AmpliTube 4 Deluxe Gear Models PDF

AmpliTube 4 Deluxe
Gear Models Guide
Guide to the Models available in the

AmpliTube 4 Deluxe Collection
AmpliTube 4 Deluxe Gear Models
PLEASE NOTE
AmpliTube 4 is now available in different versions:
The only difference between the two versions is in the number of gear models
included.
While consulting this manual, please refer to the specific gear models included in
the AmpliTube 4 version you are using.
3
4
Table of Contents
I Contents 5
Chapter 1 Stomp Box Effects 9

1.1 Delay 9
Delay 9
EchoMan 10
TapDelay 11
1.2 Distortion 12
Crusher 12
Diode Overdrive 13
Overdrive 14
OverScream 15
The Ambassdor 16
1.3 Dynamics 17
Compressor 17
Dcomp 18
1.4 EQ 19
7 Band Graphic 19
10 Band Graphic 20
1.5 Filter 21
Envelope Filter 21
LFO Filter 22
Rezo 23
Step Filter 24
Wah 25
Wah 10 26
1.6 Fuzz 27
Fuzz Age 27
1.7 Modulation 28
Chorus 28
Chorus-1 29
Electric Flanger 30
Flanger 31
Opto Tremolo 32
Phazer 10 33
Small Phazer 34
1.8 Pitch 35
Harmonator 35
Octav 36
Pitch Shifter 37
1.9 Other 38
Volume 38
Step Slicer 39
Swell 40
Acoustic Sim 41
1.10 Model List 42
I - Contents 5
Chapter 2 Amplifiers 45
2.1 Clean 45
American Clean MKIII 45
American Tube Clean 1 47
American Tube Clean 2 48
Custom Solid State Clean 49
Jazz Amp 120 50
Metal Clean T 51
2.2 Crunch 52
American Tube Vintage 52
British Tube 30 TB 53
British Copper 30 TB 54
Tube Vintage Combo 55
2.3 Lead 56
American Lead MKIII 56
Brit 8000 58
Brit 9000 59
Brit Silver 60
Brit Valve Pre 61
British Tube Lead 1 62
British Tube Lead 2 63
Custom Modern Hi-Gain 64
Custom Solid State Fuzz 65
Custom Solid State Lead 66
Modern Tube Lead 67
Red Pig 68
2.4 Bass 69
360Bass Preamp 69
Green BA250 70
Solid State Bass Preamp 71
2.5 Model List 72
Chapter 3 Cabinets 75
3.1 Guitar 6 75
1x6 Small Combo 75
3.2 Guitar 10 76
1x10 Combo Modern 76
4x10 Closed Modern 77
4x10 Open Vintage 78
3.3 Guitar 12 79
1x12 Combo 79
1x12 MB II 80
1x12 MB III 81
1x12 Open Modern 82
2x12 Closed Vintage 84
2x12 Gry British Vint 85
2x12 JP Jazz 86
4x12 Closed Modern 1 88
6 I - Contents
4x12 Closed Modern 2 89

4x12 Closed Vintage 1 90
4x12 Closed Vintage 2 91
4x12 Brit 30 92
4x12 Brit 8000 93
4x12 Brit 9000 94
4x12 Brit Silver 95
4x12 Red Pig 96
3.4 Bass 10 97
4x10+tw Bass 97
4x10+tw TE Bass 98
3.5 Bass 12 99
1x12 Bass 99
3.6 Bass 15 100
1x15 Bass Vintage 100
3.7 Bass 18 101
1x18 Horn Bass 101
3.8 Rotary 102
Rotary 147-1 102
Rotary 147-2 103
3.9 Model List 104
4 Microphones 107
4.1 Dynamic 107
Dynamic 57 107
Double Dynamic 57 108
Dynamic 20 109
Dynamic 421 110
Dynamic 441 111
Dynamic 609 112
4.2 Condenser 113
Condenser 84 113
Condenser 87 114
Condenser 170 115
Condenser 414 116
4.3 Ribbon 117
Ribbon 121 117
Velo-8 118
4.4 Model List 119
Chapter 5 Rack Effects 121

5.1 Delay & Reverb 121
Digital Delay 121
Digital Reverb 122
Tap Delay 123
5.2 EQ & Dynamics 124
Graphic EQ 124
Tube Compressor 125
5.3 Filter 126
Rezo 126
I - Contents 7
Step Filter 127

5.4 Modulation 128
Analog Chorus 128
Digital Chorus 129
Digital Flanger 130
Rotary Speaker 131
5.5 Pitch 132
Harmonator 132
Pitch Shifter 133
5.6 Other 134
Step Slicer 134
Stereo Enhancer 135
Swell 136
8 I - Contents
Chapter 1 Stomp Box Effects
1.1 Delay
Delay
This model is based on a traditional digital delay stomp pedal.
Controls:
DELAY: changes the length of the delay between each echo, from 1
ms to 2000 ms.
FBK: changes the amount of time that the echo repeats, from 0% to
100%.
LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.
BPM SYNC: allows the effect to synchronize to the project tempo.
1 - Stomp Box Effects 9

EchoMan
A model of a classic bucket-brigade analog echo/delay (with modulation)

stomp pedal effect.
Controls:
DELAY: changes the length of the delay between each echo, from 25
ms to 500 ms.
FEEDBACK: changes the amount of time that the echo repeats, from
0% to 100%.
BLEND: mixes the amount of dry signal with the effected signal, from
0% (dry) to 100% (effected).
CH/VIB: sets the amount of Chorus/Vibrato effect added to the
effected sound, from 0% to 100%.
CHORUS VIBRATO: changes whether chorus or vibrato can be added
to the effect.
10 1 - Stomp Box Effects

TapDelay
This creative delay effect unit can be used to create interesting and unusual
delay effects thanks to the 8 totally independent taps. You can create groov-
ing rhythm patterns by combining more taps with a specific time signature,
and you can mix this up with psychedelic reverse tape effects you are able
to set for each tap.
The TapDelay is actually 8 delays in one single unit, and it is possible to set
time, timbre, and level for each of them. In addition, you can globally control
with single knobs parameters for all the 8 taps simultaneously, like time,
dry/wet mix and feedback amount.
Controls:
TIME: globally shifts the delay time of all the 8 taps. This is a relative
control, when set at the center position (1x) it does not alter the time
that has been setup on each Tap, when set to minimum (0.25x) it
divides all times by four and when set to max (4x) it multiply all times
by four. Use it to globally change the delay tempo without changing
the relations between all taps.
MIX: globally adjust the effect mix between the Dry signal and all
the 8 delay taps.
FEEDBACK: globally adjust the amount of feedback the delay will
have. When set at maximum, the delay will be sustaining itself.
TAP: use these buttons to select which one among the 8 delay taps
youre going to edit with next controls
LEVEL: sets the audio level for the selected delay tap.
TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Sync
switch position.
FILTER: sets the timbre for the selected delay tap, darker at minimum
and brighter at maximum.
REVERSE: enable this button to transform the selected delay tap from
normal to reverse. When set to reverse a delay tap will sound like a
reversed tape loop.
LINK: enable this button to make a changes to the above mentioned
parameters to apply to all the 8 taps at the same time.

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

DECIM: selects the sample-rate-ratio of the processed sound, from
1:1 to 1:16.
GAIN: sets the amount of signal sent to the effect, therefore the
distortion. Useful when creating heavily distorted sounds, from -40
dB to +40 dB.
OUT: controls the output volume, from -40 dB to +40 dB.

Diode Overdrive
A model of a classic overdrive stomp effect.
Controls:
TONE: adjusts boost or cut of the high frequencies in the stomp effect,
from 0 to 10.
DIST: sets the amount of distortion applied to the input signal of the
effect, from 0 to 10.
LEVEL: sets the level of the input for the effect, from 0 to 10.

Overdrive
This effect is based on one of the most collectible pedals. It is one of the most
aggressive overdrive pedals ever made. From subtle to over-the-top, this
effect pushes amps harder without sacrificing clarity and tone.
Controls:
LEVEL: controls the Overdrive pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
like another distortion pedal or an amplifier at high gain or volume.
DRIVE: controls the amount of overdrive the pedal gives.
TONE: controls the timbre of the overdrive pedal.

OverScream
This is a model of a classic overdrive/distortion pedal which has become

the go to overdrive pedal for some of the most influential guitar players of
all time. Its basic controls make it easy to dial in the exact sound you want.
Controls:
DRIVE: increases the amount of clipping in the distortion circuit, from

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

The Ambassdor
This pedal is a model of a beloved 80s-era distortion pedal by a company

known for making amps with amazing distortion. This model packs a whole
powerful amp into a single stomp box.
Controls:
GAIN: sets the amount of distortion generated by the pedal.

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

1.3 Dynamics
Compressor
This effect is a model of a classic high-end compressor. It is capable of mild

compression or intense signal slamming, and does it all with a tremendous
amount of finesse.
Controls:
COMP: sets the amount of compression, from 0 to 100.

LEVEL: changes the output level of the compressor, from -15 dB to
+15 dB.

Dcomp
This effect is modeled after a vintage compression stomp pedal.
Controls:
OUTPUT: sets the output level for the effect, from inf to 0.0 dB.
SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.

1.4 EQ
7 Band Graphic
This model is a clean, highly effective 1 octave graphic equalizer, capable of

fine tuning and dialing in that perfect tone. It is also very useful when you
need to push the signal for the next stompbox or amp.
Controls:
FREQUENCY BAND LEVEL: each frequency band is one octave apart

and allows for +/- 15 dB of adjustment. The controls include 100 Hz,
200 Hz, 400 Hz, 800 Hz, 1.6 kHz, 3.2 kHz, 6.4 kHz.
LEVEL: sets the output level of the graphic EQ, from -15 dB to +15 dB.

10 Band Graphic
IK Multimedia proprietary 10 Band Graphic EQ.
Controls:
BANDS: 31, 62, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Each band has +/- 15
dB of boost/cut.
GAIN: the gain slider boosts or cut the overall level by +/- 15 dB.

1.5 Filter
Envelope Filter
This stomp is an advanced filter effect. It uses the envelope of the incoming
signal to control a synthesizer style filter. It is capable of sounds ranging
from very simple auto wah effects to extreme never before heard filtering
effects.
Controls:
FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.
RESO: sets the resonance of the filter, from 0.30 to 10.
DEPTH: changes the amount of effect that the envelope has on the
filter, from 0% to 100%.
MODE: these control change the type of filter used for the effect.
12/24: sets the slope of the filter, either 12 dB per octave or 24 dB
per octave.
HP/BP/LP: sets the type of filter being used, either high pass, band
pass, or low pass.

LFO Filter
This complex stomp effect uses an LFO to modulate the frequency of its filter.
With the included BPM Sync this is a very useful effect for creating interest-
ing, moving guitar parts with a minimum amount of trouble.
Controls:
FREQ: sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.
RESO: sets the resonance of the filter, from 0.30 to 10.
RATE: adjusts the speed of the LFO, from 0.05 Hz to 5 Hz.
DEPTH: changes the amount of effect that the envelope has on the
filter from 0% to 100%.
MODE: these control change the type of filter used for the effect.
12/24: sets the slope of the filter, either 12 dB per octave or 24 dB
per octave.
HP/BP/LP: sets the type of filter being used, either high pass, band
pass, or low pass.

Rezo
A unique effect that can add synth-like drones and sustaining resonances to
your parts. Make your guitar sound like a sitar or like a synth-drone to cre-
ate sonic resonances to sing on and control the notes with your controller to
create arpeggios and steps while playing.
You have 4 resonating voices that can be tuned independently from note E0
to note B7, in half tone steps. For example, if you want to create a resonating
C Major chord, just set the first three voices to C3, E3 and G3.
By moving the All slider you can shift the recently created Chord without
changing the intervals between the voices.
You can set the desired voice note by note number or by frequency in Hz.
Controls:
1-4 SLIDERS: sets the pitch for each resonating voice.

1-4 VALUE DISPLAY: displays which note each voice is tuned on.
NOTE/FREQUENCY SWITCH: turn On this switch to have the tuning of
each voice displayed as a note. Turn this Off to have the tuning of each
voice to be displayed as frequency in Hz.
ALL: shifts all resonating notes by the same amount keeping relative
intervals between voices identical.
RES: sets the amount of resonance for each voice, from min to max.
When set to max the note will sustain by itself, when set to min the
voice will not be resonating
SCALE: the Rezo is setup by default to span over a chromatic scale
when you set the resonating voices, meaning that all half tones are
possible. If you want to set another scale and want to remove notes
from the chromatic scale just open this menu and leave on only the
notes you need.
FILTER: determines the brightness of the resonating voices, from dark
(lower positions) to bright (upper positions).
MIX: sets the amount of resonating notes you want to hear. When the
control is at min youll only hear the original sound, when fully up
youll only hear the effected sound.
OUT: the resonating notes can become very loud. Use this control to
adjust the overall output level of the Rezonator.

Step Filter
A powerful and deep beat synchronized filter effect. You can apply Low/High
and Band pass analog modeled filtering on freely customizable patterns to
add groove and rhythmic pulsing to your parts. If you want, this effect could
make your guitars and bass parts to sound like a rhythmic synth.
Controls:
CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff
frequency the filter will have when the steps are set to half position.
STEP BAR: click on the Steps to set each step level. You can also draw
a curve while holding the mouse while dragging over multiple steps.
RES: sets the center resonance of the filter. This is the resonance
amount the filter will have when the steps are set to half position.
DEPTH: sets how deep the filter is modulated by the steps.
HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:
band pass, LP: low pass.
12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/
oct will be steeper.
DEST: sets what is modulated by the steps between filter Cutoff and/
or filter Resonance. At full minimum position only Cutoff frequency is
modulated, at max position only Resonance is modulated.
DIVISION: sets what time interval each step represents.
STEPS: sets the number of steps the cycle will consist of.
MODE: when set to Free the cycle will be continuous and will always
cover all the steps that are specified in the Steps parameter. When set
to Strike the cycle will re-start each time a chord or a note is played.
SWING: increase this control to give to the steps a swing type quan-
tization.

Wah
This effect is modeled after the classic wah pedal used by many of the top
players from the 60s and 70s. In addition to the wah effect it also features
an auto function, allowing it to be used easily without an external controller.
Controls:
OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto.
WAHWAH: this directly controls the Wah effect, from 0% to 100%.

Wah 10
This is a faithful rendition of a very sought-after wah pedal. Based on a

multiple feedback opamp circuit, the pedal modeled here is a very expres-
sive and unique wah pedal.
Controls:
WAH: sets the position of the wah pedal. It gives a darker sound
when moved lower (heel position) and a brighter sound when moved
higher (toe position).
DEPTH: determines how strong the wah effect is. When is set at
minimum the wah effect is barely noticeable, but when is set to max
the effect is very strong.
GUITAR/BASS SWITCH: modify the response of the wah to make it
more suitable to guitar or bass.

1.6 Fuzz
Fuzz Age
This effect is modeled after a classic germanium transistor fuzz stomp effect.
Typically used on lead guitar, this effect has remained a popular distortion
effect throughout the years.
Controls:
VOL: sets the output volume of the stomp effect, from inf. to 0.0 dB.
FUZZ: sets the fuzz level of the effect, from 0 to 10.

1.7 Modulation
Chorus
This chorus is modeled after a classic Digital Chorus stomp box.
Controls:
RATE: sets the rate of the chorus effect, from 0 to 10.

DEPTH: sets the intensity of the chorus effect, from 0 to 10.
LEVEL: sets the input level of the stomp effect, ranges from 0 to 10.

Chorus-1
A model of a classic bucket-brigade analog Chorus/Vibrato unit. It provides

both analog Chorus and analog Vibrato effects, when in Chorus mode the
modulation will be lush and slow, when in Vibrato effect the modulation will
be faster and more noticeable.
Controls:
LEVEL: sets the input level. Range is from 15 dB to +15 dB.

CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to
10.
VIBRATO DEPTH: sets the intensity of the Vibrato effect, from 0 to 10.
VIBRATO RATE: sets the rate of the Vibrato effect, from 0 to 10.
VIBRATO/CHORUS SWITCH: enables Vibrato or Chorus modes, when
Vibrato mode is enabled the corresponding LED will illuminate.

Electric Flanger
This stomp box is a model of a vintage flanger/filter matrix used by many

well-known guitarists to achieve classic sounds. While it has amazing
warmth, it is also capable of very versatile chorus and steady comb filtering/
matrix that can imprint a very specific sonic signature to the sound.
Controls:
RATE: controls the speed of the effect, from slow to fast.

RANGE: sets the deepness of the effect, from subtle to very strong
COLOR: sets the amount of feedback in the flanger circuit, delivering
a more intense effect when set at max.
MANUAL: this is normally set to the lower position, when set at the
upper position it stops the LFO. This means that you can use the effect
to have static resonance and filter matrix effects. Adjust the timbre of
the resonance and filters by setting the Range knob, and adjust the
intensity of the resonances by setting the Color knob.
ON/OFF: enables or disables the effect. When the effect is on the red
LED is light.
BPM SYNC: makes the rate of the phasing effect to be synchronized
with the BPM of the project. When enabled, the Rate knob becomes
a selector that allows you to choose between various musical figures.

Flanger
This stomp box is a model of a classic Flanger effect.
Controls:
RATE: sets the rate of the Flanger effect, from 0 to 10.

DEPTH: sets the intensity of the Flanger, from 0 to 10.
FBK: sets a delay for the Flanger to take effect, from 0 to 10.
LEVEL: sets the input level of the stomp box, ranges from 0 to 10.

Opto Tremolo
This model is based on a vintage Opto-Tremolo effect.
Controls:
RATE: sets the rate of the Flanger effect, from 0 to 10.


Phazer 10
A model of a classic analog multimode Phaser stomp box.
Controls:
INTENSITY: selects one of the four different Phaser modes. From left
to right the perceived effect intensity will increase.
SPEED: sets the speed of the modulation, from 0 to 10.

Small Phazer
This effect is a model of a classic analog phase shifter, capable of a range of

phaser effects from gentle to outlandish swirling effects. You may wonder
why it is called small when you hear it.
Controls
RATE: controls the speed of the effect, from slow to fast.

COLOR: set it to the lower position for a more gentle phasing effect,
or set it at the upper position for a more pronounced and deep phas-
ing effect.
BPM SYNC: makes the rate of the phasing effect to be synchronized
with the BPM of the project. When enabled the rate knob becomes a
selector that allows to choose between various musical figures.

1.8 Pitch
Harmonator
This effect is a 3 voice digital harmonizer effect. More than just a pitch
shifter, this pedal will create 3 separate harmony voices with independent
interval values based on a musical scale. Simply select the scale to use,
select the voice and the desired pitch and play. The harmonized notes will
be according to the selected scale.
Controls:
MIX: blends the harmonized voice with the original voice, from 0 to
100.
KEY-SCALE: controls the key and type of scale that will be used by the
harmonizer as a reference. If youre 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.
INTERVAL: changes the interval of the selected voice, from octave
down to octave up.

Octav
This stomp effect is modeled after a classic dual voice octave pedal. It will
produce two additional sounds, one and two octaves below the direct signal.
Controls:
OCT 2: sets the output level of the second octave effect, from inf to
0.00 dB.
OCT 1: sets the output level of the first octave effect, from inf to
0.00 dB.
DIRECT LEVEL: sets the output level of the direct signal, from inf to
0.00 dB.

Pitch Shifter
This effect shifts the pitch of the incoming signal. This new pitch shifted
signal is blended with the original sound to create harmony guitar leads or
other types of dual pitch effects.
Controls:
COARSE: sets the coarse tuning of the pitch shifter. Measured in

intervals, from -24 to 24.
FINE: sets the fine tuning of the pitch shifter. Measured in cents, from
-50 to 50.
LEVEL: sets the output level of the pitch shifted sound, from 0 to 10.

1.9 Other
Volume
This model is a traditional volume pedal.
Controls:
MIN: sets the minimum volume level for the pedal, from 0 to 10.
VOLUME: adjusts the volume of the signal passing through it, from
0% to 100%.

Step Slicer
Add programmed rhythmic parts to your power chords and phrases with
this powerful and creative beat synced slicing effect. It can be setup to cre-
ate anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat.
Controls:
LEVEL: sets the amount of level modulation the steps will give. At
min position the steps will not have effect, at maximum the range
will be full.
RAMP: sets the steepness of the level change between steps. Set it at
lower positions to get a more gate-like effect or set it to higher posi-
tions to get a smoother effect.
DIVISION: sets what time interval each step represent.
MODE: When set to Free the cycle will be continuous and will always
tization.

Swell
This is an auto volume swell processor that can automatically create fan-
tastic swell effects while playing without any manual intervention. Use it
subtly to add groove to your rhythm parts or use it with deeper settings to
create dreaming pads or string-like sounds.
Controls:
DEPTH: sets the depth of the volume swell, in dB. By default the depth
is at max position, meaning that the volume will start from silence. By
lowering this control youll make the effect to start the swell phase
from a level which is higher than silence, up to min position that
makes the effect to have no action.
SENS: this control sets the sensitivity for the Swell to recognize a
new note or chord and therefore start a new Swell cycle. Set it higher
if you want the Swell cycle to start even at the beginning of softer
passages, or set it lower if you want the Swell cycle to only start for
louder strikes.
TIME: sets the length of the Swell cycle. During the Swell cycle (time
the swell takes to open the power LED becomes red (it is normally
green). This helps to immediately recognize when the swell is trig-
gered.
BPM SYNC: allows the effect to synchronize to the project tempo mak-
ing the swell time to be specified in musical figures.

Acoustic Sim
Turn your electric guitar into an acoustic guitar with the Acoustic Sim! Mix
three guitar body styles with three types of top end to dial in your acoustic
sound. Equalize the result with a 2-band post EQ.
Controls:
SOURCE: select the type of pickup you are using: single coil or hum-
bucker.
BODY: choose between three types of acoustic guitar bodies: 1: dread-
nought body. 2: 12-string guitar body. 3: Classical guitar body.
TOP: choose between three types of top end response. Although types
A, B, C have originally been designed to match their respective 1, 2, 3,
bodies, you can experiment with any cross combination.
MIX: mixes the acoustic sound with the magnetic pickup sound.
When Mix is set to 0, you get a filtered version of your dry signal,
without any body and top end applied. When Mix is set to 10, you
get the acoustic sound only. Turn Mix from 10 downwards to progres-
sively add the mid frequencies of the magnetic pickup.
BASS: increases/decreases overall bass frequencies.
TREBLE: increases/decreases overall treble frequencies.
IMPORTANT: In order to obtain a satisfying acoustic sound, you should

bypass the amp and cabinet sections by pressing the power icon on these
two sections.

1.10 Model List
Stomp Models Based on*

Delay
Delay IK Multimedia
EchoMan Electro Harmonix Memory Man
TapDelay IK Multimedia
Distortion
Crusher IK Multimedia
Diode Overdrive IK Multimedia
Overdrive Boss SD-1 Distortion
OverScream Ibanez Tube Screamer TS-9
The Ambassdor Marshall Guv'Nor
Dynamics
Compressor IK Multimedia
Dcomp MXR Dynacomp
EQ
7 Band Graphic IK Multimedia
10 Band Graphic IK Multimedia
Filter
Envelope Filter IK Multimedia
LFO Filter IK Multimedia
Rezo IK Multimedia
Step Filter IK Multimedia
Wah IK Multimedia
Wah 10 Ibanez WH-10
Fuzz
Fuzz Age Arbiter Fuzz Face
Modulation
Chorus IK Multimedia
Chorus-1 Boss CE-1 Chorus
Electric Flanger Electro-Harmonix Electric Mistress
Flanger IK Multimedia
Opto Tremolo Fender Super Reverb Amp Opto-Tremolo
Phazer10 MXR Phase 100
Small Phazer Electro-Harmonix Small Stone
Pitch
Harmonator IK Multimedia

Octav Boss OC-2 Octaver

Pitch Shifter IK Multimedia
Wharmonator Digitech Wahmmy WH-1
Other
Volume IK Multimedia
Step Slicer IK Multimedia
Swell IK Multimedia
Acoustic Sim IK Multimedia
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedias sound model develop-
ment and for describing certain types of tones produced with IK Multimedias digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
ARBITER FUZZ FACE is a registered trademark of Arbiter Group Plc.

BOSS, SD-1, CE-1, OC-2 are trademarks or registered trademarks of Roland Corporation.
ELECTRO-HARMONIX, Memory Man, Electric Mistress, Small Stone are trademarks or
registered trademarks of New Sensor Corporation.
FUZZRITE is a registered trademark of Andy J. Moseley.
IBANEZ, Tube Screamer TS-9, WH-10 are trademarks or registered trademarks of Hoshino
Gakki Co. Ltd. Corporation.
MARSHALL, GuvNor are trademarks or registered trademarks of Marshall Amplification Plc.
MXR, Dynacomp, Phase 100 are trademarks or registered trademarks of Applied Research
and Technology, Inc.


Chapter 2 Amplifiers
2.1 Clean
American Clean MKIII
This is a model of the clean channel from a popular and sought after
American amplifier. The signature tone can be heard on many albums and
many stages around the world. Experience a sparkling clean with the capa-
bility for a touch of crunch when cranked up.
This beautiful amp is crystal clear but can also deliver edgy sounds by push-
ing the Master volume, and can deliver a nice preamp crunch tone when
Rhythm 2 is engaged.
This amp is extremely versatile you can really get many types of clean or
edgy tones from its incredibly flexible preamplifier. By selecting two differ-
ent preamp shapes (Rhythm 2), and by adapting the tone with the Shift and
Deep switches, you can really shape your clean/edgy sound in almost all
possible ways. Add the final 5 band graphic EQ and the tonal possibilities
are really wide. But be careful, this is not a set and forget amp. Being it
extremely versatile it can of course be set to a tone that could be totally far
from what is needed on that part. It needs a degree of experimentation and
experience before you can really master it!
Controls:
VOLUME: sets the volume of the clean preamp. Push it closer to 10 for
an edgy sound that starts to crunch.
BRIGHT: boosts brilliance of the preamp, especially when the Volume
control is kept low.
TREBLE: sets the amount of high frequencies on the sound.
2 - Amplifiers 45
SHIFT: modifies the frequencies where the Bass control works.

BASS: sets the amount of low frequencies on the sound.
MIDDLE: sets the amount of mid frequencies on the sound.
MASTER: determines the level that is sent to the power amp. Turning
this knob up, makes the power amp to saturate and produce great
crunch sounds.
RHYTHM 2: when enabled the preamp has more gain, and it is there-
fore possible to obtain extremely musical and sweet crunch sounds.
DEEP: when enabled the bass response of the amplifier is extended.
EQ: enables the graphic EQ.
EQ BANDS: these sliders can control the equalization of the amp on
5 distinct frequencies areas. Youll find it extremely musical and a
powerful sound sculpting tool.
PRESENCE: when turned up the amp becomes more present and
brighter.
REVERB: controls the amount of reverb coming from the internal
spring unit.
46 2 - Amplifiers
American Tube Clean 1
This amp is modeled after a classic American guitar amp. This amp is great
for clean to dirty sounds, making ideal for clean and crunchy rhythm, rock,
country, blues, and anything else requiring a clean amp capable of getting a
little dirty when the music calls for it.
Controls:
EQ MODEL:
BASS: boosts and cuts the bass frequencies of the amps EQ stage,
from 1 to 10.
MIDDLE: boosts and cuts the mid frequencies of the amps EQ stage,
from 1 to 10.
TREBLE: boosts and cuts the high frequencies of the amps EQ stage,
from 1 to 10.
PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
SPRING REVERB: sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
2 - Amplifiers 47
American Tube Clean 2
This model features yet another classic American amplifier. Unlike the
American Tube Clean 1, this model is a smaller combo amp. This amp deliv-
ers a clean yet warm tone.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
48 2 - Amplifiers
Custom Solid State Clean
This amp model is clean. It provides a very uncolored signal, perfect for
jazz. It could be compared to amps like the Jazz Amp 120, ideal for sparkling
clean tones.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers 49
Jazz Amp 120
It may have Jazz in its name, but this versatile clean sound can be heard in
many genres. Many of the top metal players keep this not-so-secret weapon
in the studio for great clean sounds. Its sonic feature is the fantastic built-in
analog chorus and vibrato unit that really made this amp a classic.
Important: this amp contains a built-in stereo Chorus/Vibrato unit. To actu-

ally be able to hear this in stereo you will need to use two microphones in
front of its Cabinet and pan the wide L R. For more information about how
to set this, see Chapter 9.5.7.
Controls:

VOLUME: sets the overall amp volume. The amp remains clean up to
volume 3 or 4 and starts distorting for higher positions.
DISTORTION: turning this knob up from the minimum position by a
little bit turns On the distortion circuit. From there, continuing rising
the control brings more and more distortion.
REVERB: controls the amount of reverb.
MIDDLE: sets the amount of mid frequencies on the sound.
VIB/OFF/CHORUS: this is a three position switch;
When set to Off, the sound will not be affected by chorus or vibrato.
When set to Vib, vibrato will be turned On.
When set to Chorus, chorus will be turned On.
SPEED: sets the speed of the Vibrato effect. Note that Chorus has no
settings.
DEPTH: sets the intensity of the Vibrato effect. Note that Chorus has
no settings.
50 2 - Amplifiers
Metal Clean T
This extremely high-quality amplifier delivers a very detailed and clean

response on the clean channel, incredibly well defined is the perfect starting
point for any kind of sound. Use this channel to get your hyper-driven sounds
from stomps only, as well as for creating clean or edgy sounds.
Controls:
PRE MODEL:
GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
SPRING REVERB: Sets the level of spring reverb added to the guitar
AMP MODEL:
10.
2 - Amplifiers 51
2.2 Crunch
American Tube Vintage
This classic American amplifier was at first designed to be a bass amp, but
later became one of the most popular American guitar amps ever made.
Great for clean tones, it is also versatile in a variety of music genres and
playing styles.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
52 2 - Amplifiers
British Tube 30 TB
This is a model of a legendary British amplifier which is one of the most

widely recognizable and popular amps of all time. Throughout its life, its
legendary tone helped to put many of rocks founding fathers (including 4
guys from Liverpool) on the map and has been a highly sought after sound
that is still heard on many albums today.
Controls:
EQ MODEL:
from 1 to 10.
from 1 to 10.
CUT: as on the original, cuts the high frequencies of the amps EQ
stage when turned down.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
2 - Amplifiers 53
British Copper 30 TB
Take yourself back to the 60s with this quintessential amp. Not just any
version, but an accurate model of the well-known and loved version of an
already spectacular amplifier. If you want some British sound, you can find
it here.
The original copper panel model was non-top boost, and you can find it
exactly replicated here when the switch Top Boost is Off. Turn it On to add
the top boost circuit in a second and be then able to adjust your sound with
Bass and Treble pots.
Controls:
NORMAL: sets the volume level for the Normal channel. Normal chan-
nel has a mellower response when compared to the Brilliant channel.
BRILLIANT: sets the volume level for the Brilliant channel.
VIB -TREM: sets the volume level for the Vibrato and Tremolo chan-
nel.
TOP BOOST: adds the Top Boost circuit in the Brilliant channel signal
path. Normal and Vib-Trem channels are not affected by this.
BASS: adjusts the level of low frequencies in the sound. Active only
on Brilliant channel and only when Top Boost is On.
TREBLE: adjust the level of high frequencies in the sound. Active only
on Brilliant channel and only when Top Boost is On.
TONE: sets the overall brightness of the amp. It is always active, on
all channels. When set to Min the amp is bright, when set to Max the
amp is mellower.
SPEED: sets the speed of the Tremolo or Vibrato effect.
SWITCH: determines if the Vib-Trem channel will produce a Vibrato
or a Tremolo effect.
54 2 - Amplifiers
Tube Vintage Combo
This is a model of a small vintage amplifier that was basic in design but big
in tone. This model is simple but sweet.
Controls:
EQ MODEL:
PRESENCE: cuts the high frequencies of the amps EQ stages when
turned down.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1
to 10.
2 - Amplifiers 55
2.3 Lead
American Lead MKIII
This is the lead channel of a renowned three-channel American amplifier,

known for excelling at both clean and lead sounds. This channel can be
big and aggressive when you want some California crunch and you can get
smooth, tasty sustained lead sounds too.
This amp is extremely versatile, you can really get almost any type of sound
from its incredibly flexible preamplifier. By calibrating the various gain
stages (Volume -> Lead Drive -> Master), by selecting two different preamp
shapes (Rhythm 2), and by adapting the tone with the SHIFT switches, you
can really shape your driven sound in almost all possible ways. Add the
final 5 band graphic EQ and the tonal possibilities are really endless. But be
careful, this is not a set and forget amp. Being it extremely versatile it can
of course be set to a tone that could be totally far from what is needed on
that part. It needs a degree of experimentation and experience before you
can really master it!
Controls:
LEAD DRIVE: sets the amount of gain of the lead stage. Increase this
to have more sustaining distortion and decrease it to get a more edgy
and crunchy type of distortion.
VOLUME: sets the gain of the initial stage. This is the gain that comes
before all others in the amp signal path.
MASTER: sets the power amp level. This is the latest level in the amp
signal path. Setting high gains in the preamp (Volume and Lead
Drive) and also setting Master to a very high level can result in an
overly pushed sound that could be difficult to obtain a good sound.
Keep this at high levels only if Volume and Lead drive are not so high.
56 2 - Amplifiers

MIDDLE: sets the amount of mid frequencies on the sound
SHIFT (BASS): modifies the frequencies where the Bass control
works.
SHIFT (TREBLE): modifies the frequencies where the Treble control
works.
RHYTHM 2: when enabled the preamp has even more gain, and
slightly changes its tonal character.
DEEP: when enabled the bass response of the amplifier is extended.
EQ: enables the graphic EQ.
PRESENCE: when turned up the amp becomes more present and
brighter.
REVERB: controls the amount of reverb coming from the internal
spring unit.
2 - Amplifiers 57
Brit 8000
The new Brit 8000 is based upon the early 80s JCM800, the amp that
although most think of the Plexis as the defining tone of a pushed Marshall,
in reality its the JCM800 that people are hearing. The JCM800 was the first
departure from the Plexi format designed for players who desired a hotter
front end and more control over the overall output volume. The result? More
preamp overdrive and crunch at controllable volumes.
Controls:
SENSITIVITY: switches between High or Low input gain

PRESENCE: boosts high frequencies from 0 to 10.
BASS: boosts and cuts the bass frequencies of the amps EQ stage
from 0 to 10.
MIDDLE: boosts and cuts the mid frequencies of the amps EQ stage
from 0 to 10.
TREBLE: boosts and cuts the high frequencies of the amps EQ stage
from 0 to 10.
MASTER VOLUME: adjusts the final output level of the power amp
stage from 0 to 10.
PRE AMP VOLUME: adjusts the input gain of the preamp stage from
0 to 10.
58 2 - Amplifiers
Brit 9000
The new Brit 9000 is based upon the early 90s introduction of the evolu-
tion of the JCM800, the JCM900. This dual channel, dual reverb head was
designed for versatility with channel 1 voiced from clean to low level lead
gain when cranked, and channel 2 voiced with enough gain to provide fear-
some lead tones at low gain to screaming solo tones at high gain.
Controls:

from 0 to 10.
from 0 to 10.
from 0 to 10.
MASTER VOLUME: adjusts the final output level of the power amp
stage from 0 to 10.
GAIN SENSITIVITY: boosts the input gain of the main preamp stage
from 0 to 10.
PRE AMP VOLUME: adjusts the input gain of the main preamp stage
from 0 to 10.
POWER LEVEL: switches between High and Low power level.
2 - Amplifiers 59
Brit Silver
Based on the 1987 Marshall Silver Jubilee commemorating the 25th anniver-
sary of the Marshall company, the Brit Silver features the 3-gain mode of the
preamp circuit clean, Rhythm Clip and Lead. The Silver Jubilee was also the
first Marshall to feature an output power section that could be switched from
full to 1/2 power, thus providing that JCM800 tone at reasonable volumes.
The Brit Silver faithfully recreates the original Silver Jubilee down to every
minute detail for hyper-real authentic Marshall tone.
Controls:

from 0 to 10.
from 0 to 10.
from 0 to 10.
OUTPUT MASTER: adjusts the final output level of the power amp
stage from 0 to 10.
PULL CHANNEL: switches between Clean channel and Lead channel
LEAD MASTER: adjusts the final output level of the lead channel from
0 to 10.
INPUT GAIN: adjusts the input gain of the main preamp stage from
0 to 10.
PULL RHYTHM CLIP: adds more gain to the preamp stage.
60 2 - Amplifiers
Brit Valve Pre
Rounding out the new Brit series of amps is a preamp model based on the
Marshall JMP-1 valve preamp. The JMP-1 was Marshalls first foray into the
world of MIDI control with Marshall tone. It allows players to sculpt the
tones they want, then save those tone presets for recall by MIDI control at
any time. Its one of the most simple preamps, very straight forward. It has
the staple Marshall controls like Volume, Gain, Bass, Middle, Treble and
Presence. It features a bass shift, 2 overdrive channels, and 2 clean channels.
For its ease of use and its ready to go sound character, it quickly became
one of the most iconic Guitar preamps of the era. Almost 90% of the pro
players at the time had a JMP-1 in their rack of toys.
Controls:
DATA DISPLAY: Shows the value of the selected parameter

DATA knob: decreases, increases the value of the selected parameter.
GAIN: selects the input gain parameter.
BASS: selects the Bass parameter.
MIDDLE: selects the Middle parameter.
TREBLE: selects the Treble parameter.
PRESENCE: selects the Presence parameter.
OD1: engages the overdrive 1 channel.
OD2: engages the overdrive 2 channel.
BASS SHIFT: enhances the Bass frequencies.
CLEAN 1: engages the Clean 1 channel.
CLEAN 2: engages the Clean 2 channel.
OUTPUT LEVEL: adjusts the final output level of the unit from 0 to 10.
2 - Amplifiers 61
British Tube Lead 1
Made popular by the hard rockers of the 80s this British guitar amp has
remained a prized tone for many of todays guitar players. Able to crank out
great tube saturated tone with ease this model is a go to amp for a variety
of heavy rock guitar sounds.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
62 2 - Amplifiers
British Tube Lead 2
The younger sibling to the British Tube Lead 1, this model is capable of
great rock tone, leads, and heavy crunch. While grittier and a little more
aggressive, it still has the classic tone that has made this family of amps a
household name in rock guitar.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers 63
Custom Modern Hi-Gain
Based on the classic AmpliTube model, this amp features lots of gain for
that over the edge distortion sound. Similar to modern tube lead sound in
character, Modern Hi-Gain provides an additional take on that type of sound.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
64 2 - Amplifiers
Custom Solid State Fuzz
Based on AmpliTube 1s fuzz amp, this model is a very distinct and distorted
sound, reminiscent of 60s fuzz sounds (figure 8.29).
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers 65
Custom Solid State Lead
This model features a precise solid state lead sound. It has a darker tone and
excels at high gain lead tones. It is very suitable for hard rock leads and its
gain is very stable, making it easy to use at low volume levels.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
66 2 - Amplifiers
Modern Tube Lead
This amp is a model of one of the leaders in hard, driven rock tones made
today. Capable of searing leads and heavy crunch, this amp has been recti-
fied to create a modern rock tone that is hard to beat.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers 67
Red Pig
This gem from the 60s is based on the Marshall Major 200 Pig (as it was
nicknamed) made famous by players like Ritchie Blackmore, Jimmy Page, Joe
Perry and at times Stevie Ray Vaughan. It was originally produced for play-
ers who needed more stage volume and sported a full 200 watts powered
by KT88 power tubes. Nicknamed the Pig because it was a full 3 deeper
than Marshalls of the day to accommodate the larger transformers, it quickly
became the favorite of larger venue players.
Controls:

from 0 to 10.
from 0 to 10.
from 0 to 10.
VOLUME 1: adjusts the input gain of the bright channel 1 from 0
to 10.
VOLUME 1: adjusts the input gain of the normal channel 2 from 0
to 10.
1-2 SWITCH: switches between channel 1 and channel 2.
BRIDGE: enables channel bridging. Use the Bridge option to add
more drive.
68 2 - Amplifiers
2.4 Bass
360Bass Preamp
This amp toured and recorded for years with one of the biggest and bold
rock bands ever. Classic rock tones are a natural with this amp, but it is also
known for being used by one of the most famous jazz bassists of all time.
Show no quarter and make your bass kill with this amp-solid state but loud
and proud.
When paired with its Matching cabined (1x18 Horn Bass) it can sound
really dark when compared to todays bass amps, but thats the magic of it!
Controls:

VOLUME: sets the overall volume of the amp. Set it low for pure and
clean tones and push it for driven sounds.
TREBLE: sets the amount of mid and high frequencies on the sound.
RANGE: forms a semi-parametric midrange equalizer together with
Effect. Use the Range control to select the center frequency of the mid
frequency equalization process among 5 positions.
EFFECT: forms a semi-parametric midrange equalizer together with
Range. Use Effect boost or cut the midrange frequencies selected
with the Range control.
FUZZ: turns On the built-in Fuzz effect.
GAIN: sets the output volume of the Fuzz effect.
ATTACK: sets the type of Fuzz effect that is applied. When set to Min
the sound is similar to a smooth overdrive, when moved toward max
the sound gets more aggressive and fuzzy.
2 - Amplifiers 69
Green BA250
This is a model of a solid state powerhouse bass amplifier with great tone-
shaping controls, a warm sound unlike most solid state amps, and a sought-
after preamp.
Despite being solid state this amp delivers an incredibly warm and tasteful
tone. With its signature Middle cut pre shaping feature will immediately
bring you back to 80s bass lines!
Controls
GRAPHIC EQUALIZATION: turns On the graphic EQ when enabled.

MIDDLE CUT PRE-SHAPING: engages a mid frequency shaping thats
very characteristic of this amp. When it is Off, the preamp is almost
flat and natural sounding.
GAIN: sets the preamp input gain. Follow what the fancy input level
LED meter tells and you cant go wrong! Unless you want overdrive
it!
GRAPHIC EQUALIZATION: 11 sliders to create your tone. Only a few
graphic EQ have the musical quality of this powerful sculpting tool.
BALANCE: it balances the levels when you engage or disable the
Graphic EQ.
LEVEL: overall amp volume. It sets the level that is sent to the power
amp stage.
70 2 - Amplifiers
Solid State Bass Preamp
This model features a solid state bass preamp, EQ, and a solid state power
amp module. It cleans up beautifully and drives just as hard.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2 - Amplifiers 71
2.5 Model List
Amplifier Models Based on*

Clean
American Clean MKIII Mesa/Boogie Mark III Combo (Clean Channel)
American Tube Clean 1 Fender Super Reverb
American Tube Clean 2 Fender DeLuxe Reverb 65
Custom Solid State Clean IK Multimedia
Jazz Amp 120 Roland JC-120
Metal Clean T Mesa/Boogie Triple Rectifier (Clean Channel)
Crunch
American Tube Vintage Fender Bassman
British Tube 30 TB Vox AC30 Top Boost - Blue Panel
British Copper 30 TB Vox AC30 - Copper Panel
Tube Vintage Combo Supro Late '50s combo
Lead
American Lead MKIII Mesa/Boogie Mark III Combo (Lead Channel)
Brit 8000 Marshall JCM800 head
Brit 9000 Marshall JCM900 head
Brit Silver Marshall Jubilee head
Brit Valve Pre Marshall JMP-1 tube preamp
British Tube Lead 1 Marshall JCM800 head
British Tube Lead 2 Marshall JCM900 head
Custom Modern Hi-Gain IK Multimedia
Custom Solid State Fuzz IK Multimedia
Custom Solid State Lead IK Multimedia
Modern Tube Lead Mesa-Boogie Dual Rectifier
Red Pig Marshall Major head
Bass
360Bass Preamp Acoustic 360 Bass Preamp
Green BA250 Trace Elliot AH250 Head
Solid State Bass Preamp IK Multimedia
ACOUSTIC, 360 are trademarks of Guitar Center, Inc.

FENDER, DELUXE REVERB, SUPER REVERB, TWIN are registered trademarks of Fender
Musical Instruments Corporation.
72 2 - Amplifiers
MARSHALL, JCM800, JCM900, Major, GuvNor are trademarks or registered trademarks

of Marshall Amplification Plc.
MESA/BOOGIE, Rectifier, Mark III, are trademarks of Mesa/Boogie Ltd.
SUPRO is a trademark of Zinky Electronics.
TRACE ELLIOT AH250 is a registered trademark of Peavey Electronics Corporation.
VOX, AC30 are trademarks or registered trademarks of VOX Amplification Ltd.
2 - Amplifiers 73
74 2 - Amplifiers
Chapter 3 Cabinets
3.1 Guitar 6
1x6 Small Combo
3 - Cabinets 75
3.2 Guitar 10
1x10 Combo Modern
76 3 - Cabinets
4x10 Closed Modern
3 - Cabinets 77
4x10 Open Vintage
78 3 - Cabinets
3.3 Guitar 12
1x12 Combo
3 - Cabinets 79
1x12 MB II
80 3 - Cabinets
1x12 MB III
3 - Cabinets 81
1x12 Open Modern
82 3 - Cabinets
1x12 Open Vintage
figure 9.17
3 - Cabinets 83
2x12 Closed Vintage
84 3 - Cabinets
2x12 Gry British Vint
3 - Cabinets 85
2x12 JP Jazz
figure 9.20
86 3 - Cabinets
2x12 Open Vintage
3 - Cabinets 87
88 3 - Cabinets
3 - Cabinets 89
90 3 - Cabinets
3 - Cabinets 91
4x12 Brit 30
92 3 - Cabinets
4x12 Brit 8000
3 - Cabinets 93
4x12 Brit 9000
94 3 - Cabinets
4x12 Brit Silver
3 - Cabinets 95
4x12 Red Pig
96 3 - Cabinets
3.4 Bass 10
4x10+tw Bass
3 - Cabinets 97
4x10+tw TE Bass
98 3 - Cabinets
3.5 Bass 12
1x12 Bass
3 - Cabinets 99
3.6 Bass 15
1x15 Bass Vintage
100 3 - Cabinets
3.7 Bass 18
1x18 Horn Bass
3 - Cabinets 101
3.8 Rotary
Rotary 147-1
102 3 - Cabinets
Rotary 147-2
3 - Cabinets 103
3.9 Model List
Cabinet Model Based on*

Guitar 6
1x6 Small Combo Fender SS Combo
Guitar 10
1x10 Combo Modern Mesa/Boogie 1x10" Subway Rocket
4x10 Closed Modern Marshall 4x10 '90s JCM410
4x10 Open Vintage Fender Super Reverb 1967
Guitar 12
1x12 Combo Marshall 1x12 Valvestate 12
1x12 MB II Mesa/Boogie Mark II 1x12" EV
1x12 MB III Mesa/Boogie Mark III 1x12" EV
1x12 Open Modern VHT Pitbull 1x12 Combo
1x12 Open Vintage Fender DeLuxe 65
2x12 Closed Vintage Marshall 1922 2x12 Greenbacks
2x12 Gry British Vint Vox AC30 2x12" '60s Graybacks
2x12 JP Jazz Roland JC-120 2x12"
2x12 Open Vintage Vox AC30 '60s Bluebacks
4x12 Closed Modern 1 Marshall 4x12 '80s 1982A
4x12 Closed Modern 2 Mesa/Boogie 4x12 Rectifier
4x12 Closed Vintage 1 Marshall 4x12 Angled, '70s Greenbacks
4x12 Closed Vintage 2 Marshall 4x12 Straight, Greenbacks
4x12 Brit 30 Marshall 1960A Lead Vintage 4x12 Slanted, V30
4x12 Brit 8000 Marshall 1960 Lead Vintage 4x12 Slanted, G12-80
4x12 Brit 9000 Marshall 1960A Lead Vintage 4x12 Slanted, T75
4x12 Brit Silver Marshall 2551A 4x12 Slanted, T75
4x12 Red Pig Marshall Major 4x12 Slanted, T75
Bass 10
4x10+tw Bass SWR Goliath 4x10
4x10+tw TE Bass Trace Elliot 4x10"
Bass 12
1x12 Bass Custom Bass 1x12
Bass 15
1x15 Bass Vintage Ampeg B15R 15
Bass 18
1x18 Horn Bass Acoustic 301 Folded Horn 18
104 3 - Cabinets
Rotary
Rotary 147-1 Leslie 147 original AlNiCo woofer
Rotary 147-2 Leslie 147 modern replacement woofer
ACOUSTIC, 301 are trademarks of Guitar Center, Inc.

AMPEG, B15R are trademarks of LOUD Technologies, Inc.
FENDER, BASSMAN, SUPER REVERB, DUAL SHOWMAN, are registered trademarks of
Fender Musical Instruments Corporation.
GALLIEN-KRUEGER MB150 is a registered trademark of Gallien-Krueger Corporation.
JBL is a registered trademark of JBL Professional.
LESLIE 147 is a registered trademark of Hammond Suzuki USA, Inc.
MARSHALL, JCM800, JCM410 are trademarks or registered trademarks of Marshall
Amplification Plc.
MESA/BOOGIE, Rectifier, Subway Rocket, Mark II, Mark III, are trademarks of Mesa/
Boogie Ltd.
ROLAND, JC-120 are registered trademarks of Roland Corporation.
SWR, Goliath are trademarks of SWR Sound Corporation.
TRACE ELLIOT is a registered trademark of Peavey Electronics Corporation.
VHT Pitbullis a trademark of VHT Amplification, Inc.
VOX, AC30 are trademarks or registered trademarks of VOX Amplification Ltd.
3 - Cabinets 105
106 3 - Cabinets
4 Microphones
4.1 Dynamic
Dynamic 57
This mic model is based on one of the most popular small diaphragm
dynamic microphones. Its bright, edgy sound has made it a widely used gui-
tar amp mic. Typically used in studios paired with a smoother and warmer
condenser mic.
4 - Microphones 107
Double Dynamic 57
This double mic setup is a typical trick in modern Metal production. It will
capture a fatter sound with a smoother top end.
108 4 - Microphones
Dynamic 20
This mic model recreates a smooth reaction across a wide spectrum of fre-
quencies, especially attractive in the low area. This means that the Dynamic
20 is a great selection for acoustic and electric bass.
4 - Microphones 109
Dynamic 421
Probably the second most popular dynamic mic to use on guitar amps, this
model provides an equally pleasing sound, but is warmer than the 57. It also
adds a very focused boost on hi-mid frequencies that makes it suitable to get
aggressive driven tones.
110 4 - Microphones
Dynamic 441
This model has a flatter frequency response than most other dynamic mics.
This mic is highly regarded as a guitar mic and used widely in studios all
over the world.
4 - Microphones 111
Dynamic 609
This is a model of a faithful and popular microphone used daily in many

studios and can be found hanging around there or on stages everywhere.
This dynamic microphone can deliver honest yet punchy sounds. Can result
in very mid-rangey sounds at times, but this is sometimes what you want,
especially when combined with a warmer condenser microphone.
112 4 - Microphones
4.2 Condenser
Condenser 84
No microphone collection would be complete without a great small dia-

phragm condenser mic. This model is based on the standard for small dia-
phragm mics. As with any good small condenser mic, the 84 provides a clean
clear picture of the guitar tone.
4 - Microphones 113
Condenser 87
This is a model of one of the most popular large diaphragm mics ever. It can
be found in any large recording studio mic locker. Because of its excellent
frequency response curve, the 87 has become the go-to mic when needing
a clean, flattering sound.
114 4 - Microphones
Condenser 170
This is a model of a high-quality large-diaphragm condenser microphone

used in famous studios around the world. One of the first with transformer-
less technology, this microphone came into the world boasting a very high-
quality sound with low noise and a very impressive dynamic range. This
microphone will not color the sound of the speaker, or at least will color it
very little. Thats why it is a great choice to hear a very natural rendering of
the speaker sound even when used alone.
4 - Microphones 115
Condenser 414
The Condenser 414 is modeled after another highly regarded large dia-
phragm condenser microphone. It is a flat and clean/open microphone that
will flatter big full tones and will also blend beautifully when combined
with another cabinet/mic setup.
116 4 - Microphones
4.3 Ribbon
Ribbon 121
Use this ribbon microphone to capture a pure, natural sound. This is mod-
eled after one of the must-have studio ribbon microphones of our time.
Incredibly present mid range with a natural and smooth roll off on the high
frequencies, makes it ideal when youre hearing too much fizz from the in
axis tone on high gain and metal tones, switching to this mic will reduce the
unwanted high frequencies fizzness in a way that will not reduce presence
at all.
4 - Microphones 117
Velo-8
This is a double-ribbon figure-8 microphone with a unique Neodymium ele-

ment. With a silky-smooth high end and good low end body, a great choice
for more vintage-sounding guitar tones, this mic mixes very well with other
microphones for very full-bodied recordings.
118 4 - Microphones
4.4 Model List
Microphone Model Based on*

Dynamic
Dynamic 57 Shure SM57
Double Dynamic 57 Shure SM57
Dynamic 20 Electro-Voice RE20
Dynamic 421 Sennheiser MD-421
Dynamic 441 Sennheiser MD-441
Dynamic 609 Sennheiser MD609
Condenser
Condenser 84 Neumann KM-84
Condenser 87 Neumann U-87
Condenser 170 Neumann TLM 170
Condenser 414 AKG C-414 ULS
Ribbon
Ribbon 121 Royer R121
Ribbon Velo-8 Groove Tubes Velo-8
AKG, C-414 ULS are registered trademarks of AKG Acoustics GmbH.

ELECTRO-VOICE, RE20 are registered trademarks of Electro-Voice, Inc.
GROOVE TUBES, Velo-8 are registered trademarks of Groove Tubes, LLC.
NEUMANN, U67, U87, TLM 170 are registered trademarks of Georg Neumann GmbH.
ROYER, R121 are registered trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation.
SENNHEISER, MD-421, MD-441, MD609 are registered trademarks of Sennheiser
Electronic Corp.
SHURE, SM57 are registered trademarks of Shure Incorporated.
4 - Microphones 119
120 4 - Microphones
Chapter 5 Rack Effects
5.1 Delay & Reverb
Digital Delay
This advanced delay modeled effect can add a variety of depth to the sound,
by providing five different delay modes. The delay can also be synched to the
host tempo providing even more flexibility.
Controls:
MODE: sets the output mode of the Delay effect; Stereo, Left/Right,
Mono, Left/Center/Right, and Doubler.
DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms.
BPM SYNC: allows the effect to synchronize to the project tempo and
changes the Rate control to beat values.
FEEDBACK: changes the amount of time that the delay repeats, from
0% to 100%.
FILTER: sets the low pass filter for the delay effect, from 200 Hz to
20 kHz. When set to mid values it gives a nice warmth to the delay
timbre.
MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
5 - Rack Effects 121

Digital Reverb
This digital reverb is capable of adding small amount of space to a signal or

creating a huge hall around the instrument.
Controls:
DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00
seconds.
DENSITY: sets the number of reflections generated by the reverb,
from 0 to 99.
COLOUR: sets the reverb coloration from dark to light, from 2 kHz to
20 kHz.
to 100%.
122 5 - Rack Effects

Tap Delay
This creative delay effect unit can be used to create interesting and unusual
delay effects thanks to the 8 totally independent taps. You can create groov-
ing rhythm patterns by combining more taps with a specific time signature,
and you can mix this up with psychedelic reverse tape effects you are able
to set for each tap.
The TapDelay is actually 8 delays in one single unit, and it allows you to set
time, timbre and level for each one of these units. In addition, you can glob-
ally control with single knobs parameters for all the 8 taps at the same time,
like time, dry/wet mix and feedback amount.
Controls:
TIME: globally shifts the delay time of all the 8 taps. This is a relative
control that works in this way:
When set at the center position (1x) it does not alter the time that
has been setup on each tap.
When set to minimum (0.25x) it divides all times by four.
When set to max (4x) it multiply all times by four.
Use it to globally change the delay tempo without changing the rela-
tions between all taps.
MIX: globally adjust the effect mix between the Dry signal and all
the 8 delay taps.
FEEDBACK: globally adjust the amount of feedback the delay will
have. When set at maximum, the delay with be sustaining itself.
TAP: use these buttons to select which one among the 8 delay taps
youre going to edit with next controls.
LEVEL: sets the audio level for the selected delay tap.
TIME: sets the delay time for the selected tap. It can be shown in
milliseconds or in musical divisions, depending on the BPM Sync
switch position.
TAPS DISPLAY: shows each Tap as a vertical bar. The horizontal
position of the bar represent the delay time, the height of the bar
represent the audio level.
FILTER: sets the timbre for the selected delay tap, darker at minimum
and brighter at maximum.
REVERSE: enable this button to transform the selected delay tap from
normal to reverse. When set to reverse a delay tap will sound like a
reversed tape loop.
LINK: enable this button to make a change you do on the above men-
tioned parameters to apply to all the 8 taps at the same time.

5.2 EQ & Dynamics
Graphic EQ
IK Multimedia proprietary 31 band Graphic EQ.
20, 25, 31.5, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1k,
1.25k, 1.6k, 2k, 2.5k, 3.15k, 4k, 5k, 6.3k, 8k, 10k, 12.5k, 16k, 20k.
Each band has +/- 15 dB boost, plus Reset button (total reset of all bands at
0 dB), and Level slider (+/- 15 dB).

Tube Compressor
This compressor was modeled after a classic tube compressor. It is a very

versatile, smooth compressor, and can add great color to the signal.
Controls:
DRIVE: controls the amount of signal that is input into the effect, set-
ting the compression level.
ATTACK: controls the amount of time that the compressor takes to
react to the audio signal.
RELEASE: controls the amount of time that the compressor takes to
return to normal gain after some compression has occurred.
RATIO: controls the strength of the compression. Higher values will
result in a more evident effect.

5.3 Filter
Rezo
This rack model is a unique effect that can add synth-like drones and sus-
taining resonances to your parts. Make your guitar sound like a sitar or like a
synth-drone to create sonic resonances to sing on and control the notes with
your controller to create arpeggios and steps while playing.
You have 4 resonating voices that can be tuned independently from note E0
to note B7, in half tone steps. For example, if you want to create a resonating
C Major chord, just set the first three voices to C3, E3 and G3.
By moving the All slider you can shift the recently created Chord without
changing the intervals between the voices.
You can set the desired voice note by note number of by frequency in Hz.
1-4 SLIDERS: sets the pitch for each resonating voice.

1-4 VALUE DISPLAY: displays which note each voice is tuned on.
NOTE/FREQUENCY SWITCH: turn on this switch to have the tuning of
each voice displayed as a note. Turn this off to have the tuning of each
voice to be displayed as frequency in Hz.
ALL: shifts all resonating notes by the same amount keeping relative
intervals between voices identical.
RES: sets the amount of resonance for each voice, from min to max.
When set to max the note will sustain by itself, when set to min the
voice will not be resonating.
SCALE: the Rezonator is setup by default to span over a chromatic
scale when you set the resonating voices, meaning that all half tones
are possible. If you want to set another scale and want to remove
notes from the chromatic scale just open this menu and leave on only
the notes you need.
FILTER: determines the brightness of the resonating voices, from dark
(lower positions) to bright (upper positions).
MIX: sets the amount of resonating notes you want to hear. When the
control is at min youll only hear the original sound, when fully up
youll only hear the effected sound.
OUT: the resonating notes can become very loud use this control to
adjust the overall output level of the Rezonator.

Step Filter
This is a powerful and deep beat sync filter effect. You will be able to apply
Low/High and Band pass analog modeled filtering on freely customizable
patterns to add groove and rhythmic pulsing to your parts. This will make
your guitars and bass parts to sound like a rhythmic synth, if you want it.
Controls:
CUTOFF: sets the center cutoff frequency of the filter. This is the cutoff
frequency the filter will have when the steps are set to half position.
RES: sets the center resonance of the filter. This is the resonance
amount the filter will have when the steps are set to half position.
DEPTH: sets how deep the filter is modulated by the steps.
HP/BP/LP: sets which kind of filter will be used: HP: high pass, BP:
band pass, LP: low pass
12/24: sets the steepness of the filter, 12 dB/oct will be softer, 24 dB/
oct will be steeper.
DEST: sets what is modulated by the steps between filter Cutoff and/
or filter Resonance. At full minimum position only Cutoff frequency is
modulated, at max position only Resonance is modulated.
DIVISION: sets what time interval each step represent.
MODE: When set to Free the cycle will be continuous and will always
tization.

5.4 Modulation
Analog Chorus
This classic analog stereo chorus model adds depth and space to the input
signal. It can also be used as a vibrato effect.
Controls:
CHORUS/VIBRATO: enables Vibrato or Chorus modes. Chorus mode is

enabled when the corresponding LED is illuminated.
CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to
99.
VIB RATE: sets the rate of the Vibrato effect, from 0.02 Hz to 8 Hz.
VIB DEPTH: sets the intensity of the Vibrato effect, from 0 to 99.
STEREO/MONO: changes the rack effect from a stereo to a mono
effect. Stereo is enabled when the corresponding LED is illuminated.

Digital Chorus
This modeled digital chorus effect creates a clear articulate chorus effect.
Like the analog chorus, this effect adds depth and space to the input signal,
but adds a different color to the overall signal.
Controls:
WAVEFORM: selects the shape of the chorus effect, sine, triangle, or

square wave.
RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz.
DEPTH: sets the intensity of the chorus, from 0 to 100.
to 100%.

Digital Flanger
This model of a digital flanger can create a metallic modulated sound.
Controls:
WAVEFORM: selects the shape of the flanger effect, sine, triangle, or

square wave.
RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz.
FEEDBACK: sets the nominal amount of signal that is returned to the
input after processing effect, from 0 to 10.
MIX: adjusts the amount of effected sound with the un-effected
sound, from 0% to 100%.

Rotary Speaker
This effect is a model of a rotary speaker cabinet. Rotary speaker cabinets

create a lush vibrato/chorus effect and add a tremendous amount of depth
to the sound.
Controls:
SPEED: sets the speed of the rotary speaker effect, from .50 Hz to
7.80 Hz.
DRIVE: sets the amount of overdrive in the rotary speaker effect, from
0% to 100%.
BALANCE: changes the balance of high and low rotors in the signal,
from 0 to 100.
to 100%.

5.5 Pitch
Harmonator
The Harmonator is an advanced harmonizing effect with three separate

voices, each with independent harmony, level and pan. By entering the key
and scale that the instrument is playing, the harmonator analyzes the input
signal and track the three independent voices to the correct music key and
scale (figure 10.17).
figure 10.17
Controls:
KEY: controls the key and type of scale that will be used by the har-
monizer as a reference. If youre 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.
INTERVAL: changes the interval of the selected voice, from low octave
to up octave.
LEVEL: independently adjusts the level of each of the 3 voices, from
0 to 100.
PAN: independently adjusts the panning of each of the 3 voices, from
1.0L to 1.0R.
DRY PAN: adjusts the panning of the dry signal independently from
the harmonized voices, from 1.0L to 1.0R.
MIX: blends the harmonized voice with the original voice, from 0%
to 100%.

Pitch Shifter
This pitch shifting effect creates an independent harmony voice that can be
blended with the original signal to create harmony lead parts and duet type
guitar lines (figure 10.18).
figure 10.18
Controls:
SHIFT COARSE: sets the coarse tuning of the pitch shifter. Measured
in intervals, from -24 to 24.
SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in
cents, from -50 to 50.
STEREO/SPLIT: sets the output of the effect to split the pitch shifted
sound and the dry sound or blend them in a stereo layered fashion.
MIX: adjusts the amount of pitched shifted sound with the dry sound,
from 0% to 100%.

5.6 Other
Step Slicer
Add programmed rhythmic parts to your power chords and phrases with
this powerful and creative beat synced slicing effect. It can be setup to cre-
ate anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat.
It contains two independent stepping engines, one for Level and one for
Pan, so you can create independent patterns for level and panning within
the same synched effect.
Controls:
LEVEL: sets the amount of level modulation the steps will give. At min
position the steps will not have effect, at maximum the steps range
will be full.
RAMP: sets the steepness of the level change between steps. Set it at
lower positions to get a more gate-like effect, or set it to higher posi-
tions to get a smoother effect.
DIVISION: sets what time interval each step represents.
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.
tization.

Stereo Enhancer
The stereo enhancer model widens and narrows the stereo image.
Controls:
STEREO IMAGE: changes the width of the stereo image. Normal width
is in the middle of the slider. Moving the slider to the right widens the
stereo image. Moving the slider to the left narrows the stereo image.
Note: when processing a mono signal with this Rack, the control will result
in being a reversed volume slider.

Swell
This is an auto volume swell processor that can automatically create fan-
tastic swell effects while playing without any manual intervention. Use it
subtly to add groove to your rhythm parts or use it with deeper settings to
create dreaming pads or string-like sounds.
Controls:
DEPTH: sets the depth of the volume swell, in dB. By default the depth
is at max position, meaning that the volume will start from silence. By
lowering this control youll 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.

AmpliTube, AmpliTube Metal, AmpliTube X-GEAR, SVX, StompIO,
StealthPedal, StealthPlug, SpeedTrainer, DSM, VRM, are trademarks or
registered trademarks property of IK Multimedia Production Srl.
FENDER and all FENDER amplifiers, logos, and trade dress are the trademarks
of FMIC and used herein under license. All rights reserved.
AMPEG is a trademark of LOUD Technologies, Inc.
ORANGE is a registered trademark of Orange Music Electronic Company Ltd.
SOLDANO is a registered trademark of Gremlin Inc. DBA Soldano Custom
Amplification Corporation.
SEYMOUR DUNCAN is a registered trademark of Carter Duncan Corporation.
GROOVE TUBES is a registered trademark of ROKR Ventures, Inc.
GALLIEN-KRUEGER is a registered trademark of Gallien-Krueger Corporation.
JET CITY AMPLIFICATION 333 is a registered trademark property of 333
Enterprises Incorporated DBA Jet City Amplification Corporation.
JIMI HENDRIX name used under license of Authentic Hendrix, LLC.
TM Authentic Hendrix, LLC.
THD is a registered trademark of THD Electronics Ltd.
T-REX ENGINEERING is a registered trademark of T-Rex Engineering ApS
Corporation.
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 Multimedias sound
model development and for describing certain types of tones produced with IK
Multimedias digital modeling technology. Use of these names does not imply
any cooperation or endorsement.
www.amplitube.com
IK Multimedia Production, Via dellindustria 46, 41122, Modena, Italy.

Phone: +39-059-285496 - Fax: +39-059-2861671
IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323
Phone: (954) 846-9101 - Fax: (954) 846-9077
www.ikmultimedia.com
All specifications are subject to change without further notice.
Latest update: 2015/10/28

PN: MNU-AT4DLX-G01

AmpliTube 4 Deluxe Gear Models PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

AmpliTube 4 Deluxe Gear Models PDF

Uploaded by

Copyright:

Available Formats

AmpliTube 4 Deluxe

Gear Models Guide

Guide to the Models available in the

AmpliTube 4 is now available in different versions:

Chapter 1 Stomp Box Effects 9

4x12 Closed Modern 2 89

Chapter 5 Rack Effects 121

Step Filter 127

Chapter 1 Stomp Box Effects

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

1 - Stomp Box Effects 9

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

10 1 - Stomp Box Effects

1 - Stomp Box Effects 11

CUTOFF: controls the cutoff frequency of the low pass filter.

12 1 - Stomp Box Effects

A model of a classic overdrive stomp effect.

1 - Stomp Box Effects 13

14 1 - Stomp Box Effects

This is a model of a classic overdrive/distortion pedal which has become

DRIVE: increases the amount of clipping in the distortion circuit, from

1 - Stomp Box Effects 15

This pedal is a model of a beloved 80s-era distortion pedal by a company

GAIN: sets the amount of distortion generated by the pedal.

16 1 - Stomp Box Effects

This effect is a model of a classic high-end compressor. It is capable of mild

COMP: sets the amount of compression, from 0 to 100.

1 - Stomp Box Effects 17

This effect is modeled after a vintage compression stomp pedal.

18 1 - Stomp Box Effects

This model is a clean, highly effective 1 octave graphic equalizer, capable of

FREQUENCY BAND LEVEL: each frequency band is one octave apart

1 - Stomp Box Effects 19

IK Multimedia proprietary 10 Band Graphic EQ.

20 1 - Stomp Box Effects

1 - Stomp Box Effects 21

22 1 - Stomp Box Effects

1-4 SLIDERS: sets the pitch for each resonating voice.

1 - Stomp Box Effects 23

24 1 - Stomp Box Effects

1 - Stomp Box Effects 25

This is a faithful rendition of a very sought-after wah pedal. Based on a

26 1 - Stomp Box Effects

1 - Stomp Box Effects 27

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

RATE: sets the rate of the chorus effect, from 0 to 10.

28 1 - Stomp Box Effects

A model of a classic bucket-brigade analog Chorus/Vibrato unit. It provides

LEVEL: sets the input level. Range is from 15 dB to +15 dB.

1 - Stomp Box Effects 29

This stomp box is a model of a vintage flanger/filter matrix used by many

RATE: controls the speed of the effect, from slow to fast.

30 1 - Stomp Box Effects

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

RATE: sets the rate of the Flanger effect, from 0 to 10.

1 - Stomp Box Effects 31

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

RATE: sets the rate of the Flanger effect, from 0 to 10.

32 1 - Stomp Box Effects

A model of a classic analog multimode Phaser stomp box.

1 - Stomp Box Effects 33

This effect is a model of a classic analog phase shifter, capable of a range of

RATE: controls the speed of the effect, from slow to fast.

Chapter 1 Stomp Box Effects 9

4x12 Closed Modern 2 89

Chapter 5 Rack Effects 121

Step Filter 127