AmpliTube Fender Gear Models

7/25/2019 AmpliTube Fender Gear Models

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Gear Models Guide

Guide to the Models in the Official Fender ®

Software Amp and FX Collection for Guitar and Bass





AmpliTube Fender ™ Gear Models

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P L E A S E N O T E

AmpliTube®, StompIO™, StealthPedal™, SpeedTrainer™, DSM™ are trademarksor registered trademarks property of IK Multimedia Production.

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

GROOVE TUBES® is a registered trademark of ROKR Ventures, Inc.All other product names and images, trademarks and artists names are

the property of their respective owners, which are in no way associated oraffiliated with IK Multimedia. Product names are used solely for the purposeof identifying the specific products that were studied during IK Multimedia’s

sound model development and for describing certain types of tonesproduced with IK Multimedia’s digital modeling technology. Use of these

names does not imply any cooperation or endorsement.



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I - Contents 3


Table of Contents I Contents 3

Chapter 1 Stomp Box Effects 5 1.1 Fender® Blender™ 5 1.2 Fender® Phaser 6 1.3 Fuzz Wah 7 1.4 Fender® ’63 Reverb 8 1.5 Tape Echo 9 1.6 Fender® Wah 10 1.7 Fender® Tremolo 11 1.8 Fender® Compressor 12 1.9 Volume 13 1.10 Stomp Box Effect Model List 14

Chapter 2 Amplifiers 15 2.1 ’59 Bassman® 15 2.2 ’65 Twin Reverb® 16 2.3 ’57 Deluxe™ 17 2.4 ’65 Deluxe Reverb® 18 2.5 ’64 Vibroverb™ Custom 19 2.6 Super-Sonic™ 20

2.7 Vibro-King® 21 2.8 Pro Junior™ 22 2.9 MH-500 Metalhead™ 23 2.10 Champion™ 600 24 2.11 Bassman® 300 25 2.12 TBP-1 26 2.13 Amplifier Model List 27

Chapter 3 Cabinets 29 3.1 ’59 Bassman® 29 3.2 ’65 Twin Reverb® 29 3.3 ’57 Deluxe™ 30

3.4 ’65 Deluxe Reverb® 30 3.5 ’64 Vibroverb™ 31 3.6 Super-Sonic™ 31 3.7 Vibro-King® 32 3.8 Pro Junior™ 32 3.9 MH-412SL 33 3.10 Champion™ 600 33 3.11 Vibratone 34 3.12 Bass 810 Pro 35 3.13 Cabinet Model List 36



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I - Contents

Chapter 4 Microphones 37 4.1 Condenser 87 37 4.2 Condenser 84 37 4.3 Condenser 414 38 4.4 Dynamic 57 38 4.5 Dynamic 421 39 4.6 Dynamic 441 39 4.7 Ribbon 160 40 4.8 MD1-b 40 4.9 Velo-8 41 4.10 Microphone Model List 41

Chapter 5 Rack Effects 43 5.1 Pitch Shift 43 5.2 Tape Echo 43 5.3 Triangle Chorus 44 5.4 Sine Flange 44 5.5 Wah 45 5.6 Compressor 45 5.6 Fender® ‘63 Reverb 46 5.7 Rack Effect Model List 46



1 - Stomp Box Effects 5


Chapter 1 Stomp Box Effects

1.1 Fender® Blender™

A unique germanium fuzz/distortion pedal. With a tone unlike any distortionpedal on the market, the Blender™ is capable of a harsh fuzz-effect unlikemost vintage distortion pedals, and is great as a tool for Alternative Rock andmodern Metal soloing. Perfect for those who want to create instead of copying,with a bit of experimentation, this pedal can deliver a huge range of uniquetones.

Controls:

Volume: controls the overall output volume of the effect.Sustain: adds sustain and distortion to the input signal from 1 to 10.Tone: shifts the tonal balance from low to high frequencies from 1 (low)to 10 (high).Blend: controls the mix of the original to the effected signal from 1 to 10.Tone Boost: adds range to the tone control.On/Off: turns the effect on or off.



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1.2 Fender® Phaser

A Classic analog Phase shift effect as heard on countless recordings sincethe 1970s.

Controls:

On/Off: turns the effect on or off.Rate Knob: controls the rate at which the phase shift occurs. The ratecontrol knob alternately illuminates blue and red at the same rate asthe phase shifting.Intensity: this knob adjusts the intensity of the phasing effect.Frequency: this knob adjusts what frequencies are affected by the phas-ing action.BPM Sync: syncs the effect to the master BPM of your DAW/Standalonemetronome.





1.3 Fuzz Wah

A combination of a Fuzz-style distortion effect and a Wah pedal, the FuzzWah is two pedals in one. Due to this combination, the Fuzz Wah is capableof effects not easily achieved by traditional distortion and Wah-styleeffects.

Controls:

Pedal: use to control the frequency and amount of the Wah/Fuzz effect.Up/Down controls the Wah, Left/Right controls Fuzz. Holding the SHIFTkey while dragging allows you to easily choose between moving thepedal vertically or horizontally only.Fuzz Control: controls the volume of the Fuzz-distortion. Effects Order: switches the order of the effects (Wah->Fuzz or Fuzz->Wah)within the pedal to give two different tone styles.Fuzz Volume: adjusts the amount and volume of the Fuzz effect.Fuzz button: turns the Fuzz effect on-off.Wah button: turns the Wah effect on-off.





1.4 Fender® ’63 Reverb

First introduced in 1963, this classic all-tube spring reverb unit is capable ofproducing an incredibly lush Reverb due to it's unique 6v6 driven output.

Controls:

Dwell: controls the amount of the reverb effect from 1 to 10. The springreverb is overdriven when Dwell is set to high values (from 7 to 10). Thisproduces interesting and very characteristic tones.Tone: shifts the tonal balance from low to high frequencies from 1 to 10.Mixer: controls the mix of the original signal to the effected signal from1 to 10.





1.5 Tape Echo

A classic tape echo effect, taken from the Fender® Cyber-Twin®. Use forretro, lo-fi-style echo effects, or to add a subtle amount of ambience to yourplaying.

Controls:

Echo Level: controls the amount of the echo effect from 1 to 10.Time: controls the length of the echo effect from 30ms to 1450ms. WhenBPM Sync is turned on, time is displayed from a 1/32 to 1/1 ratio.Feedback: controls the amount of repeats of the echo effect from 1 to 10.Wow&Flutter: controls the amount of pitch drift/variation of the echoeffect, to emulate tape playback from 1 to 10.Brightness: controls the amount of high-end of the treble from 1 to 10.Volume: controls the volume of the echo effect from 1 to 10.Ramp/Step: alters the way that changes to echo time change from a“ramp up” style” to a “stair step” style.BPM Sync: syncs the effect to the master BPM of your DAW/Standalonemetronome.





1.6 Fender® Wah

The Fender® Wah model is based on the Fender® Cyber-Twin® SE Wah.Two distinct wah voices give this model a huge range of “wah-ptions.”Switch between the traditional “Cryin’” sound or the famous “Clyde McCoy”inspired sound. Both are included in the same pedal. Adjust your effectfrequency range with the minimum and maximum knobs, and control theamount of effect applied with the “wah” control and volume level knobs. Avery inspiring pedal that will add dramatic effects to your bass lines.

Controls:

Min Freq: controls the minimum frequency effected from 1 to 10.Max Freq: controls the maximum frequency effected from 1 to 10.Volume: controls the volume of the wah effect from 1 to 10.Cryin’/McCoy: switches between two different classic Wah styles.On/Off: turns the effect on or off.





1.7 Fender® Tremolo

Based on the classic Fender® tube tremolo circuit, you can adjust the speedand intensity to perfection and add this classic effect to any amplifier set-ting. The BPM sync function allows automated effect syncing to your DAWtempo, or set your tempo manually to add a dramatic tremolo sparkle ordarkness to your tracks.

Controls:

BPM Sync: turns BPM sync on and off overriding the Speed control andtaking the tempo from your DAW instead to determine the rate of thetremolo effect.Speed: determines the rate of the tremolo effect. Note that if BPM syncis turned on, your DAW’s tempo will override the Speed knob.Intensity: determines the amount of tremolo effect.





1.8 Fender® Compressor

Based on the Fender® Cyber-Twin® SE compressor, this stomp box allowsyou to increase your signal gain before it hits other effects and amplifiers,or use it elsewhere in your pedalboard chain to create dramatic “attack”effects. The Fender® Stomp Compressor has four detented switch positionsfor varying degrees of gain boost and compression.

Controls:

Ratio Knob: sets the amount of compression from “Low” to “EvenHigher”.





1.9 Volume

A classic volume control. Use to control the volume of your guitar signal,or in conjunction with an overdrive/distortion pedal for dynamic control ofyour signal boost.

Controls:

Volume: adjusts the volume of the output signalMin: controls the range of the volume effect.On/Off: turns the effect on or off.





1.10 Stomp Box Effect Model List

Stomp Box Effect Models Officially Certified Model of

Fender® Blender™ Fender® Blender™

Fender® Phaser Fender® Phaser

Fuzz Wah Fender® Fuzz Wah

Fender® ’63 Reverb Fender® ’63 Reverb

Tape Echo Fender® Cyber-Twin® SE Tape Echo

Fender® Wah Fender® Cyber-Twin® SE Wah

Fender® Tremolo Fender® Tube Tremolo Circuit

Fender® Compressor Fender® Cyber-Twin® SE Compressor

Volume Fender® Volume



2 - Amplifiers 15


Chapter 2 Amplifiers

2.1 ’59 Bassman®

This amp model is based on a Fender® ’59 Bassman® LTD (Bright Channel).

Quite possibly the most famous guitar amp of all time, the tweed Bassman®

is considered a must-have for any serious tone connoisseur. Originally con-ceived in the 1950s to amplify the newly invented Fender® Precision Bass®guitar, it was quickly adopted by guitarists who found that it was able toprovide shimmering clean tones and a cranked up “crunch” tone that lentitself perfectly to Rock and Roll. That tone became the basis for the famousBritish “stacks” of the 60s and beyond. Played clean or distorted from Rockto Blues to Country, with or without external effects, the ’59 Bassman® isthe foundation for a wide variety of great tones.

Controls:

Presence: boosts the high frequencies of the EQ stage from 1 to 12.

Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 12.Middle: adjusts the mid frequencies of the amp’s EQ stage from 1 to 12.Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 12.Volume: adjusts the output level of the Bassman®’s power amp stagefrom 1 to 12.



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2.2 ’65 Twin Reverb®

This amp is modeled after the Fender® ’65 Twin Reverb® (Vibrato Channel).

One of the most distinctive amps of all time. It delivers a shimmering, pureclean tone that is perfect for any style of music, yet it will bark when turnedup to arena volume. The Twin Reverb® is known as the first popular “built-in effects” amp, with world-standard Fender® Reverb and Tremolo. This

is also a great amplifier for accentuating the character of external stompboxes, making it an incredibly versatile platform to build on.

Controls:

Bright: provides a high-frequency presence boost.Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.Mid: adjusts the mid frequencies of the amp’s EQ stage from 1 to 10.Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.Volume: adjusts the output level of the power amp from 1 to 10.Reverb: controls the amount of Reverb from 1 to 10.Speed: controls the speed of the Vibrato effect from 1 to 10.

Intensity: controls the intensity of the Vibrato effect from 1 to 10.



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2.3 ’57 Deluxe™

This amp is modeled after the Fender® ’57 Deluxe™ (Inst. Channel).

One of the first amplifiers designed by Leo Fender, and one of the mostinfluential. The Tweed Deluxe provides classic compressed overdriven toneswhen cranked, and rich harmonic clean tones when played at low volumes.The Deluxe is a great amplifier for Chicago-style Blues tones, as well as

Country and early Rock and Roll tones. Today, modern players of all stripesuse a Deluxe in the studio to create their own “tone magic.”

Controls:

Tone: shifts the tonal balance from low to high frequencies from 1 (low)to 12 (high).Inst. Volume: adjusts the output level of the ’57 Deluxe’s power ampstage from 1 to 12.



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2.4 ’65 Deluxe Reverb®

This amp model is based on the Fender® ’65 Deluxe Reverb®.

A true classic that delivers classic Country and Rock tones from Nashville toLiverpool. The Deluxe Reverb has a bright, punchy attack that is perfect forfinger-picking, Garage-Rock... just about anything. The Deluxe Reverb is anamp that has been used on countless recordings due to its pure tube tone,

great Reverb and Tremolo, and amazing versatility.

Controls:

Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.Volume: adjusts the output level of the power amp stage from 1 to 10.Reverb: controls the amount of Reverb from 1 to 10.Speed: controls the speed of the Vibrato effect from 1 to 10.Intensity: controls the intensity of the Vibrato effect from 1 to 10.



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2.5 ’64 Vibroverb™ Custom

This amp is based on a Fender® ’64 Vibroverb™ Custom (Vibrato Channel,both Stock and Mod modes).

A hand-wired reissue specifically based on Stevie Ray Vaughan’s originalVibroverb, as modified by “Amp Doctor” Cesar Diaz. Its Blackface circuitand 15” speaker create a shimmering clean tone that is perfect for Jazz or

Country. With the available “Mod” mode, the Vibroverb Custom can createthe famous Texas Blues tone with its touch of preamp tube distortion andpunchy mid focus.

Controls:

Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.Volume: adjusts the output level of the power amp stage from 1 to 10.Mod: when engaged, gain is increased, as well as overall brightness.This control also disconnects the Vibrato controls from the circuit.Reverb: controls the amount of Reverb from 1 to 10.

Speed: controls the speed of the Vibrato effect from 1 to 10.Intensity: controls the intensity of the Vibrato effect from 1 to 10.



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2.6 Super-Sonic™

This amp model is based on the Fender® Super-Sonic™ “Burn” channel.

A marriage of classic Fender® tone and modern versatility, perfect for every-thing from vintage clean tones to 70’s-style Classic Rock crunch to modernMetal and Punk. Its independent cascading gain stages and custom EQ allowguitarists to create a huge variety of both vintage and modern harder-edged

distorted tones, all while retaining that unmistakable Fender® character.

Controls:

Gain 1: adjusts the input gain of the first set of preamp stages from 1to 10.Gain 2: adjusts the input gain of the second set of preamp stages from1 to 10.Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.Middle: adjusts the mid frequencies of the amp’s EQ stage from 1 to 10.Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.Volume: adjusts the output level of the power amp stage from 1 to 10.

Reverb: controls the amount of Reverb from 1 to 10.



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2.7 Vibro-King®

This amp is based on a Fender® Vibro-King® Custom.

This modern Fender® classic provides incredible clean tones, unequalledtouch sensitivity, and a thick overdrive character that will inspire artisticinspiration for any player. Engaging the FAT switch helps boost it into clas-sic Rock distortion. The Vibro-King® also contains Fender®’s unique ’63

Reverb circuit, which means this amplifier is a perfect choice for Country,Blues, and Surf players, as well.

Controls:

Dwell: controls the amount of the reverb effect from 1 to 10.Mix: adjusts the amount of Reverb mixed into the output signal from1 to 10.Tone: adjusts the tone of the Reverb signal from 1 to 10.Fat: boosts preamp gain in the mid-frequency range, for classic over-driven tones.Volume: adjusts the loudness of the amplifier from 1 to 10.

Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.Middle: adjusts the mid frequencies of the amp’s EQ stage from 1 to 10.Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.Speed: adjusts the rate of the Vibrato effect from 1 to 10.Intensity: adjusts the depth of the Vibrato effect from 1 to 10.



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2.8 Pro Junior™

This amp is based on the Fender® Pro Junior™.

The Pro Junior, with its single volume and tone controls, is a unique mar-riage of classic Fender® tone at low volumes and angry bite when cranked.This amp is excellent at achieving touch-sensitive overdriven studio tones,and players everywhere have discovered the simple joys of plugging in and

turning up the volume for simple, pure Blues and Rock performance.

Controls:

Tone: shifts the tonal balance from low to high frequencies from 1 (low)to 12 (high).Volume: adjusts the output level of the Pro Junior’s power amp stagefrom 1 to 12.



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2.9 MH-500 Metalhead™

This amp is based on a Fender® MH-500 Metalhead™ (Loose Channel).

Designed from the ground up to provide the perfect amp for modern down-tuned and 7-string guitarists, with a searing gain and a punishing low endthat is perfect for more aggressive styles of Rock and Metal. Its solid-statepower amp gives enough headroom for incredible note definition even

when distorted, and the preamp has an unmatched amount of gain for leadplayers.

Controls:

Drive: adjusts the amount of preamp distortion from low to high.Presence: boosts the high frequencies of the EQ stage from low to high.Bass: adjusts the bass frequencies of the amp’s EQ stage from low tohigh.Middle: adjusts the mid frequencies of the amp’s EQ stage from low tohigh.Treble: adjusts the high frequencies of the amp’s EQ stage from low to

high.Master Volume: adjusts the output level of the power amp stage fromlow to high.



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2.10 Champion™ 600

This amp model is based on the Fender® Champion™ 600.

The Champion™ 600 is an updated version of the classic Fender® practiceamp, providing slightly more gain than the original model. With only avolume control, a clean, simple circuit with just one power tube and lowwattage, its distinctive reedy tone has been used on countless Classic Rock

recordings.

Controls:

Volume: adjusts the volume of the amp from 1 to 12.



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2.11 Bassman® 300

This amp is based on a Fender® Bassman® 300 (Channels 1&2).

The Bassman® 300 PRO produces warm all-tube bass tone and combines itwith modern flexibility. Features like 10-band graphic EQ, mid-notch switch(great for slap playing), two-band studio-grade compressor, and clean andoverdrive channels make the Bassman® 300 a great choice for any bass player.

Controls:

CH 1 Volume: adjusts the loudness of channel 1 from 1 to 10.CH 2 Gain: adjusts the channel 2 gain/distortion level from 1 to 10.CH 2 Volume: adjusts the loudness of channel 2 from 1 to 10.CH 1 / 2 Mix: mixes the channel 1 (clean) and channel 2 (overdrive) output levels.Low: adjusts the Low frequencies of the amp’s EQ stage from 1 to 10.High: adjusts the High frequencies of the amp’s EQ stage from 1 to 10.Deep: low frequency boost when this button is IN.Bright: high frequency boost when this button is IN.Mid Notch: reduces the mid-frequency tones.

Graphic: activates the graphic equalizer.Graphic EQ: the 10 band-pass / band-reject filters are spaced at octave intervals.Adjusts selected frequencies cut and boost from 1 to 10.Low Comp: adjusts the compression ratio below 400Hz. Clockwise rotationincreases the amount of compression from 1 to 10.Comp: activates the Compressor(s).High Comp: adjusts the compression ratio above 400Hz from 1 to 10.Comp EQ Bal: mixes the low and high compressor balance from 1 to 10.Comp Gain Trim: this knob adjusts gain to compensate for any level imbalancewhen the compression circuitry has been engaged from 1 to 10.Master Volume: adjusts the overall loudness of the amplifier from 1 to 10.



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2.12 TBP-1

This model is based on a Fender® TBP-1 Pre-amp (Vintage Tube andOverdrive Channels).

The TBP-1 is a truly professional tube bass preamp designed around Fender®’spassive tone stack (used in classic designs such as the Twin Reverb® andShowman®) which delivers creamy tube tone while allowing the color of the

instrument to shine through. A tube overdrive section adds “bite”, while theVari-Q™ circuit provides modern active tone shaping. Thick, natural and bal-anced; the TBP-1 is an amazing device for creating great bass tone.

Controls:

Volume: adjusts the loudness of the Vintage Tube Channel.Bass: adjusts the bass frequencies of the EQ stage from 1 to 10.Deep: Extends the Bass EQ range.Middle: adjusts the mid frequencies of the EQ stage from 1 to 10.Treble: adjusts the high frequencies of the EQ stage from 1 to 10.Bright: Extends the Treble EQ range.

On (Tube Overdrive): switches between the Vintage and Tube Overdrive Channels.Gain: adjusts the Tube Overdrive distortion level from 1 to 10.Volume: adjusts the loudness of the Tube Overdrive channel from 1 to 10.Blend: adjusts the mix of clean vintage tube tone with overdriven tube tonewhen the Tube Overdrive is enabled.On (Vari-Q): enables VariQ™ semi-parametric EQ section.Freq: selects the center of frequency range that the Level knob controls.Level: adjusts the amount of boost or cut (±15dB) at the frequency selectedby the Freq control.Room Balance: adjusts the Room Balance EQ. At the center position, the effect is neutral.Turned clockwise, highs are emphasized (bright), while deemphasizing lows (deep).Turned clockwise, lows are emphasized (deep), while de-emphasizing highs (bright).Mute: mutes the amplifier while leaving it turned on.Master Volume: adjusts the overall loudness of the amplifier from 1 to 10.



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2.13 Amplifier Model List

Amplifier Models Officially Certified Model of

’59 Bassman® ’59 Bassman® LTD (Bright Channel)

’65 Twin Reverb® ’65 Twin Reverb® (Vibrato Channel)

’57 Deluxe™ ’57 Deluxe™ (Inst. Channel)

’65 Deluxe Reverb® ’65 Deluxe Reverb® (Vibrato Channel )

’64 Vibroverb™Custom

’64 Vibroverb™ Custom (Vibrato Channel-Stockand Mod Modes)

Super-Sonic™ Super-Sonic™ (Burn Channel)Vibro-King® Vibro-King® (Single Channel)

Pro Junior™ Pro Junior™ (Single Channel)

MH-500 Metalhead™ MH-500 Metalhead™ (Loose Channel)

Champion™ 600 Champion™ 600 (Single Channel)

Bassman® 300 Bassman® 300 (Channels 1&2)

TBP-1 TBP-1 (Vintage and Overdrive Channels)



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3 - Cabinets 29


Chapter 3 Cabinets

3.1 ’59 Bassman®

This model is based on the Fender® ’59 Bassman® 4x10” Open Back Cab,equipped with Jensen® P10R speakers.

3.2 ’65 Twin Reverb®

This model is based on the Fender® ’65 Twin Reverb® 2x12” Open BackCab, equipped with Jensen® C12k speakers.



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3.3 ’57 Deluxe™

This model is based on the Fender® ’57 Deluxe™ 1x12” Open Back Cab,equipped with a single Jensen® P12Q speaker.

3.4 ’65 Deluxe Reverb®

This model is based on the Fender® ’65 Deluxe Reverb® 1x12” Open BackCab, equipped with Jensen® C12k speaker.



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3.5 ’64 Vibroverb™

This model is based on the Fender® ’64 Vibroverb™ 1x15” Open Back Cab,equipped with a single Eminence® speaker.

3.6 Super-Sonic™

This model is based on the Fender® Super-Sonic™ 1x12” Open Back Cab,equipped with a single Celestion® Vintage 30 speaker.



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3.7 Vibro-King®

This model is based on the Fender® Vibro-King® 3x10” Open Back Cab,equipped with Jensen® P10R speakers.

3.8 Pro Junior™

This model is based on the Fender® Pro Junior™ 1x10” Open Back Cab,equipped with a single Eminence® speaker.



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3.9 MH-412SL

This model is based on the Fender® MH-412SL 4x12” Closed Back Cab,equipped with Celestion® G12T-100 speakers.

3.10 Champion™ 600

This model is based on the Fender® Champion™ 600 1x6” Open Back Cab,equipped with a single Fender® Spec. Design speaker.



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3.11 Vibratone

This model is based on the Fender® Vibratone 1x10” Rotary Speaker Cab.

Note: due to the nature of the cab, the controls for this unit are slightly dif-ferent than other cabs.

Controls:

On/Off: controls if the Vibratone is engaged or not. When ON both theVibratone and the Auxiliary Speaker are playing, when OFF only theAuxiliary Speaker is playing.Slow/Fast: controls the speed of the rotary speaker/Vibrato effect.Stereo/Mono: enables stereo recording of the vibrato effect.Auxiliary Cabinet:

Speaker Model: selects a second speaker model. When enabled, mid-range frequencies are sent to the Vibratone, and high/low frequen-cies are sent to the secondary (auxiliary) cab. The Vibratone soundalone is heard when “None” is selected on the Speaker Model list.

Mic Model: selects microphone model for the Auxiliary Speaker.On/Off Axis: selects mic position for the Auxiliary Speaker.Near/Far: selects mic distance for the Auxiliary Speaker.

Ambience: controls the amount of room ambience that is mixed with themicrophone signal.



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3.12 Bass 810 Pro

This model is based on the Fender® 810 PRO 8x10” Front Ported Cab,equipped with Eminence® speaker.

Note: due to the nature of the cab, the controls for this unit are slightly dif-ferent than other cabs.

Controls:

Hi Level: shows the back panel of the cabinet.Speaker Model: controls the level of the high frequency horn driver ofthe 810 Pro cabinet. Click anywhere else on the back panel to returnto the cabinet front view.



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3.13 Cabinet Model List

Cabinet Models Officially Certified Model of

’59 Bassman®’59 Bassman® 4x10 Open Back, Jensen® P10Rspeakers

’65 Twin Reverb®65 Twin Reverb® 2x12” Open Back, Jensen® C12kspeakers

’57 Deluxe™’57 Deluxe™ 1x12” Open Back, Jensen® P12Qspeaker

’65 Deluxe Reverb® ’65 Deluxe Reverb® 1x12” Open Back, Jensen®C12k speaker

’64 Vibroverb™’64 Vibroverb™ 1x15” Open Back, Eminence®speaker

Super-Sonic™Super-Sonic™ 1x12” Open Back, Celestion®Vintage 30 speaker

Vibro-King®Vibro-King® 3x10” Open Back, Jensen® P10Rspeakers

Pro Junior™Pro Junior™ 1x10” Open Back, Eminence®speaker

MH-412SL MH-412SL 4x12” Closed Back, Celestion® G12T-100 speakers

Champion™ 600Champion™ 600 1x6” Open Back, Fender® Spec.Design speaker

Vibratone Vibratone 1x10” Rotary Speaker Cab

Bass 810 Pro810 Pro 8x10” Front-Ported Cab, Eminence®speaker



4 - Microphones 37


Chapter 4 Microphones

4.1 Condenser 87

This is a model of one of the most popular large diaphragm mics ever, theNeumann® U87. It can be found in any large recording studio mic locker.Because of its excellent frequency response curve, the 87 has become thego-to mic when needing a clean, flattering sound.

4.2 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, the Neumann® KM84. As with any good small condenser mic,the 84 provides a clean clear picture of the guitar tone.



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4.3 Condenser 414

The Condenser 414 is modeled after another highly regarded large dia-phragm condenser microphone, the AKG® C-414 ULS. It is a bright, openmicrophone that will flatter big full tones and will also blend beautifullywhen combined with another cabinet/mic setup.

4.4 Dynamic 57

This mic model is based on the Shure® SM-57, one of the most popular

small diaphragm dynamic microphones. Its bright, edgy sound has made ita widely used guitar amp mic.



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4.5 Dynamic 421

Probably the second most popular dynamic mic to use on guitar amps, thismodel, based on the Sennheiser® MD-421, provides a equally pleasingsound, but is warmer than the 57.

4.6 Dynamic 441

This model, based on the Sennheiser® MD-441, has a flatter frequencyresponse than the other dynamic mics. This mic is highly regarded as a

guitar mic and used widely in studios all over the world.



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4.7 Ribbon 160

This mic is modeled after the Beyerdynamic® M160 (double-ribbon hyper-cardioid microphone), one of the top choices for capturing the sound of abroad diversity of sources.

4.8 MD1-b

This is a modern-sounding large diaphragm condenser microphone basedon the Groove Tubes® MD1b-FET. With a subtle boost in the highs and

a smooth low end, this is an excellent choice for capturing brighter, moremodern guitar tones.



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4.9 Velo-8

This is a double-ribbon figure-8 microphone with a unique Neodymiumelement, based on the Groove Tubes® Velo-8. With a silky-smooth high endand good low end body, a great choice for more vintage-sounding guitartones, this mic mixes very well with other microphones for very full-bodiedrecordings.

4.10 Microphone Model List

Microphone Models Based onCondenser 87 Neumann® U87 (Cardioid mode)

Condenser 84 Neumann® KM84

Condenser 414 AKG® C-414 ULS (Cardioid mode)

Dynamic 57 Shure® SM-57

Dynamic 421 Sennheiser® MD-421

Dynamic 441 Sennheiser® MD-441 (“M” position)

Ribbon 160 Beyerdynamic® M160

MD1-b Groove Tubes® MD1b-FET Velo8 Groove Tubes® Velo-8



4 - Microphones42




5 - Rack Effects 43


Chapter 5 Rack Effects

5.1 Pitch Shift

A pitch-shifting effect with both pitch-shifting and detuning effects. Use forboth wild soloing and unusual detuned textures.

Controls:

Pitch Level: controls the Wet/Dry ratio from 1 to 10.Pitch: controls the amount of the pitch shift from 1 to 10.Detune: controls the detune amount from 1 to 10.Feedback: controls the feedback amount from 1 to 10.PreDelay: controls the Predelay amount from 1 to 10.Volume: controls the volume of the pitch effect from 1 to 10.

5.2 Tape Echo

A classic tape echo effect. Use for retro, lo-fi-style echo effects.

Controls:

Time: controls the length of the echo effect from 30ms to 1450ms. When

BPM Sync is turned on, time is displayed from a 1/32 to 1/1 ratio.Feedback: controls the amount of repeats of the echo effect from 1 to 10.Wow&Flutter: controls the amount of pitch drift/variation of the echoeffect, to emulate tape playback from 1 to 10.Brightness: controls the amount of high-end of the treble from 1 to 10.Volume: controls the volume of the echo effect from 1 to 10.Ramp/Step: alters the way that changes to echo time change from a“ramp up” style to a “stair step” style.BPM Sync: syncs the Echo effect to the master BPM of your DAW/ Standalone metronome.



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5.3 Triangle Chorus

A chorus/doubling effect for thickening up your guitar’s tone.

Controls:

Level: controls the amount of the chorus effect from 1 to 10.Rate: controls the rate of the chorus effect from 1 to 10.Depth: controls the depth of the chorus effect from 1 to 10.Avg Delay: controls the delay amount of the chorus effect from 1 to 10.Phase: controls the phase of the chorus from 1 to 10.Volume: controls the volume of the chorus effect from 1 to 10.BPM Sync: syncs the effect to the master BPM of your DAW/Standalonemetronome.

5.4 Sine Flange

A classic flange effect for swirling, psychedelic jams or intense metal rhyth-mic playing.

Controls:

Level: controls the amount of the flange effect from 1 to 10.Rate: controls the rate of the flange effect from 1 to 10.

Depth: controls the depth of the flange effect from 1 to 10.Avg Delay: controls the delay amount of the flange effect from 1 to 10.Phase: controls the phase of the flange from 1 to 10.Volume: controls the volume of the flange effect from 1 to 10.BPM Sync: syncs the Flange effect to the master BPM of your DAW/ Standalone metronome.



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5.5 Wah

A classic-voiced wah effect with multiple settings to fit your playing style.Can add a funky, almost vocal vibe to your playing.

Controls:

Cryin’/Mccoy: switches between two different classic Wah styles.Wah: controls the amount of the wah effect from 1 to 10.Min Freq: controls the minimum frequency effected from 1 to 10.Max Freq: controls the maximum frequency effected from 1 to 10.Volume: controls the volume of the wah effect from 1 to 10.

5.6 Compressor

A classic compressor effect. Use to even out volume levels when playing fora studio-like tone, to add sustain to metal leads, or to accentuate the “twang”

in country-style picking.

Controls:

Ratio Buttons: sets the overall level of compression from “Low” to “EvenHigher”.Volume: controls the volume of the compressor effect from 1 to 10.



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5.6 Fender® ‘63 Reverb

The classic ‘63 Fender® Reverb Tank is now available in convenient rackform! This classic all-tube spring reverb unit is capable of producing anincredibly lush Reverb due to it’s unique 6v6 driven output. Revered as THEsound of reverb, you’ll hear this all tube driven signature Fender springreverb on thousands of records from Surf to Soul, Country to Punk.

Controls:

Dwell: controls how hard the signal hits the reverb tank from 1 to 10.The spring reverb is overdriven when Dwell is set to high values (from 7to 10). This produces interesting and very characteristic tones.Mixer: controls the mix of the original signal to the effected signal from1 to 10.Tone: shifts the tonal balance from low to high frequencies from 1 to 10.Volume: controls the output level of the effect from 1 to 10.

5.7 Rack Effect Model List

Rack Effect Models Officially Certified Model of

Pitch Shift Fender® Cyber-Twin® SE Pitch Shift

Tape Echo Fender® Cyber-Twin® SE Tape Echo

Triangle Chorus Fender® Cyber-Twin® SE Triangle Chorus

Sine Flange Fender® Cyber-Twin® SE Sine Flange

Wah Fender® Cyber-Twin® SE Wah

Compressor Fender® Cyber-Twin® SE Compressor Fender® ’63 Reverb Fender® ’63 Reverb



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