User Manual

A M P & F X M O D E L I N G S O F T W A R E

AmpliTube 3

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P L E A S E N O T E

AmpliTube®,­AmpliTube®­Metal™,­AmpliTube®­X-GEAR™,­SVX™,­StompIO™,­StealthPedal™,­StealthPlug™,­SpeedTrainer™,­DSM™,­VRM™,­

are­trademarks­or­registered­trademarks­property­of­IK­Multimedia­Production­Srl.­All­other­product­names­and­images,­trademarks­and­artists­

names­are­the­property­of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­

for­the­purpose­of­identifying­the­specific­products­that­were­studied­during­IK­Multimedia’s­sound­model­development­and­for­describing­certain­types­of­tones­produced­with­IK­Multimedia’s­digital­modeling­technology.­Use­of­

these­names­does­not­imply­any­cooperation­or­endorsement.

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Table of Contents

I Contents­ 3

II Interface­ 12

III License Agreement­ 14

Chapter 1 Overview­ 17­ 1.1­ Introduction­ 17­ 1.2­ What’s­new­in­AmpliTube­3?­ 17­ 1.3­­ Plug-in­Architecture­ 19­ 1.4­­ Using­the­Interface­ 22­ 1.4.1­­ Standalone­Interface­ 22­ 1.4.2­ Plug-in­Interface­ 25

Chapter 2 Getting started­ 27­ 2.1­­ Registration/Authorization­ 27­ 2.2­ Standalone­Mode­ 27­ 2.2.1­ Launch­AmpliTube­3­Standalone­ 28­ 2.2.2­ Audio­Configuration­ 28­ 2.2.2.1­ Windows®­ 28­ 2.2.2.2­ Macintosh®­ 29­ 2.2.3­ Plug­Your­Guitar­ 30­ 2.2.3.1­ Connecting­Your­Guitar/Bass­ 30­ 2.2.3.2­ Adjusting­Your­Levels­ 30­ 2.2.3.3­ Quality­Mode­Options­ 31­ 2.2.3.4­ Tuning­ 32­ 2.2.4­ Hands-on­Examples­ 32­ 2.2.4.1­ Loading­a­Preset­ 32­ 2.2.4.2­ Selecting­Amps­ 33­ 2.2.4.3­ Choosing­the­Cabinet­ 33­ 2.2.4.4­ Adding­Stomp­and­Rack­Effects­ 34­ 2.2.5­ Four­Track­Audio­Player/Recorder­with­Speed­Trainer­ 35­ 2.2.5.1­ Import­an­Audio­File­ 35­ 2.2.5.2­ Waveform­Display­ 37­ 2.2.5.3­ Using­the­Transport­Bar­ 38­ 2.2.5.4­ Track­Controls­Description­ 39­ 2.2.5.5­ Playback­Speed­ 41­ 2.2.5.6­ Recording­ 42­ 2.2.5.7­ Adding­Effects­ 44­ 2.2.5.8­ Managing­Your­Resources­ 46­ 2.2.5.9­ Master­Volume­ 47­ 2.2.5.10­ Export­ 47­ 2.2.5.11­ Using­the­Metronome­ 48­ 2.2.5.12­ ­Saving­and­Loading­Your­AmpliTube­3­Project­Files­ 49­ 2.2.5.13­ Project­Sample­Rate­ 50­ 2.2.6­­ Status­Bar­­ 50­ 2.3­ Plug-In­Mode­ 50

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Chapter 3 Input/Output Bar­ 51­ 3.1­ Input/Output­Bar­ 51­ 3.2­­ Input­Section­ 51­ 3.2.1­ Input­Knob­ 51­ 3.2.2­ Input­Level­Meter­ 51­ 3.3­ IK­Controller­Selector­­ 51­ 3.3.1­ Using­the­StompIO/StealthPedal­to­Control­AmpliTube­3­ 52­ 3.4­ Selected­Module­­ 52­ 3.4.1­ Pan­­ 53­ 3.4.2­ Volume­­ 53­ 3.4.3­ Phase­ 53­ 3.4.4­ Mix­ 54­ 3.4.5­ Implementation­Table­ 54­ 3.5­ Using­Noise­Gate­ 54­ 3.5.1­ Threshold­ 54­ 3.5.2­ Release­ 55­ 3.5.3­ Depth­ 55­ 3.6­ Tuner­Display­ 55­ 3.7­ Selected­Parameter­Display­ 56­ 3.8­ Master­Section­ 56­ 3.8.1­ Master­Knob­ 56­ 3.8.2­ Output­Level­Meter­ 56­ 3.9­ Program­Information,­Preferences­and­More­ 57­ 3.9.1­ Lock­ 57­ 3.9.2­ Preferences­(Prefs)­ 58­ 3.9.3­ Information­(Info)­ 62­ 3.9.4­ User­Area­ 62­ 3.10­ MIDI­Control,­Automation,­and­Controllers­ 63­ 3.10.1­ MIDI­ 63­ 3.10.2­ Automation­(Auto)­ 63­ 3.10.3­ Control­(Ctrl)­ 63

Chapter 4 Module/Rig Selector­ 65­ 4.1­ Dual­Rig­Signal­Path­­ 65­ 4.1.1­ Signal­Path­Presets­ 65­ 4.1.2­ Stereo­IN­ 66­ 4.2­ Selecting­Modules­ 66

Chapter 5 Presets­ 69­ 5.1­ Preset­Selector­ 69­ 5.2­ Preset­Browser­ 70­ 5.2.1­ Searching­Capabilities­ 72­ 5.2.2­ Filter­Options­ 74­ 5.3­ Working­with­Presets­ 75­ 5.3.1­ Loading­Presets­ 75­ 5.3.2­ Saving­Presets­ 76­ 5.3.3­ Deleting­Presets­ 78­ 5.4­ Model­Presets­ 78­ 5.4.1­ Saving­a­Model­Preset­ 78­ 5.4.2­ Loading­a­Model­Preset­ 80

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­ 5.4.3­ Copy­and­Paste­Settings­ 80­ 5.5­ Presets­and­Projects­Saving­Options­ 80­ 5.6­ BPM­ 81­ 5.6.1­ Host/Global­ 81­ 5.6.2­ Preset­ 82­ 5.6.3­ TAP­ 82

Chapter 6 Tuner Module­ 83­ 6.1­ On/Off­Switch­­ 83­ 6.2­ Mute­ 84­ 6.3­ Tune­­ 84­ 6.4­ Graphical­Tuner­Interface­ 84­ 6.5­ Tune­Display­ 85­ 6.6­ Cents­Display­ 85

Chapter 7 Stomp Module (Stomp Effects) ­ 87­ 7.1­ Selection­and­Navigation­Options­ 87­ 7.2­ Drag­&­Drop­feature­ 89­ 7.3­ Stomp­Models­ 90­ 7.3.1­ Delay­­ 90­ 7.3.1.1­ Delay­ 90­ 7.3.1.2­ EchoMan­ 91­ 7.3.1.3­ TapDelay­ 92­ 7.3.2­ Distortion­­ 93­ 7.3.2.1­ BigPig­ 93­ 7.3.2.2­ Crusher­ 94­ 7.3.2.3­ Diode­Overdrive­ 95­ 7.3.2.4­ Distortion­ 96­ 7.3.2.5­ Feedback­ 97­ 7.3.2.6­ Metal­Distortion­ 98­ 7.3.2.7­ Metal­Distortion­2­ 99­ 7.3.2.8­ Overdrive­ 100­ 7.3.2.9­ OverScream­ 101­ 7.3.2.10­ PROdrive­ 102­ 7.3.2.11­ The­Ambass’dor­ 103­ 7.3.3­ Dynamics­ 104­ 7.3.3.1­ Compressor­ 104­ 7.3.3.2­ Dcomp­ 105­ 7.3.4­ EQ­ 106­ 7.3.4.1­ 7­Band­Graphic­ 106­ 7.3.4.2­ 10­Band­Graphic­ 107­ 7.3.5­ Filter­ 108­ 7.3.5.1­ Envelope­Filter­ 108­ 7.3.5.2­ LFO­Filter­ 109­ 7.3.5.3­ Rezo­ 110­ 7.3.5.4­ Step­Filter­ 111­ 7.3.5.5­ Wah­ 112­ 7.3.5.6­ Wah­10­ 113­ 7.3.5.7­ Wah­46­ 114­ 7.3.5.8­ Wah­47­ 115

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­ 7.3.6­ Fuzz­ 116­ 7.3.6.1­ Class­Fuzz­ 116­ 7.3.6.2­ Fuzz­Age­ 117­ 7.3.6.3­ Fuzz­Age­2­ 118­ 7.3.6.4­ FuzzOne­ 119­ 7.3.6.5­ Octa-V­ 120­ 7.3.6.6­ RightFuzz­ 121­ 7.3.6.7­ XS­Fuzz­ 122­ 7.3.7­ Modulation­ 123­ 7.3.7.1­ Analog­Flanger­ 123­ 7.3.7.2­ Chorus­ 124­ 7.3.7.3­ Chorus-1­ 125­ 7.3.7.4­ Electric­Flanger­ 126­ 7.3.7.5­ Flanger­ 127­ 7.3.7.6­ Metal­Flanger­ 128­ 7.3.7.7­ Opto­Tremolo­ 129­ 7.3.7.8­ Phaze­Nine­ 130­ 7.3.7.9­ Phazer10­ 131­ 7.3.7.10­ Small­Phazer­ 132­ 7.3.7.11­ Uni-V­ 133­ 7.3.8­ Pitch­ 134­ 7.3.8.1­ Harmonator­ 134­ 7.3.8.2­ Octav­ 135­ 7.3.8.3­ Pitch­Shifter­ 136­ 7.3.8.4­ Wharmonator­ 137­ 7.3.9­ Other­ 138­ 7.3.9.1­ Volume­ 138­ 7.3.9.2­ Step­Slicer­ 139­ 7.3.9.3­ Swell­ 140­ 7.4­ Stomp­Models­(Table)­ 141

Chapter 8 Amp Module (Amp Head) ­ 145­ 8.1­ Introduction­ 145­ 8.2­­ On/Bypass­ 146­ 8.3­ EQ­Match­ 146­ 8.4­­ Amp­Match­ 147­ 8.5­ Amp­Model­Types­and­Components­ 147­ 8.5.1­ Pre­Model­ 148­ 8.5.2­ EQ­Model­ 148­ 8.5.3­ Amp­Model­ 149­ 8.6­ Pre­Amp­Models­ 150­ 8.6.1­ Clean­ 150­ 8.6.1.1­ American­Clean­MKIII­ 150­ 8.6.1.2­ American­Tube­Clean­1­ 152­ 8.6.1.3­ American­Tube­Clean­2­ 153­ 8.6.1.4­ American­Vintage­B­ 154­ 8.6.1.5­ American­Vintage­D­ 155­ 8.6.1.6­ American­Vintage­T­ 156­ 8.6.1.7­ Custom­Solid­State­Clean­ 157­ 8.6.1.8­ Jazz­Amp­120­ 158

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­ 8.6.1.9­ Metal­Clean­T­ 159­ 8.6.2­ Crunch­ 160­ 8.6.2.1­ American­Tube­Vintage­ 160­ 8.6.2.2­ British­Blue­Tube­30TB­ 161­ 8.6.2.3­ British­Copper­30TB­ 162­ 8.6.2.4­ British­Lead­S100­ 163­ 8.6.2.5­ British­OR­ 164­ 8.6.2.6­ THD­Bi-Valve­ 165­ 8.6.2.7­ Tube­Vintage­Combo­ 166­ 8.6.3­ Lead­ 167­ 8.6.3.1­ American­Lead­MKIII­ 167­ 8.6.3.2­ British­Tube­Lead­1­ 169­ 8.6.3.3­ British­Tube­Lead­2­ 170­ 8.6.3.4­ Custom­Modern­Hi-Gain­ 171­ 8.6.3.5­ Custom­Solid­State­Fuzz­ 172­ 8.6.3.6­ Custom­Solid­State­Lead­ 173­ 8.6.3.7­ Metal­Lead­T­ 174­ 8.6.3.8­ Metal­Lead­V­ 175­ 8.6.3.9­ Metal­Lead­W­ 176­ 8.6.3.10­ Modern­Tube­Lead­ 177­ 8.6.3.11­ Vintage­Metal­Lead­ 178­ 8.6.4­ Bass­ 179­ 8.6.4.1­ 360Bass­Preamp­ 179­ 8.6.4.2­ Combo­150MB­ 180­ 8.6.4.3­ Green­BA250­ 181­ 8.6.4.4­ Solid­State­Bass­Preamp­ 182­ 8.7­ Pre­Amp­Models­(Table)­ 183­ 8.8­ Power­Amp­Models­ 184

Chapter 9 Cab Module (Cabinets + Microphones)­ 185­ 9.1­ Introduction­ 185­ 9.2­ Cabinet­Model­­ 186­ 9.2.1­ Cab­Model­Selector­ 186­ 9.2.2­ Bypass­ 187­ 9.2.3­ Match­ 187­ 9.2.4­ Size­ 187­ 9.3­­ Cabinet­Models­ 187­ 9.3.1­ Guitar­6”­ 188­ 9.3.1.1­ 1x6­Small­Combo­ 188­ 9.3.2­ Guitar­10”­ 188­ 9.3.2.1­ 1x10­Combo­Modern­ 188­ 9.3.2.2­ 4x10­Closed­Modern­ 189­ 9.3.2.3­ 4x10­Open­Vintage­ 189­ 9.3.3­ Guitar­12”­ 190­ 9.3.3.1­ 1x12­Combo­ 190­ 9.3.3.2­ 1x12­MB­II­ 190­ 9.3.3.3­ 1x12­MB­III­ 191­ 9.3.3.4­ 1x12­Open­Modern­ 191­ 9.3.3.5­ 1x12­Open­Vintage­ 192­ 9.3.3.6­ 2x12­Closed­Vintage­ 192

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­ 9.3.3.7­ 2x12­Gry­British­Vint­ 193­ 9.3.3.8­ 2x12­JP­Jazz­ 193­ 9.3.3.9­ 2x12­Open­SL­ 194­ 9.3.3.10­ 2x12­Open­TJ120­ 194­ 9.3.3.11­ 2x12­Open­Vintage­ 195­ 9.3.3.12­ 4x12­British­Or­ 195­ 9.3.3.13­ 4x12­Closed­25­C­ 196­ 9.3.3.14­ 4x12­Closed­75­C­ 196­ 9.3.3.15­ 4x12­Closed­J120­­ 197­ 9.3.3.16­ 4x12­Closed­Modern­1­ 197­ 9.3.3.17­ 4x12­Closed­Modern­2­ 198­ 9.3.3.18­ 4x12­Closed­Vintage­1­ 198­ 9.3.3.19­ 4x12­Closed­Vintage­2­ 199­ 9.3.3.20­ 4x12­Metal­F­1­ 199­ 9.3.3.21­ 4x12­Metal­F­2­ 200­ 9.3.3.22­ 4x12­Metal­T­1­ 200­ 9.3.3.23­ 4x12­Metal­T­2­ 201­ 9.3.3.24­ 4x12­Metal­T­3­ 201­ 9.3.3.25­ 4x12­Metal­V­1­ 202­ 9.3.3.26­ 4x12­Metal­V­2­ 202­ 9.3.3.27­ 4x12­Metal­V­3­ 203­ 9.3.3.28­ 4x12­Modern­M­1­ 203­ 9.3.3.29­ 4x12­Modern­M­2­ 204­ 9.3.3.30­ 4x12­Modern­M­3­ 204­ 9.3.3.31­ 4x12­Vintage­M­1­ 205­ 9.3.3.32­ 4x12­Vintage­M­2­ 205­ 9.3.4­ Guitar­15”­ 206­ 9.3.4.1­ 2x15­Closed­B­J130­ 206­ 9.3.4.2­ 2x15­Closed­D­J130­ 206­ 9.3.5­ Bass­10”­ 207­ 9.3.5.1­ 4x10+tw­Bass­ 207­ 9.3.5.2­ 4x10+tw­TE­Bass­ 207­ 9.3.6­ Bass­12”­ 208­ 9.3.6.1­ 1x12­Bass­ 208­ 9.3.6.2­ 1x12­BassJz­ 208­ 9.3.7­ Bass­15”­ 209­ 9.3.7.1­ 1x15­Bass­Vintage­ 209­ 9.3.8­ Bass­18”­ 209­ 9.3.8.1­ 1x18­Horn­Bass­ 209­ 9.3.9­ Rotary­ 210­ 9.3.9.1­ Rotary­147-1­ 210­ 9.3.9.2­ Rotary­147-2­ 210­ 9.4­ Cabinet­Models­(Table)­ 211­ 9.5­ Mic­Model­ 213­ 9.5.1­ Mic­Model­Selector­ 214­ 9.5.2­ Position­ 216­ 9.5.3­ Distance­ 218­ 9.5.4­ Mute­­ 219­ 9.5.5­ Solo­­ 220­ 9.5.6­ Phase­ 220

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­ 9.5.7­ Pan­ 221­ 9.5.8­ Mic­Blend­ 221­ 9.6­ Microphone­Models­ 222­ 9.6.1­ Dynamic­ 222­ 9.6.1.1­ Dynamic­57­ 222­ 9.6.1.2­ Dynamic­20­ 223­ 9.6.1.3­ Vintage­Dynamic­20­ 224­ 9.6.1.4­ Dynamic­421­ 225­ 9.6.1.5­ Dynamic­441­ 226­ 9.6.1.6­ Dynamic­609­ 227­ 9.6.2­ Condenser­ 228­ 9.6.2.1­ Condenser­12­ 228­ 9.6.2.2­ Condenser­67­ 229­ 9.6.2.3­ Condenser­84­ 230­ 9.6.2.4­ Condenser­87­ 231­ 9.6.2.5­ Condenser­170­ 232­ 9.6.2.6­ Condenser­414­ 233­ 9.6.3­ Ribbon­ 234­ 9.6.3.1­ Ribbon­121­ 234­ 9.6.3.2­ Ribbon­160­ 235­ 9.6.3.3­ Velo-8­ 236­ 9.7­­ Microphone­Models­(Table)­ 237­ 9.8­­ Room­ 238­ 9.8.1­ Room­Type­Selector­ 239­ 9.8.2­ Mute­ 240­ 9.8.3­ Solo­ 240­ 9.8.4­ Phase­ 241­ 9.8.5­ Room­Mics­Controls­ 242­ 9.8.6­ Room­Type­Presets­ 244­ 9.9­ Rotary­Speaker­ 244­ 9.9.1­ Introduction­ 245­ 9.9.2­ Rotary­Speaker­Models­ 245­ 9.9.3­ Setup­ 245­ 9.9.4­ Width­ 246­ 9.9.5­ Balance­ 247­ 9.9.6­ Speed­­ 248

­ Chapter 10 Rack FX Module (Post Effects)­ 249­ 10.1­ Introduction­ 249­ 10.2­ On/Bypass­ 249­ 10.3­ Rack­FX­Selector­ 250­ 10.4­ Drag­and­Drop­Feature­ 250­ 10.5­ Rack­FX­Models­ 251­ 10.5.1­ Delay­&­Reverb­ 251­ 10.5.1.1­ Digital­Delay­ 251­ 10.5.1.2­ Digital­Reverb­ 252­ 10.5.1.3­ Tap­Delay­ 253­ 10.5.2­ EQ­&­Dynamics­ 254­ 10.5.2.1­ Graphic­EQ­ 254­ 10.5.2.2­ Parametric­EQ­ 255

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­ 10.5.2.3­ Tube­Compressor­ 256­ 10.5.3­ Filter­ 257­ 10.5.3.1­ Rezo­ 257­ 10.5.3.2­ Step­Filter­ 258­ 10.5.4­ Modulation­ 259­ 10.5.4.1­ Analog­Chorus­ 259­ 10.5.4.2­ Digital­Chorus­ 260­ 10.5.4.3­ Digital­Flanger­ 261­ 10.5.4.4­ Rotary­Speaker­ 262­ 10.5.5­ Pitch­ 263­ 10.5.5.1­ Harmonator­ 263­ 10.5.5.2­ Pitch­Shifter­ 264­ 10.5.6­ Other­ 265­ 10.5.6.1­ Step­Slicer­ 265­ 10.5.6.2­ Stereo­Enhancer­ 266­ 10.5.6.3­ Swell­ 266

Chapter 11 AmpliTube 3 Models­ 267

Chapter 12 Expanding AmpliTube 3 models­ 275­ 12.1­ Adding­More­Packages­to­AmpliTube­3­­ 275­ 12.1.1­ AmpliTube­Fender™­ 275­ 12.1.2­ Ampeg®­SVX­ 277

Chapter 13 Automation­ 279­ 13.1­ Assign­Automation­within­each­Module­(Stomp,­Amp,­Cab­and­Rack)­ 279­ 13.2­ Manage­Automation­Assignments­via­the­Automation­Panel­ 280­ 13.2.1­ Plug-in­Parameters­ 281­ 13.2.2­ DAW­Automation­ 282­ 13.2.3­ Assignment­Procedure­ 284­ 13.2.4­ Assignment­Save­and­Recall­ 288

Chapter 14 MIDI­ 289­ 14.1­ Introduction­ 289­ 14.2­ MIDI­Configuration­­ 290­ 14.3­ Assigning­Controllers­ 291­ 14.3.1­ Direct­MIDI­Controls­Assignment­(Stomp,­Amp,­Cab,­and­Rack­Parameters)­ 291­ 14.3.2­ Manage­MIDI­Parameters­Assignation­via­the­MIDI­Control­Panel­ 292­ 14.4­ Additional­Parameters­on­MIDI­Control­Window­ 297

Chapter 15 Control­ 303­ 15.1­ Introduction­ 303­ 15.2­ StealthPedal­Control­ 303­ 15.2.1­ Assigning­Continuous­Controls­ 305­ 15.2.2­ Assigning­Switch­Controls­ 306­ 15.2.3­ Saving­Assignments­ 309­ 15.2.4­ Switching­Presets­ 309­ 15.2.5­ Pedal­Adjust­ 310­ 15.2.6­ StealthPedal­LEDs­ 312­ 15.2.7­ Tuning­indication­ 313

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Chapter 16 Troubleshooting­ 315

Chapter 17 Support­ 319­ 17.1­ User­Area­ 319

Appendix IK Technologies­ 321­ ­ DSM™­Technology­ 321­ ­ VRM™­Technology­ 321­ ­ Block­Diagram­ 322

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Module Interface.­Choose­from­over­160­guitar­&­bass­gear­models.­

Input, Output Interface.­

Hundreds of different guitar amp and effects presets ready­to­go.

Includes Four Track Audio Player/Recorder with Speed Trainer for playing along with your favorite

recordings.

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Five Modules:­Tuner,­Stomp­Pedalboard,­Amp-Heads,­Mic’d­Cabinets,­and­Rack­Effects.

Two Guitar Rigs.­Experience­the­flexible­routing­system­provided­by­Dual­Rig­technology.

Standalone and VST/AU/RTAS plug-in for all popular DAWs.

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License AgreementEND-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT

Please­read­this­document­carefully­before­breaking­the­seal­on­the­media­package.­This­agreement­licenses­the­enclosed­software­to­you­and­contains­warranty­and­liability­disclaimers.

By­breaking­the­seal­on­the­media­envelope,­you­are­confirming­to­have­taken­notice­of­terms­and­conditions­of­this­agreement­and­you­acknowledge­your­acceptance­of­the­software­as­well­as­your­acceptance­of­the­terms­of­this­agreement.­If­you­do­not­wish­to­do­so,­do­not­break­the­seal.­Instead,­promptly­return­the­entire­package,­including­the­unopened­media­package,­to­the­dealer­from­whom­you­have­obtained­it,­for­a­full­refund.

1)­DEFINITIONS

“EULA”­means­this­end­user­license­agreement

“IK­Multimedia­Product”­means­the­software­program­included­in­the­enclosed­package,­and­all­related­updates­supplied­by­IK­Multimedia.

“IK­Multimedia­Product”­means­the­software­program­and­hardware­(if­any)­included­in­the­enclosed­package,­the­related­documentation,­models,­multi-media­content­(such­as­animation,­sound­and­graphics)­and­all­related­updates­supplied­by­IK­Multimedia.

“Not­for­resale­(NFR)­Version”­means­a­version­of­IK­Multimedia­Product,­so­identified,­is­intended­for­review­and­evaluation­purposes,­only.

2)­LICENSE

The­“IK­Multimedia­Product”­is­protected­by­copyright­laws­and­international­copyright­treaties,­as­well­as­other­intellectual­property­laws­and­treaties.­The­“IK­Multimedia­Product”­ is­ licensed,­not­sold.­This­EULA­grants­you­the­rights­as­specified­here­below.­All­other­actions­and­means­of­usage­are­reserved­to­the­written­permission­of­the­right­holder­IK­Multimedia­Production­Srl:

Applications Software.­The­“IK­Multimedia­Product”­may­be­used­only­by­you.­You­may­install­and­use­the­“IK­Multimedia­Product”,­or­any­prior­version­thereof­for­the­same­operating­system,­on­up­to­three­(3)­computers,­provided­that­(a)­each­computer­is­owned­by­(or­leased­to)­and­under­the­exclusive­control­of­the­licensee;­(b)­the­program(s)­shall­NOT­be­used­simultaneously­on­more­than­one­machine,­and­(c)­any­computer(s)­with­IK­Multimedia­software­installed­shall­not­be­sold,­rented,­leased,­loaned­or­otherwise­be­removed­from­the­licensee’s­possession­without­first­removing­(uninstalling)­the­licensed­software,­except­as­provided­in­Paragraph­4­(below)­pertaining­to­“Software­Transfer”.

Storage/Network use.­You­may­also­store­or­install­a­copy­of­the­“IK­Multimedia­Product”­on­a­storage­device,­such­as­a­network­server,­used­only­to­install­or­run­the­“IK­Multimedia­Product”­on­your­other­computers­over­an­internal­network;­however,­you­must­acquire­and­dedicate­a­distinct­license­for­each­user­of­the­“IK­Multimedia­Product”­from­the­storage­device.­Any­given­license­for­the­“IK­Multimedia­Product”­may­not­be­shared­or­used­concurrently­or­otherwise­on­different­computers­or­by­different­developers­in­a­given­organization.

3)­AUTHORIZATION­CODE

The­“IK­Multimedia­Product”­only­functions­when­you­are­in­the­possession­of­an­authorization­code.­You­will­receive­an­authorization­code­upon­complet-ing­the­authorization­code­request­procedure.­Once­your­authorization­code­is­activated,­you­may­use­the­product.

You­agree­to­follow­the­authorization­code­request­procedure­and­will­provide­true,­accurate­and­complete­information­about­yourself.­If­you­provide­any­information­that­is­untrue,­inaccurate,­not­correct­or­incomplete,­or­IK­Multimedia­has­reasonable­grounds­to­suspect­that­such­information­is­untrue,­inaccurate,­not­correct­or­incomplete,­IK­Multimedia­has­the­right­to­suspend­or­to­revoke­the­license.

The­termination­of­the­license­shall­be­without­prejudice­to­any­rights,­whatsoever,­of­IK­Multimedia.

4)­DESCRIPTION­OF­OTHER­RIGHTS­AND­LIMITATIONS

Limitations on Reverse Engineering, Decompilation, and Disassembly.­ You­ may­ not­ reverse­ engineer,­ decompile,­ or­ disassemble­ the­ “IK­ Multimedia­Product”,­except­and­only­to­the­extent­that­such­activity­is­expressly­permitted­by­applicable­law­notwithstanding­this­limitation­of­components.­The­“IK­Multimedia­Product”­is­licensed­as­a­single­product.­Its­component­parts­may­not­be­separated­for­use­on­more­than­one­computer.

Not for Resale Version.­If­the­“IK­Multimedia­Product”­is­labeled­“Not­for­Resale”­or­“NFR”­or­“Evaluation­Copy”,­then,­notwithstanding­other­sections­of­this­EULA,­you­may­not­sell,­or­otherwise­transfer­the­“IK­Multimedia­Product”.

Rental.­You­may­not­rent,­lease,­or­lend­the­“IK­Multimedia­Product”­to­any­party.

Software Transfer.­You­may­not­transfer,­license­or­sublicense­your­rights­as­Licensee­of­the­software­or­any­IK­Multimedia­product,­as­licensed­to­you­under­this­agreement­without­prior­written­consent­of­the­rights­owner.­The­carrier­on­which­the­IK­Multimedia­product­has­been­distributed­may­be­transferred­or­otherwise­made­available­to­any­third­party­only­with­the­prior­written­consent­of­the­rights­owner­and­provided­that­(a)­the­original­media­

III - License Agreement ­­­­­­­­­15

AmpliTube 3

and­license(s)­accompany­the­carrier­and­(b)­the­party­transferring­the­media­does­not­retain­a­copy­of­the­media.

5)­UPGRADES

If­the­“IK­Multimedia­Product”­is­labeled­or­otherwise­identified­by­IK­Multimedia­as­an­“upgrade”,­you­must­be­properly­licensed­to­use­a­product­identi-fied­by­IK­Multimedia­as­being­eligible­for­the­upgrade­in­order­to­use­the­“IK­Multimedia­Product”.

An­“IK­Multimedia­Product”­labeled­or­otherwise­identified­by­IK­Multimedia­as­an­upgrade­replaces­and/or­supplements­the­product­that­formed­the­ba-sis­for­your­eligibility­for­such­upgrade.­You­may­use­the­resulting­upgraded­product­only­in­accordance­with­the­terms­of­this­EULA.­If­the­“IK­Multimedia­Product”­is­an­upgrade­of­a­component­of­a­package­of­software­programs­that­you­licensed­as­a­single­product,­the­“IK­Multimedia­Product”­may­be­used­and­transferred­only­as­part­of­that­single­product­package­and­may­not­be­separated­for­use­on­more­than­one­computer.

6)­DUAL-MEDIA­SOFTWARE

You­may­receive­the­“IK­Multimedia­Product”­in­more­than­one­medium.­You­may­not­loan,­rent,­lease,­or­otherwise­transfer­the­other­medium­to­another­user,­except­as­part­of­the­permanent­transfer­(as­provided­above)­of­the­“IK­Multimedia­Product”.

7)­LIMITED­WARRANTY

IK­Multimedia­warrants­to­the­original­purchaser­of­the­computer­software­product,­for­a­period­of­ninety­(90)­days­following­the­date­of­original­purchase,­that­under­normal­use,­the­software­program­and­the­user­documentation­are­free­from­defects­that­will­materially­interfere­with­the­operation­of­the­program­as­described­in­the­enclosed­user­documentation.

8)­WARRANTY­CLAIMS

To­make­a­warranty­claim­under­the­above­limited­warranty,­please­return­the­product­to­the­point­of­purchase,­accompanied­by­proof­of­purchase,­your­name,­your­return­address­and­a­statement­of­the­defect,­or­send­the­CD(s)­to­us­at­the­below­address­within­ninety­(90)­days­of­purchase.­Include­a­copy­of­the­dated­purchase­receipt,­your­name,­your­return­address­and­a­statement­of­the­defect.­IK­Multimedia­or­its­authorized­dealer­will­use­reasonable­com-mercial­efforts­to­repair­or­replace­the­product­and­return­it­to­you­(postage­prepaid)­or­issue­to­you­a­credit­equal­to­the­purchase­price,­at­its­option.

9)­LIMITATIONS­ON­WARRANTY

IK­Multimedia­warrants­only­that­the­program­will­perform­as­described­in­the­user­documentation.­No­other­advertising,­description­or­representation,­whether­made­by­a­IK­Multimedia­dealer,­distributor,­agent­or­employee,­shall­be­binding­upon­IK­Multimedia­or­shall­change­the­terms­of­this­warranty.

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DIS-CLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED. IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT.

10)­CHOICE­OF­LAW

You­agree­that­any­and­all­claims,­suits­or­other­disputes­arising­from­your­use­of­the­software­shall­be­determined­in­accordance­with­the­laws­of­Italy,­in­the­event­IK­Multimedia,­is­made­a­party­thereto.­You­agree­to­submit­to­the­jurisdiction­of­the­court­in­Modena,­Italy­for­all­actions,­whether­in­contract­or­in­tort,­arising­from­your­use­or­purchase­of­the­software.

11)­GENERAL

This­Agreement­contains­the­complete­agreement­between­the­parties­with­respect­to­the­subject­matter­hereof,­and­supersedes­all­prior­or­contempora-neous­agreements­or­understandings,­whether­oral­or­written.­All­questions­concerning­this­Agreement­shall­be­directed­to:

IK­Multimedia­Production­SrlVia­dell’Industria­4641122­ModenaItaly

©­2010­IK­Multimedia.­All­rights­reserved.

­­­­­­­­­16

AmpliTube 3

1 - Overview ­­­­­­­­­17

AmpliTube 3

Chapter 1 Overview

1.1 Introduction

AmpliTube­3­is­the­New­King­of­Tone.­It­is­a­massive­upgrade­of­the­leading­guitar­ and­ bass­ tone­ gear­ modeling­ software­ that­ sets­ the­ new­ industry­standard­of­sound­variety,­realism,­and­creative­power.­

AmpliTube­3­offers­over­160­pieces­of­gear­(including­models­from­the­most­sought-after­vintage­collections­and­modern­day­workhorses),­51­individual­stomp­boxes­and­effects,­31­amplifier­preamp­&­power­sections,­46­speaker­cabinet­models,­15­high-end­stage­and­studio­mics,­17­post­amp­rack­effects,­and­much­more…­Thanks­to­the­new­AmpliTube­3­open­architecture,­you­are­able­to­constantly­expand­your­sonic­palette­through­the­addition­of­more­packages­such­as­AmpliTube­Fender™,­Ampeg®­SVX,­etc.­

IK­Multimedia­allows­you­to­build­your­custom­integrated­system­using­an­IK­Audio­Interface/Controller­such­as­StompIO­or­StealthPedal,­your­computer,­and­AmpliTube­3.­You­have­dreamed­it.­We’ve­made­it.

If­you­are­a­performer/producer­and/or­engineer­searching­for­that­unique­tone­ that­ describes­ your­ artistic­ vision,­ AmpliTube­ 3­ is­ the­ ultimate­ tone­gear­collection­that­you­need.

1.2 What’s new in AmpliTube 3?

•­ Over­160­models­of­vintage­and­modern­gear­included­in­one­package•­ 30­new­vintage­gear­models­and­creative­effects•­ New­ Cabinet­ Module­ with­ two­ freely­ movable­ microphones­ and­

cabinet­size­control•­ New­Room­ambience­with­microphones’­stereo­width­control­•­ New­ rotary­ speaker­ simulation­ using­ IK’s­ proprietary­ Volumetric­

Response­Modeling­(VRM™)­technology•­ New­Stomp­&­Rack­FX­drag­&­drop­feature­•­ Series/Parallel­ rigs­ with­ 8­ signal­ path­ presets,­ selectable­ mono/

stereo­input­and­true­stereo­processing•­ New­advanced­Preset­Organization­and­Management­feature•­ Global­and­Single­gear­presets•­ New­“MIDI­Learn”­feature­for­compatibility­with­any­MIDI­controller•­ Freely­assignable­DAW­Automation•­ New­4­Track­Audio­Player/Recorder­with­ independent­ time­stretch/

pitch­shift*­•­ Non­ destructive­ recording­ allows­ post-effect­ processing­ of­ the­

recorded­audio*­•­ Imports­any­Wav,­Aiff,­sd2,­Apple­Caf,­Flac,­MP3­audio­file*­•­ New­Quality­Mode­feature•­ New­ built-in­ expandability­ (you­ are­ able­ to­ add­ “Powered­ by­

AmpliTube”­packages­like­AmpliTube­Fender™­and­Ampeg®­SVX,­etc)

1 - Overview­­­­­­­­­18

AmpliTube 3

•­ Direct­ integration­ with­ IK’s­ interfaces/controllers­ like­ StompIO,­StealthPedal,­StealthBoard.­No­setup­needed

•­ 2­ simultaneous­ instruments­ can­ be­ processed­ with­ independent­audio­settings*­

•­ Metronome­with­selectable­sounds*­

*Standalone­version

Other­features:

•­ Windows­and­Mac­OS­X­Plug-in­and­Standalone­application•­ Supported­Plug-in­formats:­Audio­Units,­VST,­RTAS­(Mac­OS­X)­–­VST,­

RTAS­(Windows)•­ 5­separate­modules:­Tuner,­Stomp,­Amp,­Cabinet­+­Microphones,­and­

Rack­effects•­ High-precision­Tuner•­ Ultra-accurate­ analog­ modeling­ using­ IK­ Multimedia’s­ proprietary­

Dynamic­Saturation­Modeling­(DSM™)­technology•­ Host/DAW­BPM­synchronization•­ Up­to­96­kHz­supported­sampling­rate•­ Improved­overall­performance

For­ more­ information­ about­ DSM™/VRM™­ technologies­ and­ AmpliTube­ 3­Block­diagram,­see Appendix, “IK Technologies and Block Diagram.”

1 - Overview ­­­­­­­­­19

AmpliTube 3

1.3 Plug-in Architecture

AmpliTube­3­is­set­up­as­a­traditional­guitar­rig­to­ensure­predictable­results­and­real­world­flexibility.­The­user­interface­is­simple­and­easy­to­navigate­but­also­allows­you­to­set­up­complex­guitar­rigs­and­advanced­signal­paths.

The­interface­is­divided­into­5­modules:­

1) Tuner

figure­1.1

2) Stomp effects

figure­1.2

1 - Overview­­­­­­­­­20

AmpliTube 3

3) Amp

figure­1.3

4) Cab

figure­1.4

1 - Overview ­­­­­­­­­21

AmpliTube 3

5) Rack effects

figure­1.5

This­ “musical­ layout”­ allows­ you­ to­ navigate­ the­ different­ rigs’­ sections­without­ effort­ and­ provides­ easy­ access­ to­ each­ module’s­ specific­ controls­and­features.

The­first­step­is­to­listen­the­included­presets.­The­presets­library­has­been­skillfully­programmed­by­the­AmpliTube­3­designers­to­accurately­reproduce­each­particular­tone­and­to­fuel­your­creativity…

For­more­information­about­complex­guitar­rigs­and­advanced­signal­rout-ing,­see­Chapter­4,­“Module/Rig­Selector.”

1 - Overview­­­­­­­­­22

AmpliTube 3

1.4 Using the Interface

AmpliTube­3­works­as­Plug-in­or­Standalone­application.

1.4.1 Standalone Interface

When­using­AmpliTube­3­in­Standalone­Mode,­the­interface­has­6­sections­(figure­1.6):

figure­1.6

Below­is­a­brief­description­of­each­of­them:

1) Top Header­(figure­1.7)­

It­includes­Preset­Manager,­Quality­Mode,­and­IK­Controller­Selector­areas

figure­1.7

1 - Overview ­­­­­­­­­23

AmpliTube 3

•­ Preset­ Manager:­ it­ allows­ you­ to­ search,­ browse,­ select,­ save­ and­delete­presets­(figure­1.8).

figure­1.8

•­ Quality­Mode:­it­is­a­one­click­system­optimization.­Just­select­Hi-Mid-or­Eco­to­get­the­best­balance­between­sound­quality­and­CPU­usage­(figure­1.9).

•­ IK­ Controller­ Selector:­ it­ allows­ you­ to­ choose­ your­ StompIO­ or­StealthPedal­controller.­(figure­1.10)

2) Module/Rig Selector­(figure­1.11)

figure­1.11

It­allows­you­to­choose­the­module­that­you­want­to­use­(Tuner,­Stomp,­Amp,­Cab,­or­Rack),­the­input­type­(Mono/Stereo)­and­the­signal­path­presets.

3) Module Interface­(figure­1.12)

figure­1.12

It­displays­the­selected­module­and­all­its­related­controls.­This­is­the­module­that­you­will­use­most­while­interacting­with­AmpliTube­3.

figure­1.9

figure­1.10

1 - Overview­­­­­­­­­24

AmpliTube 3

4) Input/Output Bar­(figure­1.13)

figure­1.13

From­here­you­will­manage­the­Input­and­Output­levels,­the­Noise­Gate,­and­several­module­related­controls.

5) Four Track Audio Player/Recorder with Speed Trainer­(figure­1.14)

figure­1.14

It­allows­you­to­playback­your­favorite­songs,­learn­new­riffs,­capture­your­ideas,­record­your­band’s­demo,­and­much­more…

6) Status Bar­(figure­1.15)

figure­1.15

It­includes­the­Input­Gain­Slider­and­gives­you­a­quick­reference­of­the­CPU­load­and­MIDI.

1 - Overview ­­­­­­­­­25

AmpliTube 3

1.4.2 Plug-in Interface

When­using­AmpliTube­3­as­a­Plug-in,­ the­interface­has­4­sections­(figure­1.16):­

figure­1.16

•­ Top­Header­(Preset­Manager,­Quality­Mode,­and­IK­Controller­Selector­areas)

•­ Module/Rig­Selector­•­ Module­Interface­•­ Input/Output­Bar­

Note:­considering­that­the­first­4­sections­of­the­AmpliTube­3­interface­are­the­same­in­Standalone­and­Plug-in­Modes,­there­is­no­need­to­repeat­their­descriptions.­Please­see­1.4.1.

1 - Overview­­­­­­­­­26

AmpliTube 3

2 - Getting started ­­­­­­­­­27

AmpliTube 3

Chapter 2 Getting started

2.1 Registration/Authorization

We­know­that­you­are­excited­about­AmpliTube­3­so­let’s­get­ready­to­rock!

After­ you’ve­ installed­ AmpliTube­ 3,­ you­ have­ to­ register­ and­ authorize­your­product.­Not­only­to­enable­permanent­unrestricted­functionality,­but­also­ to­ take­advantage­of­all­ the­User­Area­ features.­This­ is­a­very­simple­process;­ you­ just­ need­ to­ follow­ the­ instructions­ provided­ in­ the­ Product­Authorization­Wizard.

The­Product­Authorization­Wizard­ is­a­smart­application­ integrated­to­our­website­that­will­guide­you­through­the­Registration­and­Authorization­pro-cess.­When­you­launch­AmpliTube­3­for­the­first­time­the­wizard­will­pop­up­asking­you­to­complete­the­process,­so­become­an­IK­Registered­User­today­and­enjoy­all­the­benefits­that­IK­Multimedia­has­to­offer­you!

For­information­about­AmpliTube­3­Installation,­please­read­the­“Installation­and­Authorization­Manual”­located­here:

Windows:­Start\Programs\IK­Multimedia\AmpliTube­3\­Installation­and­Authorization­Manual

Macintosh:­HD/Library/Documentation/IK­ Multimedia/AmpliTube­ 3/Installation­ and­Authorization­Manual

If­ you­ have­ any­ problems,­ see Chapter 16, “Troubleshooting”­ or­ visit­ the­FAQ­webpage­at:­www.ikmultimedia.com/faq

2.2 Standalone Mode

The­Standalone­version­of­AmpliTube­3­can­be­used­to­perform­live­or­in­a­recording­studio­situation,­using­your­computer­as­a­next­generation­model-ing­effects­processor.­Using­AmpliTube­3­in­Standalone­Mode­allows­you­to­run­the­program­without­the­need­of­a­host­sequencer­application­(DAW).

To­ play­ live,­ we­ strongly­ recommend­ that­ you­ control­ AmpliTube­ 3­(Standalone­Mode)­with­an­IK­Controller­such­as­StompIO­or­StealthPedal,­considering­that­their­integration­is­highly-customized­and­optimized.

2 - Getting started­­­­­­­­­28

AmpliTube 3

2.2.1 Launch AmpliTube 3 Standalone

To­launch­AmpliTube­3­Standalone­go­to:

Windows:­Start\Programs\AmpliTube­3­icon

Macintosh:­Application­folder/AmpliTube­3­icon

2.2.2 Audio Configuration

In­ this­ section,­ we­ will­ cover­ how­ to­ set­ up­ your­ audio­ interface­ in­ both­platforms.­ However,­ if­ you­ are­ using­ an­ IK­ audio­ interface/controller­ such­as­StompIO­or­StealthPedal,­no­setup­is­needed­because­AmpliTube­3­offers­direct­integration.

2.2.2.1 Windows®

figure­2.1

In­AmpliTube­3,­click­Audio­>­Hardware­Settings.

Select­ASIO­(recommended)­or­DirectX­from­the­top­menu.

2 - Getting started ­­­­­­­­­29

AmpliTube 3

Input­Device:­your­audio­ interface­driver­will­be­automatically­selected.­ If­not,­please­choose­it­manually.

Left/Right­Channel:­select­the­audio­interface­input­into­which­your­instru-ment­ is­ plugged.­ For­ example,­ if­ your­ instrument­ is­ plugged­ into­ the­ first­audio­ interface­ input,­ you­ should­ select­ Left­ Channel-Input­ 1.­ However,­ if­it­is­plugged­into­the­second­audio­interface­input,­you­should­select­Right­Channel-Input­2,­etc.­In­some­cases,­Left­channel­is­identified­as­Channel­1­and­Right­channel­as­Channel­2.

Output­ Device:­ select­ your­ audio­ interface­ output­ driver.­ The­ Input­ and­Output­Device­should­be­the­same.

Left/Right­Channel:­select­your­desired­output­channels.­For­example,­(Left­Channel­-Output­1),­(Right­Channel-Output­2).

Buffer­Size:­to­change­the­buffer­size­of­an­ASIO­device,­click­Panel.­It­will­open­your­audio­interface’s­Control­Panel.

2.2.2.2 Macintosh®

figure­2.2

In­AmpliTube­3,­click­Audio­>­Hardware­Settings.

Input­Device:­Your­audio­ interface­driver­will­be­automatically­selected.­ If­not,­please­choose­it­manually.

2 - Getting started­­­­­­­­­30

AmpliTube 3

Left/Right­Channel:­Select­the­audio­interface­input­into­which­your­instru-ment­ is­ plugged.­ For­ example,­ if­ your­ instrument­ is­ plugged­ into­ the­ first­audio­interface­input,­you­should­select­Left­Channel/Channel­1.­However,­if­it­is­plugged­into­the­second­audio­interface­input,­you­should­select­Right­Channel/Channel­2,­etc.­However,­ if­your­audio­ interface­has­only­1­ input,­the­Left­and­Right­channels­menus­will­display­Channel­1.

Output­Device:­Select­your­audio­interface­output­driver.­Usually,­the­Input­and­Output­Devices­are­the­same.

Left/Right­Channel:­Select­your­desired­output­channels.­For­example,­(Left­Channel-Channel­1),­(Right­Channel-Channel­2).

Buffer­ Size:­ Adjusting­ the­ buffer­ settings­ will­ change­ the­ audio­ signal­latency.­ In­ fact,­ the­ amount­ of­ latency­ depends­ on­ several­ factors­ such­ as­computer­speed­and­audio­interface­performance.­Decreasing­the­buffer­size­value­will­reduce­the­amount­of­signal­delay,­so­the­goal­is­to­get­the­latency­as­low­as­possible­without­getting­any­audio­artifacts.­As­a­starting­point,­a­ buffer­ size­ of­ 144­ samples­ should­ be­ fine­ on­ most­ modern­ computers.­However,­considering­that­each­system­is­different;­please­experiment­with­your­settings­until­you­get­the­best­result.

2.2.3 Plug Your Guitar

Now­that­AmpliTube­3­is­installed­and­your­audio­interface­is­configured­we­are­ready­to­move­forward.

2.2.3.1 Connecting Your Guitar/Bass

Plug­your­instrument­into­a­Hi-Z­Input,­Instrument­Input,­or­a­Microphone­XLR­Input­(only­if­you­are­using­an­active­DI­BOX­between­the­guitar­1/4”­Plug­and­the­Mic­XLR­input).

Do­not­use­Regular­Line­Inputs,­-10­dB­or­+4­dB­Inputs,­unless­you’re­using­an­active­instrument­or­you­are­adding­an­active­buffer­between­the­instru-ment­and­the­line­input.

2.2.3.2 Adjusting Your Levels

First­ of­ all,­ check­ that­ your­ instrument­ volume­ knob­ is­ all­ the­ way­ up…­Second,­lets­analyze­how­your­audio­interface­and­AmpliTube­3­interact.

When­ you­ are­ using­ AmpliTube­ 3­ as­ Standalone,­ there­ are­ two­ ways­ to­optimize­the­Global­Input­level:

2 - Getting started ­­­­­­­­­31

AmpliTube 3

A)1.­ Decrease­the­AmpliTube­3­Input­Gain­value­to­0­dB­by­moving­its­

slider­to­the­Left­(figure­2.3).

figure­2.3

2.­ Increase­your­audio­interface­gain­up­to­the­point­where­the­clip-ping­LED­starts­blinking.

3.­ To­ avoid­ clipping,­ turn­ down­ a­ little­ bit­ your­ audio­ interface­ gain­knob.

B)1.­ Keep­the­AmpliTube­3­Input­Gain­value­at­+6­dB­(default).2.­ To­avoid­clipping,­adjust­your­audio­interface­gain­knob­accordingly.

To­summarize:

•­ The­Global­Input­Level­is­determined­by­the­audio­interface­gain­plus­the­AmpliTube­3­Input­Gain­value.

•­ The­Preset­Input­Level­is­determined­by­the­AmpliTube­3­Input­level­knob­(figure­2.4).­

•­ The­AmpliTube­3­Output­level­is­controlled­by­the­Master­knob­(figure­2.5).•­ The­Audio­Interface­Output­level­is­controlled­by­its­Master­Volume.

Tip:­if­while­browsing­AmpliTube­3­presets­you­find­that­all­clean­sounds­are­too­quiet­and­all­lead­sounds­are­too­high,­this­probably­means­that­you’re­using­a­too­low­input­gain­on­your­audio­interface.

2.2.3.3 Quality Mode Options

To­get­the­best­balance­between­sound­quality­and­CPU­usage,­click­on­each­Quality­ Mode­ button­ (located­ in­ the­ Top­ Header­ section­ of­ AmpliTube­ 3­interface)­and­determine­which­option­is­the­best­for­your­system.

•­ HI:­offers­the­best­sound­quality­at­a­higher­CPU­usage•­ MID:­offers­a­very­good­sound­quality­at­a­reasonable­CPU­usage•­ ECO:­offers­a­good­sound­quality­at­a­very­low­CPU­usage

figure­2.4

figure­2.5

figure­2.6

2 - Getting started­­­­­­­­­32

AmpliTube 3

2.2.3.4 Tuning

If­your­instrument­is­out­of­tune,­you­are­not­maximizing­AmpliTube­3­sonic­capabilities­so­let’s­invest­a­few­minutes…

1.­ Click­the­Tuner­button­located­in­the­Module/Rig­Selector.2.­ Turn­On­the­Tuner.3.­ Play­ one­ string­ at­ a­ time­ and­ check­ that­ the­ Cents­ indicator­ is­ as­

close­at­0­as­possible,­both­in­the­Graphic­Tuner­Interface­and­in­the­Cents­display­(figure­2.7).

figure­2.7

If­tuning­your­instrument­is­taking­more­than­a­few­minutes,­maybe­is­time­to­change­your­strings­and/or­calibrate­your­guitar/bass…

2.2.4 Hands-on Examples

2.2.4.1 Loading a Preset

To­ taste­ AmpliTube­ 3­ “sonic­ flavors”­ play­ one­ of­ your­ favorite­ songs,­ and­select­ different­ presets­ from­ the­ Preset­ Selector­ (figure­ 2.8).­ Even­ better,­play­a­riff­over­and­over­and­change­the­presets­via­the­Up/Down­arrows…­

figure­2.8

If­you­want­to­search­presets­by­keywords,­attributes,­or­apply­filters­to­your­search,­click­Preset­Browser­and­enjoy­its­smart­engine.

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2.2.4.2 Selecting Amps

To­explore­different­Amp­Models,­click­Amp­A­and­change­the­Pre­Amp,­EQ,­and­Amp­Models­using­the­Up/Down­arrows­(figure­2.9).­You­can­also­adjust­each­control­setting­to­get­that­ultimate­tone.

figure­2.9

2.2.4.3 Choosing the Cabinet

Do­you­want­to­listen­an­incredible­rotary­speaker­simulation?­No­problem.­Click­Cab­A­and­select­the­Rotary­147­model­through­the­Cab­Model­Selector.­Do­you­have­an­“orange”?­Yes!­Select­the­4x12­British­Or­model­and­change­the­distance­and­position­of­the­microphones­by­moving­them­vertically­and­horizontally…­you­can­also­add­Room­Ambience­and­change­the­width­of­the­Room­mics…­(figure­2.10).

figure­2.10

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2.2.4.4 Adding Stomp and Rack Effects

You­can­easily­add­Stomp­and­Rack­Effects.­To­add­a­stompbox,­click­Stomp­A­and­select­one­of­the­51­available­models­from­the­Stomp­Model­Selector­(figure­2.11).

figure­2.11

To­add­a­Rack­Effect,­click­Rack­A­and­choose­one­of­the­models­included­in­the­Rack­Model­Selector­(figure­2.12).

figure­2.12

In­AmpliTube­3­you­are­able­to­rearrange­the­order­of­the­stomps­and­racks­models­using­the­drag­and­drop­feature.­Did­you­try­it?

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2.2.5 Four Track Audio Player/Recorder with Speed Trainer

The­ Four­ Track­ Audio­ Player/Recorder­ with­ Speed­ Trainer­ is­ a­ very­ useful­new­feature­because­it­allows­you­to:

•­ Import­and­playback­up­to­four­Wav,­Aiff,­sd2,­Apple­Caf,­Flac,­MP3­audio­files•­ Control­Volume,­Pan,­Pitch,­and­Tempo­per­track•­ Use­AmpliTube­3­as­an­Effect­-­one­instance­per­track•­ Maximize­your­resources­via­the­Freeze­function•­ Set­a­loop•­ Change­the­Playback­Speed•­ Record­your­ideas•­ Practice­with­a­Digital­Metronome­•­ Export­audio,­and­much­more…

2.2.5.1 Import an Audio File

There­are­2­ways­to­import­audio­files.­

A)­Through­Load­(figure­2.13):­

figure­2.13

1.­ Click­Load.2.­ Select­the­audio­file/s­that­you­want­to­import.3.­ Click­Open/Ok­etc.­The­imported­audio­files­will­be­displayed­in­the­

Audio­Files­List­area­(figure­2.14).

figure­2.14

4.­ Select­the­track­in­which­you­want­to­move­the­audio­file­by­clicking­in­its­number­(figure­2.15).

figure­2.15

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5.­ Drag­the­selected­audio­file­from­the­Audio­Files­List­area­and­drop­it­ to­ the­Waveform­Display­(figure­2.16).­ If­ the­ track­ in­which­you­are­ loading­ an­ audio­ file­ is­ empty,­ the­ file­ will­ be­ automatically­loaded­on­it.­

figure­2.16

6.­ The­audio­file­recently­moved­to­ the­Waveform­Display­will­show­the­assigned­track­#­in­the­right­column­of­the­Audio­File­List­(T1,­T2,­etc)­(figure­2.17).

figure­2.17

B)­Via­the­drag­and­drop­feature.

1.­ Drag­the­audio­files­that­you­want­to­import­to­the­Audio­Files­List­area.

2.­ Drag­the­selected­audio­file­from­the­Audio­Files­List­area­and­drop­it­to­the­Waveform­Display.­If­the­track­in­which­you­are­loading­an­audio­file­is­empty,­the­file­will­be­automatically­loaded­on­it.

3.­ The­audio­file­recently­moved­to­ the­Waveform­Display­will­show­the­assigned­track­#­in­the­right­column­of­the­Audio­File­List.­

Note:­if­the­same­audio­file­was­“dropped”­in­different­tracks,­(e.g.,­track­1­and­3),­both­numbers­will­be­shown­in­ the­right­column­of­ the­Audio­File­List­(T13)­(figure­2.18).

figure­2.18

To­delete­an­audio­file,­drag­it­from­the­Audio­File­List­area­and­drop­it­any-where­in­your­desktop.­

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2.2.5.2 Waveform Display

The­audio­file­peak­waveform­is­displayed­as­an­average­of­the­L­&­R­chan-nels.­This­means­that­you­will­only­see­one­waveform,­even­if­your­audio­file­is­stereo­(figure­2.19).

figure­2.19

The­Zoom­In­(+)­and­Zoom­Out­(-)­buttons­are­located­at­the­bottom­right­of­the­Waveform­Display­(figure­2.20).

figure­2.20

The­Horizontal­Scroll­Bar­will­allow­you­to­move­the­file­within­the­display­(figure­2.21).­Click­it­and­move­it­to­the­desired­position­or­use­the­Left/Right­arrows­(figure­2.22).

figure­2.21

figure­2.22

To­clear­the­Waveform­Display­click­Empty­(figure­2.23).­The­audio­file­will­not­be­deleted­(it­will­remain­in­the­Audio­Files­List­area,­but­without­the­assigned­tack­#).

figure­2.23

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2.2.5.3 Using the Transport Bar

Play/Stop:­click­this­button­to­Start/Stop­an­audio­file­or­use­your­computer­keyboard­spacebar­(figure­2.24).

figure­2.24

Loop:­click­this­button­to­insert­the­Start/End­loop­markers­in­the­Waveform­Display­(figure­2.25).­To­trim­the­Start/End­loop­points,­hold­the­mouse­on­top­of­each­marker­and­drag­them­horizontally­(figure­2.26).­To­playback­the­loop,­click­Play­or­hit­the­spacebar.

figure­2.25

figure­2.26

Rec:­to­record­a­track,­click­the­track’s­record­button­and­then­the­Transport­bar­Rec­button­(figure­2.27).

figure­2.27

A: AUTO­record.­It­allows­you­to­be­prepared­for­the­recording­session.­It­sets­the­recorder­so­that­it­will­wait­for­you­to­hit­the­strings­before­starting­the­actual­recording­(figure­2.28).

figure­2.28

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Measure Display:­it­counts­the­measures­being­played,­based­on­the­selected­Time­Signature­(SIGN)­(figure­2.29).

figure­2.29

2.2.5.4 Track Controls Description

1-4:­it­selects­the­track­that­you­want­to­work­on­(figure­2.30).­Click­on­the­related­track­number­or­press­1,­2,­3,­or­4­in­your­computer­keyboard.­

figure­2.30

Input:­it­allows­you­to­select­input­1,­2,­or­stereo­(S).­Just­click­on­it­to­scroll­through­ the­ 1,­ 2,­ and­ Stereo­ options­ (figure­ 2.31).­ By­ default,­ Input­ 1­ is­assigned­to­Track­1.

figure­2.31

Rec:­click­this­button­to­monitor­your­instrument­and­to­rec-arm­the­track.­(figure­2.32)­By­default,­Rec­is­enabled­in­Track­1,­so­you­are­able­to­monitor­your­instrument­as­soon­as­you­launch­AmpliTube­3.

figure­2.32

Note:­the­Rec­Arm­button­will­be­automatically­disabled­when­an­audio­file­is­dragged­to­the­selected­track.

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Solo:­it­allows­you­to­listen­only­that­track,­and­automatically­mutes­the­rest­(figure­2.33).

figure­2.33

Mute:­it­allows­you­to­listen­all­the­tracks­except­the­one­that­you­are­muting­(figure­2.34).

figure­2.34

Volume:­moving­the­slider­to­the­right­increase­the­volume­and­vice­versa­(figure­2.35).

figure­2.35

Pan:­it­allows­you­to­pan­that­track­to­the­Left,­Center,­Right,­and­everything­in­between­(figure­2.36).

figure­2.36

Pitch:­it­allows­you­to­shift­the­pitch­up­or­down­without­changing­the­tempo­(figure­2.37).

figure­2.37

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Tempo:­it­allows­you­to­speed­up­or­slow­down­the­tempo­without­changing­the­pitch­(figure­2.38).

figure­2.38

Link:­this­button­(on­by­default)­makes­any­changes­you­have­made­on­the­Tempo­slider­to­be­applied­equally­to­all­4­tracks.­If­you­want­to­have­a­dif-ferent­Tempo­setting­in­each­track,­just­uncheck­this­option­(figure­2.39).

figure­2.39

2.2.5.5 Playback Speed

To­quickly­change­the­playback­speed­of­all­the­four­tracks­click­1/2x,­1x,­or­2x.­(figure­2.40)

figure­2.40

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

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2.2.5.6 Recording

There­are­2­easy­ways­to­record­in­Track­1­(selected­and­enabled­by­default):

A)­Recording­using­the­AUTO­button:

1.­ Click­A­(figure­2.41).

figure­2.41

2.­ Select­or­create­a­new­folder­to­save­your­recordings­and­click­OK­(figure­2.42).

3.­ When­you­are­ready,­start­playing.­The­recording­session­will­begin­automatically.

4.­ Click­the­Stop­button­to­stop­recording.

Note:­ the­ recording­destination­ folder­has­ to­be­selected­only­ for­ the­ first­time­a­recording­is­started­in­the­session.

B)­Recording­manually:

1.­ Click­the­Rec­button­located­in­the­Transport­bar­(figure­2.43).­

figure­2.43

2.­ Select­or­create­a­new­folder­to­save­your­recordings­and­click­OK.­3.­ Start­playing.4.­ Click­the­Stop­button­to­stop­recording.

Note:­ the­ recording­destination­ folder­has­ to­be­selected­only­ for­ the­ first­time­a­recording­is­started­in­the­session.

If­you­want­to­record­in­any­of­the­other­tracks,­add­these­two­steps­before­the­instructions­provided­above:

•­ Select­the­track­in­which­you­want­to­record.­•­ Click­its­record­button.­

And­then­continue­with­the­A­or­B­instructions.

figure­2.42

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Now­ that­ you’ve­ recorded­ a­ couple­ of­ licks,­ let’s­ learn­ how­ to­ work­ with­audio­files.

If­you­want­to:­

Find­the­audio­file­that­you’ve­just­recorded,­check­the­Audio­Files­List.­All­takes­are­numbered­consecutively.

Remove­the­current­take,­drag­the­file­from­the­Audio­Files­List­and­drop­it­anywhere­in­the­desktop.

Note:­ if­ you­ want­ to­ actually­ delete­ the­ recorded­ audio­ file­ from­ the­ hard­disk­you­need­to­find­it­inside­the­selected­recording­destination­folder­and­delete­it­manually.­Only­removing­the­audio­recording­from­the­AmpliTube­3­Audio­Files­list­does­not­actually­delete­it­from­the­hard­disk.

Free­up­the­track­from­the­audio­file­it­contains,­click­Empty.

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2.2.5.7 Adding Effects

Think­ AmpliTube­ 3­ as­ a­ plug-in­ processor.­ You­ can­ add­ one­ AmpliTube­ 3­instance­per­ track­via­ the­AmpliTube­button.­This­means­ that­you­can­use­the­entire­AmpliTube­3­or­any­of­its­modules­(Stomp,­Amp,­Cab­and­Rack)­to­process­your­audio­files.­

Track­ 1­ is­automatically­ loaded­with­AmpliTube­3­when­ the­application­ is­started.­This­is­to­avoid­you­having­to­manually­load­AmpliTube­3­each­time­when­you­play­live­using­any­of­the­IK­Multimedia­hardware­interfaces,­like­StompIO­or­StealthPedal.

To­activate­AmpliTube­3­as­a­plug-in­processor­in­Track­2:

1.­ Select­Track­2­by­clicking­on­its­number­(figure­2.44).

figure­2.44

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2.­ Click­the­AmpliTube­button,­a­new­AmpliTube­3­instance­will­open­(figure­2.45).­To­deactivate­it,­click­AmpliTube­again.

figure­2.45

3.­ To­ monitor­ the­ track­ with­ AmpliTube­ 3­ added­ as­ effect,­ click­ the­On­icon­(default).­To­bypass­the­effect,­click­On­again­(figure­2.46).

figure­2.46

Select­Track­1­and­then­Track­2­to­visualize­and­compare­the­settings­of­each­AmpliTube­3­instance.

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2.2.5.8 Managing Your Resources

To­ optimize­ your­ system­ performance,­ only­ Track­ 1­ has­ the­ Effect­ feature­enabled­by­default.­

To­preserve­your­CPU­usage,­we­recommend­following­these­guidelines:

Freeze­all­the­tracks­that­you­are­not­working­on:Select­ the­ track­ that­ you­ are­ not­ working­ and­ click­ the­ Freeze­ icon­(figure­2.47).­

figure­2.47

An­audio­file­will­be­created­and­placed­in­your­recording­destination­folder­(figure­2.48).­

Deactivate­AmpliTube­in­the­tracks­that­you­are­not­working­on:Select­the­related­tracks­and­click­the­AmpliTube­button.­The­interface­will­disappear.

Use­what­you­need:For­example,­if­you­want­to­add­a­little­bit­of­ambience­to­your­sound,­you­could­use­the­Digital­Reverb­Rack­for­example,­so­you­will­probably­don’t­need­the­entire­AmpliTube­3…­just­bypass­the­modules­that­you­are­not­using.­Select­the­Stomp,­Amp,­or­x­module­via­the­Module/Rig­figure­2.48

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Selector­and­click­Bypass.

Use­the­Quality­Mode­that­you­need­for­the­current­task:If­you­are­practicing­scales­you­do­not­need­the­Hi­Quality­Mode­with­12­Stomps,­Room­Ambience,­and­4­Racks…­However,­if­you­are­monitoring­different­mic­models,­positions,­and­blending­options­with­headphones,­you­may­need­it.­You­get­the­point.

2.2.5.9 Master Volume

After­you’ve­made­a­raw­mix­of­your­band’s­demo,­you­may­want­to­control­the­ volume­ of­ the­ entire­ Four­ Track­ Audio­ Player/Recorder­ via­ its­ Master­slider­(figure­2.49).

figure­2.49

2.2.5.10 Export

Click­ Export­ to­ export­ audio­ files­ (figure­ 2.50).­ Select­ the­ settings­ in­ the­Export­File­window­and­browse­your­recording­destination­folder.­Click­Save­in­the­Save­as­window­and­OK­in­the­Export­File­window.

figure­2.50

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2.2.5.11 Using the Metronome

The­Metronome­has­5­controls­(figure­2.51).­

figure­2.51

Metronome:­click­this­button­enables/disable­the­Metronome­(figure­2.52).

figure­2.52

Sound:­click­here­to­select­your­Metronome’s­sound­and­the­Accent­option­(figure­2.53).­

figure­2.53

BPM:­allows­you­to­change­the­metronome’s­tempo­(figure­2.54).­Click­and­hold­the­BPM­value.­Moving­the­pointer­up­will­increase­the­value­and­vice­versa.­You­can­also­set­your­tempo­by­TAPPING.­To­do­that,­press­the­T­key­on­your­computer­keyboard­at­least­4­times.

figure­2.54

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Time Signature (Sign): to­determine­how­many­beats­are­per­measure,­click­and­move­the­pointer­up/down­on­top­of­the­top­number.­To­determine­what­kind­of­note­value­constitutes­a­beat,­click­and­move­up/down­the­pointer­on­top­of­the­bottom­number.­The­numbers­3/4,­for­instance,­mean­three­beats­per­measure­with­a­quarter­note­getting­one­beat­(figure­2.55).

figure­2.55

Volume:­it­allows­you­to­change­the­Metronome’s­click­volume­(figure­2.56).

figure­2.56

2.2.5.12 Saving and Loading Your AmpliTube 3 Project Files

Through­the­File­menu,­AmpliTube­3­(Standalone­Mode)­allows­you­to­cre-ate,­open,­save,­and­save­as­Projects­(figure­2.57).

A­Project­file­includes­all­the­information­and­data­included­in­that­particu-lar­project,­from­presets,­individual­control­settings,­to­the­audio­files­used­in­the­Four­Track­Audio­Player/Recorder,­etc.

Once­ your­ AmpliTube­ 3­ project­ is­ finished­ you­ can­ save­ it­ by­ pressing­Command-S­(on­Mac)­or­CTRL-S­on­Windows.­Alternatively­you­can­select­“Save”­from­the­“File”­menu.­A­Save­dialog­will­appear­allowing­you­to­enter­your­project­name,­and­to­select­the­destination­folder.

To­open­this­project­ later,­ just­double­click­on­the­file­you­have­previously­saved­ and­ AmpliTube­ 3­ will­ open­ it­ automatically.­ Alternatively­ you­ can­select­“Load”­from­the­“File”­menu­and­locate­the­file­you­have­previously­saved.

If­you’re­already­working­on­a­previously­ loaded­AmpliTube­3­project­and­just­ want­ to­ save­ a­ variation­ of­ it­ just­ select­ “Save­ As…”­ from­ the­ “File”­menu,­type­a­new­name­for­the­project­and­select­a­destination­folder.

figure­2.57

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2.2.5.13 Project Sample Rate

For­proper­results­the­AmpliTube­3­Project­sample­rate­must­match­the­one­set­on­your­Audio­Interface.

AmpliTube­3­automatically­sets­the­Audio­Interface­sample­rate­for­you,­so­in­most­cases­there­can’t­be­a­mismatch.­But­in­case­you­hear­imported­audio­files­ playing­ at­ wrong­ speed­ first­ thing­ to­ check­ is­ Sample­ Rate­ on­ your­Audio­Interface,­and­set­the­AmpliTube­3­one­accordingly.

To­set­the­AmpliTube­3­Project­Sample­Rate­just­select­“Project­Properties”­from­“File”­menu­and­set­the­Sample­Rate­you­need.

2.2.6 Status Bar

The­ Status­ Bar­ includes­ the­ MIDI­ In­ check­ box,­ the­ Input­ Gain­ slider,­ and­the­CPU­Load­display­(figure­2.58).­For­more­information­about­MIDI­In,­see Chapter 15, “Control”.

figure­2.58

2.3 Plug-In Mode

AmpliTube­ 3­ works­ as­ a­ plug-in­ inside­ the­ most­ common­ DAW­ such­ as­Pro­ Tools,­ Cubase,­ Logic­ Studio,­ Live,­ Sonar,­ Digital­ Performer,­ Nuendo,­Garageband,­Acid­Pro,­Audition,­Mainstage,­and­others...­In­short,­AmpliTube­3­ works­ in­ any­ DAW­ that­ supports­ the­ following­ plug-in­ formats:­ Audio­Units,­VST,­RTAS­(Mac­OS­X)­–­VST,­RTAS­(Windows).

Considering­ that­ DAWs­ are­ in­ constant­ update,­ please­ refer­ to­ their­ User­Manuals­to­learn­how­to­insert­AmpliTube­3­as­a­plug-in.

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Chapter 3 Input/Output Bar

3.1 Input/Output Bar

The­ Input/Output­ Bar­ includes­ a­ noise­ gate,­ tuner­ and­ value­ displays,­volume,­pan,­phase­and­mix­controls­and­of­course,­input­and­output­level­sections.­You­can­check­important­information­about­your­product,­custom-ize­your­preferences,­connect­to­the­User­Area,­and­open­the­MIDI,­Auto,­and­Ctrl­panels…

3.2 Input Section

The­Input­section­includes­the­Input­knob­and­its­meter­(figure­3.1).

figure­3.1

3.2.1 Input Knob

The­Input­knob­controls­the­Preset­Input­Level.

3.2.2 Input Level Meter

The­Input­Level­Meter­shows­you­the­input­level­through­a­3­color­reference;­green,­yellow,­and­red.­Avoid­red…

3.3 IK Controller Selector

To­control­AmpliTube­3­in­standalone­or­plug-in­mode­and­take­full­advan-tage­ of­ its­ capabilities,­ IK­ Multimedia­ recommends­ using­ the­ StompIO­ or­StealthPedal­controllers.

To­ understand­ how­ the­ IK­ Controller­ selector­ works,­ let’s­ analyze­ these­scenarios;

•­ If­ you­ launch­ AmpliTube­ 3­ after­ you’ve­ connected­ and­ powered­ on­your­ StompIO­ or­ StealthPedal,­ the­ application­ will­ automatically­recognize­your­controller,­so­no­setup­needed.

•­ If­you­launch­AmpliTube­3­before­you’ve­connected­and­powered­on­your­StompIO­or­StealthPedal,­manually­select­which­controller­you­

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are­using­via­the­IK­Controller­selector­and­enable­it­via­the­On­but-ton­(figure­3.2.)

figure­3.2

3.3.1 Using the StompIO/StealthPedal to Control AmpliTube 3

The­StompIO­and­StealthPedal­are­able­to­control­one­instance­of­AmpliTube­3­at­a­time.­So­if­you­have­two­AmpliTube­3­instances­opened­in­Pro­Tools­(one­ inserted­ in­ the­ Lead­ Guitar­ track,­ and­ the­ other­ one­ in­ the­ Rhythmic­Guitar­track­for­example),­click­the­On­button­in­the­AmpliTube­3­ instance­that­you­want­to­control­first,­e.g.,­Lead­Guitar­track,­and­then­click­the­On­button­in­the­AmpliTube­3­instance­inserted­in­the­Rhythmic­Guitar­track.

On­the­other­hand,­if­you­are­using­AmpliTube­3­Standalone,­and­you­want­to­control­the­AmpliTube­3­instance­that­you­added­as­effect­in­Track­2,­click­the­On­button.

In­short,­

•­ If­ you­ have­ only­ one­ AmpliTube­ 3­ instance­ opened,­ the­ On­ button­enables/disables­the­StompIO­or­StealthPedal­controllers.

•­ If­you­have­2­or­more­AmpliTube­3­instances­opened,­the­On­button­will­allow­you­to­choose­which­instance­to­control.

For­ more­ information­ about­ StompIO­ and­ StealthPedal,­ please­ read­ their­related­User­Manuals.

3.4 Selected Module

The­ Selected­ Module­ section­ includes­ the­ Pan,­ Volume,­ Phase,­ and­ Mix­controls­(figure­3.3).

figure­3.3

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3.4.1 Pan

The­Pan­control­allows­you­to­adjust­the­pan­position­of­the­Cab­and­Rack­modules.­Usually,­this­control­should­be­kept­at­its­default­position­(center)­(figure­3.4).

figure­3.4

3.4.2 Volume

The­Volume­control­allows­you­to­fine-tune­the­output­level­of­each­module­(figure­3.5).

figure­3.5

3.4.3 Phase

The­Phase­control­allows­you­to­delay­the­Direct­signal­or­the­Cab­Module­signal­(figure­3.6).

figure­3.6

•­ To­delay­the­Direct­signal,­adjust­the­Phase­Control­to­negative­values­(Left).

•­ To­ delay­ the­ Cabinet­ signal,­ adjust­ the­ Phase­ Control­ to­ positive­values­(Right).

For­ example,­ you­ can­ use­ the­ Phase­ control­ with­ dual­ Cabinets­ setups­ to­create­ stereo­ sounds­ by­ delaying­ one­ Cabinet­ (adjust­ the­ Phase­ Control­to­positive­values)­by­a­few­milliseconds­in­respect­of­the­other­one.­Also,­you­can­use­ this­control­ to­experiment­with­delay­between­the­Direct­and­Cabinet­sounds­on­bass­sounds.

The­Phase­control­is­normally­set­at­zero­(center)­considering­that­could­be­a­positive­or­negative­value,­and­has­to­be­used­in­conjunction­with­the­Mix­control.

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3.4.4 Mix

The­Mix­control­is­normally­set­at­zero­as­it­mixes­the­signal­captured­by­the­Cab­model­microphone­with­the­direct­signal­taken­from­the­Stomps­output.­This­is­useful­with­bass­amps,­to­mix­the­direct­signal­with­the­cabinet­one,­but­it­could­also­be­used­with­certain­kind­of­guitar­sounds­(figure­3.7).

figure­3.7

Note:­this­control­has­to­be­used­in­conjunction­with­the­Phase­control.

The­following­table­shows­you­which­control­is­implemented­in­each­module.

3.4.5 Implementation Table

AmpliTube 3 ModulesSelected Modules Control

Tuner Stomp Amp Cab Rack

Pan – – – √ √Volume √ √ √ √ √Phase – – – √ –Mix – – – √ –

3.5 Using Noise Gate

The­Noise­Gate­allows­you­ to­minimize­ the­amount­of­unnecessary­noise,­especially­if­you­are­using­high­gain­(figure­3.8).

figure­3.8

3.5.1 Threshold

It­sets­the­threshold­level­for­the­signal.­When­the­signal­drops­below­the­set­ threshold­ level,­ the­ noise­ gate­ silences­ the­ signal.­ Usually,­ keep­ the­

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threshold­level­at­the­lowest­possible­value­(fully­counterclockwise)­and­set­it­higher­only­when­you­need­to­activate­the­gate­(figure­3.9).

figure­3.9

3.5.2 Release

It­sets­the­gate­release­time.­Higher­values­will­result­ in­a­gate­that­takes­a­longer­amount­of­time­to­close­again,­when­the­input­signal­drops­below­the­threshold­(figure­3.10).

figure­3.10

3.5.3 Depth

This­control­determines­how­much­the­signal­ is­attenuated­when­the­gate­closes,­from­-20­dB­to­-100­dB.

Default­ is­-60­dB,­which­is­a­strong­attenuation­that­usually­works­fine­ in­most­ cases.­ If­ you­ need­ to­ add­ more­ attenuation,­ increase­ this­ parameter­(figure­3.11).

figure­3.11

3.6 Tuner Display

The­Tuner­Display­allows­you­to­do­a­quick­check­of­your­tuning­while­you­are­working­in­any­module.­ Just­click­On,­play­a­string,­and­check­that­the­marker­is­exactly­in­the­middle­(figure­3.12).

figure­3.12

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3.7 Selected Parameter Display

When­ you­ adjust­ a­ Stomp,­ Amp,­ Cab­ or­ Rack­ parameter,­ or­ change­ the­settings­ of­ the­ Input/Output­ bar­ controls,­ the­ actual­ value­ (and­ if­ applies,­its­ related­unit­of­measurement)­will­be­shown­ in­ the­Selected­Parameter­Display.­For­example,­if­you­increase­the­Amp­module­level,­a­dB­(Decibel)­abbreviation­will­appear­next­to­the­value­(figure­3.13).

figure­3.13

3.8 Master Section

The­ Master­ Section­ includes­ the­ Master­ knob­ and­ the­ Output­ Level­ Meter­(figure­3.14).

figure­3.14

3.8.1 Master Knob

The­Master­knob­controls­the­AmpliTube­3­Output­level.

3.8.2 Output Level Meter

The­ Output­ Level­ Meter­ shows­ you­ the­ output­ level­ and­ an­ overload­ light­that­works­as­a­clipping­indicator.­

The­clipping­indicator­should­never­light­up.­If­it­does,­you’re­probably­clip-ping­your­signal­digitally,­and­as­a­result,­degrading­the­sound­quality.­This­situation­can­be­fixed­by­reducing­the­Master­level­so­that­the­output­master­signal­stays­slightly­below­the­clipping­level.

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3.9 Program Information, Preferences and More

3.9.1 Lock

If­you­are­running­AmpliTube­3­in­demo­mode­and­you­click­the­Lock­button­(figure­3.15),­the­Product­Authorization­Wizard­will­appear.­

figure­3.15

However,­if­you’ve­already­registered­and­authorized­your­product,­clicking­on­the­Lock­button­will­show­you­the­product­Serial­Number,­Digital­ID,­and­Authorization­Code­(figure­3.16).

figure­3.16

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3.9.2 Preferences (Prefs)

Use­ the­ new­ Quality­ Mode­ feature­ to­ automatically­ optimize­ your­ system­(figure­3.17).

figure­3.17

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

figure­3.18

figure­3.19

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Stomps, Pre and Amp Oversampling:

Enabling­oversampling­improves­the­sound­quality­significantly­when­the­signal­is­heavily­distorted.­However,­it­will­increase­your­CPU­load.­If­you­use­high­gain­sounds,­we­suggest­enabling­the­Pre­Oversampling­option.

Oversampling­ is­ enabled­ by­ default­ on­ Stomps,­ Preamps­ and­ Power­amps­when­AmpliTube­3­is­set­to­Hi­quality.

TIP:­you­can­disable­Oversampling­when­working­on­a­session­in­real-time­and­activate­it­just­before­bouncing­the­final­mix.

High Resolution­(enabled­by­default):

Enabling­ “High­ Resolution”­ will­ improve­ the­ dynamic­ and­ musical­response­of­the­power­amplifiers,­but­the­CPU­usage­will­be­somewhat­higher.­Please­disable­High­Resolution­only­if­your­computer­does­not­have­sufficient­CPU­power­for­the­current­session.­

“High­Resolution”­makes­a­deeper­and­more­sophisticated­usage­of­IK­Multimedia­ proprietary­ DSM­ technology,­ which­ on­ some­ amps­ result­in­ slightly­ more­ compression­ and­ stronger/more­ real­ saturation­ of­various­amps­stages.­This­means­ that­ in­certain­cases­enabling­“High­Resolution”­might­result­in­a­slight­decrease­of­the­audio­level,­as­a­real­amp­does­when­it­starts­compressing­and­saturating­in­comparison­with­a­“theoretical”­amp,­but­on­the­other­side­the­realism,­musicality,­and­quality­will­greatly­be­enhanced.

Amps Reverb:

Real Spring:­ (enabled­ by­ default­ when­ AmpliTube­ 3­ is­ set­ in­ Hi­ quality­mode).­When­this­is­enabled­Amplifiers­with­built-in­reverb­will­use­a­real­spring­reverb­model,­directly­taken­from­each­amplifier­model.­This­is­the­most­realistic­option,­and­each­Amplifier­will­have­its­own­signature­reverb.

Digital:­ when­ this­ is­ enabled,­ Amplifiers­ with­ built-in­ reverb­ will­ use­ a­digital­algorithmic­emulation­of­a­spring­reverb.­This­option,­still­sounding­great,­is­a­less­realistic­alternative­and­will­also­sound­the­same­on­all­amps.

Room:

Real Ambience:­ (enabled­ by­ default­ when­ AmpliTube­ 3­ is­ set­ in­ Hi­quality­mode).­AmpliTube­3­will­use­ impulse­ response­ (based­on­ real­rooms­ and­ spaces)­ to­ achieve­ maximum­ realism­ and­ deepness­ from­the­ ambience­ you’re­ adding­ to­ your­ sound.­ This­ will­ take­ a­ little­ bit­more­CPU­power­than­the­Digital­option,­but­it­will­allow­you­to­choose­between­ different­ types­ of­ spaces­ and­ ambiences­ delivering­ an­ out-standing­sound.

Digital:­AmpliTube­3­will­use­a­high-quality­digital­reverberation­algo-

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rithm­to­generate­the­ambience­you’re­adding­to­your­sound.­This­will­take­less­CPU­power­than­the­Real­Ambience­option,­but­you­will­not­be­able­to­select­different­spaces.

Cabinet Resolution:

High: offers­ the­ best­ sound­ quality­ at­ a­ slightly­ higher­ CPU­ usage­(enabled­by­default­when­AmpliTube­3­is­set­in­Hi­quality­mode).­Always­use­ this­ setting­ when­ it­ is­ possible.­ This­ will­ deliver­ the­ best­ quality­from­the­AmpliTube­3­speakers.­

Mid:­offers­a­very­good­sound­quality­at­a­reasonable­CPU­usage.

Low:­offers­a­good­sound­quality­at­a­very­low­CPU­usage.­This­option­has­ to­ be­ used­ only­ when­ you­ really­ need­ to­ save­ CPU­ power­ as­ the­realism­ and­ musicality­ of­ the­ speakers­ is­ not­ really­ expressed­ at­ its­maximum­potential­under­this­setting.­Also,­this­setting­should­not­be­used­on­bass­cabinets­as­the­low­frequency­extension­could­be­exces-sively­limited.

Cabinet Global Bypass:

This­bypasses­the­Cab­module­globally,­on­all­presets,­independently­from­what­each­preset­has­setup­on­the­Cabinet­module.

This­is­useful­when­you­play­live­with­AmpliTube­3­but­are­using­an­external­real­guitar­cabinet.­In­this­case,­it­is­very­helpful­being­able­to­disable­the­Cab­module­on­all­your­existing­presets­without­having­to­edit­all­of­them­one­by­one.

Tempo Source:

This­option­allows­you­to­select­the­Tempo­source.

Host/Global­(enabled­by­default):

The­BPM­Sync­Tempo­source­is­the­Host­Application­Tempo,­(the­tempo­of­the­application­into­which­AmpliTube­3­is­inserted­as­a­plug-in).­

When­you­use­AmpliTube­3­as­standalone,­the­default­Global­tempo­is­120­BPM,­and­it­can­be­set­to­different­values­on­the­metronome­“BPM”­value­(figure­3.20).

figure­3.20

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The­ Host/Global­ BPM­ value­ is­ displayed­ in­ the­ BPM­ display­ in­ gray­(figure­3.21).

figure­3.21

The­tempo­can­be­overridden­by­clicking­(tapping)­the­tempo­on­the­TAP­button.­Tap­at­least­4­times­(figure­3.22).

figure­3.22

Preset:

The­BPM­Sync­Tempo­source­is­the­value­saved­with­the­Preset.

The­Preset­BPM­value­is­displayed­in­the­BPM­display­in­orange­(figure­3.23).

figure­3.23

To­save­a­BPM­value­to­a­particular­Preset,­click­Preferences­>­enable­the­Preset­option­>­and­click­Ok.­In­the­BPM­display,­click­the­BPM­value,­delete­it,­type­a­new­one,­and­click­Save.

The­tempo­can­be­overridden­by­clicking­(tapping)­the­tempo­on­the­TAP­button.­Tap­at­least­4­times­(figure­3.24).

figure­3.24

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3.9.3 Information (Info)

To­open­the­Information­page,­click­Info­(figure­3.25).

figure­3.25

You­will­find­the­product­name,­its­version­number­(very­important­for­technical­support­requests),­and­the­related­trademarks­and­copyright­notes­(figure­3.26).

figure­3.26

3.9.4 User Area

Click­ on­ this­ button­ to­ open­ the­ IK­ Multimedia­ User­ Area­ webpage­ (figure­3.27).­This­is­another­cool­feature­considering­that­from­there,­you­will­be­able­to­download­the­latest­updates,­search,­download,­and­upload­presets,­etc.

figure­3.27

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3.10 MIDI Control, Automation, and Controllers

3.10.1 MIDI

Click­MIDI­to­open­the­new­MIDI­Control­Panel­(figure­3.28).

figure­3.28

For­more­information,­see Chapter 14, “MIDI”.

3.10.2 Automation (Auto)

Click­Auto­to­open­the­Automation­Panel­(figure­3.29).­

figure­3.29

For­more­information,­see Chapter 13, “Automation”.

3.10.3 Control (Ctrl)

Click­Ctrl­to­open­the­StealthPedal­Control­Panel­(figure­3.30).

figure­3.30

For­more­information,­see Chapter 15, “Control”.

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Chapter 4 Module/Rig Selector

The­Module/Rig­Selector­(figure­4.1)­allows­you­to:­

figure­4.1

•­ Select­the­module­that­you­want­to­use­(Tuner,­Stomp,­Amp,­Cab,­or­Rack).•­ Bypass­and/or­Mute­each­module.•­ Select­the­Input­Type­(Mono­In/Stereo­In).­•­ Choose­a­Signal­Path­Preset­(1-8).

4.1 Dual Rig Signal Path

AmpliTube­3­provides­two­discrete­signal­paths;­each­one­containing­Stomp­box,­Amp,­Cab,­and­Rack­modules.­Through­the­eight­available­presets,­these­two­signal­paths­can­be­configured­in­multiple­variations­allowing­a­tremen-dous­amount­of­flexibility.­This­is­a­very­important­feature­because­it­allows­you­to­route­your­guitar­signal­to­multiple­amplifiers­or­cabinets;­create­two­separate­six­stomp­pedal­setups­or­create­one­big­twelve­pedal­setup.

4.1.1 Signal Path Presets

To­ change­ the­ signal­ path­ of­ your­ guitar­ rig,­ click­ each­ of­ the­ Signal­ Path­Presets’­buttons­(figure­4.2).

figure­4.2

Below­a­brief­description­of­each­preset:

1.­ All­stomp­effects­and­rack­effects­into­one­amp­rig.2.­ Two­separate­amp­setups.3.­ All­stomp­effects­and­rack­effects­into­one­amp­rig­with­both­cabinets.4.­ All­stomp­effects­and­rack­effects­into­both­amp­rigs.5.­ Two­separate­stomp­effects­setups­into­one­amp­with­two­cabinet­

setups.6.­ Two­separate­amp­setups­with­separate­stomps­into­two­indepen-

dent­rack­effects.7.­ Two­separate­stomp­effects­setups­into­two­separate­amp­rigs­into­

all­the­rack­effects.8.­ Two­separate­stomp­effects­setups­into­one­amp­setup­with­all­the­

rack­effects.

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4.1.2 Stereo IN

We­have­implemented­a­new­full­stereo-chain­signal­path­that­allows­to:

•­ Use­AmpliTube­3­on­two­instruments­simultaneously,­each­one­with­their­own­rig.

•­ Use­AmpliTube­3­as­a­true­stereo­multi-effects­unit­on­every­instru-ment­in­your­DAW­session.

•­ Add­AmpliTube­3­effects­to­your­stereo­recording­of­drums,­keyboards­and­more.

Select­ the­Signal­Path­Presets­#­2­or­6,­and­click­ the­Input­Type­button­to­change­from­Mono­In­to­Stereo­In­(figure­4.3).

figure­4.3

4.2 Selecting Modules

To­select­an­AmpliTube­3­module,­click­on­the­related­button­(Tuner,­Stomp­A/B,­Amp­A/B,­Cab­A/B,­and­Rack­A/B)­(figure­4.4).

figure­4.4

The­ selected­ module­ will­ be­ displayed­ in­ the­ Module­ Interface­ section­(figure­4.5).

figure­4.5

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To­Bypass­and/or­Mute­a­specific­module,­select­it­and­click­Bypass­and/or­Mute­(figure­4.6).

figure­4.6

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Chapter 5 Presets

In­this­chapter,­we­will­cover­all­the­Preset/Project­related­functionality.

The­Preset­Manager­includes­the­Preset­Selector,­the­BPM­display,­and­the­Tap,­Preset­Browser,­Save,­Save­As,­and­Delete­buttons­(figure­5.1).

figure­5.1

5.1 Preset Selector

The­Preset­Selector­(figure­5.2)­allows­you­to­navigate­its­menus­and­select­a­preset­(figure­5.3),­use­the­Up/Down­arrows­to­scroll­through­them­(figure­5.4),­and­connect­to­PresetXChange.­

figure­5.2

figure­5.3

figure­5.4

Presets­ are­ organized­ by­ “Powered­ by­ AmpliTube”­ applications­ such­ as­AmpliTube­2,­AmpliTube­Jimi­Hendrix,­AmpliTube­Metal,­and­each­applica-tion­has­its­own­sub­categorization­criteria.

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5.2 Preset Browser

To­ search­ presets­ by­ keywords,­ attributes,­ or­ apply­ filters­ to­ your­ search,­click­Preset­Browser­(figure­5.5).

figure­5.5

The­Preset­ Browser­ includes­ the­ keyword­search­box,­ the­All­and­Refresh­buttons,­13­columns,­and­a­vertical­and­horizontal­scroll­bars.

To­see­all­the­presets,­use­the­vertical­scroll­bar­(figure­5.6).

figure­5.6

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To­see­all­the­13­columns­(Name,­Description,­Sound­Character,­Artist,­Style,­Pickup­ Type,­ Instrument­ Type,­ Pickup­ Position,­ Band,­ Song­ Section,­ Song­Position,­and­Keywords),­use­the­horizontal­scroll­bar­(figure­5.7).

figure­5.7

The­ content­ included­ in­ each­ column­ is­ ordered­ alphabetically.­ To­ change­how­the­content­will­be­displayed­(A-Z,­Z-A),­click­on­the­column­name­(top­cell)­(figure­5.8).

figure­5.8

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5.2.1 Searching Capabilities

AmpliTube­3­allows­you­to­search­by­keyword­and­through­smart­ filtering­options.

Click­the­Keyword­Search­box­and­type­a­keyword­(figure­5.9).­The­results­will­automatically­appear­even­after­typing­a­few­characters.

figure­5.9

Click­All­to­clean­the­Keyword­Search­box­and­display­all­the­presets­(figure­5.10).­ You­ can­ also­ click­ the­ keyword­ and­ press­ your­ computer­ keyboard­backspace­key.

figure­5.10

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Click­Refresh­to­refresh­the­Preset­Browser­(figure­5.11).

figure­5.11

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5.2.2 Filter Options

In­addition­to­the­keyword­search­option,­you­can­also­use­the­filters­embed-ded­in­the­Instrument,­Sound­Character,­Style,­Pickup­Type,­Instrument­Type,­Pickup­Position,­and­Song­Position­columns.

If­ you­ search­ by­ Instrument­ and­ you­ want­ to­ find­ all­ the­ “bass”­ presets,­click­the­Instrument­column­and­then­the­Filter­icon­(figure­5.12).­The­filter­options­will­appear­(figure­5.13).­

figure­5.12

figure­5.13

Select­ Electric­ Bass.­ All­ the­ related­ presets­ will­ be­ displayed.­ Now­ if­ you­click­again­in­the­Filter­icon­and­select­Electric­Guitar,­all­the­bass­and­guitar­related­presets­will­be­displayed.­If­you­want­to­see­only­the­guitar­presets,­uncheck­the­Electric­Bass­filter­option.­To­reset­all­the­filter­options­applied­to­this­column,­click­on­the­Filter­icon­and­select­Reset.­

Now­ you­ can­ apply­ the­ same­ procedure­ to­ any­ of­ the­ columns­ that­ offer­filtering­options.

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5.3 Working with Presets

5.3.1 Loading Presets

You­can­easily­load­a­preset­in­2­ways;

A)­Via­Preset­Selector

Click­on­the­Preset­Selector,­navigate­its­menus­and­select­a­preset.­

B)­Via­Preset­Browser

Click­the­Preset­Browser­button,­search,­select­a­preset­by­clicking­on­it­(figure­5.14),­and­click­the­Preset­Browser­button­again­to­see­the­preset­in­the­Module­Interface.

figure­5.14

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5.3.2 Saving Presets

You­can­save­a­preset­via­the­Save­and­the­Save­as­buttons­(figure­5.15).

figure­5.15

For­example,­if­you­are­making­a­lot­of­changes­on­a­particular­preset­and­you­want­to­save­them,­you­have­two­options;

A)­Click­Save­as,­to­keep­the­default­or­source­preset­and­save­a­new­preset­that­contains­all­your­modifications­and­customization.­In­the­Save­as­win-dow,­ complete­ as­ much­ information­ as­ possible­ to­ make­ your­ next­ search­easier­and­maximize­the­Preset­Browser­capabilities­(figure­5.16).

figure­5.16

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B)­Click­Save­to­overwrite­the­default­preset.­Considering­that­this­option­is­not­commonly­used­the­following­message­will­appear­(figure­5.17):

figure­5.17

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5.3.3 Deleting Presets

To­delete­a­preset,­click­Delete­(figure­5.18).

figure­5.18

5.4 Model Presets

This­is­a­great­new­feature.­Now,­AmpliTube­3­allows­you­to­save,­load,­and­copy-paste­settings­between­Model­Presets.­

In­the­Amp­and­Cab­modules,­you­will­be­able­to­save­all­ the­module­set-tings,­meaning­that­in­the­Cab­module,­saving­a­model­preset­will­save­the­Cabinet­Model,­Mic­Model,­Room­Type,­Mixing­parameters,­etc.

In­ the­ Stomp­ and­ Rack­ modules,­ you­ will­ be­ able­ to­ save­ each­ individual­model­settings.­For­example,­in­the­Stomp­module,­you­will­be­able­to­right-click­on­top­of­each­Stomp­model­and­save­its­settings!

5.4.1 Saving a Model Preset

To­save­a­Stomp­Model­Preset­follow­these­simple­instructions:

1.­ Right-click­(or­CTRL-click­on­Mac)­on­the­body­(not­on­controls)­of­the­Stomp­model­and­click­Save­Model­Preset.­

2.­ Name­your­preset­and­click­OK.

To­ be­ able­ to­ compare­ between­ the­ default­ settings­ and­ the­ new­ model­presets­we­recommend­the­following:

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1.­ Right-click­(or­CTRL-click­on­Mac)­on­the­body­of­the­Stomp­model­(default­settings)­and­click­Save­Model­Preset.­

2.­ Name­your­preset­(e.g.,­“name­of­the­stomp-default”)­and­click­OK.3.­ Change­the­settings.4.­ Right-click­on­top­of­the­Stomp­model­(new­settings)­and­click­Save­

Model­Preset.5.­ Name­your­preset­(e.g.,­“name­of­the­stomp-v1”)­and­click­OK.6.­ Right-click­on­top­of­the­Stomp­model­and­select­Load­Model­Preset.­

The­ sub­ menu­ will­ display­ the­ default­ and­ v1­ presets­ so­ you­ are­able­to­compare­them.­Now,­you­can­insert­more­Stomp­models­in­the­other­empty­slots­and­repeat­the­aforementioned­steps.

To­save­the­Cab­module­settings­and­be­able­to­compare­between­the­default­settings­and­the­new­model­presets­follow­these­instructions:

1.­ Right-click­on­top­of­the­Cab­module­(default­settings)­and­click­Save­Model­Preset.­

2.­ Name­your­preset­(e.g.,­“name­of­the­Cab­model-default”­and­click­OK.3.­ Change­the­settings­in­the­Cab­model,­Mic­model­and­Room­areas).4.­ Right-click­ on­ top­ of­ the­ Cab­ module­ (new­ settings)­ and­ click­ Save­

Model­Preset.­5.­ Name­your­preset­(e.g.,­“name­of­the­Cab­model­-v1”­and­click­OK.6.­ Right-click­on­top­of­ the­Cab­module­and­select­Load­Model­Preset.­

The­sub­menu­will­display­the­default­and­v1­presets­so­you­are­able­to­compare­them.

Note:­ if­you­right-click­on­top­of­a­specific­control­ the­Assign­Automation/Assign­MIDI­menu­will­appear,­so­right-click­anywhere­ in­ the­Stomp/Rack­model­or­Amp/Cab­modules­that­is­not­a­control.

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5.4.2 Loading a Model Preset

Before­loading­a­Model­Preset,­you­need­to­save­one­or­more­presets,­as­we­did­in­5.4.1.­After­that,­right-click­on­top­of­the­Stomp/Rack­model­or­Amp/Cab­module,­select­Load­Model­Preset,­and­click­on­the­selected­preset­(figure­5.19).

figure­5.19

5.4.3 Copy and Paste Settings

AmpliTube­ 3­ allows­ you­ to­ copy­ and­ paste­ settings­ between­ Stomp/Rack­model­and­Amp/Cab­module­presets.

After­you’ve­saved­two­or­more­model­presets,­follow­these­steps:

1.­ Right-click­on­top­of­the­Rack­model­and­click­Copy­Settings.2.­ Right-click­on­top­of­the­Rack­model,­select­Load­Model­Presets­and­

click­one­of­the­presets.3.­ Right-click­on­top­of­the­Rack­model­and­click­Paste­Settings.

This­is­also­very­useful­to­copy­and­paste­Amp­settings­from­rig­A­to­rig­B­when­you­need­the­two­rigs­having­the­exact­same­amp.

5.5 Presets and Projects Saving Options

You­already­know­how­to­save­a­Model­Preset,­a­Preset,­and­a­Project,­so­let’s­summarize­what­they­are­saving:

Model­ Preset:­ A­ model­ preset­ saves­ the­ Stomp/Rack­ individual­ models’­settings,­e.g.,­an­Overdrive­stomp­or­a­Digital­Delay­ rackmount.­ If­you­are­

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AmpliTube 3

working­in­the­Amp­or­Cab­modules,­it­will­save­all­the­module­settings.

Preset:­An­AmpliTube­3­Preset­saves­everything­except­the­audio­files­and­settings­included­in­the­Four­Track­Audio­Player/Recorder.

Project:­ A­ Project­ file­ saves­ all­ the­ information­ and­ data­ included­ in­ that­particular­project,­including­the­audio­files­and­settings­included­in­the­Four­Track­Audio­Player/Recorder.

5.6 BPM

The­BPM­display­is­included­in­the­Preset­Manager­(figure­5.20).

figure­5.20

Its­value­represents­beats­per­minute­(BPM).­For­example,­a­120­BPM­value­means­that­in­one­minute­there­will­be­120­musical­beats­regardless­of­any­other­variables­such­as­time­signature.

In­AmpliTube­3,­there­are­two­BPM­tempo­sources;­Host/Global­and­Preset.

5.6.1 Host/Global

The­BPM­Sync­Tempo­source­is­the­Host­Application­Tempo­(the­tempo­of­the­application­into­which­AmpliTube­3­is­inserted­as­a­plug-in).­

When­you­use­AmpliTube­3­as­standalone,­the­default­Global­tempo­is­120­BPM.­

The­Host/Global­BPM­value­is­displayed­in­the­BPM­display­in­gray­(figure­5.21).

figure­5.21

The­ tempo­ can­ be­ overridden­ by­ clicking­ (tapping)­ the­ tempo­ on­ the­ TAP­button.­Tap­at­least­4­times­(figure­5.22).

figure­5.22

5 - Presets­­­­­­­­­82

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5.6.2 Preset

The­BPM­Sync­Tempo­source­is­the­value­saved­with­the­Preset.

The­Preset­BPM­value­is­displayed­in­the­BPM­display­in­orange­(figure­5.23).

figure­5.23

To­save­a­BPM­value­ to­a­particular­Preset,­click­Preferences­>­enable­ the­Preset­option­>­and­click­OK.­In­the­BPM­display,­click­the­BPM­value,­delete­it,­type­a­new­one,­and­click­Save.

The­ tempo­ can­ be­ overridden­ by­ clicking­ (tapping)­ the­ tempo­ on­ the­ TAP­button.­Tap­at­least­4­times.­

5.6.3 TAP

To­change­the­BPM­value,­click­the­Tap­button­with­a­steady­pulse­(at­least­4­times)­(figure­5.24).

figure­5.22

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Chapter 6 Tuner Module

The­ Tuner­ is­ the­ first­ module.­ On­ the­ Module/Rig­ Selector,­ click­ Tuner­ to­open­its­interface­(figure­6.1).

figure­6.1

Considering­that­this­is­a­fully­automatic­chromatic­tuner,­there­is­no­need­to­manually­select­the­note­you­are­going­to­tune.­The­tuner­will­automatically­detect­and­show­which­note­you’re­playing.

6.1 On/Off Switch

This­switch­turns­the­Tuner­Module­On/Off­(figure­6.2).

figure­6.2

6 - Tuner Module­­­­­­­­­84

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6.2 Mute

The­Mute­switch­allows­you­to­silence­the­guitar­signal­while­tuning,­a­very­useful­feature­for­live­performance­(figure­6.3).

figure­6.3

Note:­the­On/Off­and­Mute­switches­are­linked­to­the­Bypass­and­Mute­but-tons­located­in­the­Module/Rig­Selector.

6.3 Tune

The­Tune­Display­shows­the­tuning­reference­being­used.­The­default­refer-ence­is­440­Hz­but­it­could­be­changed­(from­425­Hz­to­455­Hz)­by­clicking­on­the­display.­When­the­pointer­appears,­use­the­backspace­key­and­cursor­control­keys­on­your­computer­keyboard­to­edit­the­value­(figure­6.4).

figure­6.4

6.4 Graphical Tuner Interface

AmpliTube­3’s­Graphical­Tuner­Interface­is­based­on­a­high-end­rackmount­tuner­and­allows­you­to­tune­your­instrument­fast­and­accurately­(figure­6.5).

figure­6.5

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6.5 Tune Display

It­shows­the­detected­note­name,­e.g.,­A,­B,­etc.­(figure­6.6).­This­is­also­vis-ible­from­the­Input/Output­bar.­

figure­6.6

6.6 Cents Display

It­shows­how­many­cents­you­are­up­(+)­or­down­(-)­in­relation­to­the­note­that­you­are­tuning.­(figure­6.7)

figure­6.6

Note:­in­music,­a­cent­is­1/100­of­a­semitone.­Cents­are­a­convenient­way­of­describing­small­increments­of­pitch.

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7 - Stomp Module ­­­­­­­­­87

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Chapter 7 Stomp Module (Stomp Effects)

7.1 Selection and Navigation Options

The­second­module­in­AmpliTube­3­is­the­Stomp­module.­

To­access­the­Stomp­module,­click­the­Stomp­button­located­on­the­Module­Selector­(figure­7.1).

figure­7.1

The­Stomp­module­flexibility­allows­you­to­freely­configure­six­stomp­pedal­effects­at­a­time.­In­fact,­you­can­use­the­Stomp­module­as­two­independent­six­ pedal­ stomp­ setups­ (figure­ 7.2)­ or­ as­ one­ twelve­ pedal­ stomp­ setup­(figure­7.3).­ Just­select­one­of­ the­eight­signal­path­presets­ located­on­ the­Module/Rig­Selector­(figure­7.4).

figure­7.2

figure­7.3

figure­7.4

7 - Stomp Module­­­­­­­­­88

AmpliTube 3

The­six­stomp­effect­slots­are­displayed­in­the­module­interface­as­“empty”­slots­on­a­wooden­pedal­board­(figure­7.5).

figure­7.5

To­ select­ a­ stomp­ unit,­ click­ on­ each­ of­ the­ six­ stomp­ slots­ (where­ it­ says­“Empty”),­ navigate­ through­ each­ category­ (Modulation,­ Delay,­ etc),­ and­choose­one­of­the­stomp­models­(figure­7.6).

figure­7.6

Another­ navigation­ option­ is­ to­ scroll­ through­ the­ different­ stomp­ boxes­using­the­Up/Down­arrows­(figure­7.7).

figure­7.7

7 - Stomp Module ­­­­­­­­­89

AmpliTube 3

Like­ the­ actual­ gear­ itself,­ each­ stomp­ effect’s­ controls­ are­ displayed­ on­the­stomp­box­(figure­7.8).­Enable/­Disable­each­stomp­through­the­On/Off­switch­(figure­7.9).­When­the­effect­is­On­the­red­LED­is­lit­(figure­7.10).

figure­7.8 figure­7.9 figure­7.10

When­you­adjust­a­rotary­or­slide­control­on­ the­stomp­box,­ that­control’s­value­is­displayed­in­the­Selected­Parameter­Display­(figure­7.11).

figure­7.11

7.2 Drag & Drop feature

Now,­you­are­able­to­re-arrange­the­order­of­the­stomps­using­the­drag­and­drop­feature.­This­option­allows­you­to­experiment­different­configurations­and­explore­new­sonic­territories­on­the­fly…­By­the­way,­have­you­ever­tried­to­rearrange­6-12­hardware­stomp­pedals?

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7.3 Stomp Models

7.3.1 Delay

7.3.1.1 Delay

This­model­is­based­on­a­traditional­digital­delay­stomp­pedal­(figure­7.12).

Controls:

•­ DELAY:­ changes­ the­ length­of­ the­delay­between­each­echo,­ from­1­ms­to­2000­ms.

•­ FBK:­changes­the­amount­of­time­that­the­echo­repeats,­from­0%­to­100%.

•­ LEVEL: sets­the­level­of­the­effected­(or­wet)­sound,­from­0­to­10.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.12

7 - Stomp Module ­­­­­­­­­91

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7.3.1.2 EchoMan

A­ model­ of­ a­ classic­ bucket-brigade­ analog­ echo/delay­ (with­ modulation)­stomp­pedal­effect­(figure­7.13).

Controls:

•­ DELAY:­changes­the­length­of­the­delay­between­each­echo,­from­25­ms­to­500­ms.

•­ FEEDBACK:­changes­the­amount­of­time­that­the­echo­repeats,­from­0%­to­100%.

•­ BLEND:­mixes­the­amount­of­dry­signal­with­the­effected­signal,­from­0%­(dry)­to­100%­(effected).

•­ CH/VIB:­ sets­ the­ amount­ of­ Chorus/Vibrato­ effect­ added­ to­ the­effected­sound,­from­0%­to­100%.

•­ CHORUS VIBRATO:­changes­whether­chorus­or­vibrato­can­be­added­to­the­effect.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.13

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7.3.1.3 TapDelay

This­creative­delay­effect­unit­can­be­used­to­create­interesting­and­unusual­delay­effects­thanks­to­the­8­totally­independent­taps.­You­can­create­groov-ing­rhythm­patterns­by­combining­more­taps­with­a­specific­time­signature,­and­you­can­mix­this­up­with­psychedelic­reverse­tape­effects­you­are­able­to­set­for­each­tap­(figure­7.14).

The­TapDelay­is­actually­8­delays­in­one­single­unit,­and­it­is­possible­to­set­time,­timbre,­and­level­for­each­of­them.­In­addition,­you­can­globally­control­with­ single­ knobs­ parameters­ for­ all­ the­ 8­ taps­ simultaneously,­ like­ time,­dry/wet­mix­and­feedback­amount.

Controls:

•­ TIME:­globally­shifts­the­delay­time­of­all­the­8­taps.­This­is­a­relative­control,­when­set­at­the­center­position­(1x)­it­does­not­alter­the­time­that­ has­ been­ setup­ on­ each­ Tap,­ when­ set­ to­ minimum­ (0.25x)­ it­divides­all­times­by­four­and­when­set­to­max­(4x)­it­multiply­all­times­by­four.­Use­it­to­globally­change­the­delay­tempo­without­changing­the­relations­between­all­taps.

•­ MIX:­ globally­ adjust­ the­ effect­ mix­ between­ the­ Dry­ signal­ and­ all­the­8­delay­taps.

•­ FEEDBACK:­ globally­ adjust­ the­ amount­ of­ feedback­ the­ delay­ will­have.­When­set­at­maximum,­the­delay­will­be­sustaining­itself.

•­ TAP:­use­these­buttons­to­select­which­one­among­the­8­delay­taps­you’re­going­to­edit­with­next­controls

•­ LEVEL:­sets­the­audio­level­for­the­selected­delay­tap.•­ TIME:­ sets­ the­ delay­ time­ for­ the­ selected­ tap.­ It­ can­ be­ shown­ in­

milliseconds­ or­ in­ musical­ divisions,­ depending­ on­ the­ BPM­ Sync­switch­position.

•­ FILTER:­sets­the­timbre­for­the­selected­delay­tap,­darker­at­minimum­and­brighter­at­maximum.

•­ REVERSE:­enable­this­button­to­transform­the­selected­delay­tap­from­normal­to­reverse.­When­set­to­reverse­a­delay­tap­will­sound­like­a­reversed­tape­loop.

•­ LINK:­enable­this­button­to­make­a­changes­to­the­above­mentioned­parameters­to­apply­to­all­the­8­taps­at­the­same­time.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.14

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7.3.2 Distortion

7.3.2.1 BigPig

This­ effect­ is­ modeled­ after­ an­ iconic­ distortion­ pedal­ that­ has­ stood­ the­test­of­time.­Capable­of­tones­from­smooth­sustain­&­compression­to­heavy­buzz-saw­ distortion,­ this­ pedal­ is­ perfect­ for­ all­ different­ styles­ of­ metal­(figure­7.15).

Controls:

•­ VOLUME:­controls­the­Distortion­pedal­output­level.­It­does­not­alter­the­timbre­of­the­distortion,­unless­another­distorting­device­follow,­like­another­distortion­pedal­or­an­amplifier­at­high­gain­or­volume.

•­ SUSTAIN:­controls­the­amount­of­distortion­the­pedal­gives.­•­ TONE:­controls­the­timbre­of­the­distortion­pedal

figure­7.15

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7.3.2.2 Crusher

This­model­alters­the­sound­of­the­input­signal­by­changing­the­sample-rate,­cutoff­frequency­and­by­distorting­it.­This­effect­can­produce­very­aggressive­distorted­sounds,­more­noticeable­than­overdrive­stompboxes.­The­Low­pass­filter­is­very­creative­when­combined­to­high­distortion­levels­(figure­7.16).

Controls:

•­ CUTOFF:­controls­the­cutoff­frequency­of­the­low­pass­filter.•­ DECIM:­ selects­ the­ sample-rate-ratio­ of­ the­ processed­ sound,­ from­

1:1­to­1:16.•­ GAIN:­ sets­ the­ amount­ of­ signal­ sent­ to­ the­ effect,­ therefore­ the­

distortion.­Useful­when­creating­heavily­distorted­sounds,­ from­-40­dB­to­+40­dB.

•­ OUT:­controls­the­output­volume,­from­-40­dB­to­+40­dB.

figure­7.16

7 - Stomp Module ­­­­­­­­­95

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7.3.2.3 Diode Overdrive

A­model­of­a­classic­overdrive­stomp­effect­(figure­7.17).

Controls:

•­ TONE:­adjusts­boost­or­cut­of­the­high­frequencies­in­the­stomp­effect,­from­0­to­10.

•­ DIST:­sets­the­amount­of­distortion­applied­to­the­input­signal­of­the­effect,­from­0­to­10.

•­ LEVEL:­sets­the­level­of­the­input­for­the­effect,­from­0­to­10.­

figure­7.17

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AmpliTube 3

7.3.2.4 Distortion

This­effect­is­based­on­one­of­the­most­versatile­distortion­boxes­ever­made.­From­subtle­crunch­to­complete­mayhem,­this­pedal­has­been­used­by­count-less­guitarists­of­all­styles­(figure­7.18).­

Controls:

•­ LEVEL:­ controls­ the­ Distortion­ pedal­ output­ level.­ It­ does­ not­ alter­the­timbre­of­the­distortion,­unless­another­distorting­device­follows,­like­another­distortion­pedal­or­an­amplifier­at­high­gain­or­volume.

•­ DIST:­controls­the­amount­of­distortion­the­pedal­gives.•­ TONE:­controls­the­timbre­of­the­distortion­pedal.

figure­7.18

7 - Stomp Module ­­­­­­­­­97

AmpliTube 3

7.3.2.5 Feedback

This­ effect,­ modeled­ after­ a­ hard-to-find­ vintage­ unit,­ includes­ a­ built-in­oscillator­ for­ infinite­ sustain.­ Hold­ notes­ to­ create­ amazing­ synth-like­sounds­or­boost­solos­for­more­cutting­tone,­combined­with­classic­distortion­timbres­(figure­7.19).

Controls:­

•­ LEVEL:­ controls­ the­ Distortion­ pedal­ output­ level.­ It­ does­ not­ alter­the­timbre­of­the­distortion,­unless­another­distorting­device­follow,­like­another­distortion­pedal­or­an­amplifier­at­high­gain­or­volume.

•­ TONE:­controls­the­timbre­of­the­distortion­pedal.•­ DIST:­controls­the­amount­of­distortion­the­pedal­gives.•­ OVERTONE:­controls­the­octave­for­the­feedback­effect.•­ FBK­button:­press­this­button­to­activate­the­feedback.­

Notes:•­ When­the­stomp­is­On,­clicking­on­the­FBK­button­will­make­the­led­

flash.•­ When­using­StompIO,­feedback­will­be­automatically­activated­when­

distortion­is­On,­and­the­On/Off­button­for­this­pedal­is­hold­down­for­1­second­or­more.

figure­7.19

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7.3.2.6 Metal Distortion

This­ effect­ is­ based­ on­ one­ of­ the­ favorite­ pedals­ of­ some­ of­ the­ heaviest­bands­of­all­time.­This­unit­is­perfect­for­extreme­gain­and­sustain.­Nothing­compares­to­this­pedal­for­pure­distortion­mayhem­(figure­7.20).

Controls:­

•­ LEVEL:­ controls­ the­ Distortion­ pedal­ output­ level.­ It­ does­ not­ alter­the­timbre­of­the­distortion,­unless­another­distorting­device­follows,­like­another­distortion­pedal­or­an­amplifier­at­high­gain­or­volume.

•­ DIST:­controls­the­amount­of­distortion­the­pedal­gives.•­ LOW – HIGH:­coaxial­tone­control.­•­ Center knob:­controls­High­frequencies.•­ External knob:­controls­Low­frequencies.•­ MID – MIDFREQ:­coaxial­parametric­mid­tone­control.•­ Center knob:­controls­Mids­level.•­ External knob:­controls­Mids­frequency.

figure­7.20

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7.3.2.7 Metal Distortion 2

This­effect­is­modeled­after­a­classic­from­the­‘80s.­It­delivers­deep,­distorted­crunch­perfect­ for­heavy­metal­and­hard­rock.­Long­discontinued,­ this­ is­a­rare­ vintage­ find­ that­ delivers­ deep,­ dark­ crunch­ from­ the­ ‘70s,­ ‘80s,­ and­beyond­(figure­7.21).

Controls:­

•­ LEVEL:­ controls­ the­ distortion­ pedal­ output­ level.­ It­ does­ not­ alter­the­timbre­of­the­distortion,­unless­another­distorting­device­follows,­like­another­distortion­pedal­or­an­amplifier­at­high­gain­or­volume.

•­ DIST:­controls­the­amount­of­distortion­the­pedal­gives.•­ COLOR L:­controls­the­amount­of­bass­tones­on­the­sound.•­ COLOR H:­controls­the­amount­of­high­tones­on­the­sound.

figure­7.21

7 - Stomp Module­­­­­­­­­100

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7.3.2.8 Overdrive

This­effect­is­based­on­one­of­the­most­collectible­pedals.­It­is­one­of­the­most­aggressive­ overdrive­ pedals­ ever­ made.­ From­ subtle­ to­ over-the-top,­ this­effect­pushes­amps­harder­without­sacrificing­clarity­and­tone­(figure­7.22).

Controls:

•­ LEVEL:­ controls­ the­ Overdrive­ pedal­ output­ level.­ It­ does­ not­ alter­the­timbre­of­the­distortion,­unless­another­distorting­device­follows,­like­another­distortion­pedal­or­an­amplifier­at­high­gain­or­volume.

•­ DRIVE:­controls­the­amount­of­overdrive­the­pedal­gives.•­ TONE:­controls­the­timbre­of­the­overdrive­pedal.

figure­7.22

7 - Stomp Module ­­­­­­­­­101

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7.3.2.9 OverScream

This­ is­ a­ model­ of­ a­ classic­ overdrive/distortion­ pedal­ which­ has­ become­the­go­to­overdrive­pedal­for­some­of­the­most­influential­guitar­players­of­all­time.­Its­basic­controls­make­it­easy­to­dial­in­the­exact­sound­you­want­(figure­7.23).

Controls:

•­ DRIVE:­increases­the­amount­of­clipping­in­the­distortion­circuit,­from­0­to­10.

•­ LEVEL:­sets­the­output­level­of­the­pedal,­from­0­to­10.•­ TONE:­ adjusts­ boost­ or­ cut­ of­ high­ frequencies­ in­ the­ stomp­ effect,­

from­0­to­10.

figure­7.23

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7.3.2.10 PROdrive

This­effect­is­modeled­after­one­of­the­most­versatile­distortion­boxes­ever.­From­smooth,­light­crunch,­to­extreme­shred­sustain­and­over-the-top­gain,­this­pedal­has­been­a­classic­ever­since­its­release­in­the­early­‘80s­(figure­7.24).

Controls:

•­ DIST:­controls­the­amount­of­distortion­the­pedal­gives.•­ VOLUME:­controls­the­PROdrive­pedal­output­level.­It­does­not­alter­

the­timbre­of­the­distortion.•­ FILTER:­controls­the­timbre­of­the­PROdrive­pedal.

figure­7.24

7 - Stomp Module ­­­­­­­­­103

AmpliTube 3

7.3.2.11 The Ambass’dor

This­pedal­is­a­model­of­a­beloved­‘80s-era­distortion­pedal­by­a­company­known­for­making­amps­with­amazing­distortion.­This­model­packs­a­whole­powerful­amp­into­a­single­stomp­box­(figure­7.25).

Controls:

•­ GAIN:­sets­the­amount­of­distortion­generated­by­the­pedal.•­ BASS:­sets­the­amount­of­low­frequencies­in­the­sound.•­ MIDDLE:­sets­the­amount­of­midrange­frequencies­in­the­sound.•­ TREBLE:­sets­the­amount­of­high­frequencies­in­the­sound.•­ LEVEL:­sets­the­output­volume­of­the­distortion­pedal.

figure­7.25

7 - Stomp Module­­­­­­­­­104

AmpliTube 3

7.3.3 Dynamics

7.3.3.1 Compressor

This­effect­is­a­model­of­a­classic­high-end­compressor.­It­is­capable­of­mild­compression­or­intense­signal­slamming,­and­does­it­all­with­a­tremendous­amount­of­finesse­(figure­7.26).

Controls:

•­ COMP:­sets­the­amount­of­compression,­from­0­to­100.•­ LEVEL:­ changes­ the­ output­ level­ of­ the­ compressor,­ from­ -15­ dB­ to­

+15­dB.­

figure­7.26

7 - Stomp Module ­­­­­­­­­105

AmpliTube 3

7.3.3.2 Dcomp

This­effect­is­modeled­after­a­vintage­compression­stomp­pedal­(figure­7.27).

Controls:

•­ OUTPUT:­sets­the­output­level­for­the­effect,­from­–inf­to­0.0­dB.•­ SENSITIVITY:­sets­the­sensitivity­of­the­compression,­from­0­to­10.

figure­7.27

7 - Stomp Module­­­­­­­­­106

AmpliTube 3

7.3.4 EQ

7.3.4.1 7 Band Graphic

This­model­is­a­clean,­highly­effective­1­octave­graphic­equalizer,­capable­of­fine­tuning­and­dialing­in­that­perfect­tone.­It­is­also­very­useful­when­you­need­to­“push”­the­signal­for­the­next­stompbox­or­amp­(figure­7.28).

Controls:

•­ FREQUENCY BAND LEVEL:­each­frequency­band­is­one­octave­apart­and­allows­for­+/-­15­dB­of­adjustment.­The­controls­include­100­Hz,­200­Hz,­400­Hz,­800­Hz,­1.6­kHz,­3.2­kHz,­6.4­kHz.

•­ LEVEL:­sets­the­output­level­of­the­graphic­EQ,­from­-15­dB­to­+15­dB.­

figure­7.28

7 - Stomp Module ­­­­­­­­­107

AmpliTube 3

7.3.4.2 10 Band Graphic

IK­Multimedia­proprietary­10­Band­Graphic­EQ.­(figure­7.29)

Controls:­

•­ BANDS:­31,­62,­125,­250,­500,­1k,­2k,­4k,­8k,­16k.­Each­band­has­+/-­15­dB­of­boost/cut.

•­ GAIN:­the­gain­slider­boosts­or­cut­the­overall­level­by­+/-­15­dB.

figure­7.29

7 - Stomp Module­­­­­­­­­108

AmpliTube 3

7.3.5 Filter

7.3.5.1 Envelope Filter

This­stomp­is­an­advanced­filter­effect.­It­uses­the­envelope­of­the­incoming­signal­ to­ control­ a­ synthesizer­ style­ filter.­ It­ is­ capable­ of­ sounds­ ranging­from­very­simple­auto­wah­effects­ to­extreme­never­before­heard­filtering­effects­(figure­7.30).

Controls:

•­ FREQ:­sets­the­cutoff­frequency­of­the­filter,­from­40­Hz­to­20,480­Hz.•­ RESO:­sets­the­resonance­of­the­filter,­from­0.30­to­10.•­ DEPTH:­ changes­ the­ amount­ of­ effect­ that­ the­ envelope­ has­ on­ the­

filter,­from­0%­to­100%.•­ MODE:­these­control­change­the­type­of­filter­used­for­the­effect.•­ 12/24:­ sets­ the­slope­of­ the­ filter,­either­12­dB­per­octave­or­24­dB­

per­octave.•­ HP/BP/LP:­sets­ the­type­of­ filter­being­used,­either­high­pass,­band­

pass,­or­low­pass.­

figure­7.30

7 - Stomp Module ­­­­­­­­­109

AmpliTube 3

7.3.5.2 LFO Filter

This­complex­stomp­effect­uses­an­LFO­to­modulate­the­frequency­of­its­filter.­With­the­included­BPM­Sync­this­is­a­very­useful­effect­for­creating­interest-ing,­moving­guitar­parts­with­a­minimum­amount­of­trouble­(figure­7.31).

Controls:

•­ FREQ:­sets­the­cutoff­frequency­of­the­filter,­from­40­Hz­to­20,480­Hz.•­ RESO:­sets­the­resonance­of­the­filter,­from­0.30­to­10.•­ RATE:­adjusts­the­speed­of­the­LFO,­from­0.05­Hz­to­5­Hz.­•­ DEPTH:­ changes­ the­ amount­ of­ effect­ that­ the­ envelope­ has­ on­ the­

filter­from­0%­to­100%.•­ MODE:­these­control­change­the­type­of­filter­used­for­the­effect.•­ 12/24:­ sets­ the­slope­of­ the­ filter,­either­12­dB­per­octave­or­24­dB­

per­octave.•­ HP/BP/LP:­sets­ the­type­of­ filter­being­used,­either­high­pass,­band­

pass,­or­low­pass.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.31

7 - Stomp Module­­­­­­­­­110

AmpliTube 3

7.3.5.3 Rezo

A­unique­effect­that­can­add­synth-like­drones­and­sustaining­resonances­to­your­parts.­Make­your­guitar­sound­like­a­sitar­or­like­a­synth-drone­to­cre-ate­sonic­resonances­to­sing­on­and­control­the­notes­with­your­controller­to­create­arpeggios­and­steps­while­playing­(figure­7.32).­

You­have­4­resonating­voices­that­can­be­tuned­independently­from­note­E0­to­note­B7,­in­half­tone­steps.­For­example,­if­you­want­to­create­a­resonating­C­Major­chord,­just­set­the­first­three­voices­to­C3,­E3­and­G3.

By­ moving­ the­ All­ slider­ you­ can­ shift­ the­ recently­ created­ Chord­ without­changing­the­intervals­between­the­voices.

You­can­set­the­desired­voice­note­by­note­number­or­by­frequency­in­Hz.

Controls:

•­ 1-4 SLIDERS:­sets­the­pitch­for­each­resonating­voice.•­ 1-4 VALUE DISPLAY:­displays­which­note­each­voice­is­tuned­on.•­ NOTE/FREQUENCY SWITCH:­turn­On­this­switch­to­have­the­tuning­of­

each­voice­displayed­as­a­note.­Turn­this­Off­to­have­the­tuning­of­each­voice­to­be­displayed­as­frequency­in­Hz.

•­ ALL:­shifts­all­resonating­notes­by­the­same­amount­keeping­relative­intervals­between­voices­identical.

•­ RES:­sets­the­amount­of­resonance­for­each­voice,­from­min­to­max.­When­set­to­max­the­note­will­sustain­by­itself,­when­set­to­min­the­voice­will­not­be­resonating

•­ SCALE:­ the­ Rezo­ is­ setup­ by­ default­ to­ span­ over­ a­ chromatic­ scale­when­you­set­the­resonating­voices,­meaning­that­all­half­tones­are­possible.­If­you­want­to­set­another­scale­and­want­to­remove­notes­from­the­chromatic­scale­just­open­this­menu­and­leave­on­only­the­notes­you­need.

•­ FILTER:­determines­the­brightness­of­the­resonating­voices,­from­dark­(lower­positions)­to­bright­(upper­positions).

•­ MIX:­sets­the­amount­of­resonating­notes­you­want­to­hear.­When­the­control­ is­at­min­you’ll­only­hear­ the­original­sound,­when­ fully­up­you’ll­only­hear­the­effected­sound.

•­ OUT:­the­resonating­notes­can­become­very­loud.­Use­this­control­to­adjust­the­overall­output­level­of­the­Rezonator.

figure­7.32

7 - Stomp Module ­­­­­­­­­111

AmpliTube 3

7.3.5.4 Step Filter

A­powerful­and­deep­beat­synchronized­filter­effect.­You­can­apply­Low/High­and­Band­pass­analog­modeled­filtering­on­freely­customizable­patterns­to­add­groove­and­rhythmic­pulsing­to­your­parts.­If­you­want,­this­effect­could­make­your­guitars­and­bass­parts­to­sound­like­a­rhythmic­synth­(figure­7.33).

Controls:

•­ CUTOFF:­sets­the­center­cutoff­frequency­of­the­filter.­This­is­the­cutoff­frequency­the­filter­will­have­when­the­steps­are­set­to­half­position.­

•­ STEP BAR:­click­on­the­Steps­to­set­each­step­level.­You­can­also­draw­a­curve­while­holding­the­mouse­while­dragging­over­multiple­steps.­

•­ RES:­ sets­ the­ center­ resonance­ of­ the­ filter.­ This­ is­ the­ resonance­amount­the­filter­will­have­when­the­steps­are­set­to­half­position.

•­ DEPTH:­sets­how­deep­the­filter­is­modulated­by­the­steps.•­ HP/BP/LP:­sets­which­kind­of­filter­will­be­used:­HP:­high­pass,­BP:­

band­pass,­LP:­low­pass.•­ 12/24:­sets­the­steepness­of­the­filter,­12­dB/oct­will­be­softer,­24­dB/

oct­will­be­steeper.•­ DEST:­sets­what­is­modulated­by­the­steps­between­filter­Cutoff­and/

or­filter­Resonance.­At­full­minimum­position­only­Cutoff­frequency­is­modulated,­at­max­position­only­Resonance­is­modulated.­

•­ DIVISION:­sets­what­time­interval­each­step­represents.•­ STEPS:­sets­the­number­of­steps­the­cycle­will­consist­of.•­ MODE:­when­set­to­Free­the­cycle­will­be­continuous­and­will­always­

cover­all­the­steps­that­are­specified­in­the­Steps­parameter.­When­set­to­Strike­the­cycle­will­re-start­each­time­a­chord­or­a­note­is­played.­

•­ SWING:­increase­this­control­to­give­to­the­steps­a­swing­type­quan-tization.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.figure­7.33

7 - Stomp Module­­­­­­­­­112

AmpliTube 3

7.3.5.5 Wah

This­effect­is­modeled­after­the­classic­wah­pedal­used­by­many­of­the­top­players­from­the­‘60s­and­‘70s.­In­addition­to­the­wah­effect­it­also­features­an­auto­function,­allowing­it­to­be­used­easily­without­an­external­controller.­­(figure­7.34).

Controls:

•­ OFF/ON/AUTO:­sets­the­mode­of­the­Wah­effect,­Off,­On,­or­Auto.•­ WAHWAH:­this­directly­controls­the­Wah­effect,­from­0%­to­100%.­

figure­7.34

7 - Stomp Module ­­­­­­­­­113

AmpliTube 3

7.3.5.6 Wah 10

This­is­a­faithful­rendition­of­a­very­sought-after­wah­pedal.­Based­on­a­mul-tiple­ feedback­opamp­circuit,­ the­pedal­modeled­here­ is­a­very­expressive­and­unique­wah­pedal­(figure­7.35).

Controls:

•­ WAH:­ sets­ the­ position­ of­ the­ wah­ pedal.­ It­ gives­ a­ darker­ sound­when­moved­lower­(heel­position)­and­a­brighter­sound­when­moved­higher­(toe­position).

•­ DEPTH:­ determines­ how­ strong­ the­ wah­ effect­ is.­ When­ is­ set­ at­minimum­the­wah­effect­is­barely­noticeable,­but­when­is­set­to­max­the­effect­is­very­strong.

•­ GUITAR/BASS SWITCH:­ modify­ the­ response­ of­ the­ wah­ to­ make­ it­more­suitable­to­guitar­or­bass.

figure­7.35

7 - Stomp Module­­­­­­­­­114

AmpliTube 3

7.3.5.7 Wah 46

This­ effect­ is­ based­ on­ the­ most­ famous­ Wah-Wah­ model­ used­ by­ Jimi­Hendrix,­ which­ became­ his­ signature­ sound­ in­ masterpiece­ tunes­ like­“Voodoo­ Child.”­ Although­ the­ original­ had­ no­ auto-Wah­ features,­ this­additional­functionality­has­been­added­for­a­more­convenient­usage­when­played­on­a­computer.­The­original­model­is­considered­to­be­one­of­the­best­sounding­Wah-Wahs­of­all­time­(figure­7.36).

Controls:

•­ OFF/ON/AUTO:­sets­the­mode­of­the­Wah­effect;­Off,­On,­or­Auto.•­ OFF:­turns­the­effect­Off,­no­Wah­effect.•­ ON:­the­center­frequency­of­the­Wah­effect­is­only­set­by­the­pedal.

figure­7.36

7 - Stomp Module ­­­­­­­­­115

AmpliTube 3

7.3.5.8 Wah 47

This­effect­ is­based­on­the­Wah­pedal­used­by­the­most­influential­guitar-ists­of­the­late­‘60s­and­‘70s.­The­Auto­function­allows­you­to­use­this­effect­without­an­external­controller­(figure­7.37).­This­is­a­great­feature!

Controls:

•­ OFF/ON/AUTO:­sets­the­mode­of­the­Wah­effect,­Off,­On,­or­Auto.•­ WAHWAH:­this­directly­controls­the­wah­effect,­from­0%­to­100%.

figure­7.37

7 - Stomp Module­­­­­­­­­116

AmpliTube 3

7.3.6 Fuzz

7.3.6.1 Class Fuzz

This­effect­ is­based­on­ the­ fuzz­pedal­ that­can­be­heard­on­ Jimi­Hendrix’s­early­recordings­(figure­7.38).

Controls:

•­ VOLUME:­sets­the­output­volume­of­the­stomp­effect,­from­-inf­to­0.0­dB.

•­ DRIVE:­sets­the­fuzz­sound­by­increasing­or­decreasing­the­amount­of­distortion,­from­0­to­10.

figure­7.38

7 - Stomp Module ­­­­­­­­­117

AmpliTube 3

7.3.6.2 Fuzz Age

This­effect­is­modeled­after­a­classic­germanium­transistor­fuzz­stomp­effect.­Typically­used­on­lead­guitar,­this­effect­has­remained­a­popular­distortion­effect­throughout­the­years­(figure­7.39).

Controls:

•­ VOL:­sets­the­output­volume­of­the­stomp­effect,­from­–inf.­to­0.0­dB.•­ FUZZ:­sets­the­fuzz­level­of­the­effect,­from­0­to­10.­

figure­7.39

7 - Stomp Module­­­­­­­­­118

AmpliTube 3

7.3.6.3 Fuzz Age 2

This­effect­is­modeled­after­a­classic­germanium­transistor­fuzz­stomp­effect.­This­was­the­main­fuzz­box­that­Jimi­Hendrix­used.­Often­combined­with­a­Wah,­this­effect­produced­permanent­sustain­and­endless­distortion.­It­is­one­of­the­most­collectible­fuzz­boxes­ever­(figure­7.40).

Typically­used­on­lead­guitar,­this­effect­has­remained­a­popular­distortion­effect­throughout­the­years.

Controls:

•­ VOL:­sets­the­output­volume­of­the­stomp­effect,­from­–inf­to­0.0­dB.•­ FUZZ:­sets­the­fuzz­level­of­the­effect,­from­0­to­10.

figure­7.40

7 - Stomp Module ­­­­­­­­­119

AmpliTube 3

7.3.6.4 FuzzOne

Jimi­Hendrix­began­using­this­fuzz­box­while­playing­in­New­York­City­before­founding­the­Experience.­Its­sounds­can­be­heard­in­the­enormously­popular­Rolling­Stones­song­“Satisfaction”­(figure­7.41).

Controls:

•­ VOLUME:­ sets­ the­ output­ volume­ of­ the­ stomp­ effect,­ from­ –inf­ to­0.0­dB.

•­ ATTACK:­adjusts­ the­sound­character­by­having­more­or­ less­distor-tion.

figure­7.41

7 - Stomp Module­­­­­­­­­120

AmpliTube 3

7.3.6.5 Octa-V

This­effect­was­first­used­on­“Purple­Haze”­and­“Fire.”­It­is­a­fuzz­box­with­frequency-doubling­circuitry­ that­produces­a­second­note­an­octave­above­the­fundamental­note­(figure­7.42).

Controls:

•­ VOLUME:­ sets­ the­ output­ volume­ of­ the­ stomp­ effect,­ from­ –inf­ to­0.0­dB.

•­ DRIVE:­sets­the­amount­of­distortion­the­unit­will­produce,­from­0­to­10.­The­higher­octave­can­be­more­distinct­ for­medium­positions­of­this­control.

figure­7.42

7 - Stomp Module ­­­­­­­­­121

AmpliTube 3

7.3.6.6 RightFuzz

This­effect­is­modeled­after­a­highly­sought-after,­rare­fuzz­box.­It­was­one­of­the­first­commercially­available­floor­effect­units,­making­its­first­appear-ance­ in­ 1966.­ It­ doesn’t­ get­ any­ more­ vintage­ than­ this­ when­ it­ comes­ to­stomp­pedals­(figure­7.43).

Controls:

•­ VOLUME:­sets­the­output­volume­of­the­stomp­effect,­from­1­to­6.•­ DEPTH:­sets­the­timbre­of­the­distortion,­from­1­to­6.

figure­7.43

7 - Stomp Module­­­­­­­­­122

AmpliTube 3

7.3.6.7 XS Fuzz

This­effect­ is­modeled­after­ the­effect­used­on­ the­ title­ track­of­ the­album­“Axis­Bold­as­Love.”­The­original­stomp­can­also­be­heard­on­the­“Band­of­Gypsies”­and­various­Jimi­Hendrix­recordings­post­1968­(figure­7.44).

Controls:

•­ VOLUME:­ sets­ the­ output­ volume­ of­ the­ stomp­ effect,­ from­ –inf­ to­0.0­dB.

•­ DRIVE:­sets­the­distortion­amount,­from­0­to­10.

figure­7.44

7 - Stomp Module ­­­­­­­­­123

AmpliTube 3

7.3.7 Modulation

7.3.7.1 Analog Flanger

This­ effect­ is­ based­ on­ one­ of­ the­ most­ flexible­ flangers­ ever­ made.­ This­unit­ delivers­ everything­ from­ classic­ tape­ flange­ to­ over-the-top­ sweeps,­vibratos,­chorus,­and­more!­Perfect­for­adding­classic­metal-style­flange­to­your­rig­(figure­7.45).

Controls:­

•­ MANUAL:­sets­the­timbre­of­the­flanging­effect.•­ DEPTH:­ sets­ the­ amount­ of­ modulation­ the­ LFO­ will­ apply­ to­ the­

flanging­effect.­If­Depth­is­zero,­you’ll­get­a­“static”­flanging­effect.•­ RATE:­ sets­ the­speed­of­ the­LFO­modulation­ that­will­be­applied­ to­

the­flanging­effect.•­ RES:­sets­the­resonance­the­flanger­effect­will­produce.

figure­7.45

7 - Stomp Module­­­­­­­­­124

AmpliTube 3

7.3.7.2 Chorus

This­chorus­is­modeled­after­a­classic­Digital­Chorus­stomp­box­(figure­7.46).

Controls:

•­ RATE:­sets­the­rate­of­the­chorus­effect,­from­0­to­10.•­ DEPTH:­sets­the­intensity­of­the­chorus­effect,­from­0­to­10.•­ LEVEL:­sets­the­input­level­of­the­stomp­effect,­ranges­from­0­to­10.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.46

7 - Stomp Module ­­­­­­­­­125

AmpliTube 3

7.3.7.3 Chorus-1

A­model­of­a­classic­bucket-brigade­analog­Chorus/Vibrato­unit.­It­provides­both­analog­Chorus­and­analog­Vibrato­effects,­when­ in­Chorus­mode­ the­modulation­will­be­lush­and­slow,­when­in­Vibrato­effect­the­modulation­will­be­faster­and­more­noticeable­(figure­7.47).

Controls:

•­ LEVEL:­sets­the­input­level.­Range­is­from­–15­dB­to­+15­dB.•­ CHORUS:­sets­the­intensity­(or­depth)­of­the­Chorus­effect,­from­0­to­

10.•­ VIBRATO DEPTH:­sets­the­intensity­of­the­Vibrato­effect,­from­0­to­10.•­ VIBRATO RATE:­sets­the­rate­of­the­Vibrato­effect,­from­0­to­10.•­ VIBRATO/CHORUS SWITCH:­enables­Vibrato­or­Chorus­modes,­when­

Vibrato­mode­is­enabled­the­corresponding­LED­will­illuminate.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.47

7 - Stomp Module­­­­­­­­­126

AmpliTube 3

7.3.7.4 Electric Flanger

This­stomp­box­is­a­model­of­a­vintage­flanger/filter­matrix­used­by­many­well-known­ guitarists­ to­ achieve­ classic­ sounds.­ While­ it­ has­ amazing­warmth,­it­is­also­capable­of­very­versatile­chorus­and­steady­comb­filtering/matrix­that­can­imprint­a­very­specific­sonic­signature­to­the­sound­(figure­7.48).­

Controls:

•­ RATE:­controls­the­speed­of­the­effect,­from­slow­to­fast.•­ RANGE:­sets­the­deepness­of­the­effect,­from­subtle­to­very­strong•­ COLOR:­sets­the­amount­of­feedback­in­the­flanger­circuit,­delivering­

a­more­intense­effect­when­set­at­max.•­ MANUAL:­this­is­normally­set­to­the­lower­position,­when­set­at­the­

upper­position­it­stops­the­LFO.­This­means­that­you­can­use­the­effect­to­have­static­resonance­and­filter­matrix­effects.­Adjust­the­timbre­of­the­resonance­and­filters­by­setting­the­Range­knob,­and­adjust­the­intensity­of­the­resonances­by­setting­the­Color­knob.

•­ ON/OFF:­enables­or­disables­the­effect.­When­the­effect­is­on­the­red­LED­is­light.

•­ BPM SYNC:­makes­the­rate­of­the­phasing­effect­to­be­synchronized­with­the­BPM­of­the­project.­When­enabled,­the­Rate­knob­becomes­a­selector­that­allows­you­to­choose­between­various­musical­figures.

figure­7.48

7 - Stomp Module ­­­­­­­­­127

AmpliTube 3

7.3.7.5 Flanger

This­stomp­box­is­a­model­of­a­classic­Flanger­effect­(figure­7.49).

Controls:

•­ RATE:­sets­the­rate­of­the­Flanger­effect,­from­0­to­10.•­ DEPTH:­sets­the­intensity­of­the­Flanger,­from­0­to­10.•­ FBK:­sets­a­delay­for­the­Flanger­to­take­effect,­from­0­to­10.•­ LEVEL:­sets­the­input­level­of­the­stomp­box,­ranges­from­0­to­10.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.49

7 - Stomp Module­­­­­­­­­128

AmpliTube 3

7.3.7.6 Metal Flanger

This­ effect­ is­ modeled­ after­ one­ of­ the­ best­ and­ most­ musical­ modulation­effects­ever.­A­classic­association­with­an­iconic­ ‘80s­guitarist­made­prices­erupts­and­ flooded­ the­market­with­reissues.­Still,­no­ flanger­ is­more­rec-ognizable,­making­this­perfect­for­hard-rock­and­metal­tone­(figure­7.50).

Controls:­

•­ MANUAL:­sets­the­timbre­of­the­flanging­effect.•­ WIDTH:­ sets­ the­ amount­ of­ modulation­ the­ LFO­ will­ apply­ to­ the­

flangἀing­effect.­If­Width­is­zero,­you’ll­get­a­“static”­flanging­effect.•­ SPEED:­controls­the­amount­of­high­tones­on­the­sound.•­ REGEN:­sets­the­amount­of­feedback­the­internal­flanger­effect­will­

have.

figure­7.50

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7.3.7.7 Opto Tremolo

This­model­is­based­on­a­vintage­Opto-Tremolo­effect­(figure­7.51).

Controls:

•­ RATE:­sets­the­rate­of­the­Flanger­effect,­from­0­to­10.•­ DEPTH:­sets­the­intensity­of­the­Flanger,­from­0­to­10.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.51

7 - Stomp Module­­­­­­­­­130

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7.3.7.8 Phaze Nine

This­effect­ is­based­on­one­of­ the­most­popular­phase­pedals­of­all­ times.­Used­by­a­wide­range­of­first-class­guitarists,­this­unit­could­add­a­little­bit­of­shimmer­to­your­solos­or­generate­a­smooth,­watery­effect­while­playing­chords­and­muted­strumming­ (figure­7.52).­Did­you­ try­ the­Phaze­Nine­on­bass,­keyboards,­or­vocals?

Controls:

•­ SPEED:­controls­the­phase­LFO­rate.

figure­7.52

7 - Stomp Module ­­­­­­­­­131

AmpliTube 3

7.3.7.9 Phazer10

A­model­of­a­classic­analog­multimode­Phaser­stomp­box­(figure­7.53).

Controls:

•­ INTENSITY:­selects­one­of­the­four­different­Phaser­modes.­From­left­to­right­the­perceived­effect­intensity­will­increase.

•­ SPEED:­sets­the­speed­of­the­modulation,­from­0­to­10.

figure­7.53

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AmpliTube 3

7.3.7.10 Small Phazer

This­effect­is­a­model­of­a­classic­analog­phase­shifter,­capable­of­a­range­of­phaser­effects­from­gentle­to­outlandish­swirling­effects.­You­may­wonder­why­it­is­called­“small”­when­you­hear­it­(figure­7.54).

Controls

•­ RATE:­controls­the­speed­of­the­effect,­from­slow­to­fast.•­ COLOR:­set­it­to­the­lower­position­for­a­more­gentle­phasing­effect,­

or­set­it­at­the­upper­position­for­a­more­pronounced­and­deep­phas-ing­effect.

•­ BPM SYNC:­makes­the­rate­of­the­phasing­effect­to­be­synchronized­with­the­BPM­of­the­project.­When­enabled­the­rate­knob­becomes­a­selector­that­allows­to­choose­between­various­musical­figures.

figure­7.54

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7.3.7.11 Uni-V

This­effect­is­based­on­an­original­optical­phaser/chorus.­This­was­a­chorus/rotating-speaker­simulator­that­was­introduced­in­1969­and­used­predomi-nantly­in­live­performances.­This­created­a­swirling­effect­quite­similar­to­the­most­famous­rotary­speaker­cabinet­but­with­the­addition­of­speed­control.­This­effect­was­employed­on­tracks­such­as­“Hey­Baby­(The­Land­of­the­New­Rising­Sun),”­“Earth­Blues,”­and­“Machine­Gun”­(figure­7.55).

Controls:

•­ VOLUME:­ sets­ the­ output­ volume­ of­ the­ stomp­ effect,­ from­ –inf­ to­0.0­dB.

•­ INTENSITY:­sets­the­depth­of­the­modulation,­from­0­to­10.­The­sound­is­affected­even­when­the­Intensity­knob­is­set­to­zero.

•­ RATE:­sets­the­rate­of­the­Chorus/Vibrato­effect­from­0­to­10.­The­LFO­rate­is­going­from­approx­1­Hz­to­approx­8­Hz.

•­ CHORUS/VIBRATO SWITCH:­ selects­ the­ Chorus­ of­ Vibrato­ effect.­Default:­Chorus.

figure­7.55

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7.3.8 Pitch

7.3.8.1 Harmonator

This­ effect­ is­ a­ 3­ voice­ digital­ harmonizer­ effect.­ More­ than­ just­ a­ pitch­shifter,­this­pedal­will­create­3­separate­harmony­voices­with­independent­interval­ values­ based­ on­ a­ musical­ scale.­ Simply­ select­ the­ scale­ to­ use,­select­the­voice­and­the­desired­pitch­and­play.­The­harmonized­notes­will­be­according­to­the­selected­scale­(figure­7.56).

Controls:

•­ MIX:­blends­the­harmonized­voice­with­the­original­voice,­from­0­to­100.

•­ KEY-SCALE:­controls­the­key­and­type­of­scale­that­will­be­used­by­the­harmonizer­as­a­reference.­If­you’re­playing­a­solo­in­E­major­set­this­to­E­Major.­Possible­scales­types­are:­Major,­Dorian,­Phrygian,­Lydian,­Mixolydian,­Minor,­and­Locrian.

•­ VOICE:­controls­the­properties­of­each­of­the­3­voices­of­the­harmo-nizer.

•­ LEVEL:­independently­adjusts­the­level­of­each­of­the­3­voices.•­ 1:­selects­voice­1­for­editing.•­ 2:­selects­voice­2­for­editing.•­ 3:­selects­voice­3­for­editing.•­ INTERVAL:­ changes­ the­ interval­ of­ the­ selected­ voice,­ from­ octave­

down­to­octave­up.­

figure­7.56

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7.3.8.2 Octav

This­stomp­effect­is­modeled­after­a­classic­dual­voice­octave­pedal.­It­will­produce­two­additional­sounds,­one­and­two­octaves­below­the­direct­signal­(figure­7.57).­

Controls:

•­ OCT 2:­sets­the­output­level­of­the­second­octave­effect,­from­–inf­to­0.00­dB.

•­ OCT 1:­ sets­ the­ output­ level­ of­ the­ first­ octave­ effect,­ from­ –inf­ to­0.00­dB.

•­ DIRECT LEVEL:­sets­the­output­level­of­the­direct­signal,­from­–inf­to­0.00­dB.­

figure­7.57

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7.3.8.3 Pitch Shifter

This­ effect­ shifts­ the­ pitch­ of­ the­ incoming­ signal.­ This­ new­ pitch­ shifted­signal­is­blended­with­the­original­sound­to­create­harmony­guitar­leads­or­other­types­of­dual­pitch­effects­(figure­7.58).

Controls:

•­ COARSE:­ sets­ the­ coarse­ tuning­ of­ the­ pitch­ shifter.­ Measured­ in­intervals,­from­-24­to­24.

•­ FINE:­sets­the­fine­tuning­of­the­pitch­shifter.­Measured­in­cents,­from­-50­to­50.

•­ LEVEL:­sets­the­output­level­of­the­pitch­shifted­sound,­from­0­to­10.

figure­7.58

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7.3.8.4 Wharmonator

This­effect­is­modeled­after­one­of­the­most­extreme­effects­of­all­time.­From­classic­shred­to­the­most­aggressive­modern­metal,­this­effect­is­an­essential­part­of­any­extreme­guitar­rig­(figure­7.59).

Controls:­

•­ HARM­knob:­sets­the­harmonic­interval­range­you­can­span­with­the­action­of­the­pedal.

•­ BEND­knob:­sets­the­bending­range­you­can­span­with­the­action­of­the­pedal.

•­ MODE:­sets­the­Wharmonator­operating­mode.•­ HARM:­ this­ mode­ gives­ both­ original­ and­ pitched­ signal­ mixed­

together,­useful­to­create­harmonies.•­ BEND:­this­mode­only­gives­the­pitched­signal,­useful­to­create­great­

bending­effects

figure­7.59

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7.3.9 Other

7.3.9.1 Volume

This­model­is­a­traditional­volume­pedal­(figure­7.60).

Controls:

•­ MIN:­sets­the­minimum­volume­level­for­the­pedal,­from­0­to­10.•­ VOLUME:­ adjusts­ the­ volume­ of­ the­ signal­ passing­ through­ it,­ from­

0%­to­100%.

figure­7.60

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7.3.9.2 Step Slicer

Add­ programmed­ rhythmic­ parts­ to­ your­ power­ chords­ and­ phrases­ with­this­powerful­and­creative­beat­synced­slicing­effect.­It­can­be­setup­to­cre-ate­anything­from­the­most­amazing­tremolos­to­the­most­complex­rhythm­effects­that­always­stay­in­perfect­sync­with­the­beat­(figure­7.61).

Controls:

•­ LEVEL:­ sets­ the­ amount­ of­ level­ modulation­ the­ steps­ will­ give.­ At­min­ position­ the­ steps­ will­ not­ have­ effect,­ at­ maximum­ the­ range­will­be­full.­

•­ STEP BAR:­click­on­the­Steps­to­set­each­step­level.­You­can­also­draw­a­curve­while­holding­the­mouse­while­dragging­over­multiple­steps.

•­ RAMP:­sets­the­steepness­of­the­level­change­between­steps.­Set­it­at­lower­positions­to­get­a­more­gate-like­effect­or­set­it­to­higher­posi-tions­to­get­a­smoother­effect.

•­ DIVISION:­sets­what­time­interval­each­step­represent.•­ STEPS:­sets­the­number­of­steps­the­cycle­will­consist­of.•­ MODE:­When­set­to­Free­the­cycle­will­be­continuous­and­will­always­

cover­all­the­steps­that­are­specified­in­the­Steps­parameter.­When­set­to­Strike­the­cycle­will­re-start­each­time­a­chord­or­a­note­is­played.

•­ SWING:­increase­this­control­to­give­to­the­steps­a­swing­type­quan-tization.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

figure­7.61

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7.3.9.3 Swell

This­is­an­“auto­volume”­swell­processor­that­can­automatically­create­fan-tastic­ swell­ effects­ while­ playing­ without­ any­ manual­ intervention.­ Use­ it­subtly­to­add­groove­to­your­rhythm­parts­or­use­it­with­deeper­settings­to­create­dreaming­pads­or­string-like­sounds­(figure­7.62).

Controls:

•­ DEPTH:­sets­the­depth­of­the­volume­swell,­in­dB.­By­default­the­depth­is­at­max­position,­meaning­that­the­volume­will­start­from­silence.­By­lowering­this­control­you’ll­make­the­effect­ to­start­ the­swell­phase­from­ a­ level­ which­ is­ higher­ than­ silence,­ up­ to­ min­ position­ that­makes­the­effect­to­have­no­action.

•­ SENS:­ this­ control­ sets­ the­ sensitivity­ for­ the­ Swell­ to­ recognize­ a­new­note­or­chord­and­therefore­start­a­new­Swell­cycle.­Set­it­higher­if­ you­ want­ the­ Swell­ cycle­ to­ start­ even­ at­ the­ beginning­ of­ softer­passages,­or­set­it­lower­if­you­want­the­Swell­cycle­to­only­start­for­louder­strikes.­

•­ TIME:­sets­the­length­of­the­Swell­cycle.­During­the­Swell­cycle­(time­the­swell­takes­to­“open”­the­power­LED­becomes­red­(it­is­normally­green).­This­helps­ to­ immediately­ recognize­when­ the­swell­ is­ trig-gered.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo­mak-ing­the­swell­time­to­be­specified­in­musical­figures.

figure­7.62

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7.4 Stomp Models (Table)

Stomp Models Based on*

Delay

Delay IK­Multimedia

EchoMan Electro­Harmonix®­Memory­Man™

TapDelay IK­Multimedia

Distortion

BigPig Electro­Harmonix®­Big­Muff­Pi™

Crusher IK­Multimedia

Diode­Overdrive IK­Multimedia

Distortion Boss®­DS-1™­Distortion

Feedback Boss®­DF-2™­Super­feedbacker­&­Distortion

Metal­Distortion Boss®­MT-2™­Metal-Zone

Metal­Distortion­2 Boss®­HM-2™­Heavy­Metal

Overdrive Boss®­SD-1™­Distortion

OverScream Ibanez®­Tube­Screamer®­TS-9™

PROdrive Pro­Co­RAT™­Distortion

The­Ambass’dor Marshall®­Guv'Nor™

Dynamics

Compressor IK­Multimedia

Dcomp MXR®­Dynacomp™

EQ

7­Band­Graphic IK­Multimedia

10­Band­Graphic IK­Multimedia

Filter

Envelope­Filter IK­Multimedia

LFO­Filter IK­Multimedia

Rezo IK­Multimedia

Step­Filter IK­Multimedia

Wah IK­Multimedia

Wah­10 Ibanez®­WH-10™

Wah­46 Vox®­Wah­V846™

Wah­47 Vox®­Wah­847™

Fuzz

Class­Fuzz Roger­Mayer™­Classic­Fuzz®

Fuzz­Age Arbiter®­Fuzz­Face®

Fuzz­Age­2 Arbiter®­Fuzz­Face®

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FuzzOne Maestro®­FuzzTone™

Octa-V Roger­Mayer™­Octavia®

RightFuzz Mosrite®­Fuzzrite®

XS­Fuzz Roger­Mayer™­Axis­Fuzz®

Modulation

Analog­Flanger Boss®­BF-2™­Flanger

Chorus IK­Multimedia

Chorus-1 Boss®­CE-1™­Chorus

Electric­Flanger Electro-Harmonix®­Electric­Mistress™

Flanger IK­Multimedia

Metal­Flanger MXR®­Flanger­117™

Opto­Tremolo Fender®­Super­Reverb®­Amp­Opto-Tremolo™

Phaze­Nine MXR®­Phase­90™

Phazer10 MXR®­Phase­100™

Small­Phazer Electro-Harmonix®­Small­Stone™

Uni-V Univox™­Uni-vibe™

Pitch

Harmonator IK­Multimedia

Octav Boss®­OC-2™­Octaver

Pitch­Shifter IK­Multimedia

Wharmonator Digitech®­Wahmmy™­WH-1™

Other

Volume IK­Multimedia

Step­Slicer IK­Multimedia

Swell IK­Multimedia

*­All­product­names­and­trademarks­are­the­property­of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­durino­IK­Multimedia’s­sound­model­develop-ment­ and­ for­ describing­ certain­ types­ of­ tones­ produced­ with­ IK­ Multimedia’s­ digital­ modeling­technology.­Use­of­these­names­does­not­imply­any­cooperation­or­endorsement.

ARBITER®­FUZZ­FACE®­is­a­registered­trademark­of­Arbiter­Group­Plc.BOSS®,­DS-1™,­DF-2™,­MT-2™,­HM-2™,­SD-1™,­BF-2™,­CE-1™,­OC-2™­are­trademarks­or­regis-tered­trademarks­of­Roland­Corporation.DIGITECH®­WHAMMY™­WH-1™­is­a­registered­trademark­of­Harman­International­ Industries,­Incorporated.ELECTRO-HARMONIX®,­ Memory­ Man™,­ Big­ Muff­ Pi™,­ Electric­ Mistress™,­ Small­ Stone™­ are­trademarks­or­registered­trademarks­of­New­Sensor­Corporation.FUZZRITE®­is­a­registered­trademark­of­Andy­J.­Moseley.IBANEZ®,­Tube­Screamer®­TS-9™,­WH-10™­are­trademarks­or­registered­trademarks­of­Hoshino­Gakki­Co.­Ltd.­Corporation.MAESTRO®­FUZZTONE™­is­a­registered­trademark­of­Gibson­Electronics.MARSHALL®,­Guv’Nor™­are­trademarks­or­registered­trademarks­of­Marshall­Amplification­Plc.MOSRITE®­is­a­registered­trademark­of­Loretta­Moseley.MXR®,­Dynacomp™,­Flanger­117™,­Phase­90™,­Phase­100™­are­trademarks­or­registered­trade-

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marks­of­Applied­Research­and­Technology,­Inc.PRO­CO­RAT™­is­a­trademark­of­ProCo­Sound,­Inc.ROGER­ MAYER™,­ Classic­ Fuzz®,­ Axis­ Fuzz®,­ Octavia®,­ are­ trademarks­ and­ registered­ trade-marks­of­Roger­Mayer.UNI-VIBE™­is­a­trademark­of­Korg­USA­Corporation.UNIVOX™­is­a­trademark­of­Korg­USA­Corporation.VOX®,­Wah­V846™,­Wah­847™­are­ trademarks­or­ registered­ trademarks­of­VOX­Amplification­Ltd.

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AmpliTube 3

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Chapter 8 Amp Module (Amp Head)

8.1 Introduction

AmpliTube­ 3­ includes­ 31­ amps­ organized­ in­ 4­ categories:­ Clean,­ Crunch,­Lead,­and­Bass.­Each­of­ the­modeled­amps­ is­a­ true­ representation­of­ the­original­hardware­units­and­an­invaluable­addition­to­your­sonic­arsenal.

figure­8.1

To­ access­ the­ Amp­ module,­ click­ the­ Amp­ button­ located­ on­ the­ Module/Rig­Selector­(figure­8.1).­There­are­two­separate­amplifier­modules­that­can­be­accessed­independently­(e.g.,­Amp­A­and­Amp­B),­or­paralleled­for­dual­amp­setups.­Just­select­one­of­the­eight­signal­path­presets­located­on­the­Module/Rig­Selector­(figure­8.2).

figure­8.2

To­ facilitate­ the­ amplifier­ models­ navigation,­ please­ read­ the­ following­universal­controls­descriptions.

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8.2 On/Bypass

This­ control­ enables/disables­ the­ Amp­ module­ from­ the­ plug-in’s­ signal­(figure­8.3).

figure­8.3

8.3 EQ Match

The­EQ­match­control­automatically­selects­the­EQ­section­associated­to­the­selected­preamp­(figure­8.4).­This­is­useful­to­quickly­select­a­specific­guitar­amp­with­its­related­EQ­Model.

figure­8.4

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8.4 Amp Match

The­ Amp­ match­ control­ selects­ the­ power­ amp­ stage­ associated­ to­ the­selected­preamp­(figure­8.5).

figure­8.5

The­EQ­and­Amp­match­controls­allows­you­ to­select­a­specific­vintage­or­boutique­guitar­rig­in­seconds,­giving­you­an­“instant­tone­gratification”…

8.5 Amp Model Types and Components

Several­AmpliTube­3­amp­models­(typically­those­that­were­already­included­in­AmpliTube­2,­AmpliTube­Jimi­Hendrix­and­some­of­the­amps­included­in­AmpliTube­ Metal)­ contain­ separate­ stages­ modeling­ that­ can­ be­ individu-ally­selected.­In­these­cases,­the­Amp­module­is­divided­into­three­separate­models­Pre,­EQ,­and­(Power)­Amp.­This­allows­you­to­design­custom­amps­choosing­different­components­from­a­variety­of­top-notch­amplifiers.

This­feature­allows­you­to­create­your­own­mixture­of­stages­and­promotes­experimentation.­However,­we­are­still­obsessed­with­models’­accuracy.­For­this­ reason,­ and­ to­ reach­ a­ higher­ level­ of­ sonic­ fidelity­ (when­ compared­with­ the­ original­ real­ amps)­ we­ added­ more­ details­ and­ finesse­ to­ our­modeling­techniques­and­improved­the­level­of­interaction­between­the­amp­blocks­in­the­DSP.­Basically,­making­a­whole­single­model­of­the­entire­amp.­That’s­why­all­recent­models­are­modeled­as­an­entire­amp,­without­the­pos-sibility­to­select­single­internal­stages­(Preamp,­EQ,­and­Power­amp).­These­are­called­“non-flexi”­amps.

Award-winning­“Powered­by­AmpliTube”­products­like­AmpliTube­Fender­or­Ampeg­SVX­used­this­solution­to­achieve­maximum­accuracy­while­model-ing­the­original­amps.­

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8.5.1 Pre Model

This­ is­ the­ menu­ where­ the­ Amp­ model­ is­ selected.­ For­ those­ amps­ that­have­been­modeled­with­individual­selectable­stages,­you’ll­be­choosing­the­Preamp­stage.

For­newer­amps­that­have­been­modeled­as­a­single­block­(non-flexi),­you’ll­be­selecting­the­entire­Amplifier.­As­a­result,­the­EQ­and­(Power)­Amp­menus­are­not­included.

The­Pre­Model­is­the­first­stage­in­the­Amp­module.­This­section­models­the­initial­preamp­and­drive­of­each­amplifier­(figure­8.6).

figure­8.6

8.5.2 EQ Model

The­EQ­stage­follows­the­Pre­Model­and­allows­you­to­EQ­your­sound­and­design­unique­guitar­tones­(figure­8.7).

figure­8.7

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8.5.3 Amp Model

The­final­stage­of­ the­amplifier­module­ is­ the­Amp­model­ (figure­8.8).­For­those­amps­that­have­been­modeled­with­individual­selectable­stages­you­could­use­a­Fender-style­power­amp­section­on­a­Marshall-style­preamp…

figure­8.8

Below­is­a­brief­description­of­each­Pre­Amp­Models.

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8.6 Pre Amp Models

8.6.1 Clean

8.6.1.1 American Clean MKIII

This­ is­ a­ model­ of­ the­ clean­ channel­ from­ a­ popular­ and­ sought­ after­American­amplifier.­The­signature­tone­can­be­heard­on­many­albums­and­many­stages­around­the­world.­Experience­a­sparkling­clean­with­the­capa-bility­for­a­touch­of­crunch­when­cranked­up­(figure­8.9).

figure­8.9

This­beautiful­amp­is­crystal­clear­but­can­also­deliver­edgy­sounds­by­push-ing­ the­ Master­ volume,­ and­ can­ deliver­ a­ nice­ preamp­ crunch­ tone­ when­Rhythm­2­is­engaged.

This­amp­ is­extremely­versatile­you­can­really­get­many­ types­of­ clean­or­edgy­tones­from­its­incredibly­flexible­preamplifier.­By­selecting­two­differ-ent­preamp­shapes­(Rhythm­2),­and­by­adapting­the­tone­with­the­Shift­and­Deep­ switches,­ you­ can­ really­ shape­ your­ clean/edgy­ sound­ in­ almost­ all­possible­ways.­Add­the­final­5­band­graphic­EQ­and­the­tonal­possibilities­are­ really­wide.­ But­ be­careful,­ this­ is­not­a­ ‘set­and­ forget’­amp.­Being­ it­extremely­versatile­it­can­of­course­be­set­to­a­tone­that­could­be­totally­far­from­what­is­needed­on­that­part.­It­needs­a­degree­of­experimentation­and­experience­before­you­can­really­master­it!

Controls:

•­ VOLUME:­sets­the­volume­of­the­clean­preamp.­Push­it­closer­to­10­for­an­edgy­sound­that­starts­to­crunch.

•­ BRIGHT:­boosts­brilliance­of­the­preamp,­especially­when­the­Volume­control­is­kept­low.

•­ TREBLE:­sets­the­amount­of­high­frequencies­on­the­sound.

8 - Amp Module ­­­­­­­­­151

AmpliTube 3

•­ SHIFT:­modifies­the­frequencies­where­the­Bass­control­works.•­ BASS:­sets­the­amount­of­low­frequencies­on­the­sound.•­ MIDDLE:­sets­the­amount­of­mid­frequencies­on­the­sound.•­ MASTER:­determines­the­level­that­is­sent­to­the­power­amp.­Turning­

this­ knob­ up,­ makes­ the­ power­ amp­ to­ saturate­ and­ produce­ great­crunch­sounds.­

•­ RHYTHM 2:­when­enabled­the­preamp­has­more­gain,­and­it­is­there-fore­possible­to­obtain­extremely­musical­and­sweet­crunch­sounds.

•­ DEEP:­when­enabled­the­bass­response­of­the­amplifier­is­extended.•­ EQ:­enables­the­graphic­EQ.•­ EQ BANDS:­these­sliders­can­control­the­equalization­of­the­amp­on­

5­ distinct­ frequencies­ areas.­ You’ll­ find­ it­ extremely­ musical­ and­ a­powerful­sound­sculpting­tool.

•­ PRESENCE:­ when­ turned­ up­ the­ amp­ becomes­ more­ present­ and­brighter.

•­ REVERB:­ controls­ the­ amount­ of­ reverb­ coming­ from­ the­ internal­spring­unit.

8 - Amp Module ­­­­­­­­­152

AmpliTube 3

8.6.1.2 American Tube Clean 1

This­amp­is­modeled­after­a­classic­American­guitar­amp.­This­amp­is­great­for­clean­to­dirty­sounds,­making­ideal­for­clean­and­crunchy­rhythm,­rock,­country,­blues,­and­anything­else­requiring­a­clean­amp­capable­of­getting­a­little­dirty­when­the­music­calls­for­it­(figure­8.10).

figure­8.10

Controls:

EQ MODEL:•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­

from­1­to­10.•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­153

AmpliTube 3

8.6.1.3 American Tube Clean 2

This­ model­ features­ yet­ another­ classic­ American­ amplifier.­ Unlike­ the­American­Tube­Clean­1,­this­model­is­a­smaller­combo­amp.­This­amp­deliv-ers­a­clean­yet­warm­tone­(figure­8.11).

figure­8.11

Controls:

EQ MODEL:•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­

from­1­to­10.•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­ adjusts­ the­ output­ level­ of­ the­ power­ amp­ stage,­ from­ 1­to­10.

8 - Amp Module ­­­­­­­­­154

AmpliTube 3

8.6.1.4 American Vintage B

The­design­of­this­amp­influenced­many­of­its­successors­and­was­used­by­Jimi­Hendrix­in­the­studio­recording­of­“Voodoo­Child”­(figure­8.12).

figure­8.12

This­classic­American­amplifier­was­at­first­designed­to­be­a­bass­amp,­but­later­ 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 and­playing­styles.

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING­REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­155

AmpliTube 3

8.6.1.5 American Vintage D

Jimi­Hendrix­acquired­this­100­watt­amp­in­1968­and­used­it­in­1968-1969­with­the­Experience­tour,­ together­with­an­assortment­of­other­amps.­The­amp­sported­a­built-in­spring­reverb­unit­(figure­8.13).

figure­8.13

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­ adjusts­ the­ output­ level­ of­ the­ power­ amp­ stage,­ from­ 1­to­10.

8 - Amp Module ­­­­­­­­­156

AmpliTube 3

8.6.1.6 American Vintage T

This­was­Jimi­Hendrix’s­amp­of­choice­during­1965­through­1966.­It­included­a­spring­reverb­(figure­8.14).

figure­8.14

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­157

AmpliTube 3

8.6.1.7 Custom Solid State Clean

This­amp­model­is­clean.­It­provides­a­very­uncolored­signal,­perfect­for­jazz.­It­could­be­compared­to­amps­like­the­Jazz­Amp­120,­ideal­for­sparkling­clean­tones­(figure­8.15).

figure­8.15

Controls:

EQ MODEL:•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­

from­1­to­10.•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­ adjusts­ the­ output­ level­ of­ the­ power­ amp­ stage,­ from­ 1­to­10.

8 - Amp Module ­­­­­­­­­158

AmpliTube 3

8.6.1.8 Jazz Amp 120

It­may­have­Jazz­ in­ its­name,­but­ this­versatile­clean­sound­can­be­heard­ in­many­genres.­Many­of­the­top­metal­players­keep­this­not-so-secret­weapon­in­the­studio­for­great­clean­sounds.­Its­sonic­feature­is­the­fantastic­built-in­ana-log­chorus­and­vibrato­unit­that­really­made­this­amp­a­classic­(figure­8.16)­.

figure­8.16

Important:­this­amp­contains­a­built-in­stereo­Chorus/Vibrato­unit.­To­actu-ally­be­able­to­hear­this­in­stereo­you­will­need­to­use­two­microphones­in­front­of­its­Cabinet­and­pan­the­wide­L­–­R.­For­more­information­about­how­to­set­this,­see Chapter 9.5.7.

Controls:

•­ BRIGHT:­boosts­brilliance­of­the­preamp,­especially­when­the­Volume­control­is­kept­low.

•­ VOLUME:­sets­the­overall­amp­volume.­The­amp­remains­clean­up­to­volume­3­or­4­and­starts­distorting­for­higher­positions.

•­ DISTORTION:­ turning­ this­knob­up­ from­the­minimum­position­by­a­little­bit­turns­On­the­distortion­circuit.­From­there,­continuing­rising­the­control­brings­more­and­more­distortion.

•­ REVERB:­controls­the­amount­of­reverb.•­ TREBLE:­sets­the­amount­of­high­frequencies­on­the­sound.•­ MIDDLE:­sets­the­amount­of­mid­frequencies­on­the­sound.•­ BASS:­sets­the­amount­of­low­frequencies­on­the­sound.•­ VIB/OFF/CHORUS:­this­is­a­three­position­switch;

•­ When­set­to­Off,­the­sound­will­not­be­affected­by­chorus­or­vibrato.­•­ When­set­to­Vib,­vibrato­will­be­turned­On.­•­ When­set­to­Chorus,­chorus­will­be­turned­On.

•­ SPEED:­sets­the­speed­of­the­Vibrato­effect.­Note­that­Chorus­has­no­settings.

•­ DEPTH:­sets­the­intensity­of­the­Vibrato­effect.­Note­that­Chorus­has­no­settings.

8 - Amp Module ­­­­­­­­­159

AmpliTube 3

8.6.1.9 Metal Clean T

This­ extremely­ high-quality­ amplifier­ delivers­ a­ very­ detailed­ and­ clean­response­on­the­clean­channel,­incredibly­well­defined­is­the­perfect­starting­point­for­any­kind­of­sound.­Use­this­channel­to­get­your­hyper-driven­sounds­from­stomps­only,­as­well­as­for­creating­clean­or­edgy­sounds­(figure­8.17).

figure­8.17

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­Sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­ adjusts­ the­ output­ level­ of­ the­ power­ amp­ stage,­ from­ 1­to­10.

8 - Amp Module ­­­­­­­­­160

AmpliTube 3

8.6.2 Crunch

8.6.2.1 American Tube Vintage

This­classic­American­amplifier­was­at­first­designed­to­be­a­bass­amp,­but­later­ 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 and­playing­styles­(figure­8.18).

figure­8.18

Controls:

EQ MODEL:•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­

from­1­to­10.•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­161

AmpliTube 3

8.6.2.2 British Blue Tube 30TB

This­ is­ a­ model­ of­ a­ legendary­ British­ amplifier­ which­ is­ one­ of­ the­ most­widely­ recognizable­ and­ popular­ amps­ of­ all­ time.­ Throughout­ its­ life,­ its­legendary­tone­helped­to­put­many­of­rock’s­founding­fathers­(including­4­guys­from­Liverpool)­on­the­map­and­has­been­a­highly­sought­after­sound­that­is­still­heard­on­many­albums­today­(figure­8.19).

figure­8.19

Controls:

EQ MODEL:•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­

from­1­to­10.•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ CUT:­ as­ on­ the­ original,­ cuts­ the­ high­ frequencies­ of­ the­ amp’s­ EQ­

stage­when­turned­down.­•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­162

AmpliTube 3

8.6.2.3 British Copper 30TB

Take­ yourself­ back­ to­ the­ ‘60s­ with­ this­ quintessential­ amp.­ Not­ just­ any­version,­but­an­accurate­model­of­the­well-known­and­loved­version­of­an­already­spectacular­amplifier.­If­you­want­some­British­sound,­you­can­find­it­here­(figure­8.20).

figure­8.20

The­ original­ copper­ panel­ model­ was­ non-top­ boost,­ and­ you­ can­ find­ it­exactly­replicated­here­when­the­switch­Top­Boost­is­Off.­Turn­it­On­to­add­the­top­boost­circuit­in­a­second­and­be­then­able­to­adjust­your­sound­with­Bass­and­Treble­pots.

Controls:

•­ NORMAL:­sets­the­volume­level­for­the­Normal­channel.­Normal­chan-nel­has­a­mellower­response­when­compared­to­the­Brilliant­channel.

•­ BRILLIANT:­sets­the­volume­level­for­the­Brilliant­channel.•­ VIB -TREM:­sets­the­volume­level­for­the­Vibrato­and­Tremolo­chan-

nel.•­ TOP BOOST:­adds­the­Top­Boost­circuit­in­the­Brilliant­channel­signal­

path.­Normal­and­Vib-Trem­channels­are­not­affected­by­this.•­ BASS:­adjusts­the­level­of­low­frequencies­in­the­sound.­Active­only­

on­Brilliant­channel­and­only­when­Top­Boost­is­On.•­ TREBLE:­adjust­the­level­of­high­frequencies­in­the­sound.­Active­only­

on­Brilliant­channel­and­only­when­Top­Boost­is­On.•­ TONE:­sets­the­overall­brightness­of­the­amp.­It­ is­always­active,­on­

all­channels.­When­set­to­Min­the­amp­is­bright,­when­set­to­Max­the­amp­is­mellower.

•­ SPEED:­sets­the­speed­of­the­Tremolo­or­Vibrato­effect.•­ SWITCH:­determines­if­ the­Vib-Trem­channel­will­produce­a­Vibrato­

or­a­Tremolo­effect.

8 - Amp Module ­­­­­­­­­163

AmpliTube 3

8.6.2.4 British Lead S100

This­ amp­ is­ modeled­ on­ the­ Classic­ British­ 100­ watt­ amp­ Jimi­ Hendrix­ is­generally­associated­with.­Jimi­Hendrix­often­used­multiple­amp­heads­(up­to­6)­looping­them­together­to­get­more­power,­a­setup­that­can­be­recreated­in­AmpliTube­3­because­of­its­dual­rig­capability­(figure­8.21).

figure­8.21

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­164

AmpliTube 3

8.6.2.5 British OR

An­exciting­new­addition­to­the­line,­this­model­can­really­turn­heads.­You’ll­hear­ the­ vintage­ hand-wired­ and­ very­original­ sound­of­ this­killer­British­powerhouse­from­the­very­first­note­(figure­8.22).

figure­8.22

Controls:

•­ F.A.C:­this­control­is­a­unique­type­of­tone­control­featured­only­on­this­amp.­It­is­a­six­position­selectable­bass­cut­in­the­preamp.­When­set­to­the­first­position­(1)­it­is­cutting­low­frequency­just­a­bit,­when­set­to­last­position­(6)­it­is­cutting­lots­of­low­frequencies.­Intermediate­positions­ deliver­ intermediate­ results.­ Experiment­ with­ this­ control­when­the­amp­is­overdriven­and­you’ll­find­it­extremely­useful!

•­ Hz:­sets­the­amount­of­low­frequencies­in­the­sound.•­ kHz:­sets­the­amount­of­high­frequencies­in­the­sound.•­ HF.DRIVE:­determines­the­presence­and­brightness­of­the­amp.•­ GAIN:­sets­the­volume­of­the­amplifier,­it­is­actually­the­power­amp­

level.

8 - Amp Module ­­­­­­­­­165

AmpliTube 3

8.6.2.6 THD Bi-Valve

This­is­a­model­of­the­THD®­BiValve™*.­This­modern­boutique­amplifier­has­become­very­popular­on­the­stage­and­in­the­studio.­Using­a­single­ended­class­A­design­it­is­capable­of­wide­expanse­of­tone.­From­the­clean­to­the­crunchy­to­the­heavily­saturated,­the­THD­BiValve­can­create­all­these­tones­with­ease­(figure­8.23).

figure­8.23

Controls:

EQ MODEL:•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­

from­1­to­10.•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­

from­1­to­10.•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­166

AmpliTube 3

8.6.2.7 Tube Vintage Combo

This­is­a­model­of­a­small­vintage­amplifier­that­was­basic­in­design­but­big­in­tone.­This­model­is­simple­but­sweet­(figure­8.24).

figure­8.24

Controls:

EQ MODEL:•­ PRESENCE:­ cuts­ the­ high­ frequencies­ of­ the­ amp’s­ EQ­ stages­ when­

turned­down.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­167

AmpliTube 3

8.6.3 Lead

8.6.3.1 American Lead MKIII

This­ is­ the­ lead­channel­of­a­ renowned­ three-channel­American­amplifier,­known­ for­ excelling­ at­ both­ clean­ and­ lead­ sounds.­ This­ channel­ can­ be­big­and­aggressive­when­you­want­some­California­crunch­and­you­can­get­smooth,­tasty­sustained­lead­sounds­too­(figure­8.25).

figure­8.25

This­amp­is­extremely­versatile,­you­can­really­get­almost­any­type­of­sound­from­ its­ incredibly­ flexible­ preamplifier.­ By­ calibrating­ the­ various­ gain­stages­(Volume­->­Lead­Drive­->­Master),­by­selecting­two­different­preamp­shapes­(Rhythm­2),­and­by­adapting­the­tone­with­the­SHIFT­switches,­you­can­ really­ shape­ your­ driven­ sound­ in­ almost­ all­ possible­ ways.­ Add­ the­final­5­band­graphic­EQ­and­the­tonal­possibilities­are­really­endless.­But­be­careful,­this­is­not­a­‘set­and­forget’­amp.­Being­it­extremely­versatile­it­can­of­course­be­set­to­a­tone­that­could­be­totally­far­from­what­is­needed­on­that­part.­It­needs­a­degree­of­experimentation­and­experience­before­you­can­really­master­it!

Controls:

•­ LEAD DRIVE:­sets­the­amount­of­gain­of­the­lead­stage.­Increase­this­to­have­more­sustaining­distortion­and­decrease­it­to­get­a­more­edgy­and­crunchy­type­of­distortion.

•­ VOLUME:­sets­the­gain­of­the­initial­stage.­This­is­the­gain­that­comes­before­all­others­in­the­amp­signal­path.

•­ MASTER:­sets­the­power­amp­level.­This­is­the­latest­level­in­the­amp­signal­ path.­ Setting­ high­ gains­ in­ the­ preamp­ (Volume­ and­ Lead­Drive)­and­also­setting­Master­ to­a­very­high­ level­ can­ result­ in­an­overly­pushed­sound­that­could­be­difficult­ to­obtain­a­good­sound.­Keep­this­at­high­levels­only­if­Volume­and­Lead­drive­are­not­so­high.

•­ TREBLE:­sets­the­amount­of­high­frequencies­on­the­sound.

8 - Amp Module ­­­­­­­­­168

AmpliTube 3

•­ BASS:­sets­the­amount­of­low­frequencies­on­the­sound.•­ MIDDLE:­sets­the­amount­of­mid­frequencies­on­the­sound•­ BRIGHT:­boosts­brilliance­of­the­preamp,­especially­when­the­Volume­

control­is­kept­low.•­ SHIFT (BASS):­modifies­the­frequencies­where­the­Bass­control­works.•­ SHIFT (TREBLE):­ modifies­ the­ frequencies­ where­ the­ Treble­ control­

works.•­ RHYTHM 2:­ when­ enabled­ the­ preamp­ has­ even­ more­ gain,­ and­

slightly­changes­its­tonal­character.•­ DEEP:­when­enabled­the­bass­response­of­the­amplifier­is­extended.•­ EQ:­enables­the­graphic­EQ.•­ PRESENCE:­ when­ turned­ up­ the­ amp­ becomes­ more­ present­ and­

brighter.•­ REVERB:­ controls­ the­ amount­ of­ reverb­ coming­ from­ the­ internal­

spring­unit.

8 - Amp Module ­­­­­­­­­169

AmpliTube 3

8.6.3.2 British Tube Lead 1

Made­ popular­ by­ the­ hard­ rockers­ of­ the­ ‘80s­ this­ British­ guitar­ amp­ has­remained­a­prized­tone­for­many­of­today’s­guitar­players.­Able­to­crank­out­great­tube­saturated­tone­with­ease­this­model­is­a­go­to­amp­for­a­variety­of­heavy­rock­guitar­sounds­(figure­8.26).

figure­8.26

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­170

AmpliTube 3

8.6.3.3 British Tube Lead 2

The­ younger­ sibling­ to­ the­ British­ Tube­ Lead­ 1,­ this­ model­ is­ capable­ of­great­ rock­ tone,­ leads,­ and­ heavy­ crunch.­ While­ grittier­ and­ a­ little­ more­aggressive,­it­still­has­the­classic­tone­that­has­made­this­family­of­amps­a­household­name­in­rock­guitar­(figure­8.27).

figure­8.27

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­171

AmpliTube 3

8.6.3.4 Custom Modern Hi-Gain

Based­ on­ the­ classic­ AmpliTube­ model,­ this­ amp­ features­ lots­ of­ gain­ for­that­over­the­edge­distortion­sound.­Similar­to­modern­tube­lead­sound­in­character,­Modern­Hi-Gain­provides­an­additional­take­on­that­type­of­sound­(figure­8.28).

figure­8.28

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­172

AmpliTube 3

8.6.3.5 Custom Solid State Fuzz

Based­on­AmpliTube­1’s­fuzz­amp,­this­model­is­a­very­distinct­and­distorted­sound,­reminiscent­of­‘60s­fuzz­sounds­(figure­8.29).

figure­8.29

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­173

AmpliTube 3

8.6.3.6 Custom Solid State Lead

This­model­features­a­precise­solid­state­lead­sound.­It­has­a­darker­tone­and­excels­at­high­gain­lead­tones.­It­is­very­suitable­for­hard­rock­leads­and­it’s­gain­is­very­stable,­making­it­easy­to­use­at­low­volume­levels­(figure­8.30).

figure­8.30

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­174

AmpliTube 3

8.6.3.7 Metal Lead T

This­ classic­ amp­ provides­ the­ tightest­ bass­ and­ fastest­ response,­ even­ at­extreme­speeds­and­gain.­The­result­is­perfect­for­speed,­thrash,­and­other­aggressive­metal­styles­as­well­as­smoother,­cleaner­styles,­and­it­is­a­must­for­all­modern­metal­contaminations­(figure­8.31).

figure­8.31

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­175

AmpliTube 3

8.6.3.8 Metal Lead V

Engineered­ to­ the­ exacting­ demands­ of­ some­ of­ the­ greatest­ guitarists­ of­all­time,­this­amp­quickly­became­a­favorite­of­tone­purists­and­gain­heads­alike.­Capable­of­some­of­the­cleanest­–­or­the­heaviest­–­tones­of­all­time­(figure­8.32).

figure­8.32

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ BOTTOM:­use­this­knob­to­enhance­the­speaker­bottom­end­resonance.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­176

AmpliTube 3

8.6.3.9 Metal Lead W

Designed­by­some­of­the­hardest­rockers­of­the­‘90s,­this­amp­was­built­for­pure­metal­mayhem.­There­may­be­no­heavier,­more­aggressive­amp­in­the­world­(figure­8.33).

figure­8.33

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ BOTTOM:­use­this­knob­to­enhance­the­speaker­bottom­end­resonance.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­177

AmpliTube 3

8.6.3.10 Modern Tube Lead

This­amp­is­a­model­of­one­of­the­leaders­in­hard,­driven­rock­tones­made­today.­Capable­of­searing­leads­and­heavy­crunch,­this­amp­has­been­recti-fied­to­create­a­modern­rock­tone­that­is­hard­to­beat­(figure­8.34).

figure­8.34

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­178

AmpliTube 3

8.6.3.11 Vintage Metal Lead

This­amp­is­based­on­an­all-time­classic,­from­its­origin­in­the­‘70s­through­Aussie­ hard­ rock­ crazy­ ‘80s­ metal­ and­ beyond.­ Few­ amps­ have­ rocked­ as­hard,­for­as­long­(figure­8.35).

figure­8.35

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­179

AmpliTube 3

8.6.4 Bass

8.6.4.1 360Bass Preamp

This­ amp­ toured­ and­ recorded­ for­ years­ with­ one­ of­ the­ biggest­ and­ bold­rock­bands­ever.­Classic­rock­tones­are­a­natural­with­this­amp,­but­it­is­also­known­for­being­used­by­one­of­ the­most­famous­jazz­bassists­of­all­ time.­Show­no­quarter­and­make­your­bass­kill­with­this­amp-solid­state­but­loud­and­proud­(figure­8.36).

figure­8.36

When­ paired­ with­ its­ Matching­ cabined­ (1x18”­ Horn­ Bass)­ it­ can­ sound­really­dark­when­compared­to­today’s­bass­amps,­but­that’s­the­magic­of­it!

Controls:

•­ BRIGHT:­boosts­brilliance­of­the­preamp,­especially­when­the­Volume­control­is­kept­low.

•­ VOLUME:­sets­the­overall­volume­of­the­amp.­Set­it­low­for­pure­and­clean­tones­and­push­it­for­driven­sounds.

•­ TREBLE:­sets­the­amount­of­mid­and­high­frequencies­on­the­sound.•­ BASS:­sets­the­amount­of­low­frequencies­on­the­sound.•­ RANGE:­ forms­a­semi-parametric­midrange­equalizer­ together­with­

Effect.­Use­the­Range­control­to­select­the­center­frequency­of­the­mid­frequency­equalization­process­among­5­positions.

•­ EFFECT:­ forms­a­semi-parametric­midrange­equalizer­ together­with­Range.­ Use­ Effect­ boost­ or­ cut­ the­ midrange­ frequencies­ selected­with­the­Range­control.

•­ FUZZ:­turns­On­the­built-in­Fuzz­effect.•­ GAIN:­sets­the­output­volume­of­the­Fuzz­effect.•­ ATTACK:­sets­the­type­of­Fuzz­effect­that­is­applied.­When­set­to­Min­

the­sound­is­similar­to­a­smooth­overdrive,­when­moved­toward­max­the­sound­gets­more­aggressive­and­fuzzy.

8 - Amp Module ­­­­­­­­­180

AmpliTube 3

8.6.4.2 Combo 150MB

This­is­a­rendition­of­“the”­bass­combo­for­double­bass.­The­tone­doesn’t­stop­there,­though.­Electric­bassists­have­used­this­tiny­but­mighty­(and­toneful)­combo­amp­with­great­success.­Great­things­can­come­in­small­sizes,­and­can­sound­surprisingly­big­and­full­(figure­8.37).

figure­8.37

Controls:

•­ VOLUME:­sets­the­gain­of­the­preamp­stage.•­ CONTOUR:­set­it­at­min­for­a­flat­and­natural­sound,­rise­it­to­gradu-

ally­mix­in­a­midrange­scoop­that­makes­the­tone­more­big­and­“pro-cessed.”

•­ HI BOOST:­delivers­a­gradual­boost­on­mid­and­high­frequencies.•­ LOW CUT ON/OFF:­ when­ enabled­ extremely­ low­ frequencies­ are­

removed­by­the­preamp.­This­is­to­avoid­overloading­the­amp­because­of­unwanted­low­frequencies­content.

•­ TREBLE:­sets­the­amount­of­high­frequencies­on­the­sound.•­ HI MIDDLE:­sets­the­amount­of­mid­high­frequencies­on­the­sound.•­ LOW MIDDLE:­sets­the­amount­of­mid­low­frequencies­on­the­sound.•­ BASS:­sets­the­amount­of­low­frequencies­on­the­sound.•­ OUTPUT LEVEL:­sets­the­volume­of­the­power­amp­stage.•­ LIMITER:­enables­the­built-in­Limiter.­When­enabled­the­power­amp­

is­protected­from­overloading.•­ LIMITER LEVEL:­sets­the­threshold­for­the­limiter­to­trigger­in.­When­

set­ lower­ the­ limiter­will­ trigger­ in­sooner,­and­when­set­ to­higher­values­the­limiter­will­trigger­in­at­higher­levels.

8 - Amp Module ­­­­­­­­­181

AmpliTube 3

8.6.4.3 Green BA250

This­is­a­model­of­a­solid­state­powerhouse­bass­amplifier­with­great­tone-shaping­controls,­a­warm­sound­unlike­most­solid­state­amps,­and­a­sought-after­preamp­(figure­8.38).

figure­8.38

Despite­being­solid­state­this­amp­delivers­an­incredibly­warm­and­tasteful­tone.­With­its­signature­“Middle­cut­pre­shaping”­feature­will­immediately­bring­you­back­to­‘80s­bass­lines!

Controls

•­ GRAPHIC EQUALIZATION:­turns­On­the­graphic­EQ­when­enabled.•­ MIDDLE CUT PRE-SHAPING:­engages­a­mid­frequency­shaping­that’s­

very­characteristic­of­this­amp.­When­it­is­Off,­the­preamp­is­almost­flat­and­natural­sounding.

•­ GAIN:­sets­the­preamp­input­gain.­Follow­what­the­fancy­input­level­LED­meter­tells…­and­you­can’t­go­wrong!­Unless­you­want­overdrive­it!

•­ GRAPHIC EQUALIZATION:­11­sliders­to­create­your­tone.­Only­a­few­graphic­EQ­have­the­musical­quality­of­this­powerful­sculpting­tool.

•­ BALANCE:­ it­ balances­ the­ levels­ when­ you­ engage­ or­ disable­ the­Graphic­EQ.

•­ LEVEL:­overall­amp­volume.­It­sets­the­level­that­is­sent­to­the­power­amp­stage.

8 - Amp Module ­­­­­­­­­182

AmpliTube 3

8.6.4.4 Solid State Bass Preamp

This­model­features­a­solid­state­bass­preamp,­EQ,­and­a­solid­state­power­amp­module.­It­cleans­up­beautifully­and­drives­just­as­hard­(figure­8.39).

figure­8.39

Controls:

PRE MODEL:•­ GAIN:­adjusts­the­input­gain­of­the­preamp­stage.­Use­this­setting­to­

drive­the­preamp­stage,­from­1­to­10.EQ MODEL:

•­ BASS:­ boosts­ and­ cuts­ the­ bass­ frequencies­ of­ the­ amp’s­ EQ­ stage,­from­1­to­10.

•­ MIDDLE:­boosts­and­cuts­the­mid­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ TREBLE:­boosts­and­cuts­the­high­frequencies­of­the­amp’s­EQ­stage,­from­1­to­10.

•­ PRESENCE:­boost­the­high­frequencies­of­the­EQ­stage,­from­1­to­10.•­ SPRING REVERB:­sets­the­level­of­spring­reverb­added­to­the­guitar­

amp­sound,­from­1­to­10.AMP MODEL:

•­ VOLUME:­adjusts­the­output­level­of­the­power­amp­stage,­from­1­to­10.

8 - Amp Module ­­­­­­­­­183

AmpliTube 3

8.7 Pre Amp Models (Table)

Preamp Models Based on*

Clean

American­Clean­MKIII Mesa/Boogie®­Mark­III™­Combo­(Clean­Channel)

American­Tube­Clean­1 Fender®­Super­Reverb®

American­Tube­Clean­2 Fender®­DeLuxe­Reverb®­65

American­Vintage­B Fender®­Bassman®

American­Vintage­D Fender®­Dual­Showman®

American­Vintage­T Fender®­Twin­Reverb®

Custom­Solid­State­Clean IK­Multimedia

Jazz­Amp­120 Roland®­JC-120™

Metal­Clean­T Mesa/Boogie®­Triple­Rectifier®­(Clean­Channel)

Crunch

American­Tube­Vintage Fender®­Bassman®

British­Blue­Tube­30TB Vox®­AC30™­Top­Boost

British­Copper­30TB Vox®­AC30™­-­Copper­Panel

British­Lead­S100 Marshall®­1959­JTM100™­Super­Lead

British­OR Orange®­OR-120™­Head

THD­Bi-Valve THD®­BiValve™

Tube­Vintage­Combo Supro®­Late­'50s­combo

Lead

American­Lead­MKIII Mesa/Boogie®­Mark­III™­Combo­(Lead­Channel)

British­Tube­Lead­1 Marshall®­JCM800™

British­Tube­Lead­2 Marshall®­JCM900™

Custom­Modern­Hi-Gain IK­Multimedia

Custom­Solid­State­Fuzz IK­Multimedia

Custom­Solid­State­Lead IK­Multimedia

Metal­Lead­T Mesa/Boogie®­Triple­Rectifier®­(Lead­Channel)

Metal­Lead­V Peavey®­5150®­100W­head

Metal­Lead­W Randall®­Warhead™

Modern­Tube­Lead Mesa-Boogie®­Dual­Rectifier®

Vintage­Metal­Lead Marshall®­JMP100™­head

Bass

360Bass­Preamp Acoustic®­360™­Bass­Preamp

Combo­150MB Gallien-Krueger®­MB150™

Green­BA250 Trace­Elliot®­AH250™­Head

Solid­State­Bass­Preamp IK­Multimedia

8 - Amp Module ­­­­­­­­­184

AmpliTube 3

8.8 Power Amp Models

Power Amp Models Based on*

Class­A­EL84 Vox®­­AC30™­models

50W­EL34 Marshall®­

100W­EL34 Marshall®­JMP100™­head­

50W­6L6 Fender®­DeLuxe­Reverb®­65

Single­Ended­CI.­A Supro®­Late­'50s­combo

Solid­State Clean­Solid­State­Power­Amp

100W­KT66 Marshall®­1959­JTM100™­Super­Lead

100W­6L6 Fender®­Bassman®­100W­6L6

100W­6L6­D Fender®­Dual­Showman®­100W­6L6

100W­6L6­T Fender®­Twin®­100W­6L6

100W­6L6V Peavey®­5150®­100W­head

150W­6L6MT Mesa/Boogie®­Triple­Rectifier®­150W­

*­All­product­names­and­trademarks­are­the­property­of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­durino­IK­Multimedia’s­sound­model­develop-ment­ and­ for­ describing­ certain­ types­ of­ tones­ produced­ with­ IK­ Multimedia’s­ digital­ modeling­technology.­Use­of­these­names­does­not­imply­any­cooperation­or­endorsement.

ACOUSTIC®,­360™­are­trademarks­of­Guitar­Center,­Inc.FENDER®,­ BASSMAN®,­ DELUXE­ REVERB®,­ SUPER­ REVERB®,­ DUAL­ SHOWMAN®,­ TWIN­REVERB®,­TWIN®­are­registered­trademarks­of­Fender­Musical­Instruments­Corporation.GALLIEN-KRUEGER®­MB150™­is­a­registered­trademark­of­Gallien-Krueger­Corporation.MARSHALL®,­ 1959­ JTM100™­ Super­ Lead,­ JMP100™,­ JCM800™,­ JCM900™,­ Guv’Nor™­ are­ trade-marks­or­registered­trademarks­of­Marshall­Amplification­Plc.MESA/BOOGIE®,­Rectifier®,­Mark­III™,­are­trademarks­of­Mesa/Boogie­Ltd.ORANGE®,­ OR-120™are­ trademarks­ or­ registered­ trademarks­ property­ of­ Orange­ Music­Electronic­Company­LtdPEAVEY®­is­a­registered­trademark­of­Peavey­Electronics­Corporation.RANDALL®,­Warhead™­are­trademarks­or­registered­trademarks­of­Randall­Amplifiers­a­division­of­U.S.­Music­Corp.SUPRO®­is­a­trademark­of­Zinky­Electronics.THD®­BiValve™­is­a­trademark­of­THD­Electronics­Ltd.TRACE­ELLIOT®­AH250™­is­a­registered­trademark­of­Peavey­Electronics­Corporation.VOX®,­ AC30™,­ Wah­ V846™,­ Wah­ 847™­ are­ trademarks­ or­ registered­ trademarks­ of­ VOX­Amplification­Ltd.5150®­is­a­registered­trademark­of­Edward­Van­Halen.

9 - Cab Module ­­­­­­­­­185

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Chapter 9 Cab Module (Cabinets + Microphones)

9.1 Introduction

To­access­the­Cab­module,­click­ the­Cab­button­located­on­the­Module/Rig­Selector­(figure­9.1).

figure­9.1

The­Cab­module­includes­2­models:­the­Cabinet­Model­and­the­Mic­Model,­and­a­new­section­called­Room­(figure­9.2).

figure­9.2

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9.2 Cabinet Model

The­Cabinet­Model­includes­the­Cab­Model­Selector,­the­Bypass­and­Match­buttons­and­a­new­exciting­feature­called­“Size”­(figure­9.3).

figure­9.3

9.2.1 Cab Model Selector

To­ select­ a­ Cabinet­ model,­ click­ the­ Cab­ Model­ Selector­ (figure­ 9.4)­ and­navigate­through­its­categories­or­use­the­forward/back­arrows­(figure­9.5)­.

figure­9.4

figure­9.5

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9.2.2 Bypass

Click­this­button­to­bypass­the­Cab­module­(figure­9.6).

figure­9.6

9.2.3 Match

If­ the­ Match­ control­ is­ enabled­ (figure­ 9.7),­ it­ will­ automatically­ select­ a­cabinet­ that­ matches­ the­ Amp­ model­ that­ you­ have­ selected­ in­ the­ Amp­module.­If­you­want­to­use­another­cabinet,­just­turn­the­Cab­match­Off­and­select­another­model.

figure­9.7

9.2.4 Size

AmpliTube­3­allows­you­to­go­beyond­the­cabinet­physical­limitations…­Just­use­the­Size­control­to­expand­or­reduce­the­size­of­the­cabinet.­(figure­9.8)

figure­9.8

Important:­to­obtain­the­most­accurate­cabinet­sound,­this­control­should­be­kept­at­its­default­position­(Center).­The­purpose­of­this­control­is­to­provide­a­creative­tool­that­allows­you­to­“squeeze”­or­“expand”­the­tonal­color­for­the­selected­cab.­However,­when­you’re­after­the­exact­replica­of­the­original­cabinet­sonic­texture,­remember­to­keep­the­Size­control­centered.

9.3 Cabinet Models

AmpliTube­ 3­ offers­ 45­ cabinet­ models­ organized­ by­ Instrument­ (Guitar/Bass)­ and­ by­ Speaker­ Type­ (Rotary).­ The­ Guitar/Bass­ categories­ are­ sub-organized­ by­ speaker­ size,­ and­ the­ Rotary­ category­ includes­ 2­ models.­Please­take­a­look­at­each­model­and­check­the­Cabinet­Models­Table.

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9.3.1 Guitar 6”

9.3.1.1 1x6 Small Combo

figure­9.9

9.3.2 Guitar 10”

9.3.2.1 1x10 Combo Modern

figure­9.10

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9.3.2.2 4x10 Closed Modern

figure­9.11

9.3.2.3 4x10 Open Vintage

figure­9.10

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9.3.3 Guitar 12”

9.3.3.1 1x12 Combo

figure­9.13­

9.3.3.2 1x12 MB II

figure­9.14

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9.3.3.3 1x12 MB III

figure­9.15

9.3.3.4 1x12 Open Modern

figure­9.11

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9.3.3.5 1x12 Open Vintage

figure­9.17

9.3.3.6 2x12 Closed Vintage

figure­9.18

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9.3.3.7 2x12 Gry British Vint

figure­9.19

9.3.3.8 2x12 JP Jazz

figure­9.20

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9.3.3.9 2x12 Open SL

figure­9.21

9.3.3.10 2x12 Open TJ120

figure­9.22

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9.3.3.11 2x12 Open Vintage

figure­9.23

9.3.3.12 4x12 British Or

figure­9.24

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9.3.3.13 4x12 Closed 25 C

figure­9.25

9.3.3.14 4x12 Closed 75 C

figure­9.26

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9.3.3.15 4x12 Closed J120

figure­9.27

9.3.3.16 4x12 Closed Modern 1

figure­9.28

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9.3.3.17 4x12 Closed Modern 2

figure­9.29

9.3.3.18 4x12 Closed Vintage 1

figure­9.30

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9.3.3.19 4x12 Closed Vintage 2

figure­9.31

9.3.3.20 4x12 Metal F 1

figure­9.32

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9.3.3.21 4x12 Metal F 2

figure­9.33

9.3.3.22 4x12 Metal T 1

figure­9.34

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9.3.3.23 4x12 Metal T 2

figure­9.35

9.3.3.24 4x12 Metal T 3

figure­9.37

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9.3.3.25 4x12 Metal V 1

figure­9.37

9.3.3.26 4x12 Metal V 2

figure­9.38

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9.3.3.27 4x12 Metal V 3

figure­9.39

9.3.3.28 4x12 Modern M 1

figure­9.40

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9.3.3.29 4x12 Modern M 2

figure­9.41

9.3.3.30 4x12 Modern M 3

figure­9.42

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9.3.3.31 4x12 Vintage M 1

figure­9.43

9.3.3.32 4x12 Vintage M 2

figure­9.44

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9.3.4 Guitar 15”

9.3.4.1 2x15 Closed B J130

figure­9.45

9.3.4.2 2x15 Closed D J130

figure­9.46

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9.3.5 Bass 10”

9.3.5.1 4x10+tw Bass

figure­9.47

9.3.5.2 4x10+tw TE Bass

figure­9.48

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9.3.6 Bass 12”

9.3.6.1 1x12 Bass

figure­9.49

9.3.6.2 1x12 BassJz

figure­9.50

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9.3.7 Bass 15”

9.3.7.1 1x15 Bass Vintage

figure­9.51

9.3.8 Bass 18”

9.3.8.1 1x18 Horn Bass

figure­9.52

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9.3.9 Rotary

9.3.9.1 Rotary 147-1

figure­9.53

9.3.9.2 Rotary 147-2

figure­9.54

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9.4 Cabinet Models (Table)

Cabinet Model Based on*

Guitar 6”

1x6­Small­Combo Fender®­SS­Combo

Guitar­10”

1x10­Combo­Modern Mesa/Boogie®­1x10"­Subway­Rocket®

4x10­Closed­Modern Marshall®­4x10­'90s­JCM410™

4x10­Open­Vintage Fender®­Super­Reverb®­1967

Guitar 12”

1x12­Combo Marshall®­1x12­Valvestate™­12

1x12­MB­II Mesa/Boogie®­Mark­II™­1x12"­EV

1x12­MB­III Mesa/Boogie®­Mark­III™­1x12"­EV

1x12­Open­Modern VHT®­Pitbull™­1x12­Combo

1x12­Open­Vintage Fender®­DeLuxe®­65

2x12­Closed­Vintage Marshall®­1922­2x12­Greenbacks

2x12­Gry­British­Vint Vox®­AC30™­2x12"­'60s­Graybacks

2x12­JP­Jazz Roland®­JC-120™­2x12"

2x12­Open­SL Sears®­Silvertone®­2x12”

2x12­Open­TJ120 Fender®­Twin®­2x12”­JBL®­D120F

2x12­Open­Vintage Vox®­AC30­'60s­Bluebacks

4x12­British­Or 4x12"­Orange®­PPC412™

4x12­Closed­25­C Marshall®­4x12”,­Greenbacks

4x12­Closed­75­C Marshall®­4x12”,­G12­75

4x12­Closed­J120 Marshall®­4x12”,­JBL®­D120F

4x12­Closed­Modern­1 Marshall®­4x12­'80s­1982A

4x12­Closed­Modern­2 Mesa/Boogie®­4x12­Rectifier™

4x12­Closed­Vintage­1 Marshall®­4x12­Angled,­'70s­Greenbacks

4x12­Closed­Vintage­2 Marshall®­4x12­Straight,­Greenbacks

4x12­Metal­F­1 Fender­®­4x12­MH™­1

4x12­Metal­F­2 Fender­®­4x12­MH™­2

4x12­Metal­T­1 Mesa/Boogie­®­4x12”­Rectifier®­1

4x12­Metal­T­2 Mesa/Boogie­®­4x12”­Rectifier®­2

4x12­Metal­T­3 Mesa/Boogie­®­4x12”­Rectifier®­3

4x12­Metal­V­1 Peavey­®­5150®­4x12”­1

4x12­Metal­V­2 Peavey­®­5150®­4x12”­2

4x12­Metal­V­3 Peavey­®­5150®­4x12”­3

4x12­Modern­M­1 Marshall­®­4x12”­JCM800­1

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4x12­Modern­M­2 Marshall­®­4x12”­JCM800­2

4x12­Modern­M­3 Marshall­®­4x12”­JCM800­3

4x12­Vintage­M­1 Marshall­®­1960­4x12”­1

4x12­Vintage­M­2 Marshall­®­1960­4x12”­2

Guitar 15”

2x15­Closed­B­J130 Fender®­Bassman®­2­x15”,­JBL®­D130F

2x15­Closed­D­J130 Fender®­Dual­Showman®­2x15”,­JBL®­D130F

Bass 10”

4x10+tw­Bass SWR®­Goliath™­4x10

4x10+tw­TE­Bass Trace­Elliot®­4x10"

Bass 12”

1x12­Bass Custom­Bass­1x12

1x12­BassJz Gallien-Krueger®­1x12"­MB150

Bass 15”

1x15­Bass­Vintage Ampeg®­B15R™­15”

Bass 18”

1x18­Horn­Bass Acoustic®­301™­Folded­Horn­18”­

Rotary

Rotary­147-1 Leslie®­147™­original­AlNiCo­woofer

Rotary­147-2 Leslie®­147™­modern­replacement­woofer

*­All­product­names­and­trademarks­are­the­property­of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­durino­IK­Multimedia’s­sound­model­develop-ment­ and­ for­ describing­ certain­ types­ of­ tones­ produced­ with­ IK­ Multimedia’s­ digital­ modeling­technology.­Use­of­these­names­does­not­imply­any­cooperation­or­endorsement.

ACOUSTIC®,­301™­are­trademarks­of­Guitar­Center,­Inc.AMPEG®,­B15R™­are­trademarks­of­LOUD­Technologies,­Inc.FENDER®,­BASSMAN®,­SUPER­REVERB®,­DUAL­SHOWMAN®,­TWIN®,­MH™­are­registered­trademarks­of­Fender­Musical­Instruments­Corporation.GALLIEN-KRUEGER®­MB150™­is­a­registered­trademark­of­Gallien-Krueger­Corporation.JBL®­is­a­registered­trademark­of­JBL­Professional.LESLIE™­147™­is­a­registered­trademark­of­Hammond­Suzuki­USA,­Inc.MARSHALL®,­ JCM800™,­ JCM410™­ are­ trademarks­ or­ registered­ trademarks­ of­ Marshall­Amplification­Plc.MESA/BOOGIE®,­ Rectifier®,­ Subway­ Rocket®,­ Mark­ II™,­ Mark­ III™,­ are­ trademarks­ of­ Mesa/Boogie­Ltd.ORANGE®,­ PPC412™­ are­ trademarks­ or­ registered­ trademarks­ property­ of­ Orange­ Music­Electronic­Company­Ltd.ROLAND®,­JC-120™­are­registered­trademarks­of­Roland­Corporation.SEARS®­is­a­registered­trademark­of­Sears­Brand,­LLC.SILVERTONE®­is­a­registered­trademark­of­Samick­Music­Corporation.SWR®,­Goliath™­are­trademarks­of­SWR­Sound­Corporation.TRACE­ELLIOT®­is­a­registered­trademark­of­Peavey­Electronics­Corporation.VHT®­Pitbull™is­a­trademark­of­VHT­Amplification,­Inc.VOX®,­AC30™­are­trademarks­or­registered­trademarks­of­VOX­Amplification­Ltd.

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9.5 Mic Model

The­Mic­Model­ includes­the­Mic­Model­selector,­2­microphones­to­mic­and­mix­each­cabinet,­and­Mute,­Solo,­Phase,­Pan,­and­Mic­Blend­controls­(figure­9.55).

figure­9.55

Thanks­ to­ the­ new­ design­ of­ the­ Cab­ module,­ you­ are­ able­ to­ Mute,­ Solo,­change­the­Phase,­and­Pan­each­microphone­individually­and­then­combine­their­ settings­ via­ the­ MIC­ blend­ slider.­ Also,­ you­ can­ easily­ change­ each­microphone’s­position­and­distance.­All­of­these­options­allow­you­to­recre-ate­your­microphones­techniques­and­expand­your­music­production­skills.­

Below,­a­brief­description­of­each­control.

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9.5.1 Mic Model Selector

To­select­a­microphone­model,­click­the­Mic­Model­Selector­(figure­9.56)­and­navigate­through­its­categories­or­use­the­forward/back­arrows­(figure­9.57).

figure­9.56

figure­9.57

If­you­want­to­use­2­microphones­select­a­mic­model­from­both­Mic­1­and­Mic­2.

If­you­want­to­use­just­one­microphone­select­None­from­Mic­2­models­list.

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Note:­ when­ loading­ presets­ from­ previous­ AmpliTube­ products­ Mic­ 2­ will­be­selected­to­None­automatically­because­previous­products­only­have­one­mic.­To­add­a­second­microphone­ in­AmpliTube­3­ just­ click­ the­Mic­Model­Selector­and­choose­a­mic­model­instead­of­None­(figure­9.58).

figure­9.58

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9.5.2 Position

To­change­the­position­of­the­microphone­in­relationship­to­the­cone­of­the­speaker,­move­ the­microphone­ (or­ its­ identification­number­ located­ in­ the­spatial­graphic)­(figure­9.59)­from­left­to­right­(or­vice­versa)­until­you­find­the­sweet­spot.­In­other­words,­you­will­be­able­to­change­the­microphone’s­position­from­off­axis­(outside­edge­of­the­speaker)­to­on­axis­(center)­and­everything­in­between.­

figure­9.59

figure­9.60

On-Axis­ means­ that­ the­ microphone­ is­ positioned­ in­ the­ center­ of­ the­speaker.­ (figure­ 9.60)­ Typically,­ On­ Axis­ position­ delivers­ a­ rich­ tonal­ bal-ance,­with­presence­and­high-frequency­content.­However,­this­could­be­too­bright­or­harsh­for­some­Amp­settings.­In­this­case,­try­the­Off­Axis­position­to­obtain­a­sweeter­tone.

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Off-Axis­means­that­the­microphone­is­positioned­at­the­outside­edge­of­the­speaker.­(figure­9.61)

figure­9.61

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9.5.3 Distance

To­ change­ the­ distance­ of­ the­ microphone­ in­ relationship­ to­ the­ speaker,­move­the­microphone­Up­(Near)­(figure­9.62)­or­Down­(Far)­(figure­9.63)­or­vice­versa­until­you­find­the­proper­distance.

figure­9.62

figure­9.63

To­summarize,­moving­the­microphone­horizontally­will­change­its­position­(On/Off­axis)­and­moving­it­vertically­will­change­its­distance­(Near/Far).

Production­Tips:

To­ obtain­ detailed­ clean­ sounds,­ mic­ up­ your­ Cab­ using­ the­ On­ Axis­position­and­Near­distance­settings.­If­the­sound­is­too­big­for­your­mix,­change­the­mic­distance­to­Far.

In­ general,­ extremely­ high-gain­ sounds­ match­ well­ together­ with­ an­Off-Axis­position­and­Near­distance­settings,­(especially­if­you­are­using­a­bright­microphone­like­the­Dynamic­57).

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Important:­exactly­as­it’s­happening­in­reality­when­you­combine­two­micro-phones­placed­ad­different­distances­ in­ front­of­an­amplifier­and­you­mix­them­up­the­result­can­be­a­phasey­sound­affected­by­weird­comb­filtering.

Sometimes­this­ is­what­ it’s­actually­wanted,­but­ in­case­you­hear­ this­and­you­do­not­like­what­you­get­just­be­sure­to­align­the­two­microphones­more­or­less­at­the­same­distance­from­the­speaker.

You­can­also­blend­the­microphones­at­25%­or­75%­instead­of­50%,­this­will­ reduce­ the­phasey­effect­when­mics­are­placed­at­different­distances.­Although,­again,­this­is­sometimes­something­wanted!

Tip:­experiment­with­the­fantastic­3D­and­“sense­of­space”­AmpliTube­3­can­deliver­by­panning­the­two­microphones­wide­L-R­(or­just­a­bit)­and­moving­the­ microphones­ in­ front­ of­ the­ cab.­ You’ll­ discover­ some­ amazingly­ nice­ways­of­having­your­tones­to­be­placed­on­the­stereo­field­and­having­them­to­go­inside­the­mix­or­outside,­with­amazing­spatial­presence.

9.5.4 Mute

Click­ this­ button­ to­ Mute­ the­ selected­ microphone­ (its­ number­ will­ be­dimmed­(figure­9.64).

figure­9.64

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9.5.5 Solo

Click­ this­ button­ to­ Solo­ the­ selected­ microphone­ (the­ other­ microphone’s­number­will­be­dimmed)­(figure­9.65).

figure­9.65

9.5.6 Phase

Click­this­button­to­change­the­selected­microphone­Phase­(figure­9.66).­You­can­get­some­really­weird­tones­by­combining­two­microphones­in­different­positions­and­reversing­phase­on­one.­Experiment!

figure­9.66

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9.5.7 Pan

To­change­a­microphone­pan­setting,­move­the­Pan­knob­(figure­9.67)­to­the­desired­position­and­check­its­value­in­the­Selected­Parameter­Display.

figure­9.67

Tip:­when­combining­two­microphones­it­is­sometime­very­useful­to­slightly­“open”­ their­ Pan­ controls.­ This­ can­ result­ in­ some­ extremely­ realistic­ and­nicely­3D­sounding­tones­that­can­fit­better­in­the­mix­because­they­can­take­advantage­of­spatial­“cut­trough”­in­addition­to­2D­normal­panning.

9.5.8 Mic Blend

To­ combine­ both­ microphone­ settings,­ move­ the­ Mic­ Blend­ slider­ to­ your­desired­position­(figure­9.68).

figure­9.68

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9.6 Microphone Models

AmpliTube­3­offers­microphone­models­organized­in­3­categories,­Dynamic,­Condenser,­and­Ribbon.

9.6.1 Dynamic

9.6.1.1 Dynamic 57

This­ mic­ model­ is­ based­ on­ one­ of­ the­ most­ popular­ small­ diaphragm­dynamic­ microphones.­ Its­ bright,­ edgy­ sound­ has­ made­ it­ a­ widely­ used­guitar­amp­mic­(figure­9.69).

figure­9.69

Typically­used­in­studios­paired­with­a­smoother­and­warmer­condenser­mic.

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9.6.1.2 Dynamic 20

This­mic­model­recreates­a­smooth­reaction­across­a­wide­spectrum­of­fre-quencies,­especially­attractive­in­the­low­area.­This­means­that­the­Dynamic­20­is­a­great­selection­for­acoustic­and­electric­bass­(figure­9.70).

figure­9.70

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9.6.1.3 Vintage Dynamic 20

This­ model­ is­ a­ vintage­ dynamic­ large­ diaphragm­ microphone­ that­ used­to­ be­ the­ standard­ mic­ for­ bass­ amps­ and­ kick­ drums­ during­ the­ ‘60s.­ It’s­warm­and­present,­and­has­a­smooth­roll-off­at­high­ frequencies.­ It­has­a­very­pleasant­mid­range­presence­together­with­a­smooth­high­frequencies­rolloff­that­delivers­a­nice­vintage­sheen­to­the­tone­(figure­9.71).

figure­9.71

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9.6.1.4 Dynamic 421

Probably­the­second­most­popular­dynamic­mic­to­use­on­guitar­amps,­this­model­provides­an­equally­pleasing­sound,­but­is­warmer­than­the­57­(figure­9.72).

figure­9.72

It­also­adds­a­very­focused­boost­on­hi-mid­frequencies­that­makes­it­suit-able­to­get­aggressive­driven­tones.

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9.6.1.5 Dynamic 441

This­model­has­a­flatter­frequency­response­than­most­other­dynamic­mics.­This­mic­ is­highly­regarded­as­a­guitar­mic­and­used­widely­ in­studios­all­over­the­world­(figure­9.73).

figure­9.73

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9.6.1.6 Dynamic 609

This­is­a­model­of­a­faithful­and­popular­microphone­used­daily­in­many­stu-dios­and­can­be­found­“hanging­around”­there­or­on­stages­everywhere.­This­dynamic­microphone­can­deliver­honest­yet­punchy­sounds­(figure­9.74).

figure­9.74

Can­result­in­very­mid-rangey­sounds­at­times,­but­this­is­sometimes­what­you­want,­especially­when­combined­with­a­warmer­condenser­microphone.

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9.6.2 Condenser

9.6.2.1 Condenser 12

This­mic­model­is­based­on­one­of­the­first­legendary­tube­microphones­in­the­history­of­recording­(figure­9.75).

figure­9.75

Extremely­detailed­high­frequencies­can­sometimes­emphasize­some­speak-ers’­fizziness­especially­when­placed­on­axis,­so­it­is­typically­used­slightly­off.

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9.6.2.2 Condenser 67

This­ mic­ model­ is­ based­ on­ one­ of­ the­ most­ famous­ multi-purpose­ studio­microphones­(figure­9.76).

figure­9.76

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9.6.2.3 Condenser 84

No­ microphone­ collection­ would­ be­ complete­ without­ a­ great­ small­ dia-phragm­condenser­mic.­This­model­is­based­on­the­standard­for­small­dia-phragm­mics.­As­with­any­good­small­condenser­mic,­the­84­provides­a­clean­clear­picture­of­the­guitar­tone­(figure­9.77).

figure­9.77

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9.6.2.4 Condenser 87

This­is­a­model­of­one­of­the­most­popular­large­diaphragm­mics­ever­(figure­9.78).­It­can­be­found­in­any­large­recording­studio­mic­locker.­Because­of­its­excellent­frequency­response­curve,­the­87­has­become­the­go-to­mic­when­needing­a­clean,­flattering­sound.

figure­9.78

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9.6.2.5 Condenser 170

This­ is­ a­ model­ of­ a­ high-quality­ large-diaphragm­ condenser­ microphone­used­ in­ famous­ studios­ around­ the­ world.­ One­ of­ the­ first­ with­ transfor-merless­ technology,­ this­ microphone­ came­ into­ the­ world­ boasting­ a­ very­high-quality­ sound­ with­ low­ noise­ and­ a­ very­ impressive­ dynamic­ range­(figure­9.79).

figure­9.79

This­microphone­will­not­color­the­sound­of­the­speaker,­or­at­least­will­color­it­very­little.­That’s­why­it­is­a­great­choice­to­hear­a­very­natural­rendering­of­the­speaker­sound­even­when­used­alone.

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9.6.2.6 Condenser 414

The­ Condenser­ 414­ is­ modeled­ after­ another­ highly­ regarded­ large­ dia-phragm­ condenser­ microphone­ (figure­ 9.80).­ It­ is­ a­ flat­ and­ clean/open­microphone­ that­ will­ flatter­ big­ full­ tones­ and­ will­ also­ blend­ beautifully­when­combined­with­another­cabinet/mic­setup.

figure­9.80

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9.6.3 Ribbon

9.6.3.1 Ribbon 121

Use­this­ribbon­microphone­to­capture­a­pure,­natural­sound.­This­is­mod-eled­ after­ one­ of­ the­ must-have­ studio­ ribbon­ microphones­ of­ our­ time­(figure­9.81).

figure­9.81

Incredibly­present­mid­range­with­a­natural­and­smooth­roll­off­on­the­high­frequencies,­makes­it­ideal­when­you’re­hearing­too­much­“fizz”­from­the­in­axis­tone­on­high­gain­and­metal­tones,­switching­to­this­mic­will­reduce­the­unwanted­high­frequencies­fizzness­in­a­way­that­will­not­reduce­presence­at­all.

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9.6.3.2 Ribbon 160

This­ mic­ is­ modeled­ after­ a­ double-ribbon­ hypercardioid­ microphone,­ one­of­ the­ top­ choices­ for­ capturing­ the­ sound­ of­ a­ broad­ diversity­ of­ sources­(figure­9.82).

figure­9.82

Very­detailed­and­with­a­focus­on­mid­range,­try­this­when­you­want­more­mid­range­presence­without­applying­EQ­or­changing­amp­settings.

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9.6.3.3 Velo-8

This­ is­ a­ double-ribbon­ figure-8­ microphone­ with­ a­ unique­ Neodymium­element­(figure­9.83).­With­a­silky-smooth­high­end­and­good­low­end­body,­a­great­choice­for­more­vintage-sounding­guitar­tones,­this­mic­mixes­very­well­with­other­microphones­for­very­full-bodied­recordings.

figure­9.83

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9.7 Microphone Models (Table)

Mic Model Based on*

Dynamic

Dynamic­57 Shure®­SM57™

Dynamic­20 Electro-Voice®­RE20™

Vintage­Dynamic­20 AKG®­D20™

Dynamic­421 Sennheiser®­MD-421™

Dynamic­441 Sennheiser®­MD-441™

Dynamic­609 Sennheiser®­MD609™

Condenser

Condenser­12 AKG®­C12™

Condenser­67 Neumann®­U67

Condenser­84 Neumann®­KM-84™

Condenser­87 Neumann®­U-87™

Condenser­170 Neumann®­TLM­170™

Condenser­414 AKG®­C-414­ULS™

Ribbon

Ribbon­121 Royer®­R121™

Ribbon­160 Beyerdynamic®­M160™

Ribbon­Velo-8 Groove­Tubes®­Velo-8™

*­All­product­names­and­trademarks­are­the­property­of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­durino­IK­Multimedia’s­sound­model­develop-ment­ and­ for­ describing­ certain­ types­ of­ tones­ produced­ with­ IK­ Multimedia’s­ digital­ modeling­technology.­Use­of­these­names­does­not­imply­any­cooperation­or­endorsement.

AKG®,­C12™,­D20™,­C-414­ULS™­are­registered­trademarks­of­AKG­Acoustics­GmbH.BEYERDYNAMIC®,­M160™­are­registered­trademarks­of­Beyerdynamic­GmbH­&­Co.ELECTRO-VOICE®,­RE20™­are­registered­trademarks­of­Electro-Voice,­Inc.GROOVE­TUBES®,­Velo-8™­are­registered­trademarks­of­Groove­Tubes,­LLC.NEUMANN®,­U67™,­U87™,­KM-84™,­TLM­170™­are­registered­ trademarks­of­Georg­Neumann­GmbH.ROYER®,­R121™­are­registered­trademarks­of­Bulldog­Audio,­Inc.­DBA­Royer­Labs­Corporation.SENNHEISER®,­ MD-421™,­ MD-441™,­ MD609™­ ­ are­ registered­ trademarks­ of­ Sennheiser­Electronic­Corp.SHURE®,­SM57™­are­registered­trademarks­of­Shure­Incorporated.

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9.8 Room

The­new­Room­section­allows­you­to­place­the­cabinet­in­a­particular­ambi-ence­and­control­the­width,­pan,­and­level­of­the­Room­Mics.­In­addition,­it­includes­the­Mute,­Solo,­and­Phase­buttons.­Experiment­with­all­the­Cab,­Mic­Models,­and­Room­Types­to­create­your­perfect­cabinet­sound­(figure­9.84).

figure­9.84

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9.8.1 Room Type Selector

Click­the­Room­Type­Selector­(figure­9.85)­to­select­a­Room­preset­or­use­the­forward/back­arrows­(figure­9.86).

figure­9.85

figure­9.86

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9.8.2 Mute

Click­this­button­to­Mute­the­Room­section­(figure­9.87).

figure­9.87

9.8.3 Solo

Click­ this­ button­ to­ Solo­ the­ Room­ section­ (the­ microphones­ selected­ via­Mic­Model­will­be­muted­and­their­identification­numbers­will­be­dimmed)­(figure­9.88).

figure­9.88

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9.8.4 Phase

Click­this­button­to­change­the­Room’s­Phase­(figure­9.89).

figure­9.89

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9.8.5 Room Mics Controls

figure­9.90

Width:­use­this­control­to­change­the­width­between­microphones.­At­0,­the­microphones­are­next­to­each­other­in­the­center­of­the­room­(figure­9.91).­At­100,­one­microphone­is­located­to­the­left­side­and­the­other­to­the­right­side­(figure­9.92).

figure­9.91

figure­9.92

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Use­this­control­to­set­the­Stereo­image­width­that­will­be­produced­by­the­ambience­signal.­

When­ set­ to­ default­ (Center),­ the­ ambience­ will­ be­ producing­ a­ natural­stereo­room­sound.

If­lowered,­the­image­will­gradually­narrow­up­to­become­completely­mono­at­the­minimum­position.

If­increased,­the­image­will­be­expanded­causing­the­impression­of­the­ste-reo­field­to­be­wider­than­the­speakers.­Be­careful­not­overdo­this­because­the­sound­might­be­cancelled­(or­partially)­when­listening­in­mono.

Pan:­this­control­allows­you­to­pan­both­microphones­to­the­left,­center,­or­right­within­the­stereo­image­(figure­9.93).

figure­9.93

Level:­controls­the­Room­Mics­Levels.­This­is­a­great­tool­to­create­different­dimensions­within­your­mix­(figure­9.94).

figure­9.94

The­values­of­the­Width,­Pan,­and­Level­controls­are­shown­in­the­Selected­Parameter­Display.

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9.8.6 Room Type Presets

There­are­5­Room­Type­Presets;­Amp­Closet,­Small­Studio,­Mid­Studio,­Large­Studio­and­Hall.­Listen­to­each­preset­and­select­the­one­that­best­fits­your­sound­(figure­9.95).

figure­9.95

9.9 Rotary Speaker

figure­9.96

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9.9.1 Introduction

The­Rotary­147­–­1­and­Rotary­147­–­2­models­are­a­faithful­digital­recre-ation­of­an­extremely­good­sounding­all­original­classic­Rotary­speaker­unit­produced­in­the­‘60s.

9.9.2 Rotary Speaker Models

Model­147-1­comes­with­all­new­original­speakers,­while­Model­147-2­comes­with­a­tighter­and­powerful­replacement­15”­speaker­on­the­low­frequency­section.

You­could­choose­either­of­them,­depending­on­the­type­of­music­and­sound­you­ want­ to­ process­ with­ the­ Rotary­ speaker.­ Consider­ Model­ 147-1­ to­ be­more­accurate­with­the­original­with­an­upfront­mid­range,­and­147-2­to­be­more­bass-powerful­and­defined­on­low­frequencies.

9.9.3 Setup

This­menu­(figure­9.97)­is­used­to­select­various­techniques­used­to­record­the­Rotary­speaker­unit­in­the­studio:

figure­9.97

Open:­means­that­the­low­frequency­cabinet­was­open­during­the­recording.

Closed:­means­that­the­low­frequency­cabinet­was­closed­during­the­record-ing.

Front:­means­that­the­rotating­horn­microphones­where­placed­at­the­front­of­the­Leslie­cab,­meaning­the­sound­was­passing­through­the­slots­on­the­panels.

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Back:­ means­ that­ the­ horn­ microphones­ where­ placed­ at­ the­ back­ of­ the­Leslie­ cabinet,­ meaning­ the­ sound­ was­ directly­ taken­ from­ the­ horn,­ not­passing­through­the­slots­on­panels,­or­just­partially.

Mono:­ means­ the­ bass­ drum­ was­ recorded­ with­ only­ one­ microphone,­ in­mono.

9.9.4 Width

Use­this­control­to­set­the­Stereo­image­width­that­will­be­produced­by­the­Rotary­speaker­(figure­9.98).

figure­9.98

When­set­to­default­(Center)­the­Rotary­speaker­is­producing­a­convincing­and­natural­stereo­image.

If­lowered,­the­image­will­gradually­narrow­up­to­become­completely­mono­at­the­minimum­position.

If­ increased,­ the­ image­ will­ be­ expanded­ causing­ the­ impression­ of­ the­stereo­ field­ to­ be­ wider­ than­ the­ speakers.­ Be­ careful­ not­ to­ overdo­ this­because­the­sound­might­be­cancelled­(or­partially­cancelled)­when­listen-ing­in­mono.

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9.9.5 Balance

Use­this­control­to­alter­the­balance­between­the­top­rotating­horns­and­the­bottom­rotating­drum­on­the­Rotary­Speaker­unit.­(figure­9.99)

figure­9.99

At­ default­ (center)­ position­ the­ sound­ is­ usually­ balanced,­ moving­ the­control­ toward­ the­ minimum­ position­ makes­ the­ level­ of­ the­ top­ rotating­horns­(mid­and­high­frequencies)­to­be­reduced,­moving­the­control­toward­the­ maximum­ position­ makes­ the­ level­ of­ the­ bottom­ rotating­ drum­ (low­frequencies)­to­be­reduced.

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9.9.6 Speed

Sets­the­speed­of­the­Rotary­Speaker­(figure­9.100).

figure­9.100

Slow:­makes­the­horn­and­drum­to­rotate­at­slow­speed.Fast:­makes­the­horn­and­drum­to­rotate­at­high­speed.Brake:­makes­the­horn­and­drum­to­stop­rotating.

The­real­rotating­speakers­inside­this­unit­are­taking­their­time­to­both­slow­down­or­speed­up;­this­characteristic­is­also­part­of­its­sound.­The­model­here­is­behaving­in­the­same­way,­with­the­exact­times.­That’s­why­speed­changes­are­not­instantaneous.

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­ Chapter 10 Rack FX Module (Post Effects)

10.1 Introduction

To­access­the­Rack­module,­click­the­Rack­button­located­on­the­Module/Rig­Selector­(figure­10.1).­There­are­two­independent­Rack­modules­featuring­4­stereo­rack­effects­each.­They­can­be­used­independently­or­together­for­a­total­of­8­rack­effects.

figure­10.1

To­facilitate­the­Rack­models­navigation,­please­read­the­following­controls­descriptions.

10.2 On/Bypass

This­ control­ enables/disables­ the­ Rack­ module­ from­ the­ plug-in’s­ signal.­When­is­On,­the­switch­looks­red.­(figure­10.2)

figure­10.2

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10.3 Rack FX Selector

To­ select­ a­ rack­ model,­ click­ the­ Rack­ Model­ Selector­ (figure­ 10.3)­ and­navigate­through­its­categories­or­use­the­forward/back­arrows.­(figure­10.4)

figure­10.3

figure­10.4

10.4 Drag and Drop Feature

Thanks­to­AmpliTube­3­drag­&­drop­feature­you­are­able­to­re-arrange­the­order­of­the­racks­on­the­fly­and­monitor­the­results­in­real-time…

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10.5 Rack FX Models

AmpliTube­3­offers­17­ rack­ models­organized­ in­6­ categories,­Modulation,­Delay­&­Reverb,­Filter,­Pitch,­EQ­&­Dynamics,­and­Other.

10.5.1 Delay & Reverb

10.5.1.1 Digital Delay

This­advanced­delay­modeled­effect­can­add­a­variety­of­depth­to­the­sound,­by­providing­five­different­delay­modes.­The­delay­can­also­be­synched­to­the­host­tempo­providing­even­more­flexibility­(figure­10.5).

figure­10.5

Controls:

•­ MODE:­ sets­ the­ output­ mode­ of­ the­ Delay­ effect;­ Stereo,­ Left/Right,­Mono,­Left/Center/Right,­and­Doubler.

•­ DELAY TIME:­sets­the­time­between­the­echoes,­from­1­ms­to­2000­ms.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo­and­

changes­the­Rate­control­to­beat­values.•­ FEEDBACK:­changes­the­amount­of­time­that­the­delay­repeats,­from­

0%­to­100%.•­ FILTER:­ sets­ the­ low­ pass­ filter­ for­ the­ delay­ effect,­ from­ 200­ Hz­ to­

20­kHz.­When­set­to­mid­values­it­gives­a­nice­warmth­to­the­delay­timbre.

•­ MIX:­adjusts­the­amount­of­wet­sound­with­the­dry­sound,­from­0%­to­100%.

•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

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10.5.1.2 Digital Reverb

This­digital­reverb­is­capable­of­adding­small­amount­of­space­to­a­signal­or­creating­a­huge­hall­around­the­instrument­(figure­10.6).

figure­10.6

Controls:

•­ DECAY TIME:­sets­the­length­of­the­reverb,­from­0.60­seconds­to­14.00­seconds.

•­ DENSITY:­ sets­ the­ number­ of­ reflections­ generated­ by­ the­ reverb,­from­0­to­99.

•­ COLOUR:­sets­the­reverb­coloration­from­dark­to­light,­from­2­kHz­to­20­kHz.

•­ MIX:­adjusts­the­amount­of­wet­sound­with­the­dry­sound,­from­0%­to­100%.

•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

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10.5.1.3 Tap Delay

This­creative­delay­effect­unit­can­be­used­to­create­interesting­and­unusual­delay­effects­thanks­to­the­8­totally­independent­taps.­You­can­create­groov-ing­rhythm­patterns­by­combining­more­taps­with­a­specific­time­signature,­and­you­can­mix­this­up­with­psychedelic­reverse­tape­effects­you­are­able­to­set­for­each­tap­(figure­10.7).

figure­10.7

The­TapDelay­is­actually­8­delays­in­one­single­unit,­and­it­allows­you­to­set­time,­timbre­and­level­for­each­one­of­these­units.­In­addition,­you­can­glob-ally­control­with­single­knobs­parameters­for­all­the­8­taps­at­the­same­time,­like­time,­dry/wet­mix­and­feedback­amount.

Controls:

•­ TIME:­globally­shifts­the­delay­time­of­all­the­8­taps.­This­is­a­relative­control­that­works­in­this­way:•­ When­set­at­the­center­position­(1x)­it­does­not­alter­the­time­that­

has­been­setup­on­each­tap.•­ When­set­to­minimum­(0.25x)­it­divides­all­times­by­four.­•­ When­set­to­max­(4x)­it­multiply­all­times­by­four.­Use­it­to­globally­change­the­delay­tempo­without­changing­the­rela-tions­between­all­taps.

•­ MIX:­ globally­ adjust­ the­ effect­ mix­ between­ the­ Dry­ signal­ and­ all­the­8­delay­taps.

•­ FEEDBACK:­ globally­ adjust­ the­ amount­ of­ feedback­ the­ delay­ will­have.­When­set­at­maximum,­the­delay­with­be­sustaining­itself.

•­ TAP:­use­these­buttons­to­select­which­one­among­the­8­delay­taps­you’re­going­to­edit­with­next­controls.

•­ LEVEL:­sets­the­audio­level­for­the­selected­delay­tap.•­ TIME:­ sets­ the­ delay­ time­ for­ the­ selected­ tap.­ It­ can­ be­ shown­ in­

milliseconds­ or­ in­ musical­ divisions,­ depending­ on­ the­ BPM­ Sync­switch­position.

•­ TAPS DISPLAY:­ shows­ each­ Tap­ as­ a­ vertical­ bar.­ The­ horizontal­position­ of­ the­ bar­ represent­ the­ delay­ time,­ the­ height­ of­ the­ bar­represent­the­audio­level.

•­ FILTER:­sets­the­timbre­for­the­selected­delay­tap,­darker­at­minimum­and­brighter­at­maximum.

•­ REVERSE:­enable­this­button­to­transform­the­selected­delay­tap­from­normal­to­reverse.­When­set­to­reverse­a­delay­tap­will­sound­like­a­reversed­tape­loop.

•­ LINK:­enable­this­button­to­make­a­change­you­do­on­the­above­men-tioned­parameters­to­apply­to­all­the­8­taps­at­the­same­time.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

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10.5.2 EQ & Dynamics

10.5.2.1 Graphic EQ

IK­Multimedia­proprietary­31­band­Graphic­EQ­(figure­10.8);­

figure­10.8

20,­25,­31.5,­40,­50,­63,­80,­100,­125,­160,­200,­250,­315,­400,­500,­630,­800,­1k,­1.25k,­1.6k,­2k,­2.5k,­3.15k,­4k,­5k,­6.3k,­8k,­10k,­12.5k,­16k,­20k.

Each­band­has­+/-­15­dB­boost,­plus­Reset­button­(total­reset­of­all­bands­at­0­dB),­and­Level­slider­(+/-­15­dB).

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10.5.2.2 Parametric EQ

With­its­three­totally­independent­EQs,­this­parametric­EQ­provides­enough­power­to­sculpt­the­perfect­guitar­tone­or­surgically­enhance­and­alter­any­signal­sent­through­it­(figure­10.9).

figure­10.9

Controls:

•­ BASS:•­ GAIN:­adjusts­the­boost­or­cut­of­the­bass­parametric­EQ,­from­-15­

dB­to­+15­dB.­•­ FREQ:­ changes­ the­ center­ frequency­ of­ the­ bass­ parametric­ EQ,­

from­20­Hz­to­20­kHz.•­ Q:­ sets­ the­ bandwidth­ of­ the­ bass­ parametric­ EQ,­ from­ 0.1­ (very­

wide)­to­8.0­(very­narrow).•­ MID:

•­ GAIN:­adjusts­the­boost­or­cut­of­the­mid­parametric­EQ,­from­-15­dB­to­+15­dB.­

•­ FREQ:­changes­the­center­frequency­of­the­mid­parametric­EQ,­from­20­Hz­to­20­kHz.

•­ Q:­ sets­ the­ bandwidth­ of­ the­ mid­ parametric­ EQ,­ from­ 0.1­ (very­wide)­to­8.0­(very­narrow).

•­ HI:•­ GAIN:­ adjusts­ the­boost­ or­ cut­of­ the­Hi­parametric­EQ,­ from­-15­

dB­to­+15­dB.­•­ FREQ:­changes­the­center­frequency­of­the­Hi­parametric­EQ,­from­

20­Hz­to­20­kHz.•­ Q:­sets­the­bandwidth­of­the­Hi­parametric­EQ,­from­0.1­(very­wide)­

to­8.0­(very­narrow).•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­256

AmpliTube 3

10.5.2.3 Tube Compressor

This­ compressor­ was­ modeled­ after­ a­ classic­ tube­ compressor.­ It­ is­ a­ very­versatile,­smooth­compressor,­and­can­add­great­color­to­the­signal­(figure­10.10).

figure­10.10

Controls:

•­ DRIVE:­controls­the­amount­of­signal­that­is­input­into­the­effect,­set-ting­the­compression­level.

•­ ATTACK:­ controls­ the­ amount­ of­ time­ that­ the­ compressor­ takes­ to­react­to­the­audio­signal.

•­ RELEASE:­ controls­ the­amount­of­ time­that­ the­compressor­ takes­ to­return­to­normal­gain­after­some­compression­has­occurred.

•­ RATIO:­controls­the­strength­of­the­compression.­Higher­values­will­result­in­a­more­evident­effect.

•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­257

AmpliTube 3

10.5.3 Filter

10.5.3.1 Rezo

This­rack­model­is­a­unique­effect­that­can­add­synth-like­drones­and­sus-taining­resonances­to­your­parts.­Make­your­guitar­sound­like­a­sitar­or­like­a­synth-drone­to­create­sonic­resonances­to­sing­on­and­control­the­notes­with­your­controller­to­create­arpeggios­and­steps­while­playing­(figure­10.11).

figure­10.11

You­have­4­resonating­voices­that­can­be­tuned­independently­from­note­E0­to­note­B7,­in­half­tone­steps.­For­example,­if­you­want­to­create­a­resonating­C­Major­chord,­just­set­the­first­three­voices­to­C3,­E3­and­G3.

By­ moving­ the­ All­ slider­ you­ can­ shift­ the­ recently­ created­ Chord­ without­changing­the­intervals­between­the­voices.

You­can­set­the­desired­voice­note­by­note­number­of­by­frequency­in­Hz.

•­ 1-4 SLIDERS:­sets­the­pitch­for­each­resonating­voice.•­ 1-4 VALUE DISPLAY:­displays­which­note­each­voice­is­tuned­on.•­ NOTE/FREQUENCY SWITCH:­turn­on­this­switch­to­have­the­tuning­of­

each­voice­displayed­as­a­note.­Turn­this­off­to­have­the­tuning­of­each­voice­to­be­displayed­as­frequency­in­Hz.

•­ ALL:­shifts­all­resonating­notes­by­the­same­amount­keeping­relative­intervals­between­voices­identical.

•­ RES:­sets­the­amount­of­resonance­for­each­voice,­from­min­to­max.­When­set­to­max­the­note­will­sustain­by­itself,­when­set­to­min­the­voice­will­not­be­resonating.

•­ SCALE:­ the­ Rezonator­ is­ setup­ by­ default­ to­ span­ over­ a­ chromatic­scale­when­you­set­the­resonating­voices,­meaning­that­all­half­tones­are­ possible.­ If­ you­ want­ to­ set­ another­ scale­ and­ want­ to­ remove­notes­from­the­chromatic­scale­just­open­this­menu­and­leave­on­only­the­notes­you­need.

•­ FILTER:­determines­the­brightness­of­the­resonating­voices,­from­dark­(lower­positions)­to­bright­(upper­positions).

•­ MIX:­sets­the­amount­of­resonating­notes­you­want­to­hear.­When­the­control­ is­at­min­you’ll­only­hear­ the­original­sound,­when­ fully­up­you’ll­only­hear­the­effected­sound.

•­ OUT:­ the­resonating­notes­can­become­very­loud­use­this­control­to­adjust­the­overall­output­level­of­the­Rezonator.

10 - Rack FX Module ­­­­­­­­­258

AmpliTube 3

10.5.3.2 Step Filter

This­is­a­powerful­and­deep­beat­sync­filter­effect.­You­will­be­able­to­apply­Low/High­ and­ Band­ pass­ analog­ modeled­ filtering­ on­ freely­ customizable­patterns­to­add­groove­and­rhythmic­pulsing­to­your­parts.­This­will­make­your­ guitars­ and­ bass­ parts­ to­ sound­ like­ a­ rhythmic­ synth,­ if­ you­ want­ it­(figure­10.12).

figure­10.12

Controls:

•­ CUTOFF:­sets­the­center­cutoff­frequency­of­the­filter.­This­is­the­cutoff­frequency­the­filter­will­have­when­the­steps­are­set­to­half­position.­

•­ STEP BAR:­click­on­the­Steps­to­set­each­step­level.­You­can­also­draw­a­curve­while­holding­the­mouse­while­dragging­over­multiple­steps.­

•­ RES:­ sets­ the­ center­ resonance­ of­ the­ filter.­ This­ is­ the­ resonance­amount­the­filter­will­have­when­the­steps­are­set­to­half­position.

•­ DEPTH:­sets­how­deep­the­filter­is­modulated­by­the­steps.•­ HP/BP/LP:­sets­which­kind­of­filter­will­be­used:­HP:­high­pass,­BP:­

band­pass,­LP:­low­pass•­ 12/24:­sets­the­steepness­of­the­filter,­12­dB/oct­will­be­softer,­24­dB/

oct­will­be­steeper.•­ DEST:­sets­what­is­modulated­by­the­steps­between­filter­Cutoff­and/

or­filter­Resonance.­At­full­minimum­position­only­Cutoff­frequency­is­modulated,­at­max­position­only­Resonance­is­modulated.­

•­ DIVISION:­sets­what­time­interval­each­step­represent.•­ STEPS:­sets­the­number­of­steps­the­cycle­will­consist­of.•­ MODE:­When­set­to­Free­the­cycle­will­be­continuous­and­will­always­

cover­all­the­steps­that­are­specified­in­the­Steps­parameter.­When­set­to­Strike­the­cycle­will­re-start­each­time­a­chord­or­a­note­is­played.­

•­ SWING:­increase­this­control­to­give­to­the­steps­a­swing­type­quan-tization.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

10 - Rack FX Module ­­­­­­­­­259

AmpliTube 3

10.5.4 Modulation

10.5.4.1 Analog Chorus

This­classic­analog­stereo­chorus­model­adds­depth­and­space­to­the­input­signal­(figure­10.13).­It­can­also­be­used­as­a­vibrato­effect.

figure­10.13

Controls:

•­ CHORUS/VIBRATO:­enables­Vibrato­or­Chorus­modes.­Chorus­mode­is­enabled­when­the­corresponding­LED­is­illuminated.

•­ CHORUS:­sets­the­intensity­(or­depth)­of­the­Chorus­effect,­from­0­to­99.

•­ VIB RATE:­sets­the­rate­of­the­Vibrato­effect,­from­0.02­Hz­to­8­Hz.•­ VIB DEPTH:­sets­the­intensity­of­the­Vibrato­effect,­from­0­to­99.•­ STEREO/MONO:­ changes­ the­ rack­ effect­ from­ a­ stereo­ to­ a­ mono­

effect.­Stereo­is­enabled­when­the­corresponding­LED­is­illuminated.•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­260

AmpliTube 3

10.5.4.2 Digital Chorus

This­ modeled­ digital­ chorus­ effect­ creates­ a­ clear­ articulate­ chorus­ effect­(figure­10.14).­Like­the­analog­chorus,­this­effect­adds­depth­and­space­to­the­input­signal,­but­adds­a­different­color­to­the­overall­signal.

figure­10.14

Controls:

•­ WAVEFORM:­selects­the­shape­of­the­chorus­effect,­sine,­triangle,­or­square­wave.

•­ RATE:­sets­the­rate­of­the­chorus­effect,­from­0.1­Hz­to­8­Hz.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo­and­

changes­the­Rate­control­to­beat­values.•­ DEPTH:­sets­the­intensity­of­the­chorus,­from­0­to­100.•­ STEREO/MONO:­ changes­ the­ rack­ effect­ from­ a­ stereo­ to­ a­ mono­

effect.­Stereo­is­enabled­when­the­corresponding­LED­is­illuminated.•­ MIX:­adjusts­the­amount­of­wet­sound­with­the­dry­sound,­from­0%­

to­100%.•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­261

AmpliTube 3

10.5.4.3 Digital Flanger

This­model­of­a­digital­flanger­can­create­a­metallic­modulated­sound­(figure­10.15).

figure­10.15

Controls:

•­ WAVEFORM:­selects­the­shape­of­the­flanger­effect,­sine,­triangle,­or­square­wave.

•­ RATE:­sets­the­rate­of­the­Flanger­effect,­from­0.1­Hz­to­8­Hz.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo­and­

changes­the­Rate­control­to­beat­values.•­ DEPTH:­sets­the­intensity­of­the­Flanger,­from­0­to­100.•­ FEEDBACK:­sets­the­nominal­amount­of­signal­that­is­returned­to­the­

input­after­processing­effect,­from­0­to­10.•­ STEREO/MONO:­ changes­ the­ rack­ effect­ from­ a­ stereo­ to­ a­ mono­

effect.­Stereo­is­enabled­when­the­corresponding­LED­is­illuminated.•­ MIX:­ adjusts­ the­ amount­ of­ effected­ sound­ with­ the­ un-effected­

sound,­from­0%­to­100%.•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­262

AmpliTube 3

10.5.4.4 Rotary Speaker

This­effect­ is­a­model­of­a­rotary­speaker­cabinet.­Rotary­speaker­cabinets­create­a­lush­vibrato/chorus­effect­and­add­a­tremendous­amount­of­depth­to­the­sound­(figure­10.16).

figure­10.16

Controls:

•­ SPEED:­ sets­ the­ speed­ of­ the­ rotary­ speaker­ effect,­ from­ .50­ Hz­ to­7.80­Hz.

•­ DRIVE:­sets­the­amount­of­overdrive­in­the­rotary­speaker­effect,­from­0%­to­100%.

•­ BALANCE:­changes­the­balance­of­high­and­low­rotors­in­the­signal,­from­0­to­100.

•­ MIX:­adjusts­the­amount­of­wet­sound­with­the­dry­sound,­from­0%­to­100%.

•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­263

AmpliTube 3

10.5.5 Pitch

10.5.5.1 Harmonator

The­ Harmonator­ is­ an­ advanced­ harmonizing­ effect­ with­ three­ separate­voices,­each­with­independent­harmony,­level­and­pan.­By­entering­the­key­and­scale­that­the­instrument­is­playing,­the­harmonator­analyzes­the­input­signal­and­track­the­three­independent­voices­to­the­correct­music­key­and­scale­(figure­10.17).

figure­10.17

Controls:

•­ KEY:­controls­the­key­and­type­of­scale­that­will­be­used­by­the­har-monizer­as­a­reference.­If­you’re­playing­a­solo­in­E­major­set­this­to­E­Major,­from­C­to­B.

•­ SCALE:­changes­the­scale­of­the­harmonizer,­including­Major,­Dorian,­Phrygian,­Lydian,­Mixolydian,­Minor,­and­Locrian.

•­ VOICE:­controls­the­properties­of­each­of­the­3­voices­of­the­harmo-nizer.•­ 1:­selects­voice­1­for­editing.•­ 2:­selects­voice­2­for­editing.•­ 3:­selects­voice­3­for­editing.

•­ INTERVAL:­changes­the­interval­of­the­selected­voice,­from­low­octave­to­up­octave.

•­ LEVEL:­independently­adjusts­the­level­of­each­of­the­3­voices,­from­0­to­100.

•­ PAN:­independently­adjusts­the­panning­of­each­of­the­3­voices,­from­1.0L­to­1.0R.

•­ DRY PAN:­adjusts­the­panning­of­the­dry­signal­independently­from­the­harmonized­voices,­from­1.0L­to­1.0R.

•­ MIX:­blends­the­harmonized­voice­with­the­original­voice,­from­0%­to­100%.

10 - Rack FX Module ­­­­­­­­­264

AmpliTube 3

10.5.5.2 Pitch Shifter

This­pitch­shifting­effect­creates­an­independent­harmony­voice­that­can­be­blended­with­the­original­signal­to­create­harmony­lead­parts­and­duet­type­guitar­lines­(figure­10.18).

figure­10.18

Controls:

•­ SHIFT COARSE:­sets­the­coarse­tuning­of­the­pitch­shifter.­Measured­in­intervals,­from­-24­to­24.

•­ SHIFT FINE:­ sets­ the­ fine­ tuning­ of­ the­ pitch­ shifter.­ Measured­ in­cents,­from­-50­to­50.

•­ STEREO/SPLIT:­sets­the­output­of­the­effect­to­split­the­pitch­shifted­sound­and­the­dry­sound­or­blend­them­in­a­stereo­layered­fashion.­

•­ MIX:­adjusts­the­amount­of­pitched­shifted­sound­with­the­dry­sound,­from­0%­to­100%.

•­ OUT LEVEL:­sets­the­output­level­of­the­effect,­from­-15­dB­to­+15­dB.

10 - Rack FX Module ­­­­­­­­­265

AmpliTube 3

10.5.6 Other

10.5.6.1 Step Slicer

Add­ programmed­ rhythmic­ parts­ to­ your­ power­ chords­ and­ phrases­ with­this­powerful­and­creative­beat­synced­slicing­effect.­It­can­be­setup­to­cre-ate­anything­from­the­most­amazing­tremolos­to­the­most­complex­rhythm­effects­that­always­stay­in­perfect­sync­with­the­beat.

It­contains­two­independent­stepping­engines,­one­for­Level­and­one­for­Pan,­so­ you­ can­ create­ independent­ patterns­ for­ level­ and­ panning­ within­ the­same­synched­effect­(figure­10.19).

figure­10.19

Controls:

•­ LEVEL:­sets­the­amount­of­level­modulation­the­steps­will­give.­At­min­position­the­steps­will­not­have­effect,­at­maximum­the­steps­range­will­be­full.­

•­ STEP BAR:­click­on­the­Steps­to­set­each­step­level.­You­can­also­draw­a­curve­while­holding­the­mouse­while­dragging­over­multiple­steps.­

•­ RAMP:­sets­the­steepness­of­the­level­change­between­steps.­Set­it­at­lower­positions­to­get­a­more­gate-like­effect,­or­set­it­to­higher­posi-tions­to­get­a­smoother­effect.

•­ DIVISION:­sets­what­time­interval­each­step­represents.•­ STEPS:­sets­the­number­of­steps­the­cycle­will­consist­of.•­ VOLUME:­select­this­to­work­on­the­Volume­steps­pattern.•­ PAN:­select­this­to­work­on­the­Panning­steps­pattern.•­ MODE:­When­set­to­Free,­the­cycle­will­be­continuous­and­will­cover­

all­ the­steps­ that­are­specified­ in­ the­Steps­parameter.­When­set­ to­Strike,­the­cycle­will­re-start­each­time­a­chord­or­a­note­is­played.

•­ SWING:­increase­this­control­to­give­to­the­steps­a­swing­type­quan-tization.

•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo.

10 - Rack FX Module ­­­­­­­­­266

AmpliTube 3

10.5.6.2 Stereo Enhancer

The­stereo­enhancer­model­widens­and­narrows­the­stereo­image­(figure­10.20).

figure­10.20

Controls:

•­ STEREO IMAGE:­changes­the­width­of­the­stereo­image.­Normal­width­is­in­the­middle­of­the­slider.­Moving­the­slider­to­the­right­widens­the­stereo­image.­Moving­the­slider­to­the­left­narrows­the­stereo­image.

Note:­when­processing­a­mono­signal­with­this­Rack,­the­control­will­result­in­being­a­reversed­volume­slider.

10.5.6.3 Swell

This­is­an­“auto­volume”­swell­processor­that­can­automatically­create­fan-tastic­ swell­ effects­ while­ playing­ without­ any­ manual­ intervention.­ Use­ it­subtly­to­add­groove­to­your­rhythm­parts­or­use­it­with­deeper­settings­to­create­dreaming­pads­or­string-like­sounds­(figure­10.21).

figure­10.21

Controls:

•­ DEPTH:­sets­the­depth­of­the­volume­swell,­in­dB.­By­default­the­depth­is­at­max­position,­meaning­that­the­volume­will­start­from­silence.­By­lowering­this­control­you’ll­make­the­effect­ to­start­ the­swell­phase­from­ a­ level­ which­ is­ higher­ than­ silence,­ up­ to­ min­ position­ that­makes­the­effect­to­have­no­action.

•­ SENS:­ this­ control­ sets­ the­ sensitivity­ for­ the­ Swell­ to­ recognize­ a­new­note­or­chord­and­therefore­start­a­new­Swell­cycle.­Set­it­higher­if­ you­ want­ the­ Swell­ cycle­ to­ start­ even­ at­ the­ beginning­ of­ softer­passages,­or­set­it­lower­if­you­want­the­Swell­cycle­to­only­start­for­louder­strikes.­

•­ TIME:­sets­the­length­of­the­Swell­cycle.­•­ SWELL:­this­LED­goes­On­during­the­Swell­phase.•­ OPEN:­this­LED­goes­On­when­the­Swell­phase­has­finished.•­ BPM SYNC:­allows­the­effect­to­synchronize­to­the­project­tempo­mak-

ing­the­swell­time­to­be­specified­in­musical­figures.

11 - AmpliTube 3 Models ­­­­­­­­­267

AmpliTube 3

Chapter 11 AmpliTube 3 Models

Stomp Models Based on*

Delay

Delay IK­Multimedia

EchoMan Electro­Harmonix®­Memory­Man™

TapDelay IK­Multimedia

Distortion

BigPig Electro­Harmonix®­Big­Muff­Pi™

Crusher IK­Multimedia

Diode­Overdrive IK­Multimedia

Distortion Boss®­DS-1™­Distortion

Feedback Boss®­DF-2™­Super­feedbacker­&­Distortion

Metal­Distortion Boss®­MT-2™­Metal-Zone

Metal­Distortion­2 Boss®­HM-2™­Heavy­Metal

Overdrive Boss®­SD-1™­Distortion

OverScream Ibanez®­Tube­Screamer®­TS-9™

PROdrive Pro­Co­RAT™­Distortion

The­Ambass’dor Marshall®­Guv'Nor™

Dynamics

Compressor IK­Multimedia

Dcomp MXR®­Dynacomp™

EQ

7­Band­Graphic IK­Multimedia

10­Band­Graphic IK­Multimedia

Filter

Envelope­Filter IK­Multimedia

LFO­Filter IK­Multimedia

Rezo IK­Multimedia

Step­Filter IK­Multimedia

Wah IK­Multimedia

Wah­10 Ibanez®­WH-10™

Wah­46 Vox®­Wah­V846™

Wah­47 Vox®­Wah­847™

Fuzz

Class­Fuzz Roger­Mayer™­Classic­Fuzz®

Fuzz­Age Arbiter®­Fuzz­Face®

Fuzz­Age­2 Arbiter®­Fuzz­Face®

11 - AmpliTube 3 Models­­­­­­­­­268

AmpliTube 3

FuzzOne Maestro®­FuzzTone™

Octa-V Roger­Mayer™­Octavia®

RightFuzz Mosrite®­Fuzzrite®

XS­Fuzz Roger­Mayer™­Axis­Fuzz®

Modulation

Analog­Flanger Boss®­BF-2™­Flanger

Chorus IK­Multimedia

Chorus-1 Boss®­CE-1™­Chorus

Electric­Flanger Electro-Harmonix®­Electric­Mistress™

Flanger IK­Multimedia

Metal­Flanger MXR®­Flanger­117™

Opto­Tremolo Fender®­Super­Reverb®­Amp­Opto-Tremolo™

Phaze­Nine MXR®­Phase­90™

Phazer10 MXR®­Phase­100™

Small­Phazer Electro-Harmonix®­Small­Stone™

Uni-V Univox™­Uni-vibe™

Pitch

Harmonator IK­Multimedia

Octav Boss®­OC-2™­Octaver

Pitch­Shifter IK­Multimedia

Wharmonator Digitech®­Wahmmy™­WH-1™

Other

Volume IK­Multimedia

Step­Slicer IK­Multimedia

Swell IK­Multimedia

Preamp Models Based on*

Clean

American­Clean­MKIII Mesa/Boogie®­MKIII™­Combo­(Clean­Channel)

American­Tube­Clean­1 Fender®­Super­Reverb®

American­Tube­Clean­2 Fender®­DeLuxe­Reverb®­65

American­Vintage­B Fender®­Bassman®

American­Vintage­D Fender®­Dual­Showman®

American­Vintage­T Fender®­Twin­Reverb®

Custom­Solid­State­Clean IK­Multimedia

Jazz­Amp­120 Roland®­JC-120™

Metal­Clean­T Mesa/Boogie®­Triple­Rectifier®­(Clean­Channel)

11 - AmpliTube 3 Models ­­­­­­­­­269

AmpliTube 3

Crunch

American­Tube­Vintage Fender®­Bassman®

British­Blue­Tube­30TB Vox®­AC30™­Top­Boost

British­Copper­30TB Vox®­AC30™­-­Copper­Panel

British­Lead­S100 Marshall®­1959­JTM100™­Super­Lead

British­OR Orange®­OR-120™­Head

THD­Bi-Valve THD®­BiValve™

Tube­Vintage­Combo Supro®­Late­'50s­combo

Lead

American­Lead­MKIII Mesa/Boogie®­MKIII™­Combo­(Lead­Channel)

British­Tube­Lead­1 Marshall®­JCM800™

British­Tube­Lead­2 Marshall®­JCM900™

Custom­Modern­Hi-Gain IK­Multimedia

Custom­Solid­State­Fuzz IK­Multimedia

Custom­Solid­State­Lead IK­Multimedia

Metal­Lead­T Mesa/Boogie®­Triple­Rectifier®­(Lead­Channel)

Metal­Lead­V Peavey®­5150®­100W­head

Metal­Lead­W Randall®­Warhead™

Modern­Tube­Lead Mesa-Boogie®­Dual­Rectifier®

Vintage­Metal­Lead Marshall®­JMP100™­head

Bass

360Bass­Preamp Acoustic®­360™­Bass­Preamp

Combo­150MB Gallien-Krueger®­MB150™

Green­BA250 Trace­Elliot®­AH250™­Head

Solid­State­Bass­Preamp IK­Multimedia

Power Amp Models Based on*

Class­A­EL84 Vox®­­AC30™­models

50W­EL34 Marshall®­

100W­EL34 Marshall®­JMP100™­head­

50W­6L6 Fender®­DeLuxe­Reverb®­65

Single­Ended­CI.­A Supro®­Late­'50s­combo

Solid­State Clean­Solid­State­Power­Amp

100W­KT66 Marshall®­1959­JTM100™­Super­Lead

100W­6L6 Fender®­Bassman®­100W­6L6

100W­6L6­D Fender®­Dual­Showman®­100W­6L6

100W­6L6­T Fender®­Twin®­100W­6L6

11 - AmpliTube 3 Models­­­­­­­­­270

AmpliTube 3

100W­6L6V Peavey®­5150®­100W­head

150W­6L6MT Mesa/Boogie®­Triple­Rectifier®­150W­

Cabinet Model Based on*

Guitar 6”

1x6­Small­Combo Fender®­SS­Combo

Guitar­10”

1x10­Combo­Modern Mesa/Boogie®­1x10"­Subway­Rocket®

4x10­Closed­Modern Marshall®­4x10­'90s­JCM410™

4x10­Open­Vintage Fender®­Super­Reverb®­1967

Guitar 12”

1x12­Combo Marshall®­1x12­Valvestate™­12

1x12­MB­II Mesa/Boogie®­Mark­II™­1x12"­EV

1x12­MB­III Mesa/Boogie®­Mark­III™­1x12"­EV

1x12­Open­Modern VHT®­Pitbull™­1x12­Combo

1x12­Open­Vintage Fender®­DeLuxe®­65

2x12­Closed­Vintage Marshall®­1922­2x12­Greenbacks

2x12­Gry­British­Vint Vox®­AC30™­2x12"­'60s­Graybacks

2x12­JP­Jazz Roland®­JC-120™­2x12"

2x12­Open­SL Sears®­Silvertone®­2x12”

2x12­Open­TJ120 Fender®­Twin®­2x12”­JBL®­D120F

2x12­Open­Vintage Vox®­AC30­'60s­Bluebacks

4x12­British­Or 4x12"­Orange®­PPC412™

4x12­Closed­25­C Marshall®­4x12”,­Greenbacks

4x12­Closed­75­C Marshall®­4x12”,­G12­75

4x12­Closed­J120 Marshall®­4x12”,­JBL®­D120F

4x12­Closed­Modern­1 Marshall®­4x12­'80s­1982A

4x12­Closed­Modern­2 Mesa/Boogie®­4x12­Rectifier™

4x12­Closed­Vintage­1 Marshall®­4x12­Angled,­'70s­Greenbacks

4x12­Closed­Vintage­2 Marshall®­4x12­Straight,­Greenbacks

4x12­Metal­F­1 Fender­®­4x12­MH™­1

4x12­Metal­F­2 Fender­®­4x12­MH™­2

4x12­Metal­T­1 Mesa/Boogie­®­4x12”­Rectifier®­1

4x12­Metal­T­2 Mesa/Boogie­®­4x12”­Rectifier®­2

4x12­Metal­T­3 Mesa/Boogie­®­4x12”­Rectifier®­3

4x12­Metal­V­1 Peavey­®­5150®­4x12”­1

4x12­Metal­V­2 Peavey­®­5150®­4x12”­2

11 - AmpliTube 3 Models ­­­­­­­­­271

AmpliTube 3

4x12­Metal­V­3 Peavey­®­5150®­4x12”­3

4x12­Modern­M­1 Marshall­®­4x12”­JCM800­1

4x12­Modern­M­2 Marshall­®­4x12”­JCM800­2

4x12­Modern­M­3 Marshall­®­4x12”­JCM800­3

4x12­Vintage­M­1 Marshall­®­1960­4x12”­1

4x12­Vintage­M­2 Marshall­®­1960­4x12”­2

Guitar 15”

2x15­Closed­B­J130 Fender®­Bassman®­2­x15”,­JBL®­D130F

2x15­Closed­D­J130 Fender®­Dual­Showman®­2x15”,­JBL®­D130F

Bass 10”

4x10+tw­Bass SWR®­Goliath™­4x10

4x10+tw­TE­Bass Trace­Elliot®­4x10"

Bass 12”

1x12­Bass Custom­Bass­1x12

1x12­BassJz Gallien-Krueger®­1x12"­MB150

Bass 15”

1x15­Bass­Vintage Ampeg®­B15R™­15”

Bass 18”

1x18­Horn­Bass Acoustic®­301™­Folded­Horn­18”­

Rotary

Rotary­147-1 Leslie®­147™­original­AlNiCo­woofer

Rotary­147-2 Leslie®­147™­modern­replacement­woofer

Mic Model Based on*

Dynamic

Dynamic­57 Shure®­SM57™

Dynamic­20 Electro-Voice®­RE20™

Vintage­Dynamic­20 AKG®­D20™

Dynamic­421 Sennheiser®­MD-421™

Dynamic­441 Sennheiser®­MD-441™

Dynamic­609 Sennheiser®­MD609™

Condenser

Condenser­12 AKG®­C12™

Condenser­67 Neumann®­U67

Condenser­84 Neumann®­KM-84™

Condenser­87 Neumann®­U-87™

Condenser­170 Neumann®­TLM­170™

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AmpliTube 3

Condenser­414 AKG®­C-414­ULS™

Ribbon

Ribbon­121 Royer®­R121™

Ribbon­160 Beyerdynamic®­M160™

Ribbon­Velo-8 Groove­Tubes®­Velo-8™

*­All­product­names­and­trademarks­are­the­property­of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­durino­IK­Multimedia’s­sound­model­develop-ment­ and­ for­ describing­ certain­ types­ of­ tones­ produced­ with­ IK­ Multimedia’s­ digital­ modeling­technology.­Use­of­these­names­does­not­imply­any­cooperation­or­endorsement.

ACOUSTIC®,­360™,­301™­are­trademarks­of­Guitar­Center,­Inc.AKG®,­C12™,­D20™,­C-414­ULS™­are­registered­trademarks­of­AKG­Acoustics­GmbH.AMPEG®,­B15R™­are­trademarks­of­LOUD­Technologies,­Inc.ARBITER®­FUZZ­FACE®­is­a­registered­trademark­of­Arbiter­Group­Plc.BEYERDYNAMIC®,­M160™­are­registered­trademarks­of­Beyerdynamic­GmbH­&­Co.BOSS®,­DS-1™,­DF-2™,­MT-2™,­HM-2™,­SD-1™,­BF-2™,­CE-1™,­OC-2™­are­trademarks­or­regis-tered­trademarks­of­Roland­Corporation.DIGITECH®­WHAMMY™­WH-1™­is­a­registered­trademark­of­Harman­International­ Industries,­Incorporated.ELECTRO-HARMONIX®,­ Memory­ Man™,­ Big­ Muff­ Pi™,­ Electric­ Mistress™,­ Small­ Stone™­ are­trademarks­or­registered­trademarks­of­New­Sensor­Corporation.ELECTRO-VOICE®,­RE20™­are­registered­trademarks­of­Electro-Voice,­Inc.FENDER®,­ BASSMAN®,­ DELUXE­ REVERB®,­ SUPER­ REVERB®,­ DUAL­ SHOWMAN®,­ TWIN­REVERB®,­TWIN®,­MH™­are­registered­trademarks­of­Fender­Musical­Instruments­Corporation.FUZZRITE®­is­a­registered­trademark­of­Andy­J.­Moseley.GALLIEN-KRUEGER®­MB150™­is­a­registered­trademark­of­Gallien-Krueger­Corporation.GROOVE­TUBES®,­Velo-8™­are­registered­trademarks­of­Groove­Tubes,­LLC.IBANEZ®,­Tube­Screamer®­TS-9™,­WH-10™­are­trademarks­or­registered­trademarks­of­Hoshino­Gakki­Co.­Ltd.­Corporation.JBL®­is­a­registered­trademark­of­JBL­Professional.LESLIE™­147™­is­a­registered­trademark­of­Hammond­Suzuki­USA,­Inc.MAESTRO®­FUZZTONE™­is­a­registered­trademark­of­Gibson­Electronics.MARSHALL®,­1959­JTM100™­Super­Lead,­JMP100™,­JCM800™,­JCM900™,­JCM410™,­Valvestate™,­Guv’Nor™­are­trademarks­or­registered­trademarks­of­Marshall­Amplification­Plc.MESA/BOOGIE®,­Rectifier®,­MKIII™,­Subway­Rocket®,­Mark­II™,­Mark­III™,­are­trademarks­of­Mesa/Boogie­Ltd.MOSRITE®­is­a­registered­trademark­of­Loretta­Moseley.MXR®,­Dynacomp™,­Flanger­117™,­Phase­90™,­Phase­100™­are­trademarks­or­registered­trade-marks­of­Applied­Research­and­Technology,­Inc.NEUMANN®,­U67™,­U87™,­KM-84™,­TLM­170™­are­registered­ trademarks­of­Georg­Neumann­GmbH.ORANGE®,­ OR-120™,­ PPC412™­ are­ trademarks­ or­ registered­ trademarks­ property­ of­ Orange­Music­Electronic­Company­Ltd.PEAVEY®­is­a­registered­trademark­of­Peavey­Electronics­Corporation.PRO­CO­RAT™­is­a­trademark­of­ProCo­Sound,­Inc.RANDALL®,­Warhead™­are­trademarks­or­registered­trademarks­of­Randall­Amplifiers­a­division­of­U.S.­Music­Corp.ROGER­ MAYER™,­ Classic­ Fuzz®,­ Axis­ Fuzz®,­ Octavia®,­ are­ trademarks­ and­ registered­ trade-marks­of­Roger­Mayer.ROLAND®,­JC-120™­are­registered­trademarks­of­Roland­Corporation.ROYER®,­R121™­are­registered­trademarks­of­Bulldog­Audio,­Inc.­DBA­Royer­Labs­Corporation.SEARS®­is­a­registered­trademark­of­Sears­Brand,­LLC.SENNHEISER®,­ MD-421™,­ MD-441™,­ MD609™­ ­ are­ registered­ trademarks­ of­ Sennheiser­Electronic­Corp.SHURE®,­SM57™­are­registered­trademarks­of­Shure­Incorporated.SILVERTONE®­is­a­registered­trademark­of­Samick­Music­Corporation.

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AmpliTube 3

SUPRO®­is­a­trademark­of­Zinky­Electronics.SWR®,­Goliath™­are­trademarks­of­SWR­Sound­Corporation.THD®­BiValve™­is­a­trademark­of­THD­Electronics­Ltd.TRACE­ELLIOT®­AH250™­is­a­registered­trademark­of­Peavey­Electronics­Corporation.UNI-VIBE™­is­a­trademark­of­Korg­USA­Corporation.UNIVOX™­is­a­trademark­of­Korg­USA­Corporation.VHT®­Pitbull™is­a­trademark­of­VHT­Amplification,­Inc.VOX®,­ AC30™,­ Wah­ V846™,­ Wah­ 847™­ are­ trademarks­ or­ registered­ trademarks­ of­ VOX­Amplification­Ltd.5150®­is­a­registered­trademark­of­Edward­Van­Halen.

11 - AmpliTube 3 Models­­­­­­­­­274

AmpliTube 3

12 - Expanding AmpliTube 3 ­­­­­­­­­275

AmpliTube 3

Chapter 12 Expanding AmpliTube 3 models

12.1 Adding More Packages to AmpliTube 3

Thanks­to­the­new­AmpliTube­3­open­architecture,­you­are­able­to­constantly­expand­your­sonic­palette­ through­ the­addition­of­more­packages­such­as­AmpliTube­Fender™,­Ampeg®­SVX,­etc.­In­fact,­in­the­near­future­you­will­be­able­to­purchase­“singles”­on-demand!

Below,­ a­ brief­ introduction­ to­ the­ AmpliTube­ Fender™­ and­ Ampeg®­ SVX­packages.

12.1.1 AmpliTube Fender™

AmpliTube­ Fender™­ is­ the­ first­ and­ only­ guitar­ amp­ and­ effects­ model-ing­ software­ authorized­ and­ created­ in­ cooperation­ with­ Fender­ Musical­Instruments­Corporation.­It­comes­stocked­with­6­decades’­worth­of­legend-ary­tones,­offering­a­collection­of­Amps,­Cabs,­Stomps­and­Rack­Effects­span-ning­the­entire­history­of­Fender®.­

AmpliTube­Fender™­is­the­first­software­amplification­system­to­truly­model­the­ amps­ of­ the­ Fender®­ collection­ with­ the­ respect­ and­ accuracy­ they­deserve.­ AmpliTube­ Fender™­ includes­ models­ of­ iconic­ Fender®­ stomp­boxes,­ amp­ heads­ &­ cabinets,­ from­ the­ bluesy­ Bassman®­ all­ the­ way­ up­to­ the­ brutal­ Metalhead™.­ It­ includes­ 6­ stomp­ boxes,­ 12­ amp­ models,­ 12­cabinets­and­8­mics,­6­Rack­effects­and­more.­

AmpliTube­ Fender™­ offers­ the­ same­ 2­ series/parallel­ rig­ structure­ of­ the­award-winning­ AmpliTube­ 2­ and­ has­ 5­ separate­ modules:­ tuner,­ configu-rable­stomp­pedal­board,­amp­head,­cabinet­+mic,­and­rack­effects,­ensuring­a­complete­and­flexible­rig­configuration­that­can­be­used­not­only­to­recre-ate­the­authentic­Fender®­tones­but­also­to­expand­your­sonic­spectrum­and­enrich­any­artistic­project­that­you­are­working­on.

AmpliTube­ Fender™­ can­ be­ controlled­ live­ with­ the­ StompIO­ and­StealthPedal,­or­traditional­MIDI­controller,­for­the­ultimate­software­stage­rig­using­the­AmpliTube­X-GEAR­shell-host.­

Combining­AmpliTube­Fender™­with­other­“Powered­by­AmpliTube”­prod-ucts­inside­AmpliTube­X-GEAR­and­using­StompIO/StealthPedal­allows­you­to­build­your­own­custom­and­expandable­software-based­rig­with­the­wid-est­choice­of­superior­modeled­amps­and­effects.­Get­the­most­legendary­collection­of­guitar­tones­right­on­your­desktop!­

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AmpliTube 3

AmpliTube­Fender™­main­features:

•­ AmpliTube­Fender™­works­as­a­standalone­application­as­well­as­a­plug-in­in­Windows­XP/Vista­and­Mac­OS­X­(Universal­Binary).

•­ Supported­ Plug-in­ formats:­ Audio­ Units,­ VST,­ RTAS­ (Mac­ OS­ X®)­ -­VST,­RTAS­(Windows®).

•­ Ultra­ accurate­ analog­ modeling­ with­ DSM™­ technology,­ “Powered­by­AmpliTube.”

•­ Highest­supported­Sampling­Rate:­96­kHz.•­ 6­ analog­ modeled­ stomps:­ Fuzz­ Wah,­ Blender™,­ Volume,­ Phaser,­

Tape­Echo­and­’63­Reverb,­plus­great­routing­flexibility.•­ High-precision­Tuner.•­ 12­ Amps­ modeled:­ ’59­ Bassman®­ LTD,­ ’65­ Twin­ Reverb®,­ ’57­

Deluxe™,­ ’65­ Deluxe­ Reverb®,­ ’64­ Vibroverb™­ Custom,­ Super-­Sonic™,­ Vibro-King®,­ Pro­ Junior™,­ Metalhead™,­ Champion™­ 600,­TBP-1­Pre-amp,­and­Bassman®­300.

•­ 13­Speaker­emulations:­’59­Bassman®­LTD­4x10”,­’65­Twin­Reverb®­2x12”,­’57­Deluxe™­1x12”,­’65­Deluxe­Reverb®­1x12”,­’64­Vibroverb™­Custom­1x15”,­Super-Sonic™­1x12”,­Vibro-King®­3x10”,­Pro­Junior™­1x10”,­MH-412SL™­4x12,­Champion­600™­1x6”,­Vibratone­1x10”­and­810­PRO­8x10”.

•­ 144­Amp­+Cabinet­combinations­(including­no­speaker).•­ 9­Microphone­models:­Condenser­87,­Condenser­84,­Condenser­414,­

Dynamic­57,­Dynamic­421,­Dynamic­441,­Ribbon­160,­Groove­Tubes®­MD1-b­FET­and­Groove­Tubes®­Velo-8.

•­ 6­Rack­Effects:­Pitch­Shift,­Tape­Echo,­Triangle­Chorus,­Sine­Flange,­Wah­and­Compressor.

•­ Host­sequencer­BPM­synchronization.•­ SpeedTrainer™:­ imports­ any­ WAV,­ AIFF,­ MP3,­ and­ WMA­ audio­ file­

(Standalone­version).•­ Assignable­DAW­automation.•­ Metronome­(Standalone­version).

Visit:­ www.ikmultimedia.com/fender­ to­ find­ more­ information­ about­AmpliTube­Fender™.

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AmpliTube 3

12.1.2 Ampeg® SVX

IK­Multimedia,­the­leader­in­amp-modeling­plug-in­technology­in­conjunc-tion­ with­ Ampeg®,­ the­ historic­ brand­ that­ invented­ bass­ amplification,­bring­you­the­world’s­first­complete­recording­plug-in­solution­for­bass.­IK­Multimedia’s­ Ampeg®­ SVX­ is­ a­ complete­ Bass­ Amplification­ and­ Effects­software­ package­ based­ on­ the­ highly­ acclaimed­ Ampeg­ amplifier­ and­cabinet­models.

Main­features:

•­ Ultra­ accurate­ analog­ modeling­ with­ DSM™­ technology,­ “Powered­by­AmpliTube.”

•­ 4­Modules:­Tuner,­Stomp,­Amp,­Cabinet+Mic­selection­and­placement.•­ High-precision­Tuner.•­ 8­ analog­ modeled­ stomps­ on­ 6­ slots­ with­ flexible­ routing­ (Chorus,­

Delay,­Octaver,­Wah,­Envelope­Filter,­Overdrive­and­Compressor).•­ 4­signature­Ampeg®­bass­amps­modeled­(BA-500,­B-15R­“Portaflex,”­

SVT-CL,­and­the­SVT­4PRO).•­ 6­ signature­ Ampeg®­ cabinet­ models­ (BA-500­ 2x10”,­ SVT-410H­

4x10”,­ SVT-810E­ 8x10”,­ PB-212H­ 2x12”,­ Ampeg­ B-15R­ 1x15”,­ BXT-410H­4x10”).

•­ 6­ Microphone­ models:­ Dynamic­ 20,­ Dynamic­ 57,­ Dynamic­ 421,­Vintage­Dynamic­20,­Condenser­87,­and­the­Condenser­414.

•­ 24­bass­amp­combinations.•­ Host­sequencer­BPM­synchronization.•­ Two­ parallel­ signal­ paths­ make­ it­ possible­ to­ have­ the­ direct­ bass­

sound­ mixed­ with­ the­ processed­ amped­ signal­ for­ instant­ high-quality­studio­sound.

Visit:­ www.ikmultimedia.com/ampegsvx­ to­ find­ more­ information­ about­Ampeg®­SVX.

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AmpliTube 3

13 - Automation ­­­­­­­­­279

AmpliTube 3

Chapter 13 Automation

AmpliTube­3­has­a­versatile­and­flexible­Automation­engine.­It­allows­you­to­assign­automation­within­each­module­and­via­the­Automation­Panel.

13.1 Assign Automation within each Module (Stomp, Amp, Cab and Rack)

Select­the­Stomp,­Amp,­Cab­or­Rack­module­from­the­Module/Rig­Selector­(figure­13.1).

figure­13.1

Right-click­on­top­of­the­AmpliTube­3­parameter­that­you­are­going­to­assign­to­Automation­(figure­13.2).

figure­13.2

13 - Automation­­­­­­­­­280

AmpliTube 3

Choose­which­DAW­Automation­parameter­#­you­are­going­ to­use­ for­ the­AmpliTube­3­parameter­selected­on­step­#2­(figure­13.3).

figure­13.3

13.2 Manage Automation Assignments via the Automation Panel

AmpliTube­3­has­more­parameters­than­audio­sequencers­(DAWs)­can­sup-port.­For­this­reason,­it­has­its­own­Automation­Panel,­so­that­the­enormous­number­ of­ theoretically­ automatable­ parameters­ in­ AmpliTube­ 3­ can­ be­grouped­ in­ a­ smaller­ number­ to­ allow­ all­ DAWs­ being­ able­ to­ handle­ it.­­To­open­it,­click­AUTO­on­the­Input/Output­bar­(figure­13.4).

figure­13.4

13 - Automation ­­­­­­­­­281

AmpliTube 3

The­ Automation­ Panel­ has­ two­ panes.­ The­ Left­ Pane­ is­ called­ Plug-in­Parameters,­and­the­Right­Pane­is­called­DAW­Automation­(13.5).

figure­13.5

This­Panel­can­also­be­used­to­recap­the­Automation­assignment­made­with­the­procedure­described­on­13.1.

13.2.1 Plug-in Parameters

The­ Plug-in­ Parameters­ Pane­ displays­ AmpliTube­ 3­ Global­ and­ Module­parameters,­ as­ well­ as­ all­ the­ Stomp,­ Amp,­ Cab,­ and­ Rack­ Modules­ gear­(figure­13.6).

figure­13.6

13 - Automation­­­­­­­­­282

AmpliTube 3

Considering­ that­ AmpliTube­ 3­ offers­ dual­ rig­ setup,­ each­ Module­ is­ listed­separately­as­Stomp­A,­Stomp­B,­Amp­A,­Amp­B,­Cab­A,­Cab­B,­and­Rack­A,­Rack­B­(figure­13.7).

figure­13.7

The­Plug-in­Parameters­Pane­allows­you­to­select­which­AmpliTube­3­param-eter­you­are­going­to­assign­to­Automation.

13.2.2 DAW Automation

The­ DAW­ Automation­ Pane­ lists­ the­ 16­ Automation­ parameters­ that­ are­declared­to­the­DAW­(figure­13.8).

figure­13.8

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

13 - Automation ­­­­­­­­­283

AmpliTube 3

DAWs­do­not­support­automation­parameter­name­changes­while­the­plug-in­is­open.

Through­the­DAW­Automation­Pane,­you­will­be­able­to­select­which­DAW­Automation­parameter­#­you’re­going­to­use­for­the­AmpliTube­3­parameter­selected­ on­ the­ Plug-in­ Parameters­ Pane.­ For­ example,­ if­ you’ve­ selected­a­ Time­ on­ the­ Plug-in­ Parameters­ Pane­ and­ then­ clicked­ Add,­ the­ DAW­Automation­Pane­will­display:­

Param­1:­Swell­(AT3)­A­Time­(figure­13.9).

figure­13.9

This­means:

•­ Param 1:­DAW­Automation­parameter­#­(1­in­this­case).•­ Swell:­the­selected­Stomp­Model.•­ (AT3):­name­abbreviation­of­ the­Powered­by­AmpliTube­application­

that­includes­the­selected­Stomp­Model­(e.g.,­AmpliTube­3).­•­ A:­Rig­A.•­ Time:­name­of­the­parameter­to­be­automated.

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AmpliTube 3

13.2.3 Assignment Procedure

The­easiest­way­to­assign­automation­is­within­each­module,­as­described­in­ 13.1.­ However,­ you­ can­ also­ use­ the­ Automation­ Panel­ to­ manage­ your­parameters­(move­up/down),­use­the­Remove­All­option,­etc.

To­ assign­ an­ AmpliTube­ 3­ parameter­ to­ one­ of­ the­ 16­ DAW­ Automation­parameters­via­the­Automation­Panel,­please­follow­these­steps:

1.­ Click­Auto­on­the­Input/Output­bar­(figure­13.10).

figure­13.10

2.­ On­the­Plug-in­Parameters­Pane,­select­which­AmpliTube­3­param-eter­you­are­going­to­assign­to­Automation­(figure­13.11).

figure­13.11

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AmpliTube 3

3.­ On­ the­ DAW­ Automation­ Pane,­ select­ which­ DAW­ Automation­parameter­#­you­are­going­ to­use­ for­ the­AmpliTube­3­parameter­selected­on­step­#2­(figure­13.12).

figure­13.12

4.­ Click­Add­to­establish­the­actual­assignment­(figure­13.13).

figure­13.13

13 - Automation­­­­­­­­­286

AmpliTube 3

5.­ Click­OK­to­save­the­setup­and­close­the­Automation­window­(figure­13.14).

figure­13.14

To­remove­a­particular­assignment,­please­select­it­and­click­Remove­(figure­13.15).

figure­13.15

13 - Automation ­­­­­­­­­287

AmpliTube 3

To­remove­all­the­assignments,­click­Remove­All­(figure­13.16).

figure­13.16

To­ move­ up/down­ an­ assignment­ click­ the­ Move­ Up/Move­ Down­ arrows­(figure­13.17).

figure­13.17

This­is­a­very­useful­feature­because­it­saves­you­to­remove­the­assignment­from­“Param­1”­and­create­a­new­assignment­for­“Param­2.”

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AmpliTube 3

13.2.4 Assignment Save and Recall

Clicking­OK­will­save­and­close­the­Automation­window.

If­you­are­using­AmpliTube­3­as­a­plug-in,­the­automation­assignment­map­will­be­stored­and­restored­to­and­from­the­session­you’re­working­on.­

Each­AmpliTube­3­instance­is­independent­from­the­others.­This­means­that­saving­your­DAW­session­will­save­each­AmpliTube­3­instance­with­its­own­Automation­assignments­setup.

14 - MIDI ­­­­­­­­­289

AmpliTube 3

Chapter 14 MIDI

14.1 Introduction

AmpliTube­ 3­ MIDI­ control­ allows­ you­ to­ assign­ MIDI­ control­ changes­ to­parameters­or­commands,­so­you­can­remote­control­AmpliTube­3­with­any­kind­of­hardware­or­software­device­able­to­generate­MIDI­Control­Changes.

AmpliTube­3­responds­to­MIDI­Control­Change­and­Program­Changes­mes-sages­only.­MIDI­Note­numbers,­Aftertouch,­Pitch­Bend­and­other­types­of­messages­are­not­recognized­or­supported.

There­are­two­types­of­MIDI­control;­Global­and­Preset.

Global­ MIDI­ control­ allows­ you­ to­ specify­ MIDI­ Control­ Changes­ that­ will­control­the­selected­parameter­for­all­presets.­The­parameters­or­commands­that­can­be­specified­for­Global­MIDI­control­are:

•­ Preset­switch­(Previous/Next)•­ Volume­pedal­control•­ Wah­pedal­control•­ Wharmonator­pedal­control•­ All­12­stomp­slots­bypass­control

Preset­MIDI­control­allows­you­ to­specify­MIDI­Controls­Changes­ that­will­control­the­selected­parameter­specifically­for­the­current­preset.

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14.2 MIDI Configuration

When­running­as­a­plug-in,­AmpliTube­3­will­be­able­to­receive­MIDI­from­the­host.­Refer­to­your­host­sequencer­or­DAW­on­how­to­set­it­up­so­that­it­can­send­MIDI­to­audio­plug-ins.

When­running­as­a­Standalone,­AmpliTube­3­needs­to­be­configured­to­know­from­which­MIDI­port­it­should­read­MIDI­data­from.­To­do­that;­

1.­ Click­Audio­>­Hardware­Settings…2.­ Select­ the­MIDI­ interface­where­your­controller­ is­connected­from­

the­MIDI­Input­menu­(figure­14.1).

figure­14.1

To­ check­ that­ you’ve­ correctly­ setup­ MIDI­ Input,­ try­ sending­ MIDI­ Control­Changes­or­Program­Changes­from­your­controller­while­watching­the­“MIDI­IN”­indicator­(Standalone­version­only)­(figure­14.2).

figure­14.2

If­the­MIDI­In­has­been­set­properly,­this­indicator­will­light­up­when­a­MIDI­command­is­received.

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14.3 Assigning Controllers

14.3.1 Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters)

This­ method­ allows­ you­ to­ quickly­ assign­ the­ MIDI­ control­ to­ a­ specific­AmpliTube­parameter­without­having­to­setup­anything­manually.

1.­ Right-click­on­top­of­ the­AmpliTube­3­parameter­ that­you­want­to­control­via­MIDI­and­click­Assign­MIDI­>­Learn­“parameter­name”­(figure­14.3).

figure­14.3

2.­ Move­ the­ knob,­ slider,­ switch­or­pedal­ you­want­ to­use­ to­ control­this­parameter­on­your­MIDI­device­and­the­assignment­will­auto-matically­be­applied.

You­can­do­this­for­all­the­parameters­that­you­want­to­control­on­this­preset.­Remember­ that­ this­assignment­ is­ per­preset­and­ it­needs­ be­ done­on­ all­the­presets­that­you­want­to­control.­This­allows­you­to­apply­different­MIDI­control­schemes­for­all­your­presets.

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14.3.2 Manage MIDI Parameters Assignation via the MIDI Control Panel

This­method­allows­you­to­manually­setup,­edit,­and­compare­all­the­MIDI­assignments­that­you­have­done­for­Global­control­or­for­Preset­control­ in­a­single­panel.

To­assign­Global­MIDI­control:

1.­ Click­the­MIDI­button­located­on­the­Input/Output­bar­to­open­the­MIDI­Control­assignment­window­(figure­14.4).

figure­14.4

2.­ Click­Global­(figure­14.5).

figure­14.5

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3.­ Click­ on­ the­ parameter­ that­ you­ want­ to­ control­ on­ the­ left­ pane­(figure­14.6).

figure­14.6

4.­ Click­Learn.­(figure­14.7)

figure­14.7

5.­ Move­a­fader,­knob,­slider,­or­switch­on­your­MIDI­Controller.­6.­ The­assignment­will­automatically­take­place.­7.­ Click­OK­to­save­the­association­and­close­the­MIDI­Control­window,­

or­Cancel­to­erase­it.­

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The­control­assignment­that­you’ve­created­in­this­way­(Global)­is­valid­for­all­presets,­and­will­apply­any­preset­loaded­or­newly­created.

To­assign­Preset­MIDI­control:

1.­ Click­the­MIDI­button­located­on­the­Input/Output­bar­to­open­the­MIDI­Control­assignment­window­(figure­14.8).

figure­14.8

2.­ Click­Preset­(figure­14.9).

figure­14.9

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3.­ Click­Add­(figure­14.10).

figure­14.10

4.­ From­the­Tree­menu­select­the­current­AmpliTube­3­preset­param-eter­you’re­going­to­control­(figure­14.11).

figure­14.11

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5.­ Click­Learn­(figure­14.12).

figure­14.12

6.­ Move­a­fader,­knob,­slider,­or­switch­on­your­MIDI­Controller.­7.­ The­assignment­will­automatically­take­place.­8.­ Repeat­the­steps­from­#1­to­here­if­you­want­to­add­more­controls­

on­the­same­preset.9.­ Click­Remove­to­remove­just­one­of­the­assignments­you­did­from­

the­panel.10.­ Click­OK­to­save­the­association­and­close­the­MIDI­Control­window,­

or­click­Cancel­to­erase­it.­

The­control­assignment­that­you’ve­created­in­this­way­(Preset)­is­valid­for­the­current­preset­only­and­will­not­apply­to­the­other­presets.­This­allows­you­to­create­specific­MIDI­assignment­for­each­preset.

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14.4 Additional Parameters on MIDI Control Window

To­delete­a­particular­AmpliTube­3­parameter/MIDI­CC#­association,­select­it,­and­click­Clear­(figure­14.13).

figure­14.13

To­delete­all­AmpliTube­3­parameters/MIDI­CC#­associations­at­once,­click­Clear­All­(figure­14.14).

figure­14.14

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Min-Max Range values­(figure­14.15).

figure­14.15

These­two­values­expressed­in­%,­are­used­to­determine­the­range­of­ the­controlled­parameter.

To­control­the­parameter­on­all­its­range­set:

•­ Min­0%•­ Max­100%

To­control­the­parameter­from­min­to­half­of­its­range­set:

•­ Min­0%•­ Max­50%

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Curve­(figure­14.16)

figure­14.16

This­affects­the­way­the­controlled­parameter­will­change­with­the­position­of­the­MIDI­control­knob,­slider­or­pedal.­Curve­range­is­from­0­to­10­with­5­as­default.­

•­ When­it’s­set­to­5­the­control­will­be­linear,­meaning­the­placing­the­MIDI­controller­at­one­half­of­ its­ travel­will­ result­ in­ the­controlled­parameter­to­also­set­at­50%­of­its­range.

•­ Setting­ lower­ values­ on­ Curve­ will­ result­ in­ an­ expanded­ control­curve.

•­ Setting­ higher­ values­ on­ Curve­ will­ result­ in­ a­ compressed­ control­curve.

Always­start­with­5­as­a­default­(linear).

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Latch­(figure­14.17)

figure­14.17

When­ it­ is­ set­ to­ Off,­ the­ selected­ parameter­ will­ temporarily­ stay­ to­ the­value­imposed­by­the­external­MIDI­Control.

When­it­ is­set­ to­On,­ the­selected­parameter­will­ toggle­between­Min­and­Max­values­each­time­the­MIDI­Control­arrives.

Use­this­with­footswitches­or­switches­in­general,­to­control­On­–­Off­param-eters­on­AmpliTube­3.

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Receive channel­(14.18)

figure­14.18

To­change­the­MIDI­channel­#,­click­the­MIDI­Channel­display­and­move­the­pointer­Up­to­select­from­1-16.­

Note:­ AmpliTube­ 3­ MIDI­ implementation­ is­ not­ associated­ with­ StompIO/StealthPedal­ MIDI­ and­ it­ works­ independently­ from­ their­ MIDI­ ports.­ To­learn­more­about­StompIO/StealthPedal­MIDI­implementation,­please­read­their­User­Manuals.

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Chapter 15 Control

15.1 Introduction

AmpliTube­ 3­ can­ be­ directly­ controlled­ by­ IK­ Multimedia­ StompIO-1­ and­StealthPedal­floor­controllers.

All­powerful­ control­assignments­ and­ management­ the­StompIO-1­can­do­is­done­ from­the­StompIO-1­ interface­directly­on­ its­panel.­Please­refer­ to­the­StompIO-1­User­Manual­for­all­information­and­instructions­about­how­to­program­and­use­it.­On­the­other­end,­the­StealthPedal­control­is­entirely­configured­directly­inside­AmpliTube­3.

15.2 StealthPedal Control

StealthPedal­can­be­used­to­control­your­AmpliTube­3­in­studio­or­during­a­live­gig­by­switching­among­all­your­AmpliTube­3­presets­and­by­controlling­every­single­parameter­of­them­with­its­continuous­controllers­and­switches.

Each­AmpliTube­3­preset­can­have­a­different­control­setup,­so­you­are­able­to­control­specific­parameters­on­each­preset,­depending­on­what­you­need.

When­StealthPedal­is­connected,­select­it­from­the­Controller­menu­(figure­15.1)­ and­ press­ On­ to­ activate­ it­ (figure­ 15.2).­ Once­ the­ communication­ is­established­the­Red­Led­will­turn­On.­

figure­15.1

figure­15.2

To­access­the­StealthPedal­Control­setup­window­click­CTRL­(figure­15.3).

figure­15.3

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In­this­window­(figure­15.4)­you­can:

figure­15.4

•­ Assign­what­parameter­each­Pedal­or­Switch­will­control.•­ Set­a­range­for­all­controls.•­ Calibrate­your­pedals.•­ Conveniently­load­and­save­AmpliTube­3­presets­to­work­on­control­

assignments­for­several­presets.

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15.2.1 Assigning Continuous Controls

StealthPedal’s­ built-in­ and­ optional­ external­ expression­ pedals­ are­ two­continuous­controls­that­can­be­associated­to­any­AmpliTube­3­parameter.

By­default,­the­built-in­StealthPedal­expression­pedal­is­automatically­assigned­to­the­first­pedal­effect­loaded­on­the­AmpliTube­3­pedalboard,­from­left­to­right.­Likewise,­the­external­expression­pedal­is­automatically­assigned­to­the­second­pedal­effect­ loaded­on­ the­AmpliTube­3­pedalboard,­ from­left­ to­right.­Pedal­effects­can­be­Wah’s,­Volume’s,­Wharmonator,­Fuzz-Wah…­etc.

However,­ both­ expression­ pedals­ can­ be­ assigned­ to­ control­ any­ other­parameter­within­AmpliTube­3.­ Just­select­ from­the­ fields­named­“Built-In­Pedal”­ or­ “Ext­ Pedal”­ the­ parameter­ you’re­ going­ to­ control,­ by­ selecting­Module,­Model,­and­Parameter­(figure­15.5).

figure­15.5

Once­you­have­selected­a­Parameter­to­be­controlled­its­abbreviated­name­will­appear­(figure­15.6).

figure­15.6

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Sometimes­ you­ don’t­ need­ to­ span­ the­ whole­ parameter­ range­ with­ the­external­ control,­ in­ this­ case­ you­ can­ limit­ it­ by­ changing­ values­ in­ the­“From”­ and­ “To”­ fields­ from­ 0%­ -­ 100%­ to,­ for­ example,­ 30%­ -­ 80%.­ In­this­case­a­movement­of­the­pedal­from­min­to­max­position­will­make­the­controlled­parameter­to­go­from­30%­of­its­range­to­80%.

For­example,­it­is­useful­to­limit­the­range­when­you’re­controlling­the­Amp­Volume­knob­to­create­swells,­or­when­you’re­controlling­a­feedback­param-eter­for­a­Delay­effect.­In­all­of­these­cases­as­well­as­in­many­others,­you­might­just­need­a­subtle­variation.

To­reverse­the­control­direction­set­“From”­higher­than­“To.”

15.2.2 Assigning Switch Controls

StealthPedal­ built-in­ footswitch­ is­ located­ under­ the­ pedal­ rocker,­ as­ you­expect­from­any­standard­Wah-style­pedal­(Built-In­Switch).

You­can­connect­two­additional­footswitches­to­StealthPedal,­or­use­the­one­specifi-cally­made­for­it­that­contains­two­footswitches­on­the­same­box­(Ext­Switch­1­&­2).­

By­default,­the­built-in­StealthPedal­switch­is­automatically­assigned­to­the­first­pedal­effect­bypass­loaded­on­the­AmpliTube­3­pedalboard,­from­left­to­right,­however,­it­can­be­configured,­together­with­the­two­external­switches­to­control­any­AmpliTube­3­parameter,­or­turning­On/Off­the­Tuner.

In­addition,­the­two­external­footswitches­can­be­set­to­switch­to­Previous­or­Next­AmpliTube­3­preset­(set­by­default­when­first­attached).­It­is­not­pos-sible­to­use­the­built-in­footswitch­to­select­Previous­or­Next­preset.

Select­from­the­fields­named­“Built-In­Switch”,­“Ext­Switch­1”­or­“Ext­Switch­2”­ the­ parameter­ you’re­ going­ to­ control­ by­ selecting­ Module,­ Model,­ and­Parameter­(figure­15.7).

figure­15.7

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Once­you­have­selected­a­Parameter­to­be­controlled­its­abbreviated­name­will­be­displayed­(figure­15.8).

figure­15.8

Switch­ controls­ are­ normally­ working­ in­ Latched­ mode,­ meaning­ that­ the­controlled­parameter­will­toggle­between­On­and­Off­every­time­the­Switch­is­pressed.­They­can­however­set­to­operate­in­Temporary­mode­by­setting­Off­on­the­“Latch”­field.­

If­“Latch”­is­set­to­Off,­a­footswitch­will­set­the­controlled­parameter­to­On­only­when­it­is­kept­pressed­(figure­15.9).

figure­15.9

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To­ allow­ External­ Switches­ 1­ &­ 2­ to­ select­ the­ Previous­ and­ Next­ presets­select­“Preset­Down”­for­External­Switch­1.­ In­this­case,­External­Switch­2­will­automatically­set­to­“Preset­Up”­(figure­15.10).

figure­15.10

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15.2.3 Saving Assignments

Once­you­have­assigned­Pedals­and­Footswitches­on­your­preset­to­control­the­sound­the­way­you­need,­you­can­save­the­current­preset­by­clicking­Save­(figure­15.11).

figure­15.11

If­you­were­working­on­a­previously­loaded­preset­and­you­click­Save,­you­will­be­asked­if­you­want­to­overwrite­it.­After­your­confirmation,­the­preset­will­be­stored­with­all­the­control­associations­you’ve­made.

15.2.4 Switching Presets

External­ Switch­ 1­ &­ 2­ can­ be­ set­ to­ select­ Previous­ or­ Next­ preset.­ This­selection­is­not­stored­to­the­Preset,­and­it­is­global.­This­means­that­if­you­select­External­Switch­1­&­2­to­switch­presets­this­setting­will­be­valid­for­all­presets,­no­matter­what­was­previously­assigned­on­these­switches.

Since­presets­Up­and­Down­browsing­works­on­all­your­AmpliTube­3­presets,­we­suggest­to­create­a­folder­and­group­all­presets­you­need­for­a­gig­inside­that­folder­by­numbering­them.­This­way­you­will­be­able­to­put­them­in­a­“sequence”­and­address­them­with­the­StealthPedal­switches.

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15.2.5 Pedal Adjust

Expression­ pedals­ are­ mechanical­ devices­ that­ might­ need­ adjustment­ on­their­range­from­time­to­time­to­get­a­perfectly­covered­range.

This­ is­especially­needed­ if­you­use­a­different­brand­expression­pedal­as­the­external­one.

To­adjust­the­pedal’s­range­click­Pedal­Adjust­(figure­15.12).

figure­15.12

The­Pedal­Adjust­window­will­open­(figure­15.13).

figure­15.13

When­moving­the­Built-In­or­External­pedals­you’ll­notice­the­meter­indica-tion­on­the­right­of­the­Pedals­icon­to­move.

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To­properly­set­the­Pedal­range­set­the­physical­pedal­to­the­heel­position­and­click­Min­(figure­15.14).

figure­15.14

Then,­move­the­physical­pedal­to­the­toe­position­and­click­Max­(figure­15.15).

figure­15.15

Now­the­pedal­range­is­properly­set.­Double­check­it­by­moving­the­pedal­over­the­entire­range­and­looking­at­the­bar­graph.

This­procedure­is­valid­for­both­Built-In­and­External­pedals.

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15.2.6 StealthPedal LEDs

figure­15.16

Level­indication

Once­AmpliTube­3­is­open­and­Control­for­StealthPedal­is­set­On,­the­three­StealthPedal­LEDs­are­working­as­an­input­level­meter.

To­ get­ the­ best­ sound­ from­ the­ high-quality­ models­ included,­ it­ is­ very­important­to­properly­set­the­AmpliTube­3­input­level.

When­ playing­ normally,­ the­ green­ LED­ should­ be­ the­ one­ that­ is­ lit­ more­often,­with­yellow­one­to­light­up­during­softer­passages,­and­Red­one­never­or­really­only­occasionally­lighting­up.

If­while­you­are­playing,­only­the­yellow­LED­turns­On­you­need­to­increase­the­ input­ gain.­ This­ can­ be­ done­ by­ increasing­ the­ “Input­ Gain”­ value­ on­AmpliTube­3­standalone­bottom­frame­and/or­by­enabling­the­StealthPedal­Input­Gain­Boost.

If­while­you­are­playing­you­frequently­see­the­red­LED­lighting­up­you­need­to­decrease­the­input­gain.­As­explained­on­this­and­the­StealthPedal­manu-als,­this­can­be­done­by­decreasing­the­“Input­Gain”­value­on­AmpliTube­3­standalone­bottom­frame­and­/­or­by­disabling­the­StealthPedal­Input­Gain­Boost.

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15.2.7 Tuning indication

StealthPedal­LEDs­will­work­as­tuning­indicator­when­you­turn­On­the­Tuner­on­AmpliTube­3.

The­ AmpliTube­ 3­ tuner­ can­ be­ turned­ On­ from­ the­ AmpliTube­ 3­ interface­(figure­ 15.17)­ or­ from­ one­ of­ the­ StealthPedal­ footswitches­ if­ it­ has­ been­assigned­to­“Tuner.”­(figure­15.18).

figure­15.17

figure­15.18

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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 with­your­ IK­ product,­ inside­ the­ license­ envelope).­ In­ the­ snapshot;­ please­check­its­exact­location­(figure­16.1).

figure­16.1

1)­You­can­find­your­SERIAL­NUMBER­here

2)­At­the­bottom­of­the­registration­card­a­legend­helps­you­identify­the­characters­in­your­SERIAL­NUMBER

For­clear­characters­identification,­please­analyze­the­legend.

IMPORTANT:­ the­ number­ zero­ can­ easily­ be­ identified­ in­ your­ Serial­Number­because­it­is­crossed­by­a­line.

Why is the Wizard rejecting my Serial Number?

Probably­because­it­found­a­typo,­so­please­analyze­the­common­errors:*Typing­a­0­(“zero”­number)­instead­of­an­O­(“o”­letter)*Typing­1­(“one”­number)­instead­of­an­I­(“i”­letter)*Typing­2­(“two”­number)­instead­of­an­Z­(“z”­letter)*Typing­5­(“five”­number)­instead­of­an­S­(“s”­letter)*Typing­8­(“eight”­number)­instead­of­an­B­(“b”­letter)*Typing­a­“.”­(point)­instead­of­a­“-”­(minus)

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Suggestions:

•­ Whenever­is­possible,­please­Copy­and­Paste­the­information.•­ Cut­off­all­the­leading­and­trailing­spaces.•­ Please­ type­ all­ codes­ UPPERCASE­ during­ the­ Installation­ and­

Registration­process.•­ Check­ that­ the­ Serial­ number­ that­ you­ are­ entering­ matches­ the­

product­installed.

During the Product Registration process I received this message: The Serial Number is already registered...

Remember­ that­you­are­able­ to­register­your­product­only­once.­So,­ if­you­are­ trying­ to­get­a­new­Authorization­Code,­please­go­ to­our­FAQ­page­at­www.ikmultimedia.com/faq­and­read­the­“How­can­I­get­a­new­Authorization­Code?”­FAQ.

Where can I find my Digital ID?

The­Digital­ID­is­displayed­in­the­Authorization­window­of­your­IK­product(figure­16.2).

figure­16.2

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Why is my Digital ID being rejected during the Online Registration process?

There­ probably­ is­ a­ typo­ on­ it.­ Remember­ that­ the­ Digital­ ID­ has­ NO­letter­“I”­and­“O”,­only­the­numbers­“1”­(one)­and­“0”­(zero).­ In­order­to­ prevent­ any­ further­ mistakes,­ please­ Copy­ the­ Digital­ ID­ from­ the­Authorization­Form­to­the­Registration­Form.

Where can I find my Serial Number, Digital ID, and the Authorization Code of a registered IK Product?

In­ your­ IK­ product­ interface,­ locate­ the­ Authorization­ button­ (the­ one­with­a­small­ lock­on­ it)­and­click­on­ it.­ If­your­product­version­has­no­Authorization­button,­log­in­into­the­User­Area,­and­click­Authorizations.­You­will­be­able­to­check­your­product­Serial­Number.­Then­click­on­the­View/Request­button.­You­will­be­able­to­check­the­Digital­ ID­and­the­Authorization­Code­information.

How can I get a new Authorization Code?

Please­go­to­our­FAQ­page­at­www.ikmultimedia.com/faq­and­read­the­“How­can­I­get­a­new­Authorization­Code?”­FAQ.

I have already registered my product online, but I did not get an Authorization Code.

Usually,­ this­ happens­ because­ the­ Digital­ ID­ was­ not­ submitted­ dur-ing­ the­ registration­ process.­ In­ order­ to­ get­ a­ new­ Authorization­Code,­ please­ go­ to­ our­ FAQ­ page­ and­ read­ the­ “How­ can­ I­ get­ a­ new­Authorization­Code?”­FAQ.

I need to log in into the User Area but I forgot my User Name and Password. What should I do?

Please­go­to­www.ikmultimedia.com.­On­the­navigation­bar­click­User­Area.­On­the­top­left,­please­click­on­the­“I­forgot­my­username­and/or­password”­link,­located­below­the­login­button.

I have already installed, registered, and authorized my IK product in my main computer. What do I have to do to use my IK product in other computers?

You­ need­ to­ install­ the­ program­ and­ get­ a­ new­ Authorization­ Code.­Please­ go­ to­ our­ FAQ­ page­ and­ read­ the­ “How­ can­ I­ get­ a­ new­Authorization­Code?”­FAQ.

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I just bought an IK product. What should I do to register and authorize my new product?

Visit­our­website www.ikmultimedia.com

In­the­Support­Area,­click­on­the­Product­Registration­link.

In­ the­ Serial­ Number­ field­ of­ the­ Product­ Registration­ Form,­ please­insert­ the­ Serial­ Number­ written­ on­ the­ Registration­ Card­ (included­with­ your­ IK­ boxed­ product,­ inside­ the­ license­ envelope)­ or­ the­ one­that­has­been­delivered­to­you­(e.g.,­Online­purchase,­such­as­a­Digital­Delivery,­or­update).

Complete­the­Registration­Form­and­click­Submit.

Regarding­the­Authorization­process,­if­you­already­typed­your­Digital­ID­ while­ filling­ the­ Product­ Registration­ Form,­ you­ will­ receive­ an­email­from­us­with­your­Authorization­Code.­If­not,­after­you­launch­the­program­the­Product­Authorization­Wizard­will­appear.­Please­read­and­follow­the­instructions­provided­in­each­of­the­wizard’s­windows­and­get­an­Authorization­Code.

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Chapter 17 Support

For­any­question­you­may­have,­please­refer­to­the­FAQ­webpage­at:www.ikmultimedia.com/faqHere­you­will­find­answers­to­the­most­common­questions.

To­submit­a­Technical­Support­Form,­go­to:www.ikmultimedia.com/Support.php

For­other­requests­such­as­Product,­Sales,­or­Web­info,­please­go­to:www.ikmultimedia.com/ContactIKForm.php­

17.1 User Area

The­User­Area­ is­a­special­section­of­our­website­specifically­designed­for­our­users.­(figure­17.1).

figure­17.1

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If­you­are­a­member­of­our­registered­users’­database,­you­will­be­able­to:

•­ Edit­your­Personal­data•­ Manage­your­product­Authorization­Codes•­ Download­the­latest­products­updates­and­free­content•­ Transfer­your­License•­ Get­Your­Free­Products•­ Share­your­AmpliTube­presets•­ Redeem­your­IK­JamPoints

To­ access­ the­ User­ Area­ go­ to­ www.ikmultimedia.com/userarea­ or­ go­ to­www.ikmultimedia.com­and­click­User­Area­from­the­navigation­bar.

To­ enter­ the­ User­ Area­ for­ the­ first­ time,­ you­ have­ to­ Log­ in­ with­ the­Username­ and­ Password­ that­ you’ve­ received­ from­ us­ via­ e-mail­ after­your­first­IK­product­registration.­If­you­have­changed­your­Username­and­Password,­please­use­your­most­current­information­to­Log­in.

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Appendix IK Technologies

DSM™ Technology

DSM™­is­a­new­and­exclusive­IK­Multimedia­technology­used­in­the­emula-tion­ of­ analog­ circuitry.­ DSM­ was­ designed­ to­ increase­ the­ response­ real-ism­and­playability­of­critical­analog­circuit­models.­Musicians­always­ felt­digital­emulations­of­high-quality­analog­gear­(such­as­guitar­amplifiers)­to­be­good­but­not­completely­satisfying­because­of­the­lack­of­certain­“play-ability”­and­“musicality”­qualities­that­only­the­real­thing­provides.­DSM­has­been­designed­to­improve­this­aspect.

DSM­ gives­ special­ and­ unique­ results­ when­ applied­ to­ circuit­ emulations­where­the­non-linearity­is­the­main­characteristic­of­the­processor,­such­as­in­distortion,­fuzz,­overdrive­stomp­boxes,­tube­guitar­preamplifiers­and­power­amps,­and­analog­compressors­and­limiters.­The­DSM­working­principle­is­based­on­a­new­approach­never­applied­to­DSP­“analog­modeling”­until­now.

Analog­circuits,­especially­Tube­and­Class-A­discrete­ones,­are­not­dynami-cally-linear,­but­have­been­modeled­this­way­by­today’s­technology.­An­ana-log­circuit’s­ character­ is­never­ constantly­shaped­but­varies­depending­ on­lots­of­parameters,­first­and­foremost­the­strength,­frequency,­and­harmonic­content­of­the­incoming­signal.

DSM­takes­the­next­step.­ It­continuously­adapts­ the­“shape”­of­ the­analog­circuit­instead­of­applying­a­static­snapshot.­By­using­more­complex­math-ematical­ functions,­ a­ more­ articulated­ and­ musical­ response­ is­ possible,­making­DSM­ideal­for­modeling­tube­preamps­and­tube­power­amps.

Traditional­emulations­are­forced­to­a­tradeoff­between,­for­example,­those­kind­of­distortions­that­appear­only­when­a­2­2­x­6L6­tube­power­amplifier­is­driven­to­its­limit­and­the­cleaner­sound­it­has­when­it’s­driven­normally.

DSM­delivers­a­dynamic­response­that­continuously­morphs­and­“follows”­the­incoming­signal;­in­other­words,­that­follows­the­music.

This­ leads­ to­ an­ accuracy­ that­ cannot­ be­ found­ in­ any­ other­ modeling­hardware­or­software­ today,­ respecting­all­ the­signal­nuances­exactly­ like­a­real­analog­circuit­would­do­with­a­grade­of­realism­and­musicality­never­achieved­before.

VRM™ Technology

VRM™­ (Volumetric­ Response­ Modeling)­ is­ a­ new­ proprietary­ technology­that­IK­Multimedia­developed­to­improve­quality­on­digital­reproduction­of­speakers­and­acoustic­cabinets­used­with­musical­instruments.

This­ technology­ involves­ complex­ and­ numerous­ measurements­ of­ real­

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speakers­ in­ the­ studio­ and­ the­ realism­ and­ musicality­ of­ the­ recreated­speaker­sound­has­no­rival…

IK­ Multimedia­ developed­ VRM™­ because­ the­ technology­ available­ at­ the­time­ of­ AmpliTube­ Fender­ development­ was­ not­ good­ enough­ to­ success-fully­represent­the­Vibratone­rotary­speaker­in­all­its­nuances­and­colorful­sounds.­We­had­to­come­out­with­a­solution­that­could­make­people­think­the­model­inside­AmpliTube­Fender­is­a­recording­of­a­real­Vibratone­(actu-ally,­a­very­good­recording…)­and­not­a­digital­model,­and­we’ve­succeeded!

VRM™­ has­ been­ continuously­ improved­ and­ allowed­ the­ addition­ of­ new­AmpliTube­3­features­like­the­flexible­2-microphones­setup,­with­free­posi-tioning­and­mixing.

The­Speakers­and­Cabinet­section­included­in­AmpliTube­3­offers­supreme­sound­quality,­richness,­musicality,­and­fidelity­with­the­originals­units­that­it­can­really­have­a­few­rivals,­if­any…­Just­listen!

Block Diagram

LEVELSTOMP

MODULE0-20 msDELAY

AmpliTube®,­AmpliTube®­Metal™,­AmpliTube®­X-GEAR™,­SVX™,­StompIO™,­StealthPedal™,­StealthPlug™,­SpeedTrainer™,­DSM™,­VRM™,­are­trademarks­or­registered­trademarks­property­of­IK­Multimedia­Production­Srl.­All­other­product­names­and­images,­trademarks­and­artists­names­are­the­property­

of­their­respective­owners,­which­are­in­no­way­associated­or­affiliated­with­IK­Multimedia.­Product­names­are­used­solely­for­the­purpose­of­identifying­the­specific­products­that­were­studied­during­IK­Multimedia’s­sound­model­

development­and­for­describing­certain­types­of­tones­produced­with­IK­Multimedia’s­digital­modeling­technology.­Use­of­these­names­does­not­imply­

any­cooperation­or­endorsement.www.amplitube.com/amplitube

IK­Multimedia­Production,­Via­dell’industria­46,­41122,­Modena,­Italy.Phone:­+39-059-285496­-­Fax:­+39-059-2861671­

IK­Multimedia­US­LLC,­1153­Sawgrass­Corporate­Pkwy.­Sunrise,­FL­33323Phone:­(954)­846-9101­-­Fax:­(954)­846-9077­

www.ikmultimedia.com

All­specifications­are­subject­to­change­without­further­notice.

PN:­M

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