWs. Native for 64-bit applications and operating systems.

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AmpliTube 3 License Agreement END- LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and contains warranty and liability disclaimers. By breaking the seal on the media envelope, you are confirming to have taken notice of and conditions of this agreement and you acknowledge your acceptance of the software as well as your acceptance of the of this agreement. If you do not wish to do so, do not break the seal. Instead, promptly return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund. 1) DEFINITIONS “EULA” means this end license agreement “IK Multimedia Product” means the software program included in the enclosed package, and all related updates supplied by IK Multimedia. “IK Multimedia Product” means the software program and hardware (if any) included in the enclosed package, the related documentation, models, multimedia content (such as animation, sound and graphics) and all related updates supplied by IK Multimedia. “Not for resale (NFR) Version” means a version of IK Multimedia Product, so identified, is intended for review and evaluation purposes, only. 2) LICENSE The “IK Multimedia Product” is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The “IK Multimedia Product” is licensed, not sold. This EULA grants you the rights as specified here below. All other actions and means of usage are reserved to the written permission of the right holder IK Multimedia Production Srl: Applications Software. The “IK Multimedia Product” may be used only by you. You may install and use the “IK Multimedia Product”, or any prior version thereof for the same operating system, on up to five (5) computers, provided that (a) each computer is owned by (or leased to) and under the exclusive control of the licensee; (b) the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with IK Multimedia software installed shall not be sold, rented, leased, loaned or otherwise be removed from the licensee’s possession without first removing (uninstalling) the licensed software, except as provided in Paragraph 4 (below) pertaining to “Software Transfer”. Storage/Network use. You may also store or install a copy of the “IK Multimedia Product” on a storage device, such as a network server, used only to install or run the “IK Multimedia Product” on your other computers over an internal network; however, you must acquire and dedicate a distinct license for each of the “IK Multimedia Product” from the storage device. Any given license for the “IK Multimedia Product” may not be shared or used concurrently or otherwise on different computers or by different developers in a given organization. 3) AUTHORIZATION The “IK Multimedia Product” only functions when you have authorized it. The “IK Multimedia Product” will be authorized upon completing the authorization procedure. Once your product is authorized, you may use it. You agree to follow the authorization procedure and will provide true, accurate and complete information about yourself. If you provide any information that is untrue, inaccurate, not correct or incomplete, or IK Multimedia has reasonable grounds to suspect that such information is untrue, inaccurate, not correct or incomplete, IK Multimedia has the right to suspend or to revoke the license. The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia. 4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer, decompile, or disassemble the “IK Multimedia Product”, except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation of components. The “IK Multimedia Product” is licensed as a single product. Its component parts may not be separated for use on more than one computer. Not for Resale Version. If the “IK Multimedia Product” is labeled “Not for Resale” or “NFR” or “Evaluation Copy”, then, notwithstanding other sections of this EULA, you may not sell, or otherwise transfer the “IK Multimedia Product”. Rental. You may not rent, lease, or lend the “IK Multimedia Product” to any party. Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any IK Multimedia product, as licensed to you under this agreement without prior written consent of the rights owner. The carrier on which the IK Multimedia product has been distributed may be transferred or otherwise made available to any third party only with the prior written consent of the rights owner and provided that (a) the original media

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AmpliTube 3 and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media. 5) UPGRADES If the “IK Multimedia Product” is labeled or otherwise identified by IK Multimedia as an “upgrade”, you must be properly licensed to use a product identified by IK Multimedia as being eligible for the upgrade in order to use the “IK Multimedia Product”. An “IK Multimedia Product” labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or supplements the product that formed the basis for your eligibility for such upgrade. You may use the resulting upgraded product only in accordance with the of this EULA. If the “IK Multimedia Product” is an upgrade of a component of a package of software programs that you licensed as a single product, the “IK Multimedia Product” may be used and transferred only as part of that single product package and may not be separated for use on more than one computer. 6) DUAL-MEDIA SOFTWARE You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another , except as part of the permanent transfer (as provided above) of the “IK Multimedia Product”. 7) LIMITED WARRANTY IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original purchase, that under normal use, the software program and the documentation are free from defects that will materially interfere with the operation of the program as described in the enclosed documentation. 8) WARRANTY CLAIMS To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, your name, your return address and a statement of the defect, or send the CD(s) to us at the below address within ninety (90) days of purchase. Include a copy of the dated purchase receipt, your name, your return address and a statement of the defect. IK Multimedia or its authorized dealer will use reasonable commercial efforts to repair or replace the product and return it to you (postage prepaid) or issue to you a credit equal to the purchase price, at its option. 9) LIMITATIONS ON WARRANTY IK Multimedia warrants only that the program will perform as described in the documentation. No other advertising, description or representation, whether made by a IK Multimedia dealer, distributor, agent or employee, shall be binding upon IK Multimedia or shall change the of this warranty. 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) CHOICE OF LAW You agree that any and all claims, suits or other disputes arising from your use of the software shall be determined in accordance with the laws of Italy, in the event IK Multimedia, is made a party thereto. You agree to submit to the jurisdiction of the court in Modena, Italy for all actions, whether in contract or in tort, arising from your use or purchase of the software. 11) GENERAL This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contemporaneous agreements or understandings, whether oral or written. All questions concerning this Agreement shall be directed to: IK Multimedia Production Srl Via dell’Industria 46 41122 Modena Italy © 2012 IK Multimedia. All rights reserved.

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AmpliTube 3

Chapter 1 Overview



1.1 Introduction AmpliTube 3 is the New King of Tone. It is a massive upgrade of the leading guitar and bass tone gear modeling software that sets the new industry standard of sound variety, realism, and creative power. AmpliTube 3 offers over 160 pieces of gear (including models from the most sought-after vintage collections and modern day workhorses), 51 individual stomp boxes and effects, 31 amplifier preamp & power sections, 46 speaker cabinet models, 15 high-end stage and studio mics, 17 post amp rack effects, and much more… Thanks to the new AmpliTube 3 open architecture, you are able to constantly expand your sonic palette through the addition of more packages such as AmpliTube Fender™, Ampeg® SVX, etc. IK Multimedia allows you to build your custom integrated system using an IK Audio Interface/Controller such as StompIO or StealthPedal, your computer, and AmpliTube 3. You have dreamed it. We’ve made it. If you are a performer/producer and/or engineer searching for that unique tone that describes your artistic vision, AmpliTube 3 is the ultimate tone gear collection that you need.



1.2 What’s new in AmpliTube 3? • Over 160 models of vintage and modern gear included in one package • 30 new vintage gear models and creative effects • New Cabinet Module with two freely movable microphones and cabinet size control • New Room ambience with microphones’ stereo width control • New rotary speaker simulation using IK’s proprietary Volumetric Response Modeling (VRM™) technology • New Stomp & Rack FX drag & drop feature • Series/Parallel rigs with 8 signal path presets, selectable mono/ stereo input and true stereo processing • New advanced Preset Organization and Management feature • Global and Single gear presets • New “MIDI Learn” feature for compatibility with any MIDI controller • Freely assignable DAW Automation • New 4 Track Audio Player/Recorder with independent time stretch/ pitch shift* • Non destructive recording allows post-effect processing of the recorded audio* • Imports any Wav, Aiff, sd2, Apple Caf, Flac, MP3 audio file* • New Quality Mode feature • New built-in expandability with the Custom Shop. You are able to add “Powered by AmpliTube” packages like AmpliTube Fender™, Ampeg®

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AmpliTube 3

SVX, etc. as well as à la carte models. See the AmpliTube Custom Shop manual for more information • Native compatibility with 64-bit applications and operating systems • Expanded preset and patch browser • Enhanced foot controller integration. Direct integration with IK’s interfaces/controllers like StompIO, StealthPedal, StealthBoard. No setup needed • 2 simultaneous instruments can be processed with independent audio settings* • Metronome with selectable sounds* *Standalone version Other features: • Windows and Mac OS X Plug-in and Standalone application • ed Plug-in formats: Audio Units, VST, RTAS (Mac OS X) – VST, RTAS (Windows) • 5 separate modules: Tuner, Stomp, Amp, Cabinet + Microphones, and Rack effects • High-precision Tuner • Ultra-accurate analog modeling using IK Multimedia’s proprietary Dynamic Saturation Modeling (DSM™) technology • Host/DAW BPM synchronization • Up to 96 kHz ed sampling rate • Improved overall performance For more information about DSM™/VRM™ technologies and AmpliTube 3 Block diagram, see Appendix, “IK Technologies and Block Diagram.”

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AmpliTube 3



1.3 Plug-in Architecture AmpliTube 3 is set up as a traditional guitar rig to ensure predictable results and real world flexibility. The interface is simple and easy to navigate but also allows you to set up complex guitar rigs and advanced signal paths. The interface is divided into 5 modules: 1) Tuner

figure 1.1

2) Stomp effects

figure 1.2

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AmpliTube 3

3) Amp

figure 1.3

4) Cab

figure 1.4

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5) Rack effects

figure 1.5

This “musical layout” allows you to navigate the different rigs’ sections without effort and provides easy access to each module’s specific controls and features. The first step is to listen the included presets. The presets library has been skillfully programmed by the AmpliTube 3 designers to accurately reproduce each particular tone and to fuel your creativity… For more information about complex guitar rigs and advanced signal routing, see Chapter 4, “Module/Rig Selector.”

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1.4 Using the Interface AmpliTube 3 works as Plug-in or Standalone application.



1.4.1 Standalone Interface When using AmpliTube 3 in Standalone Mode, the interface has 6 sections (figure 1.6):

figure 1.6

Below is a brief description of each of them: 1) Top Header (figure 1.7) It includes Preset Manager, Quality Mode, and IK Controller Selector areas

figure 1.7

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• Preset Manager: it allows you to search, browse, select, save and delete presets (figure 1.8).

figure 1.8

figure 1.9

• Quality Mode: it is a one click system optimization. Just select Hi-Midor Eco to get the best balance between sound quality and U usage (figure 1.9). • IK Controller Selector: it allows you to choose your StompIO or StealthPedal controller. (figure 1.10)

figure 1.10

2) Module/Rig Selector (figure 1.11)

figure 1.11

It allows you to choose the module that you want to use (Tuner, Stomp, Amp, Cab, or Rack), the input type (Mono/Stereo) and the signal path presets. 3) Module Interface (figure 1.12)

figure 1.12

It displays the selected module and all its related controls. This is the module that you will use most while interacting with AmpliTube 3.

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AmpliTube 3

4) Input/Output Bar (figure 1.13)

figure 1.13

From here you will manage the Input and Output levels, the Noise Gate, and several module related controls. 5) Four Track Audio Player/Recorder with Speed Trainer (figure 1.14)

figure 1.14

It allows you to playback your favorite songs, learn new riffs, capture your ideas, record your band’s demo, and much more… 6) Status Bar (figure 1.15) figure 1.15

It includes the Input Gain Slider and gives you a quick reference of the U load and MIDI.

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AmpliTube 3



1.4.2 Plug-in Interface When using AmpliTube 3 as a Plug-in, the interface has 4 sections (figure 1.16):

figure 1.16

• Top Header (Preset Manager, Quality Mode, and IK Controller Selector areas) • Module/Rig Selector • Module Interface • Input/Output Bar Note: considering that the first 4 sections of the AmpliTube 3 interface are the same in Standalone and Plug-in Modes, there is no need to repeat their descriptions. Please see 1.4.1.

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AmpliTube 3

Chapter 2 Getting started



2.1 Registration/Authorization We know that you are excited about AmpliTube 3 so let’s get ready to rock! After you’ve installed AmpliTube 3, you have to and authorize your product. Not only to enable permanent unrestricted functionality, but also to take advantage of all the Area features. This is a very simple process; you just need to follow the instructions provided in the Authorization Manager. The Authorization Manager is a smart application integrated to our website that will guide you through the Registration and Authorization process. When you launch AmpliTube 3 for the first time the Authorization Manager will pop up asking you to complete the process, so become an IK ed today and enjoy all the benefits that IK Multimedia has to offer you! For information about AmpliTube 3 Installation, please read the “Installation and Authorization Manual” located here: Windows: Start\Programs\IK Multimedia\AmpliTube 3\ Installation and Authorization Manual Macintosh: HD/Library/Documentation/IK Multimedia/AmpliTube 3/Installation and Authorization Manual If you have any problems, see Chapter 16, “Troubleshooting” or visit the FAQ webpage at: www.ikmultimedia.com/faq



2.2 Standalone Mode The Standalone version of AmpliTube 3 can be used to perform live or in a recording studio situation, using your computer as a next generation modeling effects processor. Using AmpliTube 3 in Standalone Mode allows you to run the program without the need of a host sequencer application (DAW). To play live, we strongly recommend that you control AmpliTube 3 (Standalone Mode) with an IK Controller such as StompIO or StealthPedal, considering that their integration is highly-customized and optimized.

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2.2.1 Launch AmpliTube 3 Standalone To launch AmpliTube 3 Standalone go to: Windows: Start\Programs\AmpliTube 3 icon Macintosh: Application folder/AmpliTube 3 icon



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 as StompIO or StealthPedal, no setup is needed because AmpliTube 3 offers direct integration.



2.2.2.1 Windows®

figure 2.1

In AmpliTube 3, click Audio > Hardware Settings. Select ASIO (recommended) or DirectX from the top menu. ­28

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Input Device: your audio interface driver will be automatically selected. If not, please choose it manually. Left/Right Channel: select the audio interface input into which your instrument is plugged. For example, if your instrument is plugged into the first audio interface input, you should select Left Channel-Input 1. However, if it is plugged into the second audio interface input, you should select Right Channel-Input 2, etc. In some cases, Left channel is identified as Channel 1 and Right channel as Channel 2. Output Device: select your audio interface output driver. The Input and Output Device should be the same. Left/Right Channel: select your desired output channels. For example, (Left Channel -Output 1), (Right Channel-Output 2). Buffer Size: to change the buffer size of an ASIO device, click . It will open your audio interface’s Control .

2.2.2.2 Macintosh®

figure 2.2

In AmpliTube 3, click Audio > Hardware Settings. Input Device: Your audio interface driver will be automatically selected. If not, please choose it manually.

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Left/Right Channel: Select the audio interface input into which your instrument is plugged. For example, if your instrument is plugged into the first audio interface input, you should select Left Channel/Channel 1. However, if it is plugged into the second audio interface input, you should select Right Channel/Channel 2, etc. However, if your audio interface has only 1 input, the Left and Right channels menus will display Channel 1. Output Device: Select your audio interface output driver. Usually, the Input and Output Devices are the same. Left/Right Channel: Select your desired output channels. For example, (Left Channel-Channel 1), (Right Channel-Channel 2). Buffer Size: Adjusting the buffer settings will change the audio signal latency. In fact, the amount of latency depends on several factors such as computer speed and audio interface performance. Decreasing the buffer size value will reduce the amount of signal delay, so the goal is to get the latency as low as possible without getting any audio artifacts. As a starting point, a buffer size of 144 samples should be fine on most modern computers. However, considering that each system is different; please experiment with your settings until you get the best result.

2.2.3 Plug Your Guitar Now that AmpliTube 3 is installed and your audio interface is configured we are ready to move forward.



2.2.3.1 Connecting Your Guitar/Bass Plug your instrument into a Hi-Z Input, Instrument Input, or a Microphone XLR Input (only if you are using an active DI BOX between the guitar 1/4” Plug and the Mic XLR input). Do not use Regular Line Inputs, -10 dB or +4 dB Inputs, unless you’re using an active instrument or you are adding an active buffer between the instrument and the line input.

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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, lets analyze how your audio interface and AmpliTube 3 interact. When you are using AmpliTube 3 as Standalone, you can adjust the Input level by moving its Input Gain Slider (figure 2.3).

figure 2.3

The Global Input Level is determined by the audio interface gain plus the AmpliTube 3 Input Gain value. Increase the input level up to the point where the clipping LED starts blinking.To avoid clipping, adjust your audio interface gain knob accordingly. figure 2.4

The Preset Input Level is determined by the AmpliTube 3 Input level knob (figure 2.4). The AmpliTube 3 Output level is controlled by the Master knob (figure 2.5). The Audio Interface Output level is controlled by its Master Volume.

figure 2.5



Tip: if while browsing AmpliTube 3 presets you find that all clean sounds are too quiet and all lead sounds are too high, this probably means that you’re using a too low input gain on your audio interface. 2.2.3.3 Quality Mode Options To get the best balance between sound quality and U usage, click on each Quality Mode button (located in the Top Header section of AmpliTube 3 interface) and determine which option is the best for your system.

figure 2.6

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• HI: offers the best sound quality at a higher U usage • MID: offers a very good sound quality at a reasonable U usage • ECO: offers a good sound quality at a very low U usage

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2.2.3.4 Tuning If your instrument is out of tune, you are not maximizing AmpliTube 3 sonic capabilities so let’s invest a few minutes… 1. Click the Tuner button located in the Module/Rig Selector. 2. Turn On the Tuner. 3. Play one string at a time and check that the Cents indicator is as close at 0 as possible, both in the Graphic Tuner Interface and in the Cents display (figure 2.7).

figure 2.7

If tuning your instrument is taking more than a few minutes, maybe is time to change your strings and/or calibrate your guitar/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, play a riff over and over and change the presets via the Up/Down arrows…

figure 2.8

If you want to search presets by keywords, attributes, or apply filters to your search, click Preset Browser and enjoy its smart engine.

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2.2.4.2 Selecting Amps To explore different Amp Models, click Amp A and change the Pre Amp, EQ, and Amp Models using the Up/Down arrows (figure 2.9). You can also adjust each control setting to get that ultimate tone.

figure 2.9



2.2.4.3 Choosing the Cabinet Do you want to listen an incredible rotary speaker simulation? No problem. Click Cab A and select the Rotary 147 model through the Cab Model Selector. Do you have an “orange”? Yes! Select the 4x12 British Or model and change the distance and position of the microphones by moving them vertically and horizontally… you can also add Room Ambience and change the width of the Room mics… (figure 2.10).

figure 2.10

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2.2.4.4 Adding Stomp and Rack Effects You can easily add Stomp and Rack Effects. To add a stompbox, click Stomp A and select one of the 51 available models from the Stomp Model Selector (figure 2.11).

figure 2.11

To add a Rack Effect, click Rack A and choose one of the models included in the Rack Model Selector (figure 2.12).

figure 2.12

In AmpliTube 3 you are able to rearrange the order of the stomps and racks models using the drag and drop feature. Did you try it?

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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 new feature because it allows you to: • Import and playback up to four Wav, Aiff, sd2, Apple Caf, Flac, MP3 audio files • Control Volume, Pan, Pitch, and Tempo per track • Use AmpliTube 3 as an Effect - one instance per track • Maximize your resources via the Freeze function • Set a loop • Change the Playback Speed • Record your ideas • Practice with a Digital Metronome • Export audio, and much more…



2.2.5.1 Import an Audio File There are 2 ways to import audio files. A) Through Load (figure 2.13):

figure 2.13

1. Click Load. 2. Select the audio file/s that you want to import. 3. Click Open/Ok etc. The imported audio files will be displayed in the Audio Files List area (figure 2.14).

figure 2.14

4. Select the track in which you want to move the audio file by clicking in its number (figure 2.15).

figure 2.15

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5. Drag the selected audio file from the Audio Files List area and drop it to the Waveform Display (figure 2.16). If the track in which you are loading an audio file is empty, the file will be automatically loaded on it.

figure 2.16

6. The audio file recently moved to the Waveform Display will show the assigned track # in the right column of the Audio File List (T1, T2, etc) (figure 2.17).

figure 2.17

B) Via the drag and drop feature. 1. Drag the audio files that you want to import to the Audio Files List area. 2. Drag the selected audio file from the Audio Files List area and drop it to the Waveform Display. If the track in which you are loading an audio file is empty, the file will be automatically loaded on it. 3. The audio file recently moved to the Waveform Display will show the assigned track # in the right column of the Audio File List. Note: if the same audio file was “dropped” in different tracks, (e.g., track 1 and 3), both numbers will be shown in the right column of the Audio File List (T13) (figure 2.18).

figure 2.18

To delete an audio file, drag it from the Audio File List area and drop it anywhere in your desktop.

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2.2.5.2 Waveform Display The audio file peak waveform is displayed as an average of the L & R channels. This means that you will only see one waveform, even if your audio file is stereo (figure 2.19).

figure 2.19

The Zoom In (+) and Zoom Out (-) buttons are located at the bottom right of the Waveform Display (figure 2.20).

figure 2.20

The Horizontal Scroll Bar will allow you to move the file within the display (figure 2.21). Click it and move it to the desired position or use the Left/Right arrows (figure 2.22).

figure 2.21

figure 2.22

To clear the Waveform Display click Empty (figure 2.23). The audio file will not be deleted (it will remain in the Audio Files List area, but without the assigned tack #).

figure 2.23

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2.2.5.3 Using the Transport Bar Play/Stop: click this button to Start/Stop an audio file or use your computer keyboard spacebar (figure 2.24).

figure 2.24

Loop: click this button to insert the Start/End loop markers in the Waveform Display (figure 2.25). To trim the Start/End loop points, hold the mouse on top of each marker and drag them horizontally (figure 2.26). To playback the loop, click Play or hit the spacebar.

figure 2.25

figure 2.26

Rec: to record a track, click the track’s record button and then the Transport bar Rec button (figure 2.27).

figure 2.27

A: AUTO record. It allows you to be prepared for the recording session. It sets the recorder so that it will wait for you to hit the strings before starting the actual recording (figure 2.28).

figure 2.28

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Measure Display: it counts the measures being played, based on the selected Time Signature (SIGN) (figure 2.29).

figure 2.29



2.2.5.4 Track Controls Description 1-4: it selects the track that you want to work on (figure 2.30). Click on the related track number or press 1, 2, 3, or 4 in your computer keyboard.

figure 2.30

Input: it allows you to select input 1, 2, or stereo (S). Just click on it to scroll through the 1, 2, and Stereo options (figure 2.31). By default, Input 1 is assigned to Track 1.

figure 2.31

Rec: click this button to monitor your instrument and to rec-arm the track. (figure 2.32) By default, Rec is enabled in Track 1, so you are able to monitor your instrument as soon as you launch AmpliTube 3.

figure 2.32

Note: the Rec Arm button will be automatically disabled when an audio file is dragged to the selected track.

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Solo: it allows you to listen only that track, and automatically mutes the rest (figure 2.33).

figure 2.33

Mute: it allows you to listen all the tracks except the one that you are muting (figure 2.34).

figure 2.34

Volume: moving the slider to the right increase the volume and vice versa (figure 2.35).

figure 2.35

Pan: it allows you to pan that track to the Left, Center, Right, and everything in between (figure 2.36).

figure 2.36

Pitch: it allows you to shift the pitch up or down without changing the tempo (figure 2.37).

figure 2.37

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Tempo: it allows you to speed up or slow down the tempo without changing the pitch (figure 2.38).

figure 2.38

Link: this button (on by default) makes any changes you have made on the Tempo slider to be applied equally to all 4 tracks. If you want to have a different Tempo setting in each track, just uncheck this option (figure 2.39).

figure 2.39



2.2.5.5 Playback Speed To quickly change the playback speed of all the four tracks click 1/2x, 1x, or 2x. (figure 2.40)

figure 2.40

• 1/2x: half speed • 1x: normal speed • 2x: double speed

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2.2.5.6 Recording There are 2 easy ways to record in Track 1 (selected and enabled by default): A) Recording using the AUTO button: 1. Click A (figure 2.41).

figure 2.41

2. Select or create a new folder to save your recordings and click OK (figure 2.42). 3. When you are ready, start playing. The recording session will begin automatically. 4. Click the Stop button to stop recording. Note: the recording destination folder has to be selected only for the first time a recording is started in the session. figure 2.42

B) Recording manually: 1. Click the Rec button located in the Transport bar (figure 2.43).

figure 2.43

2. Select or create a new folder to save your recordings and click OK. 3. Start playing. 4. Click the Stop button to stop recording. Note: the recording destination folder has to be selected only for the first time a recording is started in the session. If you want to record in any of the other tracks, add these two steps before the instructions provided above: • Select the track in which you want to record. • Click its record button. And then continue with the A or B instructions.

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Now that you’ve recorded a couple of licks, let’s learn how to work with audio files. If you want to: Find the audio file that you’ve just recorded, check the Audio Files List. All takes are numbered consecutively. Remove the current take, drag the file from the Audio Files List and drop it anywhere in the desktop. Note: if you want to actually delete the recorded audio file from the hard disk you need to find it inside the selected recording destination folder and delete it manually. Only removing the audio recording from the AmpliTube 3 Audio Files list does not actually delete it from the hard disk. Free up the track from the audio file it contains, click Empty.

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2.2.5.7 Adding Effects Think AmpliTube 3 as a plug-in processor. You can add one AmpliTube 3 instance per track via the AmpliTube button. This means that you can use the entire AmpliTube 3 or any of its modules (Stomp, Amp, Cab and Rack) to process your audio files. Track 1 is automatically loaded with AmpliTube 3 when the application is started. This is to avoid you having to manually load AmpliTube 3 each time when you play live using any of the IK Multimedia hardware interfaces, like StompIO or StealthPedal. To activate AmpliTube 3 as a plug-in processor in Track 2: 1. Select Track 2 by clicking on its number (figure 2.44).

figure 2.44

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2. Click the AmpliTube button, a new AmpliTube 3 instance will open (figure 2.45). To deactivate it, click AmpliTube again.

figure 2.45

3. To monitor the track with AmpliTube 3 added as effect, click the On icon (default). To by the effect, click On again (figure 2.46).

figure 2.46

Select Track 1 and then Track 2 to visualize and compare the settings of each AmpliTube 3 instance.

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2.2.5.8 Managing Your Resources To optimize your system performance, only Track 1 has the Effect feature enabled by default. To preserve your U usage, we recommend following these guidelines: Freeze all the tracks that you are not working on: Select the track that you are not working and click the Freeze icon (figure 2.47).

figure 2.47

An audio file will be created and placed in your recording destination folder (figure 2.48). Deactivate AmpliTube in the tracks that you are not working on: Select the related tracks and click the AmpliTube button. The interface will disappear.

figure 2.48

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Use what you need: For example, if you want to add a little bit of ambience to your sound, you could use the Digital Reverb Rack for example, so you will probably don’t need the entire AmpliTube 3… just by the modules that you are not using. Select the Stomp, Amp, or x module via the Module/Rig

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Selector and click By. Use the Quality Mode that you need for the current task: If you are practicing scales you do not need the Hi Quality Mode with 12 Stomps, Room Ambience, and 4 Racks… However, if you are monitoring different mic models, positions, and blending options with headphones, you may need it. You get the point.

2.2.5.9 Master Volume After you’ve made a raw mix of your band’s demo, you may want to control the volume of the entire Four Track Audio Player/Recorder via its Master slider (figure 2.49).

figure 2.49



2.2.5.10 Export Click Export to export audio files (figure 2.50). Select the settings in the Export File window and browse your recording destination folder. Click Save in the Save as window and OK in the Export File window.

figure 2.50

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2.2.5.11 Using the Metronome The Metronome has 5 controls (figure 2.51).

figure 2.51

Metronome: click this button enables/disable the Metronome (figure 2.52).

figure 2.52

Sound: click here to select your Metronome’s sound and the Accent option (figure 2.53).

figure 2.53

BPM: allows you to change the metronome’s tempo (figure 2.54). Click and hold the BPM value. Moving the pointer up will increase the value and vice versa. You can also set your tempo by TAPPING. To do that, press the T key on your computer keyboard at least 4 times.

figure 2.54

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Time Signature (Sign): to determine how many beats are per measure, click and move the pointer up/down on top of the top number. To determine what kind of note value constitutes a beat, click and move up/down the pointer on top of the bottom number. The numbers 3/4, for instance, mean three beats per measure with a quarter note getting one beat (figure 2.55).

figure 2.55

Volume: it allows you to change the Metronome’s click volume (figure 2.56).

figure 2.56



2.2.5.12 Saving and Loading Your AmpliTube 3 Project Files Through the File menu, AmpliTube 3 (Standalone Mode) allows you to create, open, save, and save as Projects (figure 2.57).

figure 2.57

A Project file includes all the information and data included in that particular project, from presets, individual control settings, to the audio files used in the Four Track Audio Player/Recorder, etc. Once your AmpliTube 3 project is finished you can save it by pressing Command-S (on Mac) or CTRL-S on Windows. Alternatively you can select “Save” from the “File” menu. A Save dialog will appear allowing you to enter your project name, and to select the destination folder. To open this project later, just double click on the file you have previously saved and AmpliTube 3 will open it automatically. Alternatively you can select “Load” from the “File” menu and locate the file you have previously saved. If you’re already working on a previously loaded AmpliTube 3 project and just want to save a variation of it just select “Save As…” from the “File” menu, type a new name for the project and select a destination folder.

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2.2.5.13 Project Sample Rate For proper results the AmpliTube 3 Project sample rate must match the one set on your Audio Interface. AmpliTube 3 automatically sets the Audio Interface sample rate for you, so in most cases there can’t be a mismatch. But in case you hear imported audio files playing at wrong speed first thing to check is Sample Rate on your Audio Interface, and set the AmpliTube 3 one accordingly. To set the AmpliTube 3 Project Sample Rate just select “Project Properties” from “File” menu and set the Sample Rate you need.



2.2.6 Status Bar The Status Bar includes the MIDI In check box, the Input Gain slider, and the U Load display (figure 2.58). For more information about MIDI In, see Chapter 15, “Control”.

figure 2.58



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, Acid Pro, Audition, Mainstage, and others... In short, AmpliTube 3 works in any DAW that s the following plug-in formats: Audio Units, VST, RTAS (Mac OS X) – VST, RTAS (Windows). Considering that DAWs are in constant update, please refer to their Manuals to learn how to insert AmpliTube 3 as a plug-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, phase and mix controls and of course, input and output level sections. You can check important information about your product, customize your preferences, connect to the Area, and open the MIDI, Auto, and Ctrl s…



3.2 Input Section The Input section includes the Input knob and its meter (figure 3.1).

figure 3.1



3.2.1 Input Knob The Input knob controls the Preset Input Level.



3.2.2 Input Level Meter The Input Level Meter shows you the input level through a 3 color reference; green, yellow, and red. Avoid red…



3.3 IK Controller Selector To control AmpliTube 3 in standalone or plug-in mode and take full advantage of its capabilities, IK Multimedia recommends using the StompIO or StealthPedal controllers. To understand how the IK Controller selector works, let’s analyze these scenarios; • If you launch AmpliTube 3 after you’ve connected and powered on your StompIO or StealthPedal, the application will automatically recognize your controller, so no setup needed. • If you launch AmpliTube 3 before you’ve connected and powered on your StompIO or StealthPedal, manually select which controller you

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are using via the IK Controller selector and enable it via the On button (figure 3.2.)

figure 3.2



3.3.1 Using the StompIO/StealthPedal to Control AmpliTube 3 The StompIO and StealthPedal are able to control one instance of AmpliTube 3 at a time. So if you have two AmpliTube 3 instances opened in Pro Tools (one inserted in the Lead Guitar track, and the other one in the Rhythmic Guitar track for example), click the On button in the AmpliTube 3 instance that you want to control first, e.g., Lead Guitar track, and then click the On button in the AmpliTube 3 instance inserted in the Rhythmic Guitar track. On the other hand, if you are using AmpliTube 3 Standalone, and you want to control the AmpliTube 3 instance that you added as effect in Track 2, click the On button. In short, • If you have only one AmpliTube 3 instance opened, the On button enables/disables the StompIO or StealthPedal controllers. • If you have 2 or more AmpliTube 3 instances opened, the On button will allow you to choose which instance to control. For more information about StompIO and StealthPedal, please read their related Manuals.



3.4 Selected Module The Selected Module section includes the Pan, Volume, Phase, and Mix controls (figure 3.3).

figure 3.3

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3.4.1 Pan The Pan control allows you to adjust the pan position of the Cab and Rack modules. Usually, this control should be kept at its default position (center) (figure 3.4).

figure 3.4



3.4.2 Volume The Volume control allows you to fine-tune the output level of each module (figure 3.5).

figure 3.5



3.4.3 Phase The Phase control allows you to delay the Direct signal or the Cab Module signal (figure 3.6).

figure 3.6

• To delay the Direct signal, adjust the Phase Control to negative values (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 to positive values) by a few milliseconds in respect of the other one. Also, you can use this control to experiment with delay between the Direct and Cabinet sounds on bass sounds. The Phase control is normally set at zero (center) considering that could be a positive or negative value, and has to be used in conjunction with the Mix control.

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3.4.4 Mix The Mix control is normally set at zero as it mixes the signal captured by the Cab model microphone with the direct signal taken from the Stomps output. This is useful with bass amps, to mix the direct signal with the cabinet one, but it could also be used with certain kind of guitar sounds (figure 3.7).

figure 3.7

Note: this control has to be used in conjunction with the Phase control. The following table shows you which control is implemented in each module.

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 The Noise Gate allows you to minimize the amount of unnecessary noise, especially if you are using high gain (figure 3.8).

figure 3.8



3.5.1 Threshold It sets the threshold level for the signal. When the signal drops below the set threshold level, the noise gate silences the signal. Usually, keep the

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threshold level at the lowest possible value (fully counterclockwise) and set it higher only when you need to activate the gate (figure 3.9).

figure 3.9



3.5.2 Release It sets the gate release time. Higher values will result in a gate that takes a longer amount of time to close again, when the input signal drops below the threshold (figure 3.10).

figure 3.10



3.5.3 Depth This control determines how much the signal is attenuated when the gate closes, from -20 dB to -100 dB. Default is -60 dB, which is a strong attenuation that usually works fine in most cases. If you need to add more attenuation, increase this parameter (figure 3.11).

figure 3.11



3.6 Tuner Display The Tuner Display allows you to do a quick check of your tuning while you are working in any module. Just click On, play a string, and check that the marker is exactly in the middle (figure 3.12).

figure 3.12

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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, its related unit of measurement) will be shown in the Selected Parameter Display. For example, if you increase the Amp module level, a dB (Decibel) abbreviation will appear next to the value (figure 3.13).

figure 3.13



3.8 Master Section The Master Section includes the Master knob and the Output Level Meter (figure 3.14).

figure 3.14



3.8.1 Master Knob The Master knob controls the AmpliTube 3 Output level.



3.8.2 Output Level Meter The Output Level Meter shows you the output level and an overload light that works as a clipping indicator. The clipping indicator should never light up. If it does, you’re probably clipping your signal digitally, and as a result, degrading the sound quality. This situation can be fixed by reducing the Master level so that the output master signal stays slightly below the clipping level.

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3.9 Program Information, Preferences and More 3.9.1 Lock If you are running AmpliTube 3 in demo mode and you click the Lock button (figure 3.15), the Authorization Manager will appear.

figure 3.15

However, if you’ve already ed and authorized your product, clicking on the Lock button will show you the product Serial Number (figure 3.16).

figure 3.16

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3.9.2 Preferences (Prefs) Use the new Quality Mode feature to automatically optimize your system (figure 3.17).

figure 3.17

However, if you want to manually change AmpliTube 3 preferences, click Prefs (figure 3.18) and enable/disable the following options (figure 3.19):

figure 3.18

figure 3.19

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Stomps, Pre and Amp Oversampling: Enabling oversampling improves the sound quality significantly when the signal is heavily distorted. However, it will increase your U load. If you use high gain sounds, we suggest enabling the Pre Oversampling option. Oversampling is enabled by default on Stomps, Preamps and Power amps when AmpliTube 3 is set to Hi quality. TIP: you can disable Oversampling when working on a session in realtime and activate it just before bouncing the final mix. High Resolution (enabled by default): Enabling “High Resolution” will improve the dynamic and musical response of the power amplifiers, but the U usage will be somewhat higher. Please disable High Resolution only if your computer does not have sufficient U power for the current session. “High Resolution” makes a deeper and more sophisticated usage of IK Multimedia proprietary DSM technology, which on some amps result in slightly more compression and stronger/more real saturation of various amps stages. This means that in certain cases enabling “High Resolution” might result in a slight decrease of the audio level, as a real amp does when it starts compressing and saturating in comparison with a “theoretical” amp, but on the other side the realism, musicality, and quality will greatly be enhanced. Amps Reverb: Real Spring: (enabled by default when AmpliTube 3 is set in Hi quality mode). When this is enabled Amplifiers with built-in reverb will use a real spring reverb model, directly taken from each amplifier model. This is the most realistic option, and each Amplifier will have its own signature reverb. Digital: when this is enabled, Amplifiers with built-in reverb will use a digital algorithmic emulation of a spring reverb. This option, still sounding great, is a less realistic alternative and will also sound the same on all amps. Room: Real Ambience: (enabled by default when AmpliTube 3 is set in Hi quality mode). AmpliTube 3 will use impulse response (based on real rooms and spaces) to achieve maximum realism and deepness from the ambience you’re adding to your sound. This will take a little bit more U power than the Digital option, but it will allow you to choose between different types of spaces and ambiences delivering an outstanding sound. Digital: AmpliTube 3 will use a high-quality digital reverberation algo-

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rithm to generate the ambience you’re adding to your sound. This will take less U power than the Real Ambience option, but you will not be able to select different spaces. Cabinet Resolution: High: offers the best sound quality at a slightly higher U usage (enabled by default when AmpliTube 3 is set in Hi quality mode). Always use this setting when it is possible. This will deliver the best quality from the AmpliTube 3 speakers. Mid: offers a very good sound quality at a reasonable U usage. Low: offers a good sound quality at a very low U usage. This option has to be used only when you really need to save U power as the realism and musicality of the speakers is not really expressed at its maximum potential under this setting. Also, this setting should not be used on bass cabinets as the low frequency extension could be excessively limited. Cabinet Global By: This byes the Cab module globally, on all presets, independently from what each preset has setup on the Cabinet module. This is useful when you play live with AmpliTube 3 but are using an external real guitar cabinet. In this case, it is very helpful being able to disable the Cab module on all your existing presets without having to edit all of them one by one. Tempo Source: This option allows you to select the Tempo source. Host/Global (enabled by default): The BPM Sync Tempo source is the Host Application Tempo, (the tempo of the application into which AmpliTube 3 is inserted as a plug-in). When you use AmpliTube 3 as standalone, the default Global tempo is 120 BPM, and it can be set to different values on the metronome “BPM” value (figure 3.20).

figure 3.20

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The Host/Global BPM value is displayed in the BPM display in gray (figure 3.21).

figure 3.21

The tempo can be overridden by clicking (tapping) the tempo on the TAP button. Tap at least 4 times (figure 3.22).

figure 3.22

Preset: The BPM Sync Tempo source is the value saved with the Preset. The Preset BPM value is displayed in the BPM display in orange (figure 3.23).

figure 3.23

To save a BPM value to a particular Preset, click Preferences > enable the Preset option > and click Ok. In the BPM display, click the BPM value, delete it, type a new one, and click Save. The tempo can be overridden by clicking (tapping) the tempo on the TAP button. Tap at least 4 times (figure 3.24).

figure 3.24

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3.9.3 Information (Info) To open the Information page, click Info (figure 3.25).

figure 3.25

You will find the product name, its version number (very important for technical requests), and the related trademarks and copyright notes (figure 3.26).

figure 3.26



3.9.4 Area Click on this button to open the IK Multimedia Area webpage (figure 3.27). This is another cool feature considering that from there, you will be able to the latest updates, search, , and presets, etc.

figure 3.27

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3.10 MIDI Control, Automation, and Controllers 3.10.1 MIDI Click MIDI to open the new MIDI Control (figure 3.28).

figure 3.28

For more information, see Chapter 14, “MIDI”.

3.10.2 Automation (Auto) Click Auto to open the Automation (figure 3.29).

figure 3.29

For more information, see Chapter 13, “Automation”.

3.10.3 Control (Ctrl) Click Ctrl to open the StealthPedal Control (figure 3.30).

figure 3.30

For more information, see Chapter 15, “Control”.

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Chapter 4 Module/Rig Selector The Module/Rig Selector (figure 4.1) allows you to:

figure 4.1

• Select the module that you want to use (Tuner, Stomp, Amp, Cab, or Rack). • By and/or Mute each module. • Select the Input Type (Mono In/Stereo In). • Choose a Signal Path Preset (1-8).

4.1 Dual Rig Signal Path AmpliTube 3 provides two discrete signal paths; each one containing Stomp box, Amp, Cab, and Rack modules. Through the eight available presets, these two signal paths can be configured in multiple variations allowing a tremendous amount of flexibility. This is a very important feature because it allows you to route your guitar signal to multiple amplifiers or cabinets; create two separate six stomp pedal setups or create one big twelve pedal setup.



4.1.1 Signal Path Presets To change the signal path of your guitar rig, click each of the Signal Path Presets’ buttons (figure 4.2).

figure 4.2

Below a brief description of each preset: 1. 2. 3. 4. 5.

All stomp effects and rack effects into one amp rig. Two separate amp setups. All stomp effects and rack effects into one amp rig with both cabinets. All stomp effects and rack effects into both amp rigs. Two separate stomp effects setups into one amp with two cabinet setups. 6. Two separate amp setups with separate stomps into two independent rack effects. 7. Two separate stomp effects setups into two separate amp rigs into all the rack effects. 8. Two separate stomp effects setups into one amp setup with all the rack effects.

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4.1.2 Stereo IN We have implemented a new full stereo signal path that allows to: • Use AmpliTube 3 on two instruments simultaneously, each one with their own rig. • Use AmpliTube 3 as a true stereo multi-effects unit on every instrument in your DAW session. • Add AmpliTube 3 effects to your stereo recording of drums, keyboards and more. Select the Signal Path Presets # 2 or 6, and click the Input Type button to change from Mono In to Stereo In (figure 4.3).

figure 4.3



4.2 Selecting Modules To select an AmpliTube 3 module, click on the related button (Tuner, Stomp A/B, Amp A/B, Cab A/B, and Rack A/B) (figure 4.4).

figure 4.4

The selected module will be displayed in the Module Interface section (figure 4.5).

figure 4.5

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To By and/or Mute a specific module, select it and click By and/or Mute (figure 4.6).

figure 4.6

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Chapter 5 Presets and Patches 5.1 What is the difference between a Preset and a Patch? A Preset contains all of the information for the models selected, the settings for those models and the signal chain that links them together. Presets have names (for example, ’60 Brit Crunch). A Patch is the combination of a preset and its external controller settings (such as master volume, amp gain, delay level, etc.). The new Patch mode shows 4,000 memory locations where you can store patches. Patches have numbers (for example, 200A) AND names. This is because the name of the associated preset contained inside each patch can also be thought of as the name of the patch since the preset contained inside a patch is a unique preset that is only associated with that patch and is not tied to any other preset in AmpliTube. Once you save a preset into a patch, the preset becomes a part of the patch and may be edited independently of the preset from which it came. For more information on Presets and Patches, please see the addendum, “What’s New in AmpliTube 3.5”.

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Chapter 6 Tuner Module The Tuner is the first module. On the Module/Rig Selector, click Tuner to open its interface (figure 6.1).

figure 6.1

Considering that this is a fully automatic chromatic tuner, there is no need to manually select the note you are going to tune. The tuner will automatically detect and show which note you’re playing.

6.1 On/Off Switch This switch turns the Tuner Module On/Off (figure 6.2).

figure 6.2

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6.2 Mute The Mute switch allows you to silence the guitar signal while tuning, a very useful feature for live performance (figure 6.3).

figure 6.3

Note: the On/Off and Mute switches are linked to the By and Mute buttons located in the Module/Rig Selector.

6.3 Tune The Tune Display shows the tuning reference being used. The default reference is 440 Hz but it could be changed (from 425 Hz to 455 Hz) by clicking on the display. When the pointer appears, use the backspace key and cursor control keys on your computer keyboard to edit the value (figure 6.4).

figure 6.4



6.4 Graphical Tuner Interface AmpliTube 3’s Graphical Tuner Interface is based on a high-end rackmount tuner and allows you to tune your instrument fast and accurately (figure 6.5).

figure 6.5

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6.5 Tune Display It shows the detected note name, e.g., A, B, etc. (figure 6.6). This is also visible from the Input/Output bar.

figure 6.6



6.6 Cents Display It shows how many cents you are up (+) or down (-) in relation to the note that you are tuning. (figure 6.7)

figure 6.6

Note: in music, a cent is 1/100 of a semitone. Cents are a convenient way of describing small increments of pitch.

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Chapter 7 Stomp Module (Stomp Box Effects)



7.1 Selection and Navigation Options The second module in AmpliTube 3 is the Stomp module. To access the Stomp module, click the Stomp button located on the Module Selector (figure 7.1).

figure 7.1

The Stomp module flexibility allows you to freely configure six stomp pedal effects at a time. In fact, you can use the Stomp module as two independent six pedal stomp setups (figure 7.2) or as one twelve pedal stomp setup (figure 7.3). Just select one of the eight signal path presets located on the Module/Rig Selector (figure 7.4).

figure 7.2

figure 7.3

figure 7.4

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The six stomp effect slots are displayed in the module interface as “empty” slots on a wooden pedal board (figure 7.5).

figure 7.5

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 choose one of the stomp models (figure 7.6).

figure 7.6

Another navigation option is to scroll through the different stomp boxes using the Up/Down arrows (figure 7.7).

figure 7.7

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Like the actual gear itself, each stomp effect’s controls are displayed on the stomp box (figure 7.8). Enable/ Disable each stomp through the On/Off switch (figure 7.9). When the effect is On the red LED is lit (figure 7.10).

figure 7.8

figure 7.9

figure 7.10

When you adjust a rotary or slide control on the stomp box, that control’s value is displayed in the Selected Parameter Display (figure 7.11).

figure 7.11



7.2 Drag & Drop feature Now, you are able to re-arrange the order of the stomps using the drag and drop feature. This option allows you to experiment different configurations and explore new sonic territories on the fly… By the way, have you ever tried to rearrange 6-12 hardware stomp pedals?

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7.3 Stomp Models



7.3.1 Delay



7.3.1.1 Delay This model is based on a traditional digital delay stomp pedal (figure 7.12). Controls: • DELAY: changes the length of the delay between each echo, from 1 ms to 2000 ms. • FBK: changes the amount of time that the echo repeats, from 0% to 100%. • LEVEL: sets the level of the effected (or wet) sound, from 0 to 10. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.12

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7.3.1.2 EchoMan A model of a classic bucket-brigade analog echo/delay (with modulation) stomp pedal effect (figure 7.13). Controls: • DELAY: changes the length of the delay between each echo, from 25 ms to 500 ms. • : changes the amount of time that the echo repeats, from 0% to 100%. • BLEND: mixes the amount of dry signal with the effected signal, from 0% (dry) to 100% (effected). • CH/VIB: sets the amount of Chorus/Vibrato effect added to the effected sound, from 0% to 100%. • CHORUS VIBRATO: changes whether chorus or vibrato can be added to the effect. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.13

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7.3.1.3 TapDelay This creative delay effect unit can be used to create interesting and unusual delay effects thanks to the 8 totally independent taps. You can create grooving rhythm patterns by combining more taps with a specific time signature, and you can mix this up with psychedelic reverse tape effects you are able to set for each tap (figure 7.14). The TapDelay is actually 8 delays in one single unit, and it is possible to set time, timbre, and level for each of them. In addition, you can globally control with single knobs parameters for all the 8 taps simultaneously, like time, dry/wet mix and amount. Controls:

figure 7.14

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• TIME: globally shifts the delay time of all the 8 taps. This is a relative control, when set at the center position (1x) it does not alter the time that has been setup on each Tap, when set to minimum (0.25x) it divides all times by four and when set to max (4x) it multiply all times by four. Use it to globally change the delay tempo without changing the relations between all taps. • MIX: globally adjust the effect mix between the Dry signal and all the 8 delay taps. • : globally adjust the amount of the delay will have. When set at maximum, the delay will be sustaining itself. • TAP: use these buttons to select which one among the 8 delay taps you’re going to edit with next controls • LEVEL: sets the audio level for the selected delay tap. • TIME: sets the delay time for the selected tap. It can be shown in milliseconds or in musical divisions, depending on the BPM Sync switch position. • FILTER: sets the timbre for the selected delay tap, darker at minimum and brighter at maximum. • REVERSE: enable this button to transform the selected delay tap from normal to reverse. When set to reverse a delay tap will sound like a reversed tape loop. • LINK: enable this button to make a changes to the above mentioned parameters to apply to all the 8 taps at the same time. • BPM SYNC: allows the effect to synchronize to the project tempo.

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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 test of time. Capable of tones from smooth sustain & compression to heavy buzz-saw distortion, this pedal is perfect for all different styles of metal (figure 7.15). Controls: • VOLUME: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless another distorting device follow, like another distortion pedal or an amplifier at high gain or volume. • SUSTAIN: controls the amount of distortion the pedal gives. • TONE: controls the timbre of the distortion pedal

figure 7.15

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7.3.2.2 Crusher This model alters the sound of the input signal by changing the sample-rate, cutoff frequency and by distorting it. This effect can produce very aggressive distorted sounds, more noticeable than overdrive stompboxes. The Low filter is very creative when combined to high distortion levels (figure 7.16). Controls: • CUTOFF: controls the cutoff frequency of the low filter. • DECIM: selects the sample-rate-ratio of the processed sound, from 1:1 to 1:16. • GAIN: sets the amount of signal sent to the effect, therefore the distortion. Useful when creating heavily distorted sounds, from -40 dB to +40 dB. • OUT: controls the output volume, from -40 dB to +40 dB.

figure 7.16

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7.3.2.3 Diode Overdrive A model of a classic overdrive stomp effect (figure 7.17). Controls: • TONE: adjusts boost or cut of the high frequencies in the stomp effect, from 0 to 10. • DIST: sets the amount of distortion applied to the input signal of the effect, from 0 to 10. • LEVEL: sets the level of the input for the effect, from 0 to 10.

figure 7.17

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7.3.2.4 Distortion This effect is based on one of the most versatile distortion boxes ever made. From subtle crunch to complete mayhem, this pedal has been used by countless guitarists of all styles (figure 7.18). Controls: • LEVEL: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume. • DIST: controls the amount of distortion the pedal gives. • TONE: controls the timbre of the distortion pedal.

figure 7.18

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7.3.2.5 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 sounds or boost solos for more cutting tone, combined with classic distortion timbres (figure 7.19). Controls: • LEVEL: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless another distorting device follow, like another distortion pedal or an amplifier at high gain or volume. • TONE: controls the timbre of the distortion pedal. • DIST: controls the amount of distortion the pedal gives. • OVERTONE: controls the octave for the effect. • FBK button: press this button to activate the . Notes: • When the stomp is On, clicking on the FBK button will make the led flash. • When using StompIO, will be automatically activated when distortion is On, and the On/Off button for this pedal is hold down for 1 second or more.

figure 7.19

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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 bands of all time. This unit is perfect for extreme gain and sustain. Nothing compares to this pedal for pure distortion mayhem (figure 7.20). Controls: • LEVEL: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume. • DIST: controls the amount of distortion the pedal gives. • LOW – HIGH: coaxial tone control. • Center knob: controls High frequencies. • External knob: controls Low frequencies. • MID – MIDFREQ: coaxial parametric mid tone control. • Center knob: controls Mids level. • External knob: controls Mids frequency.

figure 7.20

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7.3.2.7 Metal Distortion 2 This effect is modeled after a classic from the ‘80s. It delivers deep, distorted crunch perfect for heavy metal and hard rock. Long discontinued, this is a rare vintage find that delivers deep, dark crunch from the ‘70s, ‘80s, and beyond (figure 7.21). Controls: • LEVEL: controls the distortion pedal output level. It does not alter the timbre of the distortion, unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume. • DIST: controls the amount of distortion the pedal gives. • COLOR L: controls the amount of bass tones on the sound. • COLOR H: controls the amount of high tones on the sound.

figure 7.21

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7.3.2.8 Overdrive This effect is based on one of the most collectible pedals. It is one of the most aggressive overdrive pedals ever made. From subtle to over-the-top, this effect pushes amps harder without sacrificing clarity and tone (figure 7.22). Controls: • LEVEL: controls the Overdrive pedal output level. It does not alter the timbre of the distortion, unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume. • DRIVE: controls the amount of overdrive the pedal gives. • TONE: controls the timbre of the overdrive pedal.

figure 7.22

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7.3.2.9 OverScream This is a model of a classic overdrive/distortion pedal which has become the go to overdrive pedal for some of the most influential guitar players of all time. Its basic controls make it easy to dial in the exact sound you want (figure 7.23). Controls: • DRIVE: increases the amount of clipping in the distortion circuit, from 0 to 10. • LEVEL: sets the output level of the pedal, from 0 to 10. • TONE: adjusts boost or cut of high frequencies in the stomp effect, from 0 to 10.

figure 7.23

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7.3.2.10 PROdrive This effect is modeled after one of the most versatile distortion boxes ever. From smooth, light crunch, to extreme shred sustain and over-the-top gain, this pedal has been a classic ever since its release in the early ‘80s (figure 7.24). Controls: • DIST: controls the amount of distortion the pedal gives. • VOLUME: controls the PROdrive pedal output level. It does not alter the timbre of the distortion. • FILTER: controls the timbre of the PROdrive pedal.

figure 7.24

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7.3.2.11 The Ambass’dor This pedal is a model of a beloved ‘80s-era distortion pedal by a company known for making amps with amazing distortion. This model packs a whole powerful amp into a single stomp box (figure 7.25). Controls: • GAIN: sets the amount of distortion generated by the pedal. • BASS: sets the amount of low frequencies in the sound. • MIDDLE: sets the amount of midrange frequencies in the sound. • TREBLE: sets the amount of high frequencies in the sound. • LEVEL: sets the output volume of the distortion pedal.

figure 7.25

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7.3.3 Dynamics



7.3.3.1 Compressor This effect is a model of a classic high-end compressor. It is capable of mild compression or intense signal slamming, and does it all with a tremendous amount of finesse (figure 7.26). Controls: • COMP: sets the amount of compression, from 0 to 100. • LEVEL: changes the output level of the compressor, from -15 dB to +15 dB.

figure 7.26

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7.3.3.2 Dcomp This effect is modeled after a vintage compression stomp pedal (figure 7.27). Controls: • OUTPUT: sets the output level for the effect, from –inf to 0.0 dB. • SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.

figure 7.27

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7.3.4 EQ 7.3.4.1 7 Band Graphic This model is a clean, highly effective 1 octave graphic equalizer, capable of fine tuning and dialing in that perfect tone. It is also very useful when you need to “push” the signal for the next stompbox or amp (figure 7.28). Controls: • FREQUENCY BAND LEVEL: each frequency band is one octave apart and allows for +/- 15 dB of adjustment. The controls include 100 Hz, 200 Hz, 400 Hz, 800 Hz, 1.6 kHz, 3.2 kHz, 6.4 kHz. • LEVEL: sets the output level of the graphic EQ, from -15 dB to +15 dB.

figure 7.28

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7.3.4.2 10 Band Graphic IK Multimedia proprietary 10 Band Graphic EQ. (figure 7.29) Controls: • BANDS: 31, 62, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Each band has +/- 15 dB of boost/cut. • GAIN: the gain slider boosts or cut the overall level by +/- 15 dB.

figure 7.29

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7.3.5 Filter 7.3.5.1 Envelope Filter This stomp is an advanced filter effect. It uses the envelope of the incoming signal to control a synthesizer style filter. It is capable of sounds ranging from very simple auto wah effects to extreme never before heard filtering effects (figure 7.30). Controls: • FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz. • RESO: sets the resonance of the filter, from 0.30 to 10. • DEPTH: changes the amount of effect that the envelope has on the filter, from 0% to 100%. • MODE: these control change the type of filter used for the effect. • 12/24: sets the slope of the filter, either 12 dB per octave or 24 dB per octave. • HP/BP/LP: sets the type of filter being used, either high , band , or low .

figure 7.30

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7.3.5.2 LFO Filter This complex stomp effect uses an LFO to modulate the frequency of its filter. With the included BPM Sync this is a very useful effect for creating interesting, moving guitar parts with a minimum amount of trouble (figure 7.31). Controls: • FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz. • RESO: sets the resonance of the filter, from 0.30 to 10. • RATE: adjusts the speed of the LFO, from 0.05 Hz to 5 Hz. • DEPTH: changes the amount of effect that the envelope has on the filter from 0% to 100%. • MODE: these control change the type of filter used for the effect. • 12/24: sets the slope of the filter, either 12 dB per octave or 24 dB per octave. • HP/BP/LP: sets the type of filter being used, either high , band , or low . • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.31

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7.3.5.3 Rezo A unique effect that can add synth-like drones and sustaining resonances to your parts. Make your guitar sound like a sitar or like a synth-drone to create sonic resonances to sing on and control the notes with your controller to create arpeggios and steps while playing (figure 7.32). You have 4 resonating voices that can be tuned independently from note E0 to note B7, in half tone steps. For example, if you want to create a resonating C Major chord, just set the first three voices to C3, E3 and G3. By moving the All slider you can shift the recently created Chord without changing the intervals between the voices. You can set the desired voice note by note number or by frequency in Hz. Controls:

figure 7.32

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• 1-4 SLIDERS: sets the pitch for each resonating voice. • 1-4 VALUE DISPLAY: displays which note each voice is tuned on. • NOTE/FREQUENCY SWITCH: turn On this switch to have the tuning of each voice displayed as a note. Turn this Off to have the tuning of each voice to be displayed as frequency in Hz. • ALL: shifts all resonating notes by the same amount keeping relative intervals between voices identical. • RES: sets the amount of resonance for each voice, from min to max. When set to max the note will sustain by itself, when set to min the voice will not be resonating • SCALE: the Rezo is setup by default to span over a chromatic scale when you set the resonating voices, meaning that all half tones are possible. If you want to set another scale and want to remove notes from the chromatic scale just open this menu and leave on only the notes you need. • FILTER: determines the brightness of the resonating voices, from dark (lower positions) to bright (upper positions). • MIX: sets the amount of resonating notes you want to hear. When the control is at min you’ll only hear the original sound, when fully up you’ll only hear the effected sound. • OUT: the resonating notes can become very loud. Use this control to adjust the overall output level of the Rezonator.

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7.3.5.4 Step Filter A powerful and deep beat synchronized filter effect. You can apply Low/High and Band analog modeled filtering on freely customizable patterns to add groove and rhythmic pulsing to your parts. If you want, this effect could make your guitars and bass parts to sound like a rhythmic synth (figure 7.33). Controls:

figure 7.33

7 - Stomp Module

• CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff frequency the filter will have when the steps are set to half position. • STEP BAR: click on the Steps to set each step level. You can also draw a curve while holding the mouse while dragging over multiple steps. • RES: sets the center resonance of the filter. This is the resonance amount the filter will have when the steps are set to half position. • DEPTH: sets how deep the filter is modulated by the steps. • HP/BP/LP: sets which kind of filter will be used: HP: high , BP: band , LP: low . • 12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/ oct will be steeper. • DEST: sets what is modulated by the steps between filter Cutoff and/ or filter Resonance. At full minimum position only Cutoff frequency is modulated, at max position only Resonance is modulated. • DIVISION: sets what time interval each step represents. • STEPS: sets the number of steps the cycle will consist of. • MODE: when set to Free the cycle will be continuous and will always cover all the steps that are specified in the Steps parameter. When set to Strike the cycle will re-start each time a chord or a note is played. • SWING: increase this control to give to the steps a swing type quantization. • BPM SYNC: allows the effect to synchronize to the project tempo.

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7.3.5.5 Wah This effect is modeled after the classic wah pedal used by many of the top players from the ‘60s and ‘70s. In addition to the wah effect it also features an auto function, allowing it to be used easily without an external controller. (figure 7.34). Controls: • OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto. • WAHWAH: this directly controls the Wah effect, from 0% to 100%.

figure 7.34

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7.3.5.6 Wah 10 This is a faithful rendition of a very sought-after wah pedal. Based on a multiple opamp circuit, the pedal modeled here is a very expressive and unique wah pedal (figure 7.35). Controls: • WAH: sets the position of the wah pedal. It gives a darker sound when moved lower (heel position) and a brighter sound when moved higher (toe position). • DEPTH: determines how strong the wah effect is. When is set at minimum the wah effect is barely noticeable, but when is set to max the effect is very strong. • GUITAR/BASS SWITCH: modify the response of the wah to make it more suitable to guitar or bass.

figure 7.35

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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 additional functionality has been added for a more convenient usage when played on a computer. The original model is considered to be one of the best sounding Wah-Wahs of all time (figure 7.36). Controls: • OFF/ON/AUTO: sets the mode of the Wah effect; Off, On, or Auto. • OFF: turns the effect Off, no Wah effect. • ON: the center frequency of the Wah effect is only set by the pedal.

figure 7.36

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7.3.5.8 Wah 47 This effect is based on the Wah pedal used by the most influential guitarists of the late ‘60s and ‘70s. The Auto function allows you to use this effect without an external controller (figure 7.37). This is a great feature! Controls: • OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto. • WAHWAH: this directly controls the wah effect, from 0% to 100%.

figure 7.37

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7.3.6 Fuzz 7.3.6.1 Class Fuzz This effect is based on the fuzz pedal that can be heard on Jimi Hendrix’s early recordings (figure 7.38). Controls: • VOLUME: sets the output volume of the stomp effect, from -inf to 0.0 dB. • DRIVE: sets the fuzz sound by increasing or decreasing the amount of distortion, from 0 to 10.

figure 7.38

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7.3.6.2 Fuzz Age This effect is modeled after a classic germanium transistor fuzz stomp effect. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years (figure 7.39). Controls: • VOL: sets the output volume of the stomp effect, from –inf. to 0.0 dB. • FUZZ: sets the fuzz level of the effect, from 0 to 10.

figure 7.39

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7.3.6.3 Fuzz Age 2 This effect is modeled after a classic germanium transistor fuzz stomp effect. This was the main fuzz box that Jimi Hendrix used. Often combined with a Wah, this effect produced permanent sustain and endless distortion. It is one of the most collectible fuzz boxes ever (figure 7.40). Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years. Controls: • VOL: sets the output volume of the stomp effect, from –inf to 0.0 dB. • FUZZ: sets the fuzz level of the effect, from 0 to 10.

figure 7.40

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7.3.6.4 FuzzOne Jimi Hendrix began using this fuzz box while playing in New York City before founding the Experience. Its sounds can be heard in the enormously popular Rolling Stones song “Satisfaction” (figure 7.41). Controls: • VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB. • ATTACK: adjusts the sound character by having more or less distortion.

figure 7.41

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7.3.6.5 Octa-V This effect was first used on “Purple Haze” and “Fire.” It is a fuzz box with frequency-doubling circuitry that produces a second note an octave above the fundamental note (figure 7.42). Controls: • VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB. • DRIVE: sets the amount of distortion the unit will produce, from 0 to 10. The higher octave can be more distinct for medium positions of this control.

figure 7.42

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7.3.6.6 RightFuzz This effect is modeled after a highly sought-after, rare fuzz box. It was one of the first commercially available floor effect units, making its first appearance in 1966. It doesn’t get any more vintage than this when it comes to stomp pedals (figure 7.43). Controls: • VOLUME: sets the output volume of the stomp effect, from 1 to 6. • DEPTH: sets the timbre of the distortion, from 1 to 6.

figure 7.43

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7.3.6.7 XS Fuzz This effect is modeled after the effect used on the title track of the album “Axis Bold as Love.” The original stomp can also be heard on the “Band of Gypsies” and various Jimi Hendrix recordings post 1968 (figure 7.44). Controls: • VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB. • DRIVE: sets the distortion amount, from 0 to 10.

figure 7.44

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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, and more! Perfect for adding classic metal-style flange to your rig (figure 7.45). Controls: • MANUAL: sets the timbre of the flanging effect. • DEPTH: sets the amount of modulation the LFO will apply to the flanging effect. If Depth is zero, you’ll get a “static” flanging effect. • RATE: sets the speed of the LFO modulation that will be applied to the flanging effect. • RES: sets the resonance the flanger effect will produce.

figure 7.45

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7.3.7.2 Chorus This chorus is modeled after a classic Digital Chorus stomp box (figure 7.46). Controls: • RATE: sets the rate of the chorus effect, from 0 to 10. • DEPTH: sets the intensity of the chorus effect, from 0 to 10. • LEVEL: sets the input level of the stomp effect, ranges from 0 to 10. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.46

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7.3.7.3 Chorus-1 A model of a classic bucket-brigade analog Chorus/Vibrato unit. It provides both analog Chorus and analog Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the modulation will be faster and more noticeable (figure 7.47). Controls: • LEVEL: sets the input level. Range is from –15 dB to +15 dB. • CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to 10. • VIBRATO DEPTH: sets the intensity of the Vibrato effect, from 0 to 10. • VIBRATO RATE: sets the rate of the Vibrato effect, from 0 to 10. • VIBRATO/CHORUS SWITCH: enables Vibrato or Chorus modes, when Vibrato mode is enabled the corresponding LED will illuminate. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.47

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7.3.7.4 Electric Flanger This stomp box is a model of a vintage flanger/filter matrix used by many well-known guitarists to achieve classic sounds. While it has amazing warmth, it is also capable of very versatile chorus and steady comb filtering/ matrix that can imprint a very specific sonic signature to the sound (figure 7.48). Controls: • RATE: controls the speed of the effect, from slow to fast. • RANGE: sets the deepness of the effect, from subtle to very strong • COLOR: sets the amount of in the flanger circuit, delivering a more intense effect when set at max. • MANUAL: this is normally set to the lower position, when set at the upper position it stops the LFO. This means that you can use the effect to have static resonance and filter matrix effects. Adjust the timbre of the resonance and filters by setting the Range knob, and adjust the intensity of the resonances by setting the Color knob. • ON/OFF: enables or disables the effect. When the effect is on the red LED is light. • BPM SYNC: makes the rate of the phasing effect to be synchronized with the BPM of the project. When enabled, the Rate knob becomes a selector that allows you to choose between various musical figures.

figure 7.48

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7.3.7.5 Flanger This stomp box is a model of a classic Flanger effect (figure 7.49). Controls: • RATE: sets the rate of the Flanger effect, from 0 to 10. • DEPTH: sets the intensity of the Flanger, from 0 to 10. • FBK: sets a delay for the Flanger to take effect, from 0 to 10. • LEVEL: sets the input level of the stomp box, ranges from 0 to 10. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.49

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7.3.7.6 Metal Flanger This effect is modeled after one of the best and most musical modulation effects ever. A classic association with an iconic ‘80s guitarist made prices erupts and flooded the market with reissues. Still, no flanger is more recognizable, making this perfect for hard-rock and metal tone (figure 7.50). Controls: • MANUAL: sets the timbre of the flanging effect. • WIDTH: sets the amount of modulation the LFO will apply to the flangἀing effect. If Width is zero, you’ll get a “static” flanging effect. • SPEED: controls the amount of high tones on the sound. • REGEN: sets the amount of the internal flanger effect will have.

figure 7.50

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7.3.7.7 Opto Tremolo This model is based on a vintage Opto-Tremolo effect (figure 7.51). Controls: • RATE: sets the rate of the Flanger effect, from 0 to 10. • DEPTH: sets the intensity of the Flanger, from 0 to 10. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.51

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7.3.7.8 Phaze Nine This effect is based on one of the most popular phase pedals of all times. Used by a wide range of first-class guitarists, this unit could add a little bit of shimmer to your solos or generate a smooth, watery effect while playing chords and muted strumming (figure 7.52). Did you try the Phaze Nine on bass, keyboards, or vocals? Controls: • SPEED: controls the phase LFO rate.

figure 7.52

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7.3.7.9 Phazer10 A model of a classic analog multimode Phaser stomp box (figure 7.53). Controls: • INTENSITY: selects one of the four different Phaser modes. From left to right the perceived effect intensity will increase. • SPEED: sets the speed of the modulation, from 0 to 10.

figure 7.53

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7.3.7.10 Small Phazer This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to outlandish swirling effects. You may wonder why it is called “small” when you hear it (figure 7.54). Controls • RATE: controls the speed of the effect, from slow to fast. • COLOR: set it to the lower position for a more gentle phasing effect, or set it at the upper position for a more pronounced and deep phasing effect. • BPM SYNC: makes the rate of the phasing effect to be synchronized with the BPM of the project. When enabled the rate knob becomes a selector that allows to choose between various musical figures.

figure 7.54

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7.3.7.11 Uni-V This effect is based on an original optical phaser/chorus. This was a chorus/ rotating-speaker simulator that was introduced in 1969 and used predominantly in live performances. This created a swirling effect quite similar to the most famous rotary speaker cabinet but with the addition of speed control. This effect was employed on tracks such as “Hey Baby (The Land of the New Rising Sun),” “Earth Blues,” and “Machine Gun” (figure 7.55). Controls: • VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB. • INTENSITY: sets the depth of the modulation, from 0 to 10. The sound is affected even when the Intensity knob is set to zero. • RATE: sets the rate of the Chorus/Vibrato effect from 0 to 10. The LFO rate is going from approx 1 Hz to approx 8 Hz. • CHORUS/VIBRATO SWITCH: selects the Chorus of Vibrato effect. Default: Chorus.

figure 7.55

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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, this pedal will create 3 separate harmony voices with independent interval values based on a musical scale. Simply select the scale to use, select the voice and the desired pitch and play. The harmonized notes will be according to the selected scale (figure 7.56). Controls: • MIX: blends the harmonized voice with the original voice, from 0 to 100. • KEY-SCALE: controls the key and type of scale that will be used by the harmonizer as a reference. If you’re playing a solo in E major set this to E Major. Possible scales types are: Major, Dorian, Phrygian, Lydian, Mixolydian, Minor, and Locrian. • VOICE: controls the properties of each of the 3 voices of the harmonizer. • LEVEL: independently adjusts the level of each of the 3 voices. • 1: selects voice 1 for editing. • 2: selects voice 2 for editing. • 3: selects voice 3 for editing. • INTERVAL: changes the interval of the selected voice, from octave down to octave up.

figure 7.56

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7.3.8.2 Octav This stomp effect is modeled after a classic dual voice octave pedal. It will produce two additional sounds, one and two octaves below the direct signal (figure 7.57). Controls: • OCT 2: sets the output level of the second octave effect, from –inf to 0.00 dB. • OCT 1: sets the output level of the first octave effect, from –inf to 0.00 dB. • DIRECT LEVEL: sets the output level of the direct signal, from –inf to 0.00 dB.

figure 7.57

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7.3.8.3 Pitch Shifter This effect shifts the pitch of the incoming signal. This new pitch shifted signal is blended with the original sound to create harmony guitar leads or other types of dual pitch effects (figure 7.58). Controls: • COARSE: sets the coarse tuning of the pitch shifter. Measured in intervals, from -24 to 24. • FINE: sets the fine tuning of the pitch shifter. Measured in cents, from -50 to 50. • LEVEL: sets the output level of the pitch shifted sound, from 0 to 10.

figure 7.58

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7.3.8.4 Wharmonator This effect is modeled after one of the most extreme effects of all time. From classic shred to the most aggressive modern metal, this effect is an essential part of any extreme guitar rig (figure 7.59). Controls: • HARM knob: sets the harmonic interval range you can span with the action of the pedal. • BEND knob: sets the bending range you can span with the action of the pedal. • MODE: sets the Wharmonator operating mode. • HARM: this mode gives both original and pitched signal mixed together, useful to create harmonies. • BEND: this mode only gives the pitched signal, useful to create great bending effects

figure 7.59

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7.3.9 Other



7.3.9.1 Volume This model is a traditional volume pedal (figure 7.60). Controls: • MIN: sets the minimum volume level for the pedal, from 0 to 10. • VOLUME: adjusts the volume of the signal ing through it, from 0% to 100%.

figure 7.60

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7.3.9.2 Step Slicer Add programmed rhythmic parts to your power chords and phrases with this powerful and creative beat synced slicing effect. It can be setup to create anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat (figure 7.61). 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 will be full. • STEP BAR: click on the Steps to set each step level. You can also draw a curve while holding the mouse while dragging over multiple steps. • RAMP: sets the steepness of the level change between steps. Set it at lower positions to get a more gate-like effect or set it to higher positions to get a smoother effect. • DIVISION: sets what time interval each step represent. • STEPS: sets the number of steps the cycle will consist of. • MODE: When set to Free the cycle will be continuous and will always cover all the steps that are specified in the Steps parameter. When set to Strike the cycle will re-start each time a chord or a note is played. • SWING: increase this control to give to the steps a swing type quantization. • BPM SYNC: allows the effect to synchronize to the project tempo.

figure 7.61

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7.3.9.3 Swell This is an “auto volume” swell processor that can automatically create fantastic swell effects while playing without any manual intervention. Use it subtly to add groove to your rhythm parts or use it with deeper settings to create dreaming pads or string-like sounds (figure 7.62). Controls: • DEPTH: sets the depth of the volume swell, in dB. By default the depth is at max position, meaning that the volume will start from silence. By lowering this control you’ll make the effect to start the swell phase from a level which is higher than silence, up to min position that makes the effect to have no action. • SENS: this control sets the sensitivity for the Swell to recognize a new note or chord and therefore start a new Swell cycle. Set it higher if you want the Swell cycle to start even at the beginning of softer ages, or set it lower if you want the Swell cycle to only start for louder strikes. • TIME: sets the length of the Swell cycle. During the Swell cycle (time the swell takes to “open” the power LED becomes red (it is normally green). This helps to immediately recognize when the swell is triggered. • BPM SYNC: allows the effect to synchronize to the project tempo making the swell time to be specified in musical figures.

figure 7.62

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7.4 Stomp Models (Table) Stomp Models Delay EchoMan TapDelay BigPig Crusher Diode Overdrive Distortion Metal Distortion Metal Distortion 2 Overdrive OverScream PROdrive The Ambass’dor Compressor Dcomp 7 Band Graphic 10 Band Graphic Envelope Filter LFO Filter Rezo Step Filter Wah Wah 10 Wah 46 Wah 47 Class Fuzz Fuzz Age Fuzz Age 2

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Based on* Delay IK Multimedia Electro Harmonix® Memory Man™ IK Multimedia Distortion Electro Harmonix® Big Muff Pi™ IK Multimedia IK Multimedia Boss® DS-1™ Distortion Boss® DF-2™ Super er & Distortion Boss® MT-2™ Metal-Zone Boss® HM-2™ Heavy Metal Boss® SD-1™ Distortion Ibanez® Tube Screamer® TS-9™ Pro Co RAT™ Distortion Marshall® Guv'Nor™ Dynamics IK Multimedia MXR® Dynacomp™ EQ IK Multimedia IK Multimedia Filter IK Multimedia IK Multimedia IK Multimedia IK Multimedia IK Multimedia Ibanez® WH-10™ Vox® Wah V846™ Vox® Wah 847™ Fuzz Roger Mayer™ Classic Fuzz® Arbiter® Fuzz Face® Arbiter® Fuzz Face®

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FuzzOne Octa-V RightFuzz XS Fuzz Analog Flanger Chorus Chorus-1 Electric Flanger Flanger Metal Flanger Opto Tremolo Phaze Nine Phazer10 Small Phazer Uni-V Harmonator Octav Pitch Shifter Wharmonator Volume Step Slicer Swell

Maestro® FuzzTone™ Roger Mayer™ Octavia® Mosrite® Fuzzrite® Roger Mayer™ Axis Fuzz® Modulation Boss® BF-2™ Flanger IK Multimedia Boss® CE-1™ Chorus Electro-Harmonix® Electric Mistress™ IK Multimedia MXR® Flanger 117™ Fender® Super Reverb® Amp Opto-Tremolo™ MXR® Phase 90™ MXR® Phase 100™ Electro-Harmonix® Small Stone™ Univox™ Uni-vibe™ Pitch IK Multimedia Boss® OC-2™ Octaver IK Multimedia Digitech® Wahmmy™ WH-1™ Other IK Multimedia IK Multimedia IK Multimedia

* All product names and trademarks are the property of their respective owners, which are in no way associated or d with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied durino IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement. ARBITER® FUZZ FACE® is a ed trademark of Arbiter Group Plc. BOSS®, DS-1™, DF-2™, MT-2™, HM-2™, SD-1™, BF-2™, CE-1™, OC-2™ are trademarks or ed trademarks of Roland Corporation. DIGITECH® WHAMMY™ WH-1™ is a ed trademark of Harman International Industries, Incorporated. ELECTRO-HARMONIX®, Memory Man™, Big Muff Pi™, Electric Mistress™, Small Stone™ are trademarks or ed trademarks of New Sensor Corporation. FUZZRITE® is a ed trademark of Andy J. Moseley. IBANEZ®, Tube Screamer® TS-9™, WH-10™ are trademarks or ed trademarks of Hoshino Gakki Co. Ltd. Corporation. MAESTRO® FUZZTONE™ is a ed trademark of Gibson Electronics. MARSHALL®, Guv’Nor™ are trademarks or ed trademarks of Marshall Amplification Plc. MOSRITE® is a ed trademark of Loretta Moseley. MXR®, Dynacomp™, Flanger 117™, Phase 90™, Phase 100™ are trademarks or ed trade-

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AmpliTube 3 marks of Applied Research and Technology, Inc. PRO CO RAT™ is a trademark of ProCo Sound, Inc. ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and ed trademarks of Roger Mayer. UNI-VIBE™ is a trademark of Korg USA Corporation. UNIVOX™ is a trademark of Korg USA Corporation. VOX®, Wah V846™, Wah 847™ are trademarks or ed trademarks of VOX Amplification 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, and Bass. Each of the modeled amps is a true representation of the original hardware units and an invaluable addition to your sonic arsenal.

figure 8.1

To access the Amp module, click the Amp button located on the Module/ Rig Selector (figure 8.1). There are two separate amplifier modules that can be accessed independently (e.g., Amp A and Amp B), or paralleled for dual amp setups. Just select one of the eight signal path presets located on the Module/Rig Selector (figure 8.2).

figure 8.2

To facilitate the amplifier models navigation, please read the following universal controls descriptions.

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8.2 On/By This control enables/disables the Amp module from the plug-in’s signal (figure 8.3).

figure 8.3



8.3 EQ Match The EQ match control automatically selects the EQ section associated to the selected preamp (figure 8.4). This is useful to quickly select a specific guitar amp with its related EQ Model.

figure 8.4

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8.4 Amp Match The Amp match control selects the power amp stage associated to the selected preamp (figure 8.5).

figure 8.5

The EQ and Amp match controls allows you to select a specific vintage or boutique guitar rig in seconds, giving you an “instant tone gratification”…

8.5 Amp Model Types and Components Several AmpliTube 3 amp models (typically those that were already included in AmpliTube 2, AmpliTube Jimi Hendrix and some of the amps included in AmpliTube Metal) contain separate stages modeling that can be individually selected. In these cases, the Amp module is divided into three separate models Pre, EQ, and (Power) Amp. This allows you to design custom amps choosing different components from a variety of top-notch amplifiers. This feature allows you to create your own mixture of stages and promotes experimentation. However, we are still obsessed with models’ accuracy. 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 modeling techniques and improved the level of interaction between the amp blocks in the DSP. Basically, making a whole single model of the entire amp. That’s why all recent models are modeled as an entire amp, without the possibility to select single internal stages (Preamp, EQ, and Power amp). These are called “non-flexi” amps. Award-winning “Powered by AmpliTube” products like AmpliTube Fender or Ampeg SVX used this solution to achieve maximum accuracy while modeling the original amps.

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8.5.1 Pre Model This is the menu where the Amp model is selected. For those amps that have been modeled with individual selectable stages, you’ll be choosing the Preamp stage. For newer amps that have been modeled as a single block (non-flexi), you’ll be selecting the entire Amplifier. As a result, the EQ and (Power) Amp menus are not included. The Pre Model is the first stage in the Amp module. This section models the initial preamp and drive of each amplifier (figure 8.6).

figure 8.6



8.5.2 EQ Model The EQ stage follows the Pre Model and allows you to EQ your sound and design unique guitar tones (figure 8.7).

figure 8.7

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8.5.3 Amp Model The final stage of the amplifier module is the Amp model (figure 8.8). For those amps that have been modeled with individual selectable stages you could use a Fender-style power amp section on a Marshall-style preamp…

figure 8.8

Below is a brief description of each Pre Amp Models.

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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 American amplifier. The signature tone can be heard on many albums and many stages around the world. Experience a sparkling clean with the capability for a touch of crunch when cranked up (figure 8.9).

figure 8.9

This beautiful amp is crystal clear but can also deliver edgy sounds by pushing the Master volume, and can deliver a nice preamp crunch tone when Rhythm 2 is engaged. This amp is extremely versatile you can really get many types of clean or edgy tones from its incredibly flexible preamplifier. By selecting two different preamp shapes (Rhythm 2), and by adapting the tone with the Shift and Deep switches, you can really shape your clean/edgy sound in almost all possible ways. Add the final 5 band graphic EQ and the tonal possibilities are really wide. But be careful, this is not a ‘set and forget’ amp. Being it extremely versatile it can of course be set to a tone that could be totally far from what is needed on that part. It needs a degree of experimentation and experience before you can really master it! Controls: • VOLUME: sets the volume of the clean preamp. Push it closer to 10 for an edgy sound that starts to crunch. • BRIGHT: boosts brilliance of the preamp, especially when the Volume control is kept low. • TREBLE: sets the amount of high frequencies on the sound. ­138

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

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8.6.1.2 American Tube Clean 1 This amp is modeled after a classic American guitar amp. This amp is great for clean to dirty sounds, making ideal for clean and crunchy rhythm, rock, country, blues, and anything else requiring a clean amp capable of getting a little dirty when the music calls for it (figure 8.10).

figure 8.10

Controls: EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.1.3 American Tube Clean 2 This model features yet another classic American amplifier. Unlike the American Tube Clean 1, this model is a smaller combo amp. This amp delivers a clean yet warm tone (figure 8.11).

figure 8.11

Controls: EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.1.4 American Vintage B The design of this amp influenced many of its successors and was used by Jimi Hendrix in the studio recording of “Voodoo Child” (figure 8.12).

figure 8.12

This classic American amplifier was at first designed to be a bass amp, but later became one of the most popular American guitar amps ever made. Great for clean tones, it is also versatile in a variety of music genres and playing styles. Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.1.5 American Vintage D Jimi Hendrix acquired this 100 watt amp in 1968 and used it in 1968-1969 with the Experience tour, together with an assortment of other amps. The amp sported a built-in spring reverb unit (figure 8.13).

figure 8.13

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.1.6 American Vintage T This was Jimi Hendrix’s amp of choice during 1965 through 1966. It included a spring reverb (figure 8.14).

figure 8.14

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.1.7 Custom Solid State Clean This amp model is clean. It provides a very uncolored signal, perfect for jazz. It could be compared to amps like the Jazz Amp 120, ideal for sparkling clean tones (figure 8.15).

figure 8.15

Controls: EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.1.8 Jazz Amp 120 It may have Jazz in its name, but this versatile clean sound can be heard in many genres. Many of the top metal players keep this not-so-secret weapon in the studio for great clean sounds. Its sonic feature is the fantastic built-in analog chorus and vibrato unit that really made this amp a classic (figure 8.16) .

figure 8.16

Important: this amp contains a built-in stereo Chorus/Vibrato unit. To actually be able to hear this in stereo you will need to use two microphones in front of its Cabinet and pan the wide L – R. For more information about how to set this, see Chapter 9.5.7. Controls: • BRIGHT: boosts brilliance of the preamp, especially when the Volume control is kept low. • VOLUME: sets the overall amp volume. The amp remains clean up to volume 3 or 4 and starts distorting for higher positions. • DISTORTION: turning this knob up from the minimum position by a little bit turns On the distortion circuit. From there, continuing rising the control brings more and more distortion. • REVERB: controls the amount of reverb. • TREBLE: sets the amount of high frequencies on the sound. • MIDDLE: sets the amount of mid frequencies on the sound. • BASS: sets the amount of low frequencies on the sound. • VIB/OFF/CHORUS: this is a three position switch; • When set to Off, the sound will not be affected by chorus or vibrato. • When set to Vib, vibrato will be turned On. • When set to Chorus, chorus will be turned On. • SPEED: sets the speed of the Vibrato effect. Note that Chorus has no settings. • DEPTH: sets the intensity of the Vibrato effect. Note that Chorus has no settings.

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8.6.1.9 Metal Clean T This extremely high-quality amplifier delivers a very detailed and clean response on the clean channel, incredibly well defined is the perfect starting point for any kind of sound. Use this channel to get your hyper-driven sounds from stomps only, as well as for creating clean or edgy sounds (figure 8.17).

figure 8.17

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: Sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.2 Crunch 8.6.2.1 American Tube Vintage This classic American amplifier was at first designed to be a bass amp, but later became one of the most popular American guitar amps ever made. Great for clean tones, it is also versatile in a variety of music genres and playing styles (figure 8.18).

figure 8.18

Controls: EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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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 legendary tone helped to put many of rock’s founding fathers (including 4 guys from Liverpool) on the map and has been a highly sought after sound that is still heard on many albums today (figure 8.19).

figure 8.19

Controls: EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • CUT: as on the original, cuts the high frequencies of the amp’s EQ stage when turned down. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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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, but an accurate model of the well-known and loved version of an already spectacular amplifier. If you want some British sound, you can find it here (figure 8.20).

figure 8.20

The original copper model was non-top boost, and you can find it exactly replicated here when the switch Top Boost is Off. Turn it On to add the top boost circuit in a second and be then able to adjust your sound with Bass and Treble pots. Controls: • NORMAL: sets the volume level for the Normal channel. Normal channel has a mellower response when compared to the Brilliant channel. • BRILLIANT: sets the volume level for the Brilliant channel. • VIB -TREM: sets the volume level for the Vibrato and Tremolo channel. • TOP BOOST: adds the Top Boost circuit in the Brilliant channel signal path. Normal and Vib-Trem channels are not affected by this. • BASS: adjusts the level of low frequencies in the sound. Active only on Brilliant channel and only when Top Boost is On. • TREBLE: adjust the level of high frequencies in the sound. Active only on Brilliant channel and only when Top Boost is On. • TONE: sets the overall brightness of the amp. It is always active, on all channels. When set to Min the amp is bright, when set to Max the amp is mellower. • SPEED: sets the speed of the Tremolo or Vibrato effect. • SWITCH: determines if the Vib-Trem channel will produce a Vibrato or a Tremolo effect.

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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 generally associated with. Jimi Hendrix often used multiple amp heads (up to 6) looping them together to get more power, a setup that can be recreated in AmpliTube 3 because of its dual rig capability (figure 8.21).

figure 8.21

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.2.5 British OR An exciting new addition to the line, this model can really turn heads. You’ll hear the vintage hand-wired and very original sound of this killer British powerhouse from the very first note (figure 8.22).

figure 8.22

Controls: • F.A.C: this control is a unique type of tone control featured only on this amp. It is a six position selectable bass cut in the preamp. When set to the first position (1) it is cutting low frequency just a bit, when set to last position (6) it is cutting lots of low frequencies. Intermediate positions deliver intermediate results. Experiment with this control when the amp is overdriven and you’ll find it extremely useful! • Hz: sets the amount of low frequencies in the sound. • kHz: sets the amount of high frequencies in the sound. • HF.DRIVE: determines the presence and brightness of the amp. • GAIN: sets the volume of the amplifier, it is actually the power amp level.

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8.6.2.6 THD Bi-Valve This is a model of the THD® BiValve™*. This modern boutique amplifier has become very popular on the stage and in the studio. Using a single ended class A design it is capable of wide expanse of tone. From the clean to the crunchy to the heavily saturated, the THD BiValve can create all these tones with ease (figure 8.23).

figure 8.23

Controls: EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.2.7 Tube Vintage Combo This is a model of a small vintage amplifier that was basic in design but big in tone. This model is simple but sweet (figure 8.24).

figure 8.24

Controls: EQ MODEL: • PRESENCE: cuts the high frequencies of the amp’s EQ stages when turned down. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3 Lead 8.6.3.1 American Lead MKIII This is the lead channel of a renowned three-channel American amplifier, known for excelling at both clean and lead sounds. This channel can be big and aggressive when you want some California crunch and you can get smooth, tasty sustained lead sounds too (figure 8.25).

figure 8.25

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

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• BASS: sets the amount of low frequencies on the sound. • MIDDLE: sets the amount of mid frequencies on the sound • BRIGHT: boosts brilliance of the preamp, especially when the Volume control is kept low. • SHIFT (BASS): modifies the frequencies where the Bass control works. • SHIFT (TREBLE): modifies the frequencies where the Treble control works. • RHYTHM 2: when enabled the preamp has even more gain, and slightly changes its tonal character. • DEEP: when enabled the bass response of the amplifier is extended. • EQ: enables the graphic EQ. • PRESENCE: when turned up the amp becomes more present and brighter. • REVERB: controls the amount of reverb coming from the internal spring unit.

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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 remained a prized tone for many of today’s guitar players. Able to crank out great tube saturated tone with ease this model is a go to amp for a variety of heavy rock guitar sounds (figure 8.26).

figure 8.26

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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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, it still has the classic tone that has made this family of amps a household name in rock guitar (figure 8.27).

figure 8.27

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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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 that over the edge distortion sound. Similar to modern tube lead sound in character, Modern Hi-Gain provides an additional take on that type of sound (figure 8.28).

figure 8.28

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.5 Custom Solid State Fuzz Based on AmpliTube 1’s fuzz amp, this model is a very distinct and distorted sound, reminiscent of ‘60s fuzz sounds (figure 8.29).

figure 8.29

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.6 Custom Solid State Lead This model features a precise solid state lead sound. It has a darker tone and excels at high gain lead tones. It is very suitable for hard rock leads and it’s gain is very stable, making it easy to use at low volume levels (figure 8.30).

figure 8.30

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.7 Metal Lead T This classic amp provides the tightest bass and fastest response, even at extreme speeds and gain. The result is perfect for speed, thrash, and other aggressive metal styles as well as smoother, cleaner styles, and it is a must for all modern metal contaminations (figure 8.31).

figure 8.31

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.8 Metal Lead V Engineered to the exacting demands of some of the greatest guitarists of all time, this amp quickly became a favorite of tone purists and gain heads alike. Capable of some of the cleanest – or the heaviest – tones of all time (figure 8.32).

figure 8.32

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • BOTTOM: use this knob to enhance the speaker bottom end resonance. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.9 Metal Lead W Designed by some of the hardest rockers of the ‘90s, this amp was built for pure metal mayhem. There may be no heavier, more aggressive amp in the world (figure 8.33).

figure 8.33

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • BOTTOM: use this knob to enhance the speaker bottom end resonance. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.10 Modern Tube Lead This amp is a model of one of the leaders in hard, driven rock tones made today. Capable of searing leads and heavy crunch, this amp has been rectified to create a modern rock tone that is hard to beat (figure 8.34).

figure 8.34

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.6.3.11 Vintage Metal Lead This amp is based on an all-time classic, from its origin in the ‘70s through Aussie hard rock crazy ‘80s metal and beyond. Few amps have rocked as hard, for as long (figure 8.35).

figure 8.35

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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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 rock bands ever. Classic rock tones are a natural with this amp, but it is also known for being used by one of the most famous jazz bassists of all time. Show no quarter and make your bass kill with this amp-solid state but loud and proud (figure 8.36).

figure 8.36

When paired with its Matching cabined (1x18” Horn Bass) it can sound really dark when compared to today’s bass amps, but that’s the magic of it! Controls: • BRIGHT: boosts brilliance of the preamp, especially when the Volume control is kept low. • VOLUME: sets the overall volume of the amp. Set it low for pure and clean tones and push it for driven sounds. • TREBLE: sets the amount of mid and high frequencies on the sound. • BASS: sets the amount of low frequencies on the sound. • RANGE: forms a semi-parametric midrange equalizer together with Effect. Use the Range control to select the center frequency of the mid frequency equalization process among 5 positions. • EFFECT: forms a semi-parametric midrange equalizer together with Range. Use Effect boost or cut the midrange frequencies selected with the Range control. • FUZZ: turns On the built-in Fuzz effect. • GAIN: sets the output volume of the Fuzz effect. • ATTACK: sets the type of Fuzz effect that is applied. When set to Min the sound is similar to a smooth overdrive, when moved toward max the sound gets more aggressive and fuzzy.

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8.6.4.2 Combo 150MB This is a rendition of “the” bass combo for double bass. The tone doesn’t stop there, though. Electric bassists have used this tiny but mighty (and toneful) combo amp with great success. Great things can come in small sizes, and can sound surprisingly big and full (figure 8.37).

figure 8.37

Controls: • VOLUME: sets the gain of the preamp stage. • CONTOUR: set it at min for a flat and natural sound, rise it to gradually mix in a midrange scoop that makes the tone more big and “processed.” • HI BOOST: delivers a gradual boost on mid and high frequencies. • LOW CUT ON/OFF: when enabled extremely low frequencies are removed by the preamp. This is to avoid overloading the amp because of unwanted low frequencies content. • TREBLE: sets the amount of high frequencies on the sound. • HI MIDDLE: sets the amount of mid high frequencies on the sound. • LOW MIDDLE: sets the amount of mid low frequencies on the sound. • BASS: sets the amount of low frequencies on the sound. • OUTPUT LEVEL: sets the volume of the power amp stage. • LIMITER: enables the built-in Limiter. When enabled the power amp is protected from overloading. • LIMITER LEVEL: sets the threshold for the limiter to trigger in. When set lower the limiter will trigger in sooner, and when set to higher values the limiter will trigger in at higher levels.

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8.6.4.3 Green BA250 This is a model of a solid state powerhouse bass amplifier with great toneshaping controls, a warm sound unlike most solid state amps, and a soughtafter preamp (figure 8.38).

figure 8.38

Despite being solid state this amp delivers an incredibly warm and tasteful tone. With its signature “Middle cut pre shaping” feature will immediately bring you back to ‘80s bass lines! Controls • GRAPHIC EQUALIZATION: turns On the graphic EQ when enabled. • MIDDLE CUT PRE-SHAPING: engages a mid frequency shaping that’s very characteristic of this amp. When it is Off, the preamp is almost flat and natural sounding. • GAIN: sets the preamp input gain. Follow what the fancy input level LED meter tells… and you can’t go wrong! Unless you want overdrive it! • GRAPHIC EQUALIZATION: 11 sliders to create your tone. Only a few graphic EQ have the musical quality of this powerful sculpting tool. • BALANCE: it balances the levels when you engage or disable the Graphic EQ. • LEVEL: overall amp volume. It sets the level that is sent to the power amp stage.

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8.6.4.4 Solid State Bass Preamp This model features a solid state bass preamp, EQ, and a solid state power amp module. It cleans up beautifully and drives just as hard (figure 8.39).

figure 8.39

Controls: PRE MODEL: • GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. EQ MODEL: • BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10. • MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. • TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. • PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10. • SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. AMP MODEL: • VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

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8.7 Pre Amp Models (Table) Preamp Models American Clean MKIII American Tube Clean 1 American Tube Clean 2 American Vintage B American Vintage D American Vintage T Custom Solid State Clean Jazz Amp 120 Metal Clean T American Tube Vintage British Blue Tube 30TB British Copper 30TB British Lead S100 British OR THD Bi-Valve Tube Vintage Combo American Lead MKIII British Tube Lead 1 British Tube Lead 2 Custom Modern Hi-Gain Custom Solid State Fuzz Custom Solid State Lead Metal Lead T Metal Lead V Metal Lead W Modern Tube Lead Vintage Metal Lead 360Bass Preamp Combo 150MB Green BA250 Solid State Bass Preamp

8 - Amp Module

Based on* Clean Mesa/Boogie® Mark III™ Combo (Clean Channel) Fender® Super Reverb® Fender® DeLuxe Reverb® 65 Fender® Bassman® Fender® Dual Showman® Fender® Twin Reverb® IK Multimedia Roland® JC-120™ Mesa/Boogie® Triple Rectifier® (Clean Channel) Crunch Fender® Bassman® Vox® AC30™ Top Boost Vox® AC30™ - Copper Marshall® 1959 JTM100™ Super Lead Orange® OR-120™ Head THD® BiValve™ Supro® Late '50s combo Lead Mesa/Boogie® Mark III™ Combo (Lead Channel) Marshall® JCM800™ Marshall® JCM900™ IK Multimedia IK Multimedia IK Multimedia Mesa/Boogie® Triple Rectifier® (Lead Channel) Peavey® 5150® 100W head Randall® Warhead™ Mesa-Boogie® Dual Rectifier® Marshall® JMP100™ head Bass Acoustic® 360™ Bass Preamp Gallien-Krueger® MB150™ Trace Elliot® AH250™ Head IK Multimedia

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8.8 Power Amp Models Power Amp Models Class A EL84 50W EL34 100W EL34 50W 6L6 Single Ended CI. A Solid State 100W KT66 100W 6L6 100W 6L6 D 100W 6L6 T 100W 6L6V 150W 6L6MT

Based on* Vox® AC30™ models Marshall® Marshall® JMP100™ head Fender® DeLuxe Reverb® 65 Supro® Late '50s combo Clean Solid State Power Amp Marshall® 1959 JTM100™ Super Lead Fender® Bassman® 100W 6L6 Fender® Dual Showman® 100W 6L6 Fender® Twin® 100W 6L6 Peavey® 5150® 100W head Mesa/Boogie® Triple Rectifier® 150W

* All product names and trademarks are the property of their respective owners, which are in no way associated or d with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied durino IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement. ACOUSTIC®, 360™ are trademarks of Guitar Center, Inc. FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB®, DUAL SHOWMAN®, TWIN REVERB®, TWIN® are ed trademarks of Fender Musical Instruments Corporation. GALLIEN-KRUEGER® MB150™ is a ed trademark of Gallien-Krueger Corporation. MARSHALL®, 1959 JTM100™ Super Lead, JMP100™, JCM800™, JCM900™, Guv’Nor™ are trademarks or ed trademarks of Marshall Amplification Plc. MESA/BOOGIE®, Rectifier®, Mark III™, are trademarks of Mesa/Boogie Ltd. ORANGE®, OR-120™are trademarks or ed trademarks property of Orange Music Electronic Company Ltd PEAVEY® is a ed trademark of Peavey Electronics Corporation. RANDALL®, Warhead™ are trademarks or ed trademarks of Randall Amplifiers a division of U.S. Music Corp. SUPRO® is a trademark of Zinky Electronics. THD® BiValve™ is a trademark of THD Electronics Ltd. TRACE ELLIOT® AH250™ is a ed trademark of Peavey Electronics Corporation. VOX®, AC30™, Wah V846™, Wah 847™ are trademarks or ed trademarks of VOX Amplification Ltd. 5150® is a ed trademark of Edward Van Halen.

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Chapter 9 Cab Module (Cabinets + Microphones)



9.1 Introduction To access the Cab module, click the Cab button located on the Module/Rig Selector (figure 9.1).

figure 9.1

The Cab module includes 2 models: the Cabinet Model and the Mic Model, and a new section called Room (figure 9.2).

figure 9.2

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9.2 Cabinet Model The Cabinet Model includes the Cab Model Selector, the By and Match buttons and a new exciting feature called “Size” (figure 9.3).

figure 9.3



9.2.1 Cab Model Selector To select a Cabinet model, click the Cab Model Selector (figure 9.4) and navigate through its categories or use the forward/back arrows (figure 9.5) .

figure 9.4

figure 9.5

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9.2.2 By Click this button to by the Cab module (figure 9.6).

figure 9.6



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. If you want to use another cabinet, just turn the Cab match Off and select another model.

figure 9.7



9.2.4 Size AmpliTube 3 allows you to go beyond the cabinet physical limitations… Just use the Size control to expand or reduce the size of the cabinet. (figure 9.8)

figure 9.8

Important: to obtain the most accurate cabinet sound, this control should be kept at its default position (Center). The purpose of this control is to provide a creative tool that allows you to “squeeze” or “expand” the tonal color for the selected cab. However, when you’re after the exact replica of the original cabinet sonic texture, to keep the Size control centered.

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. Please take a look at each model and check the Cabinet Models Table.

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9.3.1 Guitar 6” 9.3.1.1 1x6 Small Combo

figure 9.9



9.3.2 Guitar 10” 9.3.2.1 1x10 Combo Modern

figure 9.10

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9.3.2.2 4x10 Closed Modern

figure 9.11



9.3.2.3 4x10 Open Vintage

figure 9.10

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9.3.3 Guitar 12”



9.3.3.1 1x12 Combo

figure 9.13



9.3.3.2 1x12 MB II

figure 9.14

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9.3.3.3 1x12 MB III

figure 9.15



9.3.3.4 1x12 Open Modern

figure 9.11

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9.3.3.5 1x12 Open Vintage

figure 9.17



9.3.3.6 2x12 Closed Vintage

figure 9.18

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9.3.3.7 2x12 Gry British Vint

figure 9.19



9.3.3.8 2x12 JP Jazz

figure 9.20

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9.3.3.9 2x12 Open SL

figure 9.21



9.3.3.10 2x12 Open TJ120

figure 9.22

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9.3.3.11 2x12 Open Vintage

figure 9.23



9.3.3.12 4x12 British Or

figure 9.24

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9.3.3.13 4x12 Closed 25 C

figure 9.25



9.3.3.14 4x12 Closed 75 C

figure 9.26

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9.3.3.15 4x12 Closed J120

figure 9.27



9.3.3.16 4x12 Closed Modern 1

figure 9.28

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9.3.3.17 4x12 Closed Modern 2

figure 9.29



9.3.3.18 4x12 Closed Vintage 1

figure 9.30

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9.3.3.19 4x12 Closed Vintage 2

figure 9.31



9.3.3.20 4x12 Metal F 1

figure 9.32

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9.3.3.21 4x12 Metal F 2

figure 9.33



9.3.3.22 4x12 Metal T 1

figure 9.34

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9.3.3.23 4x12 Metal T 2

figure 9.35



9.3.3.24 4x12 Metal T 3

figure 9.37

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9.3.3.25 4x12 Metal V 1

figure 9.37



9.3.3.26 4x12 Metal V 2

figure 9.38

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9.3.3.27 4x12 Metal V 3

figure 9.39



9.3.3.28 4x12 Modern M 1

figure 9.40

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9.3.3.29 4x12 Modern M 2

figure 9.41



9.3.3.30 4x12 Modern M 3

figure 9.42

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9.3.3.31 4x12 Vintage M 1

figure 9.43



9.3.3.32 4x12 Vintage M 2

figure 9.44

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9.3.4 Guitar 15” 9.3.4.1 2x15 Closed B J130

figure 9.45



9.3.4.2 2x15 Closed D J130

figure 9.46

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9.3.5 Bass 10” 9.3.5.1 4x10+tw Bass

figure 9.47



9.3.5.2 4x10+tw TE Bass

figure 9.48

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9.3.6 Bass 12”



9.3.6.1 1x12 Bass

figure 9.49



9.3.6.2 1x12 BassJz

figure 9.50

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9.3.7 Bass 15” 9.3.7.1 1x15 Bass Vintage

figure 9.51



9.3.8 Bass 18” 9.3.8.1 1x18 Horn Bass

figure 9.52

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9.3.9 Rotary 9.3.9.1 Rotary 147-1

figure 9.53



9.3.9.2 Rotary 147-2

figure 9.54

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9.4 Cabinet Models (Table) Cabinet Model 1x6 Small Combo Guitar 10” 1x10 Combo Modern 4x10 Closed Modern 4x10 Open Vintage 1x12 Combo 1x12 MB II 1x12 MB III 1x12 Open Modern 1x12 Open Vintage 2x12 Closed Vintage 2x12 Gry British Vint 2x12 JP Jazz 2x12 Open SL 2x12 Open TJ120 2x12 Open Vintage 4x12 British Or 4x12 Closed 25 C 4x12 Closed 75 C 4x12 Closed J120 4x12 Closed Modern 1 4x12 Closed Modern 2 4x12 Closed Vintage 1 4x12 Closed Vintage 2 4x12 Metal F 1 4x12 Metal F 2 4x12 Metal T 1 4x12 Metal T 2 4x12 Metal T 3 4x12 Metal V 1 4x12 Metal V 2 4x12 Metal V 3 4x12 Modern M 1

9 - Cab Module

Based on* Guitar 6” Fender® SS Combo Mesa/Boogie® 1x10" Subway Rocket® Marshall® 4x10 '90s JCM410™ Fender® Super Reverb® 1967 Guitar 12” Marshall® 1x12 Valvestate™ 12 Mesa/Boogie® Mark II™ 1x12" EV Mesa/Boogie® Mark III™ 1x12" EV VHT® Pitbull™ 1x12 Combo Fender® DeLuxe® 65 Marshall® 1922 2x12 Greenbacks Vox® AC30™ 2x12" '60s Graybacks Roland® JC-120™ 2x12" Sears® Silvertone® 2x12” Fender® Twin® 2x12” JBL® D120F Vox® AC30 '60s Bluebacks 4x12" Orange® PPC412™ Marshall® 4x12”, Greenbacks Marshall® 4x12”, G12 75 Marshall® 4x12”, JBL® D120F Marshall® 4x12 '80s 1982A Mesa/Boogie® 4x12 Rectifier™ Marshall® 4x12 Angled, '70s Greenbacks Marshall® 4x12 Straight, Greenbacks Fender ® 4x12 MH™ 1 Fender ® 4x12 MH™ 2 Mesa/Boogie ® 4x12” Rectifier® 1 Mesa/Boogie ® 4x12” Rectifier® 2 Mesa/Boogie ® 4x12” Rectifier® 3 Peavey ® 5150® 4x12” 1 Peavey ® 5150® 4x12” 2 Peavey ® 5150® 4x12” 3 Marshall ® 4x12” JCM800 1

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4x12 Modern M 2 4x12 Modern M 3 4x12 Vintage M 1 4x12 Vintage M 2 2x15 Closed B J130 2x15 Closed D J130 4x10+tw Bass 4x10+tw TE Bass 1x12 Bass 1x12 BassJz 1x15 Bass Vintage 1x18 Horn Bass Rotary 147-1 Rotary 147-2

Marshall ® 4x12” JCM800 2 Marshall ® 4x12” JCM800 3 Marshall ® 1960 4x12” 1 Marshall ® 1960 4x12” 2 Guitar 15” Fender® Bassman® 2 x15”, JBL® D130F Fender® Dual Showman® 2x15”, JBL® D130F Bass 10” SWR® Goliath™ 4x10 Trace Elliot® 4x10" Bass 12” Custom Bass 1x12 Gallien-Krueger® 1x12" MB150 Bass 15” Ampeg® B15R™ 15” Bass 18” Acoustic® 301™ Folded Horn 18” Rotary Leslie® 147™ original AlNiCo woofer Leslie® 147™ modern replacement woofer

* All product names and trademarks are the property of their respective owners, which are in no way associated or d with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied durino IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement. ACOUSTIC®, 301™ are trademarks of Guitar Center, Inc. AMPEG®, B15R™ are trademarks of LOUD Technologies, Inc. FENDER®, BASSMAN®, SUPER REVERB®, DUAL SHOWMAN®, TWIN®, MH™ are ed trademarks of Fender Musical Instruments Corporation. GALLIEN-KRUEGER® MB150™ is a ed trademark of Gallien-Krueger Corporation. JBL® is a ed trademark of JBL Professional. LESLIE™ 147™ is a ed trademark of Hammond Suzuki USA, Inc. MARSHALL®, JCM800™, JCM410™ are trademarks or ed trademarks of Marshall Amplification Plc. MESA/BOOGIE®, Rectifier®, Subway Rocket®, Mark II™, Mark III™, are trademarks of Mesa/ Boogie Ltd. ORANGE®, PPC412™ are trademarks or ed trademarks property of Orange Music Electronic Company Ltd. ROLAND®, JC-120™ are ed trademarks of Roland Corporation. SEARS® is a ed trademark of Sears Brand, LLC. SILVERTONE® is a ed trademark of Samick Music Corporation. SWR®, Goliath™ are trademarks of SWR Sound Corporation. TRACE ELLIOT® is a ed trademark of Peavey Electronics Corporation. VHT® Pitbull™is a trademark of VHT Amplification, Inc. VOX®, AC30™ are trademarks or ed trademarks of VOX Amplification Ltd.

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9.5 Mic Model The Mic Model includes the Mic Model selector, 2 microphones to mic and mix each cabinet, and Mute, Solo, Phase, Pan, and Mic Blend controls (figure 9.55).

figure 9.55

Thanks to the new design of the Cab module, you are able to Mute, Solo, change the Phase, and Pan each microphone individually and then combine their settings via the MIC blend slider. Also, you can easily change each microphone’s position and distance. All of these options allow you to recreate your microphones techniques and expand your music production skills. Below, a brief description of each control.

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9.5.1 Mic Model Selector To select a microphone model, click the Mic Model Selector (figure 9.56) and navigate through its categories or use the forward/back arrows (figure 9.57).

figure 9.56

figure 9.57

If you want to use 2 microphones select a mic model from both Mic 1 and Mic 2. If you want to use just one microphone select None from Mic 2 models list.

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Note: when loading presets from previous AmpliTube products Mic 2 will be selected to None automatically because previous products only have one mic. To add a second microphone in AmpliTube 3 just click the Mic Model Selector and choose a mic model instead of None (figure 9.58).

figure 9.58

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9.5.2 Position To change the position of the microphone in relationship to the cone of the speaker, move the microphone (or its identification number located in the spatial graphic) (figure 9.59) from left to right (or vice versa) until you find the sweet spot. In other words, you will be able to change the microphone’s position from off axis (outside edge of the speaker) to on axis (center) and everything in between.

figure 9.59

figure 9.60

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, with presence and high-frequency content. However, this could be too bright or harsh for some Amp settings. In this case, try the Off Axis position to obtain a sweeter tone.

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Off-Axis means that the microphone is positioned at the outside edge of the speaker. (figure 9.61)

figure 9.61

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9.5.3 Distance To change the distance of the microphone in relationship to the speaker, move the microphone Up (Near) (figure 9.62) or Down (Far) (figure 9.63) or vice versa until you find the proper distance.

figure 9.62

figure 9.63

To summarize, moving the microphone horizontally will change its position (On/Off axis) and moving it vertically will change its distance (Near/Far). Production Tips: To obtain detailed clean sounds, mic up your Cab using the On Axis position and Near distance settings. If the sound is too big for your mix, change the mic distance to Far. In general, extremely high-gain sounds match well together with an Off-Axis position and Near distance settings, (especially if you are using a bright microphone like the Dynamic 57). ­206

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Important: exactly as it’s happening in reality when you combine two microphones placed ad different distances in front of an amplifier and you mix them up the result can be a phasey sound affected by weird comb filtering. Sometimes this is what it’s actually wanted, but in case you hear this and you do not like what you get just be sure to align the two microphones more or less at the same distance from the speaker. You can also blend the microphones at 25% or 75% instead of 50%, this will reduce the phasey effect when mics are placed at different distances. Although, again, this is sometimes something wanted! Tip: experiment with the fantastic 3D and “sense of space” AmpliTube 3 can deliver by panning the two microphones wide L-R (or just a bit) and moving the microphones in front of the cab. You’ll discover some amazingly nice ways of having your tones to be placed on the stereo field and having them to go inside the mix or outside, with amazing spatial presence.

9.5.4 Mute Click this button to Mute the selected microphone (its number will be dimmed (figure 9.64).

figure 9.64

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9.5.5 Solo Click this button to Solo the selected microphone (the other microphone’s number will be dimmed) (figure 9.65).

figure 9.65



9.5.6 Phase Click this button to change the selected microphone Phase (figure 9.66). You can get some really weird tones by combining two microphones in different positions and reversing phase on one. Experiment!

figure 9.66

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9.5.7 Pan To change a microphone pan setting, move the Pan knob (figure 9.67) to the desired position and check its value in the Selected Parameter Display.

figure 9.67

Tip: when combining two microphones it is sometime very useful to slightly “open” their Pan controls. This can result in some extremely realistic and nicely 3D sounding tones that can fit better in the mix because they can take advantage of spatial “cut trough” in addition to 2D normal panning.

9.5.8 Mic Blend To combine both microphone settings, move the Mic Blend slider to your desired position (figure 9.68).

figure 9.68

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9.6 Microphone Models AmpliTube 3 offers microphone models organized in 3 categories, Dynamic, Condenser, and Ribbon.



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 guitar amp mic (figure 9.69).

figure 9.69

Typically used in studios paired with a smoother and warmer condenser mic.

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9.6.1.2 Dynamic 20 This mic model recreates a smooth reaction across a wide spectrum of frequencies, especially attractive in the low area. This means that the Dynamic 20 is a great selection for acoustic and electric bass (figure 9.70).

figure 9.70

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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. It’s warm and present, and has a smooth roll-off at high frequencies. It has a very pleasant mid range presence together with a smooth high frequencies rolloff that delivers a nice vintage sheen to the tone (figure 9.71).

figure 9.71

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9.6.1.4 Dynamic 421 Probably the second most popular dynamic mic to use on guitar amps, this model provides an equally pleasing sound, but is warmer than the 57 (figure 9.72).

figure 9.72

It also adds a very focused boost on hi-mid frequencies that makes it suitable to get aggressive driven tones.

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9.6.1.5 Dynamic 441 This model has a flatter frequency response than most other dynamic mics. This mic is highly regarded as a guitar mic and used widely in studios all over the world (figure 9.73).

figure 9.73

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9.6.1.6 Dynamic 609 This is a model of a faithful and popular microphone used daily in many studios and can be found “hanging around” there or on stages everywhere. This dynamic microphone can deliver honest yet punchy sounds (figure 9.74).

figure 9.74

Can result in very mid-rangey sounds at times, but this is sometimes what you want, especially when combined with a warmer condenser microphone.

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9.6.2 Condenser



9.6.2.1 Condenser 12 This mic model is based on one of the first legendary tube microphones in the history of recording (figure 9.75).

figure 9.75

Extremely detailed high frequencies can sometimes emphasize some speakers’ fizziness especially when placed on axis, so it is typically used slightly 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 (figure 9.76).

figure 9.76

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9.6.2.3 Condenser 84 No microphone collection would be complete without a great small diaphragm condenser mic. This model is based on the standard for small diaphragm mics. As with any good small condenser mic, the 84 provides a clean clear picture of the guitar tone (figure 9.77).

figure 9.77

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9.6.2.4 Condenser 87 This is a model of one of the most popular large diaphragm mics ever (figure 9.78). It can be found in any large recording studio mic locker. Because of its excellent frequency response curve, the 87 has become the go-to mic when needing a clean, flattering sound.

figure 9.78

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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 (figure 9.79).

figure 9.79

This microphone will not color the sound of the speaker, or at least will color it very little. That’s why it is a great choice to hear a very natural rendering of the speaker sound even when used alone.

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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 when combined with another cabinet/mic setup.

figure 9.80

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9.6.3 Ribbon 9.6.3.1 Ribbon 121 Use this ribbon microphone to capture a pure, natural sound. This is modeled after one of the must-have studio ribbon microphones of our time (figure 9.81).

figure 9.81

Incredibly present mid range with a natural and smooth roll off on the high frequencies, makes it ideal when you’re hearing too much “fizz” from the in axis tone on high gain and metal tones, switching to this mic will reduce the unwanted high frequencies fizzness in a way that will not reduce presence at all.

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9.6.3.2 Ribbon 160 This mic is modeled after a double-ribbon hypercardioid microphone, one of the top choices for capturing the sound of a broad diversity of sources (figure 9.82).

figure 9.82

Very detailed and with a focus on mid range, try this when you want more mid range presence without applying EQ or changing amp settings.

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9.6.3.3 Velo-8 This is a double-ribbon figure-8 microphone with a unique Neodymium element (figure 9.83). With a silky-smooth high end and good low end body, a great choice for more vintage-sounding guitar tones, this mic mixes very well with other microphones for very full-bodied recordings.

figure 9.83

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9.7 Microphone Models (Table) Mic Model Dynamic 57 Dynamic 20 Vintage Dynamic 20 Dynamic 421 Dynamic 441 Dynamic 609 Condenser 12 Condenser 67 Condenser 84 Condenser 87 Condenser 170 Condenser 414 Ribbon 121 Ribbon 160 Ribbon Velo-8

Based on* Dynamic Shure® SM57™ Electro-Voice® RE20™ AKG® D20™ Sennheiser® MD-421™ Sennheiser® MD-441™ Sennheiser® MD609™ Condenser AKG® C12™ Neumann® U67 Neumann® KM-84™ Neumann® U-87™ Neumann® TLM 170™ AKG® C-414 ULS™ Ribbon Royer® R121™ Beyerdynamic® M160™ Groove Tubes® Velo-8™

* All product names and trademarks are the property of their respective owners, which are in no way associated or d with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied durino IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement. AKG®, C12™, D20™, C-414 ULS™ are ed trademarks of AKG Acoustics GmbH. BEYERDYNAMIC®, M160™ are ed trademarks of Beyerdynamic GmbH & Co. ELECTRO-VOICE®, RE20™ are ed trademarks of Electro-Voice, Inc. GROOVE TUBES®, Velo-8™ are ed trademarks of Groove Tubes, LLC. NEUMANN®, U67™, U87™, KM-84™, TLM 170™ are ed trademarks of Georg Neumann GmbH. ROYER®, R121™ are ed trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation. SENNHEISER®, MD-421™, MD-441™, MD609™ are ed trademarks of Sennheiser Electronic Corp. SHURE®, SM57™ are ed trademarks of Shure Incorporated.

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9.8 Room The new Room section allows you to place the cabinet in a particular ambience and control the width, pan, and level of the Room Mics. In addition, it includes the Mute, Solo, and Phase buttons. Experiment with all the Cab, Mic Models, and Room Types to create your perfect cabinet sound (figure 9.84).

figure 9.84

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9.8.1 Room Type Selector Click the Room Type Selector (figure 9.85) to select a Room preset or use the forward/back arrows (figure 9.86).

figure 9.85

figure 9.86

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9.8.2 Mute Click this button to Mute the Room section (figure 9.87).

figure 9.87



9.8.3 Solo Click this button to Solo the Room section (the microphones selected via Mic Model will be muted and their identification numbers will be dimmed) (figure 9.88).

figure 9.88

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9.8.4 Phase Click this button to change the Room’s Phase (figure 9.89).

figure 9.89

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9.8.5 Room Mics Controls

figure 9.90

Width: use this control to change the width between microphones. At 0, the microphones are next to each other in the center of the room (figure 9.91). At 100, one microphone is located to the left side and the other to the right side (figure 9.92).

figure 9.91

figure 9.92

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Use this control to set the Stereo image width that will be produced by the ambience signal. When set to default (Center), the ambience will be producing a natural stereo room sound. If lowered, the image will gradually narrow up to become completely mono at the minimum position. If increased, the image will be expanded causing the impression of the stereo field to be wider than the speakers. Be careful not overdo this because the sound might be cancelled (or partially) when listening in mono. Pan: this control allows you to pan both microphones to the left, center, or right within the stereo image (figure 9.93).

figure 9.93

Level: controls the Room Mics Levels. This is a great tool to create different dimensions within your mix (figure 9.94).

figure 9.94

The values of the Width, Pan, and Level controls are shown in the Selected Parameter Display.

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9.8.6 Room Type Presets There are 5 Room Type Presets; Amp Closet, Small Studio, Mid Studio, Large Studio and Hall. Listen to each preset and select the one that best fits your sound (figure 9.95).

figure 9.95



9.9 Rotary Speaker

figure 9.96

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9.9.1 Introduction The Rotary 147 – 1 and Rotary 147 – 2 models are a faithful digital recreation of an extremely good sounding all original classic Rotary speaker unit produced in the ‘60s.



9.9.2 Rotary Speaker Models Model 147-1 comes with all new original speakers, while Model 147-2 comes with a tighter and powerful replacement 15” speaker on the low frequency section. You could choose either of them, depending on the type of music and sound you want to process with the Rotary speaker. Consider Model 147-1 to be more accurate with the original with an upfront mid range, and 147-2 to be more bass-powerful and defined on low frequencies.



9.9.3 Setup This menu (figure 9.97) is used to select various techniques used to record the Rotary speaker unit in the studio:

figure 9.97

Open: means that the low frequency cabinet was open during the recording. Closed: means that the low frequency cabinet was closed during the recording. Front: means that the rotating horn microphones where placed at the front of the Leslie cab, meaning the sound was ing through the slots on the s.

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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 ing through the slots on s, or just partially. Mono: means the bass drum was recorded with only one microphone, in mono.

9.9.4 Width Use this control to set the Stereo image width that will be produced by the Rotary speaker (figure 9.98).

figure 9.98

When set to default (Center) the Rotary speaker is producing a convincing and natural stereo image. If lowered, the image will gradually narrow up to become completely mono at the minimum position. 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 because the sound might be cancelled (or partially cancelled) when listening in mono.

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9.9.5 Balance Use this control to alter the balance between the top rotating horns and the bottom rotating drum on the Rotary Speaker unit. (figure 9.99)

figure 9.99

At default (center) position the sound is usually balanced, moving the control toward the minimum position makes the level of the top rotating horns (mid and high frequencies) to be reduced, moving the control toward the maximum position makes the level of the bottom rotating drum (low frequencies) to be reduced.

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9.9.6 Speed Sets the speed of the Rotary Speaker (figure 9.100).

figure 9.100

Slow: makes the horn and drum to rotate at slow speed. Fast: makes the horn and drum to rotate at high speed. Brake: makes the horn and drum to stop rotating. The real rotating speakers inside this unit are taking their time to both slow down or speed up; this characteristic is also part of its sound. The model here is behaving in the same way, with the exact times. That’s why speed changes are not instantaneous.

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Chapter 10 Rack FX Module (Post Effects) 10.1 Introduction To access the Rack module, click the Rack button located on the Module/Rig Selector (figure 10.1). There are two independent Rack modules featuring 4 stereo rack effects each. They can be used independently or together for a total of 8 rack effects.

figure 10.1

To facilitate the Rack models navigation, please read the following controls descriptions.

10.2 On/By This control enables/disables the Rack module from the plug-in’s signal. When is On, the switch looks red. (figure 10.2)

figure 10.2

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10.3 Rack FX Selector To select a rack model, click the Rack Model Selector (figure 10.3) and navigate through its categories or use the forward/back arrows. (figure 10.4)

figure 10.3

figure 10.4



10.4 Drag and Drop Feature Thanks to AmpliTube 3 drag & drop feature you are able to re-arrange the order of the racks on the fly and monitor the results in real-time…

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10.5 Rack FX Models AmpliTube 3 offers 17 rack models organized in 6 categories, Modulation, Delay & Reverb, Filter, Pitch, EQ & Dynamics, and Other.



10.5.1 Delay & Reverb 10.5.1.1 Digital Delay This advanced delay modeled effect can add a variety of depth to the sound, by providing five different delay modes. The delay can also be synched to the host tempo providing even more flexibility (figure 10.5).

figure 10.5

Controls: • MODE: sets the output mode of the Delay effect; Stereo, Left/Right, Mono, Left/Center/Right, and Doubler. • DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms. • BPM SYNC: allows the effect to synchronize to the project tempo and changes the Rate control to beat values. • : changes the amount of time that the delay repeats, from 0% to 100%. • FILTER: sets the low filter for the delay effect, from 200 Hz to 20 kHz. When set to mid values it gives a nice warmth to the delay timbre. • MIX: adjusts the amount of wet sound with the dry sound, from 0% to 100%. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.1.2 Digital Reverb This digital reverb is capable of adding small amount of space to a signal or creating a huge hall around the instrument (figure 10.6).

figure 10.6

Controls: • DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00 seconds. • DENSITY: sets the number of reflections generated by the reverb, from 0 to 99. • COLOUR: sets the reverb coloration from dark to light, from 2 kHz to 20 kHz. • MIX: adjusts the amount of wet sound with the dry sound, from 0% to 100%. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.1.3 Tap Delay This creative delay effect unit can be used to create interesting and unusual delay effects thanks to the 8 totally independent taps. You can create grooving rhythm patterns by combining more taps with a specific time signature, and you can mix this up with psychedelic reverse tape effects you are able to set for each tap (figure 10.7).

figure 10.7

The TapDelay is actually 8 delays in one single unit, and it allows you to set time, timbre and level for each one of these units. In addition, you can globally control with single knobs parameters for all the 8 taps at the same time, like time, dry/wet mix and amount. Controls: • TIME: globally shifts the delay time of all the 8 taps. This is a relative control that works in this way: • When set at the center position (1x) it does not alter the time that has been setup on each tap. • When set to minimum (0.25x) it divides all times by four. • When set to max (4x) it multiply all times by four. Use it to globally change the delay tempo without changing the relations between all taps. • MIX: globally adjust the effect mix between the Dry signal and all the 8 delay taps. • : globally adjust the amount of the delay will have. When set at maximum, the delay with be sustaining itself. • TAP: use these buttons to select which one among the 8 delay taps you’re going to edit with next controls. • LEVEL: sets the audio level for the selected delay tap. • TIME: sets the delay time for the selected tap. It can be shown in milliseconds or in musical divisions, depending on the BPM Sync switch position. • TAPS DISPLAY: shows each Tap as a vertical bar. The horizontal position of the bar represent the delay time, the height of the bar represent the audio level. • FILTER: sets the timbre for the selected delay tap, darker at minimum and brighter at maximum. • REVERSE: enable this button to transform the selected delay tap from normal to reverse. When set to reverse a delay tap will sound like a reversed tape loop. • LINK: enable this button to make a change you do on the above mentioned parameters to apply to all the 8 taps at the same time. • BPM SYNC: allows the effect to synchronize to the project tempo.

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10.5.2 EQ & Dynamics 10.5.2.1 Graphic EQ IK Multimedia proprietary 31 band Graphic EQ (figure 10.8);

figure 10.8

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. Each band has +/- 15 dB boost, plus Reset button (total reset of all bands at 0 dB), and Level slider (+/- 15 dB).

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10.5.2.2 Parametric EQ With its three totally independent EQs, this parametric EQ provides enough power to sculpt the perfect guitar tone or surgically enhance and alter any signal sent through it (figure 10.9).

figure 10.9

Controls: • BASS: • GAIN: adjusts the boost or cut of the bass parametric EQ, from -15 dB to +15 dB. • FREQ: changes the center frequency of the bass parametric EQ, from 20 Hz to 20 kHz. • Q: sets the bandwidth of the bass parametric EQ, from 0.1 (very wide) to 8.0 (very narrow). • MID: • GAIN: adjusts the boost or cut of the mid parametric EQ, from -15 dB to +15 dB. • FREQ: changes the center frequency of the mid parametric EQ, from 20 Hz to 20 kHz. • Q: sets the bandwidth of the mid parametric EQ, from 0.1 (very wide) to 8.0 (very narrow). • HI: • GAIN: adjusts the boost or cut of the Hi parametric EQ, from -15 dB to +15 dB. • FREQ: changes the center frequency of the Hi parametric EQ, from 20 Hz to 20 kHz. • Q: sets the bandwidth of the Hi parametric EQ, from 0.1 (very wide) to 8.0 (very narrow). • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.2.3 Tube Compressor This compressor was modeled after a classic tube compressor. It is a very versatile, smooth compressor, and can add great color to the signal (figure 10.10).

figure 10.10

Controls: • DRIVE: controls the amount of signal that is input into the effect, setting the compression level. • ATTACK: controls the amount of time that the compressor takes to react to the audio signal. • RELEASE: controls the amount of time that the compressor takes to return to normal gain after some compression has occurred. • RATIO: controls the strength of the compression. Higher values will result in a more evident effect. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.3 Filter



10.5.3.1 Rezo This rack model is a unique effect that can add synth-like drones and sustaining resonances to your parts. Make your guitar sound like a sitar or like a synth-drone to create sonic resonances to sing on and control the notes with your controller to create arpeggios and steps while playing (figure 10.11).

figure 10.11

You have 4 resonating voices that can be tuned independently from note E0 to note B7, in half tone steps. For example, if you want to create a resonating C Major chord, just set the first three voices to C3, E3 and G3. By moving the All slider you can shift the recently created Chord without changing the intervals between the voices. You can set the desired voice note by note number of by frequency in Hz. • 1-4 SLIDERS: sets the pitch for each resonating voice. • 1-4 VALUE DISPLAY: displays which note each voice is tuned on. • NOTE/FREQUENCY SWITCH: turn on this switch to have the tuning of each voice displayed as a note. Turn this off to have the tuning of each voice to be displayed as frequency in Hz. • ALL: shifts all resonating notes by the same amount keeping relative intervals between voices identical. • RES: sets the amount of resonance for each voice, from min to max. When set to max the note will sustain by itself, when set to min the voice will not be resonating. • SCALE: the Rezonator is setup by default to span over a chromatic scale when you set the resonating voices, meaning that all half tones are possible. If you want to set another scale and want to remove notes from the chromatic scale just open this menu and leave on only the notes you need. • FILTER: determines the brightness of the resonating voices, from dark (lower positions) to bright (upper positions). • MIX: sets the amount of resonating notes you want to hear. When the control is at min you’ll only hear the original sound, when fully up you’ll only hear the effected sound. • OUT: the resonating notes can become very loud use this control to adjust the overall output level of the Rezonator.

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10.5.3.2 Step Filter This is a powerful and deep beat sync filter effect. You will be able to apply Low/High and Band analog modeled filtering on freely customizable patterns to add groove and rhythmic pulsing to your parts. This will make your guitars and bass parts to sound like a rhythmic synth, if you want it (figure 10.12).

figure 10.12

Controls: • CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff frequency the filter will have when the steps are set to half position. • STEP BAR: click on the Steps to set each step level. You can also draw a curve while holding the mouse while dragging over multiple steps. • RES: sets the center resonance of the filter. This is the resonance amount the filter will have when the steps are set to half position. • DEPTH: sets how deep the filter is modulated by the steps. • HP/BP/LP: sets which kind of filter will be used: HP: high , BP: band , LP: low • 12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/ oct will be steeper. • DEST: sets what is modulated by the steps between filter Cutoff and/ or filter Resonance. At full minimum position only Cutoff frequency is modulated, at max position only Resonance is modulated. • DIVISION: sets what time interval each step represent. • STEPS: sets the number of steps the cycle will consist of. • MODE: When set to Free the cycle will be continuous and will always cover all the steps that are specified in the Steps parameter. When set to Strike the cycle will re-start each time a chord or a note is played. • SWING: increase this control to give to the steps a swing type quantization. • BPM SYNC: allows the effect to synchronize to the project tempo.

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10.5.4 Modulation



10.5.4.1 Analog Chorus This classic analog stereo chorus model adds depth and space to the input signal (figure 10.13). It can also be used as a vibrato effect.

figure 10.13

Controls: • CHORUS/VIBRATO: enables Vibrato or Chorus modes. Chorus mode is enabled when the corresponding LED is illuminated. • CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to 99. • VIB RATE: sets the rate of the Vibrato effect, from 0.02 Hz to 8 Hz. • VIB DEPTH: sets the intensity of the Vibrato effect, from 0 to 99. • STEREO/MONO: changes the rack effect from a stereo to a mono effect. Stereo is enabled when the corresponding LED is illuminated. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.4.2 Digital Chorus This modeled digital chorus effect creates a clear articulate chorus effect (figure 10.14). Like the analog chorus, this effect adds depth and space to the input signal, but adds a different color to the overall signal.

figure 10.14

Controls: • WAVEFORM: selects the shape of the chorus effect, sine, triangle, or square wave. • RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz. • BPM SYNC: allows the effect to synchronize to the project tempo and changes the Rate control to beat values. • DEPTH: sets the intensity of the chorus, from 0 to 100. • STEREO/MONO: changes the rack effect from a stereo to a mono effect. Stereo is enabled when the corresponding LED is illuminated. • MIX: adjusts the amount of wet sound with the dry sound, from 0% to 100%. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.4.3 Digital Flanger This model of a digital flanger can create a metallic modulated sound (figure 10.15).

figure 10.15

Controls: • WAVEFORM: selects the shape of the flanger effect, sine, triangle, or square wave. • RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz. • BPM SYNC: allows the effect to synchronize to the project tempo and changes the Rate control to beat values. • DEPTH: sets the intensity of the Flanger, from 0 to 100. • : sets the nominal amount of signal that is returned to the input after processing effect, from 0 to 10. • STEREO/MONO: changes the rack effect from a stereo to a mono effect. Stereo is enabled when the corresponding LED is illuminated. • MIX: adjusts the amount of effected sound with the un-effected sound, from 0% to 100%. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.4.4 Rotary Speaker This effect is a model of a rotary speaker cabinet. Rotary speaker cabinets create a lush vibrato/chorus effect and add a tremendous amount of depth to the sound (figure 10.16).

figure 10.16

Controls: • SPEED: sets the speed of the rotary speaker effect, from .50 Hz to 7.80 Hz. • DRIVE: sets the amount of overdrive in the rotary speaker effect, from 0% to 100%. • BALANCE: changes the balance of high and low rotors in the signal, from 0 to 100. • MIX: adjusts the amount of wet sound with the dry sound, from 0% to 100%. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.5 Pitch 10.5.5.1 Harmonator The Harmonator is an advanced harmonizing effect with three separate voices, each with independent harmony, level and pan. By entering the key and scale that the instrument is playing, the harmonator analyzes the input signal and track the three independent voices to the correct music key and scale (figure 10.17).

figure 10.17

Controls: • KEY: controls the key and type of scale that will be used by the harmonizer as a reference. If you’re playing a solo in E major set this to E Major, from C to B. • SCALE: changes the scale of the harmonizer, including Major, Dorian, Phrygian, Lydian, Mixolydian, Minor, and Locrian. • VOICE: controls the properties of each of the 3 voices of the harmonizer. • 1: selects voice 1 for editing. • 2: selects voice 2 for editing. • 3: selects voice 3 for editing. • INTERVAL: changes the interval of the selected voice, from low octave to up octave. • LEVEL: independently adjusts the level of each of the 3 voices, from 0 to 100. • PAN: independently adjusts the panning of each of the 3 voices, from 1.0L to 1.0R. • DRY PAN: adjusts the panning of the dry signal independently from the harmonized voices, from 1.0L to 1.0R. • MIX: blends the harmonized voice with the original voice, from 0% to 100%.

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10.5.5.2 Pitch Shifter This pitch shifting effect creates an independent harmony voice that can be blended with the original signal to create harmony lead parts and duet type guitar lines (figure 10.18).

figure 10.18

Controls: • SHIFT COARSE: sets the coarse tuning of the pitch shifter. Measured in intervals, from -24 to 24. • SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in cents, from -50 to 50. • STEREO/SPLIT: sets the output of the effect to split the pitch shifted sound and the dry sound or blend them in a stereo layered fashion. • MIX: adjusts the amount of pitched shifted sound with the dry sound, from 0% to 100%. • OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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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 this powerful and creative beat synced slicing effect. It can be setup to create anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat. It contains two independent stepping engines, one for Level and one for Pan, so you can create independent patterns for level and panning within the same synched effect (figure 10.19).

figure 10.19

Controls: • LEVEL: sets the amount of level modulation the steps will give. At min position the steps will not have effect, at maximum the steps range will be full. • STEP BAR: click on the Steps to set each step level. You can also draw a curve while holding the mouse while dragging over multiple steps. • RAMP: sets the steepness of the level change between steps. Set it at lower positions to get a more gate-like effect, or set it to higher positions to get a smoother effect. • DIVISION: sets what time interval each step represents. • STEPS: sets the number of steps the cycle will consist of. • VOLUME: select this to work on the Volume steps pattern. • PAN: select this to work on the Panning steps pattern. • MODE: When set to Free, the cycle will be continuous and will cover all the steps that are specified in the Steps parameter. When set to Strike, the cycle will re-start each time a chord or a note is played. • SWING: increase this control to give to the steps a swing type quantization. • BPM SYNC: allows the effect to synchronize to the project tempo.

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10.5.6.2 Stereo Enhancer The stereo enhancer model widens and narrows the stereo image (figure 10.20).

figure 10.20

Controls: • STEREO IMAGE: changes the width of the stereo image. Normal width is in the middle of the slider. Moving the slider to the right widens the stereo image. Moving the slider to the left narrows the stereo image. Note: when processing a mono signal with this Rack, the control will result in being a reversed volume slider.

10.5.6.3 Swell This is an “auto volume” swell processor that can automatically create fantastic swell effects while playing without any manual intervention. Use it subtly to add groove to your rhythm parts or use it with deeper settings to create dreaming pads or string-like sounds (figure 10.21).

figure 10.21

Controls: • DEPTH: sets the depth of the volume swell, in dB. By default the depth is at max position, meaning that the volume will start from silence. By lowering this control you’ll make the effect to start the swell phase from a level which is higher than silence, up to min position that makes the effect to have no action. • SENS: this control sets the sensitivity for the Swell to recognize a new note or chord and therefore start a new Swell cycle. Set it higher if you want the Swell cycle to start even at the beginning of softer ages, or set it lower if you want the Swell cycle to only start for louder strikes. • TIME: sets the length of the Swell cycle. • SWELL: this LED goes On during the Swell phase. • OPEN: this LED goes On when the Swell phase has finished. • BPM SYNC: allows the effect to synchronize to the project tempo making the swell time to be specified in musical figures. ­254

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Chapter 11 AmpliTube 3 Models Stomp Models Delay EchoMan TapDelay BigPig Crusher Diode Overdrive Distortion Metal Distortion Metal Distortion 2 Overdrive OverScream PROdrive The Ambass’dor Compressor Dcomp 7 Band Graphic 10 Band Graphic Envelope Filter LFO Filter Rezo Step Filter Wah Wah 10 Wah 46 Wah 47 Class Fuzz Fuzz Age Fuzz Age 2

11 - AmpliTube 3 Models

Based on* Delay IK Multimedia Electro Harmonix® Memory Man™ IK Multimedia Distortion Electro Harmonix® Big Muff Pi™ IK Multimedia IK Multimedia Boss® DS-1™ Distortion Boss® DF-2™ Super er & Distortion Boss® MT-2™ Metal-Zone Boss® HM-2™ Heavy Metal Boss® SD-1™ Distortion Ibanez® Tube Screamer® TS-9™ Pro Co RAT™ Distortion Marshall® Guv'Nor™ Dynamics IK Multimedia MXR® Dynacomp™ EQ IK Multimedia IK Multimedia Filter IK Multimedia IK Multimedia IK Multimedia IK Multimedia IK Multimedia Ibanez® WH-10™ Vox® Wah V846™ Vox® Wah 847™ Fuzz Roger Mayer™ Classic Fuzz® Arbiter® Fuzz Face® Arbiter® Fuzz Face®

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FuzzOne Octa-V RightFuzz XS Fuzz Analog Flanger Chorus Chorus-1 Electric Flanger Flanger Metal Flanger Opto Tremolo Phaze Nine Phazer10 Small Phazer Uni-V Harmonator Octav Pitch Shifter Wharmonator Volume Step Slicer Swell

Preamp Models American Clean MKIII American Tube Clean 1 American Tube Clean 2 American Vintage B American Vintage D American Vintage T Custom Solid State Clean Jazz Amp 120 Metal Clean T

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Maestro® FuzzTone™ Roger Mayer™ Octavia® Mosrite® Fuzzrite® Roger Mayer™ Axis Fuzz® Modulation Boss® BF-2™ Flanger IK Multimedia Boss® CE-1™ Chorus Electro-Harmonix® Electric Mistress™ IK Multimedia MXR® Flanger 117™ Fender® Super Reverb® Amp Opto-Tremolo™ MXR® Phase 90™ MXR® Phase 100™ Electro-Harmonix® Small Stone™ Univox™ Uni-vibe™ Pitch IK Multimedia Boss® OC-2™ Octaver IK Multimedia Digitech® Wahmmy™ WH-1™ Other IK Multimedia IK Multimedia IK Multimedia

Based on* Clean Mesa/Boogie® MKIII™ Combo (Clean Channel) Fender® Super Reverb® Fender® DeLuxe Reverb® 65 Fender® Bassman® Fender® Dual Showman® Fender® Twin Reverb® IK Multimedia Roland® JC-120™ Mesa/Boogie® Triple Rectifier® (Clean Channel)

11 - AmpliTube 3 Models

AmpliTube 3

360Bass Preamp Combo 150MB Green BA250 Solid State Bass Preamp

Crunch Fender® Bassman® Vox® AC30™ Top Boost Vox® AC30™ - Copper Marshall® 1959 JTM100™ Super Lead Orange® OR-120™ Head THD® BiValve™ Supro® Late '50s combo Lead Mesa/Boogie® MKIII™ Combo (Lead Channel) Marshall® JCM800™ Marshall® JCM900™ IK Multimedia IK Multimedia IK Multimedia Mesa/Boogie® Triple Rectifier® (Lead Channel) Peavey® 5150® 100W head Randall® Warhead™ Mesa-Boogie® Dual Rectifier® Marshall® JMP100™ head Bass Acoustic® 360™ Bass Preamp Gallien-Krueger® MB150™ Trace Elliot® AH250™ Head IK Multimedia

Power Amp Models Class A EL84 50W EL34 100W EL34 50W 6L6 Single Ended CI. A Solid State 100W KT66 100W 6L6 100W 6L6 D 100W 6L6 T

Based on* Vox® AC30™ models Marshall® Marshall® JMP100™ head Fender® DeLuxe Reverb® 65 Supro® Late '50s combo Clean Solid State Power Amp Marshall® 1959 JTM100™ Super Lead Fender® Bassman® 100W 6L6 Fender® Dual Showman® 100W 6L6 Fender® Twin® 100W 6L6

American Tube Vintage British Blue Tube 30TB British Copper 30TB British Lead S100 British OR THD Bi-Valve Tube Vintage Combo American Lead MKIII British Tube Lead 1 British Tube Lead 2 Custom Modern Hi-Gain Custom Solid State Fuzz Custom Solid State Lead Metal Lead T Metal Lead V Metal Lead W Modern Tube Lead Vintage Metal Lead

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100W 6L6V 150W 6L6MT

Peavey® 5150® 100W head Mesa/Boogie® Triple Rectifier® 150W

Cabinet Model 1x6 Small Combo Guitar 10” 1x10 Combo Modern 4x10 Closed Modern 4x10 Open Vintage 1x12 Combo 1x12 MB II 1x12 MB III 1x12 Open Modern 1x12 Open Vintage 2x12 Closed Vintage 2x12 Gry British Vint 2x12 JP Jazz 2x12 Open SL 2x12 Open TJ120 2x12 Open Vintage 4x12 British Or 4x12 Closed 25 C 4x12 Closed 75 C 4x12 Closed J120 4x12 Closed Modern 1 4x12 Closed Modern 2 4x12 Closed Vintage 1 4x12 Closed Vintage 2 4x12 Metal F 1 4x12 Metal F 2 4x12 Metal T 1 4x12 Metal T 2 4x12 Metal T 3 4x12 Metal V 1 4x12 Metal V 2

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Based on* Guitar 6” Fender® SS Combo Mesa/Boogie® 1x10" Subway Rocket® Marshall® 4x10 '90s JCM410™ Fender® Super Reverb® 1967 Guitar 12” Marshall® 1x12 Valvestate™ 12 Mesa/Boogie® Mark II™ 1x12" EV Mesa/Boogie® Mark III™ 1x12" EV VHT® Pitbull™ 1x12 Combo Fender® DeLuxe® 65 Marshall® 1922 2x12 Greenbacks Vox® AC30™ 2x12" '60s Graybacks Roland® JC-120™ 2x12" Sears® Silvertone® 2x12” Fender® Twin® 2x12” JBL® D120F Vox® AC30 '60s Bluebacks 4x12" Orange® PPC412™ Marshall® 4x12”, Greenbacks Marshall® 4x12”, G12 75 Marshall® 4x12”, JBL® D120F Marshall® 4x12 '80s 1982A Mesa/Boogie® 4x12 Rectifier™ Marshall® 4x12 Angled, '70s Greenbacks Marshall® 4x12 Straight, Greenbacks Fender ® 4x12 MH™ 1 Fender ® 4x12 MH™ 2 Mesa/Boogie ® 4x12” Rectifier® 1 Mesa/Boogie ® 4x12” Rectifier® 2 Mesa/Boogie ® 4x12” Rectifier® 3 Peavey ® 5150® 4x12” 1 Peavey ® 5150® 4x12” 2

11 - AmpliTube 3 Models

AmpliTube 3

4x12 Metal V 3 4x12 Modern M 1 4x12 Modern M 2 4x12 Modern M 3 4x12 Vintage M 1 4x12 Vintage M 2 2x15 Closed B J130 2x15 Closed D J130 4x10+tw Bass 4x10+tw TE Bass 1x12 Bass 1x12 BassJz 1x15 Bass Vintage 1x18 Horn Bass Rotary 147-1 Rotary 147-2

Mic Model Dynamic 57 Dynamic 20 Vintage Dynamic 20 Dynamic 421 Dynamic 441 Dynamic 609 Condenser 12 Condenser 67 Condenser 84 Condenser 87 Condenser 170

11 - AmpliTube 3 Models

Peavey ® 5150® 4x12” 3 Marshall ® 4x12” JCM800 1 Marshall ® 4x12” JCM800 2 Marshall ® 4x12” JCM800 3 Marshall ® 1960 4x12” 1 Marshall ® 1960 4x12” 2 Guitar 15” Fender® Bassman® 2 x15”, JBL® D130F Fender® Dual Showman® 2x15”, JBL® D130F Bass 10” SWR® Goliath™ 4x10 Trace Elliot® 4x10" Bass 12” Custom Bass 1x12 Gallien-Krueger® 1x12" MB150 Bass 15” Ampeg® B15R™ 15” Bass 18” Acoustic® 301™ Folded Horn 18” Rotary Leslie® 147™ original AlNiCo woofer Leslie® 147™ modern replacement woofer

Based on* Dynamic Shure® SM57™ Electro-Voice® RE20™ AKG® D20™ Sennheiser® MD-421™ Sennheiser® MD-441™ Sennheiser® MD609™ Condenser AKG® C12™ Neumann® U67 Neumann® KM-84™ Neumann® U-87™ Neumann® TLM 170™

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Condenser 414 Ribbon 121 Ribbon 160 Ribbon Velo-8

AKG® C-414 ULS™ Ribbon Royer® R121™ Beyerdynamic® M160™ Groove Tubes® Velo-8™

* All product names and trademarks are the property of their respective owners, which are in no way associated or d with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied durino IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement. ACOUSTIC®, 360™, 301™ are trademarks of Guitar Center, Inc. AKG®, C12™, D20™, C-414 ULS™ are ed trademarks of AKG Acoustics GmbH. AMPEG®, B15R™ are trademarks of LOUD Technologies, Inc. ARBITER® FUZZ FACE® is a ed trademark of Arbiter Group Plc. BEYERDYNAMIC®, M160™ are ed trademarks of Beyerdynamic GmbH & Co. BOSS®, DS-1™, DF-2™, MT-2™, HM-2™, SD-1™, BF-2™, CE-1™, OC-2™ are trademarks or ed trademarks of Roland Corporation. DIGITECH® WHAMMY™ WH-1™ is a ed trademark of Harman International Industries, Incorporated. ELECTRO-HARMONIX®, Memory Man™, Big Muff Pi™, Electric Mistress™, Small Stone™ are trademarks or ed trademarks of New Sensor Corporation. ELECTRO-VOICE®, RE20™ are ed trademarks of Electro-Voice, Inc. FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB®, DUAL SHOWMAN®, TWIN REVERB®, TWIN®, MH™ are ed trademarks of Fender Musical Instruments Corporation. FUZZRITE® is a ed trademark of Andy J. Moseley. GALLIEN-KRUEGER® MB150™ is a ed trademark of Gallien-Krueger Corporation. GROOVE TUBES®, Velo-8™ are ed trademarks of Groove Tubes, LLC. IBANEZ®, Tube Screamer® TS-9™, WH-10™ are trademarks or ed trademarks of Hoshino Gakki Co. Ltd. Corporation. JBL® is a ed trademark of JBL Professional. LESLIE™ 147™ is a ed trademark of Hammond Suzuki USA, Inc. MAESTRO® FUZZTONE™ is a ed trademark of Gibson Electronics. MARSHALL®, 1959 JTM100™ Super Lead, JMP100™, JCM800™, JCM900™, JCM410™, Valvestate™, Guv’Nor™ are trademarks or ed trademarks of Marshall Amplification Plc. MESA/BOOGIE®, Rectifier®, MKIII™, Subway Rocket®, Mark II™, Mark III™, are trademarks of Mesa/Boogie Ltd. MOSRITE® is a ed trademark of Loretta Moseley. MXR®, Dynacomp™, Flanger 117™, Phase 90™, Phase 100™ are trademarks or ed trademarks of Applied Research and Technology, Inc. NEUMANN®, U67™, U87™, KM-84™, TLM 170™ are ed trademarks of Georg Neumann GmbH. ORANGE®, OR-120™, PPC412™ are trademarks or ed trademarks property of Orange Music Electronic Company Ltd. PEAVEY® is a ed trademark of Peavey Electronics Corporation. PRO CO RAT™ is a trademark of ProCo Sound, Inc. RANDALL®, Warhead™ are trademarks or ed trademarks of Randall Amplifiers a division of U.S. Music Corp. ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and ed trademarks of Roger Mayer. ROLAND®, JC-120™ are ed trademarks of Roland Corporation. ROYER®, R121™ are ed trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation. SEARS® is a ed trademark of Sears Brand, LLC. SENNHEISER®, MD-421™, MD-441™, MD609™ are ed trademarks of Sennheiser Electronic Corp. SHURE®, SM57™ are ed trademarks of Shure Incorporated. SILVERTONE® is a ed trademark of Samick Music Corporation.

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AmpliTube 3 SUPRO® is a trademark of Zinky Electronics. SWR®, Goliath™ are trademarks of SWR Sound Corporation. THD® BiValve™ is a trademark of THD Electronics Ltd. TRACE ELLIOT® AH250™ is a ed trademark of Peavey Electronics Corporation. UNI-VIBE™ is a trademark of Korg USA Corporation. UNIVOX™ is a trademark of Korg USA Corporation. VHT® Pitbull™is a trademark of VHT Amplification, Inc. VOX®, AC30™, Wah V846™, Wah 847™ are trademarks or ed trademarks of VOX Amplification Ltd. 5150® is a ed trademark of Edward Van Halen.

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Chapter 12 Expanding AmpliTube 3 using the Custom Shop 12.1 Overview AmpliTube makes a giant leap forward with the new Custom Shop to once again revolutionize the way you create your tone. Imagine walking into the most comprehensive store of guitar and bass gear ever made to design the dream rig you have always wanted. Now you can pick and choose stomp boxes, amp heads, speaker cabinets, microphones, rack effects and rare vintage equipment from the hundreds of models available in the online IK Multimedia Custom Shop (including amazing brand new stomp box, amplifiers and cabinet models by Orange, Fender and more). This à la carte method of building your rig gives you extreme flexibility in customizing your tone by letting you select exactly the gear you need. Let’s say you want the Big Pig stomp box from the standard collection in Amplitube 3, and you also want the classic British Lead S100 head from the Jimi Hendrix bundle. Now you can get just those two pieces of gear without having to buy two entire packages (which, by the way, are available as well). Now your rig can grow in a way that is finely tuned to your tonal needs and musical vision! You can find a detailed explanation of the new Custom Shop feature on the HELP page of the Custom Shop browser window. View it by clicking the “?” icon in the upper left part of the window.



12.2 The Custom Shop Now you can try the gear before you buy it, and you can purchase models à la carte to create your own customized tone powerhouse. Simply click on the Custom Shop button with an active Internet connection and to see the online Custom Shop home page. There you can browse the vast collection of over 200 gear models including the officially approved models of worldclass branded gear from Fender, Ampeg, Orange, Soldano, Seymour Duncan, Groove Tubes, Gallien Krueger, Jet City, THD, T-Rex and many more. You can search gear models by keywords, or use the convenient “gear type” menu to browse the hundreds of gear models available with model information, interface image and the amount of credits that each gear model costs. 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 model in AmpliTube 3 to use the fully functional model for two days. This gives you the opportunity to test and evaluate the model in both the plug-in and the standalone version to see how it works for you. The model will be locked after your two-day trial period ends, but you can try it again after two months (or buy it at any time, of course!). The trial time remaining for the model will be displayed beside the model pop up display menu in AmpliTube

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3 showing you the hours left.

12.3 New gear models and collections We have added many new models for à la carte purchase in the Custom Shop along with all of the models from the AmpliTube Fender™ and Ampeg® SVX Collections. You can purchase the AmpliTube Fender™ and Ampeg® SVX models either as individual à la carte items or as “Collections” inside the Custom Shop.

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AmpliTube 3

Chapter 13 Automation AmpliTube 3 has a versatile and flexible Automation engine. It allows you to assign automation within each module and via the Automation .



13.1 Assign Automation within each Module (Stomp, Amp, Cab and Rack) Select the Stomp, Amp, Cab or Rack module from the Module/Rig Selector (figure 13.1).

figure 13.1

Right-click on top of the AmpliTube 3 parameter that you are going to assign to Automation (figure 13.2).

figure 13.2

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Choose which DAW Automation parameter # you are going to use for the AmpliTube 3 parameter selected on step #2 (figure 13.3).

figure 13.3



13.2 Manage Automation Assignments via the Automation AmpliTube 3 has more parameters than audio sequencers (DAWs) can . For this reason, it has its own Automation , so that the enormous number of theoretically automatable parameters in AmpliTube 3 can be grouped in a smaller number to allow all DAWs being able to handle it.­ To open it, click AUTO on the Input/Output bar (figure 13.4).

figure 13.4

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The Automation has two panes. The Left Pane is called Plug-in Parameters, and the Right Pane is called DAW Automation (13.5).

figure 13.5

This can also be used to recap the Automation assignment made with the procedure described on 13.1.

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 (figure 13.6).

figure 13.6

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Considering that AmpliTube 3 offers dual rig setup, each Module is listed separately as Stomp A, Stomp B, Amp A, Amp B, Cab A, Cab B, and Rack A, Rack B (figure 13.7).

figure 13.7

The Plug-in Parameters Pane allows you to select which AmpliTube 3 parameter you are going to assign to Automation.

13.2.2 DAW Automation The DAW Automation Pane lists the 16 Automation parameters that are declared to the DAW (figure 13.8).

figure 13.8

These parameters names (Param 1 to Param 16) are fixed because most ­268

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DAWs do not automation parameter name changes while the plugin is open. Through the DAW Automation Pane, you will be able to select which DAW Automation parameter # you’re going to use for the AmpliTube 3 parameter selected on the Plug-in Parameters Pane. For example, if you’ve selected a Time on the Plug-in Parameters Pane and then clicked Add, the DAW Automation Pane will display: Param 1: Swell (AT3) A Time (figure 13.9).

figure 13.9

This means: • Param 1: DAW Automation parameter # (1 in this case). • Swell: the selected Stomp Model. • (AT3): name abbreviation of the Powered by AmpliTube application that includes the selected Stomp Model (e.g., AmpliTube 3). • A: Rig A. • Time: name of the parameter to be automated.

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13.2.3 Assignment Procedure The easiest way to assign automation is within each module, as described in 13.1. However, you can also use the Automation to manage your parameters (move up/down), use the Remove All option, etc. To assign an AmpliTube 3 parameter to one of the 16 DAW Automation parameters via the Automation , please follow these steps: 1. Click Auto on the Input/Output bar (figure 13.10).

figure 13.10

2. On the Plug-in Parameters Pane, select which AmpliTube 3 parameter you are going to assign to Automation (figure 13.11).

figure 13.11

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3. On the DAW Automation Pane, select which DAW Automation parameter # you are going to use for the AmpliTube 3 parameter selected on step #2 (figure 13.12).

figure 13.12

4. Click Add to establish the actual assignment (figure 13.13).

figure 13.13

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5. Click OK to save the setup and close the Automation window (figure 13.14).

figure 13.14

To remove a particular assignment, please select it and click Remove (figure 13.15).

figure 13.15

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To remove all the assignments, click Remove All (figure 13.16).

figure 13.16

To move up/down an assignment click the Move Up/Move Down arrows (figure 13.17).

figure 13.17

This is a very useful feature because it saves you to remove the assignment from “Param 1” and create a new assignment for “Param 2.”

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13.2.4 Assignment Save and Recall Clicking OK will save and close the Automation window. If you are using AmpliTube 3 as a plug-in, the automation assignment map will be stored and restored to and from the session you’re working on. Each AmpliTube 3 instance is independent from the others. This means that saving your DAW session will save each AmpliTube 3 instance with its own Automation assignments setup.

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Chapter 14 MIDI 14.1 Introduction AmpliTube 3 MIDI control allows you to assign MIDI control changes to parameters or commands, so you can remote control AmpliTube 3 with any kind of hardware or software device able to generate MIDI Control Changes. AmpliTube 3 responds to MIDI Control Change and Program Changes messages only. MIDI Note numbers, Aftertouch, Pitch Bend and other types of messages are not recognized or ed. There are two types of MIDI control; Global and Preset. Global MIDI control allows you to specify MIDI Control Changes that will control the selected parameter for all presets. The parameters or commands that can be specified for Global MIDI control are: • Preset switch (Previous/Next) • Volume pedal control • Wah pedal control • Wharmonator pedal control • All 12 stomp slots by control Preset MIDI control allows you to specify MIDI Controls Changes that will control the selected parameter specifically for the current preset.

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14.2 MIDI Configuration When running as a plug-in, AmpliTube 3 will be able to receive MIDI from the host. Refer to your host sequencer or DAW on how to set it up so that it can send MIDI to audio plug-ins. When running as a Standalone, AmpliTube 3 needs to be configured to know from which MIDI port it should read MIDI data from. To do that; 1. Click Audio > Hardware Settings… 2. Select the MIDI interface where your controller is connected from the MIDI Input menu (figure 14.1).

figure 14.1

To check that you’ve correctly setup MIDI Input, try sending MIDI Control Changes or Program Changes from your controller while watching the “MIDI IN” indicator (Standalone version only) (figure 14.2).

figure 14.2

If the MIDI In has been set properly, this indicator will light up when a MIDI command is received.

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14.3 Asg 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 AmpliTube parameter without having to setup anything manually. 1. Right-click on top of the AmpliTube 3 parameter that you want to control via MIDI and click Assign MIDI > Learn “parameter name” (figure 14.3).

figure 14.3

2. Move the knob, slider, switch or pedal you want to use to control this parameter on your MIDI device and the assignment will automatically be applied. You can do this for all the parameters that you want to control on this preset. that this assignment is per preset and it needs be done on all the presets that you want to control. This allows you to apply different MIDI control schemes for all your presets.

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14.3.2 Manage MIDI Parameters Assignation via the MIDI Control This method allows you to manually setup, edit, and compare all the MIDI assignments that you have done for Global control or for Preset control in a single . To assign Global MIDI control: 1. Click the MIDI button located on the Input/Output bar to open the MIDI Control assignment window (figure 14.4).

figure 14.4

2. Click Global (figure 14.5).

figure 14.5

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3. Click on the parameter that you want to control on the left pane (figure 14.6).

figure 14.6

4. Click Learn. (figure 14.7)

figure 14.7

5. Move a fader, knob, slider, or switch on your MIDI Controller. 6. The assignment will automatically take place. 7. Click OK to save the association and close the MIDI Control window, or Cancel to erase it.

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The control assignment that you’ve created in this way (Global) is valid for all presets, and will apply any preset loaded or newly created. To assign Preset MIDI control: 1. Click the MIDI button located on the Input/Output bar to open the MIDI Control assignment window (figure 14.8).

figure 14.8

2. Click Preset (figure 14.9).

figure 14.9

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3. Click Add (figure 14.10).

figure 14.10

4. From the Tree menu select the current AmpliTube 3 preset parameter you’re going to control (figure 14.11).

figure 14.11

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5. Click Learn (figure 14.12).

figure 14.12

6. Move a fader, knob, slider, or switch on your MIDI Controller. 7. The assignment will automatically take place. 8. Repeat the steps from #1 to here if you want to add more controls on the same preset. 9. Click Remove to remove just one of the assignments you did from the . 10. Click OK to save the association and close the MIDI Control window, or click Cancel to erase it. The control assignment that you’ve created in this way (Preset) is valid for the current preset only and will not apply to the other presets. This allows you to create specific MIDI assignment for each preset.

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14.4 Additional Parameters on MIDI Control Window To delete a particular AmpliTube 3 parameter/MIDI CC# association, select it, and click Clear (figure 14.13).

figure 14.13

To delete all AmpliTube 3 parameters/MIDI CC# associations at once, click Clear All (figure 14.14).

figure 14.14

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Min-Max Range values (figure 14.15).

figure 14.15

These two values expressed in %, are used to determine the range of the controlled parameter. To control the parameter on all its range set: • Min 0% • Max 100% To control the parameter from min to half of its range set: • Min 0% • Max 50%

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Curve (figure 14.16)

figure 14.16

This affects the way the controlled parameter will change with the position of the MIDI control knob, slider or pedal. Curve range is from 0 to 10 with 5 as default. • When it’s set to 5 the control will be linear, meaning the placing the MIDI controller at one half of its travel will result in the controlled parameter to also set at 50% of its range. • Setting lower values on Curve will result in an expanded control curve. • Setting higher values on Curve will result in a compressed control curve. Always start with 5 as a default (linear).

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Latch (figure 14.17)

figure 14.17

When it is set to Off, the selected parameter will temporarily stay to the value imposed by the external MIDI Control. When it is set to On, the selected parameter will toggle between Min and Max values each time the MIDI Control arrives. Use this with footswitches or switches in general, to control On – Off parameters on AmpliTube 3.

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Receive channel (14.18)

figure 14.18

To change the MIDI channel #, click the MIDI Channel display and move the pointer Up to select from 1-16. Note: AmpliTube 3 MIDI implementation is not associated with StompIO/ StealthPedal MIDI and it works independently from their MIDI ports. To learn more about StompIO/StealthPedal MIDI implementation, please read their Manuals.

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Chapter 15 Foot Controller Integration 15.1 Introduction With the latest version of AmpliTube 3, the programming of your foot controller for live performance use has never been easier. Now your programming can also be done from within the AmpliTube plug-in and automatically mirrored on the controller for a very fast and convenient way of organizing your uniquely tweaked collection of presets. For more information on Foot Controller Integration, please see the addendum, “What’s New in AmpliTube 3.5”.

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Chapter 16 Troubleshooting Where can I find my IK product Serial Number? The Serial Number is written on the Registration Card (included with your IK product, inside the license envelope) or in the email you received from [email protected] (if you purchased the product as ‘able only version’). In the snapshot, please check its exact location on the Registration Card (figure 16.1). 1) You can find your SERIAL NUMBER here

2) At the bottom of the registration card a legend helps you identify the characters in your SERIAL NUMBER figure 16.1

For clear characters identification, please analyze the legend. IMPORTANT: the number zero can easily be identified in your Serial Number because it is crossed by a line.

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Why is the Authorization Manager rejecting my Serial Number? Probably because of a typo, here are some common errors: • Typing a 0 (“zero” number) instead of an O (“o” letter) • Typing 1 (“one” number) instead of an I (“i” letter) • Typing 2 (“two” number) instead of a Z (“z” letter) • Typing 5 (“five” number) instead of an S (“s” letter) • Typing 8 (“eight” number) instead of a B (“b” letter) • Typing a “.” (point) instead of a “-” (minus) Suggestions: • If possible, please copy and paste the information • Cut off all the leading and trailing spaces • Please type all codes in UPPERCASE during the installation and registration process • Check that the Serial Number that you are entering is in correlation with the product installed How can I authorize my product on another computer? To authorize your product on another computer just follow these instructions: • Install the product and the Authorization Manager on that computer • Run the Authorization Manager I need to into the Area but I forgot my Name and . What should I do? You can retrieve your Area details in two different ways: • Run the Authorization Manager and follow the steps until you reach the page. Here you just have to click on the ‘?’ button and submit your email address. Your details will be sent to your email . In case you have checked the ‘ me’ checkbox before and are not able to access the page, just click on the button. • Go to www.ikmultimedia.com, click on ‘I forgot my name and/or ’ and submit your email address. Your details will be sent to your email . I just bought an IK Multimedia software. What should I do to and authorize my new product? Just run the Authorization Manager and follow the instructions. In case you don’t have the Authorization Manager, you can it for free from the Products page of our website at: www.ikmultimedia.com/products.

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Chapter 17 For any question you may have, please refer to the FAQ webpage at: www.ikmultimedia.com/faq Here you will find answers to the most common questions. To submit a Technical Form, go to: www.ikmultimedia.com/.php For other requests such as Product, Sales, or Web info, please go to: www.ikmultimedia.com/IKForm.php



17.1 Area The Area is a special section of our website specifically designed for our s. (figure 17.1).

figure 17.1

17 -

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If you are a member of our ed s’ database, you will be able to: • Edit your Personal data • Manage your product Authorization Codes • the latest products updates and free content • Transfer your License • Get Your Free Products • Share your AmpliTube presets • Redeem your IK JamPoints To access the Area go to www.ikmultimedia.com/area or go to www.ikmultimedia.com and click Area from the navigation bar. To enter the Area for the first time, you have to with the name and that you’ve received from us via e-mail after your first IK product registration. If you have changed your name and , please use your most current information to .

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Appendix IK Technologies

DSM™ Technology DSM™ is a new and exclusive IK Multimedia technology used in the emulation of analog circuitry. DSM was designed to increase the response realism and playability of critical analog circuit models. Musicians always felt digital emulations of high-quality analog gear (such as guitar amplifiers) to be good but not completely satisfying because of the lack of certain “playability” and “musicality” qualities that only the real thing provides. DSM has been designed to improve this aspect. DSM gives special and unique results when applied to circuit emulations where the non-linearity is the main characteristic of the processor, such as in distortion, fuzz, overdrive stomp boxes, tube guitar preamplifiers and power amps, and analog compressors and limiters. The DSM working principle is based on a new approach never applied to DSP “analog modeling” until now. Analog circuits, especially Tube and Class-A discrete ones, are not dynamically-linear, but have been modeled this way by today’s technology. An analog circuit’s character is never constantly shaped but varies depending on lots of parameters, first and foremost the strength, frequency, and harmonic content of the incoming signal. DSM takes the next step. It continuously adapts the “shape” of the analog circuit instead of applying a static snapshot. By using more complex mathematical functions, a more articulated and musical response is possible, making DSM ideal for modeling tube preamps and tube power amps. Traditional emulations are forced to a tradeoff between, for example, those kind of distortions that appear only when a 2 2 x 6L6 tube power amplifier is driven to its limit and the cleaner sound it has when it’s driven normally. DSM delivers a dynamic response that continuously morphs and “follows” the incoming signal; in other words, that follows the music. This leads to an accuracy that cannot be found in any other modeling hardware or software today, respecting all the signal nuances exactly like a real analog circuit would do with a grade of realism and musicality never achieved before. VRM™ Technology VRM™ (Volumetric Response Modeling) is a new proprietary technology that IK Multimedia developed to improve quality on digital reproduction of speakers and acoustic cabinets used with musical instruments. This technology involves complex and numerous measurements of real

IK Technologies

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speakers in the studio and the realism and musicality of the recreated speaker sound has no rival… IK Multimedia developed VRM™ because the technology available at the time of AmpliTube Fender development was not good enough to successfully represent the Vibratone rotary speaker in all its nuances and colorful sounds. We had to come out with a solution that could make people think the model inside AmpliTube Fender is a recording of a real Vibratone (actually, a very good recording…) and not a digital model, and we’ve succeeded! VRM™ has been continuously improved and allowed the addition of new AmpliTube 3 features like the flexible 2-microphones setup, with free positioning and mixing. The Speakers and Cabinet section included in AmpliTube 3 offers supreme sound quality, richness, musicality, and fidelity with the originals units that it can really have a few rivals, if any… Just listen! Block Diagram

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0-20 ms DELAY

IK Technologies

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

IK Multimedia Production, Via dell’industria 46, 41122, Modena, Italy. Phone: +39-059-285496 - Fax: +39-059-2861671 IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323 Phone: (954) 846-9101 - Fax: (954) 846-9077 www.ikmultimedia.com

All specifications are subject to change without further notice.

PN: MNU-AT3-0004