amplitube 3 user manual
TRANSCRIPT
User Manual
A M P & F X M O D E L I N G S O F T W A R E
AmpliTube 3
1
P L E A S E N O T E
AmpliTube3isnowavailableindifferentversions:AmpliTube3andAmpliTube3FREE.
Theonlydifferencebetweenthetwoversionsisinthenumberofgearmodelsincluded.AmpliTube3includes160models,andAmpliTube3FREEincludes24.
Whileconsultingthismanual,pleaserefertothespecificgearmodelsincludedintheAmpliTube3versionyouareusing.
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AmpliTube 3
I - Contents 3
AmpliTube 3
Table of Contents
I Contents 3
II Interface 12
III License Agreement 14
Chapter 1 Overview 17 1.1 Introduction 17 1.2 What’snewinAmpliTube3? 17 1.3 Plug-inArchitecture 19 1.4 UsingtheInterface 22 1.4.1 StandaloneInterface 22 1.4.2 Plug-inInterface 25
Chapter 2 Getting started 27 2.1 Registration/Authorization 27 2.2 StandaloneMode 27 2.2.1 LaunchAmpliTube3Standalone 28 2.2.2 AudioConfiguration 28 2.2.2.1 Windows® 28 2.2.2.2 Macintosh® 29 2.2.3 PlugYourGuitar 30 2.2.3.1 ConnectingYourGuitar/Bass 30 2.2.3.2 AdjustingYourLevels 31 2.2.3.3 QualityModeOptions 31 2.2.3.4 Tuning 32 2.2.4 Hands-onExamples 32 2.2.4.1 LoadingaPreset 32 2.2.4.2 SelectingAmps 33 2.2.4.3 ChoosingtheCabinet 33 2.2.4.4 AddingStompandRackEffects 34 2.2.5 FourTrackAudioPlayer/RecorderwithSpeedTrainer 35 2.2.5.1 ImportanAudioFile 35 2.2.5.2 WaveformDisplay 37 2.2.5.3 UsingtheTransportBar 38 2.2.5.4 TrackControlsDescription 39 2.2.5.5 PlaybackSpeed 41 2.2.5.6 Recording 42 2.2.5.7 AddingEffects 44 2.2.5.8 ManagingYourResources 46 2.2.5.9 MasterVolume 47 2.2.5.10 Export 47 2.2.5.11 UsingtheMetronome 48 2.2.5.12 SavingandLoadingYourAmpliTube3ProjectFiles 49 2.2.5.13 ProjectSampleRate 50 2.2.6 StatusBar 50 2.3 Plug-InMode 50
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I - Contents
Chapter 3 Input/Output Bar 51 3.1 Input/OutputBar 51 3.2 InputSection 51 3.2.1 InputKnob 51 3.2.2 InputLevelMeter 51 3.3 IKControllerSelector 51 3.3.1 UsingtheStompIO/StealthPedaltoControlAmpliTube3 52 3.4 SelectedModule 52 3.4.1 Pan 53 3.4.2 Volume 53 3.4.3 Phase 53 3.4.4 Mix 54 3.4.5 ImplementationTable 54 3.5 UsingNoiseGate 54 3.5.1 Threshold 54 3.5.2 Release 55 3.5.3 Depth 55 3.6 TunerDisplay 55 3.7 SelectedParameterDisplay 56 3.8 MasterSection 56 3.8.1 MasterKnob 56 3.8.2 OutputLevelMeter 56 3.9 ProgramInformation,PreferencesandMore 57 3.9.1 Lock 57 3.9.2 Preferences(Prefs) 58 3.9.3 Information(Info) 62 3.9.4 UserArea 62 3.10 MIDIControl,Automation,andControllers 63 3.10.1 MIDI 63 3.10.2 Automation(Auto) 63 3.10.3 Control(Ctrl) 63
Chapter 4 Module/Rig Selector 65 4.1 DualRigSignalPath 65 4.1.1 SignalPathPresets 65 4.1.2 StereoIN 66 4.2 SelectingModules 66
Chapter 5 Presets and Patches 69 5.1 WhatisthedifferencebetweenaPresetandaPatch? 69
Chapter 6 Tuner Module 71 6.1 On/OffSwitch 71 6.2 Mute 72 6.3 Tune 72 6.4 GraphicalTunerInterface 72 6.5 TuneDisplay 73 6.6 CentsDisplay 73
Chapter 7 Stomp Module (Stomp Box Effects) 75
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7.1 SelectionandNavigationOptions 75 7.2 Drag&Dropfeature 77 7.3 StompModels 78 7.3.1 Delay 78 7.3.1.1 Delay 78 7.3.1.2 EchoMan 79 7.3.1.3 TapDelay 80 7.3.2 Distortion 81 7.3.2.1 BigPig 81 7.3.2.2 Crusher 82 7.3.2.3 DiodeOverdrive 83 7.3.2.4 Distortion 84 7.3.2.5 Feedback 85 7.3.2.6 MetalDistortion 86 7.3.2.7 MetalDistortion2 87 7.3.2.8 Overdrive 88 7.3.2.9 OverScream 89 7.3.2.10 PROdrive 90 7.3.2.11 TheAmbass’dor 91 7.3.3 Dynamics 92 7.3.3.1 Compressor 92 7.3.3.2 Dcomp 93 7.3.4 EQ 94 7.3.4.1 7BandGraphic 94 7.3.4.2 10BandGraphic 95 7.3.5 Filter 96 7.3.5.1 EnvelopeFilter 96 7.3.5.2 LFOFilter 97 7.3.5.3 Rezo 98 7.3.5.4 StepFilter 99 7.3.5.5 Wah 100 7.3.5.6 Wah10 101 7.3.5.7 Wah46 102 7.3.5.8 Wah47 103 7.3.6 Fuzz 104 7.3.6.1 ClassFuzz 104 7.3.6.2 FuzzAge 105 7.3.6.3 FuzzAge2 106 7.3.6.4 FuzzOne 107 7.3.6.5 Octa-V 108 7.3.6.6 RightFuzz 109 7.3.6.7 XSFuzz 110 7.3.7 Modulation 111 7.3.7.1 AnalogFlanger 111 7.3.7.2 Chorus 112 7.3.7.3 Chorus-1 113 7.3.7.4 ElectricFlanger 114 7.3.7.5 Flanger 115 7.3.7.6 MetalFlanger 116 7.3.7.7 OptoTremolo 117
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7.3.7.8 PhazeNine 118 7.3.7.9 Phazer10 119 7.3.7.10 SmallPhazer 120 7.3.7.11 Uni-V 121 7.3.8 Pitch 122 7.3.8.1 Harmonator 122 7.3.8.2 Octav 123 7.3.8.3 PitchShifter 124 7.3.8.4 Wharmonator 125 7.3.9 Other 126 7.3.9.1 Volume 126 7.3.9.2 StepSlicer 127 7.3.9.3 Swell 128 7.4 StompModels(Table) 129
Chapter 8 Amp Module (Amplifier Head) 133 8.1 Introduction 133 8.2 On/Bypass 134 8.3 EQMatch 134 8.4 AmpMatch 135 8.5 AmpModelTypesandComponents 135 8.5.1 PreModel 136 8.5.2 EQModel 136 8.5.3 AmpModel 137 8.6 PreAmpModels 138 8.6.1 Clean 138 8.6.1.1 AmericanCleanMKIII 138 8.6.1.2 AmericanTubeClean1 140 8.6.1.3 AmericanTubeClean2 141 8.6.1.4 AmericanVintageB 142 8.6.1.5 AmericanVintageD 143 8.6.1.6 AmericanVintageT 144 8.6.1.7 CustomSolidStateClean 145 8.6.1.8 JazzAmp120 146 8.6.1.9 MetalCleanT 147 8.6.2 Crunch 148 8.6.2.1 AmericanTubeVintage 148 8.6.2.2 BritishBlueTube30TB 149 8.6.2.3 BritishCopper30TB 150 8.6.2.4 BritishLeadS100 151 8.6.2.5 BritishOR 152 8.6.2.6 THDBi-Valve 153 8.6.2.7 TubeVintageCombo 154 8.6.3 Lead 155 8.6.3.1 AmericanLeadMKIII 155 8.6.3.2 BritishTubeLead1 157 8.6.3.3 BritishTubeLead2 158 8.6.3.4 CustomModernHi-Gain 159 8.6.3.5 CustomSolidStateFuzz 160 8.6.3.6 CustomSolidStateLead 161
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8.6.3.7 MetalLeadT 162 8.6.3.8 MetalLeadV 163 8.6.3.9 MetalLeadW 164 8.6.3.10 ModernTubeLead 165 8.6.3.11 VintageMetalLead 166 8.6.4 Bass 167 8.6.4.1 360BassPreamp 167 8.6.4.2 Combo150MB 168 8.6.4.3 GreenBA250 169 8.6.4.4 SolidStateBassPreamp 170 8.7 PreAmpModels(Table) 171 8.8 PowerAmpModels 172
Chapter 9 Cab Module (Cabinets + Microphones) 173 9.1 Introduction 173 9.2 CabinetModel 174 9.2.1 CabModelSelector 174 9.2.2 Bypass 175 9.2.3 Match 175 9.2.4 Size 175 9.3 CabinetModels 175 9.3.1 Guitar6” 176 9.3.1.1 1x6SmallCombo 176 9.3.2 Guitar10” 176 9.3.2.1 1x10ComboModern 176 9.3.2.2 4x10ClosedModern 177 9.3.2.3 4x10OpenVintage 177 9.3.3 Guitar12” 178 9.3.3.1 1x12Combo 178 9.3.3.2 1x12MBII 178 9.3.3.3 1x12MBIII 179 9.3.3.4 1x12OpenModern 179 9.3.3.5 1x12OpenVintage 180 9.3.3.6 2x12ClosedVintage 180 9.3.3.7 2x12GryBritishVint 181 9.3.3.8 2x12JPJazz 181 9.3.3.9 2x12OpenSL 182 9.3.3.10 2x12OpenTJ120 182 9.3.3.11 2x12OpenVintage 183 9.3.3.12 4x12BritishOr 183 9.3.3.13 4x12Closed25C 184 9.3.3.14 4x12Closed75C 184 9.3.3.15 4x12ClosedJ120 185 9.3.3.16 4x12ClosedModern1 185 9.3.3.17 4x12ClosedModern2 186 9.3.3.18 4x12ClosedVintage1 186 9.3.3.19 4x12ClosedVintage2 187 9.3.3.20 4x12MetalF1 187 9.3.3.21 4x12MetalF2 188 9.3.3.22 4x12MetalT1 188
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9.3.3.23 4x12MetalT2 189 9.3.3.24 4x12MetalT3 189 9.3.3.25 4x12MetalV1 190 9.3.3.26 4x12MetalV2 190 9.3.3.27 4x12MetalV3 191 9.3.3.28 4x12ModernM1 191 9.3.3.29 4x12ModernM2 192 9.3.3.30 4x12ModernM3 192 9.3.3.31 4x12VintageM1 193 9.3.3.32 4x12VintageM2 193 9.3.4 Guitar15” 194 9.3.4.1 2x15ClosedBJ130 194 9.3.4.2 2x15ClosedDJ130 194 9.3.5 Bass10” 195 9.3.5.1 4x10+twBass 195 9.3.5.2 4x10+twTEBass 195 9.3.6 Bass12” 196 9.3.6.1 1x12Bass 196 9.3.6.2 1x12BassJz 196 9.3.7 Bass15” 197 9.3.7.1 1x15BassVintage 197 9.3.8 Bass18” 197 9.3.8.1 1x18HornBass 197 9.3.9 Rotary 198 9.3.9.1 Rotary147-1 198 9.3.9.2 Rotary147-2 198 9.4 CabinetModels(Table) 199 9.5 MicModel 201 9.5.1 MicModelSelector 202 9.5.2 Position 204 9.5.3 Distance 206 9.5.4 Mute 207 9.5.5 Solo 208 9.5.6 Phase 208 9.5.7 Pan 209 9.5.8 MicBlend 209 9.6 MicrophoneModels 210 9.6.1 Dynamic 210 9.6.1.1 Dynamic57 210 9.6.1.2 Dynamic20 211 9.6.1.3 VintageDynamic20 212 9.6.1.4 Dynamic421 213 9.6.1.5 Dynamic441 214 9.6.1.6 Dynamic609 215 9.6.2 Condenser 216 9.6.2.1 Condenser12 216 9.6.2.2 Condenser67 217 9.6.2.3 Condenser84 218 9.6.2.4 Condenser87 219 9.6.2.5 Condenser170 220
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9.6.2.6 Condenser414 221 9.6.3 Ribbon 222 9.6.3.1 Ribbon121 222 9.6.3.2 Ribbon160 223 9.6.3.3 Velo-8 224 9.7 MicrophoneModels(Table) 225 9.8 Room 226 9.8.1 RoomTypeSelector 227 9.8.2 Mute 228 9.8.3 Solo 228 9.8.4 Phase 229 9.8.5 RoomMicsControls 230 9.8.6 RoomTypePresets 232 9.9 RotarySpeaker 232 9.9.1 Introduction 233 9.9.2 RotarySpeakerModels 233 9.9.3 Setup 233 9.9.4 Width 234 9.9.5 Balance 235 9.9.6 Speed 236
Chapter 10 Rack FX Module (Post Effects) 237 10.1 Introduction 237 10.2 On/Bypass 237 10.3 RackFXSelector 238 10.4 DragandDropFeature 238 10.5 RackFXModels 239 10.5.1 Delay&Reverb 239 10.5.1.1 DigitalDelay 239 10.5.1.2 DigitalReverb 240 10.5.1.3 TapDelay 241 10.5.2 EQ&Dynamics 242 10.5.2.1 GraphicEQ 242 10.5.2.2 ParametricEQ 243 10.5.2.3 TubeCompressor 244 10.5.3 Filter 245 10.5.3.1 Rezo 245 10.5.3.2 StepFilter 246 10.5.4 Modulation 247 10.5.4.1 AnalogChorus 247 10.5.4.2 DigitalChorus 248 10.5.4.3 DigitalFlanger 249 10.5.4.4 RotarySpeaker 250 10.5.5 Pitch 251 10.5.5.1 Harmonator 251 10.5.5.2 PitchShifter 252 10.5.6 Other 253 10.5.6.1 StepSlicer 253 10.5.6.2 StereoEnhancer 254 10.5.6.3 Swell 254
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AmpliTube 3
Chapter 11 AmpliTube 3 Models 255
Chapter 12 Expanding AmpliTube 3 using the Custom Shop 263 12.1 Overview 263 12.2 TheCustomShop 263 12.3 Newgearmodelsandcollections 264
Chapter 13 Automation 265 13.1 AssignAutomationwithineachModule(Stomp,Amp,CabandRack) 265 13.2 ManageAutomationAssignmentsviatheAutomationPanel 266 13.2.1 Plug-inParameters 267 13.2.2 DAWAutomation 268 13.2.3 AssignmentProcedure 270 13.2.4 AssignmentSaveandRecall 274
Chapter 14 MIDI 275 14.1 Introduction 275 14.2 MIDIConfiguration 276 14.3 AssigningControllers 277 14.3.1 DirectMIDIControlsAssignment(Stomp,Amp,Cab,andRackParameters) 277 14.3.2 ManageMIDIParametersAssignationviatheMIDIControlPanel 278 14.4 AdditionalParametersonMIDIControlWindow 283
Chapter 15 Foot Controller Integration 289 15.1 Introduction 289
Chapter 16 Troubleshooting 291
Chapter 17 Support 293 17.1 UserArea 293
Appendix IK Technologies 295 DSM™Technology 295 VRM™Technology 295 BlockDiagram 296
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AmpliTube 3
II - Interface12
AmpliTube 3
Module Interface.Choosefromawidevarietyguitarandbass
gearmodels.
Input/Output Interface.
Hundreds of different guitar amp and effects presets readytogo.
Includes Four Track Audio Player/Recorder with SpeedTrainer for
playing along with your favorite recordings.
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AmpliTube 3
Five Modules:Tuner,StompBoxes,Amplifiers,Microphones,CabinetsandRackEffects.
Two Guitar Rigs.PowerfulandflexibleroutingsystemprovidedbyDualRigtechnology.
WiththenewonlineCustom Shop,youcantryandbuyàlacarteStompBoxes,Amplifiers,Cabinets,MicrophonesandRackEffectsfromavastcollectionofover200gearmodels.
Standalone application and VST/AU/RTAS plug-in for all popular DAWs. Native support for 64-bit applications and operating systems.
III - License Agreement14
AmpliTube 3
License AgreementEND-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
Pleasereadthisdocumentcarefullybeforebreakingthesealonthemediapackage.Thisagreementlicensestheenclosedsoftwaretoyouandcontainswarrantyandliabilitydisclaimers.
Bybreakingthesealonthemediaenvelope,youareconfirmingtohavetakennoticeoftermsandconditionsofthisagreementandyouacknowledgeyouracceptanceofthesoftwareaswellasyouracceptanceofthetermsofthisagreement.Ifyoudonotwishtodoso,donotbreaktheseal.Instead,promptlyreturntheentirepackage,includingtheunopenedmediapackage,tothedealerfromwhomyouhaveobtainedit,forafullrefund.
1)DEFINITIONS
“EULA”meansthisenduserlicenseagreement
“IKMultimediaProduct”meansthesoftwareprogramincludedintheenclosedpackage,andallrelatedupdatessuppliedbyIKMultimedia.
“IKMultimediaProduct”meansthesoftwareprogramandhardware(ifany)includedintheenclosedpackage,therelateddocumentation,models,multi-mediacontent(suchasanimation,soundandgraphics)andallrelatedupdatessuppliedbyIKMultimedia.
“Notforresale(NFR)Version”meansaversionofIKMultimediaProduct,soidentified,isintendedforreviewandevaluationpurposes,only.
2)LICENSE
The“IKMultimediaProduct”isprotectedbycopyrightlawsandinternationalcopyrighttreaties,aswellasotherintellectualpropertylawsandtreaties.The“IKMultimediaProduct” is licensed,notsold.ThisEULAgrantsyoutherightsasspecifiedherebelow.AllotheractionsandmeansofusagearereservedtothewrittenpermissionoftherightholderIKMultimediaProductionSrl:
Applications Software.The“IKMultimediaProduct”maybeusedonlybyyou.Youmayinstallandusethe“IKMultimediaProduct”,oranypriorversionthereofforthesameoperatingsystem,onuptofive(5)computers,providedthat(a)eachcomputerisownedby(orleasedto)andundertheexclusivecontrolofthelicensee;(b)theprogram(s)shallNOTbeusedsimultaneouslyonmorethanonemachine,and(c)anycomputer(s)withIKMultimediasoftwareinstalledshallnotbesold,rented,leased,loanedorotherwiseberemovedfromthelicensee’spossessionwithoutfirstremoving(uninstalling)thelicensedsoftware,exceptasprovidedinParagraph4(below)pertainingto“SoftwareTransfer”.
Storage/Network use.Youmayalsostoreorinstallacopyofthe“IKMultimediaProduct”onastoragedevice,suchasanetworkserver,usedonlytoinstallorrunthe“IKMultimediaProduct”onyourothercomputersoveraninternalnetwork;however,youmustacquireanddedicateadistinctlicenseforeachuserofthe“IKMultimediaProduct”fromthestoragedevice.Anygivenlicenseforthe“IKMultimediaProduct”maynotbesharedorusedconcurrentlyorotherwiseondifferentcomputersorbydifferentdevelopersinagivenorganization.
3)AUTHORIZATION
The“IKMultimediaProduct”onlyfunctionswhenyouhaveauthorizedit.The“IKMultimediaProduct”willbeauthorizeduponcompletingtheauthoriza-tionprocedure.Onceyourproductisauthorized,youmayuseit.
Youagreetofollowtheauthorizationprocedureandwillprovidetrue,accurateandcompleteinformationaboutyourself.Ifyouprovideanyinformationthatisuntrue,inaccurate,notcorrectorincomplete,orIKMultimediahasreasonablegroundstosuspectthatsuchinformationisuntrue,inaccurate,notcorrectorincomplete,IKMultimediahastherighttosuspendortorevokethelicense.
Theterminationofthelicenseshallbewithoutprejudicetoanyrights,whatsoever,ofIKMultimedia.
4)DESCRIPTIONOFOTHERRIGHTSANDLIMITATIONS
Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer, decompile, or disassemble the “IK MultimediaProduct”,exceptandonlytotheextentthatsuchactivityisexpresslypermittedbyapplicablelawnotwithstandingthislimitationofcomponents.The“IKMultimediaProduct”islicensedasasingleproduct.Itscomponentpartsmaynotbeseparatedforuseonmorethanonecomputer.
Not for Resale Version.Ifthe“IKMultimediaProduct”islabeled“NotforResale”or“NFR”or“EvaluationCopy”,then,notwithstandingothersectionsofthisEULA,youmaynotsell,orotherwisetransferthe“IKMultimediaProduct”.
Rental.Youmaynotrent,lease,orlendthe“IKMultimediaProduct”toanyparty.
Software Transfer.Youmaynottransfer,licenseorsublicenseyourrightsasLicenseeofthesoftwareoranyIKMultimediaproduct,aslicensedtoyouunderthisagreementwithoutpriorwrittenconsentoftherightsowner.ThecarrieronwhichtheIKMultimediaproducthasbeendistributedmaybetransferredorotherwisemadeavailabletoanythirdpartyonlywiththepriorwrittenconsentoftherightsownerandprovidedthat(a)theoriginalmedia
III - License Agreement 15
AmpliTube 3
andlicense(s)accompanythecarrierand(b)thepartytransferringthemediadoesnotretainacopyofthemedia.
5)UPGRADES
Ifthe“IKMultimediaProduct”islabeledorotherwiseidentifiedbyIKMultimediaasan“upgrade”,youmustbeproperlylicensedtouseaproductidenti-fiedbyIKMultimediaasbeingeligiblefortheupgradeinordertousethe“IKMultimediaProduct”.
An“IKMultimediaProduct”labeledorotherwiseidentifiedbyIKMultimediaasanupgradereplacesand/orsupplementstheproductthatformedtheba-sisforyoureligibilityforsuchupgrade.YoumayusetheresultingupgradedproductonlyinaccordancewiththetermsofthisEULA.Ifthe“IKMultimediaProduct”isanupgradeofacomponentofapackageofsoftwareprogramsthatyoulicensedasasingleproduct,the“IKMultimediaProduct”maybeusedandtransferredonlyaspartofthatsingleproductpackageandmaynotbeseparatedforuseonmorethanonecomputer.
6)DUAL-MEDIASOFTWARE
Youmayreceivethe“IKMultimediaProduct”inmorethanonemedium.Youmaynotloan,rent,lease,orotherwisetransfertheothermediumtoanotheruser,exceptaspartofthepermanenttransfer(asprovidedabove)ofthe“IKMultimediaProduct”.
7)LIMITEDWARRANTY
IKMultimediawarrantstotheoriginalpurchaserofthecomputersoftwareproduct,foraperiodofninety(90)daysfollowingthedateoforiginalpurchase,thatundernormaluse,thesoftwareprogramandtheuserdocumentationarefreefromdefectsthatwillmateriallyinterferewiththeoperationoftheprogramasdescribedintheencloseduserdocumentation.
8)WARRANTYCLAIMS
Tomakeawarrantyclaimundertheabovelimitedwarranty,pleasereturntheproducttothepointofpurchase,accompaniedbyproofofpurchase,yourname,yourreturnaddressandastatementofthedefect,orsendtheCD(s)tousatthebelowaddresswithinninety(90)daysofpurchase.Includeacopyofthedatedpurchasereceipt,yourname,yourreturnaddressandastatementofthedefect.IKMultimediaoritsauthorizeddealerwillusereasonablecom-mercialeffortstorepairorreplacetheproductandreturnittoyou(postageprepaid)orissuetoyouacreditequaltothepurchaseprice,atitsoption.
9)LIMITATIONSONWARRANTY
IKMultimediawarrantsonlythattheprogramwillperformasdescribedintheuserdocumentation.Nootheradvertising,descriptionorrepresentation,whethermadebyaIKMultimediadealer,distributor,agentoremployee,shallbebindinguponIKMultimediaorshallchangethetermsofthiswarranty.
EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DIS-CLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED. IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT.
10)CHOICEOFLAW
Youagreethatanyandallclaims,suitsorotherdisputesarisingfromyouruseofthesoftwareshallbedeterminedinaccordancewiththelawsofItaly,intheeventIKMultimedia,ismadeapartythereto.YouagreetosubmittothejurisdictionofthecourtinModena,Italyforallactions,whetherincontractorintort,arisingfromyouruseorpurchaseofthesoftware.
11)GENERAL
ThisAgreementcontainsthecompleteagreementbetweenthepartieswithrespecttothesubjectmatterhereof,andsupersedesallpriororcontempora-neousagreementsorunderstandings,whetheroralorwritten.AllquestionsconcerningthisAgreementshallbedirectedto:
IKMultimediaProductionSrlViadell’Industria4641122ModenaItaly
©2012IKMultimedia.Allrightsreserved.
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AmpliTube 3
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AmpliTube 3
Chapter 1 Overview
1.1 Introduction
AmpliTube3istheNewKingofTone.Itisamassiveupgradeoftheleadingguitar and bass tone gear modeling software that sets the new industrystandardofsoundvariety,realism,andcreativepower.
AmpliTube3offersover160piecesofgear(includingmodelsfromthemostsought-aftervintagecollectionsandmoderndayworkhorses),51individualstompboxesandeffects,31amplifierpreamp&powersections,46speakercabinetmodels,15high-endstageandstudiomics,17postamprackeffects,andmuchmore…ThankstothenewAmpliTube3openarchitecture,youareabletoconstantlyexpandyoursonicpalettethroughtheadditionofmorepackagessuchasAmpliTubeFender™,Ampeg®SVX,etc.
IKMultimediaallowsyoutobuildyourcustomintegratedsystemusinganIKAudioInterface/ControllersuchasStompIOorStealthPedal,yourcomputer,andAmpliTube3.Youhavedreamedit.We’vemadeit.
Ifyouareaperformer/producerand/orengineersearchingforthatuniquetone that describes your artistic vision, AmpliTube 3 is the ultimate tonegearcollectionthatyouneed.
1.2 What’s new in AmpliTube 3?
• Over160modelsofvintageandmoderngearincludedinonepackage• 30newvintagegearmodelsandcreativeeffects• New Cabinet Module with two freely movable microphones and
cabinetsizecontrol• NewRoomambiencewithmicrophones’stereowidthcontrol• New rotary speaker simulation using IK’s proprietary Volumetric
ResponseModeling(VRM™)technology• NewStomp&RackFXdrag&dropfeature• Series/Parallel rigs with 8 signal path presets, selectable mono/
stereoinputandtruestereoprocessing• NewadvancedPresetOrganizationandManagementfeature• GlobalandSinglegearpresets• New“MIDILearn”featureforcompatibilitywithanyMIDIcontroller• FreelyassignableDAWAutomation• New4TrackAudioPlayer/Recorderwith independent timestretch/
pitchshift*• Non destructive recording allows post-effect processing of the
recordedaudio*• ImportsanyWav,Aiff,sd2,AppleCaf,Flac,MP3audiofile*• NewQualityModefeature• Newbuilt-inexpandabilitywiththeCustomShop.Youareabletoadd
“PoweredbyAmpliTube”packageslikeAmpliTubeFender™,Ampeg®
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AmpliTube 3
SVX,etc.aswellasàlacartemodels.See the AmpliTube Custom Shop manual for more information
• Nativecompatibilitywith64-bitapplicationsandoperatingsystems• Expandedpresetandpatchbrowser• Enhanced foot controller integration. Direct integration with IK’s
interfaces/controllers like StompIO, StealthPedal, StealthBoard. Nosetupneeded
• 2 simultaneous instruments can be processed with independentaudiosettings*
• Metronomewithselectablesounds*
*Standaloneversion
Otherfeatures:
• WindowsandMacOSXPlug-inandStandaloneapplication• SupportedPlug-informats:AudioUnits,VST,RTAS(MacOSX)–VST,
RTAS(Windows)• 5separatemodules:Tuner,Stomp,Amp,Cabinet+Microphones,and
Rackeffects• High-precisionTuner• Ultra-accurate analog modeling using IK Multimedia’s proprietary
DynamicSaturationModeling(DSM™)technology• Host/DAWBPMsynchronization• Upto96kHzsupportedsamplingrate• Improvedoverallperformance
For more information about DSM™/VRM™ technologies and AmpliTube 3Blockdiagram,see Appendix, “IK Technologies and Block Diagram.”
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AmpliTube 3
1.3 Plug-in Architecture
AmpliTube3issetupasatraditionalguitarrigtoensurepredictableresultsandrealworldflexibility.Theuserinterfaceissimpleandeasytonavigatebutalsoallowsyoutosetupcomplexguitarrigsandadvancedsignalpaths.
Theinterfaceisdividedinto5modules:
1) Tuner
figure1.1
2) Stomp effects
figure1.2
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AmpliTube 3
3) Amp
figure1.3
4) Cab
figure1.4
1 - Overview 21
AmpliTube 3
5) Rack effects
figure1.5
This “musical layout” allows you to navigate the different rigs’ sectionswithout effort and provides easy access to each module’s specific controlsandfeatures.
Thefirststepistolistentheincludedpresets.ThepresetslibraryhasbeenskillfullyprogrammedbytheAmpliTube3designerstoaccuratelyreproduceeachparticulartoneandtofuelyourcreativity…
Formoreinformationaboutcomplexguitarrigsandadvancedsignalrout-ing,seeChapter4,“Module/RigSelector.”
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AmpliTube 3
1.4 Using the Interface
AmpliTube3worksasPlug-inorStandaloneapplication.
1.4.1 Standalone Interface
WhenusingAmpliTube3inStandaloneMode,theinterfacehas6sections(figure1.6):
figure1.6
Belowisabriefdescriptionofeachofthem:
1) Top Header(figure1.7)
ItincludesPresetManager,QualityMode,andIKControllerSelectorareas
figure1.7
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AmpliTube 3
• Preset Manager: it allows you to search, browse, select, save anddeletepresets(figure1.8).
figure1.8
• QualityMode:itisaoneclicksystemoptimization.JustselectHi-Mid-orEcotogetthebestbalancebetweensoundqualityandCPUusage(figure1.9).
• IK Controller Selector: it allows you to choose your StompIO orStealthPedalcontroller.(figure1.10)
2) Module/Rig Selector(figure1.11)
figure1.11
Itallowsyoutochoosethemodulethatyouwanttouse(Tuner,Stomp,Amp,Cab,orRack),theinputtype(Mono/Stereo)andthesignalpathpresets.
3) Module Interface(figure1.12)
figure1.12
Itdisplaystheselectedmoduleandallitsrelatedcontrols.ThisisthemodulethatyouwillusemostwhileinteractingwithAmpliTube3.
figure1.9
figure1.10
1 - Overview24
AmpliTube 3
4) Input/Output Bar(figure1.13)
figure1.13
FromhereyouwillmanagetheInputandOutputlevels,theNoiseGate,andseveralmodulerelatedcontrols.
5) Four Track Audio Player/Recorder with Speed Trainer(figure1.14)
figure1.14
Itallowsyoutoplaybackyourfavoritesongs,learnnewriffs,captureyourideas,recordyourband’sdemo,andmuchmore…
6) Status Bar(figure1.15)
figure1.15
ItincludestheInputGainSliderandgivesyouaquickreferenceoftheCPUloadandMIDI.
1 - Overview 25
AmpliTube 3
1.4.2 Plug-in Interface
WhenusingAmpliTube3asaPlug-in, theinterfacehas4sections(figure1.16):
figure1.16
• TopHeader(PresetManager,QualityMode,andIKControllerSelectorareas)
• Module/RigSelector• ModuleInterface• Input/OutputBar
Note:consideringthatthefirst4sectionsoftheAmpliTube3interfacearethesameinStandaloneandPlug-inModes,thereisnoneedtorepeattheirdescriptions.Pleasesee1.4.1.
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AmpliTube 3
2 - Getting started 27
AmpliTube 3
Chapter 2 Getting started
2.1 Registration/Authorization
WeknowthatyouareexcitedaboutAmpliTube3solet’sgetreadytorock!
Afteryou’veinstalledAmpliTube3,youhavetoregisterandauthorizeyourproduct.Notonly toenablepermanentunrestricted functionality,butalsoto takeadvantageofall theUserAreafeatures.This isaverysimplepro-cess;youjustneedtofollowtheinstructionsprovidedintheAuthorizationManager.
TheAuthorizationManagerisasmartapplicationintegratedtoourwebsitethat will guide you through the Registration and Authorization process.WhenyoulaunchAmpliTube3forthefirsttimetheAuthorizationManagerwillpopupaskingyoutocompletetheprocess,sobecomeanIKRegisteredUsertodayandenjoyallthebenefitsthatIKMultimediahastoofferyou!
ForinformationaboutAmpliTube3Installation,pleasereadthe“InstallationandAuthorizationManual”locatedhere:
Windows:Start\Programs\IKMultimedia\AmpliTube3\InstallationandAuthorizationManual
Macintosh:HD/Library/Documentation/IK Multimedia/AmpliTube 3/Installation andAuthorizationManual
If you have any problems, see Chapter 16, “Troubleshooting” or visit theFAQwebpageat:www.ikmultimedia.com/faq
2.2 Standalone Mode
TheStandaloneversionofAmpliTube3canbeusedtoperformliveorinarecordingstudiosituation,usingyourcomputerasanextgenerationmodel-ingeffectsprocessor.UsingAmpliTube3inStandaloneModeallowsyoutoruntheprogramwithouttheneedofahostsequencerapplication(DAW).
To play live, we strongly recommend that you control AmpliTube 3(StandaloneMode)withanIKControllersuchasStompIOorStealthPedal,consideringthattheirintegrationishighly-customizedandoptimized.
2 - Getting started28
AmpliTube 3
2.2.1 Launch AmpliTube 3 Standalone
TolaunchAmpliTube3Standalonegoto:
Windows:Start\Programs\AmpliTube3icon
Macintosh:Applicationfolder/AmpliTube3icon
2.2.2 Audio Configuration
In this section, we will cover how to set up your audio interface in bothplatforms. However, if you are using an IK audio interface/controller suchasStompIOorStealthPedal,nosetupisneededbecauseAmpliTube3offersdirectintegration.
2.2.2.1 Windows®
figure2.1
InAmpliTube3,clickAudio>HardwareSettings.
SelectASIO(recommended)orDirectXfromthetopmenu.
2 - Getting started 29
AmpliTube 3
InputDevice:youraudio interfacedriverwillbeautomaticallyselected. Ifnot,pleasechooseitmanually.
Left/RightChannel:selecttheaudiointerfaceinputintowhichyourinstru-ment is plugged. For example, if your instrument is plugged into the firstaudio interface input, you should select Left Channel-Input 1. However, ifitispluggedintothesecondaudiointerfaceinput,youshouldselectRightChannel-Input2,etc.Insomecases,LeftchannelisidentifiedasChannel1andRightchannelasChannel2.
Output Device: select your audio interface output driver. The Input andOutputDeviceshouldbethesame.
Left/RightChannel:selectyourdesiredoutputchannels.Forexample,(LeftChannel-Output1),(RightChannel-Output2).
BufferSize:tochangethebuffersizeofanASIOdevice,clickPanel.Itwillopenyouraudiointerface’sControlPanel.
2.2.2.2 Macintosh®
figure2.2
InAmpliTube3,clickAudio>HardwareSettings.
InputDevice:Youraudio interfacedriverwillbeautomaticallyselected. Ifnot,pleasechooseitmanually.
2 - Getting started30
AmpliTube 3
Left/RightChannel:Selecttheaudiointerfaceinputintowhichyourinstru-ment is plugged. For example, if your instrument is plugged into the firstaudiointerfaceinput,youshouldselectLeftChannel/Channel1.However,ifitispluggedintothesecondaudiointerfaceinput,youshouldselectRightChannel/Channel2,etc.However, ifyouraudio interfacehasonly1 input,theLeftandRightchannelsmenuswilldisplayChannel1.
OutputDevice:Selectyouraudiointerfaceoutputdriver.Usually,theInputandOutputDevicesarethesame.
Left/RightChannel:Selectyourdesiredoutputchannels.Forexample,(LeftChannel-Channel1),(RightChannel-Channel2).
Buffer Size: Adjusting the buffer settings will change the audio signallatency. In fact, the amount of latency depends on several factors such ascomputerspeedandaudiointerfaceperformance.Decreasingthebuffersizevaluewillreducetheamountofsignaldelay,sothegoalistogetthelatencyaslowaspossiblewithoutgettinganyaudioartifacts.Asastartingpoint,a buffer size of 144 samples should be fine on most modern computers.However,consideringthateachsystemisdifferent;pleaseexperimentwithyoursettingsuntilyougetthebestresult.
2.2.3 Plug Your Guitar
NowthatAmpliTube3isinstalledandyouraudiointerfaceisconfiguredwearereadytomoveforward.
2.2.3.1 Connecting Your Guitar/Bass
PlugyourinstrumentintoaHi-ZInput,InstrumentInput,oraMicrophoneXLRInput(onlyifyouareusinganactiveDIBOXbetweentheguitar1/4”PlugandtheMicXLRinput).
DonotuseRegularLineInputs,-10dBor+4dBInputs,unlessyou’reusinganactiveinstrumentoryouareaddinganactivebufferbetweentheinstru-mentandthelineinput.
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AmpliTube 3
2.2.3.2 Adjusting Your Levels
First of all, check that your instrument volume knob is all the way up…Second,letsanalyzehowyouraudiointerfaceandAmpliTube3interact.
WhenyouareusingAmpliTube3asStandalone,youcanadjust theInputlevelbymovingitsInputGainSlider(figure2.3).
figure2.3
TheGlobal InputLevel isdeterminedby theaudio interfacegainplus theAmpliTube3InputGainvalue.
IncreasetheinputleveluptothepointwheretheclippingLEDstartsblink-ing.Toavoidclipping,adjustyouraudiointerfacegainknobaccordingly.
ThePreset InputLevel isdeterminedbytheAmpliTube3Input levelknob(figure2.4).
TheAmpliTube3OutputleveliscontrolledbytheMasterknob(figure2.5).
TheAudioInterfaceOutputleveliscontrolledbyitsMasterVolume.
Tip:ifwhilebrowsingAmpliTube3presetsyoufindthatallcleansoundsaretooquietandallleadsoundsaretoohigh,thisprobablymeansthatyou’reusingatoolowinputgainonyouraudiointerface.
2.2.3.3 Quality Mode Options
TogetthebestbalancebetweensoundqualityandCPUusage,clickoneachQuality Mode button (located in the Top Header section of AmpliTube 3interface)anddeterminewhichoptionisthebestforyoursystem.
• HI:offersthebestsoundqualityatahigherCPUusage• MID:offersaverygoodsoundqualityatareasonableCPUusage• ECO:offersagoodsoundqualityataverylowCPUusage
figure2.4
figure2.5
figure2.6
2 - Getting started32
AmpliTube 3
2.2.3.4 Tuning
Ifyourinstrumentisoutoftune,youarenotmaximizingAmpliTube3soniccapabilitiessolet’sinvestafewminutes…
1. ClicktheTunerbuttonlocatedintheModule/RigSelector.2. TurnOntheTuner.3. Play one string at a time and check that the Cents indicator is as
closeat0aspossible,bothintheGraphicTunerInterfaceandintheCentsdisplay(figure2.7).
figure2.7
Iftuningyourinstrumentistakingmorethanafewminutes,maybeistimetochangeyourstringsand/orcalibrateyourguitar/bass…
2.2.4 Hands-on Examples
2.2.4.1 Loading a Preset
To taste AmpliTube 3 “sonic flavors” play one of your favorite songs, andselect different presets from the Preset Selector (figure 2.8). Even better,playariffoverandoverandchangethepresetsviatheUp/Downarrows…
figure2.8
Ifyouwanttosearchpresetsbykeywords,attributes,orapplyfilterstoyoursearch,clickPresetBrowserandenjoyitssmartengine.
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AmpliTube 3
2.2.4.2 Selecting Amps
ToexploredifferentAmpModels,clickAmpAandchangethePreAmp,EQ,andAmpModelsusingtheUp/Downarrows(figure2.9).Youcanalsoadjusteachcontrolsettingtogetthatultimatetone.
figure2.9
2.2.4.3 Choosing the Cabinet
Doyouwanttolistenanincrediblerotaryspeakersimulation?Noproblem.ClickCabAandselecttheRotary147modelthroughtheCabModelSelector.Doyouhavean“orange”?Yes!Selectthe4x12BritishOrmodelandchangethedistanceandpositionofthemicrophonesbymovingthemverticallyandhorizontally…youcanalsoaddRoomAmbienceandchangethewidthoftheRoommics…(figure2.10).
figure2.10
2 - Getting started34
AmpliTube 3
2.2.4.4 Adding Stomp and Rack Effects
YoucaneasilyaddStompandRackEffects.Toaddastompbox,clickStompAandselectoneofthe51availablemodelsfromtheStompModelSelector(figure2.11).
figure2.11
ToaddaRackEffect,clickRackAandchooseoneofthemodelsincludedintheRackModelSelector(figure2.12).
figure2.12
InAmpliTube3youareabletorearrangetheorderofthestompsandracksmodelsusingthedraganddropfeature.Didyoutryit?
2 - Getting started 35
AmpliTube 3
2.2.5 Four Track Audio Player/Recorder with Speed Trainer
The Four Track Audio Player/Recorder with Speed Trainer is a very usefulnewfeaturebecauseitallowsyouto:
• ImportandplaybackuptofourWav,Aiff,sd2,AppleCaf,Flac,MP3audiofiles• ControlVolume,Pan,Pitch,andTempopertrack• UseAmpliTube3asanEffect-oneinstancepertrack• MaximizeyourresourcesviatheFreezefunction• Setaloop• ChangethePlaybackSpeed• Recordyourideas• PracticewithaDigitalMetronome• Exportaudio,andmuchmore…
2.2.5.1 Import an Audio File
Thereare2waystoimportaudiofiles.
A)ThroughLoad(figure2.13):
figure2.13
1. ClickLoad.2. Selecttheaudiofile/sthatyouwanttoimport.3. ClickOpen/Oketc.Theimportedaudiofileswillbedisplayedinthe
AudioFilesListarea(figure2.14).
figure2.14
4. Selectthetrackinwhichyouwanttomovetheaudiofilebyclickinginitsnumber(figure2.15).
figure2.15
2 - Getting started36
AmpliTube 3
5. DragtheselectedaudiofilefromtheAudioFilesListareaanddropit to theWaveformDisplay(figure2.16). If the track inwhichyouare loading an audio file is empty, the file will be automaticallyloadedonit.
figure2.16
6. Theaudiofilerecentlymovedto theWaveformDisplaywillshowtheassignedtrack#intherightcolumnoftheAudioFileList(T1,T2,etc)(figure2.17).
figure2.17
B)Viathedraganddropfeature.
1. DragtheaudiofilesthatyouwanttoimporttotheAudioFilesListarea.
2. DragtheselectedaudiofilefromtheAudioFilesListareaanddropittotheWaveformDisplay.Ifthetrackinwhichyouareloadinganaudiofileisempty,thefilewillbeautomaticallyloadedonit.
3. Theaudiofilerecentlymovedto theWaveformDisplaywillshowtheassignedtrack#intherightcolumnoftheAudioFileList.
Note:ifthesameaudiofilewas“dropped”indifferenttracks,(e.g.,track1and3),bothnumberswillbeshownin therightcolumnof theAudioFileList(T13)(figure2.18).
figure2.18
Todeleteanaudiofile,dragitfromtheAudioFileListareaanddropitany-whereinyourdesktop.
2 - Getting started 37
AmpliTube 3
2.2.5.2 Waveform Display
TheaudiofilepeakwaveformisdisplayedasanaverageoftheL&Rchan-nels.Thismeansthatyouwillonlyseeonewaveform,evenifyouraudiofileisstereo(figure2.19).
figure2.19
TheZoomIn(+)andZoomOut(-)buttonsarelocatedatthebottomrightoftheWaveformDisplay(figure2.20).
figure2.20
TheHorizontalScrollBarwillallowyoutomovethefilewithinthedisplay(figure2.21).ClickitandmoveittothedesiredpositionorusetheLeft/Rightarrows(figure2.22).
figure2.21
figure2.22
TocleartheWaveformDisplayclickEmpty(figure2.23).Theaudiofilewillnotbedeleted(itwillremainintheAudioFilesListarea,butwithouttheassignedtack#).
figure2.23
2 - Getting started38
AmpliTube 3
2.2.5.3 Using the Transport Bar
Play/Stop:clickthisbuttontoStart/Stopanaudiofileoruseyourcomputerkeyboardspacebar(figure2.24).
figure2.24
Loop:clickthisbuttontoinserttheStart/EndloopmarkersintheWaveformDisplay(figure2.25).TotrimtheStart/Endlooppoints,holdthemouseontopofeachmarkeranddragthemhorizontally(figure2.26).Toplaybacktheloop,clickPlayorhitthespacebar.
figure2.25
figure2.26
Rec:torecordatrack,clickthetrack’srecordbuttonandthentheTransportbarRecbutton(figure2.27).
figure2.27
A: AUTOrecord.Itallowsyoutobepreparedfortherecordingsession.Itsetstherecordersothatitwillwaitforyoutohitthestringsbeforestartingtheactualrecording(figure2.28).
figure2.28
2 - Getting started 39
AmpliTube 3
Measure Display:itcountsthemeasuresbeingplayed,basedontheselectedTimeSignature(SIGN)(figure2.29).
figure2.29
2.2.5.4 Track Controls Description
1-4:itselectsthetrackthatyouwanttoworkon(figure2.30).Clickontherelatedtracknumberorpress1,2,3,or4inyourcomputerkeyboard.
figure2.30
Input:itallowsyoutoselectinput1,2,orstereo(S).Justclickonittoscrollthrough the 1, 2, and Stereo options (figure 2.31). By default, Input 1 isassignedtoTrack1.
figure2.31
Rec:clickthisbuttontomonitoryourinstrumentandtorec-armthetrack.(figure2.32)Bydefault,RecisenabledinTrack1,soyouareabletomonitoryourinstrumentassoonasyoulaunchAmpliTube3.
figure2.32
Note:theRecArmbuttonwillbeautomaticallydisabledwhenanaudiofileisdraggedtotheselectedtrack.
2 - Getting started40
AmpliTube 3
Solo:itallowsyoutolistenonlythattrack,andautomaticallymutestherest(figure2.33).
figure2.33
Mute:itallowsyoutolistenallthetracksexcepttheonethatyouaremuting(figure2.34).
figure2.34
Volume:movingtheslidertotherightincreasethevolumeandviceversa(figure2.35).
figure2.35
Pan:itallowsyoutopanthattracktotheLeft,Center,Right,andeverythinginbetween(figure2.36).
figure2.36
Pitch:itallowsyoutoshiftthepitchupordownwithoutchangingthetempo(figure2.37).
figure2.37
2 - Getting started 41
AmpliTube 3
Tempo:itallowsyoutospeeduporslowdownthetempowithoutchangingthepitch(figure2.38).
figure2.38
Link:thisbutton(onbydefault)makesanychangesyouhavemadeontheTemposlidertobeappliedequallytoall4tracks.Ifyouwanttohaveadif-ferentTemposettingineachtrack,justuncheckthisoption(figure2.39).
figure2.39
2.2.5.5 Playback Speed
Toquicklychangetheplaybackspeedofallthefourtracksclick1/2x,1x,or2x.(figure2.40)
figure2.40
• 1/2x:halfspeed• 1x:normalspeed• 2x:doublespeed
2 - Getting started42
AmpliTube 3
2.2.5.6 Recording
Thereare2easywaystorecordinTrack1(selectedandenabledbydefault):
A)RecordingusingtheAUTObutton:
1. ClickA(figure2.41).
figure2.41
2. SelectorcreateanewfoldertosaveyourrecordingsandclickOK(figure2.42).
3. Whenyouareready,startplaying.Therecordingsessionwillbeginautomatically.
4. ClicktheStopbuttontostoprecording.
Note: the recordingdestination folderhas tobeselectedonly for the firsttimearecordingisstartedinthesession.
B)Recordingmanually:
1. ClicktheRecbuttonlocatedintheTransportbar(figure2.43).
figure2.43
2. SelectorcreateanewfoldertosaveyourrecordingsandclickOK.3. Startplaying.4. ClicktheStopbuttontostoprecording.
Note: the recordingdestination folderhas tobeselectedonly for the firsttimearecordingisstartedinthesession.
Ifyouwanttorecordinanyoftheothertracks,addthesetwostepsbeforetheinstructionsprovidedabove:
• Selectthetrackinwhichyouwanttorecord.• Clickitsrecordbutton.
AndthencontinuewiththeAorBinstructions.
figure2.42
2 - Getting started 43
AmpliTube 3
Now that you’ve recorded a couple of licks, let’s learn how to work withaudiofiles.
Ifyouwantto:
Findtheaudiofilethatyou’vejustrecorded,checktheAudioFilesList.Alltakesarenumberedconsecutively.
Removethecurrenttake,dragthefilefromtheAudioFilesListanddropitanywhereinthedesktop.
Note: if you want to actually delete the recorded audio file from the harddiskyouneedtofinditinsidetheselectedrecordingdestinationfolderanddeleteitmanually.OnlyremovingtheaudiorecordingfromtheAmpliTube3AudioFileslistdoesnotactuallydeleteitfromtheharddisk.
Freeupthetrackfromtheaudiofileitcontains,clickEmpty.
2 - Getting started44
AmpliTube 3
2.2.5.7 Adding Effects
Think AmpliTube 3 as a plug-in processor. You can add one AmpliTube 3instanceper trackvia theAmpliTubebutton.Thismeans thatyoucanusetheentireAmpliTube3oranyofitsmodules(Stomp,Amp,CabandRack)toprocessyouraudiofiles.
Track 1 isautomatically loadedwithAmpliTube3when theapplication isstarted.ThisistoavoidyouhavingtomanuallyloadAmpliTube3eachtimewhenyouplayliveusinganyoftheIKMultimediahardwareinterfaces,likeStompIOorStealthPedal.
ToactivateAmpliTube3asaplug-inprocessorinTrack2:
1. SelectTrack2byclickingonitsnumber(figure2.44).
figure2.44
2 - Getting started 45
AmpliTube 3
2. ClicktheAmpliTubebutton,anewAmpliTube3instancewillopen(figure2.45).Todeactivateit,clickAmpliTubeagain.
figure2.45
3. To monitor the track with AmpliTube 3 added as effect, click theOnicon(default).Tobypasstheeffect,clickOnagain(figure2.46).
figure2.46
SelectTrack1andthenTrack2tovisualizeandcomparethesettingsofeachAmpliTube3instance.
2 - Getting started46
AmpliTube 3
2.2.5.8 Managing Your Resources
To optimize your system performance, only Track 1 has the Effect featureenabledbydefault.
TopreserveyourCPUusage,werecommendfollowingtheseguidelines:
Freezeallthetracksthatyouarenotworkingon:Select the track that you are not working and click the Freeze icon(figure2.47).
figure2.47
Anaudiofilewillbecreatedandplacedinyourrecordingdestinationfolder(figure2.48).
DeactivateAmpliTubeinthetracksthatyouarenotworkingon:SelecttherelatedtracksandclicktheAmpliTubebutton.Theinterfacewilldisappear.
Usewhatyouneed:Forexample,ifyouwanttoaddalittlebitofambiencetoyoursound,youcouldusetheDigitalReverbRackforexample,soyouwillprobablydon’tneedtheentireAmpliTube3…justbypassthemodulesthatyouarenotusing.SelecttheStomp,Amp,orxmoduleviatheModule/Rigfigure2.48
2 - Getting started 47
AmpliTube 3
SelectorandclickBypass.
UsetheQualityModethatyouneedforthecurrenttask:IfyouarepracticingscalesyoudonotneedtheHiQualityModewith12Stomps,RoomAmbience,and4Racks…However,ifyouaremonitoringdifferentmicmodels,positions,andblendingoptionswithheadphones,youmayneedit.Yougetthepoint.
2.2.5.9 Master Volume
Afteryou’vemadearawmixofyourband’sdemo,youmaywanttocontrolthe volume of the entire Four Track Audio Player/Recorder via its Masterslider(figure2.49).
figure2.49
2.2.5.10 Export
Click Export to export audio files (figure 2.50). Select the settings in theExportFilewindowandbrowseyourrecordingdestinationfolder.ClickSaveintheSaveaswindowandOKintheExportFilewindow.
figure2.50
2 - Getting started48
AmpliTube 3
2.2.5.11 Using the Metronome
TheMetronomehas5controls(figure2.51).
figure2.51
Metronome:clickthisbuttonenables/disabletheMetronome(figure2.52).
figure2.52
Sound:clickheretoselectyourMetronome’ssoundandtheAccentoption(figure2.53).
figure2.53
BPM:allowsyoutochangethemetronome’stempo(figure2.54).ClickandholdtheBPMvalue.Movingthepointerupwillincreasethevalueandviceversa.YoucanalsosetyourtempobyTAPPING.Todothat,presstheTkeyonyourcomputerkeyboardatleast4times.
figure2.54
2 - Getting started 49
AmpliTube 3
Time Signature (Sign): todeterminehowmanybeatsarepermeasure,clickandmovethepointerup/downontopofthetopnumber.Todeterminewhatkindofnotevalueconstitutesabeat,clickandmoveup/downthepointerontopofthebottomnumber.Thenumbers3/4,forinstance,meanthreebeatspermeasurewithaquarternotegettingonebeat(figure2.55).
figure2.55
Volume:itallowsyoutochangetheMetronome’sclickvolume(figure2.56).
figure2.56
2.2.5.12 Saving and Loading Your AmpliTube 3 Project Files
ThroughtheFilemenu,AmpliTube3(StandaloneMode)allowsyoutocre-ate,open,save,andsaveasProjects(figure2.57).
AProjectfileincludesalltheinformationanddataincludedinthatparticu-larproject,frompresets,individualcontrolsettings,totheaudiofilesusedintheFourTrackAudioPlayer/Recorder,etc.
Once your AmpliTube 3 project is finished you can save it by pressingCommand-S(onMac)orCTRL-SonWindows.Alternativelyyoucanselect“Save”fromthe“File”menu.ASavedialogwillappearallowingyoutoenteryourprojectname,andtoselectthedestinationfolder.
Toopenthisproject later, justdoubleclickonthefileyouhavepreviouslysaved and AmpliTube 3 will open it automatically. Alternatively you canselect“Load”fromthe“File”menuandlocatethefileyouhavepreviouslysaved.
Ifyou’realreadyworkingonapreviously loadedAmpliTube3projectandjust want to save a variation of it just select “Save As…” from the “File”menu,typeanewnamefortheprojectandselectadestinationfolder.
figure2.57
2 - Getting started50
AmpliTube 3
2.2.5.13 Project Sample Rate
ForproperresultstheAmpliTube3ProjectsampleratemustmatchtheonesetonyourAudioInterface.
AmpliTube3automaticallysetstheAudioInterfacesamplerateforyou,soinmostcasestherecan’tbeamismatch.Butincaseyouhearimportedaudiofiles playing at wrong speed first thing to check is Sample Rate on yourAudioInterface,andsettheAmpliTube3oneaccordingly.
TosettheAmpliTube3ProjectSampleRatejustselect“ProjectProperties”from“File”menuandsettheSampleRateyouneed.
2.2.6 Status Bar
The Status Bar includes the MIDI In check box, the Input Gain slider, andtheCPULoaddisplay(figure2.58).FormoreinformationaboutMIDIIn,see Chapter 15, “Control”.
figure2.58
2.3 Plug-In Mode
AmpliTube 3 works as a plug-in inside the most common DAW such asPro Tools, Cubase, Logic Studio, Live, Sonar, Digital Performer, Nuendo,Garageband,AcidPro,Audition,Mainstage,andothers...Inshort,AmpliTube3 works in any DAW that supports the following plug-in formats: AudioUnits,VST,RTAS(MacOSX)–VST,RTAS(Windows).
Considering that DAWs are in constant update, please refer to their UserManualstolearnhowtoinsertAmpliTube3asaplug-in.
3 - Input/Output Bar 51
AmpliTube 3
Chapter 3 Input/Output Bar
3.1 Input/Output Bar
The Input/Output Bar includes a noise gate, tuner and value displays,volume,pan,phaseandmixcontrolsandofcourse,inputandoutputlevelsections.Youcancheckimportantinformationaboutyourproduct,custom-izeyourpreferences,connecttotheUserArea,andopentheMIDI,Auto,andCtrlpanels…
3.2 Input Section
TheInputsectionincludestheInputknobanditsmeter(figure3.1).
figure3.1
3.2.1 Input Knob
TheInputknobcontrolsthePresetInputLevel.
3.2.2 Input Level Meter
TheInputLevelMetershowsyoutheinputlevelthrougha3colorreference;green,yellow,andred.Avoidred…
3.3 IK Controller Selector
TocontrolAmpliTube3instandaloneorplug-inmodeandtakefulladvan-tage of its capabilities, IK Multimedia recommends using the StompIO orStealthPedalcontrollers.
To understand how the IK Controller selector works, let’s analyze thesescenarios;
• If you launch AmpliTube 3 after you’ve connected and powered onyour StompIO or StealthPedal, the application will automaticallyrecognizeyourcontroller,sonosetupneeded.
• IfyoulaunchAmpliTube3beforeyou’veconnectedandpoweredonyourStompIOorStealthPedal,manuallyselectwhichcontrolleryou
3 - Input/Output Bar52
AmpliTube 3
areusingviatheIKControllerselectorandenableitviatheOnbut-ton(figure3.2.)
figure3.2
3.3.1 Using the StompIO/StealthPedal to Control AmpliTube 3
TheStompIOandStealthPedalareabletocontroloneinstanceofAmpliTube3atatime.SoifyouhavetwoAmpliTube3instancesopenedinProTools(one inserted in the Lead Guitar track, and the other one in the RhythmicGuitartrackforexample),clicktheOnbuttonintheAmpliTube3 instancethatyouwanttocontrolfirst,e.g.,LeadGuitartrack,andthenclicktheOnbuttonintheAmpliTube3instanceinsertedintheRhythmicGuitartrack.
Ontheotherhand,ifyouareusingAmpliTube3Standalone,andyouwanttocontroltheAmpliTube3instancethatyouaddedaseffectinTrack2,clicktheOnbutton.
Inshort,
• If you have only one AmpliTube 3 instance opened, the On buttonenables/disablestheStompIOorStealthPedalcontrollers.
• Ifyouhave2ormoreAmpliTube3instancesopened,theOnbuttonwillallowyoutochoosewhichinstancetocontrol.
For more information about StompIO and StealthPedal, please read theirrelatedUserManuals.
3.4 Selected Module
The Selected Module section includes the Pan, Volume, Phase, and Mixcontrols(figure3.3).
figure3.3
3 - Input/Output Bar 53
AmpliTube 3
3.4.1 Pan
ThePancontrolallowsyoutoadjustthepanpositionoftheCabandRackmodules.Usually,thiscontrolshouldbekeptatitsdefaultposition(center)(figure3.4).
figure3.4
3.4.2 Volume
TheVolumecontrolallowsyoutofine-tunetheoutputlevelofeachmodule(figure3.5).
figure3.5
3.4.3 Phase
ThePhasecontrolallowsyoutodelaytheDirectsignalortheCabModulesignal(figure3.6).
figure3.6
• TodelaytheDirectsignal,adjustthePhaseControltonegativevalues(Left).
• To delay the Cabinet signal, adjust the Phase Control to positivevalues(Right).
For example, you can use the Phase control with dual Cabinets setups tocreate stereo sounds by delaying one Cabinet (adjust the Phase Controltopositivevalues)byafewmillisecondsinrespectoftheotherone.Also,youcanuse thiscontrol toexperimentwithdelaybetweentheDirectandCabinetsoundsonbasssounds.
ThePhasecontrolisnormallysetatzero(center)consideringthatcouldbeapositiveornegativevalue,andhastobeusedinconjunctionwiththeMixcontrol.
3 - Input/Output Bar54
AmpliTube 3
3.4.4 Mix
TheMixcontrolisnormallysetatzeroasitmixesthesignalcapturedbytheCabmodelmicrophonewiththedirectsignaltakenfromtheStompsoutput.Thisisusefulwithbassamps,tomixthedirectsignalwiththecabinetone,butitcouldalsobeusedwithcertainkindofguitarsounds(figure3.7).
figure3.7
Note:thiscontrolhastobeusedinconjunctionwiththePhasecontrol.
Thefollowingtableshowsyouwhichcontrolisimplementedineachmodule.
3.4.5 Implementation Table
AmpliTube 3 ModulesSelected Modules Control
Tuner Stomp Amp Cab Rack
Pan – – – √ √Volume √ √ √ √ √Phase – – – √ –Mix – – – √ –
3.5 Using Noise Gate
TheNoiseGateallowsyou tominimize theamountofunnecessarynoise,especiallyifyouareusinghighgain(figure3.8).
figure3.8
3.5.1 Threshold
Itsetsthethresholdlevelforthesignal.Whenthesignaldropsbelowtheset threshold level, the noise gate silences the signal. Usually, keep the
3 - Input/Output Bar 55
AmpliTube 3
thresholdlevelatthelowestpossiblevalue(fullycounterclockwise)andsetithigheronlywhenyouneedtoactivatethegate(figure3.9).
figure3.9
3.5.2 Release
Itsetsthegatereleasetime.Highervalueswillresult inagatethattakesalongeramountoftimetocloseagain,whentheinputsignaldropsbelowthethreshold(figure3.10).
figure3.10
3.5.3 Depth
Thiscontroldetermineshowmuchthesignal isattenuatedwhenthegatecloses,from-20dBto-100dB.
Default is-60dB,whichisastrongattenuationthatusuallyworksfine inmost cases. If you need to add more attenuation, increase this parameter(figure3.11).
figure3.11
3.6 Tuner Display
TheTunerDisplayallowsyoutodoaquickcheckofyourtuningwhileyouareworkinginanymodule. JustclickOn,playastring,andcheckthatthemarkerisexactlyinthemiddle(figure3.12).
figure3.12
3 - Input/Output Bar56
AmpliTube 3
3.7 Selected Parameter Display
When you adjust a Stomp, Amp, Cab or Rack parameter, or change thesettings of the Input/Output bar controls, the actual value (and if applies,its relatedunitofmeasurement)willbeshown in theSelectedParameterDisplay.Forexample,ifyouincreasetheAmpmodulelevel,adB(Decibel)abbreviationwillappearnexttothevalue(figure3.13).
figure3.13
3.8 Master Section
The Master Section includes the Master knob and the Output Level Meter(figure3.14).
figure3.14
3.8.1 Master Knob
TheMasterknobcontrolstheAmpliTube3Outputlevel.
3.8.2 Output Level Meter
The Output Level Meter shows you the output level and an overload lightthatworksasaclippingindicator.
Theclippingindicatorshouldneverlightup.Ifitdoes,you’reprobablyclip-pingyoursignaldigitally,andasaresult,degradingthesoundquality.ThissituationcanbefixedbyreducingtheMasterlevelsothattheoutputmastersignalstaysslightlybelowtheclippinglevel.
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AmpliTube 3
3.9 Program Information, Preferences and More
3.9.1 Lock
IfyouarerunningAmpliTube3indemomodeandyouclicktheLockbutton(figure3.15),theAuthorizationManagerwillappear.
figure3.15
However,ifyou’vealreadyregisteredandauthorizedyourproduct,clickingontheLockbuttonwillshowyoutheproductSerialNumber(figure3.16).
figure3.16
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AmpliTube 3
3.9.2 Preferences (Prefs)
Use the new Quality Mode feature to automatically optimize your system(figure3.17).
figure3.17
However, if you want to manually change AmpliTube 3 preferences, clickPrefs(figure3.18)andenable/disablethefollowingoptions(figure3.19):
figure3.18
figure3.19
3 - Input/Output Bar 59
AmpliTube 3
Stomps, Pre and Amp Oversampling:
Enablingoversamplingimprovesthesoundqualitysignificantlywhenthesignalisheavilydistorted.However,itwillincreaseyourCPUload.Ifyouusehighgainsounds,wesuggestenablingthePreOversamplingoption.
Oversampling is enabled by default on Stomps, Preamps and PowerampswhenAmpliTube3issettoHiquality.
TIP:youcandisableOversamplingwhenworkingonasessioninreal-timeandactivateitjustbeforebouncingthefinalmix.
High Resolution(enabledbydefault):
Enabling “High Resolution” will improve the dynamic and musicalresponseofthepoweramplifiers,buttheCPUusagewillbesomewhathigher.PleasedisableHighResolutiononlyifyourcomputerdoesnothavesufficientCPUpowerforthecurrentsession.
“HighResolution”makesadeeperandmoresophisticatedusageofIKMultimedia proprietary DSM technology, which on some amps resultin slightly more compression and stronger/more real saturation ofvariousampsstages.Thismeans that incertaincasesenabling“HighResolution”mightresultinaslightdecreaseoftheaudiolevel,asarealampdoeswhenitstartscompressingandsaturatingincomparisonwitha“theoretical”amp,butontheothersidetherealism,musicality,andqualitywillgreatlybeenhanced.
Amps Reverb:
Real Spring: (enabled by default when AmpliTube 3 is set in Hi qualitymode).WhenthisisenabledAmplifierswithbuilt-inreverbwillusearealspringreverbmodel,directlytakenfromeachamplifiermodel.Thisisthemostrealisticoption,andeachAmplifierwillhaveitsownsignaturereverb.
Digital: when this is enabled, Amplifiers with built-in reverb will use adigitalalgorithmicemulationofaspringreverb.Thisoption,stillsoundinggreat,isalessrealisticalternativeandwillalsosoundthesameonallamps.
Room:
Real Ambience: (enabled by default when AmpliTube 3 is set in Hiqualitymode).AmpliTube3willuse impulse response (basedon realrooms and spaces) to achieve maximum realism and deepness fromthe ambience you’re adding to your sound. This will take a little bitmoreCPUpowerthantheDigitaloption,butitwillallowyoutochoosebetween different types of spaces and ambiences delivering an out-standingsound.
Digital:AmpliTube3willuseahigh-qualitydigitalreverberationalgo-
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AmpliTube 3
rithmtogeneratetheambienceyou’readdingtoyoursound.ThiswilltakelessCPUpowerthantheRealAmbienceoption,butyouwillnotbeabletoselectdifferentspaces.
Cabinet Resolution:
High: offers the best sound quality at a slightly higher CPU usage(enabledbydefaultwhenAmpliTube3issetinHiqualitymode).Alwaysuse this setting when it is possible. This will deliver the best qualityfromtheAmpliTube3speakers.
Mid:offersaverygoodsoundqualityatareasonableCPUusage.
Low:offersagoodsoundqualityataverylowCPUusage.Thisoptionhas to be used only when you really need to save CPU power as therealism and musicality of the speakers is not really expressed at itsmaximumpotentialunderthissetting.Also,thissettingshouldnotbeusedonbasscabinetsasthelowfrequencyextensioncouldbeexces-sivelylimited.
Cabinet Global Bypass:
ThisbypassestheCabmoduleglobally,onallpresets,independentlyfromwhateachpresethassetupontheCabinetmodule.
ThisisusefulwhenyouplaylivewithAmpliTube3butareusinganexternalrealguitarcabinet.Inthiscase,itisveryhelpfulbeingabletodisabletheCabmoduleonallyourexistingpresetswithouthavingtoeditallofthemonebyone.
Tempo Source:
ThisoptionallowsyoutoselecttheTemposource.
Host/Global(enabledbydefault):
TheBPMSyncTemposourceistheHostApplicationTempo,(thetempooftheapplicationintowhichAmpliTube3isinsertedasaplug-in).
WhenyouuseAmpliTube3asstandalone,thedefaultGlobaltempois120BPM,anditcanbesettodifferentvaluesonthemetronome“BPM”value(figure3.20).
figure3.20
3 - Input/Output Bar 61
AmpliTube 3
The Host/Global BPM value is displayed in the BPM display in gray(figure3.21).
figure3.21
Thetempocanbeoverriddenbyclicking(tapping)thetempoontheTAPbutton.Tapatleast4times(figure3.22).
figure3.22
Preset:
TheBPMSyncTemposourceisthevaluesavedwiththePreset.
ThePresetBPMvalueisdisplayedintheBPMdisplayinorange(figure3.23).
figure3.23
TosaveaBPMvaluetoaparticularPreset,clickPreferences>enablethePresetoption>andclickOk.IntheBPMdisplay,clicktheBPMvalue,deleteit,typeanewone,andclickSave.
Thetempocanbeoverriddenbyclicking(tapping)thetempoontheTAPbutton.Tapatleast4times(figure3.24).
figure3.24
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AmpliTube 3
3.9.3 Information (Info)
ToopentheInformationpage,clickInfo(figure3.25).
figure3.25
Youwillfindtheproductname,itsversionnumber(veryimportantfortechnicalsupportrequests),andtherelatedtrademarksandcopyrightnotes(figure3.26).
figure3.26
3.9.4 User Area
Click on this button to open the IK Multimedia User Area webpage (figure3.27).Thisisanothercoolfeatureconsideringthatfromthere,youwillbeabletodownloadthelatestupdates,search,download,anduploadpresets,etc.
figure3.27
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AmpliTube 3
3.10 MIDI Control, Automation, and Controllers
3.10.1 MIDI
ClickMIDItoopenthenewMIDIControlPanel(figure3.28).
figure3.28
Formoreinformation,see Chapter 14, “MIDI”.
3.10.2 Automation (Auto)
ClickAutotoopentheAutomationPanel(figure3.29).
figure3.29
Formoreinformation,see Chapter 13, “Automation”.
3.10.3 Control (Ctrl)
ClickCtrltoopentheStealthPedalControlPanel(figure3.30).
figure3.30
Formoreinformation,see Chapter 15, “Control”.
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4 - Module/Rig Selector 65
AmpliTube 3
Chapter 4 Module/Rig Selector
TheModule/RigSelector(figure4.1)allowsyouto:
figure4.1
• Selectthemodulethatyouwanttouse(Tuner,Stomp,Amp,Cab,orRack).• Bypassand/orMuteeachmodule.• SelecttheInputType(MonoIn/StereoIn).• ChooseaSignalPathPreset(1-8).
4.1 Dual Rig Signal Path
AmpliTube3providestwodiscretesignalpaths;eachonecontainingStompbox,Amp,Cab,andRackmodules.Throughtheeightavailablepresets,thesetwosignalpathscanbeconfiguredinmultiplevariationsallowingatremen-dousamountofflexibility.Thisisaveryimportantfeaturebecauseitallowsyoutorouteyourguitarsignaltomultipleamplifiersorcabinets;createtwoseparatesixstomppedalsetupsorcreateonebigtwelvepedalsetup.
4.1.1 Signal Path Presets
To change the signal path of your guitar rig, click each of the Signal PathPresets’buttons(figure4.2).
figure4.2
Belowabriefdescriptionofeachpreset:
1. Allstompeffectsandrackeffectsintooneamprig.2. Twoseparateampsetups.3. Allstompeffectsandrackeffectsintooneamprigwithbothcabinets.4. Allstompeffectsandrackeffectsintobothamprigs.5. Twoseparatestompeffectssetupsintooneampwithtwocabinet
setups.6. Twoseparateampsetupswithseparatestompsintotwoindepen-
dentrackeffects.7. Twoseparatestompeffectssetupsintotwoseparateamprigsinto
alltherackeffects.8. Twoseparatestompeffectssetupsintooneampsetupwithallthe
rackeffects.
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AmpliTube 3
4.1.2 Stereo IN
Wehaveimplementedanewfullstereosignalpaththatallowsto:
• UseAmpliTube3ontwoinstrumentssimultaneously,eachonewiththeirownrig.
• UseAmpliTube3asatruestereomulti-effectsunitoneveryinstru-mentinyourDAWsession.
• AddAmpliTube3effectstoyourstereorecordingofdrums,keyboardsandmore.
Select theSignalPathPresets#2or6,andclick theInputTypebuttontochangefromMonoIntoStereoIn(figure4.3).
figure4.3
4.2 Selecting Modules
ToselectanAmpliTube3module,clickontherelatedbutton(Tuner,StompA/B,AmpA/B,CabA/B,andRackA/B)(figure4.4).
figure4.4
The selected module will be displayed in the Module Interface section(figure4.5).
figure4.5
4 - Module/Rig Selector 67
AmpliTube 3
ToBypassand/orMuteaspecificmodule,selectitandclickBypassand/orMute(figure4.6).
figure4.6
4 - Module/Rig Selector68
AmpliTube 3
5 - Presets and Patches 69
AmpliTube 3
Chapter 5 Presets and Patches
5.1 What is the difference between a Preset and a Patch?
APresetcontainsalloftheinformationforthemodelsselected,thesettingsforthosemodelsandthesignalchainthatlinksthemtogether.Presetshavenames(forexample,’60BritCrunch).
A Patch is the combination of a preset and its external controller settings(suchas master volume, amp gain, delay level, etc.). The new Patchmodeshows4,000memorylocationswhereyoucanstorepatches.Patcheshavenumbers(forexample,200A)ANDnames.Thisisbecausethenameoftheassociatedpresetcontainedinsideeachpatchcanalsobethoughtofasthenameofthepatchsincethepresetcontainedinsideapatchisauniquepre-setthatisonlyassociatedwiththatpatchandisnottiedtoanyotherpresetin AmpliTube. Once you save a preset into a patch, the preset becomes apartofthepatchandmaybeeditedindependentlyofthepresetfromwhichitcame.
For more information on Presets and Patches, please see the addendum, “What’s New in AmpliTube 3.5”.
5 - Presets and Patches70
AmpliTube 3
6 - Tuner Module 71
AmpliTube 3
Chapter 6 Tuner Module
The Tuner is the first module. On the Module/Rig Selector, click Tuner toopenitsinterface(figure6.1).
figure6.1
Consideringthatthisisafullyautomaticchromatictuner,thereisnoneedtomanuallyselectthenoteyouaregoingtotune.Thetunerwillautomaticallydetectandshowwhichnoteyou’replaying.
6.1 On/Off Switch
ThisswitchturnstheTunerModuleOn/Off(figure6.2).
figure6.2
6 - Tuner Module72
AmpliTube 3
6.2 Mute
TheMuteswitchallowsyoutosilencetheguitarsignalwhiletuning,averyusefulfeatureforliveperformance(figure6.3).
figure6.3
Note:theOn/OffandMuteswitchesarelinkedtotheBypassandMutebut-tonslocatedintheModule/RigSelector.
6.3 Tune
TheTuneDisplayshowsthetuningreferencebeingused.Thedefaultrefer-enceis440Hzbutitcouldbechanged(from425Hzto455Hz)byclickingonthedisplay.Whenthepointerappears,usethebackspacekeyandcursorcontrolkeysonyourcomputerkeyboardtoeditthevalue(figure6.4).
figure6.4
6.4 Graphical Tuner Interface
AmpliTube3’sGraphicalTunerInterfaceisbasedonahigh-endrackmounttunerandallowsyoutotuneyourinstrumentfastandaccurately(figure6.5).
figure6.5
6 - Tuner Module 73
AmpliTube 3
6.5 Tune Display
Itshowsthedetectednotename,e.g.,A,B,etc.(figure6.6).Thisisalsovis-iblefromtheInput/Outputbar.
figure6.6
6.6 Cents Display
Itshowshowmanycentsyouareup(+)ordown(-)inrelationtothenotethatyouaretuning.(figure6.7)
figure6.6
Note:inmusic,acentis1/100ofasemitone.Centsareaconvenientwayofdescribingsmallincrementsofpitch.
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AmpliTube 3
7 - Stomp Module 75
AmpliTube 3
Chapter 7 Stomp Module (Stomp Box Effects)
7.1 Selection and Navigation Options
ThesecondmoduleinAmpliTube3istheStompmodule.
ToaccesstheStompmodule,clicktheStompbuttonlocatedontheModuleSelector(figure7.1).
figure7.1
TheStompmoduleflexibilityallowsyoutofreelyconfiguresixstomppedaleffectsatatime.Infact,youcanusetheStompmoduleastwoindependentsix pedal stomp setups (figure 7.2) or as one twelve pedal stomp setup(figure7.3). Justselectoneof theeightsignalpathpresets locatedon theModule/RigSelector(figure7.4).
figure7.2
figure7.3
figure7.4
7 - Stomp Module76
AmpliTube 3
Thesixstompeffectslotsaredisplayedinthemoduleinterfaceas“empty”slotsonawoodenpedalboard(figure7.5).
figure7.5
To select a stomp unit, click on each of the six stomp slots (where it says“Empty”), navigate through each category (Modulation, Delay, etc), andchooseoneofthestompmodels(figure7.6).
figure7.6
Another navigation option is to scroll through the different stomp boxesusingtheUp/Downarrows(figure7.7).
figure7.7
7 - Stomp Module 77
AmpliTube 3
Like the actual gear itself, each stomp effect’s controls are displayed onthestompbox(figure7.8).Enable/DisableeachstompthroughtheOn/Offswitch(figure7.9).WhentheeffectisOntheredLEDislit(figure7.10).
figure7.8 figure7.9 figure7.10
Whenyouadjustarotaryorslidecontrolon thestompbox, thatcontrol’svalueisdisplayedintheSelectedParameterDisplay(figure7.11).
figure7.11
7.2 Drag & Drop feature
Now,youareabletore-arrangetheorderofthestompsusingthedraganddropfeature.Thisoptionallowsyoutoexperimentdifferentconfigurationsandexplorenewsonicterritoriesonthefly…Bytheway,haveyouevertriedtorearrange6-12hardwarestomppedals?
7 - Stomp Module78
AmpliTube 3
7.3 Stomp Models
7.3.1 Delay
7.3.1.1 Delay
Thismodelisbasedonatraditionaldigitaldelaystomppedal(figure7.12).
Controls:
• DELAY: changes the lengthof thedelaybetweeneachecho, from1msto2000ms.
• FBK:changestheamountoftimethattheechorepeats,from0%to100%.
• LEVEL: setstheleveloftheeffected(orwet)sound,from0to10.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.12
7 - Stomp Module 79
AmpliTube 3
7.3.1.2 EchoMan
A model of a classic bucket-brigade analog echo/delay (with modulation)stomppedaleffect(figure7.13).
Controls:
• DELAY:changesthelengthofthedelaybetweeneachecho,from25msto500ms.
• FEEDBACK:changestheamountoftimethattheechorepeats,from0%to100%.
• BLEND:mixestheamountofdrysignalwiththeeffectedsignal,from0%(dry)to100%(effected).
• CH/VIB: sets the amount of Chorus/Vibrato effect added to theeffectedsound,from0%to100%.
• CHORUS VIBRATO:changeswhetherchorusorvibratocanbeaddedtotheeffect.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.13
7 - Stomp Module80
AmpliTube 3
7.3.1.3 TapDelay
Thiscreativedelayeffectunitcanbeusedtocreateinterestingandunusualdelayeffectsthankstothe8totallyindependenttaps.Youcancreategroov-ingrhythmpatternsbycombiningmoretapswithaspecifictimesignature,andyoucanmixthisupwithpsychedelicreversetapeeffectsyouareabletosetforeachtap(figure7.14).
TheTapDelayisactually8delaysinonesingleunit,anditispossibletosettime,timbre,andlevelforeachofthem.Inaddition,youcangloballycontrolwith single knobs parameters for all the 8 taps simultaneously, like time,dry/wetmixandfeedbackamount.
Controls:
• TIME:globallyshiftsthedelaytimeofallthe8taps.Thisisarelativecontrol,whensetatthecenterposition(1x)itdoesnotalterthetimethat has been setup on each Tap, when set to minimum (0.25x) itdividesalltimesbyfourandwhensettomax(4x)itmultiplyalltimesbyfour.Useittogloballychangethedelaytempowithoutchangingtherelationsbetweenalltaps.
• MIX: globally adjust the effect mix between the Dry signal and allthe8delaytaps.
• FEEDBACK: globally adjust the amount of feedback the delay willhave.Whensetatmaximum,thedelaywillbesustainingitself.
• TAP:usethesebuttonstoselectwhichoneamongthe8delaytapsyou’regoingtoeditwithnextcontrols
• LEVEL:setstheaudiolevelfortheselecteddelaytap.• TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Syncswitchposition.
• FILTER:setsthetimbrefortheselecteddelaytap,darkeratminimumandbrighteratmaximum.
• REVERSE:enablethisbuttontotransformtheselecteddelaytapfromnormaltoreverse.Whensettoreverseadelaytapwillsoundlikeareversedtapeloop.
• LINK:enablethisbuttontomakeachangestotheabovementionedparameterstoapplytoallthe8tapsatthesametime.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.14
7 - Stomp Module 81
AmpliTube 3
7.3.2 Distortion
7.3.2.1 BigPig
This effect is modeled after an iconic distortion pedal that has stood thetestoftime.Capableoftonesfromsmoothsustain&compressiontoheavybuzz-saw distortion, this pedal is perfect for all different styles of metal(figure7.15).
Controls:
• VOLUME:controlstheDistortionpedaloutputlevel.Itdoesnotalterthetimbreofthedistortion,unlessanotherdistortingdevicefollow,likeanotherdistortionpedaloranamplifierathighgainorvolume.
• SUSTAIN:controlstheamountofdistortionthepedalgives.• TONE:controlsthetimbreofthedistortionpedal
figure7.15
7 - Stomp Module82
AmpliTube 3
7.3.2.2 Crusher
Thismodelaltersthesoundoftheinputsignalbychangingthesample-rate,cutofffrequencyandbydistortingit.Thiseffectcanproduceveryaggressivedistortedsounds,morenoticeablethanoverdrivestompboxes.TheLowpassfilterisverycreativewhencombinedtohighdistortionlevels(figure7.16).
Controls:
• CUTOFF:controlsthecutofffrequencyofthelowpassfilter.• DECIM: selects the sample-rate-ratio of the processed sound, from
1:1to1:16.• GAIN: sets the amount of signal sent to the effect, therefore the
distortion.Usefulwhencreatingheavilydistortedsounds, from-40dBto+40dB.
• OUT:controlstheoutputvolume,from-40dBto+40dB.
figure7.16
7 - Stomp Module 83
AmpliTube 3
7.3.2.3 Diode Overdrive
Amodelofaclassicoverdrivestompeffect(figure7.17).
Controls:
• TONE:adjustsboostorcutofthehighfrequenciesinthestompeffect,from0to10.
• DIST:setstheamountofdistortionappliedtotheinputsignaloftheeffect,from0to10.
• LEVEL:setstheleveloftheinputfortheeffect,from0to10.
figure7.17
7 - Stomp Module84
AmpliTube 3
7.3.2.4 Distortion
Thiseffectisbasedononeofthemostversatiledistortionboxesevermade.Fromsubtlecrunchtocompletemayhem,thispedalhasbeenusedbycount-lessguitaristsofallstyles(figure7.18).
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alterthetimbreofthedistortion,unlessanotherdistortingdevicefollows,likeanotherdistortionpedaloranamplifierathighgainorvolume.
• DIST:controlstheamountofdistortionthepedalgives.• TONE:controlsthetimbreofthedistortionpedal.
figure7.18
7 - Stomp Module 85
AmpliTube 3
7.3.2.5 Feedback
This effect, modeled after a hard-to-find vintage unit, includes a built-inoscillator for infinite sustain. Hold notes to create amazing synth-likesoundsorboostsolosformorecuttingtone,combinedwithclassicdistortiontimbres(figure7.19).
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alterthetimbreofthedistortion,unlessanotherdistortingdevicefollow,likeanotherdistortionpedaloranamplifierathighgainorvolume.
• TONE:controlsthetimbreofthedistortionpedal.• DIST:controlstheamountofdistortionthepedalgives.• OVERTONE:controlstheoctaveforthefeedbackeffect.• FBKbutton:pressthisbuttontoactivatethefeedback.
Notes:• WhenthestompisOn,clickingontheFBKbuttonwillmaketheled
flash.• WhenusingStompIO,feedbackwillbeautomaticallyactivatedwhen
distortionisOn,andtheOn/Offbuttonforthispedalisholddownfor1secondormore.
figure7.19
7 - Stomp Module86
AmpliTube 3
7.3.2.6 Metal Distortion
This effect is based on one of the favorite pedals of some of the heaviestbandsofalltime.Thisunitisperfectforextremegainandsustain.Nothingcomparestothispedalforpuredistortionmayhem(figure7.20).
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alterthetimbreofthedistortion,unlessanotherdistortingdevicefollows,likeanotherdistortionpedaloranamplifierathighgainorvolume.
• DIST:controlstheamountofdistortionthepedalgives.• LOW – HIGH:coaxialtonecontrol.• Center knob:controlsHighfrequencies.• External knob:controlsLowfrequencies.• MID – MIDFREQ:coaxialparametricmidtonecontrol.• Center knob:controlsMidslevel.• External knob:controlsMidsfrequency.
figure7.20
7 - Stomp Module 87
AmpliTube 3
7.3.2.7 Metal Distortion 2
Thiseffectismodeledafteraclassicfromthe‘80s.Itdeliversdeep,distortedcrunchperfect forheavymetalandhardrock.Longdiscontinued, this isarare vintage find that delivers deep, dark crunch from the ‘70s, ‘80s, andbeyond(figure7.21).
Controls:
• LEVEL: controls the distortion pedal output level. It does not alterthetimbreofthedistortion,unlessanotherdistortingdevicefollows,likeanotherdistortionpedaloranamplifierathighgainorvolume.
• DIST:controlstheamountofdistortionthepedalgives.• COLOR L:controlstheamountofbasstonesonthesound.• COLOR H:controlstheamountofhightonesonthesound.
figure7.21
7 - Stomp Module88
AmpliTube 3
7.3.2.8 Overdrive
Thiseffectisbasedononeofthemostcollectiblepedals.Itisoneofthemostaggressive overdrive pedals ever made. From subtle to over-the-top, thiseffectpushesampsharderwithoutsacrificingclarityandtone(figure7.22).
Controls:
• LEVEL: controls the Overdrive pedal output level. It does not alterthetimbreofthedistortion,unlessanotherdistortingdevicefollows,likeanotherdistortionpedaloranamplifierathighgainorvolume.
• DRIVE:controlstheamountofoverdrivethepedalgives.• TONE:controlsthetimbreoftheoverdrivepedal.
figure7.22
7 - Stomp Module 89
AmpliTube 3
7.3.2.9 OverScream
This is a model of a classic overdrive/distortion pedal which has becomethegotooverdrivepedalforsomeofthemostinfluentialguitarplayersofalltime.Itsbasiccontrolsmakeiteasytodialintheexactsoundyouwant(figure7.23).
Controls:
• DRIVE:increasestheamountofclippinginthedistortioncircuit,from0to10.
• LEVEL:setstheoutputlevelofthepedal,from0to10.• TONE: adjusts boost or cut of high frequencies in the stomp effect,
from0to10.
figure7.23
7 - Stomp Module90
AmpliTube 3
7.3.2.10 PROdrive
Thiseffectismodeledafteroneofthemostversatiledistortionboxesever.Fromsmooth,lightcrunch,toextremeshredsustainandover-the-topgain,thispedalhasbeenaclassiceversinceitsreleaseintheearly‘80s(figure7.24).
Controls:
• DIST:controlstheamountofdistortionthepedalgives.• VOLUME:controlsthePROdrivepedaloutputlevel.Itdoesnotalter
thetimbreofthedistortion.• FILTER:controlsthetimbreofthePROdrivepedal.
figure7.24
7 - Stomp Module 91
AmpliTube 3
7.3.2.11 The Ambass’dor
Thispedalisamodelofabeloved‘80s-eradistortionpedalbyacompanyknownformakingampswithamazingdistortion.Thismodelpacksawholepowerfulampintoasinglestompbox(figure7.25).
Controls:
• GAIN:setstheamountofdistortiongeneratedbythepedal.• BASS:setstheamountoflowfrequenciesinthesound.• MIDDLE:setstheamountofmidrangefrequenciesinthesound.• TREBLE:setstheamountofhighfrequenciesinthesound.• LEVEL:setstheoutputvolumeofthedistortionpedal.
figure7.25
7 - Stomp Module92
AmpliTube 3
7.3.3 Dynamics
7.3.3.1 Compressor
Thiseffectisamodelofaclassichigh-endcompressor.Itiscapableofmildcompressionorintensesignalslamming,anddoesitallwithatremendousamountoffinesse(figure7.26).
Controls:
• COMP:setstheamountofcompression,from0to100.• LEVEL: changes the output level of the compressor, from -15 dB to
+15dB.
figure7.26
7 - Stomp Module 93
AmpliTube 3
7.3.3.2 Dcomp
Thiseffectismodeledafteravintagecompressionstomppedal(figure7.27).
Controls:
• OUTPUT:setstheoutputlevelfortheeffect,from–infto0.0dB.• SENSITIVITY:setsthesensitivityofthecompression,from0to10.
figure7.27
7 - Stomp Module94
AmpliTube 3
7.3.4 EQ
7.3.4.1 7 Band Graphic
Thismodelisaclean,highlyeffective1octavegraphicequalizer,capableoffinetuninganddialinginthatperfecttone.Itisalsoveryusefulwhenyouneedto“push”thesignalforthenextstompboxoramp(figure7.28).
Controls:
• FREQUENCY BAND LEVEL:eachfrequencybandisoneoctaveapartandallowsfor+/-15dBofadjustment.Thecontrolsinclude100Hz,200Hz,400Hz,800Hz,1.6kHz,3.2kHz,6.4kHz.
• LEVEL:setstheoutputlevelofthegraphicEQ,from-15dBto+15dB.
figure7.28
7 - Stomp Module 95
AmpliTube 3
7.3.4.2 10 Band Graphic
IKMultimediaproprietary10BandGraphicEQ.(figure7.29)
Controls:
• BANDS:31,62,125,250,500,1k,2k,4k,8k,16k.Eachbandhas+/-15dBofboost/cut.
• GAIN:thegainsliderboostsorcuttheoveralllevelby+/-15dB.
figure7.29
7 - Stomp Module96
AmpliTube 3
7.3.5 Filter
7.3.5.1 Envelope Filter
Thisstompisanadvancedfiltereffect.Itusestheenvelopeoftheincomingsignal to control a synthesizer style filter. It is capable of sounds rangingfromverysimpleautowaheffects toextremeneverbeforeheardfilteringeffects(figure7.30).
Controls:
• FREQ:setsthecutofffrequencyofthefilter,from40Hzto20,480Hz.• RESO:setstheresonanceofthefilter,from0.30to10.• DEPTH: changes the amount of effect that the envelope has on the
filter,from0%to100%.• MODE:thesecontrolchangethetypeoffilterusedfortheeffect.• 12/24: sets theslopeof the filter,either12dBperoctaveor24dB
peroctave.• HP/BP/LP:sets thetypeof filterbeingused,eitherhighpass,band
pass,orlowpass.
figure7.30
7 - Stomp Module 97
AmpliTube 3
7.3.5.2 LFO Filter
ThiscomplexstompeffectusesanLFOtomodulatethefrequencyofitsfilter.WiththeincludedBPMSyncthisisaveryusefuleffectforcreatinginterest-ing,movingguitarpartswithaminimumamountoftrouble(figure7.31).
Controls:
• FREQ:setsthecutofffrequencyofthefilter,from40Hzto20,480Hz.• RESO:setstheresonanceofthefilter,from0.30to10.• RATE:adjuststhespeedoftheLFO,from0.05Hzto5Hz.• DEPTH: changes the amount of effect that the envelope has on the
filterfrom0%to100%.• MODE:thesecontrolchangethetypeoffilterusedfortheeffect.• 12/24: sets theslopeof the filter,either12dBperoctaveor24dB
peroctave.• HP/BP/LP:sets thetypeof filterbeingused,eitherhighpass,band
pass,orlowpass.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.31
7 - Stomp Module98
AmpliTube 3
7.3.5.3 Rezo
Auniqueeffectthatcanaddsynth-likedronesandsustainingresonancestoyourparts.Makeyourguitarsoundlikeasitarorlikeasynth-dronetocre-atesonicresonancestosingonandcontrolthenoteswithyourcontrollertocreatearpeggiosandstepswhileplaying(figure7.32).
Youhave4resonatingvoicesthatcanbetunedindependentlyfromnoteE0tonoteB7,inhalftonesteps.Forexample,ifyouwanttocreatearesonatingCMajorchord,justsetthefirstthreevoicestoC3,E3andG3.
By moving the All slider you can shift the recently created Chord withoutchangingtheintervalsbetweenthevoices.
YoucansetthedesiredvoicenotebynotenumberorbyfrequencyinHz.
Controls:
• 1-4 SLIDERS:setsthepitchforeachresonatingvoice.• 1-4 VALUE DISPLAY:displayswhichnoteeachvoiceistunedon.• NOTE/FREQUENCY SWITCH:turnOnthisswitchtohavethetuningof
eachvoicedisplayedasanote.TurnthisOfftohavethetuningofeachvoicetobedisplayedasfrequencyinHz.
• ALL:shiftsallresonatingnotesbythesameamountkeepingrelativeintervalsbetweenvoicesidentical.
• RES:setstheamountofresonanceforeachvoice,frommintomax.Whensettomaxthenotewillsustainbyitself,whensettominthevoicewillnotberesonating
• SCALE: the Rezo is setup by default to span over a chromatic scalewhenyousettheresonatingvoices,meaningthatallhalftonesarepossible.Ifyouwanttosetanotherscaleandwanttoremovenotesfromthechromaticscalejustopenthismenuandleaveononlythenotesyouneed.
• FILTER:determinesthebrightnessoftheresonatingvoices,fromdark(lowerpositions)tobright(upperpositions).
• MIX:setstheamountofresonatingnotesyouwanttohear.Whenthecontrol isatminyou’llonlyhear theoriginalsound,when fullyupyou’llonlyheartheeffectedsound.
• OUT:theresonatingnotescanbecomeveryloud.UsethiscontroltoadjusttheoveralloutputleveloftheRezonator.
figure7.32
7 - Stomp Module 99
AmpliTube 3
7.3.5.4 Step Filter
Apowerfulanddeepbeatsynchronizedfiltereffect.YoucanapplyLow/HighandBandpassanalogmodeledfilteringonfreelycustomizablepatternstoaddgrooveandrhythmicpulsingtoyourparts.Ifyouwant,thiseffectcouldmakeyourguitarsandbasspartstosoundlikearhythmicsynth(figure7.33).
Controls:
• CUTOFF:setsthecentercutofffrequencyofthefilter.Thisisthecutofffrequencythefilterwillhavewhenthestepsaresettohalfposition.
• STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodrawacurvewhileholdingthemousewhiledraggingovermultiplesteps.
• RES: sets the center resonance of the filter. This is the resonanceamountthefilterwillhavewhenthestepsaresettohalfposition.
• DEPTH:setshowdeepthefilterismodulatedbythesteps.• HP/BP/LP:setswhichkindoffilterwillbeused:HP:highpass,BP:
bandpass,LP:lowpass.• 12/24:setsthesteepnessofthefilter,12dB/octwillbesofter,24dB/
octwillbesteeper.• DEST:setswhatismodulatedbythestepsbetweenfilterCutoffand/
orfilterResonance.AtfullminimumpositiononlyCutofffrequencyismodulated,atmaxpositiononlyResonanceismodulated.
• DIVISION:setswhattimeintervaleachsteprepresents.• STEPS:setsthenumberofstepsthecyclewillconsistof.• MODE:whensettoFreethecyclewillbecontinuousandwillalways
coverallthestepsthatarespecifiedintheStepsparameter.WhensettoStrikethecyclewillre-starteachtimeachordoranoteisplayed.
• SWING:increasethiscontroltogivetothestepsaswingtypequan-tization.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.figure7.33
7 - Stomp Module100
AmpliTube 3
7.3.5.5 Wah
Thiseffectismodeledaftertheclassicwahpedalusedbymanyofthetopplayersfromthe‘60sand‘70s.Inadditiontothewaheffectitalsofeaturesanautofunction,allowingittobeusedeasilywithoutanexternalcontroller.(figure7.34).
Controls:
• OFF/ON/AUTO:setsthemodeoftheWaheffect,Off,On,orAuto.• WAHWAH:thisdirectlycontrolstheWaheffect,from0%to100%.
figure7.34
7 - Stomp Module 101
AmpliTube 3
7.3.5.6 Wah 10
Thisisafaithfulrenditionofaverysought-afterwahpedal.Basedonamul-tiple feedbackopampcircuit, thepedalmodeledhere isaveryexpressiveanduniquewahpedal(figure7.35).
Controls:
• WAH: sets the position of the wah pedal. It gives a darker soundwhenmovedlower(heelposition)andabrightersoundwhenmovedhigher(toeposition).
• DEPTH: determines how strong the wah effect is. When is set atminimumthewaheffectisbarelynoticeable,butwhenissettomaxtheeffectisverystrong.
• GUITAR/BASS SWITCH: modify the response of the wah to make itmoresuitabletoguitarorbass.
figure7.35
7 - Stomp Module102
AmpliTube 3
7.3.5.7 Wah 46
This effect is based on the most famous Wah-Wah model used by JimiHendrix, which became his signature sound in masterpiece tunes like“Voodoo Child.” Although the original had no auto-Wah features, thisadditionalfunctionalityhasbeenaddedforamoreconvenientusagewhenplayedonacomputer.TheoriginalmodelisconsideredtobeoneofthebestsoundingWah-Wahsofalltime(figure7.36).
Controls:
• OFF/ON/AUTO:setsthemodeoftheWaheffect;Off,On,orAuto.• OFF:turnstheeffectOff,noWaheffect.• ON:thecenterfrequencyoftheWaheffectisonlysetbythepedal.
figure7.36
7 - Stomp Module 103
AmpliTube 3
7.3.5.8 Wah 47
Thiseffect isbasedontheWahpedalusedbythemostinfluentialguitar-istsofthelate‘60sand‘70s.TheAutofunctionallowsyoutousethiseffectwithoutanexternalcontroller(figure7.37).Thisisagreatfeature!
Controls:
• OFF/ON/AUTO:setsthemodeoftheWaheffect,Off,On,orAuto.• WAHWAH:thisdirectlycontrolsthewaheffect,from0%to100%.
figure7.37
7 - Stomp Module104
AmpliTube 3
7.3.6 Fuzz
7.3.6.1 Class Fuzz
Thiseffect isbasedon the fuzzpedal thatcanbeheardon JimiHendrix’searlyrecordings(figure7.38).
Controls:
• VOLUME:setstheoutputvolumeofthestompeffect,from-infto0.0dB.
• DRIVE:setsthefuzzsoundbyincreasingordecreasingtheamountofdistortion,from0to10.
figure7.38
7 - Stomp Module 105
AmpliTube 3
7.3.6.2 Fuzz Age
Thiseffectismodeledafteraclassicgermaniumtransistorfuzzstompeffect.Typicallyusedonleadguitar,thiseffecthasremainedapopulardistortioneffectthroughouttheyears(figure7.39).
Controls:
• VOL:setstheoutputvolumeofthestompeffect,from–inf.to0.0dB.• FUZZ:setsthefuzzleveloftheeffect,from0to10.
figure7.39
7 - Stomp Module106
AmpliTube 3
7.3.6.3 Fuzz Age 2
Thiseffectismodeledafteraclassicgermaniumtransistorfuzzstompeffect.ThiswasthemainfuzzboxthatJimiHendrixused.OftencombinedwithaWah,thiseffectproducedpermanentsustainandendlessdistortion.Itisoneofthemostcollectiblefuzzboxesever(figure7.40).
Typicallyusedonleadguitar,thiseffecthasremainedapopulardistortioneffectthroughouttheyears.
Controls:
• VOL:setstheoutputvolumeofthestompeffect,from–infto0.0dB.• FUZZ:setsthefuzzleveloftheeffect,from0to10.
figure7.40
7 - Stomp Module 107
AmpliTube 3
7.3.6.4 FuzzOne
JimiHendrixbeganusingthisfuzzboxwhileplayinginNewYorkCitybeforefoundingtheExperience.ItssoundscanbeheardintheenormouslypopularRollingStonessong“Satisfaction”(figure7.41).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to0.0dB.
• ATTACK:adjusts thesoundcharacterbyhavingmoreor lessdistor-tion.
figure7.41
7 - Stomp Module108
AmpliTube 3
7.3.6.5 Octa-V
Thiseffectwasfirstusedon“PurpleHaze”and“Fire.”Itisafuzzboxwithfrequency-doublingcircuitry thatproducesasecondnoteanoctaveabovethefundamentalnote(figure7.42).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to0.0dB.
• DRIVE:setstheamountofdistortiontheunitwillproduce,from0to10.Thehigheroctavecanbemoredistinct formediumpositionsofthiscontrol.
figure7.42
7 - Stomp Module 109
AmpliTube 3
7.3.6.6 RightFuzz
Thiseffectismodeledafterahighlysought-after,rarefuzzbox.Itwasoneofthefirstcommerciallyavailableflooreffectunits,makingitsfirstappear-ance in 1966. It doesn’t get any more vintage than this when it comes tostomppedals(figure7.43).
Controls:
• VOLUME:setstheoutputvolumeofthestompeffect,from1to6.• DEPTH:setsthetimbreofthedistortion,from1to6.
figure7.43
7 - Stomp Module110
AmpliTube 3
7.3.6.7 XS Fuzz
Thiseffect ismodeledafter theeffectusedon the title trackof thealbum“AxisBoldasLove.”Theoriginalstompcanalsobeheardonthe“BandofGypsies”andvariousJimiHendrixrecordingspost1968(figure7.44).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to0.0dB.
• DRIVE:setsthedistortionamount,from0to10.
figure7.44
7 - Stomp Module 111
AmpliTube 3
7.3.7 Modulation
7.3.7.1 Analog Flanger
This effect is based on one of the most flexible flangers ever made. Thisunit delivers everything from classic tape flange to over-the-top sweeps,vibratos,chorus,andmore!Perfectforaddingclassicmetal-styleflangetoyourrig(figure7.45).
Controls:
• MANUAL:setsthetimbreoftheflangingeffect.• DEPTH: sets the amount of modulation the LFO will apply to the
flangingeffect.IfDepthiszero,you’llgeta“static”flangingeffect.• RATE: sets thespeedof theLFOmodulation thatwillbeapplied to
theflangingeffect.• RES:setstheresonancetheflangereffectwillproduce.
figure7.45
7 - Stomp Module112
AmpliTube 3
7.3.7.2 Chorus
ThischorusismodeledafteraclassicDigitalChorusstompbox(figure7.46).
Controls:
• RATE:setstherateofthechoruseffect,from0to10.• DEPTH:setstheintensityofthechoruseffect,from0to10.• LEVEL:setstheinputlevelofthestompeffect,rangesfrom0to10.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.46
7 - Stomp Module 113
AmpliTube 3
7.3.7.3 Chorus-1
Amodelofaclassicbucket-brigadeanalogChorus/Vibratounit.ItprovidesbothanalogChorusandanalogVibratoeffects,when inChorusmode themodulationwillbelushandslow,wheninVibratoeffectthemodulationwillbefasterandmorenoticeable(figure7.47).
Controls:
• LEVEL:setstheinputlevel.Rangeisfrom–15dBto+15dB.• CHORUS:setstheintensity(ordepth)oftheChoruseffect,from0to
10.• VIBRATO DEPTH:setstheintensityoftheVibratoeffect,from0to10.• VIBRATO RATE:setstherateoftheVibratoeffect,from0to10.• VIBRATO/CHORUS SWITCH:enablesVibratoorChorusmodes,when
VibratomodeisenabledthecorrespondingLEDwillilluminate.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.47
7 - Stomp Module114
AmpliTube 3
7.3.7.4 Electric Flanger
Thisstompboxisamodelofavintageflanger/filtermatrixusedbymanywell-known guitarists to achieve classic sounds. While it has amazingwarmth,itisalsocapableofveryversatilechorusandsteadycombfiltering/matrixthatcanimprintaveryspecificsonicsignaturetothesound(figure7.48).
Controls:
• RATE:controlsthespeedoftheeffect,fromslowtofast.• RANGE:setsthedeepnessoftheeffect,fromsubtletoverystrong• COLOR:setstheamountoffeedbackintheflangercircuit,delivering
amoreintenseeffectwhensetatmax.• MANUAL:thisisnormallysettothelowerposition,whensetatthe
upperpositionitstopstheLFO.Thismeansthatyoucanusetheeffecttohavestaticresonanceandfiltermatrixeffects.AdjustthetimbreoftheresonanceandfiltersbysettingtheRangeknob,andadjusttheintensityoftheresonancesbysettingtheColorknob.
• ON/OFF:enablesordisablestheeffect.WhentheeffectisontheredLEDislight.
• BPM SYNC:makestherateofthephasingeffecttobesynchronizedwiththeBPMoftheproject.Whenenabled,theRateknobbecomesaselectorthatallowsyoutochoosebetweenvariousmusicalfigures.
figure7.48
7 - Stomp Module 115
AmpliTube 3
7.3.7.5 Flanger
ThisstompboxisamodelofaclassicFlangereffect(figure7.49).
Controls:
• RATE:setstherateoftheFlangereffect,from0to10.• DEPTH:setstheintensityoftheFlanger,from0to10.• FBK:setsadelayfortheFlangertotakeeffect,from0to10.• LEVEL:setstheinputlevelofthestompbox,rangesfrom0to10.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.49
7 - Stomp Module116
AmpliTube 3
7.3.7.6 Metal Flanger
This effect is modeled after one of the best and most musical modulationeffectsever.Aclassicassociationwithaniconic ‘80sguitaristmadepriceseruptsand flooded themarketwithreissues.Still,no flanger ismorerec-ognizable,makingthisperfectforhard-rockandmetaltone(figure7.50).
Controls:
• MANUAL:setsthetimbreoftheflangingeffect.• WIDTH: sets the amount of modulation the LFO will apply to the
flangἀingeffect.IfWidthiszero,you’llgeta“static”flangingeffect.• SPEED:controlstheamountofhightonesonthesound.• REGEN:setstheamountoffeedbacktheinternalflangereffectwill
have.
figure7.50
7 - Stomp Module 117
AmpliTube 3
7.3.7.7 Opto Tremolo
ThismodelisbasedonavintageOpto-Tremoloeffect(figure7.51).
Controls:
• RATE:setstherateoftheFlangereffect,from0to10.• DEPTH:setstheintensityoftheFlanger,from0to10.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.51
7 - Stomp Module118
AmpliTube 3
7.3.7.8 Phaze Nine
Thiseffect isbasedononeof themostpopularphasepedalsofall times.Usedbyawiderangeoffirst-classguitarists,thisunitcouldaddalittlebitofshimmertoyoursolosorgenerateasmooth,wateryeffectwhileplayingchordsandmutedstrumming (figure7.52).Didyou try thePhazeNineonbass,keyboards,orvocals?
Controls:
• SPEED:controlsthephaseLFOrate.
figure7.52
7 - Stomp Module 119
AmpliTube 3
7.3.7.9 Phazer10
AmodelofaclassicanalogmultimodePhaserstompbox(figure7.53).
Controls:
• INTENSITY:selectsoneofthefourdifferentPhasermodes.Fromlefttorighttheperceivedeffectintensitywillincrease.
• SPEED:setsthespeedofthemodulation,from0to10.
figure7.53
7 - Stomp Module120
AmpliTube 3
7.3.7.10 Small Phazer
Thiseffectisamodelofaclassicanalogphaseshifter,capableofarangeofphasereffectsfromgentletooutlandishswirlingeffects.Youmaywonderwhyitiscalled“small”whenyouhearit(figure7.54).
Controls
• RATE:controlsthespeedoftheeffect,fromslowtofast.• COLOR:setittothelowerpositionforamoregentlephasingeffect,
orsetitattheupperpositionforamorepronouncedanddeepphas-ingeffect.
• BPM SYNC:makestherateofthephasingeffecttobesynchronizedwiththeBPMoftheproject.Whenenabledtherateknobbecomesaselectorthatallowstochoosebetweenvariousmusicalfigures.
figure7.54
7 - Stomp Module 121
AmpliTube 3
7.3.7.11 Uni-V
Thiseffectisbasedonanoriginalopticalphaser/chorus.Thiswasachorus/rotating-speakersimulatorthatwasintroducedin1969andusedpredomi-nantlyinliveperformances.Thiscreatedaswirlingeffectquitesimilartothemostfamousrotaryspeakercabinetbutwiththeadditionofspeedcontrol.Thiseffectwasemployedontrackssuchas“HeyBaby(TheLandoftheNewRisingSun),”“EarthBlues,”and“MachineGun”(figure7.55).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to0.0dB.
• INTENSITY:setsthedepthofthemodulation,from0to10.ThesoundisaffectedevenwhentheIntensityknobissettozero.
• RATE:setstherateoftheChorus/Vibratoeffectfrom0to10.TheLFOrateisgoingfromapprox1Hztoapprox8Hz.
• CHORUS/VIBRATO SWITCH: selects the Chorus of Vibrato effect.Default:Chorus.
figure7.55
7 - Stomp Module122
AmpliTube 3
7.3.8 Pitch
7.3.8.1 Harmonator
This effect is a 3 voice digital harmonizer effect. More than just a pitchshifter,thispedalwillcreate3separateharmonyvoiceswithindependentinterval values based on a musical scale. Simply select the scale to use,selectthevoiceandthedesiredpitchandplay.Theharmonizednoteswillbeaccordingtotheselectedscale(figure7.56).
Controls:
• MIX:blendstheharmonizedvoicewiththeoriginalvoice,from0to100.
• KEY-SCALE:controlsthekeyandtypeofscalethatwillbeusedbytheharmonizerasareference.Ifyou’replayingasoloinEmajorsetthistoEMajor.Possiblescalestypesare:Major,Dorian,Phrygian,Lydian,Mixolydian,Minor,andLocrian.
• VOICE:controlsthepropertiesofeachofthe3voicesoftheharmo-nizer.
• LEVEL:independentlyadjuststhelevelofeachofthe3voices.• 1:selectsvoice1forediting.• 2:selectsvoice2forediting.• 3:selectsvoice3forediting.• INTERVAL: changes the interval of the selected voice, from octave
downtooctaveup.
figure7.56
7 - Stomp Module 123
AmpliTube 3
7.3.8.2 Octav
Thisstompeffectismodeledafteraclassicdualvoiceoctavepedal.Itwillproducetwoadditionalsounds,oneandtwooctavesbelowthedirectsignal(figure7.57).
Controls:
• OCT 2:setstheoutputlevelofthesecondoctaveeffect,from–infto0.00dB.
• OCT 1: sets the output level of the first octave effect, from –inf to0.00dB.
• DIRECT LEVEL:setstheoutputlevelofthedirectsignal,from–infto0.00dB.
figure7.57
7 - Stomp Module124
AmpliTube 3
7.3.8.3 Pitch Shifter
This effect shifts the pitch of the incoming signal. This new pitch shiftedsignalisblendedwiththeoriginalsoundtocreateharmonyguitarleadsorothertypesofdualpitcheffects(figure7.58).
Controls:
• COARSE: sets the coarse tuning of the pitch shifter. Measured inintervals,from-24to24.
• FINE:setsthefinetuningofthepitchshifter.Measuredincents,from-50to50.
• LEVEL:setstheoutputlevelofthepitchshiftedsound,from0to10.
figure7.58
7 - Stomp Module 125
AmpliTube 3
7.3.8.4 Wharmonator
Thiseffectismodeledafteroneofthemostextremeeffectsofalltime.Fromclassicshredtothemostaggressivemodernmetal,thiseffectisanessentialpartofanyextremeguitarrig(figure7.59).
Controls:
• HARMknob:setstheharmonicintervalrangeyoucanspanwiththeactionofthepedal.
• BENDknob:setsthebendingrangeyoucanspanwiththeactionofthepedal.
• MODE:setstheWharmonatoroperatingmode.• HARM: this mode gives both original and pitched signal mixed
together,usefultocreateharmonies.• BEND:thismodeonlygivesthepitchedsignal,usefultocreategreat
bendingeffects
figure7.59
7 - Stomp Module126
AmpliTube 3
7.3.9 Other
7.3.9.1 Volume
Thismodelisatraditionalvolumepedal(figure7.60).
Controls:
• MIN:setstheminimumvolumelevelforthepedal,from0to10.• VOLUME: adjusts the volume of the signal passing through it, from
0%to100%.
figure7.60
7 - Stomp Module 127
AmpliTube 3
7.3.9.2 Step Slicer
Add programmed rhythmic parts to your power chords and phrases withthispowerfulandcreativebeatsyncedslicingeffect.Itcanbesetuptocre-ateanythingfromthemostamazingtremolostothemostcomplexrhythmeffectsthatalwaysstayinperfectsyncwiththebeat(figure7.61).
Controls:
• LEVEL: sets the amount of level modulation the steps will give. Atmin position the steps will not have effect, at maximum the rangewillbefull.
• STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodrawacurvewhileholdingthemousewhiledraggingovermultiplesteps.
• RAMP:setsthesteepnessofthelevelchangebetweensteps.Setitatlowerpositionstogetamoregate-likeeffectorsetittohigherposi-tionstogetasmoothereffect.
• DIVISION:setswhattimeintervaleachsteprepresent.• STEPS:setsthenumberofstepsthecyclewillconsistof.• MODE:WhensettoFreethecyclewillbecontinuousandwillalways
coverallthestepsthatarespecifiedintheStepsparameter.WhensettoStrikethecyclewillre-starteachtimeachordoranoteisplayed.
• SWING:increasethiscontroltogivetothestepsaswingtypequan-tization.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
figure7.61
7 - Stomp Module128
AmpliTube 3
7.3.9.3 Swell
Thisisan“autovolume”swellprocessorthatcanautomaticallycreatefan-tastic swell effects while playing without any manual intervention. Use itsubtlytoaddgroovetoyourrhythmpartsoruseitwithdeepersettingstocreatedreamingpadsorstring-likesounds(figure7.62).
Controls:
• DEPTH:setsthedepthofthevolumeswell,indB.Bydefaultthedepthisatmaxposition,meaningthatthevolumewillstartfromsilence.Byloweringthiscontrolyou’llmaketheeffect tostart theswellphasefrom a level which is higher than silence, up to min position thatmakestheeffecttohavenoaction.
• SENS: this control sets the sensitivity for the Swell to recognize anewnoteorchordandthereforestartanewSwellcycle.Setithigherif you want the Swell cycle to start even at the beginning of softerpassages,orsetitlowerifyouwanttheSwellcycletoonlystartforlouderstrikes.
• TIME:setsthelengthoftheSwellcycle.DuringtheSwellcycle(timetheswelltakesto“open”thepowerLEDbecomesred(itisnormallygreen).Thishelps to immediately recognizewhen theswell is trig-gered.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempomak-ingtheswelltimetobespecifiedinmusicalfigures.
figure7.62
7 - Stomp Module 129
AmpliTube 3
7.4 Stomp Models (Table)
Stomp Models Based on*
Delay
Delay IKMultimedia
EchoMan ElectroHarmonix®MemoryMan™
TapDelay IKMultimedia
Distortion
BigPig ElectroHarmonix®BigMuffPi™
Crusher IKMultimedia
DiodeOverdrive IKMultimedia
Distortion Boss®DS-1™Distortion
Feedback Boss®DF-2™Superfeedbacker&Distortion
MetalDistortion Boss®MT-2™Metal-Zone
MetalDistortion2 Boss®HM-2™HeavyMetal
Overdrive Boss®SD-1™Distortion
OverScream Ibanez®TubeScreamer®TS-9™
PROdrive ProCoRAT™Distortion
TheAmbass’dor Marshall®Guv'Nor™
Dynamics
Compressor IKMultimedia
Dcomp MXR®Dynacomp™
EQ
7BandGraphic IKMultimedia
10BandGraphic IKMultimedia
Filter
EnvelopeFilter IKMultimedia
LFOFilter IKMultimedia
Rezo IKMultimedia
StepFilter IKMultimedia
Wah IKMultimedia
Wah10 Ibanez®WH-10™
Wah46 Vox®WahV846™
Wah47 Vox®Wah847™
Fuzz
ClassFuzz RogerMayer™ClassicFuzz®
FuzzAge Arbiter®FuzzFace®
FuzzAge2 Arbiter®FuzzFace®
7 - Stomp Module130
AmpliTube 3
FuzzOne Maestro®FuzzTone™
Octa-V RogerMayer™Octavia®
RightFuzz Mosrite®Fuzzrite®
XSFuzz RogerMayer™AxisFuzz®
Modulation
AnalogFlanger Boss®BF-2™Flanger
Chorus IKMultimedia
Chorus-1 Boss®CE-1™Chorus
ElectricFlanger Electro-Harmonix®ElectricMistress™
Flanger IKMultimedia
MetalFlanger MXR®Flanger117™
OptoTremolo Fender®SuperReverb®AmpOpto-Tremolo™
PhazeNine MXR®Phase90™
Phazer10 MXR®Phase100™
SmallPhazer Electro-Harmonix®SmallStone™
Uni-V Univox™Uni-vibe™
Pitch
Harmonator IKMultimedia
Octav Boss®OC-2™Octaver
PitchShifter IKMultimedia
Wharmonator Digitech®Wahmmy™WH-1™
Other
Volume IKMultimedia
StepSlicer IKMultimedia
Swell IKMultimedia
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinnowayassociatedoraffiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudieddurinoIKMultimedia’ssoundmodeldevelop-ment and for describing certain types of tones produced with IK Multimedia’s digital modelingtechnology.Useofthesenamesdoesnotimplyanycooperationorendorsement.
ARBITER®FUZZFACE®isaregisteredtrademarkofArbiterGroupPlc.BOSS®,DS-1™,DF-2™,MT-2™,HM-2™,SD-1™,BF-2™,CE-1™,OC-2™aretrademarksorregis-teredtrademarksofRolandCorporation.DIGITECH®WHAMMY™WH-1™isaregisteredtrademarkofHarmanInternational Industries,Incorporated.ELECTRO-HARMONIX®, Memory Man™, Big Muff Pi™, Electric Mistress™, Small Stone™ aretrademarksorregisteredtrademarksofNewSensorCorporation.FUZZRITE®isaregisteredtrademarkofAndyJ.Moseley.IBANEZ®,TubeScreamer®TS-9™,WH-10™aretrademarksorregisteredtrademarksofHoshinoGakkiCo.Ltd.Corporation.MAESTRO®FUZZTONE™isaregisteredtrademarkofGibsonElectronics.MARSHALL®,Guv’Nor™aretrademarksorregisteredtrademarksofMarshallAmplificationPlc.MOSRITE®isaregisteredtrademarkofLorettaMoseley.MXR®,Dynacomp™,Flanger117™,Phase90™,Phase100™aretrademarksorregisteredtrade-
7 - Stomp Module 131
AmpliTube 3
marksofAppliedResearchandTechnology,Inc.PROCORAT™isatrademarkofProCoSound,Inc.ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and registered trade-marksofRogerMayer.UNI-VIBE™isatrademarkofKorgUSACorporation.UNIVOX™isatrademarkofKorgUSACorporation.VOX®,WahV846™,Wah847™are trademarksor registered trademarksofVOXAmplificationLtd.
7 - Stomp Module132
AmpliTube 3
8 - Amp Module 133
AmpliTube 3
Chapter 8 Amp Module (Amplifier Head)
8.1 Introduction
AmpliTube 3 includes 31 amps organized in 4 categories: Clean, Crunch,Lead,andBass.Eachof themodeledamps isa true representationof theoriginalhardwareunitsandaninvaluableadditiontoyoursonicarsenal.
figure8.1
To access the Amp module, click the Amp button located on the Module/RigSelector(figure8.1).Therearetwoseparateamplifiermodulesthatcanbeaccessedindependently(e.g.,AmpAandAmpB),orparalleledfordualampsetups.JustselectoneoftheeightsignalpathpresetslocatedontheModule/RigSelector(figure8.2).
figure8.2
To facilitate the amplifier models navigation, please read the followinguniversalcontrolsdescriptions.
8 - Amp Module 134
AmpliTube 3
8.2 On/Bypass
This control enables/disables the Amp module from the plug-in’s signal(figure8.3).
figure8.3
8.3 EQ Match
TheEQmatchcontrolautomaticallyselectstheEQsectionassociatedtotheselectedpreamp(figure8.4).ThisisusefultoquicklyselectaspecificguitarampwithitsrelatedEQModel.
figure8.4
8 - Amp Module 135
AmpliTube 3
8.4 Amp Match
The Amp match control selects the power amp stage associated to theselectedpreamp(figure8.5).
figure8.5
TheEQandAmpmatchcontrolsallowsyou toselectaspecificvintageorboutiqueguitarriginseconds,givingyouan“instanttonegratification”…
8.5 Amp Model Types and Components
SeveralAmpliTube3ampmodels(typicallythosethatwerealreadyincludedinAmpliTube2,AmpliTubeJimiHendrixandsomeoftheampsincludedinAmpliTube Metal) contain separate stages modeling that can be individu-allyselected.Inthesecases,theAmpmoduleisdividedintothreeseparatemodelsPre,EQ,and(Power)Amp.Thisallowsyoutodesigncustomampschoosingdifferentcomponentsfromavarietyoftop-notchamplifiers.
Thisfeatureallowsyoutocreateyourownmixtureofstagesandpromotesexperimentation.However,wearestillobsessedwithmodels’accuracy.Forthis reason, and to reach a higher level of sonic fidelity (when comparedwith the original real amps) we added more details and finesse to ourmodelingtechniquesandimprovedthelevelofinteractionbetweentheampblocksintheDSP.Basically,makingawholesinglemodeloftheentireamp.That’swhyallrecentmodelsaremodeledasanentireamp,withoutthepos-sibilitytoselectsingleinternalstages(Preamp,EQ,andPoweramp).Thesearecalled“non-flexi”amps.
Award-winning“PoweredbyAmpliTube”productslikeAmpliTubeFenderorAmpegSVXusedthissolutiontoachievemaximumaccuracywhilemodel-ingtheoriginalamps.
8 - Amp Module 136
AmpliTube 3
8.5.1 Pre Model
This is the menu where the Amp model is selected. For those amps thathavebeenmodeledwithindividualselectablestages,you’llbechoosingthePreampstage.
Fornewerampsthathavebeenmodeledasasingleblock(non-flexi),you’llbeselectingtheentireAmplifier.Asaresult,theEQand(Power)Ampmenusarenotincluded.
ThePreModelisthefirststageintheAmpmodule.Thissectionmodelstheinitialpreampanddriveofeachamplifier(figure8.6).
figure8.6
8.5.2 EQ Model
TheEQstagefollowsthePreModelandallowsyoutoEQyoursoundanddesignuniqueguitartones(figure8.7).
figure8.7
8 - Amp Module 137
AmpliTube 3
8.5.3 Amp Model
Thefinalstageof theamplifiermodule is theAmpmodel (figure8.8).ForthoseampsthathavebeenmodeledwithindividualselectablestagesyoucoulduseaFender-stylepowerampsectiononaMarshall-stylepreamp…
figure8.8
BelowisabriefdescriptionofeachPreAmpModels.
8 - Amp Module 138
AmpliTube 3
8.6 Pre Amp Models
8.6.1 Clean
8.6.1.1 American Clean MKIII
This is a model of the clean channel from a popular and sought afterAmericanamplifier.Thesignaturetonecanbeheardonmanyalbumsandmanystagesaroundtheworld.Experienceasparklingcleanwiththecapa-bilityforatouchofcrunchwhencrankedup(figure8.9).
figure8.9
Thisbeautifulampiscrystalclearbutcanalsodeliveredgysoundsbypush-ing the Master volume, and can deliver a nice preamp crunch tone whenRhythm2isengaged.
Thisamp isextremelyversatileyoucanreallygetmany typesof cleanoredgytonesfromitsincrediblyflexiblepreamplifier.Byselectingtwodiffer-entpreampshapes(Rhythm2),andbyadaptingthetonewiththeShiftandDeep switches, you can really shape your clean/edgy sound in almost allpossibleways.Addthefinal5bandgraphicEQandthetonalpossibilitiesare reallywide. But becareful, this isnota ‘setand forget’amp.Being itextremelyversatileitcanofcoursebesettoatonethatcouldbetotallyfarfromwhatisneededonthatpart.Itneedsadegreeofexperimentationandexperiencebeforeyoucanreallymasterit!
Controls:
• VOLUME:setsthevolumeofthecleanpreamp.Pushitcloserto10foranedgysoundthatstartstocrunch.
• BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolumecontroliskeptlow.
• TREBLE:setstheamountofhighfrequenciesonthesound.
8 - Amp Module 139
AmpliTube 3
• SHIFT:modifiesthefrequencieswheretheBasscontrolworks.• BASS:setstheamountoflowfrequenciesonthesound.• MIDDLE:setstheamountofmidfrequenciesonthesound.• MASTER:determinesthelevelthatissenttothepoweramp.Turning
this knob up, makes the power amp to saturate and produce greatcrunchsounds.
• RHYTHM 2:whenenabledthepreamphasmoregain,anditisthere-forepossibletoobtainextremelymusicalandsweetcrunchsounds.
• DEEP:whenenabledthebassresponseoftheamplifierisextended.• EQ:enablesthegraphicEQ.• EQ BANDS:thesesliderscancontroltheequalizationoftheampon
5 distinct frequencies areas. You’ll find it extremely musical and apowerfulsoundsculptingtool.
• PRESENCE: when turned up the amp becomes more present andbrighter.
• REVERB: controls the amount of reverb coming from the internalspringunit.
8 - Amp Module 140
AmpliTube 3
8.6.1.2 American Tube Clean 1
ThisampismodeledafteraclassicAmericanguitaramp.Thisampisgreatforcleantodirtysounds,makingidealforcleanandcrunchyrhythm,rock,country,blues,andanythingelserequiringacleanampcapableofgettingalittledirtywhenthemusiccallsforit(figure8.10).
figure8.10
Controls:
EQ MODEL:• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from1to10.• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,
from1to10.• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,
from1to10.• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 141
AmpliTube 3
8.6.1.3 American Tube Clean 2
This model features yet another classic American amplifier. Unlike theAmericanTubeClean1,thismodelisasmallercomboamp.Thisampdeliv-ersacleanyetwarmtone(figure8.11).
figure8.11
Controls:
EQ MODEL:• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from1to10.• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,
from1to10.• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,
from1to10.• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1to10.
8 - Amp Module 142
AmpliTube 3
8.6.1.4 American Vintage B
ThedesignofthisampinfluencedmanyofitssuccessorsandwasusedbyJimiHendrixinthestudiorecordingof“VoodooChild”(figure8.12).
figure8.12
ThisclassicAmericanamplifierwasatfirstdesignedtobeabassamp,butlater became one of the most popular American guitar amps ever made.Great for clean tones, it is also versatile in a variety of music genres andplayingstyles.
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRINGREVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 143
AmpliTube 3
8.6.1.5 American Vintage D
JimiHendrixacquiredthis100wattampin1968anduseditin1968-1969withtheExperiencetour, togetherwithanassortmentofotheramps.Theampsportedabuilt-inspringreverbunit(figure8.13).
figure8.13
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1to10.
8 - Amp Module 144
AmpliTube 3
8.6.1.6 American Vintage T
ThiswasJimiHendrix’sampofchoiceduring1965through1966.Itincludedaspringreverb(figure8.14).
figure8.14
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 145
AmpliTube 3
8.6.1.7 Custom Solid State Clean
Thisampmodelisclean.Itprovidesaveryuncoloredsignal,perfectforjazz.ItcouldbecomparedtoampsliketheJazzAmp120,idealforsparklingcleantones(figure8.15).
figure8.15
Controls:
EQ MODEL:• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from1to10.• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,
from1to10.• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1to10.
8 - Amp Module 146
AmpliTube 3
8.6.1.8 Jazz Amp 120
ItmayhaveJazz in itsname,but thisversatilecleansoundcanbeheard inmanygenres.Manyofthetopmetalplayerskeepthisnot-so-secretweaponinthestudioforgreatcleansounds.Itssonicfeatureisthefantasticbuilt-inana-logchorusandvibratounitthatreallymadethisampaclassic(figure8.16).
figure8.16
Important:thisampcontainsabuilt-instereoChorus/Vibratounit.Toactu-allybeabletohearthisinstereoyouwillneedtousetwomicrophonesinfrontofitsCabinetandpanthewideL–R.Formoreinformationabouthowtosetthis,see Chapter 9.5.7.
Controls:
• BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolumecontroliskeptlow.
• VOLUME:setstheoverallampvolume.Theampremainscleanuptovolume3or4andstartsdistortingforhigherpositions.
• DISTORTION: turning thisknobup fromtheminimumpositionbyalittlebitturnsOnthedistortioncircuit.Fromthere,continuingrisingthecontrolbringsmoreandmoredistortion.
• REVERB:controlstheamountofreverb.• TREBLE:setstheamountofhighfrequenciesonthesound.• MIDDLE:setstheamountofmidfrequenciesonthesound.• BASS:setstheamountoflowfrequenciesonthesound.• VIB/OFF/CHORUS:thisisathreepositionswitch;
• WhensettoOff,thesoundwillnotbeaffectedbychorusorvibrato.• WhensettoVib,vibratowillbeturnedOn.• WhensettoChorus,choruswillbeturnedOn.
• SPEED:setsthespeedoftheVibratoeffect.NotethatChorushasnosettings.
• DEPTH:setstheintensityoftheVibratoeffect.NotethatChorushasnosettings.
8 - Amp Module 147
AmpliTube 3
8.6.1.9 Metal Clean T
This extremely high-quality amplifier delivers a very detailed and cleanresponseonthecleanchannel,incrediblywelldefinedistheperfectstartingpointforanykindofsound.Usethischanneltogetyourhyper-drivensoundsfromstompsonly,aswellasforcreatingcleanoredgysounds(figure8.17).
figure8.17
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:Setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1to10.
8 - Amp Module 148
AmpliTube 3
8.6.2 Crunch
8.6.2.1 American Tube Vintage
ThisclassicAmericanamplifierwasatfirstdesignedtobeabassamp,butlater became one of the most popular American guitar amps ever made.Great for clean tones, it is also versatile in a variety of music genres andplayingstyles(figure8.18).
figure8.18
Controls:
EQ MODEL:• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from1to10.• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,
from1to10.• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,
from1to10.• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 149
AmpliTube 3
8.6.2.2 British Blue Tube 30TB
This is a model of a legendary British amplifier which is one of the mostwidely recognizable and popular amps of all time. Throughout its life, itslegendarytonehelpedtoputmanyofrock’sfoundingfathers(including4guysfromLiverpool)onthemapandhasbeenahighlysoughtaftersoundthatisstillheardonmanyalbumstoday(figure8.19).
figure8.19
Controls:
EQ MODEL:• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from1to10.• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,
from1to10.• CUT: as on the original, cuts the high frequencies of the amp’s EQ
stagewhenturneddown.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 150
AmpliTube 3
8.6.2.3 British Copper 30TB
Take yourself back to the ‘60s with this quintessential amp. Not just anyversion,butanaccuratemodelofthewell-knownandlovedversionofanalreadyspectacularamplifier.IfyouwantsomeBritishsound,youcanfindithere(figure8.20).
figure8.20
The original copper panel model was non-top boost, and you can find itexactlyreplicatedherewhentheswitchTopBoostisOff.TurnitOntoaddthetopboostcircuitinasecondandbethenabletoadjustyoursoundwithBassandTreblepots.
Controls:
• NORMAL:setsthevolumelevelfortheNormalchannel.Normalchan-nelhasamellowerresponsewhencomparedtotheBrilliantchannel.
• BRILLIANT:setsthevolumelevelfortheBrilliantchannel.• VIB -TREM:setsthevolumelevelfortheVibratoandTremolochan-
nel.• TOP BOOST:addstheTopBoostcircuitintheBrilliantchannelsignal
path.NormalandVib-Tremchannelsarenotaffectedbythis.• BASS:adjuststheleveloflowfrequenciesinthesound.Activeonly
onBrilliantchannelandonlywhenTopBoostisOn.• TREBLE:adjustthelevelofhighfrequenciesinthesound.Activeonly
onBrilliantchannelandonlywhenTopBoostisOn.• TONE:setstheoverallbrightnessoftheamp.It isalwaysactive,on
allchannels.WhensettoMintheampisbright,whensettoMaxtheampismellower.
• SPEED:setsthespeedoftheTremoloorVibratoeffect.• SWITCH:determinesif theVib-TremchannelwillproduceaVibrato
oraTremoloeffect.
8 - Amp Module 151
AmpliTube 3
8.6.2.4 British Lead S100
This amp is modeled on the Classic British 100 watt amp Jimi Hendrix isgenerallyassociatedwith.JimiHendrixoftenusedmultipleampheads(upto6)loopingthemtogethertogetmorepower,asetupthatcanberecreatedinAmpliTube3becauseofitsdualrigcapability(figure8.21).
figure8.21
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 152
AmpliTube 3
8.6.2.5 British OR
Anexcitingnewadditiontotheline,thismodelcanreallyturnheads.You’llhear the vintage hand-wired and veryoriginal soundof thiskillerBritishpowerhousefromtheveryfirstnote(figure8.22).
figure8.22
Controls:
• F.A.C:thiscontrolisauniquetypeoftonecontrolfeaturedonlyonthisamp.Itisasixpositionselectablebasscutinthepreamp.Whensettothefirstposition(1)itiscuttinglowfrequencyjustabit,whensettolastposition(6)itiscuttinglotsoflowfrequencies.Intermediatepositions deliver intermediate results. Experiment with this controlwhentheampisoverdrivenandyou’llfinditextremelyuseful!
• Hz:setstheamountoflowfrequenciesinthesound.• kHz:setstheamountofhighfrequenciesinthesound.• HF.DRIVE:determinesthepresenceandbrightnessoftheamp.• GAIN:setsthevolumeoftheamplifier,itisactuallythepoweramp
level.
8 - Amp Module 153
AmpliTube 3
8.6.2.6 THD Bi-Valve
ThisisamodeloftheTHD®BiValve™*.Thismodernboutiqueamplifierhasbecomeverypopularonthestageandinthestudio.UsingasingleendedclassAdesignitiscapableofwideexpanseoftone.Fromthecleantothecrunchytotheheavilysaturated,theTHDBiValvecancreateallthesetoneswithease(figure8.23).
figure8.23
Controls:
EQ MODEL:• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from1to10.• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,
from1to10.• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 154
AmpliTube 3
8.6.2.7 Tube Vintage Combo
Thisisamodelofasmallvintageamplifierthatwasbasicindesignbutbigintone.Thismodelissimplebutsweet(figure8.24).
figure8.24
Controls:
EQ MODEL:• PRESENCE: cuts the high frequencies of the amp’s EQ stages when
turneddown.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 155
AmpliTube 3
8.6.3 Lead
8.6.3.1 American Lead MKIII
This is the leadchannelofa renowned three-channelAmericanamplifier,known for excelling at both clean and lead sounds. This channel can bebigandaggressivewhenyouwantsomeCaliforniacrunchandyoucangetsmooth,tastysustainedleadsoundstoo(figure8.25).
figure8.25
Thisampisextremelyversatile,youcanreallygetalmostanytypeofsoundfrom its incredibly flexible preamplifier. By calibrating the various gainstages(Volume->LeadDrive->Master),byselectingtwodifferentpreampshapes(Rhythm2),andbyadaptingthetonewiththeSHIFTswitches,youcan really shape your driven sound in almost all possible ways. Add thefinal5bandgraphicEQandthetonalpossibilitiesarereallyendless.Butbecareful,thisisnota‘setandforget’amp.Beingitextremelyversatileitcanofcoursebesettoatonethatcouldbetotallyfarfromwhatisneededonthatpart.Itneedsadegreeofexperimentationandexperiencebeforeyoucanreallymasterit!
Controls:
• LEAD DRIVE:setstheamountofgainoftheleadstage.Increasethistohavemoresustainingdistortionanddecreaseittogetamoreedgyandcrunchytypeofdistortion.
• VOLUME:setsthegainoftheinitialstage.Thisisthegainthatcomesbeforeallothersintheampsignalpath.
• MASTER:setsthepoweramplevel.Thisisthelatestlevelintheampsignal path. Setting high gains in the preamp (Volume and LeadDrive)andalsosettingMaster toaveryhigh level can result inanoverlypushedsoundthatcouldbedifficult toobtainagoodsound.KeepthisathighlevelsonlyifVolumeandLeaddrivearenotsohigh.
• TREBLE:setstheamountofhighfrequenciesonthesound.
8 - Amp Module 156
AmpliTube 3
• BASS:setstheamountoflowfrequenciesonthesound.• MIDDLE:setstheamountofmidfrequenciesonthesound• BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolume
controliskeptlow.• SHIFT (BASS):modifiesthefrequencieswheretheBasscontrolworks.• SHIFT (TREBLE): modifies the frequencies where the Treble control
works.• RHYTHM 2: when enabled the preamp has even more gain, and
slightlychangesitstonalcharacter.• DEEP:whenenabledthebassresponseoftheamplifierisextended.• EQ:enablesthegraphicEQ.• PRESENCE: when turned up the amp becomes more present and
brighter.• REVERB: controls the amount of reverb coming from the internal
springunit.
8 - Amp Module 157
AmpliTube 3
8.6.3.2 British Tube Lead 1
Made popular by the hard rockers of the ‘80s this British guitar amp hasremainedaprizedtoneformanyoftoday’sguitarplayers.Abletocrankoutgreattubesaturatedtonewitheasethismodelisagotoampforavarietyofheavyrockguitarsounds(figure8.26).
figure8.26
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 158
AmpliTube 3
8.6.3.3 British Tube Lead 2
The younger sibling to the British Tube Lead 1, this model is capable ofgreat rock tone, leads, and heavy crunch. While grittier and a little moreaggressive,itstillhastheclassictonethathasmadethisfamilyofampsahouseholdnameinrockguitar(figure8.27).
figure8.27
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 159
AmpliTube 3
8.6.3.4 Custom Modern Hi-Gain
Based on the classic AmpliTube model, this amp features lots of gain forthatovertheedgedistortionsound.Similartomoderntubeleadsoundincharacter,ModernHi-Gainprovidesanadditionaltakeonthattypeofsound(figure8.28).
figure8.28
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 160
AmpliTube 3
8.6.3.5 Custom Solid State Fuzz
BasedonAmpliTube1’sfuzzamp,thismodelisaverydistinctanddistortedsound,reminiscentof‘60sfuzzsounds(figure8.29).
figure8.29
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 161
AmpliTube 3
8.6.3.6 Custom Solid State Lead
Thismodelfeaturesaprecisesolidstateleadsound.Ithasadarkertoneandexcelsathighgainleadtones.Itisverysuitableforhardrockleadsandit’sgainisverystable,makingiteasytouseatlowvolumelevels(figure8.30).
figure8.30
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 162
AmpliTube 3
8.6.3.7 Metal Lead T
This classic amp provides the tightest bass and fastest response, even atextremespeedsandgain.Theresultisperfectforspeed,thrash,andotheraggressivemetalstylesaswellassmoother,cleanerstyles,anditisamustforallmodernmetalcontaminations(figure8.31).
figure8.31
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 163
AmpliTube 3
8.6.3.8 Metal Lead V
Engineered to the exacting demands of some of the greatest guitarists ofalltime,thisampquicklybecameafavoriteoftonepuristsandgainheadsalike.Capableofsomeofthecleanest–ortheheaviest–tonesofalltime(figure8.32).
figure8.32
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• BOTTOM:usethisknobtoenhancethespeakerbottomendresonance.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 164
AmpliTube 3
8.6.3.9 Metal Lead W
Designedbysomeofthehardestrockersofthe‘90s,thisampwasbuiltforpuremetalmayhem.Theremaybenoheavier,moreaggressiveampintheworld(figure8.33).
figure8.33
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• BOTTOM:usethisknobtoenhancethespeakerbottomendresonance.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 165
AmpliTube 3
8.6.3.10 Modern Tube Lead
Thisampisamodelofoneoftheleadersinhard,drivenrocktonesmadetoday.Capableofsearingleadsandheavycrunch,thisamphasbeenrecti-fiedtocreateamodernrocktonethatishardtobeat(figure8.34).
figure8.34
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 166
AmpliTube 3
8.6.3.11 Vintage Metal Lead
Thisampisbasedonanall-timeclassic,fromitsorigininthe‘70sthroughAussie hard rock crazy ‘80s metal and beyond. Few amps have rocked ashard,foraslong(figure8.35).
figure8.35
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 167
AmpliTube 3
8.6.4 Bass
8.6.4.1 360Bass Preamp
This amp toured and recorded for years with one of the biggest and boldrockbandsever.Classicrocktonesareanaturalwiththisamp,butitisalsoknownforbeingusedbyoneof themostfamousjazzbassistsofall time.Shownoquarterandmakeyourbasskillwiththisamp-solidstatebutloudandproud(figure8.36).
figure8.36
When paired with its Matching cabined (1x18” Horn Bass) it can soundreallydarkwhencomparedtotoday’sbassamps,butthat’sthemagicofit!
Controls:
• BRIGHT:boostsbrillianceofthepreamp,especiallywhentheVolumecontroliskeptlow.
• VOLUME:setstheoverallvolumeoftheamp.Setitlowforpureandcleantonesandpushitfordrivensounds.
• TREBLE:setstheamountofmidandhighfrequenciesonthesound.• BASS:setstheamountoflowfrequenciesonthesound.• RANGE: formsasemi-parametricmidrangeequalizer togetherwith
Effect.UsetheRangecontroltoselectthecenterfrequencyofthemidfrequencyequalizationprocessamong5positions.
• EFFECT: formsasemi-parametricmidrangeequalizer togetherwithRange. Use Effect boost or cut the midrange frequencies selectedwiththeRangecontrol.
• FUZZ:turnsOnthebuilt-inFuzzeffect.• GAIN:setstheoutputvolumeoftheFuzzeffect.• ATTACK:setsthetypeofFuzzeffectthatisapplied.WhensettoMin
thesoundissimilartoasmoothoverdrive,whenmovedtowardmaxthesoundgetsmoreaggressiveandfuzzy.
8 - Amp Module 168
AmpliTube 3
8.6.4.2 Combo 150MB
Thisisarenditionof“the”basscombofordoublebass.Thetonedoesn’tstopthere,though.Electricbassistshaveusedthistinybutmighty(andtoneful)comboampwithgreatsuccess.Greatthingscancomeinsmallsizes,andcansoundsurprisinglybigandfull(figure8.37).
figure8.37
Controls:
• VOLUME:setsthegainofthepreampstage.• CONTOUR:setitatminforaflatandnaturalsound,riseittogradu-
allymixinamidrangescoopthatmakesthetonemorebigand“pro-cessed.”
• HI BOOST:deliversagradualboostonmidandhighfrequencies.• LOW CUT ON/OFF: when enabled extremely low frequencies are
removedbythepreamp.Thisistoavoidoverloadingtheampbecauseofunwantedlowfrequenciescontent.
• TREBLE:setstheamountofhighfrequenciesonthesound.• HI MIDDLE:setstheamountofmidhighfrequenciesonthesound.• LOW MIDDLE:setstheamountofmidlowfrequenciesonthesound.• BASS:setstheamountoflowfrequenciesonthesound.• OUTPUT LEVEL:setsthevolumeofthepowerampstage.• LIMITER:enablesthebuilt-inLimiter.Whenenabledthepoweramp
isprotectedfromoverloading.• LIMITER LEVEL:setsthethresholdforthelimitertotriggerin.When
set lower the limiterwill trigger insooner,andwhenset tohighervaluesthelimiterwilltriggerinathigherlevels.
8 - Amp Module 169
AmpliTube 3
8.6.4.3 Green BA250
Thisisamodelofasolidstatepowerhousebassamplifierwithgreattone-shapingcontrols,awarmsoundunlikemostsolidstateamps,andasought-afterpreamp(figure8.38).
figure8.38
Despitebeingsolidstatethisampdeliversanincrediblywarmandtastefultone.Withitssignature“Middlecutpreshaping”featurewillimmediatelybringyoubackto‘80sbasslines!
Controls
• GRAPHIC EQUALIZATION:turnsOnthegraphicEQwhenenabled.• MIDDLE CUT PRE-SHAPING:engagesamidfrequencyshapingthat’s
verycharacteristicofthisamp.WhenitisOff,thepreampisalmostflatandnaturalsounding.
• GAIN:setsthepreampinputgain.FollowwhatthefancyinputlevelLEDmetertells…andyoucan’tgowrong!Unlessyouwantoverdriveit!
• GRAPHIC EQUALIZATION:11sliderstocreateyourtone.OnlyafewgraphicEQhavethemusicalqualityofthispowerfulsculptingtool.
• BALANCE: it balances the levels when you engage or disable theGraphicEQ.
• LEVEL:overallampvolume.Itsetsthelevelthatissenttothepowerampstage.
8 - Amp Module 170
AmpliTube 3
8.6.4.4 Solid State Bass Preamp
Thismodelfeaturesasolidstatebasspreamp,EQ,andasolidstatepowerampmodule.Itcleansupbeautifullyanddrivesjustashard(figure8.39).
figure8.39
Controls:
PRE MODEL:• GAIN:adjuststheinputgainofthepreampstage.Usethissettingto
drivethepreampstage,from1to10.EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,from1to10.
• MIDDLE:boostsandcutsthemidfrequenciesoftheamp’sEQstage,from1to10.
• TREBLE:boostsandcutsthehighfrequenciesoftheamp’sEQstage,from1to10.
• PRESENCE:boostthehighfrequenciesoftheEQstage,from1to10.• SPRING REVERB:setsthelevelofspringreverbaddedtotheguitar
ampsound,from1to10.AMP MODEL:
• VOLUME:adjuststheoutputlevelofthepowerampstage,from1to10.
8 - Amp Module 171
AmpliTube 3
8.7 Pre Amp Models (Table)
Preamp Models Based on*
Clean
AmericanCleanMKIII Mesa/Boogie®MarkIII™Combo(CleanChannel)
AmericanTubeClean1 Fender®SuperReverb®
AmericanTubeClean2 Fender®DeLuxeReverb®65
AmericanVintageB Fender®Bassman®
AmericanVintageD Fender®DualShowman®
AmericanVintageT Fender®TwinReverb®
CustomSolidStateClean IKMultimedia
JazzAmp120 Roland®JC-120™
MetalCleanT Mesa/Boogie®TripleRectifier®(CleanChannel)
Crunch
AmericanTubeVintage Fender®Bassman®
BritishBlueTube30TB Vox®AC30™TopBoost
BritishCopper30TB Vox®AC30™-CopperPanel
BritishLeadS100 Marshall®1959JTM100™SuperLead
BritishOR Orange®OR-120™Head
THDBi-Valve THD®BiValve™
TubeVintageCombo Supro®Late'50scombo
Lead
AmericanLeadMKIII Mesa/Boogie®MarkIII™Combo(LeadChannel)
BritishTubeLead1 Marshall®JCM800™
BritishTubeLead2 Marshall®JCM900™
CustomModernHi-Gain IKMultimedia
CustomSolidStateFuzz IKMultimedia
CustomSolidStateLead IKMultimedia
MetalLeadT Mesa/Boogie®TripleRectifier®(LeadChannel)
MetalLeadV Peavey®5150®100Whead
MetalLeadW Randall®Warhead™
ModernTubeLead Mesa-Boogie®DualRectifier®
VintageMetalLead Marshall®JMP100™head
Bass
360BassPreamp Acoustic®360™BassPreamp
Combo150MB Gallien-Krueger®MB150™
GreenBA250 TraceElliot®AH250™Head
SolidStateBassPreamp IKMultimedia
8 - Amp Module 172
AmpliTube 3
8.8 Power Amp Models
Power Amp Models Based on*
ClassAEL84 Vox®AC30™models
50WEL34 Marshall®
100WEL34 Marshall®JMP100™head
50W6L6 Fender®DeLuxeReverb®65
SingleEndedCI.A Supro®Late'50scombo
SolidState CleanSolidStatePowerAmp
100WKT66 Marshall®1959JTM100™SuperLead
100W6L6 Fender®Bassman®100W6L6
100W6L6D Fender®DualShowman®100W6L6
100W6L6T Fender®Twin®100W6L6
100W6L6V Peavey®5150®100Whead
150W6L6MT Mesa/Boogie®TripleRectifier®150W
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinnowayassociatedoraffiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudieddurinoIKMultimedia’ssoundmodeldevelop-ment and for describing certain types of tones produced with IK Multimedia’s digital modelingtechnology.Useofthesenamesdoesnotimplyanycooperationorendorsement.
ACOUSTIC®,360™aretrademarksofGuitarCenter,Inc.FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB®, DUAL SHOWMAN®, TWINREVERB®,TWIN®areregisteredtrademarksofFenderMusicalInstrumentsCorporation.GALLIEN-KRUEGER®MB150™isaregisteredtrademarkofGallien-KruegerCorporation.MARSHALL®, 1959 JTM100™ Super Lead, JMP100™, JCM800™, JCM900™, Guv’Nor™ are trade-marksorregisteredtrademarksofMarshallAmplificationPlc.MESA/BOOGIE®,Rectifier®,MarkIII™,aretrademarksofMesa/BoogieLtd.ORANGE®, OR-120™are trademarks or registered trademarks property of Orange MusicElectronicCompanyLtdPEAVEY®isaregisteredtrademarkofPeaveyElectronicsCorporation.RANDALL®,Warhead™aretrademarksorregisteredtrademarksofRandallAmplifiersadivisionofU.S.MusicCorp.SUPRO®isatrademarkofZinkyElectronics.THD®BiValve™isatrademarkofTHDElectronicsLtd.TRACEELLIOT®AH250™isaregisteredtrademarkofPeaveyElectronicsCorporation.VOX®, AC30™, Wah V846™, Wah 847™ are trademarks or registered trademarks of VOXAmplificationLtd.5150®isaregisteredtrademarkofEdwardVanHalen.
9 - Cab Module 173
AmpliTube 3
Chapter 9 Cab Module (Cabinets + Microphones)
9.1 Introduction
ToaccesstheCabmodule,click theCabbuttonlocatedontheModule/RigSelector(figure9.1).
figure9.1
TheCabmoduleincludes2models:theCabinetModelandtheMicModel,andanewsectioncalledRoom(figure9.2).
figure9.2
9 - Cab Module174
AmpliTube 3
9.2 Cabinet Model
TheCabinetModelincludestheCabModelSelector,theBypassandMatchbuttonsandanewexcitingfeaturecalled“Size”(figure9.3).
figure9.3
9.2.1 Cab Model Selector
To select a Cabinet model, click the Cab Model Selector (figure 9.4) andnavigatethroughitscategoriesorusetheforward/backarrows(figure9.5).
figure9.4
figure9.5
9 - Cab Module 175
AmpliTube 3
9.2.2 Bypass
ClickthisbuttontobypasstheCabmodule(figure9.6).
figure9.6
9.2.3 Match
If the Match control is enabled (figure 9.7), it will automatically select acabinet that matches the Amp model that you have selected in the Ampmodule.Ifyouwanttouseanothercabinet,justturntheCabmatchOffandselectanothermodel.
figure9.7
9.2.4 Size
AmpliTube3allowsyoutogobeyondthecabinetphysicallimitations…JustusetheSizecontroltoexpandorreducethesizeofthecabinet.(figure9.8)
figure9.8
Important:toobtainthemostaccuratecabinetsound,thiscontrolshouldbekeptatitsdefaultposition(Center).Thepurposeofthiscontrolistoprovideacreativetoolthatallowsyouto“squeeze”or“expand”thetonalcolorfortheselectedcab.However,whenyou’reaftertheexactreplicaoftheoriginalcabinetsonictexture,remembertokeeptheSizecontrolcentered.
9.3 Cabinet Models
AmpliTube 3 offers 45 cabinet models organized by Instrument (Guitar/Bass) and by Speaker Type (Rotary). The Guitar/Bass categories are sub-organized by speaker size, and the Rotary category includes 2 models.PleasetakealookateachmodelandchecktheCabinetModelsTable.
9 - Cab Module176
AmpliTube 3
9.3.1 Guitar 6”
9.3.1.1 1x6 Small Combo
figure9.9
9.3.2 Guitar 10”
9.3.2.1 1x10 Combo Modern
figure9.10
9 - Cab Module 177
AmpliTube 3
9.3.2.2 4x10 Closed Modern
figure9.11
9.3.2.3 4x10 Open Vintage
figure9.10
9 - Cab Module178
AmpliTube 3
9.3.3 Guitar 12”
9.3.3.1 1x12 Combo
figure9.13
9.3.3.2 1x12 MB II
figure9.14
9 - Cab Module 179
AmpliTube 3
9.3.3.3 1x12 MB III
figure9.15
9.3.3.4 1x12 Open Modern
figure9.11
9 - Cab Module180
AmpliTube 3
9.3.3.5 1x12 Open Vintage
figure9.17
9.3.3.6 2x12 Closed Vintage
figure9.18
9 - Cab Module 181
AmpliTube 3
9.3.3.7 2x12 Gry British Vint
figure9.19
9.3.3.8 2x12 JP Jazz
figure9.20
9 - Cab Module182
AmpliTube 3
9.3.3.9 2x12 Open SL
figure9.21
9.3.3.10 2x12 Open TJ120
figure9.22
9 - Cab Module 183
AmpliTube 3
9.3.3.11 2x12 Open Vintage
figure9.23
9.3.3.12 4x12 British Or
figure9.24
9 - Cab Module184
AmpliTube 3
9.3.3.13 4x12 Closed 25 C
figure9.25
9.3.3.14 4x12 Closed 75 C
figure9.26
9 - Cab Module 185
AmpliTube 3
9.3.3.15 4x12 Closed J120
figure9.27
9.3.3.16 4x12 Closed Modern 1
figure9.28
9 - Cab Module186
AmpliTube 3
9.3.3.17 4x12 Closed Modern 2
figure9.29
9.3.3.18 4x12 Closed Vintage 1
figure9.30
9 - Cab Module 187
AmpliTube 3
9.3.3.19 4x12 Closed Vintage 2
figure9.31
9.3.3.20 4x12 Metal F 1
figure9.32
9 - Cab Module188
AmpliTube 3
9.3.3.21 4x12 Metal F 2
figure9.33
9.3.3.22 4x12 Metal T 1
figure9.34
9 - Cab Module 189
AmpliTube 3
9.3.3.23 4x12 Metal T 2
figure9.35
9.3.3.24 4x12 Metal T 3
figure9.37
9 - Cab Module190
AmpliTube 3
9.3.3.25 4x12 Metal V 1
figure9.37
9.3.3.26 4x12 Metal V 2
figure9.38
9 - Cab Module 191
AmpliTube 3
9.3.3.27 4x12 Metal V 3
figure9.39
9.3.3.28 4x12 Modern M 1
figure9.40
9 - Cab Module192
AmpliTube 3
9.3.3.29 4x12 Modern M 2
figure9.41
9.3.3.30 4x12 Modern M 3
figure9.42
9 - Cab Module 193
AmpliTube 3
9.3.3.31 4x12 Vintage M 1
figure9.43
9.3.3.32 4x12 Vintage M 2
figure9.44
9 - Cab Module194
AmpliTube 3
9.3.4 Guitar 15”
9.3.4.1 2x15 Closed B J130
figure9.45
9.3.4.2 2x15 Closed D J130
figure9.46
9 - Cab Module 195
AmpliTube 3
9.3.5 Bass 10”
9.3.5.1 4x10+tw Bass
figure9.47
9.3.5.2 4x10+tw TE Bass
figure9.48
9 - Cab Module196
AmpliTube 3
9.3.6 Bass 12”
9.3.6.1 1x12 Bass
figure9.49
9.3.6.2 1x12 BassJz
figure9.50
9 - Cab Module 197
AmpliTube 3
9.3.7 Bass 15”
9.3.7.1 1x15 Bass Vintage
figure9.51
9.3.8 Bass 18”
9.3.8.1 1x18 Horn Bass
figure9.52
9 - Cab Module198
AmpliTube 3
9.3.9 Rotary
9.3.9.1 Rotary 147-1
figure9.53
9.3.9.2 Rotary 147-2
figure9.54
9 - Cab Module 199
AmpliTube 3
9.4 Cabinet Models (Table)
Cabinet Model Based on*
Guitar 6”
1x6SmallCombo Fender®SSCombo
Guitar10”
1x10ComboModern Mesa/Boogie®1x10"SubwayRocket®
4x10ClosedModern Marshall®4x10'90sJCM410™
4x10OpenVintage Fender®SuperReverb®1967
Guitar 12”
1x12Combo Marshall®1x12Valvestate™12
1x12MBII Mesa/Boogie®MarkII™1x12"EV
1x12MBIII Mesa/Boogie®MarkIII™1x12"EV
1x12OpenModern VHT®Pitbull™1x12Combo
1x12OpenVintage Fender®DeLuxe®65
2x12ClosedVintage Marshall®19222x12Greenbacks
2x12GryBritishVint Vox®AC30™2x12"'60sGraybacks
2x12JPJazz Roland®JC-120™2x12"
2x12OpenSL Sears®Silvertone®2x12”
2x12OpenTJ120 Fender®Twin®2x12”JBL®D120F
2x12OpenVintage Vox®AC30'60sBluebacks
4x12BritishOr 4x12"Orange®PPC412™
4x12Closed25C Marshall®4x12”,Greenbacks
4x12Closed75C Marshall®4x12”,G1275
4x12ClosedJ120 Marshall®4x12”,JBL®D120F
4x12ClosedModern1 Marshall®4x12'80s1982A
4x12ClosedModern2 Mesa/Boogie®4x12Rectifier™
4x12ClosedVintage1 Marshall®4x12Angled,'70sGreenbacks
4x12ClosedVintage2 Marshall®4x12Straight,Greenbacks
4x12MetalF1 Fender®4x12MH™1
4x12MetalF2 Fender®4x12MH™2
4x12MetalT1 Mesa/Boogie®4x12”Rectifier®1
4x12MetalT2 Mesa/Boogie®4x12”Rectifier®2
4x12MetalT3 Mesa/Boogie®4x12”Rectifier®3
4x12MetalV1 Peavey®5150®4x12”1
4x12MetalV2 Peavey®5150®4x12”2
4x12MetalV3 Peavey®5150®4x12”3
4x12ModernM1 Marshall®4x12”JCM8001
9 - Cab Module200
AmpliTube 3
4x12ModernM2 Marshall®4x12”JCM8002
4x12ModernM3 Marshall®4x12”JCM8003
4x12VintageM1 Marshall®19604x12”1
4x12VintageM2 Marshall®19604x12”2
Guitar 15”
2x15ClosedBJ130 Fender®Bassman®2x15”,JBL®D130F
2x15ClosedDJ130 Fender®DualShowman®2x15”,JBL®D130F
Bass 10”
4x10+twBass SWR®Goliath™4x10
4x10+twTEBass TraceElliot®4x10"
Bass 12”
1x12Bass CustomBass1x12
1x12BassJz Gallien-Krueger®1x12"MB150
Bass 15”
1x15BassVintage Ampeg®B15R™15”
Bass 18”
1x18HornBass Acoustic®301™FoldedHorn18”
Rotary
Rotary147-1 Leslie®147™originalAlNiCowoofer
Rotary147-2 Leslie®147™modernreplacementwoofer
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinnowayassociatedoraffiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudieddurinoIKMultimedia’ssoundmodeldevelop-ment and for describing certain types of tones produced with IK Multimedia’s digital modelingtechnology.Useofthesenamesdoesnotimplyanycooperationorendorsement.
ACOUSTIC®,301™aretrademarksofGuitarCenter,Inc.AMPEG®,B15R™aretrademarksofLOUDTechnologies,Inc.FENDER®,BASSMAN®,SUPERREVERB®,DUALSHOWMAN®,TWIN®,MH™areregisteredtrademarksofFenderMusicalInstrumentsCorporation.GALLIEN-KRUEGER®MB150™isaregisteredtrademarkofGallien-KruegerCorporation.JBL®isaregisteredtrademarkofJBLProfessional.LESLIE™147™isaregisteredtrademarkofHammondSuzukiUSA,Inc.MARSHALL®, JCM800™, JCM410™ are trademarks or registered trademarks of MarshallAmplificationPlc.MESA/BOOGIE®, Rectifier®, Subway Rocket®, Mark II™, Mark III™, are trademarks of Mesa/BoogieLtd.ORANGE®, PPC412™ are trademarks or registered trademarks property of Orange MusicElectronicCompanyLtd.ROLAND®,JC-120™areregisteredtrademarksofRolandCorporation.SEARS®isaregisteredtrademarkofSearsBrand,LLC.SILVERTONE®isaregisteredtrademarkofSamickMusicCorporation.SWR®,Goliath™aretrademarksofSWRSoundCorporation.TRACEELLIOT®isaregisteredtrademarkofPeaveyElectronicsCorporation.VHT®Pitbull™isatrademarkofVHTAmplification,Inc.VOX®,AC30™aretrademarksorregisteredtrademarksofVOXAmplificationLtd.
9 - Cab Module 201
AmpliTube 3
9.5 Mic Model
TheMicModel includestheMicModelselector,2microphonestomicandmixeachcabinet,andMute,Solo,Phase,Pan,andMicBlendcontrols(figure9.55).
figure9.55
Thanks to the new design of the Cab module, you are able to Mute, Solo,changethePhase,andPaneachmicrophoneindividuallyandthencombinetheir settings via the MIC blend slider. Also, you can easily change eachmicrophone’spositionanddistance.Alloftheseoptionsallowyoutorecre-ateyourmicrophonestechniquesandexpandyourmusicproductionskills.
Below,abriefdescriptionofeachcontrol.
9 - Cab Module202
AmpliTube 3
9.5.1 Mic Model Selector
Toselectamicrophonemodel,clicktheMicModelSelector(figure9.56)andnavigatethroughitscategoriesorusetheforward/backarrows(figure9.57).
figure9.56
figure9.57
Ifyouwanttouse2microphonesselectamicmodelfrombothMic1andMic2.
IfyouwanttousejustonemicrophoneselectNonefromMic2modelslist.
9 - Cab Module 203
AmpliTube 3
Note: when loading presets from previous AmpliTube products Mic 2 willbeselectedtoNoneautomaticallybecausepreviousproductsonlyhaveonemic.Toaddasecondmicrophone inAmpliTube3 just click theMicModelSelectorandchooseamicmodelinsteadofNone(figure9.58).
figure9.58
9 - Cab Module204
AmpliTube 3
9.5.2 Position
Tochangethepositionofthemicrophoneinrelationshiptotheconeofthespeaker,move themicrophone (or its identificationnumber located in thespatialgraphic)(figure9.59)fromlefttoright(orviceversa)untilyoufindthesweetspot.Inotherwords,youwillbeabletochangethemicrophone’spositionfromoffaxis(outsideedgeofthespeaker)toonaxis(center)andeverythinginbetween.
figure9.59
figure9.60
On-Axis means that the microphone is positioned in the center of thespeaker. (figure 9.60) Typically, On Axis position delivers a rich tonal bal-ance,withpresenceandhigh-frequencycontent.However,thiscouldbetoobrightorharshforsomeAmpsettings.Inthiscase,trytheOffAxispositiontoobtainasweetertone.
9 - Cab Module 205
AmpliTube 3
Off-Axismeansthatthemicrophoneispositionedattheoutsideedgeofthespeaker.(figure9.61)
figure9.61
9 - Cab Module206
AmpliTube 3
9.5.3 Distance
To change the distance of the microphone in relationship to the speaker,movethemicrophoneUp(Near)(figure9.62)orDown(Far)(figure9.63)orviceversauntilyoufindtheproperdistance.
figure9.62
figure9.63
Tosummarize,movingthemicrophonehorizontallywillchangeitsposition(On/Offaxis)andmovingitverticallywillchangeitsdistance(Near/Far).
ProductionTips:
To obtain detailed clean sounds, mic up your Cab using the On AxispositionandNeardistancesettings.Ifthesoundistoobigforyourmix,changethemicdistancetoFar.
In general, extremely high-gain sounds match well together with anOff-AxispositionandNeardistancesettings,(especiallyifyouareusingabrightmicrophoneliketheDynamic57).
9 - Cab Module 207
AmpliTube 3
Important:exactlyasit’shappeninginrealitywhenyoucombinetwomicro-phonesplacedaddifferentdistances in frontofanamplifierandyoumixthemuptheresultcanbeaphaseysoundaffectedbyweirdcombfiltering.
Sometimesthis iswhat it’sactuallywanted,but incaseyouhear thisandyoudonotlikewhatyougetjustbesuretoalignthetwomicrophonesmoreorlessatthesamedistancefromthespeaker.
Youcanalsoblendthemicrophonesat25%or75%insteadof50%,thiswill reduce thephaseyeffectwhenmicsareplacedatdifferentdistances.Although,again,thisissometimessomethingwanted!
Tip:experimentwiththefantastic3Dand“senseofspace”AmpliTube3candeliverbypanningthetwomicrophoneswideL-R(orjustabit)andmovingthe microphones in front of the cab. You’ll discover some amazingly nicewaysofhavingyourtonestobeplacedonthestereofieldandhavingthemtogoinsidethemixoroutside,withamazingspatialpresence.
9.5.4 Mute
Click this button to Mute the selected microphone (its number will bedimmed(figure9.64).
figure9.64
9 - Cab Module208
AmpliTube 3
9.5.5 Solo
Click this button to Solo the selected microphone (the other microphone’snumberwillbedimmed)(figure9.65).
figure9.65
9.5.6 Phase
ClickthisbuttontochangetheselectedmicrophonePhase(figure9.66).Youcangetsomereallyweirdtonesbycombiningtwomicrophonesindifferentpositionsandreversingphaseonone.Experiment!
figure9.66
9 - Cab Module 209
AmpliTube 3
9.5.7 Pan
Tochangeamicrophonepansetting,movethePanknob(figure9.67)tothedesiredpositionandcheckitsvalueintheSelectedParameterDisplay.
figure9.67
Tip:whencombiningtwomicrophonesitissometimeveryusefultoslightly“open” their Pan controls. This can result in some extremely realistic andnicely3Dsoundingtonesthatcanfitbetterinthemixbecausetheycantakeadvantageofspatial“cuttrough”inadditionto2Dnormalpanning.
9.5.8 Mic Blend
To combine both microphone settings, move the Mic Blend slider to yourdesiredposition(figure9.68).
figure9.68
9 - Cab Module210
AmpliTube 3
9.6 Microphone Models
AmpliTube3offersmicrophonemodelsorganizedin3categories,Dynamic,Condenser,andRibbon.
9.6.1 Dynamic
9.6.1.1 Dynamic 57
This mic model is based on one of the most popular small diaphragmdynamic microphones. Its bright, edgy sound has made it a widely usedguitarampmic(figure9.69).
figure9.69
Typicallyusedinstudiospairedwithasmootherandwarmercondensermic.
9 - Cab Module 211
AmpliTube 3
9.6.1.2 Dynamic 20
Thismicmodelrecreatesasmoothreactionacrossawidespectrumoffre-quencies,especiallyattractiveinthelowarea.ThismeansthattheDynamic20isagreatselectionforacousticandelectricbass(figure9.70).
figure9.70
9 - Cab Module212
AmpliTube 3
9.6.1.3 Vintage Dynamic 20
This model is a vintage dynamic large diaphragm microphone that usedto be the standard mic for bass amps and kick drums during the ‘60s. It’swarmandpresent,andhasasmoothroll-offathigh frequencies. Ithasaverypleasantmidrangepresencetogetherwithasmoothhighfrequenciesrolloffthatdeliversanicevintagesheentothetone(figure9.71).
figure9.71
9 - Cab Module 213
AmpliTube 3
9.6.1.4 Dynamic 421
Probablythesecondmostpopulardynamicmictouseonguitaramps,thismodelprovidesanequallypleasingsound,butiswarmerthanthe57(figure9.72).
figure9.72
Italsoaddsaveryfocusedboostonhi-midfrequenciesthatmakesitsuit-abletogetaggressivedriventones.
9 - Cab Module214
AmpliTube 3
9.6.1.5 Dynamic 441
Thismodelhasaflatterfrequencyresponsethanmostotherdynamicmics.Thismic ishighlyregardedasaguitarmicandusedwidely instudiosallovertheworld(figure9.73).
figure9.73
9 - Cab Module 215
AmpliTube 3
9.6.1.6 Dynamic 609
Thisisamodelofafaithfulandpopularmicrophoneuseddailyinmanystu-diosandcanbefound“hangingaround”thereoronstageseverywhere.Thisdynamicmicrophonecandeliverhonestyetpunchysounds(figure9.74).
figure9.74
Canresultinverymid-rangeysoundsattimes,butthisissometimeswhatyouwant,especiallywhencombinedwithawarmercondensermicrophone.
9 - Cab Module216
AmpliTube 3
9.6.2 Condenser
9.6.2.1 Condenser 12
Thismicmodelisbasedononeofthefirstlegendarytubemicrophonesinthehistoryofrecording(figure9.75).
figure9.75
Extremelydetailedhighfrequenciescansometimesemphasizesomespeak-ers’fizzinessespeciallywhenplacedonaxis,soitistypicallyusedslightlyoff.
9 - Cab Module 217
AmpliTube 3
9.6.2.2 Condenser 67
This mic model is based on one of the most famous multi-purpose studiomicrophones(figure9.76).
figure9.76
9 - Cab Module218
AmpliTube 3
9.6.2.3 Condenser 84
No microphone collection would be complete without a great small dia-phragmcondensermic.Thismodelisbasedonthestandardforsmalldia-phragmmics.Aswithanygoodsmallcondensermic,the84providesacleanclearpictureoftheguitartone(figure9.77).
figure9.77
9 - Cab Module 219
AmpliTube 3
9.6.2.4 Condenser 87
Thisisamodelofoneofthemostpopularlargediaphragmmicsever(figure9.78).Itcanbefoundinanylargerecordingstudiomiclocker.Becauseofitsexcellentfrequencyresponsecurve,the87hasbecomethego-tomicwhenneedingaclean,flatteringsound.
figure9.78
9 - Cab Module220
AmpliTube 3
9.6.2.5 Condenser 170
This is a model of a high-quality large-diaphragm condenser microphoneused in famous studios around the world. One of the first with transfor-merless technology, this microphone came into the world boasting a veryhigh-quality sound with low noise and a very impressive dynamic range(figure9.79).
figure9.79
Thismicrophonewillnotcolorthesoundofthespeaker,oratleastwillcoloritverylittle.That’swhyitisagreatchoicetohearaverynaturalrenderingofthespeakersoundevenwhenusedalone.
9 - Cab Module 221
AmpliTube 3
9.6.2.6 Condenser 414
The Condenser 414 is modeled after another highly regarded large dia-phragm condenser microphone (figure 9.80). It is a flat and clean/openmicrophone that will flatter big full tones and will also blend beautifullywhencombinedwithanothercabinet/micsetup.
figure9.80
9 - Cab Module222
AmpliTube 3
9.6.3 Ribbon
9.6.3.1 Ribbon 121
Usethisribbonmicrophonetocaptureapure,naturalsound.Thisismod-eled after one of the must-have studio ribbon microphones of our time(figure9.81).
figure9.81
Incrediblypresentmidrangewithanaturalandsmoothrolloffonthehighfrequencies,makesitidealwhenyou’rehearingtoomuch“fizz”fromtheinaxistoneonhighgainandmetaltones,switchingtothismicwillreducetheunwantedhighfrequenciesfizznessinawaythatwillnotreducepresenceatall.
9 - Cab Module 223
AmpliTube 3
9.6.3.2 Ribbon 160
This mic is modeled after a double-ribbon hypercardioid microphone, oneof the top choices for capturing the sound of a broad diversity of sources(figure9.82).
figure9.82
Verydetailedandwithafocusonmidrange,trythiswhenyouwantmoremidrangepresencewithoutapplyingEQorchangingampsettings.
9 - Cab Module224
AmpliTube 3
9.6.3.3 Velo-8
This is a double-ribbon figure-8 microphone with a unique Neodymiumelement(figure9.83).Withasilky-smoothhighendandgoodlowendbody,agreatchoiceformorevintage-soundingguitartones,thismicmixesverywellwithothermicrophonesforveryfull-bodiedrecordings.
figure9.83
9 - Cab Module 225
AmpliTube 3
9.7 Microphone Models (Table)
Mic Model Based on*
Dynamic
Dynamic57 Shure®SM57™
Dynamic20 Electro-Voice®RE20™
VintageDynamic20 AKG®D20™
Dynamic421 Sennheiser®MD-421™
Dynamic441 Sennheiser®MD-441™
Dynamic609 Sennheiser®MD609™
Condenser
Condenser12 AKG®C12™
Condenser67 Neumann®U67
Condenser84 Neumann®KM-84™
Condenser87 Neumann®U-87™
Condenser170 Neumann®TLM170™
Condenser414 AKG®C-414ULS™
Ribbon
Ribbon121 Royer®R121™
Ribbon160 Beyerdynamic®M160™
RibbonVelo-8 GrooveTubes®Velo-8™
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinnowayassociatedoraffiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudieddurinoIKMultimedia’ssoundmodeldevelop-ment and for describing certain types of tones produced with IK Multimedia’s digital modelingtechnology.Useofthesenamesdoesnotimplyanycooperationorendorsement.
AKG®,C12™,D20™,C-414ULS™areregisteredtrademarksofAKGAcousticsGmbH.BEYERDYNAMIC®,M160™areregisteredtrademarksofBeyerdynamicGmbH&Co.ELECTRO-VOICE®,RE20™areregisteredtrademarksofElectro-Voice,Inc.GROOVETUBES®,Velo-8™areregisteredtrademarksofGrooveTubes,LLC.NEUMANN®,U67™,U87™,KM-84™,TLM170™areregistered trademarksofGeorgNeumannGmbH.ROYER®,R121™areregisteredtrademarksofBulldogAudio,Inc.DBARoyerLabsCorporation.SENNHEISER®, MD-421™, MD-441™, MD609™ are registered trademarks of SennheiserElectronicCorp.SHURE®,SM57™areregisteredtrademarksofShureIncorporated.
9 - Cab Module226
AmpliTube 3
9.8 Room
ThenewRoomsectionallowsyoutoplacethecabinetinaparticularambi-enceandcontrolthewidth,pan,andleveloftheRoomMics.Inaddition,itincludestheMute,Solo,andPhasebuttons.ExperimentwithalltheCab,MicModels,andRoomTypestocreateyourperfectcabinetsound(figure9.84).
figure9.84
9 - Cab Module 227
AmpliTube 3
9.8.1 Room Type Selector
ClicktheRoomTypeSelector(figure9.85)toselectaRoompresetorusetheforward/backarrows(figure9.86).
figure9.85
figure9.86
9 - Cab Module228
AmpliTube 3
9.8.2 Mute
ClickthisbuttontoMutetheRoomsection(figure9.87).
figure9.87
9.8.3 Solo
Click this button to Solo the Room section (the microphones selected viaMicModelwillbemutedandtheiridentificationnumberswillbedimmed)(figure9.88).
figure9.88
9 - Cab Module 229
AmpliTube 3
9.8.4 Phase
ClickthisbuttontochangetheRoom’sPhase(figure9.89).
figure9.89
9 - Cab Module230
AmpliTube 3
9.8.5 Room Mics Controls
figure9.90
Width:usethiscontroltochangethewidthbetweenmicrophones.At0,themicrophonesarenexttoeachotherinthecenteroftheroom(figure9.91).At100,onemicrophoneislocatedtotheleftsideandtheothertotherightside(figure9.92).
figure9.91
figure9.92
9 - Cab Module 231
AmpliTube 3
UsethiscontroltosettheStereoimagewidththatwillbeproducedbytheambiencesignal.
When set to default (Center), the ambience will be producing a naturalstereoroomsound.
Iflowered,theimagewillgraduallynarrowuptobecomecompletelymonoattheminimumposition.
Ifincreased,theimagewillbeexpandedcausingtheimpressionoftheste-reofieldtobewiderthanthespeakers.Becarefulnotoverdothisbecausethesoundmightbecancelled(orpartially)whenlisteninginmono.
Pan:thiscontrolallowsyoutopanbothmicrophonestotheleft,center,orrightwithinthestereoimage(figure9.93).
figure9.93
Level:controlstheRoomMicsLevels.Thisisagreattooltocreatedifferentdimensionswithinyourmix(figure9.94).
figure9.94
ThevaluesoftheWidth,Pan,andLevelcontrolsareshownintheSelectedParameterDisplay.
9 - Cab Module232
AmpliTube 3
9.8.6 Room Type Presets
Thereare5RoomTypePresets;AmpCloset,SmallStudio,MidStudio,LargeStudioandHall.Listentoeachpresetandselecttheonethatbestfitsyoursound(figure9.95).
figure9.95
9.9 Rotary Speaker
figure9.96
9 - Cab Module 233
AmpliTube 3
9.9.1 Introduction
TheRotary147–1andRotary147–2modelsareafaithfuldigitalrecre-ationofanextremelygoodsoundingalloriginalclassicRotaryspeakerunitproducedinthe‘60s.
9.9.2 Rotary Speaker Models
Model147-1comeswithallneworiginalspeakers,whileModel147-2comeswithatighterandpowerfulreplacement15”speakeronthelowfrequencysection.
Youcouldchooseeitherofthem,dependingonthetypeofmusicandsoundyou want to process with the Rotary speaker. Consider Model 147-1 to bemoreaccuratewiththeoriginalwithanupfrontmidrange,and147-2tobemorebass-powerfulanddefinedonlowfrequencies.
9.9.3 Setup
Thismenu(figure9.97)isusedtoselectvarioustechniquesusedtorecordtheRotaryspeakerunitinthestudio:
figure9.97
Open:meansthatthelowfrequencycabinetwasopenduringtherecording.
Closed:meansthatthelowfrequencycabinetwasclosedduringtherecord-ing.
Front:meansthattherotatinghornmicrophoneswhereplacedatthefrontoftheLesliecab,meaningthesoundwaspassingthroughtheslotsonthepanels.
9 - Cab Module234
AmpliTube 3
Back: means that the horn microphones where placed at the back of theLeslie cabinet, meaning the sound was directly taken from the horn, notpassingthroughtheslotsonpanels,orjustpartially.
Mono: means the bass drum was recorded with only one microphone, inmono.
9.9.4 Width
UsethiscontroltosettheStereoimagewidththatwillbeproducedbytheRotaryspeaker(figure9.98).
figure9.98
Whensettodefault(Center)theRotaryspeakerisproducingaconvincingandnaturalstereoimage.
Iflowered,theimagewillgraduallynarrowuptobecomecompletelymonoattheminimumposition.
If increased, the image will be expanded causing the impression of thestereo field to be wider than the speakers. Be careful not to overdo thisbecausethesoundmightbecancelled(orpartiallycancelled)whenlisten-inginmono.
9 - Cab Module 235
AmpliTube 3
9.9.5 Balance
UsethiscontroltoalterthebalancebetweenthetoprotatinghornsandthebottomrotatingdrumontheRotarySpeakerunit.(figure9.99)
figure9.99
At default (center) position the sound is usually balanced, moving thecontrol toward the minimum position makes the level of the top rotatinghorns(midandhighfrequencies)tobereduced,movingthecontroltowardthe maximum position makes the level of the bottom rotating drum (lowfrequencies)tobereduced.
9 - Cab Module236
AmpliTube 3
9.9.6 Speed
SetsthespeedoftheRotarySpeaker(figure9.100).
figure9.100
Slow:makesthehornanddrumtorotateatslowspeed.Fast:makesthehornanddrumtorotateathighspeed.Brake:makesthehornanddrumtostoprotating.
Therealrotatingspeakersinsidethisunitaretakingtheirtimetobothslowdownorspeedup;thischaracteristicisalsopartofitssound.Themodelhereisbehavinginthesameway,withtheexacttimes.That’swhyspeedchangesarenotinstantaneous.
10 - Rack FX Module 237
AmpliTube 3
Chapter 10 Rack FX Module (Post Effects)
10.1 Introduction
ToaccesstheRackmodule,clicktheRackbuttonlocatedontheModule/RigSelector(figure10.1).TherearetwoindependentRackmodulesfeaturing4stereorackeffectseach.Theycanbeusedindependentlyortogetherforatotalof8rackeffects.
figure10.1
TofacilitatetheRackmodelsnavigation,pleasereadthefollowingcontrolsdescriptions.
10.2 On/Bypass
This control enables/disables the Rack module from the plug-in’s signal.WhenisOn,theswitchlooksred.(figure10.2)
figure10.2
10 - Rack FX Module 238
AmpliTube 3
10.3 Rack FX Selector
To select a rack model, click the Rack Model Selector (figure 10.3) andnavigatethroughitscategoriesorusetheforward/backarrows.(figure10.4)
figure10.3
figure10.4
10.4 Drag and Drop Feature
ThankstoAmpliTube3drag&dropfeatureyouareabletore-arrangetheorderoftheracksontheflyandmonitortheresultsinreal-time…
10 - Rack FX Module 239
AmpliTube 3
10.5 Rack FX Models
AmpliTube3offers17 rack modelsorganized in6 categories,Modulation,Delay&Reverb,Filter,Pitch,EQ&Dynamics,andOther.
10.5.1 Delay & Reverb
10.5.1.1 Digital Delay
Thisadvanceddelaymodeledeffectcanaddavarietyofdepthtothesound,byprovidingfivedifferentdelaymodes.Thedelaycanalsobesynchedtothehosttempoprovidingevenmoreflexibility(figure10.5).
figure10.5
Controls:
• MODE: sets the output mode of the Delay effect; Stereo, Left/Right,Mono,Left/Center/Right,andDoubler.
• DELAY TIME:setsthetimebetweentheechoes,from1msto2000ms.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempoand
changestheRatecontroltobeatvalues.• FEEDBACK:changestheamountoftimethatthedelayrepeats,from
0%to100%.• FILTER: sets the low pass filter for the delay effect, from 200 Hz to
20kHz.Whensettomidvaluesitgivesanicewarmthtothedelaytimbre.
• MIX:adjuststheamountofwetsoundwiththedrysound,from0%to100%.
• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 240
AmpliTube 3
10.5.1.2 Digital Reverb
Thisdigitalreverbiscapableofaddingsmallamountofspacetoasignalorcreatingahugehallaroundtheinstrument(figure10.6).
figure10.6
Controls:
• DECAY TIME:setsthelengthofthereverb,from0.60secondsto14.00seconds.
• DENSITY: sets the number of reflections generated by the reverb,from0to99.
• COLOUR:setsthereverbcolorationfromdarktolight,from2kHzto20kHz.
• MIX:adjuststheamountofwetsoundwiththedrysound,from0%to100%.
• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 241
AmpliTube 3
10.5.1.3 Tap Delay
Thiscreativedelayeffectunitcanbeusedtocreateinterestingandunusualdelayeffectsthankstothe8totallyindependenttaps.Youcancreategroov-ingrhythmpatternsbycombiningmoretapswithaspecifictimesignature,andyoucanmixthisupwithpsychedelicreversetapeeffectsyouareabletosetforeachtap(figure10.7).
figure10.7
TheTapDelayisactually8delaysinonesingleunit,anditallowsyoutosettime,timbreandlevelforeachoneoftheseunits.Inaddition,youcanglob-allycontrolwithsingleknobsparametersforallthe8tapsatthesametime,liketime,dry/wetmixandfeedbackamount.
Controls:
• TIME:globallyshiftsthedelaytimeofallthe8taps.Thisisarelativecontrolthatworksinthisway:• Whensetatthecenterposition(1x)itdoesnotalterthetimethat
hasbeensetuponeachtap.• Whensettominimum(0.25x)itdividesalltimesbyfour.• Whensettomax(4x)itmultiplyalltimesbyfour.Useittogloballychangethedelaytempowithoutchangingtherela-tionsbetweenalltaps.
• MIX: globally adjust the effect mix between the Dry signal and allthe8delaytaps.
• FEEDBACK: globally adjust the amount of feedback the delay willhave.Whensetatmaximum,thedelaywithbesustainingitself.
• TAP:usethesebuttonstoselectwhichoneamongthe8delaytapsyou’regoingtoeditwithnextcontrols.
• LEVEL:setstheaudiolevelfortheselecteddelaytap.• TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Syncswitchposition.
• TAPS DISPLAY: shows each Tap as a vertical bar. The horizontalposition of the bar represent the delay time, the height of the barrepresenttheaudiolevel.
• FILTER:setsthetimbrefortheselecteddelaytap,darkeratminimumandbrighteratmaximum.
• REVERSE:enablethisbuttontotransformtheselecteddelaytapfromnormaltoreverse.Whensettoreverseadelaytapwillsoundlikeareversedtapeloop.
• LINK:enablethisbuttontomakeachangeyoudoontheabovemen-tionedparameterstoapplytoallthe8tapsatthesametime.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
10 - Rack FX Module 242
AmpliTube 3
10.5.2 EQ & Dynamics
10.5.2.1 Graphic EQ
IKMultimediaproprietary31bandGraphicEQ(figure10.8);
figure10.8
20,25,31.5,40,50,63,80,100,125,160,200,250,315,400,500,630,800,1k,1.25k,1.6k,2k,2.5k,3.15k,4k,5k,6.3k,8k,10k,12.5k,16k,20k.
Eachbandhas+/-15dBboost,plusResetbutton(totalresetofallbandsat0dB),andLevelslider(+/-15dB).
10 - Rack FX Module 243
AmpliTube 3
10.5.2.2 Parametric EQ
WithitsthreetotallyindependentEQs,thisparametricEQprovidesenoughpowertosculpttheperfectguitartoneorsurgicallyenhanceandalteranysignalsentthroughit(figure10.9).
figure10.9
Controls:
• BASS:• GAIN:adjuststheboostorcutofthebassparametricEQ,from-15
dBto+15dB.• FREQ: changes the center frequency of the bass parametric EQ,
from20Hzto20kHz.• Q: sets the bandwidth of the bass parametric EQ, from 0.1 (very
wide)to8.0(verynarrow).• MID:
• GAIN:adjuststheboostorcutofthemidparametricEQ,from-15dBto+15dB.
• FREQ:changesthecenterfrequencyofthemidparametricEQ,from20Hzto20kHz.
• Q: sets the bandwidth of the mid parametric EQ, from 0.1 (verywide)to8.0(verynarrow).
• HI:• GAIN: adjusts theboost or cutof theHiparametricEQ, from-15
dBto+15dB.• FREQ:changesthecenterfrequencyoftheHiparametricEQ,from
20Hzto20kHz.• Q:setsthebandwidthoftheHiparametricEQ,from0.1(verywide)
to8.0(verynarrow).• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 244
AmpliTube 3
10.5.2.3 Tube Compressor
This compressor was modeled after a classic tube compressor. It is a veryversatile,smoothcompressor,andcanaddgreatcolortothesignal(figure10.10).
figure10.10
Controls:
• DRIVE:controlstheamountofsignalthatisinputintotheeffect,set-tingthecompressionlevel.
• ATTACK: controls the amount of time that the compressor takes toreacttotheaudiosignal.
• RELEASE: controls theamountof timethat thecompressor takes toreturntonormalgainaftersomecompressionhasoccurred.
• RATIO:controlsthestrengthofthecompression.Highervalueswillresultinamoreevidenteffect.
• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 245
AmpliTube 3
10.5.3 Filter
10.5.3.1 Rezo
Thisrackmodelisauniqueeffectthatcanaddsynth-likedronesandsus-tainingresonancestoyourparts.Makeyourguitarsoundlikeasitarorlikeasynth-dronetocreatesonicresonancestosingonandcontrolthenoteswithyourcontrollertocreatearpeggiosandstepswhileplaying(figure10.11).
figure10.11
Youhave4resonatingvoicesthatcanbetunedindependentlyfromnoteE0tonoteB7,inhalftonesteps.Forexample,ifyouwanttocreatearesonatingCMajorchord,justsetthefirstthreevoicestoC3,E3andG3.
By moving the All slider you can shift the recently created Chord withoutchangingtheintervalsbetweenthevoices.
YoucansetthedesiredvoicenotebynotenumberofbyfrequencyinHz.
• 1-4 SLIDERS:setsthepitchforeachresonatingvoice.• 1-4 VALUE DISPLAY:displayswhichnoteeachvoiceistunedon.• NOTE/FREQUENCY SWITCH:turnonthisswitchtohavethetuningof
eachvoicedisplayedasanote.TurnthisofftohavethetuningofeachvoicetobedisplayedasfrequencyinHz.
• ALL:shiftsallresonatingnotesbythesameamountkeepingrelativeintervalsbetweenvoicesidentical.
• RES:setstheamountofresonanceforeachvoice,frommintomax.Whensettomaxthenotewillsustainbyitself,whensettominthevoicewillnotberesonating.
• SCALE: the Rezonator is setup by default to span over a chromaticscalewhenyousettheresonatingvoices,meaningthatallhalftonesare possible. If you want to set another scale and want to removenotesfromthechromaticscalejustopenthismenuandleaveononlythenotesyouneed.
• FILTER:determinesthebrightnessoftheresonatingvoices,fromdark(lowerpositions)tobright(upperpositions).
• MIX:setstheamountofresonatingnotesyouwanttohear.Whenthecontrol isatminyou’llonlyhear theoriginalsound,when fullyupyou’llonlyheartheeffectedsound.
• OUT: theresonatingnotescanbecomeveryloudusethiscontroltoadjusttheoveralloutputleveloftheRezonator.
10 - Rack FX Module 246
AmpliTube 3
10.5.3.2 Step Filter
Thisisapowerfulanddeepbeatsyncfiltereffect.YouwillbeabletoapplyLow/High and Band pass analog modeled filtering on freely customizablepatternstoaddgrooveandrhythmicpulsingtoyourparts.Thiswillmakeyour guitars and bass parts to sound like a rhythmic synth, if you want it(figure10.12).
figure10.12
Controls:
• CUTOFF:setsthecentercutofffrequencyofthefilter.Thisisthecutofffrequencythefilterwillhavewhenthestepsaresettohalfposition.
• STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodrawacurvewhileholdingthemousewhiledraggingovermultiplesteps.
• RES: sets the center resonance of the filter. This is the resonanceamountthefilterwillhavewhenthestepsaresettohalfposition.
• DEPTH:setshowdeepthefilterismodulatedbythesteps.• HP/BP/LP:setswhichkindoffilterwillbeused:HP:highpass,BP:
bandpass,LP:lowpass• 12/24:setsthesteepnessofthefilter,12dB/octwillbesofter,24dB/
octwillbesteeper.• DEST:setswhatismodulatedbythestepsbetweenfilterCutoffand/
orfilterResonance.AtfullminimumpositiononlyCutofffrequencyismodulated,atmaxpositiononlyResonanceismodulated.
• DIVISION:setswhattimeintervaleachsteprepresent.• STEPS:setsthenumberofstepsthecyclewillconsistof.• MODE:WhensettoFreethecyclewillbecontinuousandwillalways
coverallthestepsthatarespecifiedintheStepsparameter.WhensettoStrikethecyclewillre-starteachtimeachordoranoteisplayed.
• SWING:increasethiscontroltogivetothestepsaswingtypequan-tization.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
10 - Rack FX Module 247
AmpliTube 3
10.5.4 Modulation
10.5.4.1 Analog Chorus
Thisclassicanalogstereochorusmodeladdsdepthandspacetotheinputsignal(figure10.13).Itcanalsobeusedasavibratoeffect.
figure10.13
Controls:
• CHORUS/VIBRATO:enablesVibratoorChorusmodes.ChorusmodeisenabledwhenthecorrespondingLEDisilluminated.
• CHORUS:setstheintensity(ordepth)oftheChoruseffect,from0to99.
• VIB RATE:setstherateoftheVibratoeffect,from0.02Hzto8Hz.• VIB DEPTH:setstheintensityoftheVibratoeffect,from0to99.• STEREO/MONO: changes the rack effect from a stereo to a mono
effect.StereoisenabledwhenthecorrespondingLEDisilluminated.• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 248
AmpliTube 3
10.5.4.2 Digital Chorus
This modeled digital chorus effect creates a clear articulate chorus effect(figure10.14).Liketheanalogchorus,thiseffectaddsdepthandspacetotheinputsignal,butaddsadifferentcolortotheoverallsignal.
figure10.14
Controls:
• WAVEFORM:selectstheshapeofthechoruseffect,sine,triangle,orsquarewave.
• RATE:setstherateofthechoruseffect,from0.1Hzto8Hz.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempoand
changestheRatecontroltobeatvalues.• DEPTH:setstheintensityofthechorus,from0to100.• STEREO/MONO: changes the rack effect from a stereo to a mono
effect.StereoisenabledwhenthecorrespondingLEDisilluminated.• MIX:adjuststheamountofwetsoundwiththedrysound,from0%
to100%.• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 249
AmpliTube 3
10.5.4.3 Digital Flanger
Thismodelofadigitalflangercancreateametallicmodulatedsound(figure10.15).
figure10.15
Controls:
• WAVEFORM:selectstheshapeoftheflangereffect,sine,triangle,orsquarewave.
• RATE:setstherateoftheFlangereffect,from0.1Hzto8Hz.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempoand
changestheRatecontroltobeatvalues.• DEPTH:setstheintensityoftheFlanger,from0to100.• FEEDBACK:setsthenominalamountofsignalthatisreturnedtothe
inputafterprocessingeffect,from0to10.• STEREO/MONO: changes the rack effect from a stereo to a mono
effect.StereoisenabledwhenthecorrespondingLEDisilluminated.• MIX: adjusts the amount of effected sound with the un-effected
sound,from0%to100%.• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 250
AmpliTube 3
10.5.4.4 Rotary Speaker
Thiseffect isamodelofarotaryspeakercabinet.Rotaryspeakercabinetscreatealushvibrato/choruseffectandaddatremendousamountofdepthtothesound(figure10.16).
figure10.16
Controls:
• SPEED: sets the speed of the rotary speaker effect, from .50 Hz to7.80Hz.
• DRIVE:setstheamountofoverdriveintherotaryspeakereffect,from0%to100%.
• BALANCE:changesthebalanceofhighandlowrotorsinthesignal,from0to100.
• MIX:adjuststheamountofwetsoundwiththedrysound,from0%to100%.
• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 251
AmpliTube 3
10.5.5 Pitch
10.5.5.1 Harmonator
The Harmonator is an advanced harmonizing effect with three separatevoices,eachwithindependentharmony,levelandpan.Byenteringthekeyandscalethattheinstrumentisplaying,theharmonatoranalyzestheinputsignalandtrackthethreeindependentvoicestothecorrectmusickeyandscale(figure10.17).
figure10.17
Controls:
• KEY:controlsthekeyandtypeofscalethatwillbeusedbythehar-monizerasareference.Ifyou’replayingasoloinEmajorsetthistoEMajor,fromCtoB.
• SCALE:changesthescaleoftheharmonizer,includingMajor,Dorian,Phrygian,Lydian,Mixolydian,Minor,andLocrian.
• VOICE:controlsthepropertiesofeachofthe3voicesoftheharmo-nizer.• 1:selectsvoice1forediting.• 2:selectsvoice2forediting.• 3:selectsvoice3forediting.
• INTERVAL:changestheintervaloftheselectedvoice,fromlowoctavetoupoctave.
• LEVEL:independentlyadjuststhelevelofeachofthe3voices,from0to100.
• PAN:independentlyadjuststhepanningofeachofthe3voices,from1.0Lto1.0R.
• DRY PAN:adjuststhepanningofthedrysignalindependentlyfromtheharmonizedvoices,from1.0Lto1.0R.
• MIX:blendstheharmonizedvoicewiththeoriginalvoice,from0%to100%.
10 - Rack FX Module 252
AmpliTube 3
10.5.5.2 Pitch Shifter
Thispitchshiftingeffectcreatesanindependentharmonyvoicethatcanbeblendedwiththeoriginalsignaltocreateharmonyleadpartsandduettypeguitarlines(figure10.18).
figure10.18
Controls:
• SHIFT COARSE:setsthecoarsetuningofthepitchshifter.Measuredinintervals,from-24to24.
• SHIFT FINE: sets the fine tuning of the pitch shifter. Measured incents,from-50to50.
• STEREO/SPLIT:setstheoutputoftheeffecttosplitthepitchshiftedsoundandthedrysoundorblendtheminastereolayeredfashion.
• MIX:adjuststheamountofpitchedshiftedsoundwiththedrysound,from0%to100%.
• OUT LEVEL:setstheoutputleveloftheeffect,from-15dBto+15dB.
10 - Rack FX Module 253
AmpliTube 3
10.5.6 Other
10.5.6.1 Step Slicer
Add programmed rhythmic parts to your power chords and phrases withthispowerfulandcreativebeatsyncedslicingeffect.Itcanbesetuptocre-ateanythingfromthemostamazingtremolostothemostcomplexrhythmeffectsthatalwaysstayinperfectsyncwiththebeat.
Itcontainstwoindependentsteppingengines,oneforLevelandoneforPan,so you can create independent patterns for level and panning within thesamesynchedeffect(figure10.19).
figure10.19
Controls:
• LEVEL:setstheamountoflevelmodulationthestepswillgive.Atminpositionthestepswillnothaveeffect,atmaximumthestepsrangewillbefull.
• STEP BAR:clickontheStepstoseteachsteplevel.Youcanalsodrawacurvewhileholdingthemousewhiledraggingovermultiplesteps.
• RAMP:setsthesteepnessofthelevelchangebetweensteps.Setitatlowerpositionstogetamoregate-likeeffect,orsetittohigherposi-tionstogetasmoothereffect.
• DIVISION:setswhattimeintervaleachsteprepresents.• STEPS:setsthenumberofstepsthecyclewillconsistof.• VOLUME:selectthistoworkontheVolumestepspattern.• PAN:selectthistoworkonthePanningstepspattern.• MODE:WhensettoFree,thecyclewillbecontinuousandwillcover
all thesteps thatarespecified in theStepsparameter.Whenset toStrike,thecyclewillre-starteachtimeachordoranoteisplayed.
• SWING:increasethiscontroltogivetothestepsaswingtypequan-tization.
• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempo.
10 - Rack FX Module 254
AmpliTube 3
10.5.6.2 Stereo Enhancer
Thestereoenhancermodelwidensandnarrowsthestereoimage(figure10.20).
figure10.20
Controls:
• STEREO IMAGE:changesthewidthofthestereoimage.Normalwidthisinthemiddleoftheslider.Movingtheslidertotherightwidensthestereoimage.Movingtheslidertotheleftnarrowsthestereoimage.
Note:whenprocessingamonosignalwiththisRack,thecontrolwillresultinbeingareversedvolumeslider.
10.5.6.3 Swell
Thisisan“autovolume”swellprocessorthatcanautomaticallycreatefan-tastic swell effects while playing without any manual intervention. Use itsubtlytoaddgroovetoyourrhythmpartsoruseitwithdeepersettingstocreatedreamingpadsorstring-likesounds(figure10.21).
figure10.21
Controls:
• DEPTH:setsthedepthofthevolumeswell,indB.Bydefaultthedepthisatmaxposition,meaningthatthevolumewillstartfromsilence.Byloweringthiscontrolyou’llmaketheeffect tostart theswellphasefrom a level which is higher than silence, up to min position thatmakestheeffecttohavenoaction.
• SENS: this control sets the sensitivity for the Swell to recognize anewnoteorchordandthereforestartanewSwellcycle.Setithigherif you want the Swell cycle to start even at the beginning of softerpassages,orsetitlowerifyouwanttheSwellcycletoonlystartforlouderstrikes.
• TIME:setsthelengthoftheSwellcycle.• SWELL:thisLEDgoesOnduringtheSwellphase.• OPEN:thisLEDgoesOnwhentheSwellphasehasfinished.• BPM SYNC:allowstheeffecttosynchronizetotheprojecttempomak-
ingtheswelltimetobespecifiedinmusicalfigures.
11 - AmpliTube 3 Models 255
AmpliTube 3
Chapter 11 AmpliTube 3 Models
Stomp Models Based on*
Delay
Delay IKMultimedia
EchoMan ElectroHarmonix®MemoryMan™
TapDelay IKMultimedia
Distortion
BigPig ElectroHarmonix®BigMuffPi™
Crusher IKMultimedia
DiodeOverdrive IKMultimedia
Distortion Boss®DS-1™Distortion
Feedback Boss®DF-2™Superfeedbacker&Distortion
MetalDistortion Boss®MT-2™Metal-Zone
MetalDistortion2 Boss®HM-2™HeavyMetal
Overdrive Boss®SD-1™Distortion
OverScream Ibanez®TubeScreamer®TS-9™
PROdrive ProCoRAT™Distortion
TheAmbass’dor Marshall®Guv'Nor™
Dynamics
Compressor IKMultimedia
Dcomp MXR®Dynacomp™
EQ
7BandGraphic IKMultimedia
10BandGraphic IKMultimedia
Filter
EnvelopeFilter IKMultimedia
LFOFilter IKMultimedia
Rezo IKMultimedia
StepFilter IKMultimedia
Wah IKMultimedia
Wah10 Ibanez®WH-10™
Wah46 Vox®WahV846™
Wah47 Vox®Wah847™
Fuzz
ClassFuzz RogerMayer™ClassicFuzz®
FuzzAge Arbiter®FuzzFace®
FuzzAge2 Arbiter®FuzzFace®
11 - AmpliTube 3 Models256
AmpliTube 3
FuzzOne Maestro®FuzzTone™
Octa-V RogerMayer™Octavia®
RightFuzz Mosrite®Fuzzrite®
XSFuzz RogerMayer™AxisFuzz®
Modulation
AnalogFlanger Boss®BF-2™Flanger
Chorus IKMultimedia
Chorus-1 Boss®CE-1™Chorus
ElectricFlanger Electro-Harmonix®ElectricMistress™
Flanger IKMultimedia
MetalFlanger MXR®Flanger117™
OptoTremolo Fender®SuperReverb®AmpOpto-Tremolo™
PhazeNine MXR®Phase90™
Phazer10 MXR®Phase100™
SmallPhazer Electro-Harmonix®SmallStone™
Uni-V Univox™Uni-vibe™
Pitch
Harmonator IKMultimedia
Octav Boss®OC-2™Octaver
PitchShifter IKMultimedia
Wharmonator Digitech®Wahmmy™WH-1™
Other
Volume IKMultimedia
StepSlicer IKMultimedia
Swell IKMultimedia
Preamp Models Based on*
Clean
AmericanCleanMKIII Mesa/Boogie®MKIII™Combo(CleanChannel)
AmericanTubeClean1 Fender®SuperReverb®
AmericanTubeClean2 Fender®DeLuxeReverb®65
AmericanVintageB Fender®Bassman®
AmericanVintageD Fender®DualShowman®
AmericanVintageT Fender®TwinReverb®
CustomSolidStateClean IKMultimedia
JazzAmp120 Roland®JC-120™
MetalCleanT Mesa/Boogie®TripleRectifier®(CleanChannel)
11 - AmpliTube 3 Models 257
AmpliTube 3
Crunch
AmericanTubeVintage Fender®Bassman®
BritishBlueTube30TB Vox®AC30™TopBoost
BritishCopper30TB Vox®AC30™-CopperPanel
BritishLeadS100 Marshall®1959JTM100™SuperLead
BritishOR Orange®OR-120™Head
THDBi-Valve THD®BiValve™
TubeVintageCombo Supro®Late'50scombo
Lead
AmericanLeadMKIII Mesa/Boogie®MKIII™Combo(LeadChannel)
BritishTubeLead1 Marshall®JCM800™
BritishTubeLead2 Marshall®JCM900™
CustomModernHi-Gain IKMultimedia
CustomSolidStateFuzz IKMultimedia
CustomSolidStateLead IKMultimedia
MetalLeadT Mesa/Boogie®TripleRectifier®(LeadChannel)
MetalLeadV Peavey®5150®100Whead
MetalLeadW Randall®Warhead™
ModernTubeLead Mesa-Boogie®DualRectifier®
VintageMetalLead Marshall®JMP100™head
Bass
360BassPreamp Acoustic®360™BassPreamp
Combo150MB Gallien-Krueger®MB150™
GreenBA250 TraceElliot®AH250™Head
SolidStateBassPreamp IKMultimedia
Power Amp Models Based on*
ClassAEL84 Vox®AC30™models
50WEL34 Marshall®
100WEL34 Marshall®JMP100™head
50W6L6 Fender®DeLuxeReverb®65
SingleEndedCI.A Supro®Late'50scombo
SolidState CleanSolidStatePowerAmp
100WKT66 Marshall®1959JTM100™SuperLead
100W6L6 Fender®Bassman®100W6L6
100W6L6D Fender®DualShowman®100W6L6
100W6L6T Fender®Twin®100W6L6
11 - AmpliTube 3 Models258
AmpliTube 3
100W6L6V Peavey®5150®100Whead
150W6L6MT Mesa/Boogie®TripleRectifier®150W
Cabinet Model Based on*
Guitar 6”
1x6SmallCombo Fender®SSCombo
Guitar10”
1x10ComboModern Mesa/Boogie®1x10"SubwayRocket®
4x10ClosedModern Marshall®4x10'90sJCM410™
4x10OpenVintage Fender®SuperReverb®1967
Guitar 12”
1x12Combo Marshall®1x12Valvestate™12
1x12MBII Mesa/Boogie®MarkII™1x12"EV
1x12MBIII Mesa/Boogie®MarkIII™1x12"EV
1x12OpenModern VHT®Pitbull™1x12Combo
1x12OpenVintage Fender®DeLuxe®65
2x12ClosedVintage Marshall®19222x12Greenbacks
2x12GryBritishVint Vox®AC30™2x12"'60sGraybacks
2x12JPJazz Roland®JC-120™2x12"
2x12OpenSL Sears®Silvertone®2x12”
2x12OpenTJ120 Fender®Twin®2x12”JBL®D120F
2x12OpenVintage Vox®AC30'60sBluebacks
4x12BritishOr 4x12"Orange®PPC412™
4x12Closed25C Marshall®4x12”,Greenbacks
4x12Closed75C Marshall®4x12”,G1275
4x12ClosedJ120 Marshall®4x12”,JBL®D120F
4x12ClosedModern1 Marshall®4x12'80s1982A
4x12ClosedModern2 Mesa/Boogie®4x12Rectifier™
4x12ClosedVintage1 Marshall®4x12Angled,'70sGreenbacks
4x12ClosedVintage2 Marshall®4x12Straight,Greenbacks
4x12MetalF1 Fender®4x12MH™1
4x12MetalF2 Fender®4x12MH™2
4x12MetalT1 Mesa/Boogie®4x12”Rectifier®1
4x12MetalT2 Mesa/Boogie®4x12”Rectifier®2
4x12MetalT3 Mesa/Boogie®4x12”Rectifier®3
4x12MetalV1 Peavey®5150®4x12”1
4x12MetalV2 Peavey®5150®4x12”2
11 - AmpliTube 3 Models 259
AmpliTube 3
4x12MetalV3 Peavey®5150®4x12”3
4x12ModernM1 Marshall®4x12”JCM8001
4x12ModernM2 Marshall®4x12”JCM8002
4x12ModernM3 Marshall®4x12”JCM8003
4x12VintageM1 Marshall®19604x12”1
4x12VintageM2 Marshall®19604x12”2
Guitar 15”
2x15ClosedBJ130 Fender®Bassman®2x15”,JBL®D130F
2x15ClosedDJ130 Fender®DualShowman®2x15”,JBL®D130F
Bass 10”
4x10+twBass SWR®Goliath™4x10
4x10+twTEBass TraceElliot®4x10"
Bass 12”
1x12Bass CustomBass1x12
1x12BassJz Gallien-Krueger®1x12"MB150
Bass 15”
1x15BassVintage Ampeg®B15R™15”
Bass 18”
1x18HornBass Acoustic®301™FoldedHorn18”
Rotary
Rotary147-1 Leslie®147™originalAlNiCowoofer
Rotary147-2 Leslie®147™modernreplacementwoofer
Mic Model Based on*
Dynamic
Dynamic57 Shure®SM57™
Dynamic20 Electro-Voice®RE20™
VintageDynamic20 AKG®D20™
Dynamic421 Sennheiser®MD-421™
Dynamic441 Sennheiser®MD-441™
Dynamic609 Sennheiser®MD609™
Condenser
Condenser12 AKG®C12™
Condenser67 Neumann®U67
Condenser84 Neumann®KM-84™
Condenser87 Neumann®U-87™
Condenser170 Neumann®TLM170™
11 - AmpliTube 3 Models260
AmpliTube 3
Condenser414 AKG®C-414ULS™
Ribbon
Ribbon121 Royer®R121™
Ribbon160 Beyerdynamic®M160™
RibbonVelo-8 GrooveTubes®Velo-8™
*Allproductnamesandtrademarksarethepropertyoftheirrespectiveowners,whichareinnowayassociatedoraffiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudieddurinoIKMultimedia’ssoundmodeldevelop-ment and for describing certain types of tones produced with IK Multimedia’s digital modelingtechnology.Useofthesenamesdoesnotimplyanycooperationorendorsement.
ACOUSTIC®,360™,301™aretrademarksofGuitarCenter,Inc.AKG®,C12™,D20™,C-414ULS™areregisteredtrademarksofAKGAcousticsGmbH.AMPEG®,B15R™aretrademarksofLOUDTechnologies,Inc.ARBITER®FUZZFACE®isaregisteredtrademarkofArbiterGroupPlc.BEYERDYNAMIC®,M160™areregisteredtrademarksofBeyerdynamicGmbH&Co.BOSS®,DS-1™,DF-2™,MT-2™,HM-2™,SD-1™,BF-2™,CE-1™,OC-2™aretrademarksorregis-teredtrademarksofRolandCorporation.DIGITECH®WHAMMY™WH-1™isaregisteredtrademarkofHarmanInternational Industries,Incorporated.ELECTRO-HARMONIX®, Memory Man™, Big Muff Pi™, Electric Mistress™, Small Stone™ aretrademarksorregisteredtrademarksofNewSensorCorporation.ELECTRO-VOICE®,RE20™areregisteredtrademarksofElectro-Voice,Inc.FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB®, DUAL SHOWMAN®, TWINREVERB®,TWIN®,MH™areregisteredtrademarksofFenderMusicalInstrumentsCorporation.FUZZRITE®isaregisteredtrademarkofAndyJ.Moseley.GALLIEN-KRUEGER®MB150™isaregisteredtrademarkofGallien-KruegerCorporation.GROOVETUBES®,Velo-8™areregisteredtrademarksofGrooveTubes,LLC.IBANEZ®,TubeScreamer®TS-9™,WH-10™aretrademarksorregisteredtrademarksofHoshinoGakkiCo.Ltd.Corporation.JBL®isaregisteredtrademarkofJBLProfessional.LESLIE™147™isaregisteredtrademarkofHammondSuzukiUSA,Inc.MAESTRO®FUZZTONE™isaregisteredtrademarkofGibsonElectronics.MARSHALL®,1959JTM100™SuperLead,JMP100™,JCM800™,JCM900™,JCM410™,Valvestate™,Guv’Nor™aretrademarksorregisteredtrademarksofMarshallAmplificationPlc.MESA/BOOGIE®,Rectifier®,MKIII™,SubwayRocket®,MarkII™,MarkIII™,aretrademarksofMesa/BoogieLtd.MOSRITE®isaregisteredtrademarkofLorettaMoseley.MXR®,Dynacomp™,Flanger117™,Phase90™,Phase100™aretrademarksorregisteredtrade-marksofAppliedResearchandTechnology,Inc.NEUMANN®,U67™,U87™,KM-84™,TLM170™areregistered trademarksofGeorgNeumannGmbH.ORANGE®, OR-120™, PPC412™ are trademarks or registered trademarks property of OrangeMusicElectronicCompanyLtd.PEAVEY®isaregisteredtrademarkofPeaveyElectronicsCorporation.PROCORAT™isatrademarkofProCoSound,Inc.RANDALL®,Warhead™aretrademarksorregisteredtrademarksofRandallAmplifiersadivisionofU.S.MusicCorp.ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and registered trade-marksofRogerMayer.ROLAND®,JC-120™areregisteredtrademarksofRolandCorporation.ROYER®,R121™areregisteredtrademarksofBulldogAudio,Inc.DBARoyerLabsCorporation.SEARS®isaregisteredtrademarkofSearsBrand,LLC.SENNHEISER®, MD-421™, MD-441™, MD609™ are registered trademarks of SennheiserElectronicCorp.SHURE®,SM57™areregisteredtrademarksofShureIncorporated.SILVERTONE®isaregisteredtrademarkofSamickMusicCorporation.
11 - AmpliTube 3 Models 261
AmpliTube 3
SUPRO®isatrademarkofZinkyElectronics.SWR®,Goliath™aretrademarksofSWRSoundCorporation.THD®BiValve™isatrademarkofTHDElectronicsLtd.TRACEELLIOT®AH250™isaregisteredtrademarkofPeaveyElectronicsCorporation.UNI-VIBE™isatrademarkofKorgUSACorporation.UNIVOX™isatrademarkofKorgUSACorporation.VHT®Pitbull™isatrademarkofVHTAmplification,Inc.VOX®, AC30™, Wah V846™, Wah 847™ are trademarks or registered trademarks of VOXAmplificationLtd.5150®isaregisteredtrademarkofEdwardVanHalen.
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Chapter 12 Expanding AmpliTube 3 using the Custom Shop
12.1 Overview
AmpliTubemakesagiantleapforwardwiththenewCustom Shop toonceagainrevolutionizethewayyoucreateyourtone.
Imaginewalkingintothemostcomprehensivestoreofguitarandbassgearevermadetodesignthedreamrigyouhavealwayswanted.Nowyoucanpick and choose stomp boxes, amp heads, speaker cabinets, microphones,rackeffectsandrarevintageequipmentfromthehundredsofmodelsavail-able in the online IK Multimedia Custom Shop (including amazing brandnewstompbox,amplifiersandcabinetmodelsbyOrange,Fenderandmore).Thisàlacartemethodofbuildingyourriggivesyouextremeflexibilityincustomizingyourtonebylettingyouselectexactlythegearyouneed.
Let’s say you want the Big Pig stomp box from the standard collection inAmplitube3,andyoualsowanttheclassicBritishLeadS100headfromtheJimiHendrixbundle.Nowyoucangetjustthosetwopiecesofgearwithouthavingtobuytwoentirepackages(which,bytheway,areavailableaswell).Nowyourrigcangrowinawaythatisfinelytunedtoyourtonalneedsandmusicalvision!
YoucanfindadetailedexplanationofthenewCustomShopfeatureontheHELPpageoftheCustomShopbrowserwindow.Viewitbyclickingthe“?”iconintheupperleftpartofthewindow.
12.2 The Custom Shop
Nowyoucantrythegearbeforeyoubuyit,andyoucanpurchasemodelsàlacartetocreateyourowncustomizedtonepowerhouse.SimplyclickontheCustomShopbuttonwithanactiveInternetconnectionandlogintoseetheonlineCustomShophomepage.Thereyoucanbrowsethevastcollectionofover200gearmodelsincludingtheofficiallyapprovedmodelsofworld-classbrandedgearfromFender, Ampeg, Orange, Soldano, Seymour Duncan, Groove Tubes, Gallien Krueger, Jet City, THD, T-Rexandmanymore.
Youcansearchgearmodelsbykeywords,orusetheconvenient“geartype”menutobrowsethehundredsofgearmodelsavailablewithmodelinforma-tion,interfaceimageandtheamountofcreditsthateachgearmodelcosts.Every gear model can also be tried out for free, the same way you wouldtry an amp in a physical shop. Simply click the TRY button to unlock themodel inAmpliTube3tousethefully functionalmodel for twodays.Thisgivesyoutheopportunitytotestandevaluatethemodelinboththeplug-inandthestandaloneversiontoseehowitworksforyou.Themodelwillbelockedafteryourtwo-daytrialperiodends,butyoucantryitagainaftertwomonths(orbuyitatanytime,ofcourse!).ThetrialtimeremainingforthemodelwillbedisplayedbesidethemodelpopupdisplaymenuinAmpliTube
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3showingyouthehoursleft.
12.3 New gear models and collections
WehaveaddedmanynewmodelsforàlacartepurchaseintheCustomShopalongwithallofthemodelsfromtheAmpliTubeFender™andAmpeg®SVXCollections. You can purchase the AmpliTube Fender™ and Ampeg® SVXmodels either as individual à la carte items or as “Collections” inside theCustomShop.
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Chapter 13 Automation
AmpliTube3hasaversatileandflexibleAutomationengine.ItallowsyoutoassignautomationwithineachmoduleandviatheAutomationPanel.
13.1 Assign Automation within each Module (Stomp, Amp, Cab and Rack)
SelecttheStomp,Amp,CaborRackmodulefromtheModule/RigSelector(figure13.1).
figure13.1
Right-clickontopoftheAmpliTube3parameterthatyouaregoingtoassigntoAutomation(figure13.2).
figure13.2
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ChoosewhichDAWAutomationparameter#youaregoing touse for theAmpliTube3parameterselectedonstep#2(figure13.3).
figure13.3
13.2 Manage Automation Assignments via the Automation Panel
AmpliTube3hasmoreparametersthanaudiosequencers(DAWs)cansup-port.Forthisreason,ithasitsownAutomationPanel,sothattheenormousnumber of theoretically automatable parameters in AmpliTube 3 can begrouped in a smaller number to allow all DAWs being able to handle it.Toopenit,clickAUTOontheInput/Outputbar(figure13.4).
figure13.4
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The Automation Panel has two panes. The Left Pane is called Plug-inParameters,andtheRightPaneiscalledDAWAutomation(13.5).
figure13.5
ThisPanelcanalsobeusedtorecaptheAutomationassignmentmadewiththeproceduredescribedon13.1.
13.2.1 Plug-in Parameters
The Plug-in Parameters Pane displays AmpliTube 3 Global and Moduleparameters, as well as all the Stomp, Amp, Cab, and Rack Modules gear(figure13.6).
figure13.6
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Considering that AmpliTube 3 offers dual rig setup, each Module is listedseparatelyasStompA,StompB,AmpA,AmpB,CabA,CabB,andRackA,RackB(figure13.7).
figure13.7
ThePlug-inParametersPaneallowsyoutoselectwhichAmpliTube3param-eteryouaregoingtoassigntoAutomation.
13.2.2 DAW Automation
The DAW Automation Pane lists the 16 Automation parameters that aredeclaredtotheDAW(figure13.8).
figure13.8
These parameters names (Param 1 to Param 16) are fixed because most
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DAWsdonotsupportautomationparameternamechangeswhiletheplug-inisopen.
ThroughtheDAWAutomationPane,youwillbeabletoselectwhichDAWAutomationparameter#you’regoingtousefortheAmpliTube3parameterselected on the Plug-in Parameters Pane. For example, if you’ve selecteda Time on the Plug-in Parameters Pane and then clicked Add, the DAWAutomationPanewilldisplay:
Param1:Swell(AT3)ATime(figure13.9).
figure13.9
Thismeans:
• Param 1:DAWAutomationparameter#(1inthiscase).• Swell:theselectedStompModel.• (AT3):nameabbreviationof thePoweredbyAmpliTubeapplication
thatincludestheselectedStompModel(e.g.,AmpliTube3).• A:RigA.• Time:nameoftheparametertobeautomated.
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13.2.3 Assignment Procedure
Theeasiestwaytoassignautomationiswithineachmodule,asdescribedin 13.1. However, you can also use the Automation Panel to manage yourparameters(moveup/down),usetheRemoveAlloption,etc.
To assign an AmpliTube 3 parameter to one of the 16 DAW AutomationparametersviatheAutomationPanel,pleasefollowthesesteps:
1. ClickAutoontheInput/Outputbar(figure13.10).
figure13.10
2. OnthePlug-inParametersPane,selectwhichAmpliTube3param-eteryouaregoingtoassigntoAutomation(figure13.11).
figure13.11
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3. On the DAW Automation Pane, select which DAW Automationparameter#youaregoing touse for theAmpliTube3parameterselectedonstep#2(figure13.12).
figure13.12
4. ClickAddtoestablishtheactualassignment(figure13.13).
figure13.13
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5. ClickOKtosavethesetupandclosetheAutomationwindow(figure13.14).
figure13.14
Toremoveaparticularassignment,pleaseselectitandclickRemove(figure13.15).
figure13.15
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Toremovealltheassignments,clickRemoveAll(figure13.16).
figure13.16
To move up/down an assignment click the Move Up/Move Down arrows(figure13.17).
figure13.17
Thisisaveryusefulfeaturebecauseitsavesyoutoremovetheassignmentfrom“Param1”andcreateanewassignmentfor“Param2.”
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13.2.4 Assignment Save and Recall
ClickingOKwillsaveandclosetheAutomationwindow.
IfyouareusingAmpliTube3asaplug-in,theautomationassignmentmapwillbestoredandrestoredtoandfromthesessionyou’reworkingon.
EachAmpliTube3instanceisindependentfromtheothers.ThismeansthatsavingyourDAWsessionwillsaveeachAmpliTube3instancewithitsownAutomationassignmentssetup.
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Chapter 14 MIDI
14.1 Introduction
AmpliTube 3 MIDI control allows you to assign MIDI control changes toparametersorcommands,soyoucanremotecontrolAmpliTube3withanykindofhardwareorsoftwaredeviceabletogenerateMIDIControlChanges.
AmpliTube3respondstoMIDIControlChangeandProgramChangesmes-sagesonly.MIDINotenumbers,Aftertouch,PitchBendandothertypesofmessagesarenotrecognizedorsupported.
TherearetwotypesofMIDIcontrol;GlobalandPreset.
Global MIDI control allows you to specify MIDI Control Changes that willcontroltheselectedparameterforallpresets.TheparametersorcommandsthatcanbespecifiedforGlobalMIDIcontrolare:
• Presetswitch(Previous/Next)• Volumepedalcontrol• Wahpedalcontrol• Wharmonatorpedalcontrol• All12stompslotsbypasscontrol
PresetMIDIcontrolallowsyou tospecifyMIDIControlsChanges thatwillcontroltheselectedparameterspecificallyforthecurrentpreset.
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14.2 MIDI Configuration
Whenrunningasaplug-in,AmpliTube3willbeabletoreceiveMIDIfromthehost.RefertoyourhostsequencerorDAWonhowtosetitupsothatitcansendMIDItoaudioplug-ins.
WhenrunningasaStandalone,AmpliTube3needstobeconfiguredtoknowfromwhichMIDIportitshouldreadMIDIdatafrom.Todothat;
1. ClickAudio>HardwareSettings…2. Select theMIDI interfacewhereyourcontroller isconnectedfrom
theMIDIInputmenu(figure14.1).
figure14.1
To check that you’ve correctly setup MIDI Input, try sending MIDI ControlChangesorProgramChangesfromyourcontrollerwhilewatchingthe“MIDIIN”indicator(Standaloneversiononly)(figure14.2).
figure14.2
IftheMIDIInhasbeensetproperly,thisindicatorwilllightupwhenaMIDIcommandisreceived.
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14.3 Assigning Controllers
14.3.1 Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters)
This method allows you to quickly assign the MIDI control to a specificAmpliTubeparameterwithouthavingtosetupanythingmanually.
1. Right-clickontopof theAmpliTube3parameter thatyouwanttocontrolviaMIDIandclickAssignMIDI>Learn“parametername”(figure14.3).
figure14.3
2. Move the knob, slider, switchorpedal youwant touse to controlthisparameteronyourMIDIdeviceandtheassignmentwillauto-maticallybeapplied.
Youcandothisforalltheparametersthatyouwanttocontrolonthispreset.Remember that thisassignment is perpresetand itneeds be doneon allthepresetsthatyouwanttocontrol.ThisallowsyoutoapplydifferentMIDIcontrolschemesforallyourpresets.
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14.3.2 Manage MIDI Parameters Assignation via the MIDI Control Panel
Thismethodallowsyoutomanuallysetup,edit,andcomparealltheMIDIassignmentsthatyouhavedoneforGlobalcontrolorforPresetcontrol inasinglepanel.
ToassignGlobalMIDIcontrol:
1. ClicktheMIDIbuttonlocatedontheInput/OutputbartoopentheMIDIControlassignmentwindow(figure14.4).
figure14.4
2. ClickGlobal(figure14.5).
figure14.5
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3. Click on the parameter that you want to control on the left pane(figure14.6).
figure14.6
4. ClickLearn.(figure14.7)
figure14.7
5. Moveafader,knob,slider,orswitchonyourMIDIController.6. Theassignmentwillautomaticallytakeplace.7. ClickOKtosavetheassociationandclosetheMIDIControlwindow,
orCanceltoeraseit.
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Thecontrolassignmentthatyou’vecreatedinthisway(Global)isvalidforallpresets,andwillapplyanypresetloadedornewlycreated.
ToassignPresetMIDIcontrol:
1. ClicktheMIDIbuttonlocatedontheInput/OutputbartoopentheMIDIControlassignmentwindow(figure14.8).
figure14.8
2. ClickPreset(figure14.9).
figure14.9
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3. ClickAdd(figure14.10).
figure14.10
4. FromtheTreemenuselectthecurrentAmpliTube3presetparam-eteryou’regoingtocontrol(figure14.11).
figure14.11
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5. ClickLearn(figure14.12).
figure14.12
6. Moveafader,knob,slider,orswitchonyourMIDIController.7. Theassignmentwillautomaticallytakeplace.8. Repeatthestepsfrom#1tohereifyouwanttoaddmorecontrols
onthesamepreset.9. ClickRemovetoremovejustoneoftheassignmentsyoudidfrom
thepanel.10. ClickOKtosavetheassociationandclosetheMIDIControlwindow,
orclickCanceltoeraseit.
Thecontrolassignmentthatyou’vecreatedinthisway(Preset)isvalidforthecurrentpresetonlyandwillnotapplytotheotherpresets.ThisallowsyoutocreatespecificMIDIassignmentforeachpreset.
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14.4 Additional Parameters on MIDI Control Window
TodeleteaparticularAmpliTube3parameter/MIDICC#association,selectit,andclickClear(figure14.13).
figure14.13
TodeleteallAmpliTube3parameters/MIDICC#associationsatonce,clickClearAll(figure14.14).
figure14.14
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Min-Max Range values(figure14.15).
figure14.15
Thesetwovaluesexpressedin%,areusedtodeterminetherangeof thecontrolledparameter.
Tocontroltheparameteronallitsrangeset:
• Min0%• Max100%
Tocontroltheparameterfrommintohalfofitsrangeset:
• Min0%• Max50%
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Curve(figure14.16)
figure14.16
ThisaffectsthewaythecontrolledparameterwillchangewiththepositionoftheMIDIcontrolknob,sliderorpedal.Curverangeisfrom0to10with5asdefault.
• Whenit’ssetto5thecontrolwillbelinear,meaningtheplacingtheMIDIcontrolleratonehalfof its travelwill result in thecontrolledparametertoalsosetat50%ofitsrange.
• Setting lower values on Curve will result in an expanded controlcurve.
• Setting higher values on Curve will result in a compressed controlcurve.
Alwaysstartwith5asadefault(linear).
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Latch(figure14.17)
figure14.17
When it is set to Off, the selected parameter will temporarily stay to thevalueimposedbytheexternalMIDIControl.
Whenit isset toOn, theselectedparameterwill togglebetweenMinandMaxvalueseachtimetheMIDIControlarrives.
Usethiswithfootswitchesorswitchesingeneral,tocontrolOn–Offparam-etersonAmpliTube3.
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Receive channel(14.18)
figure14.18
TochangetheMIDIchannel#,clicktheMIDIChanneldisplayandmovethepointerUptoselectfrom1-16.
Note: AmpliTube 3 MIDI implementation is not associated with StompIO/StealthPedal MIDI and it works independently from their MIDI ports. TolearnmoreaboutStompIO/StealthPedalMIDIimplementation,pleasereadtheirUserManuals.
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Chapter 15 Foot Controller Integration
15.1 Introduction
WiththelatestversionofAmpliTube3,theprogrammingofyourfootcontrollerfor liveperformanceusehasneverbeeneasier.NowyourprogrammingcanalsobedonefromwithintheAmpliTubeplug-inandautomaticallymirroredonthecontrollerforaveryfastandconvenientwayoforganizingyouruniquelytweakedcollectionofpresets.
For more information on Foot Controller Integration, please see the adden-dum, “What’s New in AmpliTube 3.5”.
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Chapter 16 Troubleshooting
Where can I find my IK product Serial Number?
The Serial Number is written on the Registration Card (included withyour IK product, inside the license envelope) or in the email youreceivedfrom[email protected](ifyoupurchasedtheproductas‘Downloadableonlyversion’).Inthesnapshot,pleasecheckitsexactlocationontheRegistrationCard(figure16.1).
figure16.1
1)YoucanfindyourSERIALNUMBERhere
2)AtthebottomoftheregistrationcardalegendhelpsyouidentifythecharactersinyourSERIALNUMBER
Forclearcharactersidentification,pleaseanalyzethelegend.
IMPORTANT: the number zero can easily be identified in your SerialNumberbecauseitiscrossedbyaline.
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Why is the Authorization Manager rejecting my Serial Number?
Probablybecauseofatypo,herearesomecommonerrors:• Typinga0(“zero”number)insteadofanO(“o”letter)• Typing1(“one”number)insteadofanI(“i”letter)• Typing2(“two”number)insteadofaZ(“z”letter)• Typing5(“five”number)insteadofanS(“s”letter)• Typing8(“eight”number)insteadofaB(“b”letter)• Typinga“.”(point)insteadofa“-”(minus)
Suggestions:• Ifpossible,pleasecopyandpastetheinformation• Cutoffalltheleadingandtrailingspaces• Please type all codes in UPPERCASE during the installation and
registrationprocess• CheckthattheSerialNumberthatyouareenteringisincorrelation
withtheproductinstalled
How can I authorize my product on another computer?
Toauthorizeyourproductonanothercomputerjustfollowtheseinstructions:
• InstalltheproductandtheAuthorizationManageronthatcomputer• RuntheAuthorizationManager
I need to log in into the User Area but I forgot my User Name and Password. What should I do?
YoucanretrieveyourUserArealogindetailsintwodifferentways:
• RuntheAuthorizationManagerandfollowthestepsuntilyoureachtheloginpage.Hereyoujusthavetoclickonthe ‘Forgotpassword?’buttonandsubmityouremailaddress.Yourlogindetailswillbesenttoyouremailaccount. In case you have checked the ‘Remember me’ checkbox beforeandarenotabletoaccesstheloginpage,justclickontheLOGOUTbutton.
• Go to www.ikmultimedia.com, click on ‘I forgot my username and/orpassword’andsubmityouremailaddress.Yourlogindetailswillbesenttoyouremailaccount.
I just bought an IK Multimedia software. What should I do to register and authorize my new product?
JustruntheAuthorizationManagerandfollowtheinstructions.
Incaseyoudon’thavetheAuthorizationManager,youcandownloaditforfreefromtheProductspageofourwebsiteat:www.ikmultimedia.com/products.
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Chapter 17 Support
Foranyquestionyoumayhave,pleaserefertotheFAQwebpageat:www.ikmultimedia.com/faqHereyouwillfindanswerstothemostcommonquestions.
TosubmitaTechnicalSupportForm,goto:www.ikmultimedia.com/Support.php
ForotherrequestssuchasProduct,Sales,orWebinfo,pleasegoto:www.ikmultimedia.com/ContactIKForm.php
17.1 User Area
TheUserArea isaspecialsectionofourwebsitespecificallydesignedforourusers.(figure17.1).
figure17.1
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Ifyouareamemberofourregisteredusers’database,youwillbeableto:
• EdityourPersonaldata• ManageyourproductAuthorizationCodes• Downloadthelatestproductsupdatesandfreecontent• TransferyourLicense• GetYourFreeProducts• ShareyourAmpliTubepresets• RedeemyourIKJamPoints
To access the User Area go to www.ikmultimedia.com/userarea or go towww.ikmultimedia.comandclickUserAreafromthenavigationbar.
To enter the User Area for the first time, you have to Log in with theUsername and Password that you’ve received from us via e-mail afteryourfirstIKproductregistration.IfyouhavechangedyourUsernameandPassword,pleaseuseyourmostcurrentinformationtoLogin.
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Appendix IK Technologies
DSM™ Technology
DSM™isanewandexclusiveIKMultimediatechnologyusedintheemula-tion of analog circuitry. DSM was designed to increase the response real-ismandplayabilityofcriticalanalogcircuitmodels.Musiciansalways feltdigitalemulationsofhigh-qualityanaloggear(suchasguitaramplifiers)tobegoodbutnotcompletelysatisfyingbecauseofthelackofcertain“play-ability”and“musicality”qualitiesthatonlytherealthingprovides.DSMhasbeendesignedtoimprovethisaspect.
DSM gives special and unique results when applied to circuit emulationswherethenon-linearityisthemaincharacteristicoftheprocessor,suchasindistortion,fuzz,overdrivestompboxes,tubeguitarpreamplifiersandpoweramps,andanalogcompressorsandlimiters.TheDSMworkingprincipleisbasedonanewapproachneverappliedtoDSP“analogmodeling”untilnow.
Analogcircuits,especiallyTubeandClass-Adiscreteones,arenotdynami-cally-linear,buthavebeenmodeledthiswaybytoday’stechnology.Anana-logcircuit’s character isnever constantlyshapedbutvariesdepending onlotsofparameters,firstandforemostthestrength,frequency,andharmoniccontentoftheincomingsignal.
DSMtakesthenextstep. Itcontinuouslyadapts the“shape”of theanalogcircuitinsteadofapplyingastaticsnapshot.Byusingmorecomplexmath-ematical functions, a more articulated and musical response is possible,makingDSMidealformodelingtubepreampsandtubepoweramps.
Traditionalemulationsareforcedtoatradeoffbetween,forexample,thosekindofdistortionsthatappearonlywhena22x6L6tubepoweramplifierisdriventoitslimitandthecleanersoundithaswhenit’sdrivennormally.
DSMdeliversadynamicresponsethatcontinuouslymorphsand“follows”theincomingsignal;inotherwords,thatfollowsthemusic.
This leads to an accuracy that cannot be found in any other modelinghardwareorsoftware today, respectingall thesignalnuancesexactly likearealanalogcircuitwoulddowithagradeofrealismandmusicalityneverachievedbefore.
VRM™ Technology
VRM™ (Volumetric Response Modeling) is a new proprietary technologythatIKMultimediadevelopedtoimprovequalityondigitalreproductionofspeakersandacousticcabinetsusedwithmusicalinstruments.
This technology involves complex and numerous measurements of real
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speakers in the studio and the realism and musicality of the recreatedspeakersoundhasnorival…
IK Multimedia developed VRM™ because the technology available at thetime of AmpliTube Fender development was not good enough to success-fullyrepresenttheVibratonerotaryspeakerinallitsnuancesandcolorfulsounds.WehadtocomeoutwithasolutionthatcouldmakepeoplethinkthemodelinsideAmpliTubeFenderisarecordingofarealVibratone(actu-ally,averygoodrecording…)andnotadigitalmodel,andwe’vesucceeded!
VRM™ has been continuously improved and allowed the addition of newAmpliTube3featuresliketheflexible2-microphonessetup,withfreeposi-tioningandmixing.
TheSpeakersandCabinetsectionincludedinAmpliTube3offerssupremesoundquality,richness,musicality,andfidelitywiththeoriginalsunitsthatitcanreallyhaveafewrivals,ifany…Justlisten!
Block Diagram
LEVELSTOMP
MODULE0-20 msDELAY
AmpliTube®,AmpliTube®Metal™,AmpliTube®X-GEAR™,SVX™,StompIO™,StealthPedal™,StealthPlug™,SpeedTrainer™,DSM™,VRM™,aretrademarksor
registeredtrademarkspropertyofIKMultimediaProductionSrl.
FENDER™andallFENDERamplifiers,logos,andtradedressarethetrademarksofFMICandusedhereinunderlicense.Allrightsreserved.
AMPEG®isatrademarkofLOUDTechnologies,Inc.ORANGE®isaregisteredtrademarkofOrangeMusicElectronicCompanyLtd.
SOLDANO®isaregisteredtrademarkofGremlinInc.DBASoldanoCustomAmplificationCorporation.
SEYMOURDUNCAN®isaregisteredtrademarkofCarterDuncanCorporation.GROOVETUBES®isaregisteredtrademarkofROKRVentures,Inc.
GALLIEN-KRUEGER®isaregisteredtrademarkofGallien-KruegerCorporation.JETCITYAMPLIFICATION333®isaregisteredtrademarkpropertyof333
EnterprisesIncorporatedDBAJetCityAmplificationCorporation.JIMIHENDRIX™nameusedunderlicenseofAuthenticHendrix,LLC.
©TMAuthenticHendrix,LLC.THD®isaregisteredtrademarkofTHDElectronicsLtd.
T-REXENGINEERING®isaregisteredtrademarkofT-RexEngineeringApSCorporation.
Allotherproductnamesandimages,trademarksandartistsnamesarethepropertyoftheirrespectiveowners,whichareinnowayassociatedor
affiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudiedduringIKMultimedia’ssoundmodeldevelopmentandfordescribingcertaintypesoftonesproducedwithIKMultimedia’sdigitalmodelingtechnology.Useofthesenamesdoesnotimply
anycooperationorendorsement.www.amplitube.com
IKMultimediaProduction,Viadell’industria46,41122,Modena,Italy.Phone:+39-059-285496-Fax:+39-059-2861671
IKMultimediaUSLLC,1153SawgrassCorporatePkwy.Sunrise,FL33323Phone:(954)846-9101-Fax:(954)846-9077
www.ikmultimedia.com
Allspecificationsaresubjecttochangewithoutfurthernotice.
PN:M
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