Professional Documents
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User Manual
AmpliTube 3
PLEASE NOTE
1
AmpliTube 3
2
AmpliTube 3
Table of Contents
I Contents 3
II Interface 12
Chapter 1 Overview 17
1.1 Introduction 17
1.2 What’s new in AmpliTube 3? 17
1.3 Plug-in Architecture 19
1.4 Using the Interface 22
1.4.1 Standalone Interface 22
1.4.2 Plug-in Interface 25
I - Contents 3
AmpliTube 3
Chapter 5 Presets 69
5.1 Preset Selector 69
5.2 Preset Browser 70
5.2.1 Searching Capabilities 72
5.2.2 Filter Options 74
5.3 Working with Presets 75
5.3.1 Loading Presets 75
5.3.2 Saving Presets 76
5.3.3 Deleting Presets 78
5.4 Model Presets 78
5.4.1 Saving a Model Preset 78
5.4.2 Loading a Model Preset 80
4 I - Contents
AmpliTube 3
I - Contents 5
AmpliTube 3
6 I - Contents
AmpliTube 3
I - Contents 7
AmpliTube 3
8 I - Contents
AmpliTube 3
I - Contents 9
AmpliTube 3
10 I - Contents
AmpliTube 3
I - Contents 11
AmpliTube 3
12 II - Interface
AmpliTube 3
II - Interface 13
AmpliTube 3
License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
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return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.
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“IK Multimedia Product” means the software program included in the enclosed package, and all related updates supplied by IK Multimedia.
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6) DUAL-MEDIA SOFTWARE
You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another
user, except as part of the permanent transfer (as provided above) of the “IK Multimedia Product”.
7) LIMITED WARRANTY
IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original purchase,
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This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contempora-
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16
AmpliTube 3
Chapter 1 Overview
1.1 Introduction
AmpliTube 3 offers over 160 pieces of gear (including models from the most
sought-after vintage collections and modern day workhorses), 51 individual
stomp boxes and effects, 31 amplifier preamp & power sections, 46 speaker
cabinet models, 15 high-end stage and studio mics, 17 post amp rack effects,
and much more… Thanks to the new AmpliTube 3 open architecture, you are
able to constantly expand your sonic palette through the addition of more
packages such as AmpliTube Fender™, Ampeg® SVX, etc.
• Over 160 models of vintage and modern gear included in one package
• 30 new vintage gear models and creative effects
• New Cabinet Module with two freely movable microphones and
cabinet size control
• New Room ambience with microphones’ stereo width control
• New rotary speaker simulation using IK’s proprietary Volumetric
Response Modeling (VRM™) technology
• New Stomp & Rack FX drag & drop feature
• Series/Parallel rigs with 8 signal path presets, selectable mono/
stereo input and true stereo processing
• New advanced Preset Organization and Management feature
• Global and Single gear presets
• New “MIDI Learn” feature for compatibility with any MIDI controller
• Freely assignable DAW Automation
• New 4 Track Audio Player/Recorder with independent time stretch/
pitch shift*
• Non destructive recording allows post-effect processing of the
recorded audio*
• Imports any Wav, Aiff, sd2, Apple Caf, Flac, MP3 audio file*
• New Quality Mode feature
• New built-in expandability (you are able to add “Powered by
AmpliTube” packages like AmpliTube Fender™ and Ampeg® SVX, etc)
1 - Overview 17
AmpliTube 3
*Standalone version
Other features:
18 1 - Overview
AmpliTube 3
1) Tuner
figure 1.1
2) Stomp effects
figure 1.2
1 - Overview 19
AmpliTube 3
3) Amp
figure 1.3
4) Cab
figure 1.4
20 1 - Overview
AmpliTube 3
5) Rack effects
figure 1.5
This “musical layout” allows you to navigate the different rigs’ sections
without effort and provides easy access to each module’s specific controls
and features.
The first step is to listen the included presets. The presets library has been
skillfully programmed by the AmpliTube 3 designers to accurately reproduce
each particular tone and to fuel your creativity…
For more information about complex guitar rigs and advanced signal rout-
ing, see Chapter 4, “Module/Rig Selector.”
1 - Overview 21
AmpliTube 3
figure 1.6
figure 1.7
22 1 - Overview
AmpliTube 3
figure 1.8
figure 1.11
It allows you to choose the module that you want to use (Tuner, Stomp, Amp,
Cab, or Rack), the input type (Mono/Stereo) and the signal path presets.
figure 1.12
It displays the selected module and all its related controls. This is the module
that you will use most while interacting with AmpliTube 3.
1 - Overview 23
AmpliTube 3
figure 1.13
From here you will manage the Input and Output levels, the Noise Gate, and
several module related controls.
figure 1.14
It allows you to playback your favorite songs, learn new riffs, capture your
ideas, record your band’s demo, and much more…
figure 1.15
It includes the Input Gain Slider and gives you a quick reference of the CPU
load and MIDI.
24 1 - Overview
AmpliTube 3
figure 1.16
Note: considering that the first 4 sections of the AmpliTube 3 interface are
the same in Standalone and Plug-in Modes, there is no need to repeat their
descriptions. Please see 1.4.1.
1 - Overview 25
AmpliTube 3
26 1 - Overview
AmpliTube 3
2.1 Registration/Authorization
We know that you are excited about AmpliTube 3 so let’s get ready to rock!
Windows:
Start\Programs\IK Multimedia\AmpliTube 3\ Installation and Authorization
Manual
Macintosh:
HD/Library/Documentation/IK Multimedia/AmpliTube 3/Installation and
Authorization Manual
If you have any problems, see Chapter 16, “Troubleshooting” or visit the
FAQ webpage at: www.ikmultimedia.com/faq
In this section, we will cover how to set up your audio interface in both
platforms. However, if you are using an IK audio interface/controller such
as StompIO or StealthPedal, no setup is needed because AmpliTube 3 offers
direct integration.
2.2.2.1 Windows®
figure 2.1
Left/Right Channel: select the audio interface input into which your instru-
ment is plugged. For example, if your instrument is plugged into the first
audio interface input, you should select Left Channel-Input 1. However, if
it is plugged into the second audio interface input, you should select Right
Channel-Input 2, etc. In some cases, Left channel is identified as Channel 1
and Right channel as Channel 2.
Output Device: select your audio interface output driver. The Input and
Output Device should be the same.
Left/Right Channel: select your desired output channels. For example, (Left
Channel -Output 1), (Right Channel-Output 2).
Buffer Size: to change the buffer size of an ASIO device, click Panel. It will
open your audio interface’s Control Panel.
2.2.2.2 Macintosh®
figure 2.2
Left/Right Channel: Select the audio interface input into which your instru-
ment is plugged. For example, if your instrument is plugged into the first
audio interface input, you should select Left Channel/Channel 1. However, if
it is plugged into the second audio interface input, you should select Right
Channel/Channel 2, etc. However, if your audio interface has only 1 input,
the Left and Right channels menus will display Channel 1.
Output Device: Select your audio interface output driver. Usually, the Input
and Output Devices are the same.
Left/Right Channel: Select your desired output channels. For example, (Left
Channel-Channel 1), (Right Channel-Channel 2).
Buffer Size: Adjusting the buffer settings will change the audio signal
latency. In fact, the amount of latency depends on several factors such as
computer speed and audio interface performance. Decreasing the buffer size
value will reduce the amount of signal delay, so the goal is to get the latency
as low as possible without getting any audio artifacts. As a starting point,
a buffer size of 144 samples should be fine on most modern computers.
However, considering that each system is different; please experiment with
your settings until you get the best result.
Do not use Regular Line Inputs, -10 dB or +4 dB Inputs, unless you’re using
an active instrument or you are adding an active buffer between the instru-
ment and the line input.
First of all, check that your instrument volume knob is all the way up…
Second, lets analyze how your audio interface and AmpliTube 3 interact.
When you are using AmpliTube 3 as Standalone, there are two ways to
optimize the Global Input level:
A)
1. Decrease the AmpliTube 3 Input Gain value to 0 dB by moving its
slider to the Left (figure 2.3).
figure 2.3
2. Increase your audio interface gain up to the point where the clip-
ping LED starts blinking.
3. To avoid clipping, turn down a little bit your audio interface gain
knob.
B)
1. Keep the AmpliTube 3 Input Gain value at +6 dB (default).
2. To avoid clipping, adjust your audio interface gain knob accordingly.
To summarize:
• The Global Input Level is determined by the audio interface gain plus
the AmpliTube 3 Input Gain value.
• The Preset Input Level is determined by the AmpliTube 3 Input level
knob (figure 2.4).
figure 2.4
• The AmpliTube 3 Output level is controlled by the Master knob (figure 2.5).
• The Audio Interface Output level is controlled by its Master Volume.
Tip: if while browsing AmpliTube 3 presets you find that all clean sounds are
too quiet and all lead sounds are too high, this probably means that you’re
using a too low input gain on your audio interface.
figure 2.5
2.2.3.3 Quality Mode Options
To get the best balance between sound quality and CPU usage, click on each
Quality Mode button (located in the Top Header section of AmpliTube 3
interface) and determine which option is the best for your system.
figure 2.6 • HI: offers the best sound quality at a higher CPU usage
• MID: offers a very good sound quality at a reasonable CPU usage
• ECO: offers a good sound quality at a very low CPU usage
2.2.3.4 Tuning
If your instrument is out of tune, you are not maximizing AmpliTube 3 sonic
capabilities so let’s invest a few minutes…
figure 2.7
If tuning your instrument is taking more than a few minutes, maybe is time
to change your strings and/or calibrate your guitar/bass…
To taste AmpliTube 3 “sonic flavors” play one of your favorite songs, and
select different presets from the Preset Selector (figure 2.8). Even better,
play a riff over and over and change the presets via the Up/Down arrows…
figure 2.8
To explore different Amp Models, click Amp A and change the Pre Amp, EQ,
and Amp Models using the Up/Down arrows (figure 2.9). You can also adjust
each control setting to get that ultimate tone.
figure 2.9
figure 2.10
You can easily add Stomp and Rack Effects. To add a stompbox, click Stomp
A and select one of the 51 available models from the Stomp Model Selector
(figure 2.11).
figure 2.11
To add a Rack Effect, click Rack A and choose one of the models included in
the Rack Model Selector (figure 2.12).
figure 2.12
In AmpliTube 3 you are able to rearrange the order of the stomps and racks
models using the drag and drop feature. Did you try it?
The Four Track Audio Player/Recorder with Speed Trainer is a very useful
new feature because it allows you to:
• Import and playback up to four Wav, Aiff, sd2, Apple Caf, Flac, MP3 audio files
• Control Volume, Pan, Pitch, and Tempo per track
• Use AmpliTube 3 as an Effect - one instance per track
• Maximize your resources via the Freeze function
• Set a loop
• Change the Playback Speed
• Record your ideas
• Practice with a Digital Metronome
• Export audio, and much more…
figure 2.13
1. Click Load.
2. Select the audio file/s that you want to import.
3. Click Open/Ok etc. The imported audio files will be displayed in the
Audio Files List area (figure 2.14).
figure 2.14
4. Select the track in which you want to move the audio file by clicking
in its number (figure 2.15).
figure 2.15
5. Drag the selected audio file from the Audio Files List area and drop
it to the Waveform Display (figure 2.16). If the track in which you
are loading an audio file is empty, the file will be automatically
loaded on it.
figure 2.16
6. The audio file recently moved to the Waveform Display will show
the assigned track # in the right column of the Audio File List (T1,
T2, etc) (figure 2.17).
figure 2.17
1. Drag the audio files that you want to import to the Audio Files List
area.
2. Drag the selected audio file from the Audio Files List area and drop
it to the Waveform Display. If the track in which you are loading an
audio file is empty, the file will be automatically loaded on it.
3. The audio file recently moved to the Waveform Display will show
the assigned track # in the right column of the Audio File List.
Note: if the same audio file was “dropped” in different tracks, (e.g., track 1
and 3), both numbers will be shown in the right column of the Audio File
List (T13) (figure 2.18).
figure 2.18
To delete an audio file, drag it from the Audio File List area and drop it any-
where in your desktop.
The audio file peak waveform is displayed as an average of the L & R chan-
nels. This means that you will only see one waveform, even if your audio file
is stereo (figure 2.19).
figure 2.19
The Zoom In (+) and Zoom Out (-) buttons are located at the bottom right of
the Waveform Display (figure 2.20).
figure 2.20
The Horizontal Scroll Bar will allow you to move the file within the display
(figure 2.21). Click it and move it to the desired position or use the Left/Right
arrows (figure 2.22).
figure 2.21
figure 2.22
To clear the Waveform Display click Empty (figure 2.23). The audio file will not be
deleted (it will remain in the Audio Files List area, but without the assigned tack #).
figure 2.23
Play/Stop: click this button to Start/Stop an audio file or use your computer
keyboard spacebar (figure 2.24).
figure 2.24
Loop: click this button to insert the Start/End loop markers in the Waveform
Display (figure 2.25). To trim the Start/End loop points, hold the mouse on
top of each marker and drag them horizontally (figure 2.26). To playback the
loop, click Play or hit the spacebar.
figure 2.25
figure 2.26
Rec: to record a track, click the track’s record button and then the Transport
bar Rec button (figure 2.27).
figure 2.27
A: AUTO record. It allows you to be prepared for the recording session. It sets
the recorder so that it will wait for you to hit the strings before starting the
actual recording (figure 2.28).
figure 2.28
Measure Display: it counts the measures being played, based on the selected
Time Signature (SIGN) (figure 2.29).
figure 2.29
1-4: it selects the track that you want to work on (figure 2.30). Click on the
related track number or press 1, 2, 3, or 4 in your computer keyboard.
figure 2.30
Input: it allows you to select input 1, 2, or stereo (S). Just click on it to scroll
through the 1, 2, and Stereo options (figure 2.31). By default, Input 1 is
assigned to Track 1.
figure 2.31
Rec: click this button to monitor your instrument and to rec-arm the track.
(figure 2.32) By default, Rec is enabled in Track 1, so you are able to monitor
your instrument as soon as you launch AmpliTube 3.
figure 2.32
Note: the Rec Arm button will be automatically disabled when an audio file
is dragged to the selected track.
Solo: it allows you to listen only that track, and automatically mutes the rest
(figure 2.33).
figure 2.33
Mute: it allows you to listen all the tracks except the one that you are muting
(figure 2.34).
figure 2.34
Volume: moving the slider to the right increase the volume and vice versa
(figure 2.35).
figure 2.35
Pan: it allows you to pan that track to the Left, Center, Right, and everything
in between (figure 2.36).
figure 2.36
Pitch: it allows you to shift the pitch up or down without changing the tempo
(figure 2.37).
figure 2.37
Tempo: it allows you to speed up or slow down the tempo without changing
the pitch (figure 2.38).
figure 2.38
Link: this button (on by default) makes any changes you have made on the
Tempo slider to be applied equally to all 4 tracks. If you want to have a dif-
ferent Tempo setting in each track, just uncheck this option (figure 2.39).
figure 2.39
To quickly change the playback speed of all the four tracks click 1/2x, 1x, or
2x. (figure 2.40)
figure 2.40
2.2.5.6 Recording
There are 2 easy ways to record in Track 1 (selected and enabled by default):
figure 2.41
Note: the recording destination folder has to be selected only for the first
time a recording is started in the session.
B) Recording manually:
figure 2.42
1. Click the Rec button located in the Transport bar (figure 2.43).
figure 2.43
2. Select or create a new folder to save your recordings and click OK.
3. Start playing.
4. Click the Stop button to stop recording.
Note: the recording destination folder has to be selected only for the first
time a recording is started in the session.
If you want to record in any of the other tracks, add these two steps before
the instructions provided above:
Now that you’ve recorded a couple of licks, let’s learn how to work with
audio files.
Find the audio file that you’ve just recorded, check the Audio Files List. All
takes are numbered consecutively.
Remove the current take, drag the file from the Audio Files List and drop it
anywhere in the desktop.
Note: if you want to actually delete the recorded audio file from the hard
disk you need to find it inside the selected recording destination folder and
delete it manually. Only removing the audio recording from the AmpliTube 3
Audio Files list does not actually delete it from the hard disk.
Free up the track from the audio file it contains, click Empty.
figure 2.44
figure 2.45
figure 2.46
Select Track 1 and then Track 2 to visualize and compare the settings of each
AmpliTube 3 instance.
To optimize your system performance, only Track 1 has the Effect feature
enabled by default.
Freeze all the tracks that you are not working on:
Select the track that you are not working and click the Freeze icon
(figure 2.47).
figure 2.47
Deactivate AmpliTube in the tracks that you are not working on:
Select the related tracks and click the AmpliTube button. The interface
will disappear.
Use the Quality Mode that you need for the current task:
If you are practicing scales you do not need the Hi Quality Mode with 12
Stomps, Room Ambience, and 4 Racks… However, if you are monitoring
different mic models, positions, and blending options with headphones,
you may need it. You get the point.
After you’ve made a raw mix of your band’s demo, you may want to control
the volume of the entire Four Track Audio Player/Recorder via its Master
slider (figure 2.49).
figure 2.49
2.2.5.10 Export
Click Export to export audio files (figure 2.50). Select the settings in the
Export File window and browse your recording destination folder. Click Save
in the Save as window and OK in the Export File window.
figure 2.50
figure 2.51
figure 2.52
Sound: click here to select your Metronome’s sound and the Accent option
(figure 2.53).
figure 2.53
BPM: allows you to change the metronome’s tempo (figure 2.54). Click and
hold the BPM value. Moving the pointer up will increase the value and vice
versa. You can also set your tempo by TAPPING. To do that, press the T key
on your computer keyboard at least 4 times.
figure 2.54
Time Signature (Sign): to determine how many beats are per measure, click
and move the pointer up/down on top of the top number. To determine what
kind of note value constitutes a beat, click and move up/down the pointer on
top of the bottom number. The numbers 3/4, for instance, mean three beats
per measure with a quarter note getting one beat (figure 2.55).
figure 2.55
Volume: it allows you to change the Metronome’s click volume (figure 2.56).
figure 2.56
Through the File menu, AmpliTube 3 (Standalone Mode) allows you to cre-
ate, open, save, and save as Projects (figure 2.57).
A Project file includes all the information and data included in that particu-
lar project, from presets, individual control settings, to the audio files used
figure 2.57
in the Four Track Audio Player/Recorder, etc.
To open this project later, just double click on the file you have previously
saved and AmpliTube 3 will open it automatically. Alternatively you can
select “Load” from the “File” menu and locate the file you have previously
saved.
For proper results the AmpliTube 3 Project sample rate must match the one
set on your Audio Interface.
AmpliTube 3 automatically sets the Audio Interface sample rate for you, so in
most cases there can’t be a mismatch. But in case you hear imported audio
files playing at wrong speed first thing to check is Sample Rate on your
Audio Interface, and set the AmpliTube 3 one accordingly.
To set the AmpliTube 3 Project Sample Rate just select “Project Properties”
from “File” menu and set the Sample Rate you need.
The Status Bar includes the MIDI In check box, the Input Gain slider, and
the CPU Load display (figure 2.58). For more information about MIDI In, see
Chapter 15, “Control”.
figure 2.58
Considering that DAWs are in constant update, please refer to their User
Manuals to learn how to insert AmpliTube 3 as a plug-in.
The Input/Output Bar includes a noise gate, tuner and value displays,
volume, pan, phase and mix controls and of course, input and output level
sections. You can check important information about your product, custom-
ize your preferences, connect to the User Area, and open the MIDI, Auto, and
Ctrl panels…
figure 3.1
The Input Level Meter shows you the input level through a 3 color reference;
green, yellow, and red. Avoid red…
are using via the IK Controller selector and enable it via the On but-
ton (figure 3.2.)
figure 3.2
The StompIO and StealthPedal are able to control one instance of AmpliTube
3 at a time. So if you have two AmpliTube 3 instances opened in Pro Tools
(one inserted in the Lead Guitar track, and the other one in the Rhythmic
Guitar track for example), click the On button in the AmpliTube 3 instance
that you want to control first, e.g., Lead Guitar track, and then click the On
button in the AmpliTube 3 instance inserted in the Rhythmic Guitar track.
On the other hand, if you are using AmpliTube 3 Standalone, and you want
to control the AmpliTube 3 instance that you added as effect in Track 2, click
the On button.
In short,
For more information about StompIO and StealthPedal, please read their
related User Manuals.
The Selected Module section includes the Pan, Volume, Phase, and Mix
controls (figure 3.3).
figure 3.3
3.4.1 Pan
The Pan control allows you to adjust the pan position of the Cab and Rack
modules. Usually, this control should be kept at its default position (center)
(figure 3.4).
figure 3.4
3.4.2 Volume
The Volume control allows you to fine-tune the output level of each module
(figure 3.5).
figure 3.5
3.4.3 Phase
The Phase control allows you to delay the Direct signal or the Cab Module
signal (figure 3.6).
figure 3.6
• To delay the Direct signal, adjust the Phase Control to negative values
(Left).
• To delay the Cabinet signal, adjust the Phase Control to positive
values (Right).
For example, you can use the Phase control with dual Cabinets setups to
create stereo sounds by delaying one Cabinet (adjust the Phase Control
to positive values) by a few milliseconds in respect of the other one. Also,
you can use this control to experiment with delay between the Direct and
Cabinet sounds on bass sounds.
The Phase control is normally set at zero (center) considering that could be
a positive or negative value, and has to be used in conjunction with the Mix
control.
3.4.4 Mix
The Mix control is normally set at zero as it mixes the signal captured by the
Cab model microphone with the direct signal taken from the Stomps output.
This is useful with bass amps, to mix the direct signal with the cabinet one,
but it could also be used with certain kind of guitar sounds (figure 3.7).
figure 3.7
Note: this control has to be used in conjunction with the Phase control.
The following table shows you which control is implemented in each module.
AmpliTube 3 Modules
Selected
Modules Tuner Stomp Amp Cab Rack
Control
Pan – – – √ √
Volume √ √ √ √ √
Phase – – – √ –
Mix – – – √ –
The Noise Gate allows you to minimize the amount of unnecessary noise,
especially if you are using high gain (figure 3.8).
figure 3.8
3.5.1 Threshold
It sets the threshold level for the signal. When the signal drops below the
set threshold level, the noise gate silences the signal. Usually, keep the
threshold level at the lowest possible value (fully counterclockwise) and set
it higher only when you need to activate the gate (figure 3.9).
figure 3.9
3.5.2 Release
It sets the gate release time. Higher values will result in a gate that takes
a longer amount of time to close again, when the input signal drops below
the threshold (figure 3.10).
figure 3.10
3.5.3 Depth
This control determines how much the signal is attenuated when the gate
closes, from -20 dB to -100 dB.
Default is -60 dB, which is a strong attenuation that usually works fine in
most cases. If you need to add more attenuation, increase this parameter
(figure 3.11).
figure 3.11
The Tuner Display allows you to do a quick check of your tuning while you
are working in any module. Just click On, play a string, and check that the
marker is exactly in the middle (figure 3.12).
figure 3.12
When you adjust a Stomp, Amp, Cab or Rack parameter, or change the
settings of the Input/Output bar controls, the actual value (and if applies,
its related unit of measurement) will be shown in the Selected Parameter
Display. For example, if you increase the Amp module level, a dB (Decibel)
abbreviation will appear next to the value (figure 3.13).
figure 3.13
The Master Section includes the Master knob and the Output Level Meter
(figure 3.14).
figure 3.14
The Output Level Meter shows you the output level and an overload light
that works as a clipping indicator.
The clipping indicator should never light up. If it does, you’re probably clip-
ping your signal digitally, and as a result, degrading the sound quality. This
situation can be fixed by reducing the Master level so that the output master
signal stays slightly below the clipping level.
3.9.1 Lock
If you are running AmpliTube 3 in demo mode and you click the Lock button
(figure 3.15), the Product Authorization Wizard will appear.
figure 3.15
figure 3.16
Use the new Quality Mode feature to automatically optimize your system
(figure 3.17).
figure 3.17
figure 3.18
figure 3.19
Amps Reverb:
Digital: when this is enabled, Amplifiers with built-in reverb will use a
digital algorithmic emulation of a spring reverb. This option, still sounding
great, is a less realistic alternative and will also sound the same on all amps.
Room:
rithm to generate the ambience you’re adding to your sound. This will
take less CPU power than the Real Ambience option, but you will not be
able to select different spaces.
Cabinet Resolution:
High: offers the best sound quality at a slightly higher CPU usage
(enabled by default when AmpliTube 3 is set in Hi quality mode). Always
use this setting when it is possible. This will deliver the best quality
from the AmpliTube 3 speakers.
Low: offers a good sound quality at a very low CPU usage. This option
has to be used only when you really need to save CPU power as the
realism and musicality of the speakers is not really expressed at its
maximum potential under this setting. Also, this setting should not be
used on bass cabinets as the low frequency extension could be exces-
sively limited.
This bypasses the Cab module globally, on all presets, independently from
what each preset has setup on the Cabinet module.
This is useful when you play live with AmpliTube 3 but are using an external
real guitar cabinet. In this case, it is very helpful being able to disable the
Cab module on all your existing presets without having to edit all of them
one by one.
Tempo Source:
The BPM Sync Tempo source is the Host Application Tempo, (the tempo
of the application into which AmpliTube 3 is inserted as a plug-in).
figure 3.20
figure 3.21
The tempo can be overridden by clicking (tapping) the tempo on the TAP
button. Tap at least 4 times (figure 3.22).
figure 3.22
Preset:
The BPM Sync Tempo source is the value saved with the Preset.
The Preset BPM value is displayed in the BPM display in orange (figure
3.23).
figure 3.23
The tempo can be overridden by clicking (tapping) the tempo on the TAP
button. Tap at least 4 times (figure 3.24).
figure 3.24
figure 3.25
You will find the product name, its version number (very important for technical
support requests), and the related trademarks and copyright notes (figure 3.26).
figure 3.26
Click on this button to open the IK Multimedia User Area webpage (figure
3.27). This is another cool feature considering that from there, you will be able
to download the latest updates, search, download, and upload presets, etc.
figure 3.27
3.10.1 MIDI
Click MIDI to open the new MIDI Control Panel (figure 3.28).
figure 3.28
figure 3.29
figure 3.30
figure 4.1
• Select the module that you want to use (Tuner, Stomp, Amp, Cab, or Rack).
• Bypass and/or Mute each module.
• Select the Input Type (Mono In/Stereo In).
• Choose a Signal Path Preset (1-8).
AmpliTube 3 provides two discrete signal paths; each one containing Stomp
box, Amp, Cab, and Rack modules. Through the eight available presets, these
two signal paths can be configured in multiple variations allowing a tremen-
dous amount of flexibility. This is a very important feature because it allows
you to route your guitar signal to multiple amplifiers or cabinets; create two
separate six stomp pedal setups or create one big twelve pedal setup.
To change the signal path of your guitar rig, click each of the Signal Path
Presets’ buttons (figure 4.2).
figure 4.2
1. All stomp effects and rack effects into one amp rig.
2. Two separate amp setups.
3. All stomp effects and rack effects into one amp rig with both cabinets.
4. All stomp effects and rack effects into both amp rigs.
5. Two separate stomp effects setups into one amp with two cabinet
setups.
6. Two separate amp setups with separate stomps into two indepen-
dent rack effects.
7. Two separate stomp effects setups into two separate amp rigs into
all the rack effects.
8. Two separate stomp effects setups into one amp setup with all the
rack effects.
4.1.2 Stereo IN
We have implemented a new full stereo-chain signal path that allows to:
Select the Signal Path Presets # 2 or 6, and click the Input Type button to
change from Mono In to Stereo In (figure 4.3).
figure 4.3
figure 4.4
figure 4.5
To Bypass and/or Mute a specific module, select it and click Bypass and/or
Mute (figure 4.6).
figure 4.6
Chapter 5 Presets
The Preset Manager includes the Preset Selector, the BPM display, and the
Tap, Preset Browser, Save, Save As, and Delete buttons (figure 5.1).
figure 5.1
The Preset Selector (figure 5.2) allows you to navigate its menus and select
a preset (figure 5.3), use the Up/Down arrows to scroll through them (figure
5.4), and connect to PresetXChange.
figure 5.2
figure 5.3
figure 5.4
5 - Presets 69
AmpliTube 3
figure 5.5
The Preset Browser includes the keyword search box, the All and Refresh
buttons, 13 columns, and a vertical and horizontal scroll bars.
To see all the presets, use the vertical scroll bar (figure 5.6).
figure 5.6
70 5 - Presets
AmpliTube 3
To see all the 13 columns (Name, Description, Sound Character, Artist, Style,
Pickup Type, Instrument Type, Pickup Position, Band, Song Section, Song
Position, and Keywords), use the horizontal scroll bar (figure 5.7).
figure 5.7
figure 5.8
5 - Presets 71
AmpliTube 3
Click the Keyword Search box and type a keyword (figure 5.9). The results
will automatically appear even after typing a few characters.
figure 5.9
Click All to clean the Keyword Search box and display all the presets (figure
5.10). You can also click the keyword and press your computer keyboard
backspace key.
figure 5.10
72 5 - Presets
AmpliTube 3
figure 5.11
5 - Presets 73
AmpliTube 3
In addition to the keyword search option, you can also use the filters embed-
ded in the Instrument, Sound Character, Style, Pickup Type, Instrument Type,
Pickup Position, and Song Position columns.
If you search by Instrument and you want to find all the “bass” presets,
click the Instrument column and then the Filter icon (figure 5.12). The filter
options will appear (figure 5.13).
figure 5.12
figure 5.13
Select Electric Bass. All the related presets will be displayed. Now if you
click again in the Filter icon and select Electric Guitar, all the bass and guitar
related presets will be displayed. If you want to see only the guitar presets,
uncheck the Electric Bass filter option. To reset all the filter options applied
to this column, click on the Filter icon and select Reset.
Now you can apply the same procedure to any of the columns that offer
filtering options.
74 5 - Presets
AmpliTube 3
Click on the Preset Selector, navigate its menus and select a preset.
figure 5.14
5 - Presets 75
AmpliTube 3
You can save a preset via the Save and the Save as buttons (figure 5.15).
figure 5.15
For example, if you are making a lot of changes on a particular preset and
you want to save them, you have two options;
A) Click Save as, to keep the default or source preset and save a new preset
that contains all your modifications and customization. In the Save as win-
dow, complete as much information as possible to make your next search
easier and maximize the Preset Browser capabilities (figure 5.16).
figure 5.16
76 5 - Presets
AmpliTube 3
B) Click Save to overwrite the default preset. Considering that this option is
not commonly used the following message will appear (figure 5.17):
figure 5.17
5 - Presets 77
AmpliTube 3
figure 5.18
This is a great new feature. Now, AmpliTube 3 allows you to save, load, and
copy-paste settings between Model Presets.
In the Amp and Cab modules, you will be able to save all the module set-
tings, meaning that in the Cab module, saving a model preset will save the
Cabinet Model, Mic Model, Room Type, Mixing parameters, etc.
In the Stomp and Rack modules, you will be able to save each individual
model settings. For example, in the Stomp module, you will be able to right-
click on top of each Stomp model and save its settings!
To be able to compare between the default settings and the new model
presets we recommend the following:
78 5 - Presets
AmpliTube 3
To save the Cab module settings and be able to compare between the default
settings and the new model presets follow these instructions:
1. Right-click on top of the Cab module (default settings) and click Save
Model Preset.
2. Name your preset (e.g., “name of the Cab model-default” and click OK.
3. Change the settings in the Cab model, Mic model and Room areas).
4. Right-click on top of the Cab module (new settings) and click Save
Model Preset.
5. Name your preset (e.g., “name of the Cab model -v1” and click OK.
6. Right-click on top of the Cab module and select Load Model Preset.
The sub menu will display the default and v1 presets so you are able
to compare them.
5 - Presets 79
AmpliTube 3
Before loading a Model Preset, you need to save one or more presets, as we
did in 5.4.1. After that, right-click on top of the Stomp/Rack model or Amp/Cab
module, select Load Model Preset, and click on the selected preset (figure 5.19).
figure 5.19
After you’ve saved two or more model presets, follow these steps:
This is also very useful to copy and paste Amp settings from rig A to rig B
when you need the two rigs having the exact same amp.
You already know how to save a Model Preset, a Preset, and a Project, so let’s
summarize what they are saving:
80 5 - Presets
AmpliTube 3
working in the Amp or Cab modules, it will save all the module settings.
Preset: An AmpliTube 3 Preset saves everything except the audio files and
settings included in the Four Track Audio Player/Recorder.
Project: A Project file saves all the information and data included in that
particular project, including the audio files and settings included in the Four
Track Audio Player/Recorder.
5.6 BPM
figure 5.20
Its value represents beats per minute (BPM). For example, a 120 BPM value
means that in one minute there will be 120 musical beats regardless of any
other variables such as time signature.
In AmpliTube 3, there are two BPM tempo sources; Host/Global and Preset.
5.6.1 Host/Global
The BPM Sync Tempo source is the Host Application Tempo (the tempo of the
application into which AmpliTube 3 is inserted as a plug-in).
When you use AmpliTube 3 as standalone, the default Global tempo is 120 BPM.
The Host/Global BPM value is displayed in the BPM display in gray (figure 5.21).
figure 5.21
The tempo can be overridden by clicking (tapping) the tempo on the TAP
button. Tap at least 4 times (figure 5.22).
figure 5.22
5 - Presets 81
AmpliTube 3
5.6.2 Preset
The BPM Sync Tempo source is the value saved with the Preset.
The Preset BPM value is displayed in the BPM display in orange (figure 5.23).
figure 5.23
To save a BPM value to a particular Preset, click Preferences > enable the
Preset option > and click OK. In the BPM display, click the BPM value, delete
it, type a new one, and click Save.
The tempo can be overridden by clicking (tapping) the tempo on the TAP
button. Tap at least 4 times.
5.6.3 TAP
To change the BPM value, click the Tap button with a steady pulse (at least
4 times) (figure 5.24).
figure 5.22
82 5 - Presets
AmpliTube 3
The Tuner is the first module. On the Module/Rig Selector, click Tuner to
open its interface (figure 6.1).
figure 6.1
figure 6.2
6.2 Mute
The Mute switch allows you to silence the guitar signal while tuning, a very
useful feature for live performance (figure 6.3).
figure 6.3
Note: the On/Off and Mute switches are linked to the Bypass and Mute but-
tons located in the Module/Rig Selector.
6.3 Tune
The Tune Display shows the tuning reference being used. The default refer-
ence is 440 Hz but it could be changed (from 425 Hz to 455 Hz) by clicking
on the display. When the pointer appears, use the backspace key and cursor
control keys on your computer keyboard to edit the value (figure 6.4).
figure 6.4
figure 6.5
It shows the detected note name, e.g., A, B, etc. (figure 6.6). This is also vis-
ible from the Input/Output bar.
figure 6.6
It shows how many cents you are up (+) or down (-) in relation to the note
that you are tuning. (figure 6.7)
figure 6.6
To access the Stomp module, click the Stomp button located on the Module
Selector (figure 7.1).
figure 7.1
The Stomp module flexibility allows you to freely configure six stomp pedal
effects at a time. In fact, you can use the Stomp module as two independent
six pedal stomp setups (figure 7.2) or as one twelve pedal stomp setup
(figure 7.3). Just select one of the eight signal path presets located on the
Module/Rig Selector (figure 7.4).
figure 7.2
figure 7.3
figure 7.4
The six stomp effect slots are displayed in the module interface as “empty”
slots on a wooden pedal board (figure 7.5).
figure 7.5
To select a stomp unit, click on each of the six stomp slots (where it says
“Empty”), navigate through each category (Modulation, Delay, etc), and
choose one of the stomp models (figure 7.6).
figure 7.6
figure 7.7
Like the actual gear itself, each stomp effect’s controls are displayed on
the stomp box (figure 7.8). Enable/ Disable each stomp through the On/Off
switch (figure 7.9). When the effect is On the red LED is lit (figure 7.10).
When you adjust a rotary or slide control on the stomp box, that control’s
value is displayed in the Selected Parameter Display (figure 7.11).
figure 7.11
Now, you are able to re-arrange the order of the stomps using the drag and
drop feature. This option allows you to experiment different configurations
and explore new sonic territories on the fly… By the way, have you ever tried
to rearrange 6-12 hardware stomp pedals?
7.3.1 Delay
7.3.1.1 Delay
This model is based on a traditional digital delay stomp pedal (figure 7.12).
Controls:
• DELAY: changes the length of the delay between each echo, from 1
ms to 2000 ms.
• FBK: changes the amount of time that the echo repeats, from 0% to
100%.
• LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.
• BPM SYNC: allows the effect to synchronize to the project tempo.
figure 7.12
7.3.1.2 EchoMan
Controls:
• DELAY: changes the length of the delay between each echo, from 25
ms to 500 ms.
• FEEDBACK: changes the amount of time that the echo repeats, from
0% to 100%.
• BLEND: mixes the amount of dry signal with the effected signal, from
0% (dry) to 100% (effected).
• CH/VIB: sets the amount of Chorus/Vibrato effect added to the
effected sound, from 0% to 100%.
• CHORUS VIBRATO: changes whether chorus or vibrato can be added
to the effect.
• BPM SYNC: allows the effect to synchronize to the project tempo.
figure 7.13
7.3.1.3 TapDelay
This creative delay effect unit can be used to create interesting and unusual
delay effects thanks to the 8 totally independent taps. You can create groov-
ing rhythm patterns by combining more taps with a specific time signature,
and you can mix this up with psychedelic reverse tape effects you are able
to set for each tap (figure 7.14).
The TapDelay is actually 8 delays in one single unit, and it is possible to set
time, timbre, and level for each of them. In addition, you can globally control
with single knobs parameters for all the 8 taps simultaneously, like time,
dry/wet mix and feedback amount.
Controls:
• TIME: globally shifts the delay time of all the 8 taps. This is a relative
control, when set at the center position (1x) it does not alter the time
that has been setup on each Tap, when set to minimum (0.25x) it
divides all times by four and when set to max (4x) it multiply all times
by four. Use it to globally change the delay tempo without changing
the relations between all taps.
• MIX: globally adjust the effect mix between the Dry signal and all
the 8 delay taps.
• FEEDBACK: globally adjust the amount of feedback the delay will
have. When set at maximum, the delay will be sustaining itself.
• TAP: use these buttons to select which one among the 8 delay taps
you’re going to edit with next controls
• LEVEL: sets the audio level for the selected delay tap.
• TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Sync
figure 7.14 switch position.
• FILTER: sets the timbre for the selected delay tap, darker at minimum
and brighter at maximum.
• REVERSE: enable this button to transform the selected delay tap from
normal to reverse. When set to reverse a delay tap will sound like a
reversed tape loop.
• LINK: enable this button to make a changes to the above mentioned
parameters to apply to all the 8 taps at the same time.
• BPM SYNC: allows the effect to synchronize to the project tempo.
7.3.2 Distortion
7.3.2.1 BigPig
This effect is modeled after an iconic distortion pedal that has stood the
test of time. Capable of tones from smooth sustain & compression to heavy
buzz-saw distortion, this pedal is perfect for all different styles of metal
(figure 7.15).
Controls:
• VOLUME: controls the Distortion pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follow,
like another distortion pedal or an amplifier at high gain or volume.
• SUSTAIN: controls the amount of distortion the pedal gives.
• TONE: controls the timbre of the distortion pedal
figure 7.15
7.3.2.2 Crusher
This model alters the sound of the input signal by changing the sample-rate,
cutoff frequency and by distorting it. This effect can produce very aggressive
distorted sounds, more noticeable than overdrive stompboxes. The Low pass
filter is very creative when combined to high distortion levels (figure 7.16).
Controls:
figure 7.16
Controls:
• TONE: adjusts boost or cut of the high frequencies in the stomp effect,
from 0 to 10.
• DIST: sets the amount of distortion applied to the input signal of the
effect, from 0 to 10.
• LEVEL: sets the level of the input for the effect, from 0 to 10.
figure 7.17
7.3.2.4 Distortion
This effect is based on one of the most versatile distortion boxes ever made.
From subtle crunch to complete mayhem, this pedal has been used by count-
less guitarists of all styles (figure 7.18).
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
like another distortion pedal or an amplifier at high gain or volume.
• DIST: controls the amount of distortion the pedal gives.
• TONE: controls the timbre of the distortion pedal.
figure 7.18
7.3.2.5 Feedback
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follow,
like another distortion pedal or an amplifier at high gain or volume.
• TONE: controls the timbre of the distortion pedal.
• DIST: controls the amount of distortion the pedal gives.
• OVERTONE: controls the octave for the feedback effect.
• FBK button: press this button to activate the feedback.
Notes:
• When the stomp is On, clicking on the FBK button will make the led
flash.
• When using StompIO, feedback will be automatically activated when
distortion is On, and the On/Off button for this pedal is hold down for
1 second or more.
figure 7.19
This effect is based on one of the favorite pedals of some of the heaviest
bands of all time. This unit is perfect for extreme gain and sustain. Nothing
compares to this pedal for pure distortion mayhem (figure 7.20).
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
like another distortion pedal or an amplifier at high gain or volume.
• DIST: controls the amount of distortion the pedal gives.
• LOW – HIGH: coaxial tone control.
• Center knob: controls High frequencies.
• External knob: controls Low frequencies.
• MID – MIDFREQ: coaxial parametric mid tone control.
• Center knob: controls Mids level.
• External knob: controls Mids frequency.
figure 7.20
This effect is modeled after a classic from the ‘80s. It delivers deep, distorted
crunch perfect for heavy metal and hard rock. Long discontinued, this is a
rare vintage find that delivers deep, dark crunch from the ‘70s, ‘80s, and
beyond (figure 7.21).
Controls:
• LEVEL: controls the distortion pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
like another distortion pedal or an amplifier at high gain or volume.
• DIST: controls the amount of distortion the pedal gives.
• COLOR L: controls the amount of bass tones on the sound.
• COLOR H: controls the amount of high tones on the sound.
figure 7.21
7.3.2.8 Overdrive
This effect is based on one of the most collectible pedals. It is one of the most
aggressive overdrive pedals ever made. From subtle to over-the-top, this
effect pushes amps harder without sacrificing clarity and tone (figure 7.22).
Controls:
• LEVEL: controls the Overdrive pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
like another distortion pedal or an amplifier at high gain or volume.
• DRIVE: controls the amount of overdrive the pedal gives.
• TONE: controls the timbre of the overdrive pedal.
figure 7.22
7.3.2.9 OverScream
Controls:
figure 7.23
7.3.2.10 PROdrive
This effect is modeled after one of the most versatile distortion boxes ever.
From smooth, light crunch, to extreme shred sustain and over-the-top gain,
this pedal has been a classic ever since its release in the early ‘80s (figure
7.24).
Controls:
figure 7.24
Controls:
figure 7.25
7.3.3 Dynamics
7.3.3.1 Compressor
Controls:
figure 7.26
7.3.3.2 Dcomp
This effect is modeled after a vintage compression stomp pedal (figure 7.27).
Controls:
• OUTPUT: sets the output level for the effect, from –inf to 0.0 dB.
• SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.
figure 7.27
7.3.4 EQ
Controls:
figure 7.28
Controls:
• BANDS: 31, 62, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Each band has +/- 15
dB of boost/cut.
• GAIN: the gain slider boosts or cut the overall level by +/- 15 dB.
figure 7.29
7.3.5 Filter
This stomp is an advanced filter effect. It uses the envelope of the incoming
signal to control a synthesizer style filter. It is capable of sounds ranging
from very simple auto wah effects to extreme never before heard filtering
effects (figure 7.30).
Controls:
• FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.
• RESO: sets the resonance of the filter, from 0.30 to 10.
• DEPTH: changes the amount of effect that the envelope has on the
filter, from 0% to 100%.
• MODE: these control change the type of filter used for the effect.
• 12/24: sets the slope of the filter, either 12 dB per octave or 24 dB
per octave.
• HP/BP/LP: sets the type of filter being used, either high pass, band
pass, or low pass.
figure 7.30
This complex stomp effect uses an LFO to modulate the frequency of its filter.
With the included BPM Sync this is a very useful effect for creating interest-
ing, moving guitar parts with a minimum amount of trouble (figure 7.31).
Controls:
• FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.
• RESO: sets the resonance of the filter, from 0.30 to 10.
• RATE: adjusts the speed of the LFO, from 0.05 Hz to 5 Hz.
• DEPTH: changes the amount of effect that the envelope has on the
filter from 0% to 100%.
• MODE: these control change the type of filter used for the effect.
• 12/24: sets the slope of the filter, either 12 dB per octave or 24 dB
per octave.
• HP/BP/LP: sets the type of filter being used, either high pass, band
pass, or low pass.
• BPM SYNC: allows the effect to synchronize to the project tempo.
figure 7.31
7.3.5.3 Rezo
A unique effect that can add synth-like drones and sustaining resonances to
your parts. Make your guitar sound like a sitar or like a synth-drone to cre-
ate sonic resonances to sing on and control the notes with your controller to
create arpeggios and steps while playing (figure 7.32).
You have 4 resonating voices that can be tuned independently from note E0
to note B7, in half tone steps. For example, if you want to create a resonating
C Major chord, just set the first three voices to C3, E3 and G3.
By moving the All slider you can shift the recently created Chord without
changing the intervals between the voices.
You can set the desired voice note by note number or by frequency in Hz.
Controls:
A powerful and deep beat synchronized filter effect. You can apply Low/High
and Band pass analog modeled filtering on freely customizable patterns to
add groove and rhythmic pulsing to your parts. If you want, this effect could
make your guitars and bass parts to sound like a rhythmic synth (figure 7.33).
Controls:
• CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff
frequency the filter will have when the steps are set to half position.
• STEP BAR: click on the Steps to set each step level. You can also draw
a curve while holding the mouse while dragging over multiple steps.
• RES: sets the center resonance of the filter. This is the resonance
amount the filter will have when the steps are set to half position.
• DEPTH: sets how deep the filter is modulated by the steps.
• HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:
band pass, LP: low pass.
• 12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/
oct will be steeper.
• DEST: sets what is modulated by the steps between filter Cutoff and/
or filter Resonance. At full minimum position only Cutoff frequency is
modulated, at max position only Resonance is modulated.
• DIVISION: sets what time interval each step represents.
• STEPS: sets the number of steps the cycle will consist of.
• MODE: when set to Free the cycle will be continuous and will always
cover all the steps that are specified in the Steps parameter. When set
to Strike the cycle will re-start each time a chord or a note is played.
• SWING: increase this control to give to the steps a swing type quan-
tization.
figure 7.33 • BPM SYNC: allows the effect to synchronize to the project tempo.
7.3.5.5 Wah
This effect is modeled after the classic wah pedal used by many of the top
players from the ‘60s and ‘70s. In addition to the wah effect it also features
an auto function, allowing it to be used easily without an external controller.
(figure 7.34).
Controls:
• OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto.
• WAHWAH: this directly controls the Wah effect, from 0% to 100%.
figure 7.34
7.3.5.6 Wah 10
Controls:
• WAH: sets the position of the wah pedal. It gives a darker sound
when moved lower (heel position) and a brighter sound when moved
higher (toe position).
• DEPTH: determines how strong the wah effect is. When is set at
minimum the wah effect is barely noticeable, but when is set to max
the effect is very strong.
• GUITAR/BASS SWITCH: modify the response of the wah to make it
more suitable to guitar or bass.
figure 7.35
7.3.5.7 Wah 46
This effect is based on the most famous Wah-Wah model used by Jimi
Hendrix, which became his signature sound in masterpiece tunes like
“Voodoo Child.” Although the original had no auto-Wah features, this
additional functionality has been added for a more convenient usage when
played on a computer. The original model is considered to be one of the best
sounding Wah-Wahs of all time (figure 7.36).
Controls:
• OFF/ON/AUTO: sets the mode of the Wah effect; Off, On, or Auto.
• OFF: turns the effect Off, no Wah effect.
• ON: the center frequency of the Wah effect is only set by the pedal.
figure 7.36
7.3.5.8 Wah 47
This effect is based on the Wah pedal used by the most influential guitar-
ists of the late ‘60s and ‘70s. The Auto function allows you to use this effect
without an external controller (figure 7.37). This is a great feature!
Controls:
• OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto.
• WAHWAH: this directly controls the wah effect, from 0% to 100%.
figure 7.37
7.3.6 Fuzz
This effect is based on the fuzz pedal that can be heard on Jimi Hendrix’s
early recordings (figure 7.38).
Controls:
• VOLUME: sets the output volume of the stomp effect, from -inf to 0.0
dB.
• DRIVE: sets the fuzz sound by increasing or decreasing the amount of
distortion, from 0 to 10.
figure 7.38
This effect is modeled after a classic germanium transistor fuzz stomp effect.
Typically used on lead guitar, this effect has remained a popular distortion
effect throughout the years (figure 7.39).
Controls:
• VOL: sets the output volume of the stomp effect, from –inf. to 0.0 dB.
• FUZZ: sets the fuzz level of the effect, from 0 to 10.
figure 7.39
This effect is modeled after a classic germanium transistor fuzz stomp effect.
This was the main fuzz box that Jimi Hendrix used. Often combined with a
Wah, this effect produced permanent sustain and endless distortion. It is one
of the most collectible fuzz boxes ever (figure 7.40).
Typically used on lead guitar, this effect has remained a popular distortion
effect throughout the years.
Controls:
• VOL: sets the output volume of the stomp effect, from –inf to 0.0 dB.
• FUZZ: sets the fuzz level of the effect, from 0 to 10.
figure 7.40
7.3.6.4 FuzzOne
Jimi Hendrix began using this fuzz box while playing in New York City before
founding the Experience. Its sounds can be heard in the enormously popular
Rolling Stones song “Satisfaction” (figure 7.41).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to
0.0 dB.
• ATTACK: adjusts the sound character by having more or less distor-
tion.
figure 7.41
7.3.6.5 Octa-V
This effect was first used on “Purple Haze” and “Fire.” It is a fuzz box with
frequency-doubling circuitry that produces a second note an octave above
the fundamental note (figure 7.42).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to
0.0 dB.
• DRIVE: sets the amount of distortion the unit will produce, from 0 to
10. The higher octave can be more distinct for medium positions of
this control.
figure 7.42
7.3.6.6 RightFuzz
This effect is modeled after a highly sought-after, rare fuzz box. It was one
of the first commercially available floor effect units, making its first appear-
ance in 1966. It doesn’t get any more vintage than this when it comes to
stomp pedals (figure 7.43).
Controls:
figure 7.43
7.3.6.7 XS Fuzz
This effect is modeled after the effect used on the title track of the album
“Axis Bold as Love.” The original stomp can also be heard on the “Band of
Gypsies” and various Jimi Hendrix recordings post 1968 (figure 7.44).
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to
0.0 dB.
• DRIVE: sets the distortion amount, from 0 to 10.
figure 7.44
7.3.7 Modulation
This effect is based on one of the most flexible flangers ever made. This
unit delivers everything from classic tape flange to over-the-top sweeps,
vibratos, chorus, and more! Perfect for adding classic metal-style flange to
your rig (figure 7.45).
Controls:
figure 7.45
7.3.7.2 Chorus
This chorus is modeled after a classic Digital Chorus stomp box (figure 7.46).
Controls:
figure 7.46
7.3.7.3 Chorus-1
Controls:
• LEVEL: sets the input level. Range is from –15 dB to +15 dB.
• CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to
10.
• VIBRATO DEPTH: sets the intensity of the Vibrato effect, from 0 to 10.
• VIBRATO RATE: sets the rate of the Vibrato effect, from 0 to 10.
• VIBRATO/CHORUS SWITCH: enables Vibrato or Chorus modes, when
Vibrato mode is enabled the corresponding LED will illuminate.
• BPM SYNC: allows the effect to synchronize to the project tempo.
figure 7.47
Controls:
figure 7.48
7.3.7.5 Flanger
Controls:
figure 7.49
This effect is modeled after one of the best and most musical modulation
effects ever. A classic association with an iconic ‘80s guitarist made prices
erupts and flooded the market with reissues. Still, no flanger is more rec-
ognizable, making this perfect for hard-rock and metal tone (figure 7.50).
Controls:
figure 7.50
Controls:
figure 7.51
This effect is based on one of the most popular phase pedals of all times.
Used by a wide range of first-class guitarists, this unit could add a little bit
of shimmer to your solos or generate a smooth, watery effect while playing
chords and muted strumming (figure 7.52). Did you try the Phaze Nine on
bass, keyboards, or vocals?
Controls:
figure 7.52
7.3.7.9 Phazer10
Controls:
• INTENSITY: selects one of the four different Phaser modes. From left
to right the perceived effect intensity will increase.
• SPEED: sets the speed of the modulation, from 0 to 10.
figure 7.53
Controls
figure 7.54
7.3.7.11 Uni-V
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to
0.0 dB.
• INTENSITY: sets the depth of the modulation, from 0 to 10. The sound
is affected even when the Intensity knob is set to zero.
• RATE: sets the rate of the Chorus/Vibrato effect from 0 to 10. The LFO
rate is going from approx 1 Hz to approx 8 Hz.
• CHORUS/VIBRATO SWITCH: selects the Chorus of Vibrato effect.
Default: Chorus.
figure 7.55
7.3.8 Pitch
7.3.8.1 Harmonator
This effect is a 3 voice digital harmonizer effect. More than just a pitch
shifter, this pedal will create 3 separate harmony voices with independent
interval values based on a musical scale. Simply select the scale to use,
select the voice and the desired pitch and play. The harmonized notes will
be according to the selected scale (figure 7.56).
Controls:
• MIX: blends the harmonized voice with the original voice, from 0 to
100.
• KEY-SCALE: controls the key and type of scale that will be used by the
harmonizer as a reference. If you’re playing a solo in E major set this
to E Major. Possible scales types are: Major, Dorian, Phrygian, Lydian,
Mixolydian, Minor, and Locrian.
• VOICE: controls the properties of each of the 3 voices of the harmo-
nizer.
• LEVEL: independently adjusts the level of each of the 3 voices.
• 1: selects voice 1 for editing.
• 2: selects voice 2 for editing.
• 3: selects voice 3 for editing.
• INTERVAL: changes the interval of the selected voice, from octave
down to octave up.
figure 7.56
7.3.8.2 Octav
This stomp effect is modeled after a classic dual voice octave pedal. It will
produce two additional sounds, one and two octaves below the direct signal
(figure 7.57).
Controls:
• OCT 2: sets the output level of the second octave effect, from –inf to
0.00 dB.
• OCT 1: sets the output level of the first octave effect, from –inf to
0.00 dB.
• DIRECT LEVEL: sets the output level of the direct signal, from –inf to
0.00 dB.
figure 7.57
This effect shifts the pitch of the incoming signal. This new pitch shifted
signal is blended with the original sound to create harmony guitar leads or
other types of dual pitch effects (figure 7.58).
Controls:
figure 7.58
7.3.8.4 Wharmonator
This effect is modeled after one of the most extreme effects of all time. From
classic shred to the most aggressive modern metal, this effect is an essential
part of any extreme guitar rig (figure 7.59).
Controls:
• HARM knob: sets the harmonic interval range you can span with the
action of the pedal.
• BEND knob: sets the bending range you can span with the action of
the pedal.
• MODE: sets the Wharmonator operating mode.
• HARM: this mode gives both original and pitched signal mixed
together, useful to create harmonies.
• BEND: this mode only gives the pitched signal, useful to create great
bending effects
figure 7.59
7.3.9 Other
7.3.9.1 Volume
Controls:
• MIN: sets the minimum volume level for the pedal, from 0 to 10.
• VOLUME: adjusts the volume of the signal passing through it, from
0% to 100%.
figure 7.60
Add programmed rhythmic parts to your power chords and phrases with
this powerful and creative beat synced slicing effect. It can be setup to cre-
ate anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat (figure 7.61).
Controls:
• LEVEL: sets the amount of level modulation the steps will give. At
min position the steps will not have effect, at maximum the range
will be full.
• STEP BAR: click on the Steps to set each step level. You can also draw
a curve while holding the mouse while dragging over multiple steps.
• RAMP: sets the steepness of the level change between steps. Set it at
lower positions to get a more gate-like effect or set it to higher posi-
tions to get a smoother effect.
• DIVISION: sets what time interval each step represent.
• STEPS: sets the number of steps the cycle will consist of.
• MODE: When set to Free the cycle will be continuous and will always
cover all the steps that are specified in the Steps parameter. When set
to Strike the cycle will re-start each time a chord or a note is played.
• SWING: increase this control to give to the steps a swing type quan-
tization.
• BPM SYNC: allows the effect to synchronize to the project tempo.
figure 7.61
7.3.9.3 Swell
This is an “auto volume” swell processor that can automatically create fan-
tastic swell effects while playing without any manual intervention. Use it
subtly to add groove to your rhythm parts or use it with deeper settings to
create dreaming pads or string-like sounds (figure 7.62).
Controls:
• DEPTH: sets the depth of the volume swell, in dB. By default the depth
is at max position, meaning that the volume will start from silence. By
lowering this control you’ll make the effect to start the swell phase
from a level which is higher than silence, up to min position that
makes the effect to have no action.
• SENS: this control sets the sensitivity for the Swell to recognize a
new note or chord and therefore start a new Swell cycle. Set it higher
if you want the Swell cycle to start even at the beginning of softer
passages, or set it lower if you want the Swell cycle to only start for
louder strikes.
• TIME: sets the length of the Swell cycle. During the Swell cycle (time
the swell takes to “open” the power LED becomes red (it is normally
green). This helps to immediately recognize when the swell is trig-
gered.
• BPM SYNC: allows the effect to synchronize to the project tempo mak-
ing the swell time to be specified in musical figures.
figure 7.62
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedia’s sound model develop-
ment and for describing certain types of tones produced with IK Multimedia’s digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
8.1 Introduction
figure 8.1
To access the Amp module, click the Amp button located on the Module/
Rig Selector (figure 8.1). There are two separate amplifier modules that can
be accessed independently (e.g., Amp A and Amp B), or paralleled for dual
amp setups. Just select one of the eight signal path presets located on the
Module/Rig Selector (figure 8.2).
figure 8.2
8.2 On/Bypass
This control enables/disables the Amp module from the plug-in’s signal
(figure 8.3).
figure 8.3
8.3 EQ Match
figure 8.4
The Amp match control selects the power amp stage associated to the
selected preamp (figure 8.5).
figure 8.5
The EQ and Amp match controls allows you to select a specific vintage or
boutique guitar rig in seconds, giving you an “instant tone gratification”…
This feature allows you to create your own mixture of stages and promotes
experimentation. However, we are still obsessed with models’ accuracy. For
this reason, and to reach a higher level of sonic fidelity (when compared
with the original real amps) we added more details and finesse to our
modeling techniques and improved the level of interaction between the amp
blocks in the DSP. Basically, making a whole single model of the entire amp.
That’s why all recent models are modeled as an entire amp, without the pos-
sibility to select single internal stages (Preamp, EQ, and Power amp). These
are called “non-flexi” amps.
This is the menu where the Amp model is selected. For those amps that
have been modeled with individual selectable stages, you’ll be choosing the
Preamp stage.
For newer amps that have been modeled as a single block (non-flexi), you’ll
be selecting the entire Amplifier. As a result, the EQ and (Power) Amp menus
are not included.
The Pre Model is the first stage in the Amp module. This section models the
initial preamp and drive of each amplifier (figure 8.6).
figure 8.6
8.5.2 EQ Model
The EQ stage follows the Pre Model and allows you to EQ your sound and
design unique guitar tones (figure 8.7).
figure 8.7
The final stage of the amplifier module is the Amp model (figure 8.8). For
those amps that have been modeled with individual selectable stages you
could use a Fender-style power amp section on a Marshall-style preamp…
figure 8.8
8.6.1 Clean
This is a model of the clean channel from a popular and sought after
American amplifier. The signature tone can be heard on many albums and
many stages around the world. Experience a sparkling clean with the capa-
bility for a touch of crunch when cranked up (figure 8.9).
figure 8.9
This beautiful amp is crystal clear but can also deliver edgy sounds by push-
ing the Master volume, and can deliver a nice preamp crunch tone when
Rhythm 2 is engaged.
This amp is extremely versatile you can really get many types of clean or
edgy tones from its incredibly flexible preamplifier. By selecting two differ-
ent preamp shapes (Rhythm 2), and by adapting the tone with the Shift and
Deep switches, you can really shape your clean/edgy sound in almost all
possible ways. Add the final 5 band graphic EQ and the tonal possibilities
are really wide. But be careful, this is not a ‘set and forget’ amp. Being it
extremely versatile it can of course be set to a tone that could be totally far
from what is needed on that part. It needs a degree of experimentation and
experience before you can really master it!
Controls:
• VOLUME: sets the volume of the clean preamp. Push it closer to 10 for
an edgy sound that starts to crunch.
• BRIGHT: boosts brilliance of the preamp, especially when the Volume
control is kept low.
• TREBLE: sets the amount of high frequencies on the sound.
This amp is modeled after a classic American guitar amp. This amp is great
for clean to dirty sounds, making ideal for clean and crunchy rhythm, rock,
country, blues, and anything else requiring a clean amp capable of getting a
little dirty when the music calls for it (figure 8.10).
figure 8.10
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This model features yet another classic American amplifier. Unlike the
American Tube Clean 1, this model is a smaller combo amp. This amp deliv-
ers a clean yet warm tone (figure 8.11).
figure 8.11
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
The design of this amp influenced many of its successors and was used by
Jimi Hendrix in the studio recording of “Voodoo Child” (figure 8.12).
figure 8.12
This classic American amplifier was at first designed to be a bass amp, but
later became one of the most popular American guitar amps ever made.
Great for clean tones, it is also versatile in a variety of music genres and
playing styles.
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
Jimi Hendrix acquired this 100 watt amp in 1968 and used it in 1968-1969
with the Experience tour, together with an assortment of other amps. The
amp sported a built-in spring reverb unit (figure 8.13).
figure 8.13
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
This was Jimi Hendrix’s amp of choice during 1965 through 1966. It included
a spring reverb (figure 8.14).
figure 8.14
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This amp model is clean. It provides a very uncolored signal, perfect for jazz.
It could be compared to amps like the Jazz Amp 120, ideal for sparkling clean
tones (figure 8.15).
figure 8.15
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
It may have Jazz in its name, but this versatile clean sound can be heard in
many genres. Many of the top metal players keep this not-so-secret weapon in
the studio for great clean sounds. Its sonic feature is the fantastic built-in ana-
log chorus and vibrato unit that really made this amp a classic (figure 8.16) .
figure 8.16
Controls:
figure 8.17
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: Sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
8.6.2 Crunch
This classic American amplifier was at first designed to be a bass amp, but
later became one of the most popular American guitar amps ever made.
Great for clean tones, it is also versatile in a variety of music genres and
playing styles (figure 8.18).
figure 8.18
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
figure 8.19
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• CUT: as on the original, cuts the high frequencies of the amp’s EQ
stage when turned down.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
Take yourself back to the ‘60s with this quintessential amp. Not just any
version, but an accurate model of the well-known and loved version of an
already spectacular amplifier. If you want some British sound, you can find
it here (figure 8.20).
figure 8.20
The original copper panel model was non-top boost, and you can find it
exactly replicated here when the switch Top Boost is Off. Turn it On to add
the top boost circuit in a second and be then able to adjust your sound with
Bass and Treble pots.
Controls:
• NORMAL: sets the volume level for the Normal channel. Normal chan-
nel has a mellower response when compared to the Brilliant channel.
• BRILLIANT: sets the volume level for the Brilliant channel.
• VIB -TREM: sets the volume level for the Vibrato and Tremolo chan-
nel.
• TOP BOOST: adds the Top Boost circuit in the Brilliant channel signal
path. Normal and Vib-Trem channels are not affected by this.
• BASS: adjusts the level of low frequencies in the sound. Active only
on Brilliant channel and only when Top Boost is On.
• TREBLE: adjust the level of high frequencies in the sound. Active only
on Brilliant channel and only when Top Boost is On.
• TONE: sets the overall brightness of the amp. It is always active, on
all channels. When set to Min the amp is bright, when set to Max the
amp is mellower.
• SPEED: sets the speed of the Tremolo or Vibrato effect.
• SWITCH: determines if the Vib-Trem channel will produce a Vibrato
or a Tremolo effect.
This amp is modeled on the Classic British 100 watt amp Jimi Hendrix is
generally associated with. Jimi Hendrix often used multiple amp heads (up
to 6) looping them together to get more power, a setup that can be recreated
in AmpliTube 3 because of its dual rig capability (figure 8.21).
figure 8.21
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
8.6.2.5 British OR
An exciting new addition to the line, this model can really turn heads. You’ll
hear the vintage hand-wired and very original sound of this killer British
powerhouse from the very first note (figure 8.22).
figure 8.22
Controls:
• F.A.C: this control is a unique type of tone control featured only on this
amp. It is a six position selectable bass cut in the preamp. When set
to the first position (1) it is cutting low frequency just a bit, when set
to last position (6) it is cutting lots of low frequencies. Intermediate
positions deliver intermediate results. Experiment with this control
when the amp is overdriven and you’ll find it extremely useful!
• Hz: sets the amount of low frequencies in the sound.
• kHz: sets the amount of high frequencies in the sound.
• HF.DRIVE: determines the presence and brightness of the amp.
• GAIN: sets the volume of the amplifier, it is actually the power amp
level.
This is a model of the THD® BiValve™*. This modern boutique amplifier has
become very popular on the stage and in the studio. Using a single ended
class A design it is capable of wide expanse of tone. From the clean to the
crunchy to the heavily saturated, the THD BiValve can create all these tones
with ease (figure 8.23).
figure 8.23
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This is a model of a small vintage amplifier that was basic in design but big
in tone. This model is simple but sweet (figure 8.24).
figure 8.24
Controls:
EQ MODEL:
• PRESENCE: cuts the high frequencies of the amp’s EQ stages when
turned down.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
8.6.3 Lead
figure 8.25
This amp is extremely versatile, you can really get almost any type of sound
from its incredibly flexible preamplifier. By calibrating the various gain
stages (Volume -> Lead Drive -> Master), by selecting two different preamp
shapes (Rhythm 2), and by adapting the tone with the SHIFT switches, you
can really shape your driven sound in almost all possible ways. Add the
final 5 band graphic EQ and the tonal possibilities are really endless. But be
careful, this is not a ‘set and forget’ amp. Being it extremely versatile it can
of course be set to a tone that could be totally far from what is needed on
that part. It needs a degree of experimentation and experience before you
can really master it!
Controls:
• LEAD DRIVE: sets the amount of gain of the lead stage. Increase this
to have more sustaining distortion and decrease it to get a more edgy
and crunchy type of distortion.
• VOLUME: sets the gain of the initial stage. This is the gain that comes
before all others in the amp signal path.
• MASTER: sets the power amp level. This is the latest level in the amp
signal path. Setting high gains in the preamp (Volume and Lead
Drive) and also setting Master to a very high level can result in an
overly pushed sound that could be difficult to obtain a good sound.
Keep this at high levels only if Volume and Lead drive are not so high.
• TREBLE: sets the amount of high frequencies on the sound.
Made popular by the hard rockers of the ‘80s this British guitar amp has
remained a prized tone for many of today’s guitar players. Able to crank out
great tube saturated tone with ease this model is a go to amp for a variety of
heavy rock guitar sounds (figure 8.26).
figure 8.26
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
The younger sibling to the British Tube Lead 1, this model is capable of
great rock tone, leads, and heavy crunch. While grittier and a little more
aggressive, it still has the classic tone that has made this family of amps a
household name in rock guitar (figure 8.27).
figure 8.27
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
Based on the classic AmpliTube model, this amp features lots of gain for
that over the edge distortion sound. Similar to modern tube lead sound in
character, Modern Hi-Gain provides an additional take on that type of sound
(figure 8.28).
figure 8.28
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
Based on AmpliTube 1’s fuzz amp, this model is a very distinct and distorted
sound, reminiscent of ‘60s fuzz sounds (figure 8.29).
figure 8.29
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This model features a precise solid state lead sound. It has a darker tone and
excels at high gain lead tones. It is very suitable for hard rock leads and it’s
gain is very stable, making it easy to use at low volume levels (figure 8.30).
figure 8.30
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This classic amp provides the tightest bass and fastest response, even at
extreme speeds and gain. The result is perfect for speed, thrash, and other
aggressive metal styles as well as smoother, cleaner styles, and it is a must
for all modern metal contaminations (figure 8.31).
figure 8.31
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
figure 8.32
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• BOTTOM: use this knob to enhance the speaker bottom end resonance.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
Designed by some of the hardest rockers of the ‘90s, this amp was built for
pure metal mayhem. There may be no heavier, more aggressive amp in the
world (figure 8.33).
figure 8.33
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• BOTTOM: use this knob to enhance the speaker bottom end resonance.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This amp is a model of one of the leaders in hard, driven rock tones made
today. Capable of searing leads and heavy crunch, this amp has been recti-
fied to create a modern rock tone that is hard to beat (figure 8.34).
figure 8.34
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
This amp is based on an all-time classic, from its origin in the ‘70s through
Aussie hard rock crazy ‘80s metal and beyond. Few amps have rocked as
hard, for as long (figure 8.35).
figure 8.35
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
8.6.4 Bass
This amp toured and recorded for years with one of the biggest and bold
rock bands ever. Classic rock tones are a natural with this amp, but it is also
known for being used by one of the most famous jazz bassists of all time.
Show no quarter and make your bass kill with this amp-solid state but loud
and proud (figure 8.36).
figure 8.36
When paired with its Matching cabined (1x18” Horn Bass) it can sound
really dark when compared to today’s bass amps, but that’s the magic of it!
Controls:
This is a rendition of “the” bass combo for double bass. The tone doesn’t stop
there, though. Electric bassists have used this tiny but mighty (and toneful)
combo amp with great success. Great things can come in small sizes, and can
sound surprisingly big and full (figure 8.37).
figure 8.37
Controls:
This is a model of a solid state powerhouse bass amplifier with great tone-
shaping controls, a warm sound unlike most solid state amps, and a sought-
after preamp (figure 8.38).
figure 8.38
Despite being solid state this amp delivers an incredibly warm and tasteful
tone. With its signature “Middle cut pre shaping” feature will immediately
bring you back to ‘80s bass lines!
Controls
This model features a solid state bass preamp, EQ, and a solid state power
amp module. It cleans up beautifully and drives just as hard (figure 8.39).
figure 8.39
Controls:
PRE MODEL:
• GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage,
from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage,
from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage,
from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
9.1 Introduction
To access the Cab module, click the Cab button located on the Module/Rig
Selector (figure 9.1).
figure 9.1
The Cab module includes 2 models: the Cabinet Model and the Mic Model,
and a new section called Room (figure 9.2).
figure 9.2
The Cabinet Model includes the Cab Model Selector, the Bypass and Match
buttons and a new exciting feature called “Size” (figure 9.3).
figure 9.3
To select a Cabinet model, click the Cab Model Selector (figure 9.4) and
navigate through its categories or use the forward/back arrows (figure 9.5) .
figure 9.4
figure 9.5
9.2.2 Bypass
figure 9.6
9.2.3 Match
figure 9.7
9.2.4 Size
figure 9.8
Important: to obtain the most accurate cabinet sound, this control should be
kept at its default position (Center). The purpose of this control is to provide
a creative tool that allows you to “squeeze” or “expand” the tonal color for
the selected cab. However, when you’re after the exact replica of the original
cabinet sonic texture, remember to keep the Size control centered.
9.3.1 Guitar 6”
figure 9.9
figure 9.10
figure 9.11
figure 9.10
figure 9.13
9.3.3.2 1x12 MB II
figure 9.14
figure 9.15
figure 9.11
figure 9.17
figure 9.18
figure 9.19
figure 9.20
figure 9.21
figure 9.22
figure 9.23
figure 9.24
figure 9.25
figure 9.26
figure 9.27
figure 9.28
figure 9.29
figure 9.30
figure 9.31
figure 9.32
figure 9.33
figure 9.34
figure 9.35
figure 9.37
figure 9.37
figure 9.38
figure 9.39
figure 9.40
figure 9.41
figure 9.42
figure 9.43
figure 9.44
figure 9.45
figure 9.46
figure 9.47
figure 9.48
figure 9.49
figure 9.50
figure 9.51
figure 9.52
9.3.9 Rotary
figure 9.53
figure 9.54
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedia’s sound model develop-
ment and for describing certain types of tones produced with IK Multimedia’s digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
The Mic Model includes the Mic Model selector, 2 microphones to mic and
mix each cabinet, and Mute, Solo, Phase, Pan, and Mic Blend controls (figure
9.55).
figure 9.55
Thanks to the new design of the Cab module, you are able to Mute, Solo,
change the Phase, and Pan each microphone individually and then combine
their settings via the MIC blend slider. Also, you can easily change each
microphone’s position and distance. All of these options allow you to recre-
ate your microphones techniques and expand your music production skills.
To select a microphone model, click the Mic Model Selector (figure 9.56) and
navigate through its categories or use the forward/back arrows (figure 9.57).
figure 9.56
figure 9.57
If you want to use 2 microphones select a mic model from both Mic 1 and
Mic 2.
If you want to use just one microphone select None from Mic 2 models list.
Note: when loading presets from previous AmpliTube products Mic 2 will
be selected to None automatically because previous products only have one
mic. To add a second microphone in AmpliTube 3 just click the Mic Model
Selector and choose a mic model instead of None (figure 9.58).
figure 9.58
9.5.2 Position
figure 9.59
figure 9.60
Off-Axis means that the microphone is positioned at the outside edge of the
speaker. (figure 9.61)
figure 9.61
9.5.3 Distance
figure 9.62
figure 9.63
Production Tips:
To obtain detailed clean sounds, mic up your Cab using the On Axis
position and Near distance settings. If the sound is too big for your mix,
change the mic distance to Far.
Important: exactly as it’s happening in reality when you combine two micro-
phones placed ad different distances in front of an amplifier and you mix
them up the result can be a phasey sound affected by weird comb filtering.
Sometimes this is what it’s actually wanted, but in case you hear this and
you do not like what you get just be sure to align the two microphones more
or less at the same distance from the speaker.
You can also blend the microphones at 25% or 75% instead of 50%, this
will reduce the phasey effect when mics are placed at different distances.
Although, again, this is sometimes something wanted!
Tip: experiment with the fantastic 3D and “sense of space” AmpliTube 3 can
deliver by panning the two microphones wide L-R (or just a bit) and moving
the microphones in front of the cab. You’ll discover some amazingly nice
ways of having your tones to be placed on the stereo field and having them
to go inside the mix or outside, with amazing spatial presence.
9.5.4 Mute
Click this button to Mute the selected microphone (its number will be
dimmed (figure 9.64).
figure 9.64
9.5.5 Solo
Click this button to Solo the selected microphone (the other microphone’s
number will be dimmed) (figure 9.65).
figure 9.65
9.5.6 Phase
Click this button to change the selected microphone Phase (figure 9.66). You
can get some really weird tones by combining two microphones in different
positions and reversing phase on one. Experiment!
figure 9.66
9.5.7 Pan
To change a microphone pan setting, move the Pan knob (figure 9.67) to the
desired position and check its value in the Selected Parameter Display.
figure 9.67
To combine both microphone settings, move the Mic Blend slider to your
desired position (figure 9.68).
figure 9.68
9.6.1 Dynamic
9.6.1.1 Dynamic 57
This mic model is based on one of the most popular small diaphragm
dynamic microphones. Its bright, edgy sound has made it a widely used
guitar amp mic (figure 9.69).
figure 9.69
Typically used in studios paired with a smoother and warmer condenser mic.
9.6.1.2 Dynamic 20
This mic model recreates a smooth reaction across a wide spectrum of fre-
quencies, especially attractive in the low area. This means that the Dynamic
20 is a great selection for acoustic and electric bass (figure 9.70).
figure 9.70
figure 9.71
Probably the second most popular dynamic mic to use on guitar amps, this
model provides an equally pleasing sound, but is warmer than the 57 (figure
9.72).
figure 9.72
It also adds a very focused boost on hi-mid frequencies that makes it suit-
able to get aggressive driven tones.
This model has a flatter frequency response than most other dynamic mics.
This mic is highly regarded as a guitar mic and used widely in studios all
over the world (figure 9.73).
figure 9.73
This is a model of a faithful and popular microphone used daily in many stu-
dios and can be found “hanging around” there or on stages everywhere. This
dynamic microphone can deliver honest yet punchy sounds (figure 9.74).
figure 9.74
Can result in very mid-rangey sounds at times, but this is sometimes what
you want, especially when combined with a warmer condenser microphone.
9.6.2 Condenser
9.6.2.1 Condenser 12
This mic model is based on one of the first legendary tube microphones in
the history of recording (figure 9.75).
figure 9.75
9.6.2.2 Condenser 67
This mic model is based on one of the most famous multi-purpose studio
microphones (figure 9.76).
figure 9.76
9.6.2.3 Condenser 84
figure 9.77
9.6.2.4 Condenser 87
This is a model of one of the most popular large diaphragm mics ever (figure
9.78). It can be found in any large recording studio mic locker. Because of its
excellent frequency response curve, the 87 has become the go-to mic when
needing a clean, flattering sound.
figure 9.78
figure 9.79
This microphone will not color the sound of the speaker, or at least will color
it very little. That’s why it is a great choice to hear a very natural rendering
of the speaker sound even when used alone.
The Condenser 414 is modeled after another highly regarded large dia-
phragm condenser microphone (figure 9.80). It is a flat and clean/open
microphone that will flatter big full tones and will also blend beautifully
when combined with another cabinet/mic setup.
figure 9.80
9.6.3 Ribbon
Use this ribbon microphone to capture a pure, natural sound. This is mod-
eled after one of the must-have studio ribbon microphones of our time
(figure 9.81).
figure 9.81
Incredibly present mid range with a natural and smooth roll off on the high
frequencies, makes it ideal when you’re hearing too much “fizz” from the in
axis tone on high gain and metal tones, switching to this mic will reduce the
unwanted high frequencies fizzness in a way that will not reduce presence
at all.
figure 9.82
Very detailed and with a focus on mid range, try this when you want more
mid range presence without applying EQ or changing amp settings.
9.6.3.3 Velo-8
figure 9.83
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedia’s sound model develop-
ment and for describing certain types of tones produced with IK Multimedia’s digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
AKG®, C12™, D20™, C-414 ULS™ are registered trademarks of AKG Acoustics GmbH.
BEYERDYNAMIC®, M160™ are registered trademarks of Beyerdynamic GmbH & Co.
ELECTRO-VOICE®, RE20™ are registered trademarks of Electro-Voice, Inc.
GROOVE TUBES®, Velo-8™ are registered trademarks of Groove Tubes, LLC.
NEUMANN®, U67™, U87™, KM-84™, TLM 170™ are registered trademarks of Georg Neumann
GmbH.
ROYER®, R121™ are registered trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation.
SENNHEISER®, MD-421™, MD-441™, MD609™ are registered trademarks of Sennheiser
Electronic Corp.
SHURE®, SM57™ are registered trademarks of Shure Incorporated.
9.8 Room
The new Room section allows you to place the cabinet in a particular ambi-
ence and control the width, pan, and level of the Room Mics. In addition, it
includes the Mute, Solo, and Phase buttons. Experiment with all the Cab, Mic
Models, and Room Types to create your perfect cabinet sound (figure 9.84).
figure 9.84
Click the Room Type Selector (figure 9.85) to select a Room preset or use the
forward/back arrows (figure 9.86).
figure 9.85
figure 9.86
9.8.2 Mute
figure 9.87
9.8.3 Solo
Click this button to Solo the Room section (the microphones selected via
Mic Model will be muted and their identification numbers will be dimmed)
(figure 9.88).
figure 9.88
9.8.4 Phase
figure 9.89
figure 9.90
Width: use this control to change the width between microphones. At 0, the
microphones are next to each other in the center of the room (figure 9.91).
At 100, one microphone is located to the left side and the other to the right
side (figure 9.92).
figure 9.91
figure 9.92
Use this control to set the Stereo image width that will be produced by the
ambience signal.
If increased, the image will be expanded causing the impression of the ste-
reo field to be wider than the speakers. Be careful not overdo this because
the sound might be cancelled (or partially) when listening in mono.
Pan: this control allows you to pan both microphones to the left, center, or
right within the stereo image (figure 9.93).
figure 9.93
Level: controls the Room Mics Levels. This is a great tool to create different
dimensions within your mix (figure 9.94).
figure 9.94
The values of the Width, Pan, and Level controls are shown in the Selected
Parameter Display.
There are 5 Room Type Presets; Amp Closet, Small Studio, Mid Studio, Large
Studio and Hall. Listen to each preset and select the one that best fits your
sound (figure 9.95).
figure 9.95
figure 9.96
9.9.1 Introduction
The Rotary 147 – 1 and Rotary 147 – 2 models are a faithful digital recre-
ation of an extremely good sounding all original classic Rotary speaker unit
produced in the ‘60s.
Model 147-1 comes with all new original speakers, while Model 147-2 comes
with a tighter and powerful replacement 15” speaker on the low frequency
section.
You could choose either of them, depending on the type of music and sound
you want to process with the Rotary speaker. Consider Model 147-1 to be
more accurate with the original with an upfront mid range, and 147-2 to be
more bass-powerful and defined on low frequencies.
9.9.3 Setup
This menu (figure 9.97) is used to select various techniques used to record
the Rotary speaker unit in the studio:
figure 9.97
Open: means that the low frequency cabinet was open during the recording.
Closed: means that the low frequency cabinet was closed during the record-
ing.
Front: means that the rotating horn microphones where placed at the front
of the Leslie cab, meaning the sound was passing through the slots on the
panels.
Back: means that the horn microphones where placed at the back of the
Leslie cabinet, meaning the sound was directly taken from the horn, not
passing through the slots on panels, or just partially.
Mono: means the bass drum was recorded with only one microphone, in
mono.
9.9.4 Width
Use this control to set the Stereo image width that will be produced by the
Rotary speaker (figure 9.98).
figure 9.98
9.9.5 Balance
Use this control to alter the balance between the top rotating horns and the
bottom rotating drum on the Rotary Speaker unit. (figure 9.99)
figure 9.99
9.9.6 Speed
figure 9.100
The real rotating speakers inside this unit are taking their time to both slow
down or speed up; this characteristic is also part of its sound. The model here
is behaving in the same way, with the exact times. That’s why speed changes
are not instantaneous.
10.1 Introduction
To access the Rack module, click the Rack button located on the Module/Rig
Selector (figure 10.1). There are two independent Rack modules featuring 4
stereo rack effects each. They can be used independently or together for a
total of 8 rack effects.
figure 10.1
To facilitate the Rack models navigation, please read the following controls
descriptions.
10.2 On/Bypass
This control enables/disables the Rack module from the plug-in’s signal.
When is On, the switch looks red. (figure 10.2)
figure 10.2
To select a rack model, click the Rack Model Selector (figure 10.3) and
navigate through its categories or use the forward/back arrows. (figure 10.4)
figure 10.3
figure 10.4
Thanks to AmpliTube 3 drag & drop feature you are able to re-arrange the
order of the racks on the fly and monitor the results in real-time…
This advanced delay modeled effect can add a variety of depth to the sound,
by providing five different delay modes. The delay can also be synched to the
host tempo providing even more flexibility (figure 10.5).
figure 10.5
Controls:
• MODE: sets the output mode of the Delay effect; Stereo, Left/Right,
Mono, Left/Center/Right, and Doubler.
• DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms.
• BPM SYNC: allows the effect to synchronize to the project tempo and
changes the Rate control to beat values.
• FEEDBACK: changes the amount of time that the delay repeats, from
0% to 100%.
• FILTER: sets the low pass filter for the delay effect, from 200 Hz to
20 kHz. When set to mid values it gives a nice warmth to the delay
timbre.
• MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
figure 10.6
Controls:
• DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00
seconds.
• DENSITY: sets the number of reflections generated by the reverb,
from 0 to 99.
• COLOUR: sets the reverb coloration from dark to light, from 2 kHz to
20 kHz.
• MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
This creative delay effect unit can be used to create interesting and unusual
delay effects thanks to the 8 totally independent taps. You can create groov-
ing rhythm patterns by combining more taps with a specific time signature,
and you can mix this up with psychedelic reverse tape effects you are able
to set for each tap (figure 10.7).
figure 10.7
The TapDelay is actually 8 delays in one single unit, and it allows you to set
time, timbre and level for each one of these units. In addition, you can glob-
ally control with single knobs parameters for all the 8 taps at the same time,
like time, dry/wet mix and feedback amount.
Controls:
• TIME: globally shifts the delay time of all the 8 taps. This is a relative
control that works in this way:
• When set at the center position (1x) it does not alter the time that
has been setup on each tap.
• When set to minimum (0.25x) it divides all times by four.
• When set to max (4x) it multiply all times by four.
Use it to globally change the delay tempo without changing the rela-
tions between all taps.
• MIX: globally adjust the effect mix between the Dry signal and all
the 8 delay taps.
• FEEDBACK: globally adjust the amount of feedback the delay will
have. When set at maximum, the delay with be sustaining itself.
• TAP: use these buttons to select which one among the 8 delay taps
you’re going to edit with next controls.
• LEVEL: sets the audio level for the selected delay tap.
• TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Sync
switch position.
• TAPS DISPLAY: shows each Tap as a vertical bar. The horizontal
position of the bar represent the delay time, the height of the bar
represent the audio level.
• FILTER: sets the timbre for the selected delay tap, darker at minimum
and brighter at maximum.
• REVERSE: enable this button to transform the selected delay tap from
normal to reverse. When set to reverse a delay tap will sound like a
reversed tape loop.
• LINK: enable this button to make a change you do on the above men-
tioned parameters to apply to all the 8 taps at the same time.
• BPM SYNC: allows the effect to synchronize to the project tempo.
10.5.2.1 Graphic EQ
figure 10.8
20, 25, 31.5, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1k,
1.25k, 1.6k, 2k, 2.5k, 3.15k, 4k, 5k, 6.3k, 8k, 10k, 12.5k, 16k, 20k.
Each band has +/- 15 dB boost, plus Reset button (total reset of all bands at
0 dB), and Level slider (+/- 15 dB).
10.5.2.2 Parametric EQ
With its three totally independent EQs, this parametric EQ provides enough
power to sculpt the perfect guitar tone or surgically enhance and alter any
signal sent through it (figure 10.9).
figure 10.9
Controls:
• BASS:
• GAIN: adjusts the boost or cut of the bass parametric EQ, from -15
dB to +15 dB.
• FREQ: changes the center frequency of the bass parametric EQ,
from 20 Hz to 20 kHz.
• Q: sets the bandwidth of the bass parametric EQ, from 0.1 (very
wide) to 8.0 (very narrow).
• MID:
• GAIN: adjusts the boost or cut of the mid parametric EQ, from -15
dB to +15 dB.
• FREQ: changes the center frequency of the mid parametric EQ, from
20 Hz to 20 kHz.
• Q: sets the bandwidth of the mid parametric EQ, from 0.1 (very
wide) to 8.0 (very narrow).
• HI:
• GAIN: adjusts the boost or cut of the Hi parametric EQ, from -15
dB to +15 dB.
• FREQ: changes the center frequency of the Hi parametric EQ, from
20 Hz to 20 kHz.
• Q: sets the bandwidth of the Hi parametric EQ, from 0.1 (very wide)
to 8.0 (very narrow).
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
figure 10.10
Controls:
• DRIVE: controls the amount of signal that is input into the effect, set-
ting the compression level.
• ATTACK: controls the amount of time that the compressor takes to
react to the audio signal.
• RELEASE: controls the amount of time that the compressor takes to
return to normal gain after some compression has occurred.
• RATIO: controls the strength of the compression. Higher values will
result in a more evident effect.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
10.5.3 Filter
10.5.3.1 Rezo
This rack model is a unique effect that can add synth-like drones and sus-
taining resonances to your parts. Make your guitar sound like a sitar or like a
synth-drone to create sonic resonances to sing on and control the notes with
your controller to create arpeggios and steps while playing (figure 10.11).
figure 10.11
You have 4 resonating voices that can be tuned independently from note E0
to note B7, in half tone steps. For example, if you want to create a resonating
C Major chord, just set the first three voices to C3, E3 and G3.
By moving the All slider you can shift the recently created Chord without
changing the intervals between the voices.
You can set the desired voice note by note number of by frequency in Hz.
This is a powerful and deep beat sync filter effect. You will be able to apply
Low/High and Band pass analog modeled filtering on freely customizable
patterns to add groove and rhythmic pulsing to your parts. This will make
your guitars and bass parts to sound like a rhythmic synth, if you want it
(figure 10.12).
figure 10.12
Controls:
• CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff
frequency the filter will have when the steps are set to half position.
• STEP BAR: click on the Steps to set each step level. You can also draw
a curve while holding the mouse while dragging over multiple steps.
• RES: sets the center resonance of the filter. This is the resonance
amount the filter will have when the steps are set to half position.
• DEPTH: sets how deep the filter is modulated by the steps.
• HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:
band pass, LP: low pass
• 12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/
oct will be steeper.
• DEST: sets what is modulated by the steps between filter Cutoff and/
or filter Resonance. At full minimum position only Cutoff frequency is
modulated, at max position only Resonance is modulated.
• DIVISION: sets what time interval each step represent.
• STEPS: sets the number of steps the cycle will consist of.
• MODE: When set to Free the cycle will be continuous and will always
cover all the steps that are specified in the Steps parameter. When set
to Strike the cycle will re-start each time a chord or a note is played.
• SWING: increase this control to give to the steps a swing type quan-
tization.
• BPM SYNC: allows the effect to synchronize to the project tempo.
10.5.4 Modulation
This classic analog stereo chorus model adds depth and space to the input
signal (figure 10.13). It can also be used as a vibrato effect.
figure 10.13
Controls:
This modeled digital chorus effect creates a clear articulate chorus effect
(figure 10.14). Like the analog chorus, this effect adds depth and space to the
input signal, but adds a different color to the overall signal.
figure 10.14
Controls:
This model of a digital flanger can create a metallic modulated sound (figure
10.15).
figure 10.15
Controls:
figure 10.16
Controls:
• SPEED: sets the speed of the rotary speaker effect, from .50 Hz to
7.80 Hz.
• DRIVE: sets the amount of overdrive in the rotary speaker effect, from
0% to 100%.
• BALANCE: changes the balance of high and low rotors in the signal,
from 0 to 100.
• MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
10.5.5 Pitch
10.5.5.1 Harmonator
figure 10.17
Controls:
• KEY: controls the key and type of scale that will be used by the har-
monizer as a reference. If you’re playing a solo in E major set this to
E Major, from C to B.
• SCALE: changes the scale of the harmonizer, including Major, Dorian,
Phrygian, Lydian, Mixolydian, Minor, and Locrian.
• VOICE: controls the properties of each of the 3 voices of the harmo-
nizer.
• 1: selects voice 1 for editing.
• 2: selects voice 2 for editing.
• 3: selects voice 3 for editing.
• INTERVAL: changes the interval of the selected voice, from low octave
to up octave.
• LEVEL: independently adjusts the level of each of the 3 voices, from
0 to 100.
• PAN: independently adjusts the panning of each of the 3 voices, from
1.0L to 1.0R.
• DRY PAN: adjusts the panning of the dry signal independently from
the harmonized voices, from 1.0L to 1.0R.
• MIX: blends the harmonized voice with the original voice, from 0%
to 100%.
This pitch shifting effect creates an independent harmony voice that can be
blended with the original signal to create harmony lead parts and duet type
guitar lines (figure 10.18).
figure 10.18
Controls:
• SHIFT COARSE: sets the coarse tuning of the pitch shifter. Measured
in intervals, from -24 to 24.
• SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in
cents, from -50 to 50.
• STEREO/SPLIT: sets the output of the effect to split the pitch shifted
sound and the dry sound or blend them in a stereo layered fashion.
• MIX: adjusts the amount of pitched shifted sound with the dry sound,
from 0% to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
10.5.6 Other
Add programmed rhythmic parts to your power chords and phrases with
this powerful and creative beat synced slicing effect. It can be setup to cre-
ate anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat.
It contains two independent stepping engines, one for Level and one for Pan,
so you can create independent patterns for level and panning within the
same synched effect (figure 10.19).
figure 10.19
Controls:
• LEVEL: sets the amount of level modulation the steps will give. At min
position the steps will not have effect, at maximum the steps range
will be full.
• STEP BAR: click on the Steps to set each step level. You can also draw
a curve while holding the mouse while dragging over multiple steps.
• RAMP: sets the steepness of the level change between steps. Set it at
lower positions to get a more gate-like effect, or set it to higher posi-
tions to get a smoother effect.
• DIVISION: sets what time interval each step represents.
• STEPS: sets the number of steps the cycle will consist of.
• VOLUME: select this to work on the Volume steps pattern.
• PAN: select this to work on the Panning steps pattern.
• MODE: When set to Free, the cycle will be continuous and will cover
all the steps that are specified in the Steps parameter. When set to
Strike, the cycle will re-start each time a chord or a note is played.
• SWING: increase this control to give to the steps a swing type quan-
tization.
• BPM SYNC: allows the effect to synchronize to the project tempo.
The stereo enhancer model widens and narrows the stereo image (figure 10.20).
figure 10.20
Controls:
• STEREO IMAGE: changes the width of the stereo image. Normal width
is in the middle of the slider. Moving the slider to the right widens the
stereo image. Moving the slider to the left narrows the stereo image.
Note: when processing a mono signal with this Rack, the control will result
in being a reversed volume slider.
10.5.6.3 Swell
This is an “auto volume” swell processor that can automatically create fan-
tastic swell effects while playing without any manual intervention. Use it
subtly to add groove to your rhythm parts or use it with deeper settings to
create dreaming pads or string-like sounds (figure 10.21).
figure 10.21
Controls:
• DEPTH: sets the depth of the volume swell, in dB. By default the depth
is at max position, meaning that the volume will start from silence. By
lowering this control you’ll make the effect to start the swell phase
from a level which is higher than silence, up to min position that
makes the effect to have no action.
• SENS: this control sets the sensitivity for the Swell to recognize a
new note or chord and therefore start a new Swell cycle. Set it higher
if you want the Swell cycle to start even at the beginning of softer
passages, or set it lower if you want the Swell cycle to only start for
louder strikes.
• TIME: sets the length of the Swell cycle.
• SWELL: this LED goes On during the Swell phase.
• OPEN: this LED goes On when the Swell phase has finished.
• BPM SYNC: allows the effect to synchronize to the project tempo mak-
ing the swell time to be specified in musical figures.
Crunch
American Tube Vintage Fender® Bassman®
British Blue Tube 30TB Vox® AC30™ Top Boost
British Copper 30TB Vox® AC30™ - Copper Panel
British Lead S100 Marshall® 1959 JTM100™ Super Lead
British OR Orange® OR-120™ Head
THD Bi-Valve THD® BiValve™
Tube Vintage Combo Supro® Late '50s combo
Lead
American Lead MKIII Mesa/Boogie® MKIII™ Combo (Lead Channel)
British Tube Lead 1 Marshall® JCM800™
British Tube Lead 2 Marshall® JCM900™
Custom Modern Hi-Gain IK Multimedia
Custom Solid State Fuzz IK Multimedia
Custom Solid State Lead IK Multimedia
Metal Lead T Mesa/Boogie® Triple Rectifier® (Lead Channel)
Metal Lead V Peavey® 5150® 100W head
Metal Lead W Randall® Warhead™
Modern Tube Lead Mesa-Boogie® Dual Rectifier®
Vintage Metal Lead Marshall® JMP100™ head
Bass
360Bass Preamp Acoustic® 360™ Bass Preamp
Combo 150MB Gallien-Krueger® MB150™
Green BA250 Trace Elliot® AH250™ Head
Solid State Bass Preamp IK Multimedia
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedia’s sound model develop-
ment and for describing certain types of tones produced with IK Multimedia’s digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
Thanks to the new AmpliTube 3 open architecture, you are able to constantly
expand your sonic palette through the addition of more packages such as
AmpliTube Fender™, Ampeg® SVX, etc. In fact, in the near future you will
be able to purchase “singles” on-demand!
AmpliTube Fender™ is the first and only guitar amp and effects model-
ing software authorized and created in cooperation with Fender Musical
Instruments Corporation. It comes stocked with 6 decades’ worth of legend-
ary tones, offering a collection of Amps, Cabs, Stomps and Rack Effects span-
ning the entire history of Fender®.
Get the most legendary collection of guitar tones right on your desktop!
Main features:
Chapter 13 Automation
13.1 Assign Automation within each Module (Stomp, Amp, Cab and Rack)
Select the Stomp, Amp, Cab or Rack module from the Module/Rig Selector (figure 13.1).
figure 13.1
Right-click on top of the AmpliTube 3 parameter that you are going to assign
to Automation (figure 13.2).
figure 13.2
13 - Automation 279
AmpliTube 3
Choose which DAW Automation parameter # you are going to use for the
AmpliTube 3 parameter selected on step #2 (figure 13.3).
figure 13.3
AmpliTube 3 has more parameters than audio sequencers (DAWs) can sup-
port. For this reason, it has its own Automation Panel, so that the enormous
number of theoretically automatable parameters in AmpliTube 3 can be
grouped in a smaller number to allow all DAWs being able to handle it.
To open it, click AUTO on the Input/Output bar (figure 13.4).
figure 13.4
280 13 - Automation
AmpliTube 3
The Automation Panel has two panes. The Left Pane is called Plug-in
Parameters, and the Right Pane is called DAW Automation (13.5).
figure 13.5
This Panel can also be used to recap the Automation assignment made with
the procedure described on 13.1.
figure 13.6
13 - Automation 281
AmpliTube 3
Considering that AmpliTube 3 offers dual rig setup, each Module is listed
separately as Stomp A, Stomp B, Amp A, Amp B, Cab A, Cab B, and Rack A,
Rack B (figure 13.7).
figure 13.7
The Plug-in Parameters Pane allows you to select which AmpliTube 3 param-
eter you are going to assign to Automation.
The DAW Automation Pane lists the 16 Automation parameters that are
declared to the DAW (figure 13.8).
figure 13.8
These parameters names (Param 1 to Param 16) are fixed because most
282 13 - Automation
AmpliTube 3
DAWs do not support automation parameter name changes while the plug-
in is open.
Through the DAW Automation Pane, you will be able to select which DAW
Automation parameter # you’re going to use for the AmpliTube 3 parameter
selected on the Plug-in Parameters Pane. For example, if you’ve selected
a Time on the Plug-in Parameters Pane and then clicked Add, the DAW
Automation Pane will display:
figure 13.9
This means:
13 - Automation 283
AmpliTube 3
figure 13.10
figure 13.11
284 13 - Automation
AmpliTube 3
figure 13.12
figure 13.13
13 - Automation 285
AmpliTube 3
5. Click OK to save the setup and close the Automation window (figure
13.14).
figure 13.14
figure 13.15
286 13 - Automation
AmpliTube 3
figure 13.16
figure 13.17
This is a very useful feature because it saves you to remove the assignment
from “Param 1” and create a new assignment for “Param 2.”
13 - Automation 287
AmpliTube 3
Each AmpliTube 3 instance is independent from the others. This means that
saving your DAW session will save each AmpliTube 3 instance with its own
Automation assignments setup.
288 13 - Automation
AmpliTube 3
Chapter 14 MIDI
14.1 Introduction
Global MIDI control allows you to specify MIDI Control Changes that will
control the selected parameter for all presets. The parameters or commands
that can be specified for Global MIDI control are:
Preset MIDI control allows you to specify MIDI Controls Changes that will
control the selected parameter specifically for the current preset.
14 - MIDI 289
AmpliTube 3
figure 14.1
To check that you’ve correctly setup MIDI Input, try sending MIDI Control
Changes or Program Changes from your controller while watching the “MIDI
IN” indicator (Standalone version only) (figure 14.2).
figure 14.2
If the MIDI In has been set properly, this indicator will light up when a MIDI
command is received.
290 14 - MIDI
AmpliTube 3
14.3.1 Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters)
This method allows you to quickly assign the MIDI control to a specific
AmpliTube parameter without having to setup anything manually.
figure 14.3
2. Move the knob, slider, switch or pedal you want to use to control
this parameter on your MIDI device and the assignment will auto-
matically be applied.
You can do this for all the parameters that you want to control on this preset.
Remember that this assignment is per preset and it needs be done on all
the presets that you want to control. This allows you to apply different MIDI
control schemes for all your presets.
14 - MIDI 291
AmpliTube 3
14.3.2 Manage MIDI Parameters Assignation via the MIDI Control Panel
This method allows you to manually setup, edit, and compare all the MIDI
assignments that you have done for Global control or for Preset control in
a single panel.
1. Click the MIDI button located on the Input/Output bar to open the
MIDI Control assignment window (figure 14.4).
figure 14.4
figure 14.5
292 14 - MIDI
AmpliTube 3
3. Click on the parameter that you want to control on the left pane
(figure 14.6).
figure 14.6
figure 14.7
14 - MIDI 293
AmpliTube 3
The control assignment that you’ve created in this way (Global) is valid for
all presets, and will apply any preset loaded or newly created.
1. Click the MIDI button located on the Input/Output bar to open the
MIDI Control assignment window (figure 14.8).
figure 14.8
figure 14.9
294 14 - MIDI
AmpliTube 3
figure 14.10
4. From the Tree menu select the current AmpliTube 3 preset param-
eter you’re going to control (figure 14.11).
figure 14.11
14 - MIDI 295
AmpliTube 3
figure 14.12
The control assignment that you’ve created in this way (Preset) is valid for
the current preset only and will not apply to the other presets. This allows
you to create specific MIDI assignment for each preset.
296 14 - MIDI
AmpliTube 3
figure 14.13
figure 14.14
14 - MIDI 297
AmpliTube 3
figure 14.15
These two values expressed in %, are used to determine the range of the
controlled parameter.
• Min 0%
• Max 100%
• Min 0%
• Max 50%
298 14 - MIDI
AmpliTube 3
figure 14.16
This affects the way the controlled parameter will change with the position
of the MIDI control knob, slider or pedal. Curve range is from 0 to 10 with
5 as default.
• When it’s set to 5 the control will be linear, meaning the placing the
MIDI controller at one half of its travel will result in the controlled
parameter to also set at 50% of its range.
• Setting lower values on Curve will result in an expanded control
curve.
• Setting higher values on Curve will result in a compressed control
curve.
14 - MIDI 299
AmpliTube 3
figure 14.17
When it is set to Off, the selected parameter will temporarily stay to the
value imposed by the external MIDI Control.
When it is set to On, the selected parameter will toggle between Min and
Max values each time the MIDI Control arrives.
300 14 - MIDI
AmpliTube 3
figure 14.18
To change the MIDI channel #, click the MIDI Channel display and move the
pointer Up to select from 1-16.
14 - MIDI 301
AmpliTube 3
302 14 - MIDI
AmpliTube 3
Chapter 15 Control
15.1 Introduction
Each AmpliTube 3 preset can have a different control setup, so you are able
to control specific parameters on each preset, depending on what you need.
figure 15.1
figure 15.2
To access the StealthPedal Control setup window click CTRL (figure 15.3).
figure 15.3
15 - Control 303
AmpliTube 3
figure 15.4
304 15 - Control
AmpliTube 3
figure 15.5
figure 15.6
15 - Control 305
AmpliTube 3
Sometimes you don’t need to span the whole parameter range with the
external control, in this case you can limit it by changing values in the
“From” and “To” fields from 0% - 100% to, for example, 30% - 80%. In
this case a movement of the pedal from min to max position will make the
controlled parameter to go from 30% of its range to 80%.
For example, it is useful to limit the range when you’re controlling the Amp
Volume knob to create swells, or when you’re controlling a feedback param-
eter for a Delay effect. In all of these cases as well as in many others, you
might just need a subtle variation.
You can connect two additional footswitches to StealthPedal, or use the one specifi-
cally made for it that contains two footswitches on the same box (Ext Switch 1 & 2).
Select from the fields named “Built-In Switch”, “Ext Switch 1” or “Ext Switch
2” the parameter you’re going to control by selecting Module, Model, and
Parameter (figure 15.7).
figure 15.7
306 15 - Control
AmpliTube 3
figure 15.8
Switch controls are normally working in Latched mode, meaning that the
controlled parameter will toggle between On and Off every time the Switch
is pressed. They can however set to operate in Temporary mode by setting
Off on the “Latch” field.
figure 15.9
15 - Control 307
AmpliTube 3
To allow External Switches 1 & 2 to select the Previous and Next presets
select “Preset Down” for External Switch 1. In this case, External Switch 2
will automatically set to “Preset Up” (figure 15.10).
figure 15.10
308 15 - Control
AmpliTube 3
Once you have assigned Pedals and Footswitches on your preset to control the sound
the way you need, you can save the current preset by clicking Save (figure 15.11).
figure 15.11
If you were working on a previously loaded preset and you click Save, you
will be asked if you want to overwrite it. After your confirmation, the preset
will be stored with all the control associations you’ve made.
External Switch 1 & 2 can be set to select Previous or Next preset. This
selection is not stored to the Preset, and it is global. This means that if you
select External Switch 1 & 2 to switch presets this setting will be valid for all
presets, no matter what was previously assigned on these switches.
Since presets Up and Down browsing works on all your AmpliTube 3 presets,
we suggest to create a folder and group all presets you need for a gig inside
that folder by numbering them. This way you will be able to put them in a
“sequence” and address them with the StealthPedal switches.
15 - Control 309
AmpliTube 3
figure 15.12
figure 15.13
When moving the Built-In or External pedals you’ll notice the meter indica-
tion on the right of the Pedals icon to move.
310 15 - Control
AmpliTube 3
To properly set the Pedal range set the physical pedal to the heel position
and click Min (figure 15.14).
figure 15.14
Then, move the physical pedal to the toe position and click Max (figure 15.15).
figure 15.15
Now the pedal range is properly set. Double check it by moving the pedal
over the entire range and looking at the bar graph.
15 - Control 311
AmpliTube 3
figure 15.16
Level indication
Once AmpliTube 3 is open and Control for StealthPedal is set On, the three
StealthPedal LEDs are working as an input level meter.
To get the best sound from the high-quality models included, it is very
important to properly set the AmpliTube 3 input level.
When playing normally, the green LED should be the one that is lit more
often, with yellow one to light up during softer passages, and Red one never
or really only occasionally lighting up.
If while you are playing, only the yellow LED turns On you need to increase
the input gain. This can be done by increasing the “Input Gain” value on
AmpliTube 3 standalone bottom frame and/or by enabling the StealthPedal
Input Gain Boost.
If while you are playing you frequently see the red LED lighting up you need
to decrease the input gain. As explained on this and the StealthPedal manu-
als, this can be done by decreasing the “Input Gain” value on AmpliTube 3
standalone bottom frame and / or by disabling the StealthPedal Input Gain
Boost.
312 15 - Control
AmpliTube 3
StealthPedal LEDs will work as tuning indicator when you turn On the Tuner
on AmpliTube 3.
figure 15.17
figure 15.18
15 - Control 313
AmpliTube 3
314 15 - Control
AmpliTube 3
Chapter 16 Troubleshooting
figure 16.1
16 - Troubleshooting 315
AmpliTube 3
Suggestions:
During the Product Registration process I received this message: The Serial
Number is already registered...
Remember that you are able to register your product only once. So, if
you are trying to get a new Authorization Code, please go to our FAQ
page at www.ikmultimedia.com/faq and read the “How can I get a new
Authorization Code?” FAQ.
figure 16.2
316 16 - Troubleshooting
AmpliTube 3
Where can I find my Serial Number, Digital ID, and the Authorization Code
of a registered IK Product?
Usually, this happens because the Digital ID was not submitted dur-
ing the registration process. In order to get a new Authorization
Code, please go to our FAQ page and read the “How can I get a new
Authorization Code?” FAQ.
I need to log in into the User Area but I forgot my User Name and Password.
What should I do?
You need to install the program and get a new Authorization Code.
Please go to our FAQ page and read the “How can I get a new
Authorization Code?” FAQ.
16 - Troubleshooting 317
AmpliTube 3
318 16 - Troubleshooting
AmpliTube 3
Chapter 17 Support
For any question you may have, please refer to the FAQ webpage at:
www.ikmultimedia.com/faq
Here you will find answers to the most common questions.
For other requests such as Product, Sales, or Web info, please go to:
www.ikmultimedia.com/ContactIKForm.php
The User Area is a special section of our website specifically designed for
our users. (figure 17.1).
figure 17.1
17 - Support 319
AmpliTube 3
If you are a member of our registered users’ database, you will be able to:
To enter the User Area for the first time, you have to Log in with the
Username and Password that you’ve received from us via e-mail after
your first IK product registration. If you have changed your Username and
Password, please use your most current information to Log in.
320 17 - Support
AmpliTube 3
Appendix IK Technologies
DSM™ Technology
DSM gives special and unique results when applied to circuit emulations
where the non-linearity is the main characteristic of the processor, such as in
distortion, fuzz, overdrive stomp boxes, tube guitar preamplifiers and power
amps, and analog compressors and limiters. The DSM working principle is
based on a new approach never applied to DSP “analog modeling” until now.
Analog circuits, especially Tube and Class-A discrete ones, are not dynami-
cally-linear, but have been modeled this way by today’s technology. An ana-
log circuit’s character is never constantly shaped but varies depending on
lots of parameters, first and foremost the strength, frequency, and harmonic
content of the incoming signal.
DSM takes the next step. It continuously adapts the “shape” of the analog
circuit instead of applying a static snapshot. By using more complex math-
ematical functions, a more articulated and musical response is possible,
making DSM ideal for modeling tube preamps and tube power amps.
VRM™ Technology
IK Technologies 321
AmpliTube 3
speakers in the studio and the realism and musicality of the recreated
speaker sound has no rival…
VRM™ has been continuously improved and allowed the addition of new
AmpliTube 3 features like the flexible 2-microphones setup, with free posi-
tioning and mixing.
Block Diagram
STOMP 0-20 ms
MODULE LEVEL DELAY
322 IK Technologies
AmpliTube®, AmpliTube® Metal™, AmpliTube® X-GEAR™, SVX™, StompIO™,
StealthPedal™, StealthPlug™, SpeedTrainer™, DSM™, VRM™, are trademarks
or registered trademarks property of IK Multimedia Production Srl. All other
product names and images, trademarks and artists names are the property
of their respective owners, which are in no way associated or affiliated with
IK Multimedia. Product names are used solely for the purpose of identifying
the specific products that were studied during IK Multimedia’s sound model
development and for describing certain types of tones produced with IK
Multimedia’s digital modeling technology. Use of these names does not imply
any cooperation or endorsement.
www.amplitube.com/amplitube