AmpliTube 4 Deluxe Gear Models

AmpliTube 4 Deluxe

Gear Models Guide

Guide to the Models available in theAmpliTube 4 Deluxe Collection

AmpliTube 4 Deluxe Gear Models

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P L E A S E N O T E

AmpliTube 4 is now available in different versions:

The only difference between the two versions is in the number of gear models included.

While consulting this manual, please refer to the specific gear models included in the AmpliTube 4 version you are using.

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I - Contents 5


Table of Contents

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Chapter 1 Stomp Box Effects 9 1.1 Delay 9 Delay 9 EchoMan 10 TapDelay 11 1.2 Distortion 12 Crusher 12 Diode Overdrive 13 Overdrive 14 OverScream 15 The Ambass’dor 16 1.3 Dynamics 17 Compressor 17 Dcomp 18 1.4 EQ 19 7 Band Graphic 19 10 Band Graphic 20 1.5 Filter 21 Envelope Filter 21 LFO Filter 22 Rezo 23 Step Filter 24 Wah 25 Wah 10 26 1.6 Fuzz 27 Fuzz Age 27 1.7 Modulation 28 Chorus 28 Chorus-1 29 Electric Flanger 30 Flanger 31 Opto Tremolo 32 Phazer 10 33 Small Phazer 34 1.8 Pitch 35 Harmonator 35 Octav 36 Pitch Shifter 37 1.9 Other 38 Volume 38 Step Slicer 39 Swell 40 Acoustic Sim 41 1.10 Model List 42

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Chapter 2 Amplifiers 45 2.1 Clean 45 American Clean MKIII 45 American Tube Clean 1 47 American Tube Clean 2 48 Custom Solid State Clean 49 Jazz Amp 120 50 Metal Clean T 51 2.2 Crunch 52 American Tube Vintage 52 British Tube 30 TB 53 British Copper 30 TB 54 Tube Vintage Combo 55 2.3 Lead 56 American Lead MKIII 56 Brit 8000 58 Brit 9000 59 Brit Silver 60 Brit Valve Pre 61 British Tube Lead 1 62 British Tube Lead 2 63 Custom Modern Hi-Gain 64 Custom Solid State Fuzz 65 Custom Solid State Lead 66 Modern Tube Lead 67 Red Pig 68 2.4 Bass 69 360Bass Preamp 69 Green BA250 70 Solid State Bass Preamp 71 2.5 Model List 72

Chapter 3 Cabinets 75 3.1 Guitar 6” 75 1x6 Small Combo 75 3.2 Guitar 10” 76 1x10 Combo Modern 76 4x10 Closed Modern 77 4x10 Open Vintage 78 3.3 Guitar 12” 79 1x12 Combo 79 1x12 MB II 80 1x12 MB III 81 1x12 Open Modern 82 1x12 Open Vintage 83 2x12 Closed Vintage 84 2x12 Gry British Vint 85 2x12 JP Jazz 86 2x12 Open Vintage 87 4x12 Closed Modern 1 88

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4x12 Closed Modern 2 89 4x12 Closed Vintage 1 90 4x12 Closed Vintage 2 91 4x12 Brit 30 92 4x12 Brit 8000 93 4x12 Brit 9000 94 4x12 Brit Silver 95 4x12 Red Pig 96 3.4 Bass 10” 97 4x10+tw Bass 97 4x10+tw TE Bass 98 3.5 Bass 12” 99 1x12 Bass 99 3.6 Bass 15” 100 1x15 Bass Vintage 100 3.7 Bass 18” 101 1x18 Horn Bass 101 3.8 Rotary 102 Rotary 147-1 102 Rotary 147-2 103 3.9 Model List 104

4 Microphones 107 4.1 Dynamic 107 Dynamic 57 107 Double Dynamic 57 108 Dynamic 20 109 Dynamic 421 110 Dynamic 441 111 Dynamic 609 112 4.2 Condenser 113 Condenser 84 113 Condenser 87 114 Condenser 170 115 Condenser 414 116 4.3 Ribbon 117 Ribbon 121 117 Velo-8 118 4.4 Model List 119

Chapter 5 Rack Effects 121 5.1 Delay & Reverb 121 Digital Delay 121 Digital Reverb 122 Tap Delay 123 5.2 EQ & Dynamics 124 Graphic EQ 124 Tube Compressor 125 5.3 Filter 126 Rezo 126

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Step Filter 127 5.4 Modulation 128 Analog Chorus 128 Digital Chorus 129 Digital Flanger 130 Rotary Speaker 131 5.5 Pitch 132 Harmonator 132 Pitch Shifter 133 5.6 Other 134 Step Slicer 134 Stereo Enhancer 135 Swell 136

1 - Stomp Box Effects 9


Chapter 1 Stomp Box Effects

1.1 Delay

Delay

This model is based on a traditional digital delay stomp pedal.

Controls:

• DELAY: changes the length of the delay between each echo, from 1 ms to 2000 ms.

• FBK: changes the amount of time that the echo repeats, from 0% to 100%.

• LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.• BPM SYNC: allows the effect to synchronize to the project tempo.



EchoMan

A model of a classic bucket-brigade analog echo/delay (with modulation) stomp pedal effect.

Controls:

• DELAY: changes the length of the delay between each echo, from 25 ms to 500 ms.

• FEEDBACK: changes the amount of time that the echo repeats, from 0% to 100%.

• BLEND: mixes the amount of dry signal with the effected signal, from 0% (dry) to 100% (effected).

• CH/VIB: sets the amount of Chorus/Vibrato effect added to the effected sound, from 0% to 100%.

• CHORUS VIBRATO: changes whether chorus or vibrato can be added to the effect.

• BPM SYNC: allows the effect to synchronize to the project tempo.



TapDelay

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

The TapDelay is actually 8 delays in one single unit, and it is possible to set time, timbre, and level for each of them. In addition, you can globally control with single knobs parameters for all the 8 taps simultaneously, like time, dry/wet mix and feedback amount.

Controls:

• TIME: globally shifts the delay time of all the 8 taps. This is a relative control, when set at the center position (1x) it does not alter the time that has been setup on each Tap, when set to minimum (0.25x) it divides all times by four and when set to max (4x) it multiply all times by four. Use it to globally change the delay tempo without changing the relations between all taps.

• MIX: globally adjust the effect mix between the Dry signal and all the 8 delay taps.

• FEEDBACK: globally adjust the amount of feedback the delay will have. When set at maximum, the delay will be sustaining itself.

• TAP: use these buttons to select which one among the 8 delay taps you’re going to edit with next controls

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

milliseconds or in musical divisions, depending on the BPM Sync switch position.

• FILTER: sets the timbre for the selected delay tap, darker at minimum and brighter at maximum.

• REVERSE: enable this button to transform the selected delay tap from normal to reverse. When set to reverse a delay tap will sound like a reversed tape loop.

• LINK: enable this button to make a changes to the above mentioned parameters to apply to all the 8 taps at the same time.




1.2 Distortion

Crusher

This model alters the sound of the input signal by changing the sample-rate, cutoff frequency and by distorting it. This effect can produce very aggressive distorted sounds, more noticeable than overdrive stompboxes. The Low pass filter is very creative when combined to high distortion levels.

Controls:

• CUTOFF: controls the cutoff frequency of the low pass filter.• DECIM: selects the sample-rate-ratio of the processed sound, from

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

distortion. Useful when creating heavily distorted sounds, from -40 dB to +40 dB.

• OUT: controls the output volume, from -40 dB to +40 dB.



Diode Overdrive

A model of a classic overdrive stomp effect.

Controls:

• TONE: adjusts boost or cut of the high frequencies in the stomp effect, from 0 to 10.

• DIST: sets the amount of distortion applied to the input signal of the effect, from 0 to 10.

• LEVEL: sets the level of the input for the effect, from 0 to 10.



Overdrive

This effect is based on one of the most collectible pedals. It is one of the most aggressive overdrive pedals ever made. From subtle to over-the-top, this effect pushes amps harder without sacrificing clarity and tone.

Controls:

• LEVEL: controls the Overdrive pedal output level. It does not alter the timbre of the distortion, unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume.

• DRIVE: controls the amount of overdrive the pedal gives.• TONE: controls the timbre of the overdrive pedal.



OverScream

This is a model of a classic overdrive/distortion pedal which has become the go to overdrive pedal for some of the most influential guitar players of all time. Its basic controls make it easy to dial in the exact sound you want.

Controls:

• DRIVE: increases the amount of clipping in the distortion circuit, from 0 to 10.

• LEVEL: sets the output level of the pedal, from 0 to 10.• TONE: adjusts boost or cut of high frequencies in the stomp effect,

from 0 to 10.



The Ambass’dor

This pedal is a model of a beloved ‘80s-era distortion pedal by a company known for making amps with amazing distortion. This model packs a whole powerful amp into a single stomp box.

Controls:

• GAIN: sets the amount of distortion generated by the pedal.• BASS: sets the amount of low frequencies in the sound.• MIDDLE: sets the amount of midrange frequencies in the sound.• TREBLE: sets the amount of high frequencies in the sound.• LEVEL: sets the output volume of the distortion pedal.



1.3 Dynamics

Compressor

This effect is a model of a classic high-end compressor. It is capable of mild compression or intense signal slamming, and does it all with a tremendous amount of finesse.

Controls:

• COMP: sets the amount of compression, from 0 to 100.• LEVEL: changes the output level of the compressor, from -15 dB to

+15 dB.



Dcomp

This effect is modeled after a vintage compression stomp pedal.

Controls:

• OUTPUT: sets the output level for the effect, from –inf to 0.0 dB.• SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.



1.4 EQ

7 Band Graphic

This model is a clean, highly effective 1 octave graphic equalizer, capable of fine tuning and dialing in that perfect tone. It is also very useful when you need to “push” the signal for the next stompbox or amp.

Controls:

• FREQUENCY BAND LEVEL: each frequency band is one octave apart and allows for +/- 15 dB of adjustment. The controls include 100 Hz, 200 Hz, 400 Hz, 800 Hz, 1.6 kHz, 3.2 kHz, 6.4 kHz.

• LEVEL: sets the output level of the graphic EQ, from -15 dB to +15 dB.



10 Band Graphic

IK Multimedia proprietary 10 Band Graphic EQ.

Controls:

• BANDS: 31, 62, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Each band has +/- 15 dB of boost/cut.

• GAIN: the gain slider boosts or cut the overall level by +/- 15 dB.



1.5 Filter

Envelope Filter

This stomp is an advanced filter effect. It uses the envelope of the incoming signal to control a synthesizer style filter. It is capable of sounds ranging from very simple auto wah effects to extreme never before heard filtering effects.

Controls:

• FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.• RESO: sets the resonance of the filter, from 0.30 to 10.• DEPTH: changes the amount of effect that the envelope has on the

filter, from 0% to 100%.• MODE: these control change the type of filter used for the effect.• 12/24: sets the slope of the filter, either 12 dB per octave or 24 dB

per octave.• HP/BP/LP: sets the type of filter being used, either high pass, band

pass, or low pass.



LFO Filter

This complex stomp effect uses an LFO to modulate the frequency of its filter. With the included BPM Sync this is a very useful effect for creating interest-ing, moving guitar parts with a minimum amount of trouble.

Controls:

• FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.• RESO: sets the resonance of the filter, from 0.30 to 10.• RATE: adjusts the speed of the LFO, from 0.05 Hz to 5 Hz. • DEPTH: changes the amount of effect that the envelope has on the

filter from 0% to 100%.• MODE: these control change the type of filter used for the effect.• 12/24: sets the slope of the filter, either 12 dB per octave or 24 dB

per octave.• HP/BP/LP: sets the type of filter being used, either high pass, band

pass, or low pass.• BPM SYNC: allows the effect to synchronize to the project tempo.



Rezo

A unique effect that can add synth-like drones and sustaining resonances to your parts. Make your guitar sound like a sitar or like a synth-drone to cre-ate sonic resonances to sing on and control the notes with your controller to create arpeggios and steps while playing.

You have 4 resonating voices that can be tuned independently from note E0 to note B7, in half tone steps. For example, if you want to create a resonating C Major chord, just set the first three voices to C3, E3 and G3.

By moving the All slider you can shift the recently created Chord without changing the intervals between the voices.

You can set the desired voice note by note number or by frequency in Hz.

Controls:

• 1-4 SLIDERS: sets the pitch for each resonating voice.• 1-4 VALUE DISPLAY: displays which note each voice is tuned on.• NOTE/FREQUENCY SWITCH: turn On this switch to have the tuning of

each voice displayed as a note. Turn this Off to have the tuning of each voice to be displayed as frequency in Hz.

• ALL: shifts all resonating notes by the same amount keeping relative intervals between voices identical.

• RES: sets the amount of resonance for each voice, from min to max. When set to max the note will sustain by itself, when set to min the voice will not be resonating

• SCALE: the Rezo is setup by default to span over a chromatic scale when you set the resonating voices, meaning that all half tones are possible. If you want to set another scale and want to remove notes from the chromatic scale just open this menu and leave on only the notes you need.

• FILTER: determines the brightness of the resonating voices, from dark (lower positions) to bright (upper positions).

• MIX: sets the amount of resonating notes you want to hear. When the control is at min you’ll only hear the original sound, when fully up you’ll only hear the effected sound.

• OUT: the resonating notes can become very loud. Use this control to adjust the overall output level of the Rezonator.



Step Filter

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

Controls:

• CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff frequency the filter will have when the steps are set to half position.

• STEP BAR: click on the Steps to set each step level. You can also draw a curve while holding the mouse while dragging over multiple steps.

• RES: sets the center resonance of the filter. This is the resonance amount the filter will have when the steps are set to half position.

• DEPTH: sets how deep the filter is modulated by the steps.• HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:

band pass, LP: low pass.• 12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/

oct will be steeper.• DEST: sets what is modulated by the steps between filter Cutoff and/

or filter Resonance. At full minimum position only Cutoff frequency is modulated, at max position only Resonance is modulated.

• DIVISION: sets what time interval each step represents.• STEPS: sets the number of steps the cycle will consist of.• MODE: when set to Free the cycle will be continuous and will always

cover all the steps that are specified in the Steps parameter. When set to Strike the cycle will re-start each time a chord or a note is played.

• SWING: increase this control to give to the steps a swing type quan-tization.




Wah

This effect is modeled after the classic wah pedal used by many of the top players from the ‘60s and ‘70s. In addition to the wah effect it also features an auto function, allowing it to be used easily without an external controller.

Controls:

• OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto.• WAHWAH: this directly controls the Wah effect, from 0% to 100%.



Wah 10

This is a faithful rendition of a very sought-after wah pedal. Based on a multiple feedback opamp circuit, the pedal modeled here is a very expres-sive and unique wah pedal.

Controls:

• WAH: sets the position of the wah pedal. It gives a darker sound when moved lower (heel position) and a brighter sound when moved higher (toe position).

• DEPTH: determines how strong the wah effect is. When is set at minimum the wah effect is barely noticeable, but when is set to max the effect is very strong.

• GUITAR/BASS SWITCH: modify the response of the wah to make it more suitable to guitar or bass.



1.6 Fuzz

Fuzz Age

This effect is modeled after a classic germanium transistor fuzz stomp effect. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years.

Controls:

• VOL: sets the output volume of the stomp effect, from –inf. to 0.0 dB.• FUZZ: sets the fuzz level of the effect, from 0 to 10.



1.7 Modulation

Chorus

This chorus is modeled after a classic Digital Chorus stomp box.

Controls:

• RATE: sets the rate of the chorus effect, from 0 to 10.• DEPTH: sets the intensity of the chorus effect, from 0 to 10.• LEVEL: sets the input level of the stomp effect, ranges from 0 to 10.• BPM SYNC: allows the effect to synchronize to the project tempo.



Chorus-1

A model of a classic bucket-brigade analog Chorus/Vibrato unit. It provides both analog Chorus and analog Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the modulation will be faster and more noticeable.

Controls:

• LEVEL: sets the input level. Range is from –15 dB to +15 dB.• CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to

10.• VIBRATO DEPTH: sets the intensity of the Vibrato effect, from 0 to 10.• VIBRATO RATE: sets the rate of the Vibrato effect, from 0 to 10.• VIBRATO/CHORUS SWITCH: enables Vibrato or Chorus modes, when

Vibrato mode is enabled the corresponding LED will illuminate.• BPM SYNC: allows the effect to synchronize to the project tempo.



Electric Flanger

This stomp box is a model of a vintage flanger/filter matrix used by many well-known guitarists to achieve classic sounds. While it has amazing warmth, it is also capable of very versatile chorus and steady comb filtering/matrix that can imprint a very specific sonic signature to the sound.

Controls:

• RATE: controls the speed of the effect, from slow to fast.• RANGE: sets the deepness of the effect, from subtle to very strong• COLOR: sets the amount of feedback in the flanger circuit, delivering

a more intense effect when set at max.• MANUAL: this is normally set to the lower position, when set at the

upper position it stops the LFO. This means that you can use the effect to have static resonance and filter matrix effects. Adjust the timbre of the resonance and filters by setting the Range knob, and adjust the intensity of the resonances by setting the Color knob.

• ON/OFF: enables or disables the effect. When the effect is on the red LED is light.

• BPM SYNC: makes the rate of the phasing effect to be synchronized with the BPM of the project. When enabled, the Rate knob becomes a selector that allows you to choose between various musical figures.



Flanger

This stomp box is a model of a classic Flanger effect.

Controls:

• RATE: sets the rate of the Flanger effect, from 0 to 10.• DEPTH: sets the intensity of the Flanger, from 0 to 10.• FBK: sets a delay for the Flanger to take effect, from 0 to 10.• LEVEL: sets the input level of the stomp box, ranges from 0 to 10.• BPM SYNC: allows the effect to synchronize to the project tempo.



Opto Tremolo

This model is based on a vintage Opto-Tremolo effect.

Controls:

• RATE: sets the rate of the Flanger effect, from 0 to 10.• DEPTH: sets the intensity of the Flanger, from 0 to 10.• BPM SYNC: allows the effect to synchronize to the project tempo.



Phazer 10

A model of a classic analog multimode Phaser stomp box.

Controls:

• INTENSITY: selects one of the four different Phaser modes. From left to right the perceived effect intensity will increase.

• SPEED: sets the speed of the modulation, from 0 to 10.



Small Phazer

This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to outlandish swirling effects. You may wonder why it is called “small” when you hear it.

Controls

• RATE: controls the speed of the effect, from slow to fast.• COLOR: set it to the lower position for a more gentle phasing effect,

or set it at the upper position for a more pronounced and deep phas-ing effect.

• BPM SYNC: makes the rate of the phasing effect to be synchronized with the BPM of the project. When enabled the rate knob becomes a selector that allows to choose between various musical figures.



1.8 Pitch

Harmonator

This effect is a 3 voice digital harmonizer effect. More than just a pitch shifter, this pedal will create 3 separate harmony voices with independent interval values based on a musical scale. Simply select the scale to use, select the voice and the desired pitch and play. The harmonized notes will be according to the selected scale.

Controls:

• MIX: blends the harmonized voice with the original voice, from 0 to 100.

• KEY-SCALE: controls the key and type of scale that will be used by the harmonizer as a reference. If you’re playing a solo in E major set this to E Major. Possible scales types are: Major, Dorian, Phrygian, Lydian, Mixolydian, Minor, and Locrian.

• VOICE: controls the properties of each of the 3 voices of the harmo-nizer.

• LEVEL: independently adjusts the level of each of the 3 voices.• 1: selects voice 1 for editing.• 2: selects voice 2 for editing.• 3: selects voice 3 for editing.• INTERVAL: changes the interval of the selected voice, from octave

down to octave up.



Octav

This stomp effect is modeled after a classic dual voice octave pedal. It will produce two additional sounds, one and two octaves below the direct signal.

Controls:

• OCT 2: sets the output level of the second octave effect, from –inf to 0.00 dB.

• OCT 1: sets the output level of the first octave effect, from –inf to 0.00 dB.

• DIRECT LEVEL: sets the output level of the direct signal, from –inf to 0.00 dB.



Pitch Shifter

This effect shifts the pitch of the incoming signal. This new pitch shifted signal is blended with the original sound to create harmony guitar leads or other types of dual pitch effects.

Controls:

• COARSE: sets the coarse tuning of the pitch shifter. Measured in intervals, from -24 to 24.

• FINE: sets the fine tuning of the pitch shifter. Measured in cents, from -50 to 50.

• LEVEL: sets the output level of the pitch shifted sound, from 0 to 10.



1.9 Other

Volume

This model is a traditional volume pedal.

Controls:

• MIN: sets the minimum volume level for the pedal, from 0 to 10.• VOLUME: adjusts the volume of the signal passing through it, from

0% to 100%.



Step Slicer

Add programmed rhythmic parts to your power chords and phrases with this powerful and creative beat synced slicing effect. It can be setup to cre-ate anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat.

Controls:

• LEVEL: sets the amount of level modulation the steps will give. At min position the steps will not have effect, at maximum the range will be full.


• RAMP: sets the steepness of the level change between steps. Set it at lower positions to get a more gate-like effect or set it to higher posi-tions to get a smoother effect.

• DIVISION: sets what time interval each step represent.• STEPS: sets the number of steps the cycle will consist of.• MODE: When set to Free the cycle will be continuous and will always






Swell

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

Controls:

• DEPTH: sets the depth of the volume swell, in dB. By default the depth is at max position, meaning that the volume will start from silence. By lowering this control you’ll make the effect to start the swell phase from a level which is higher than silence, up to min position that makes the effect to have no action.

• SENS: this control sets the sensitivity for the Swell to recognize a new note or chord and therefore start a new Swell cycle. Set it higher if you want the Swell cycle to start even at the beginning of softer passages, or set it lower if you want the Swell cycle to only start for louder strikes.

• TIME: sets the length of the Swell cycle. During the Swell cycle (time the swell takes to “open” the power LED becomes red (it is normally green). This helps to immediately recognize when the swell is trig-gered.

• BPM SYNC: allows the effect to synchronize to the project tempo mak-ing the swell time to be specified in musical figures.



Acoustic Sim

Turn your electric guitar into an acoustic guitar with the Acoustic Sim! Mix three guitar body styles with three types of top end to dial in your acoustic sound. Equalize the result with a 2-band post EQ.

Controls:

• SOURCE: select the type of pickup you are using: single coil or hum-bucker.

• BODY: choose between three types of acoustic guitar bodies: 1: dread-nought body. 2: 12-string guitar body. 3: Classical guitar body.

• TOP: choose between three types of top end response. Although types A, B, C have originally been designed to match their respective 1, 2, 3, bodies, you can experiment with any cross combination.

• MIX: mixes the acoustic sound with the magnetic pickup sound. When Mix is set to 0, you get a filtered version of your dry signal, without any body and top end applied. When Mix is set to 10, you get the acoustic sound only. Turn Mix from 10 downwards to progres-sively add the mid frequencies of the magnetic pickup.

• BASS: increases/decreases overall bass frequencies.• TREBLE: increases/decreases overall treble frequencies.

IMPORTANT: In order to obtain a satisfying acoustic sound, you should bypass the amp and cabinet sections by pressing the power icon on these two sections.



1.10 Model List

Stomp Models Based on*

Delay

Delay IK Multimedia

EchoMan Electro Harmonix® Memory Man™

TapDelay IK Multimedia

Distortion

Crusher IK Multimedia

Diode Overdrive IK Multimedia

Overdrive Boss® SD-1™ Distortion

OverScream Ibanez® Tube Screamer® TS-9™

The Ambass’dor Marshall® Guv'Nor™

Dynamics

Compressor IK Multimedia

Dcomp MXR® Dynacomp™

EQ

7 Band Graphic IK Multimedia

10 Band Graphic IK Multimedia

Filter

Envelope Filter IK Multimedia

LFO Filter IK Multimedia

Rezo IK Multimedia

Step Filter IK Multimedia

Wah IK Multimedia

Wah 10 Ibanez® WH-10™

Fuzz

Fuzz Age Arbiter® Fuzz Face®

Modulation

Chorus IK Multimedia

Chorus-1 Boss® CE-1™ Chorus

Electric Flanger Electro-Harmonix® Electric Mistress™

Flanger IK Multimedia

Opto Tremolo Fender® Super Reverb® Amp Opto-Tremolo™

Phazer10 MXR® Phase 100™

Small Phazer Electro-Harmonix® Small Stone™

Pitch

Harmonator IK Multimedia



Octav Boss® OC-2™ Octaver

Pitch Shifter IK Multimedia

Wharmonator Digitech® Wahmmy™ WH-1™

Other

Volume IK Multimedia

Step Slicer IK Multimedia

Swell IK Multimedia

Acoustic Sim IK Multimedia

* All product names and trademarks are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied durino IK Multimedia’s sound model develop-ment and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement.

ARBITER® FUZZ FACE® is a registered trademark of Arbiter Group Plc.BOSS®, SD-1™, CE-1™, OC-2™ are trademarks or registered trademarks of Roland Corporation.ELECTRO-HARMONIX®, Memory Man™, Electric Mistress™, Small Stone™ are trademarks or registered trademarks of New Sensor Corporation.FUZZRITE® is a registered trademark of Andy J. Moseley.IBANEZ®, Tube Screamer® TS-9™, WH-10™ are trademarks or registered trademarks of Hoshino Gakki Co. Ltd. Corporation.MARSHALL®, Guv’Nor™ are trademarks or registered trademarks of Marshall Amplification Plc.MXR®, Dynacomp™, Phase 100™ are trademarks or registered trademarks of Applied Research and Technology, Inc.



2 - Amplifiers 45


Chapter 2 Amplifiers

2.1 Clean

American Clean MKIII

This is a model of the clean channel from a popular and sought after American amplifier. The signature tone can be heard on many albums and many stages around the world. Experience a sparkling clean with the capa-bility for a touch of crunch when cranked up.

This beautiful amp is crystal clear but can also deliver edgy sounds by push-ing the Master volume, and can deliver a nice preamp crunch tone when Rhythm 2 is engaged.

This amp is extremely versatile you can really get many types of clean or edgy tones from its incredibly flexible preamplifier. By selecting two differ-ent preamp shapes (Rhythm 2), and by adapting the tone with the Shift and Deep switches, you can really shape your clean/edgy sound in almost all possible ways. Add the final 5 band graphic EQ and the tonal possibilities are really wide. But be careful, this is not a ‘set and forget’ amp. Being it extremely versatile it can of course be set to a tone that could be totally far from what is needed on that part. It needs a degree of experimentation and experience before you can really master it!

Controls:

• VOLUME: sets the volume of the clean preamp. Push it closer to 10 for an edgy sound that starts to crunch.

• BRIGHT: boosts brilliance of the preamp, especially when the Volume control is kept low.

• TREBLE: sets the amount of high frequencies on the sound.

2 - Amplifiers 46


• SHIFT: modifies the frequencies where the Bass control works.• BASS: sets the amount of low frequencies on the sound.• MIDDLE: sets the amount of mid frequencies on the sound.• MASTER: determines the level that is sent to the power amp. Turning

this knob up, makes the power amp to saturate and produce great crunch sounds.

• RHYTHM 2: when enabled the preamp has more gain, and it is there-fore possible to obtain extremely musical and sweet crunch sounds.

• DEEP: when enabled the bass response of the amplifier is extended.• EQ: enables the graphic EQ.• EQ BANDS: these sliders can control the equalization of the amp on

5 distinct frequencies areas. You’ll find it extremely musical and a powerful sound sculpting tool.

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

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

2 - Amplifiers 47


American Tube Clean 1

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

Controls:

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

from 1 to 10.• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,

from 1 to 10.• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,

from 1 to 10.• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.• SPRING REVERB: sets the level of spring reverb added to the guitar

amp sound, from 1 to 10.AMP MODEL:

• VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

2 - Amplifiers 48


American Tube Clean 2

This model features yet another classic American amplifier. Unlike the American Tube Clean 1, this model is a smaller combo amp. This amp deliv-ers a clean yet warm tone.

Controls:







2 - Amplifiers 49


Custom Solid State Clean

This amp model is clean. It provides a very uncolored signal, perfect for jazz. It could be compared to amps like the Jazz Amp 120, ideal for sparkling clean tones.

Controls:






2 - Amplifiers 50


Jazz Amp 120

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

Important: this amp contains a built-in stereo Chorus/Vibrato unit. To actu-ally be able to hear this in stereo you will need to use two microphones in front of its Cabinet and pan the wide L – R. For more information about how to set this, see Chapter 9.5.7.

Controls:


• VOLUME: sets the overall amp volume. The amp remains clean up to volume 3 or 4 and starts distorting for higher positions.

• DISTORTION: turning this knob up from the minimum position by a little bit turns On the distortion circuit. From there, continuing rising the control brings more and more distortion.

• REVERB: controls the amount of reverb.• TREBLE: sets the amount of high frequencies on the sound.• MIDDLE: sets the amount of mid frequencies on the sound.• BASS: sets the amount of low frequencies on the sound.• VIB/OFF/CHORUS: this is a three position switch;

• When set to Off, the sound will not be affected by chorus or vibrato. • When set to Vib, vibrato will be turned On. • When set to Chorus, chorus will be turned On.

• SPEED: sets the speed of the Vibrato effect. Note that Chorus has no settings.

• DEPTH: sets the intensity of the Vibrato effect. Note that Chorus has no settings.

2 - Amplifiers 51


Metal Clean T

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

Controls:

PRE MODEL:• GAIN: adjusts the input gain of the preamp stage. Use this setting to

drive the preamp stage, from 1 to 10.EQ MODEL:

• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10.

• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10.

• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10.

• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.• SPRING REVERB: Sets the level of spring reverb added to the guitar



2 - Amplifiers 52


2.2 Crunch

American Tube Vintage

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

Controls:







2 - Amplifiers 53


British Tube 30 TB

This is a model of a legendary British amplifier which is one of the most widely recognizable and popular amps of all time. Throughout its life, its legendary tone helped to put many of rock’s founding fathers (including 4 guys from Liverpool) on the map and has been a highly sought after sound that is still heard on many albums today.

Controls:



from 1 to 10.• CUT: as on the original, cuts the high frequencies of the amp’s EQ

stage when turned down. • SPRING REVERB: sets the level of spring reverb added to the guitar



2 - Amplifiers 54


British Copper 30 TB

Take yourself back to the ‘60s with this quintessential amp. Not just any version, but an accurate model of the well-known and loved version of an already spectacular amplifier. If you want some British sound, you can find it here.

The original copper panel model was non-top boost, and you can find it exactly replicated here when the switch Top Boost is Off. Turn it On to add the top boost circuit in a second and be then able to adjust your sound with Bass and Treble pots.

Controls:

• NORMAL: sets the volume level for the Normal channel. Normal chan-nel has a mellower response when compared to the Brilliant channel.

• BRILLIANT: sets the volume level for the Brilliant channel.• VIB -TREM: sets the volume level for the Vibrato and Tremolo chan-

nel.• TOP BOOST: adds the Top Boost circuit in the Brilliant channel signal

path. Normal and Vib-Trem channels are not affected by this.• BASS: adjusts the level of low frequencies in the sound. Active only

on Brilliant channel and only when Top Boost is On.• TREBLE: adjust the level of high frequencies in the sound. Active only

on Brilliant channel and only when Top Boost is On.• TONE: sets the overall brightness of the amp. It is always active, on

all channels. When set to Min the amp is bright, when set to Max the amp is mellower.

• SPEED: sets the speed of the Tremolo or Vibrato effect.• SWITCH: determines if the Vib-Trem channel will produce a Vibrato

or a Tremolo effect.

2 - Amplifiers 55


Tube Vintage Combo

This is a model of a small vintage amplifier that was basic in design but big in tone. This model is simple but sweet.

Controls:

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

turned down.• SPRING REVERB: sets the level of spring reverb added to the guitar



2 - Amplifiers 56


2.3 Lead

American Lead MKIII

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

This amp is extremely versatile, you can really get almost any type of sound from its incredibly flexible preamplifier. By calibrating the various gain stages (Volume -> Lead Drive -> Master), by selecting two different preamp shapes (Rhythm 2), and by adapting the tone with the SHIFT switches, you can really shape your driven sound in almost all possible ways. Add the final 5 band graphic EQ and the tonal possibilities are really endless. But be careful, this is not a ‘set and forget’ amp. Being it extremely versatile it can of course be set to a tone that could be totally far from what is needed on that part. It needs a degree of experimentation and experience before you can really master it!

Controls:

• LEAD DRIVE: sets the amount of gain of the lead stage. Increase this to have more sustaining distortion and decrease it to get a more edgy and crunchy type of distortion.

• VOLUME: sets the gain of the initial stage. This is the gain that comes before all others in the amp signal path.

• MASTER: sets the power amp level. This is the latest level in the amp signal path. Setting high gains in the preamp (Volume and Lead Drive) and also setting Master to a very high level can result in an overly pushed sound that could be difficult to obtain a good sound. Keep this at high levels only if Volume and Lead drive are not so high.

• TREBLE: sets the amount of high frequencies on the sound.

2 - Amplifiers 57


• BASS: sets the amount of low frequencies on the sound.• MIDDLE: sets the amount of mid frequencies on the sound• BRIGHT: boosts brilliance of the preamp, especially when the Volume

control is kept low.• SHIFT (BASS): modifies the frequencies where the Bass control

works.• SHIFT (TREBLE): modifies the frequencies where the Treble control

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

slightly changes its tonal character.• DEEP: when enabled the bass response of the amplifier is extended.• EQ: enables the graphic EQ.• PRESENCE: when turned up the amp becomes more present and

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

spring unit.

2 - Amplifiers 58


Brit 8000

The new Brit 8000 is based upon the early 80s JCM800, the amp that although most think of the Plexi’s as the defining tone of a pushed Marshall, in reality it’s the JCM800 that people are hearing. The JCM800 was the first departure from the Plexi format designed for players who desired a “hotter” front end and more control over the overall output volume. The result? More preamp overdrive and crunch at controllable volumes.

Controls:

• SENSITIVITY: switches between High or Low input gain• PRESENCE: boosts high frequencies from 0 to 10.• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage

from 0 to 10.• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage

from 0 to 10.• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage

from 0 to 10. • MASTER VOLUME: adjusts the final output level of the power amp

stage from 0 to 10.• PRE AMP VOLUME: adjusts the input gain of the preamp stage from

0 to 10.

2 - Amplifiers 59


Brit 9000

The new Brit 9000 is based upon the early 90s introduction of the “evolu-tion” of the JCM800, the JCM900. This dual channel, dual reverb head was designed for versatility with channel 1 voiced from clean to low level lead gain when cranked, and channel 2 voiced with enough gain to provide fear-some lead tones at low gain to screaming solo tones at high gain.

Controls:

• PRESENCE: boosts high frequencies from 0 to 10.• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage



from 0 to 10. • MASTER VOLUME: adjusts the final output level of the power amp

stage from 0 to 10.• GAIN SENSITIVITY: boosts the input gain of the main preamp stage

from 0 to 10.• PRE AMP VOLUME: adjusts the input gain of the main preamp stage

from 0 to 10.• POWER LEVEL: switches between High and Low power level.

2 - Amplifiers 60


Brit Silver

Based on the 1987 Marshall Silver Jubilee commemorating the 25th anniver-sary of the Marshall company, the Brit Silver features the 3-gain mode of the preamp circuit “clean”, Rhythm Clip and Lead. The Silver Jubilee was also the first Marshall to feature an output power section that could be switched from full to 1/2 power, thus providing that JCM800 tone at reasonable volumes. The Brit Silver faithfully recreates the original Silver Jubilee down to every minute detail for hyper-real authentic Marshall tone.

Controls:




from 0 to 10. • OUTPUT MASTER: adjusts the final output level of the power amp

stage from 0 to 10.• PULL CHANNEL: switches between Clean channel and Lead channel• LEAD MASTER: adjusts the final output level of the lead channel from

0 to 10.• INPUT GAIN: adjusts the input gain of the main preamp stage from

0 to 10.• PULL RHYTHM CLIP: adds more gain to the preamp stage.

2 - Amplifiers 61


Brit Valve Pre

Rounding out the new Brit series of amps is a preamp model based on the Marshall JMP-1 valve preamp. The JMP-1 was Marshall’s first foray into the world of MIDI control with Marshall tone. It allows players to sculpt the tones they want, then save those tone presets for recall by MIDI control at any time. It’s one of the most simple preamps, very straight forward. It has the staple Marshall controls like Volume, Gain, Bass, Middle, Treble and Presence. It features a bass shift, 2 overdrive channels, and 2 clean channels. For its ease of use and its “ready to go” sound character, it quickly became one of the most iconic Guitar preamps of the era. Almost 90% of the pro players at the time had a JMP-1 in their rack of toys.

Controls:

• DATA DISPLAY: Shows the value of the selected parameter• DATA knob: decreases, increases the value of the selected parameter.• GAIN: selects the input gain parameter.• BASS: selects the Bass parameter.• MIDDLE: selects the Middle parameter.• TREBLE: selects the Treble parameter.• PRESENCE: selects the Presence parameter.• OD1: engages the overdrive 1 channel.• OD2: engages the overdrive 2 channel.• BASS SHIFT: enhances the Bass frequencies.• CLEAN 1: engages the Clean 1 channel.• CLEAN 2: engages the Clean 2 channel.• OUTPUT LEVEL: adjusts the final output level of the unit from 0 to 10.

2 - Amplifiers 62


British Tube Lead 1

Made popular by the hard rockers of the ‘80s this British guitar amp has remained a prized tone for many of today’s guitar players. Able to crank out great tube saturated tone with ease this model is a go to amp for a variety of heavy rock guitar sounds.

Controls:






• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.• SPRING REVERB: sets the level of spring reverb added to the guitar



2 - Amplifiers 63


British Tube Lead 2

The younger sibling to the British Tube Lead 1, this model is capable of great rock tone, leads, and heavy crunch. While grittier and a little more aggressive, it still has the classic tone that has made this family of amps a household name in rock guitar.

Controls:









2 - Amplifiers 64


Custom Modern Hi-Gain

Based on the classic AmpliTube model, this amp features lots of gain for that over the edge distortion sound. Similar to modern tube lead sound in character, Modern Hi-Gain provides an additional take on that type of sound.

Controls:









2 - Amplifiers 65


Custom Solid State Fuzz

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

Controls:








2 - Amplifiers 66


Custom Solid State Lead

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

Controls:








2 - Amplifiers 67


Modern Tube Lead

This amp is a model of one of the leaders in hard, driven rock tones made today. Capable of searing leads and heavy crunch, this amp has been recti-fied to create a modern rock tone that is hard to beat.

Controls:









2 - Amplifiers 68


Red Pig

This gem from the 60s is based on the Marshall Major 200 “Pig” (as it was nicknamed) made famous by players like Ritchie Blackmore, Jimmy Page, Joe Perry and at times Stevie Ray Vaughan. It was originally produced for play-ers who needed more stage volume and sported a full 200 watts powered by KT88 power tubes. Nicknamed “the Pig” because it was a full 3” deeper than Marshalls of the day to accommodate the larger transformers, it quickly became the favorite of larger venue players.

Controls:




from 0 to 10. • VOLUME 1: adjusts the input gain of the “bright” channel 1 from 0

to 10.• VOLUME 1: adjusts the input gain of the “normal” channel 2 from 0

to 10.• 1-2 SWITCH: switches between channel 1 and channel 2.• BRIDGE: enables channel bridging. Use the Bridge option to add

more drive.

2 - Amplifiers 69


2.4 Bass

360Bass Preamp

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

When paired with its Matching cabined (1x18” Horn Bass) it can sound really dark when compared to today’s bass amps, but that’s the magic of it!

Controls:


• VOLUME: sets the overall volume of the amp. Set it low for pure and clean tones and push it for driven sounds.

• TREBLE: sets the amount of mid and high frequencies on the sound.• BASS: sets the amount of low frequencies on the sound.• RANGE: forms a semi-parametric midrange equalizer together with

Effect. Use the Range control to select the center frequency of the mid frequency equalization process among 5 positions.

• EFFECT: forms a semi-parametric midrange equalizer together with Range. Use Effect boost or cut the midrange frequencies selected with the Range control.

• FUZZ: turns On the built-in Fuzz effect.• GAIN: sets the output volume of the Fuzz effect.• ATTACK: sets the type of Fuzz effect that is applied. When set to Min

the sound is similar to a smooth overdrive, when moved toward max the sound gets more aggressive and fuzzy.

2 - Amplifiers 70


Green BA250

This is a model of a solid state powerhouse bass amplifier with great tone-shaping controls, a warm sound unlike most solid state amps, and a sought-after preamp.

Despite being solid state this amp delivers an incredibly warm and tasteful tone. With its signature “Middle cut pre shaping” feature will immediately bring you back to ‘80s bass lines!

Controls

• GRAPHIC EQUALIZATION: turns On the graphic EQ when enabled.• MIDDLE CUT PRE-SHAPING: engages a mid frequency shaping that’s

very characteristic of this amp. When it is Off, the preamp is almost flat and natural sounding.

• GAIN: sets the preamp input gain. Follow what the fancy input level LED meter tells… and you can’t go wrong! Unless you want overdrive it!

• GRAPHIC EQUALIZATION: 11 sliders to create your tone. Only a few graphic EQ have the musical quality of this powerful sculpting tool.

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

• LEVEL: overall amp volume. It sets the level that is sent to the power amp stage.

2 - Amplifiers 71


Solid State Bass Preamp

This model features a solid state bass preamp, EQ, and a solid state power amp module. It cleans up beautifully and drives just as hard.

Controls:









2 - Amplifiers 72


2.5 Model List

Amplifier Models Based on*

Clean

American Clean MKIII Mesa/Boogie® Mark III™ Combo (Clean Channel)

American Tube Clean 1 Fender® Super Reverb®

American Tube Clean 2 Fender® DeLuxe Reverb® 65

Custom Solid State Clean IK Multimedia

Jazz Amp 120 Roland® JC-120™

Metal Clean T Mesa/Boogie® Triple Rectifier® (Clean Channel)

Crunch

American Tube Vintage Fender® Bassman®

British Tube 30 TB Vox® AC30™ Top Boost - Blue Panel

British Copper 30 TB Vox® AC30™ - Copper Panel

Tube Vintage Combo Supro® Late '50s combo

Lead

American Lead MKIII Mesa/Boogie® Mark III™ Combo (Lead Channel)

Brit 8000 Marshall® JCM800™ head

Brit 9000 Marshall® JCM900™ head

Brit Silver Marshall® Jubilee™ head

Brit Valve Pre Marshall® JMP-1™ tube preamp

British Tube Lead 1 Marshall® JCM800™ head

British Tube Lead 2 Marshall® JCM900™ head

Custom Modern Hi-Gain IK Multimedia

Custom Solid State Fuzz IK Multimedia

Custom Solid State Lead IK Multimedia

Modern Tube Lead Mesa-Boogie® Dual Rectifier®

Red Pig Marshall® Major™ head

Bass

360Bass Preamp Acoustic® 360™ Bass Preamp

Green BA250 Trace Elliot® AH250™ Head

Solid State Bass Preamp IK Multimedia


ACOUSTIC®, 360™ are trademarks of Guitar Center, Inc.FENDER®, DELUXE REVERB®, SUPER REVERB®, TWIN® are registered trademarks of Fender Musical Instruments Corporation.

2 - Amplifiers 73


MARSHALL®, JCM800™, JCM900™, Major™, Guv’Nor™ are trademarks or registered trademarks of Marshall Amplification Plc.MESA/BOOGIE®, Rectifier®, Mark III™, are trademarks of Mesa/Boogie Ltd.SUPRO® is a trademark of Zinky Electronics.TRACE ELLIOT® AH250™ is a registered trademark of Peavey Electronics Corporation.VOX®, AC30™ are trademarks or registered trademarks of VOX Amplification Ltd.

2 - Amplifiers 74


3 - Cabinets 75


Chapter 3 Cabinets

3.1 Guitar 6”

1x6 Small Combo

3 - Cabinets 76


3.2 Guitar 10”

1x10 Combo Modern

3 - Cabinets 77


4x10 Closed Modern

3 - Cabinets 78


4x10 Open Vintage

3 - Cabinets 79


3.3 Guitar 12”

1x12 Combo

3 - Cabinets 80


1x12 MB II

3 - Cabinets 81


1x12 MB III

3 - Cabinets 82


1x12 Open Modern

3 - Cabinets 83


1x12 Open Vintage

figure 9.17

3 - Cabinets 84


2x12 Closed Vintage

3 - Cabinets 85


2x12 Gry British Vint

3 - Cabinets 86


2x12 JP Jazz

figure 9.20

3 - Cabinets 87


2x12 Open Vintage

3 - Cabinets 88


4x12 Closed Modern 1

3 - Cabinets 89


4x12 Closed Modern 2

3 - Cabinets 90


4x12 Closed Vintage 1

3 - Cabinets 91


4x12 Closed Vintage 2

3 - Cabinets 92


4x12 Brit 30

3 - Cabinets 93


4x12 Brit 8000

3 - Cabinets 94


4x12 Brit 9000

3 - Cabinets 95


4x12 Brit Silver

3 - Cabinets 96


4x12 Red Pig

3 - Cabinets 97


3.4 Bass 10”

4x10+tw Bass

3 - Cabinets 98


4x10+tw TE Bass

3 - Cabinets 99


3.5 Bass 12”

1x12 Bass

3 - Cabinets 100


3.6 Bass 15”

1x15 Bass Vintage

3 - Cabinets 101


3.7 Bass 18”

1x18 Horn Bass

3 - Cabinets 102


3.8 Rotary

Rotary 147-1

3 - Cabinets 103


Rotary 147-2

3 - Cabinets 104


3.9 Model List

Cabinet Model Based on*

Guitar 6”

1x6 Small Combo Fender® SS Combo

Guitar 10”

1x10 Combo Modern Mesa/Boogie® 1x10" Subway Rocket®

4x10 Closed Modern Marshall® 4x10 '90s JCM410™

4x10 Open Vintage Fender® Super Reverb® 1967

Guitar 12”

1x12 Combo Marshall® 1x12 Valvestate™ 12

1x12 MB II Mesa/Boogie® Mark II™ 1x12" EV

1x12 MB III Mesa/Boogie® Mark III™ 1x12" EV

1x12 Open Modern VHT® Pitbull™ 1x12 Combo

1x12 Open Vintage Fender® DeLuxe® 65

2x12 Closed Vintage Marshall® 1922 2x12 Greenbacks

2x12 Gry British Vint Vox® AC30™ 2x12" '60s Graybacks

2x12 JP Jazz Roland® JC-120™ 2x12"

2x12 Open Vintage Vox® AC30 '60s Bluebacks

4x12 Closed Modern 1 Marshall® 4x12 '80s 1982A

4x12 Closed Modern 2 Mesa/Boogie® 4x12 Rectifier™

4x12 Closed Vintage 1 Marshall® 4x12 Angled, '70s Greenbacks

4x12 Closed Vintage 2 Marshall® 4x12 Straight, Greenbacks

4x12 Brit 30 Marshall® 1960A Lead Vintage 4x12” Slanted, V30

4x12 Brit 8000 Marshall® 1960 Lead Vintage 4x12” Slanted, G12-80

4x12 Brit 9000 Marshall® 1960A Lead Vintage 4x12” Slanted, T75

4x12 Brit Silver Marshall® 2551A 4x12” Slanted, T75

4x12 Red Pig Marshall® Major 4x12” Slanted, T75

Bass 10”

4x10+tw Bass SWR® Goliath™ 4x10

4x10+tw TE Bass Trace Elliot® 4x10"

Bass 12”

1x12 Bass Custom Bass 1x12

Bass 15”

1x15 Bass Vintage Ampeg® B15R™ 15”

Bass 18”

1x18 Horn Bass Acoustic® 301™ Folded Horn 18”

3 - Cabinets 105


Rotary

Rotary 147-1 Leslie® 147™ original AlNiCo woofer

Rotary 147-2 Leslie® 147™ modern replacement woofer


ACOUSTIC®, 301™ are trademarks of Guitar Center, Inc.AMPEG®, B15R™ are trademarks of LOUD Technologies, Inc.FENDER®, BASSMAN®, SUPER REVERB®, DUAL SHOWMAN®, are registered trademarks of Fender Musical Instruments Corporation.GALLIEN-KRUEGER® MB150™ is a registered trademark of Gallien-Krueger Corporation.JBL® is a registered trademark of JBL Professional.LESLIE™ 147™ is a registered trademark of Hammond Suzuki USA, Inc.MARSHALL®, JCM800™, JCM410™ are trademarks or registered trademarks of Marshall Amplification Plc.MESA/BOOGIE®, Rectifier®, Subway Rocket®, Mark II™, Mark III™, are trademarks of Mesa/Boogie Ltd.ROLAND®, JC-120™ are registered trademarks of Roland Corporation.SWR®, Goliath™ are trademarks of SWR Sound Corporation.TRACE ELLIOT® is a registered trademark of Peavey Electronics Corporation.VHT® Pitbull™is a trademark of VHT Amplification, Inc.VOX®, AC30™ are trademarks or registered trademarks of VOX Amplification Ltd.

3 - Cabinets 106


4 - Microphones 107


4 Microphones

4.1 Dynamic

Dynamic 57

This mic model is based on one of the most popular small diaphragm dynamic microphones. Its bright, edgy sound has made it a widely used gui-tar amp mic. Typically used in studios paired with a smoother and warmer condenser mic.

4 - Microphones 108


Double Dynamic 57

This double mic setup is a typical trick in modern Metal production. It will capture a fatter sound with a smoother top end.

4 - Microphones 109


Dynamic 20

This mic model recreates a smooth reaction across a wide spectrum of fre-quencies, especially attractive in the low area. This means that the Dynamic 20 is a great selection for acoustic and electric bass.

4 - Microphones 110


Dynamic 421

Probably the second most popular dynamic mic to use on guitar amps, this model provides an equally pleasing sound, but is warmer than the 57. It also adds a very focused boost on hi-mid frequencies that makes it suitable to get aggressive driven tones.

4 - Microphones 111


Dynamic 441

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

4 - Microphones 112


Dynamic 609

This is a model of a faithful and popular microphone used daily in many studios and can be found “hanging around” there or on stages everywhere. This dynamic microphone can deliver honest yet punchy sounds. Can result in very mid-rangey sounds at times, but this is sometimes what you want, especially when combined with a warmer condenser microphone.

4 - Microphones 113


4.2 Condenser

Condenser 84

No microphone collection would be complete without a great small dia-phragm condenser mic. This model is based on the standard for small dia-phragm mics. As with any good small condenser mic, the 84 provides a clean clear picture of the guitar tone.

4 - Microphones 114


Condenser 87

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

4 - Microphones 115


Condenser 170

This is a model of a high-quality large-diaphragm condenser microphone used in famous studios around the world. One of the first with transformer-less technology, this microphone came into the world boasting a very high-quality sound with low noise and a very impressive dynamic range. This microphone will not color the sound of the speaker, or at least will color it very little. That’s why it is a great choice to hear a very natural rendering of the speaker sound even when used alone.

4 - Microphones 116


Condenser 414

The Condenser 414 is modeled after another highly regarded large dia-phragm condenser microphone. It is a flat and clean/open microphone that will flatter big full tones and will also blend beautifully when combined with another cabinet/mic setup.

4 - Microphones 117


4.3 Ribbon

Ribbon 121

Use this ribbon microphone to capture a pure, natural sound. This is mod-eled after one of the must-have studio ribbon microphones of our time. Incredibly present mid range with a natural and smooth roll off on the high frequencies, makes it ideal when you’re hearing too much “fizz” from the in axis tone on high gain and metal tones, switching to this mic will reduce the unwanted high frequencies fizzness in a way that will not reduce presence at all.

4 - Microphones 118


Velo-8

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

4 - Microphones 119


4.4 Model List

Microphone Model Based on*

Dynamic

Dynamic 57 Shure® SM57™

Double Dynamic 57 Shure® SM57™

Dynamic 20 Electro-Voice® RE20™

Dynamic 421 Sennheiser® MD-421™

Dynamic 441 Sennheiser® MD-441™

Dynamic 609 Sennheiser® MD609™

Condenser

Condenser 84 Neumann® KM-84™

Condenser 87 Neumann® U-87™

Condenser 170 Neumann® TLM 170™

Condenser 414 AKG® C-414 ULS™

Ribbon

Ribbon 121 Royer® R121™

Ribbon Velo-8 Groove Tubes® Velo-8™


AKG®, C-414 ULS™ are registered trademarks of AKG Acoustics GmbH.ELECTRO-VOICE®, RE20™ are registered trademarks of Electro-Voice, Inc.GROOVE TUBES®, Velo-8™ are registered trademarks of Groove Tubes, LLC.NEUMANN®, U67™, U87™, TLM 170™ are registered trademarks of Georg Neumann GmbH.ROYER®, R121™ are registered trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation.SENNHEISER®, MD-421™, MD-441™, MD609™ are registered trademarks of Sennheiser Electronic Corp.SHURE®, SM57™ are registered trademarks of Shure Incorporated.

4 - Microphones 120


5 - Rack Effects 121


Chapter 5 Rack Effects

5.1 Delay & Reverb

Digital Delay

This advanced delay modeled effect can add a variety of depth to the sound, by providing five different delay modes. The delay can also be synched to the host tempo providing even more flexibility.

Controls:

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

• DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms.• BPM SYNC: allows the effect to synchronize to the project tempo and

changes the Rate control to beat values.• FEEDBACK: changes the amount of time that the delay repeats, from

0% to 100%.• FILTER: sets the low pass filter for the delay effect, from 200 Hz to

20 kHz. When set to mid values it gives a nice warmth to the delay timbre.

• MIX: adjusts the amount of wet sound with the dry sound, from 0% to 100%.

• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.



Digital Reverb

This digital reverb is capable of adding small amount of space to a signal or creating a huge hall around the instrument.

Controls:

• DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00 seconds.

• DENSITY: sets the number of reflections generated by the reverb, from 0 to 99.

• COLOUR: sets the reverb coloration from dark to light, from 2 kHz to 20 kHz.





Tap Delay

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

The TapDelay is actually 8 delays in one single unit, and it allows you to set time, timbre and level for each one of these units. In addition, you can glob-ally control with single knobs parameters for all the 8 taps at the same time, like time, dry/wet mix and feedback amount.

Controls:

• TIME: globally shifts the delay time of all the 8 taps. This is a relative control that works in this way:• When set at the center position (1x) it does not alter the time that

has been setup on each tap.• When set to minimum (0.25x) it divides all times by four. • When set to max (4x) it multiply all times by four. Use it to globally change the delay tempo without changing the rela-tions between all taps.

• MIX: globally adjust the effect mix between the Dry signal and all the 8 delay taps.

• FEEDBACK: globally adjust the amount of feedback the delay will have. When set at maximum, the delay with be sustaining itself.

• TAP: use these buttons to select which one among the 8 delay taps you’re going to edit with next controls.

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

milliseconds or in musical divisions, depending on the BPM Sync switch position.

• TAPS DISPLAY: shows each Tap as a vertical bar. The horizontal position of the bar represent the delay time, the height of the bar represent the audio level.

• FILTER: sets the timbre for the selected delay tap, darker at minimum and brighter at maximum.

• REVERSE: enable this button to transform the selected delay tap from normal to reverse. When set to reverse a delay tap will sound like a reversed tape loop.

• LINK: enable this button to make a change you do on the above men-tioned parameters to apply to all the 8 taps at the same time.




5.2 EQ & Dynamics

Graphic EQ

IK Multimedia proprietary 31 band Graphic EQ.

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

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



Tube Compressor

This compressor was modeled after a classic tube compressor. It is a very versatile, smooth compressor, and can add great color to the signal.

Controls:

• DRIVE: controls the amount of signal that is input into the effect, set-ting the compression level.

• ATTACK: controls the amount of time that the compressor takes to react to the audio signal.

• RELEASE: controls the amount of time that the compressor takes to return to normal gain after some compression has occurred.

• RATIO: controls the strength of the compression. Higher values will result in a more evident effect.




5.3 Filter

Rezo

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

You have 4 resonating voices that can be tuned independently from note E0 to note B7, in half tone steps. For example, if you want to create a resonating C Major chord, just set the first three voices to C3, E3 and G3.

By moving the All slider you can shift the recently created Chord without changing the intervals between the voices.

You can set the desired voice note by note number of by frequency in Hz.

• 1-4 SLIDERS: sets the pitch for each resonating voice.• 1-4 VALUE DISPLAY: displays which note each voice is tuned on.• NOTE/FREQUENCY SWITCH: turn on this switch to have the tuning of

each voice displayed as a note. Turn this off to have the tuning of each voice to be displayed as frequency in Hz.

• ALL: shifts all resonating notes by the same amount keeping relative intervals between voices identical.

• RES: sets the amount of resonance for each voice, from min to max. When set to max the note will sustain by itself, when set to min the voice will not be resonating.

• SCALE: the Rezonator is setup by default to span over a chromatic scale when you set the resonating voices, meaning that all half tones are possible. If you want to set another scale and want to remove notes from the chromatic scale just open this menu and leave on only the notes you need.

• FILTER: determines the brightness of the resonating voices, from dark (lower positions) to bright (upper positions).

• MIX: sets the amount of resonating notes you want to hear. When the control is at min you’ll only hear the original sound, when fully up you’ll only hear the effected sound.

• OUT: the resonating notes can become very loud use this control to adjust the overall output level of the Rezonator.



Step Filter

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

Controls:

• CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff frequency the filter will have when the steps are set to half position.


• RES: sets the center resonance of the filter. This is the resonance amount the filter will have when the steps are set to half position.

• DEPTH: sets how deep the filter is modulated by the steps.• HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:

band pass, LP: low pass• 12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/

oct will be steeper.• DEST: sets what is modulated by the steps between filter Cutoff and/

or filter Resonance. At full minimum position only Cutoff frequency is modulated, at max position only Resonance is modulated.

• DIVISION: sets what time interval each step represent.• STEPS: sets the number of steps the cycle will consist of.• MODE: When set to Free the cycle will be continuous and will always






5.4 Modulation

Analog Chorus

This classic analog stereo chorus model adds depth and space to the input signal. It can also be used as a vibrato effect.

Controls:

• CHORUS/VIBRATO: enables Vibrato or Chorus modes. Chorus mode is enabled when the corresponding LED is illuminated.

• CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to 99.

• VIB RATE: sets the rate of the Vibrato effect, from 0.02 Hz to 8 Hz.• VIB DEPTH: sets the intensity of the Vibrato effect, from 0 to 99.• STEREO/MONO: changes the rack effect from a stereo to a mono

effect. Stereo is enabled when the corresponding LED is illuminated.• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.



Digital Chorus

This modeled digital chorus effect creates a clear articulate chorus effect. Like the analog chorus, this effect adds depth and space to the input signal, but adds a different color to the overall signal.

Controls:

• WAVEFORM: selects the shape of the chorus effect, sine, triangle, or square wave.

• RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz.• BPM SYNC: allows the effect to synchronize to the project tempo and

changes the Rate control to beat values.• DEPTH: sets the intensity of the chorus, from 0 to 100.• STEREO/MONO: changes the rack effect from a stereo to a mono

effect. Stereo is enabled when the corresponding LED is illuminated.• MIX: adjusts the amount of wet sound with the dry sound, from 0%

to 100%.• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.



Digital Flanger

This model of a digital flanger can create a metallic modulated sound.

Controls:

• WAVEFORM: selects the shape of the flanger effect, sine, triangle, or square wave.

• RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz.• BPM SYNC: allows the effect to synchronize to the project tempo and

changes the Rate control to beat values.• DEPTH: sets the intensity of the Flanger, from 0 to 100.• FEEDBACK: sets the nominal amount of signal that is returned to the

input after processing effect, from 0 to 10.• STEREO/MONO: changes the rack effect from a stereo to a mono

effect. Stereo is enabled when the corresponding LED is illuminated.• MIX: adjusts the amount of effected sound with the un-effected

sound, from 0% to 100%.• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.



Rotary Speaker

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

Controls:

• SPEED: sets the speed of the rotary speaker effect, from .50 Hz to 7.80 Hz.

• DRIVE: sets the amount of overdrive in the rotary speaker effect, from 0% to 100%.

• BALANCE: changes the balance of high and low rotors in the signal, from 0 to 100.





5.5 Pitch

Harmonator

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

figure 10.17

Controls:

• KEY: controls the key and type of scale that will be used by the har-monizer as a reference. If you’re playing a solo in E major set this to E Major, from C to B.

• SCALE: changes the scale of the harmonizer, including Major, Dorian, Phrygian, Lydian, Mixolydian, Minor, and Locrian.

• VOICE: controls the properties of each of the 3 voices of the harmo-nizer.• 1: selects voice 1 for editing.• 2: selects voice 2 for editing.• 3: selects voice 3 for editing.

• INTERVAL: changes the interval of the selected voice, from low octave to up octave.

• LEVEL: independently adjusts the level of each of the 3 voices, from 0 to 100.

• PAN: independently adjusts the panning of each of the 3 voices, from 1.0L to 1.0R.

• DRY PAN: adjusts the panning of the dry signal independently from the harmonized voices, from 1.0L to 1.0R.

• MIX: blends the harmonized voice with the original voice, from 0% to 100%.



Pitch Shifter

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

figure 10.18

Controls:

• SHIFT COARSE: sets the coarse tuning of the pitch shifter. Measured in intervals, from -24 to 24.

• SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in cents, from -50 to 50.

• STEREO/SPLIT: sets the output of the effect to split the pitch shifted sound and the dry sound or blend them in a stereo layered fashion.

• MIX: adjusts the amount of pitched shifted sound with the dry sound, from 0% to 100%.




5.6 Other

Step Slicer

Add programmed rhythmic parts to your power chords and phrases with this powerful and creative beat synced slicing effect. It can be setup to cre-ate anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat.

It contains two independent stepping engines, one for Level and one for Pan, so you can create independent patterns for level and panning within the same synched effect.

Controls:

• LEVEL: sets the amount of level modulation the steps will give. At min position the steps will not have effect, at maximum the steps range will be full.


• RAMP: sets the steepness of the level change between steps. Set it at lower positions to get a more gate-like effect, or set it to higher posi-tions to get a smoother effect.

• DIVISION: sets what time interval each step represents.• STEPS: sets the number of steps the cycle will consist of.• VOLUME: select this to work on the Volume steps pattern.• PAN: select this to work on the Panning steps pattern.• MODE: When set to Free, the cycle will be continuous and will cover

all the steps that are specified in the Steps parameter. When set to Strike, the cycle will re-start each time a chord or a note is played.





Stereo Enhancer

The stereo enhancer model widens and narrows the stereo image.

Controls:

• STEREO IMAGE: changes the width of the stereo image. Normal width is in the middle of the slider. Moving the slider to the right widens the stereo image. Moving the slider to the left narrows the stereo image.

Note: when processing a mono signal with this Rack, the control will result in being a reversed volume slider.



Swell

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

Controls:

• DEPTH: sets the depth of the volume swell, in dB. By default the depth is at max position, meaning that the volume will start from silence. By lowering this control you’ll make the effect to start the swell phase from a level which is higher than silence, up to min position that makes the effect to have no action.

• SENS: this control sets the sensitivity for the Swell to recognize a new note or chord and therefore start a new Swell cycle. Set it higher if you want the Swell cycle to start even at the beginning of softer passages, or set it lower if you want the Swell cycle to only start for louder strikes.

• TIME: sets the length of the Swell cycle. • SWELL: this LED goes On during the Swell phase.• OPEN: this LED goes On when the Swell phase has finished.• BPM SYNC: allows the effect to synchronize to the project tempo mak-

ing the swell time to be specified in musical figures.

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registered trademarks property of IK Multimedia Production Srl.

FENDER™ and all FENDER amplifiers, logos, and trade dress are the trademarks of FMIC and used herein under license. All rights reserved.

AMPEG® is a trademark of LOUD Technologies, Inc.ORANGE® is a registered trademark of Orange Music Electronic Company Ltd.

SOLDANO® is a registered trademark of Gremlin Inc. DBA Soldano Custom Amplification Corporation.

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© TM Authentic Hendrix, LLC.THD® is a registered trademark of THD Electronics Ltd.

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All other product names and images, trademarks and artists names are the property of their respective owners, which are in no way associated or

affiliated with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied during IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply

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All specifications are subject to change without further notice.

Latest update: 2015/10/28

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AmpliTube 4 Deluxe Gear Models