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A M P & F X M O D E L I N G S O F T W A R E

User Manual
AmpliTube 3

PLEASE NOTE

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.

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Table of Contents
I Contents 3

II Interface 12

III License Agreement 14

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

Chapter 2 Getting started 27


2.1 Registration/Authorization 27
2.2 Standalone Mode 27
2.2.1 Launch AmpliTube 3 Standalone 28
2.2.2 Audio Configuration 28
2.2.2.1 Windows® 28
2.2.2.2 Macintosh® 29
2.2.3 Plug Your Guitar 30
2.2.3.1 Connecting Your Guitar/Bass 30
2.2.3.2 Adjusting Your Levels 30
2.2.3.3 Quality Mode Options 31
2.2.3.4 Tuning 32
2.2.4 Hands-on Examples 32
2.2.4.1 Loading a Preset 32
2.2.4.2 Selecting Amps 33
2.2.4.3 Choosing the Cabinet 33
2.2.4.4 Adding Stomp and Rack Effects 34
2.2.5 Four Track Audio Player/Recorder with Speed Trainer 35
2.2.5.1 Import an Audio File 35
2.2.5.2 Waveform Display 37
2.2.5.3 Using the Transport Bar 38
2.2.5.4 Track Controls Description 39
2.2.5.5 Playback Speed 41
2.2.5.6 Recording 42
2.2.5.7 Adding Effects 44
2.2.5.8 Managing Your Resources 46
2.2.5.9 Master Volume 47
2.2.5.10 Export 47
2.2.5.11 Using the Metronome 48
2.2.5.12 Saving and Loading Your AmpliTube 3 Project Files 49
2.2.5.13 Project Sample Rate 50
2.2.6 Status Bar  50
2.3 Plug-In Mode 50

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Chapter 3 Input/Output Bar 51


3.1 Input/Output Bar 51
3.2 Input Section 51
3.2.1 Input Knob 51
3.2.2 Input Level Meter 51
3.3 IK Controller Selector  51
3.3.1 Using the StompIO/StealthPedal to Control AmpliTube 3 52
3.4 Selected Module  52
3.4.1 Pan  53
3.4.2 Volume  53
3.4.3 Phase 53
3.4.4 Mix 54
3.4.5 Implementation Table 54
3.5 Using Noise Gate 54
3.5.1 Threshold 54
3.5.2 Release 55
3.5.3 Depth 55
3.6 Tuner Display 55
3.7 Selected Parameter Display 56
3.8 Master Section 56
3.8.1 Master Knob 56
3.8.2 Output Level Meter 56
3.9 Program Information, Preferences and More 57
3.9.1 Lock 57
3.9.2 Preferences (Prefs) 58
3.9.3 Information (Info) 62
3.9.4 User Area 62
3.10 MIDI Control, Automation, and Controllers 63
3.10.1 MIDI 63
3.10.2 Automation (Auto) 63
3.10.3 Control (Ctrl) 63

Chapter 4 Module/Rig Selector 65


4.1 Dual Rig Signal Path  65
4.1.1 Signal Path Presets 65
4.1.2 Stereo IN 66
4.2 Selecting Modules 66

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

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5.4.3 Copy and Paste Settings 80


5.5 Presets and Projects Saving Options 80
5.6 BPM 81
5.6.1 Host/Global 81
5.6.2 Preset 82
5.6.3 TAP 82

Chapter 6 Tuner Module 83


6.1 On/Off Switch  83
6.2 Mute 84
6.3 Tune  84
6.4 Graphical Tuner Interface 84
6.5 Tune Display 85
6.6 Cents Display 85

Chapter 7 Stomp Module (Stomp Effects)  87


7.1 Selection and Navigation Options 87
7.2 Drag & Drop feature 89
7.3 Stomp Models 90
7.3.1 Delay  90
7.3.1.1 Delay 90
7.3.1.2 EchoMan 91
7.3.1.3 TapDelay 92
7.3.2 Distortion  93
7.3.2.1 BigPig 93
7.3.2.2 Crusher 94
7.3.2.3 Diode Overdrive 95
7.3.2.4 Distortion 96
7.3.2.5 Feedback 97
7.3.2.6 Metal Distortion 98
7.3.2.7 Metal Distortion 2 99
7.3.2.8 Overdrive 100
7.3.2.9 OverScream 101
7.3.2.10 PROdrive 102
7.3.2.11 The Ambass’dor 103
7.3.3 Dynamics 104
7.3.3.1 Compressor 104
7.3.3.2 Dcomp 105
7.3.4 EQ 106
7.3.4.1 7 Band Graphic 106
7.3.4.2 10 Band Graphic 107
7.3.5 Filter 108
7.3.5.1 Envelope Filter 108
7.3.5.2 LFO Filter 109
7.3.5.3 Rezo 110
7.3.5.4 Step Filter 111
7.3.5.5 Wah 112
7.3.5.6 Wah 10 113
7.3.5.7 Wah 46 114
7.3.5.8 Wah 47 115

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7.3.6 Fuzz 116


7.3.6.1 Class Fuzz 116
7.3.6.2 Fuzz Age 117
7.3.6.3 Fuzz Age 2 118
7.3.6.4 FuzzOne 119
7.3.6.5 Octa-V 120
7.3.6.6 RightFuzz 121
7.3.6.7 XS Fuzz 122
7.3.7 Modulation 123
7.3.7.1 Analog Flanger 123
7.3.7.2 Chorus 124
7.3.7.3 Chorus-1 125
7.3.7.4 Electric Flanger 126
7.3.7.5 Flanger 127
7.3.7.6 Metal Flanger 128
7.3.7.7 Opto Tremolo 129
7.3.7.8 Phaze Nine 130
7.3.7.9 Phazer10 131
7.3.7.10 Small Phazer 132
7.3.7.11 Uni-V 133
7.3.8 Pitch 134
7.3.8.1 Harmonator 134
7.3.8.2 Octav 135
7.3.8.3 Pitch Shifter 136
7.3.8.4 Wharmonator 137
7.3.9 Other 138
7.3.9.1 Volume 138
7.3.9.2 Step Slicer 139
7.3.9.3 Swell 140
7.4 Stomp Models (Table) 141

Chapter 8 Amp Module (Amp Head)  145


8.1 Introduction 145
8.2 On/Bypass 146
8.3 EQ Match 146
8.4 Amp Match 147
8.5 Amp Model Types and Components 147
8.5.1 Pre Model 148
8.5.2 EQ Model 148
8.5.3 Amp Model 149
8.6 Pre Amp Models 150
8.6.1 Clean 150
8.6.1.1 American Clean MKIII 150
8.6.1.2 American Tube Clean 1 152
8.6.1.3 American Tube Clean 2 153
8.6.1.4 American Vintage B 154
8.6.1.5 American Vintage D 155
8.6.1.6 American Vintage T 156
8.6.1.7 Custom Solid State Clean 157
8.6.1.8 Jazz Amp 120 158

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8.6.1.9 Metal Clean T 159


8.6.2 Crunch 160
8.6.2.1 American Tube Vintage 160
8.6.2.2 British Blue Tube 30TB 161
8.6.2.3 British Copper 30TB 162
8.6.2.4 British Lead S100 163
8.6.2.5 British OR 164
8.6.2.6 THD Bi-Valve 165
8.6.2.7 Tube Vintage Combo 166
8.6.3 Lead 167
8.6.3.1 American Lead MKIII 167
8.6.3.2 British Tube Lead 1 169
8.6.3.3 British Tube Lead 2 170
8.6.3.4 Custom Modern Hi-Gain 171
8.6.3.5 Custom Solid State Fuzz 172
8.6.3.6 Custom Solid State Lead 173
8.6.3.7 Metal Lead T 174
8.6.3.8 Metal Lead V 175
8.6.3.9 Metal Lead W 176
8.6.3.10 Modern Tube Lead 177
8.6.3.11 Vintage Metal Lead 178
8.6.4 Bass 179
8.6.4.1 360Bass Preamp 179
8.6.4.2 Combo 150MB 180
8.6.4.3 Green BA250 181
8.6.4.4 Solid State Bass Preamp 182
8.7 Pre Amp Models (Table) 183
8.8 Power Amp Models 184

Chapter 9 Cab Module (Cabinets + Microphones) 185


9.1 Introduction 185
9.2 Cabinet Model  186
9.2.1 Cab Model Selector 186
9.2.2 Bypass 187
9.2.3 Match 187
9.2.4 Size 187
9.3 Cabinet Models 187
9.3.1 Guitar 6” 188
9.3.1.1 1x6 Small Combo 188
9.3.2 Guitar 10” 188
9.3.2.1 1x10 Combo Modern 188
9.3.2.2 4x10 Closed Modern 189
9.3.2.3 4x10 Open Vintage 189
9.3.3 Guitar 12” 190
9.3.3.1 1x12 Combo 190
9.3.3.2 1x12 MB II 190
9.3.3.3 1x12 MB III 191
9.3.3.4 1x12 Open Modern 191
9.3.3.5 1x12 Open Vintage 192
9.3.3.6 2x12 Closed Vintage 192

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9.3.3.7 2x12 Gry British Vint 193


9.3.3.8 2x12 JP Jazz 193
9.3.3.9 2x12 Open SL 194
9.3.3.10 2x12 Open TJ120 194
9.3.3.11 2x12 Open Vintage 195
9.3.3.12 4x12 British Or 195
9.3.3.13 4x12 Closed 25 C 196
9.3.3.14 4x12 Closed 75 C 196
9.3.3.15 4x12 Closed J120  197
9.3.3.16 4x12 Closed Modern 1 197
9.3.3.17 4x12 Closed Modern 2 198
9.3.3.18 4x12 Closed Vintage 1 198
9.3.3.19 4x12 Closed Vintage 2 199
9.3.3.20 4x12 Metal F 1 199
9.3.3.21 4x12 Metal F 2 200
9.3.3.22 4x12 Metal T 1 200
9.3.3.23 4x12 Metal T 2 201
9.3.3.24 4x12 Metal T 3 201
9.3.3.25 4x12 Metal V 1 202
9.3.3.26 4x12 Metal V 2 202
9.3.3.27 4x12 Metal V 3 203
9.3.3.28 4x12 Modern M 1 203
9.3.3.29 4x12 Modern M 2 204
9.3.3.30 4x12 Modern M 3 204
9.3.3.31 4x12 Vintage M 1 205
9.3.3.32 4x12 Vintage M 2 205
9.3.4 Guitar 15” 206
9.3.4.1 2x15 Closed B J130 206
9.3.4.2 2x15 Closed D J130 206
9.3.5 Bass 10” 207
9.3.5.1 4x10+tw Bass 207
9.3.5.2 4x10+tw TE Bass 207
9.3.6 Bass 12” 208
9.3.6.1 1x12 Bass 208
9.3.6.2 1x12 BassJz 208
9.3.7 Bass 15” 209
9.3.7.1 1x15 Bass Vintage 209
9.3.8 Bass 18” 209
9.3.8.1 1x18 Horn Bass 209
9.3.9 Rotary 210
9.3.9.1 Rotary 147-1 210
9.3.9.2 Rotary 147-2 210
9.4 Cabinet Models (Table) 211
9.5 Mic Model 213
9.5.1 Mic Model Selector 214
9.5.2 Position 216
9.5.3 Distance 218
9.5.4 Mute  219
9.5.5 Solo  220
9.5.6 Phase 220

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9.5.7 Pan 221


9.5.8 Mic Blend 221
9.6 Microphone Models 222
9.6.1 Dynamic 222
9.6.1.1 Dynamic 57 222
9.6.1.2 Dynamic 20 223
9.6.1.3 Vintage Dynamic 20 224
9.6.1.4 Dynamic 421 225
9.6.1.5 Dynamic 441 226
9.6.1.6 Dynamic 609 227
9.6.2 Condenser 228
9.6.2.1 Condenser 12 228
9.6.2.2 Condenser 67 229
9.6.2.3 Condenser 84 230
9.6.2.4 Condenser 87 231
9.6.2.5 Condenser 170 232
9.6.2.6 Condenser 414 233
9.6.3 Ribbon 234
9.6.3.1 Ribbon 121 234
9.6.3.2 Ribbon 160 235
9.6.3.3 Velo-8 236
9.7 Microphone Models (Table) 237
9.8 Room 238
9.8.1 Room Type Selector 239
9.8.2 Mute 240
9.8.3 Solo 240
9.8.4 Phase 241
9.8.5 Room Mics Controls 242
9.8.6 Room Type Presets 244
9.9 Rotary Speaker 244
9.9.1 Introduction 245
9.9.2 Rotary Speaker Models 245
9.9.3 Setup 245
9.9.4 Width 246
9.9.5 Balance 247
9.9.6 Speed  248

Chapter 10 Rack FX Module (Post Effects) 249


10.1 Introduction 249
10.2 On/Bypass 249
10.3 Rack FX Selector 250
10.4 Drag and Drop Feature 250
10.5 Rack FX Models 251
10.5.1 Delay & Reverb 251
10.5.1.1 Digital Delay 251
10.5.1.2 Digital Reverb 252
10.5.1.3 Tap Delay 253
10.5.2 EQ & Dynamics 254
10.5.2.1 Graphic EQ 254
10.5.2.2 Parametric EQ 255

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10.5.2.3 Tube Compressor 256


10.5.3 Filter 257
10.5.3.1 Rezo 257
10.5.3.2 Step Filter 258
10.5.4 Modulation 259
10.5.4.1 Analog Chorus 259
10.5.4.2 Digital Chorus 260
10.5.4.3 Digital Flanger 261
10.5.4.4 Rotary Speaker 262
10.5.5 Pitch 263
10.5.5.1 Harmonator 263
10.5.5.2 Pitch Shifter 264
10.5.6 Other 265
10.5.6.1 Step Slicer 265
10.5.6.2 Stereo Enhancer 266
10.5.6.3 Swell 266

Chapter 11 AmpliTube 3 Models 267

Chapter 12 Expanding AmpliTube 3 models 275


12.1 Adding More Packages to AmpliTube 3  275
12.1.1 AmpliTube Fender™ 275
12.1.2 Ampeg® SVX 277

Chapter 13 Automation 279


13.1 Assign Automation within each Module (Stomp, Amp, Cab and Rack) 279
13.2 Manage Automation Assignments via the Automation Panel 280
13.2.1 Plug-in Parameters 281
13.2.2 DAW Automation 282
13.2.3 Assignment Procedure 284
13.2.4 Assignment Save and Recall 288

Chapter 14 MIDI 289


14.1 Introduction 289
14.2 MIDI Configuration  290
14.3 Assigning Controllers 291
14.3.1 Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters) 291
14.3.2 Manage MIDI Parameters Assignation via the MIDI Control Panel 292
14.4 Additional Parameters on MIDI Control Window 297

Chapter 15 Control 303


15.1 Introduction 303
15.2 StealthPedal Control 303
15.2.1 Assigning Continuous Controls 305
15.2.2 Assigning Switch Controls 306
15.2.3 Saving Assignments 309
15.2.4 Switching Presets 309
15.2.5 Pedal Adjust 310
15.2.6 StealthPedal LEDs 312
15.2.7 Tuning indication 313

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Chapter 16 Troubleshooting 315

Chapter 17 Support 319


17.1 User Area 319

Appendix IK Technologies 321


DSM™ Technology 321
VRM™ Technology 321
Block Diagram 322

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AmpliTube 3

Hundreds of different guitar amp


and effects presets ready to go.

Module Interface. Choose from


over 160 guitar & bass gear models.

Input, Output Interface.

Includes Four Track Audio Player/


Recorder with Speed Trainer for
playing along with your favorite
recordings.

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Two Guitar Rigs. Experience the


flexible routing system provided by
Dual Rig technology.

Five Modules: Tuner, Stomp


Pedalboard, Amp-Heads, Mic’d
Cabinets, and Rack Effects.

Standalone and VST/AU/RTAS


plug-in for all popular DAWs.

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AmpliTube 3

License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and contains
warranty and liability disclaimers.

By breaking the seal on the media envelope, you are confirming to have taken notice of terms and conditions of this agreement and you acknowledge your
acceptance of the software as well as your acceptance of the terms of this agreement. If you do not wish to do so, do not break the seal. Instead, promptly
return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.

1) DEFINITIONS

“EULA” means this end user license agreement

“IK Multimedia Product” means the software program included in the enclosed package, and all related updates supplied by IK Multimedia.

“IK Multimedia Product” means the software program and hardware (if any) included in the enclosed package, the related documentation, models, multi-
media content (such as animation, sound and graphics) and all related updates supplied by IK Multimedia.

“Not for resale (NFR) Version” means a version of IK Multimedia Product, so identified, is intended for review and evaluation purposes, only.

2) LICENSE

The “IK Multimedia Product” is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties.
The “IK Multimedia Product” is licensed, not sold. This EULA grants you the rights as specified here below. All other actions and means of usage are
reserved to the written permission of the right holder IK Multimedia Production Srl:

Applications Software. The “IK Multimedia Product” may be used only by you. You may install and use the “IK Multimedia Product”, or any prior version
thereof for the same operating system, on up to three (3) computers, provided that (a) each computer is owned by (or leased to) and under the exclusive
control of the licensee; (b) the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with IK Multimedia
software installed shall not be sold, rented, leased, loaned or otherwise be removed from the licensee’s possession without first removing (uninstalling)
the licensed software, except as provided in Paragraph 4 (below) pertaining to “Software Transfer”.

Storage/Network use. You may also store or install a copy of the “IK Multimedia Product” on a storage device, such as a network server, used only to install
or run the “IK Multimedia Product” on your other computers over an internal network; however, you must acquire and dedicate a distinct license for each
user of the “IK Multimedia Product” from the storage device. Any given license for the “IK Multimedia Product” may not be shared or used concurrently or
otherwise on different computers or by different developers in a given organization.

3) AUTHORIZATION CODE

The “IK Multimedia Product” only functions when you are in the possession of an authorization code. You will receive an authorization code upon complet-
ing the authorization code request procedure. Once your authorization code is activated, you may use the product.

You agree to follow the authorization code request procedure and will provide true, accurate and complete information about yourself. If you provide any
information that is untrue, inaccurate, not correct or incomplete, or IK Multimedia has reasonable grounds to suspect that such information is untrue,
inaccurate, not correct or incomplete, IK Multimedia has the right to suspend or to revoke the license.

The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer, decompile, or disassemble the “IK Multimedia
Product”, except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation of components. The “IK
Multimedia Product” is licensed as a single product. Its component parts may not be separated for use on more than one computer.

Not for Resale Version. If the “IK Multimedia Product” is labeled “Not for Resale” or “NFR” or “Evaluation Copy”, then, notwithstanding other sections of
this EULA, you may not sell, or otherwise transfer the “IK Multimedia Product”.

Rental. You may not rent, lease, or lend the “IK Multimedia Product” to any party.

Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any IK Multimedia product, as licensed to you
under this agreement without prior written consent of the rights owner. The carrier on which the IK Multimedia product has been distributed may be
transferred or otherwise made available to any third party only with the prior written consent of the rights owner and provided that (a) the original media

­14 III - License Agreement


AmpliTube 3

and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media.

5) UPGRADES

If the “IK Multimedia Product” is labeled or otherwise identified by IK Multimedia as an “upgrade”, you must be properly licensed to use a product identi-
fied by IK Multimedia as being eligible for the upgrade in order to use the “IK Multimedia Product”.

An “IK Multimedia Product” labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or supplements the product that formed the ba-
sis for your eligibility for such upgrade. You may use the resulting upgraded product only in accordance with the terms of this EULA. If the “IK Multimedia
Product” is an upgrade of a component of a package of software programs that you licensed as a single product, the “IK Multimedia Product” may be used
and transferred only as part of that single product package and may not be separated for use on more than one computer.

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,
that under normal use, the software program and the user documentation are free from defects that will materially interfere with the operation of the
program as described in the enclosed user documentation.

8) WARRANTY CLAIMS

To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, your
name, your return address and a statement of the defect, or send the CD(s) to us at the below address within ninety (90) days of purchase. Include a copy of
the dated purchase receipt, your name, your return address and a statement of the defect. IK Multimedia or its authorized dealer will use reasonable com-
mercial efforts to repair or replace the product and return it to you (postage prepaid) or issue to you a credit equal to the purchase price, at its option.

9) LIMITATIONS ON WARRANTY

IK Multimedia warrants only that the program will perform as described in the user documentation. No other advertising, description or representation,
whether made by a IK Multimedia dealer, distributor, agent or employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DIS-
CLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE
LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED.
IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR
AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE
LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER
CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT.

10) CHOICE OF LAW

You agree that any and all claims, suits or other disputes arising from your use of the software shall be determined in accordance with the laws of Italy, in
the event IK Multimedia, is made a party thereto. You agree to submit to the jurisdiction of the court in Modena, Italy for all actions, whether in contract or
in tort, arising from your use or purchase of the software.

11) GENERAL

This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contempora-
neous agreements or understandings, whether oral or written. All questions concerning this Agreement shall be directed to:

IK Multimedia Production Srl


Via dell’Industria 46
41122 Modena
Italy

© 2010 IK Multimedia. All rights reserved.

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AmpliTube 3

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AmpliTube 3

Chapter 1 Overview

1.1 Introduction

AmpliTube 3 is the New King of Tone. It is a massive upgrade of the leading


guitar and bass tone gear modeling software that sets the new industry
standard of sound variety, realism, and creative power.

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.

IK Multimedia allows you to build your custom integrated system using an IK


Audio Interface/Controller such as StompIO or StealthPedal, your computer,
and AmpliTube 3. You have dreamed it. We’ve made it.

If you are a performer/producer and/or engineer searching for that unique


tone that describes your artistic vision, AmpliTube 3 is the ultimate tone
gear collection that you need.

1.2 What’s new in AmpliTube 3?

• 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)

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AmpliTube 3

• Direct integration with IK’s interfaces/controllers like StompIO,


StealthPedal, StealthBoard. No setup needed
• 2 simultaneous instruments can be processed with independent
audio settings*
• Metronome with selectable sounds*

*Standalone version

Other features:

• Windows and Mac OS X Plug-in and Standalone application


• Supported Plug-in formats: Audio Units, VST, RTAS (Mac OS X) – VST,
RTAS (Windows)
• 5 separate modules: Tuner, Stomp, Amp, Cabinet + Microphones, and
Rack effects
• High-precision Tuner
• Ultra-accurate analog modeling using IK Multimedia’s proprietary
Dynamic Saturation Modeling (DSM™) technology
• Host/DAW BPM synchronization
• Up to 96 kHz supported sampling rate
• Improved overall performance

For more information about DSM™/VRM™ technologies and AmpliTube 3


Block diagram, see Appendix, “IK Technologies and Block Diagram.”

­18 1 - Overview
AmpliTube 3

1.3 Plug-in Architecture

AmpliTube 3 is set up as a traditional guitar rig to ensure predictable results


and real world flexibility. The user interface is simple and easy to navigate
but also allows you to set up complex guitar rigs and advanced signal paths.

The interface is divided into 5 modules:

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

1.4 Using the Interface

AmpliTube 3 works as Plug-in or Standalone application.

1.4.1 Standalone Interface

When using AmpliTube 3 in Standalone Mode, the interface has 6 sections


(figure 1.6):

figure 1.6

Below is a brief description of each of them:

1) Top Header (figure 1.7)

It includes Preset Manager, Quality Mode, and IK Controller Selector areas

figure 1.7

­22 1 - Overview
AmpliTube 3

• Preset Manager: it allows you to search, browse, select, save and


delete presets (figure 1.8).

figure 1.8

• Quality Mode: it is a one click system optimization. Just select Hi-Mid-


or Eco to get the best balance between sound quality and CPU usage
(figure 1.9).
figure 1.9
• IK Controller Selector: it allows you to choose your StompIO or
StealthPedal controller. (figure 1.10)

figure 1.10 2) Module/Rig Selector (figure 1.11)

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.

3) Module Interface (figure 1.12)

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

4) Input/Output Bar (figure 1.13)

figure 1.13

From here you will manage the Input and Output levels, the Noise Gate, and
several module related controls.

5) Four Track Audio Player/Recorder with Speed Trainer (figure 1.14)

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…

6) Status Bar (figure 1.15)

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

1.4.2 Plug-in Interface

When using AmpliTube 3 as a Plug-in, the interface has 4 sections (figure


1.16):

figure 1.16

• Top Header (Preset Manager, Quality Mode, and IK Controller Selector


areas)
• Module/Rig Selector
• Module Interface
• Input/Output Bar

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

Chapter 2 Getting started

2.1 Registration/Authorization

We know that you are excited about AmpliTube 3 so let’s get ready to rock!

After you’ve installed AmpliTube 3, you have to register and authorize


your product. Not only to enable permanent unrestricted functionality, but
also to take advantage of all the User Area features. This is a very simple
process; you just need to follow the instructions provided in the Product
Authorization Wizard.

The Product Authorization Wizard is a smart application integrated to our


website that will guide you through the Registration and Authorization pro-
cess. When you launch AmpliTube 3 for the first time the wizard will pop up
asking you to complete the process, so become an IK Registered User today
and enjoy all the benefits that IK Multimedia has to offer you!

For information about AmpliTube 3 Installation, please read the “Installation


and Authorization Manual” located here:

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

2.2 Standalone Mode

The Standalone version of AmpliTube 3 can be used to perform live or in a


recording studio situation, using your computer as a next generation model-
ing effects processor. Using AmpliTube 3 in Standalone Mode allows you to
run the program without the need of a host sequencer application (DAW).

To play live, we strongly recommend that you control AmpliTube 3


(Standalone Mode) with an IK Controller such as StompIO or StealthPedal,
considering that their integration is highly-customized and optimized.

2 - Getting started ­27


AmpliTube 3

2.2.1 Launch AmpliTube 3 Standalone

To launch AmpliTube 3 Standalone go to:

Windows: Start\Programs\AmpliTube 3 icon

Macintosh: Application folder/AmpliTube 3 icon

2.2.2 Audio Configuration

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

In AmpliTube 3, click Audio > Hardware Settings.

Select ASIO (recommended) or DirectX from the top menu.

­28 2 - Getting started


AmpliTube 3

Input Device: your audio interface driver will be automatically selected. If


not, please choose it manually.

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

In AmpliTube 3, click Audio > Hardware Settings.

Input Device: Your audio interface driver will be automatically selected. If


not, please choose it manually.

2 - Getting started ­29


AmpliTube 3

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.

2.2.3 Plug Your Guitar

Now that AmpliTube 3 is installed and your audio interface is configured we


are ready to move forward.

2.2.3.1 Connecting Your Guitar/Bass

Plug your instrument into a Hi-Z Input, Instrument Input, or a Microphone


XLR Input (only if you are using an active DI BOX between the guitar 1/4”
Plug and the Mic XLR input).

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.

2.2.3.2 Adjusting Your Levels

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:

­30 2 - Getting started


AmpliTube 3

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 - Getting started ­31


AmpliTube 3

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…

1. Click the Tuner button located in the Module/Rig Selector.


2. Turn On the Tuner.
3. Play one string at a time and check that the Cents indicator is as
close at 0 as possible, both in the Graphic Tuner Interface and in the
Cents display (figure 2.7).

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…

2.2.4 Hands-on Examples

2.2.4.1 Loading a Preset

To taste AmpliTube 3 “sonic flavors” play one of your favorite songs, 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

If you want to search presets by keywords, attributes, or apply filters to your


search, click Preset Browser and enjoy its smart engine.

­32 2 - Getting started


AmpliTube 3

2.2.4.2 Selecting Amps

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

2.2.4.3 Choosing the Cabinet

Do you want to listen an incredible rotary speaker simulation? No problem.


Click Cab A and select the Rotary 147 model through the Cab Model Selector.
Do you have an “orange”? Yes! Select the 4x12 British Or model and change
the distance and position of the microphones by moving them vertically and
horizontally… you can also add Room Ambience and change the width of the
Room mics… (figure 2.10).

figure 2.10

2 - Getting started ­33


AmpliTube 3

2.2.4.4 Adding Stomp and Rack Effects

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?

­34 2 - Getting started


AmpliTube 3

2.2.5 Four Track Audio Player/Recorder with Speed Trainer

The Four Track Audio Player/Recorder with Speed Trainer is a very 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…

2.2.5.1 Import an Audio File

There are 2 ways to import audio files.

A) Through Load (figure 2.13):

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

2 - Getting started ­35


AmpliTube 3

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

B) Via the drag and drop feature.

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.

­36 2 - Getting started


AmpliTube 3

2.2.5.2 Waveform Display

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

2 - Getting started ­37


AmpliTube 3

2.2.5.3 Using the Transport Bar

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

­38 2 - Getting started


AmpliTube 3

Measure Display: it counts the measures being played, based on the selected
Time Signature (SIGN) (figure 2.29).

figure 2.29

2.2.5.4 Track Controls Description

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.

2 - Getting started ­39


AmpliTube 3

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

­40 2 - Getting started


AmpliTube 3

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

2.2.5.5 Playback Speed

To quickly change the playback speed of all the four tracks click 1/2x, 1x, or
2x. (figure 2.40)

figure 2.40

• 1/2x: half speed


• 1x: normal speed
• 2x: double speed

2 - Getting started ­41


AmpliTube 3

2.2.5.6 Recording

There are 2 easy ways to record in Track 1 (selected and enabled by default):

A) Recording using the AUTO button:

1. Click A (figure 2.41).

figure 2.41

2. Select or create a new folder to save your recordings and click OK


(figure 2.42).
3. When you are ready, start playing. The recording session will begin
automatically.
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.

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:

• Select the track in which you want to record.


• Click its record button.

And then continue with the A or B instructions.

­42 2 - Getting started


AmpliTube 3

Now that you’ve recorded a couple of licks, let’s learn how to work with
audio files.

If you want to:

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.

2 - Getting started ­43


AmpliTube 3

2.2.5.7 Adding Effects

Think AmpliTube 3 as a plug-in processor. You can add one AmpliTube 3


instance per track via the AmpliTube button. This means that you can use
the entire AmpliTube 3 or any of its modules (Stomp, Amp, Cab and Rack) to
process your audio files.

Track 1 is automatically loaded with AmpliTube 3 when the application is


started. This is to avoid you having to manually load AmpliTube 3 each time
when you play live using any of the IK Multimedia hardware interfaces, like
StompIO or StealthPedal.

To activate AmpliTube 3 as a plug-in processor in Track 2:

1. Select Track 2 by clicking on its number (figure 2.44).

figure 2.44

­44 2 - Getting started


AmpliTube 3

2. Click the AmpliTube button, a new AmpliTube 3 instance will open


(figure 2.45). To deactivate it, click AmpliTube again.

figure 2.45

3. To monitor the track with AmpliTube 3 added as effect, click the


On icon (default). To bypass the effect, click On again (figure 2.46).

figure 2.46

Select Track 1 and then Track 2 to visualize and compare the settings of each
AmpliTube 3 instance.

2 - Getting started ­45


AmpliTube 3

2.2.5.8 Managing Your Resources

To optimize your system performance, only Track 1 has the Effect feature
enabled by default.

To preserve your CPU usage, we recommend following these guidelines:

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

An audio file will be created and placed in your recording destination


folder (figure 2.48).

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 what you need:


For example, if you want to add a little bit of ambience to your sound,
you could use the Digital Reverb Rack for example, so you will probably
don’t need the entire AmpliTube 3… just bypass the modules that you
figure 2.48 are not using. Select the Stomp, Amp, or x module via the Module/Rig

­46 2 - Getting started


AmpliTube 3

Selector and click Bypass.

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.

2.2.5.9 Master Volume

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

2 - Getting started ­47


AmpliTube 3

2.2.5.11 Using the Metronome

The Metronome has 5 controls (figure 2.51).

figure 2.51

Metronome: click this button enables/disable the Metronome (figure 2.52).

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

­48 2 - Getting started


AmpliTube 3

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

2.2.5.12 Saving and Loading Your AmpliTube 3 Project Files

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.

Once your AmpliTube 3 project is finished you can save it by pressing


Command-S (on Mac) or CTRL-S on Windows. Alternatively you can select
“Save” from the “File” menu. A Save dialog will appear allowing you to enter
your project name, and to select the destination folder.

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.

If you’re already working on a previously loaded AmpliTube 3 project and


just want to save a variation of it just select “Save As…” from the “File”
menu, type a new name for the project and select a destination folder.

2 - Getting started ­49


AmpliTube 3

2.2.5.13 Project Sample Rate

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.

2.2.6 Status Bar

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

2.3 Plug-In Mode

AmpliTube 3 works as a plug-in inside the most common DAW such as


Pro Tools, Cubase, Logic Studio, Live, Sonar, Digital Performer, Nuendo,
Garageband, Acid Pro, Audition, Mainstage, and others... In short, AmpliTube
3 works in any DAW that supports the following plug-in formats: Audio
Units, VST, RTAS (Mac OS X) – VST, RTAS (Windows).

Considering that DAWs are in constant update, please refer to their User
Manuals to learn how to insert AmpliTube 3 as a plug-in.

­50 2 - Getting started


AmpliTube 3

Chapter 3 Input/Output Bar

3.1 Input/Output Bar

The Input/Output Bar includes a noise gate, tuner and value displays,
volume, pan, 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…

3.2 Input Section


The Input section includes the Input knob and its meter (figure 3.1).

figure 3.1

3.2.1 Input Knob

The Input knob controls the Preset Input Level.

3.2.2 Input Level Meter

The Input Level Meter shows you the input level through a 3 color reference;
green, yellow, and red. Avoid red…

3.3 IK Controller Selector

To control AmpliTube 3 in standalone or plug-in mode and take full advan-


tage of its capabilities, IK Multimedia recommends using the StompIO or
StealthPedal controllers.

To understand how the IK Controller selector works, let’s analyze these


scenarios;

• If you launch AmpliTube 3 after you’ve connected and powered on


your StompIO or StealthPedal, the application will automatically
recognize your controller, so no setup needed.

• If you launch AmpliTube 3 before you’ve connected and powered on


your StompIO or StealthPedal, manually select which controller you

3 - Input/Output Bar ­51


AmpliTube 3

are using via the IK Controller selector and enable it via the On but-
ton (figure 3.2.)

figure 3.2

3.3.1 Using the StompIO/StealthPedal to Control AmpliTube 3

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,

• If you have only one AmpliTube 3 instance opened, the On button


enables/disables the StompIO or StealthPedal controllers.

• If you have 2 or more AmpliTube 3 instances opened, the On button


will allow you to choose which instance to control.

For more information about StompIO and StealthPedal, please read their
related User Manuals.

3.4 Selected Module

The Selected Module section includes the Pan, Volume, Phase, and Mix
controls (figure 3.3).

figure 3.3

­52 3 - Input/Output Bar


AmpliTube 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.

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AmpliTube 3

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.

3.4.5 Implementation Table

AmpliTube 3 Modules
Selected
Modules Tuner Stomp Amp Cab Rack
Control
Pan – – – √ √
Volume √ √ √ √ √
Phase – – – √ –
Mix – – – √ –

3.5 Using Noise Gate

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

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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

3.6 Tuner Display

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

3 - Input/Output Bar ­55


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3.7 Selected Parameter Display

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

3.8 Master Section

The Master Section includes the Master knob and the Output Level Meter
(figure 3.14).

figure 3.14

3.8.1 Master Knob

The Master knob controls the AmpliTube 3 Output level.

3.8.2 Output Level Meter

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.

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3.9 Program Information, Preferences and More

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

However, if you’ve already registered and authorized your product, clicking


on the Lock button will show you the product Serial Number, Digital ID, and
Authorization Code (figure 3.16).

figure 3.16

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3.9.2 Preferences (Prefs)

Use the new Quality Mode feature to automatically optimize your system
(figure 3.17).

figure 3.17

However, if you want to manually change AmpliTube 3 preferences, click


Prefs (figure 3.18) and enable/disable the following options (figure 3.19):

figure 3.18

figure 3.19

­58 3 - Input/Output Bar


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Stomps, Pre and Amp Oversampling:

Enabling oversampling improves the sound quality significantly when the


signal is heavily distorted. However, it will increase your CPU load. If you
use high gain sounds, we suggest enabling the Pre Oversampling option.

Oversampling is enabled by default on Stomps, Preamps and Power


amps when AmpliTube 3 is set to Hi quality.

TIP: you can disable Oversampling when working on a session in real-


time and activate it just before bouncing the final mix.

High Resolution (enabled by default):

Enabling “High Resolution” will improve the dynamic and musical


response of the power amplifiers, but the CPU usage will be somewhat
higher. Please disable High Resolution only if your computer does not
have sufficient CPU power for the current session.

“High Resolution” makes a deeper and more sophisticated usage of IK


Multimedia proprietary DSM technology, which on some amps result
in slightly more compression and stronger/more real saturation of
various amps stages. This means that in certain cases enabling “High
Resolution” might result in a slight decrease of the audio level, as a real
amp does when it starts compressing and saturating in comparison with
a “theoretical” amp, but on the other side the realism, musicality, and
quality will greatly be enhanced.

Amps Reverb:

Real Spring: (enabled by default when AmpliTube 3 is set in Hi quality


mode). When this is enabled Amplifiers with built-in reverb will use a real
spring reverb model, directly taken from each amplifier model. This is the
most realistic option, and each Amplifier will have its own signature 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:

Real Ambience: (enabled by default when AmpliTube 3 is set in Hi


quality mode). AmpliTube 3 will use impulse response (based on real
rooms and spaces) to achieve maximum realism and deepness from
the ambience you’re adding to your sound. This will take a little bit
more CPU power than the Digital option, but it will allow you to choose
between different types of spaces and ambiences delivering an out-
standing sound.

Digital: AmpliTube 3 will use a high-quality digital reverberation algo-

3 - Input/Output Bar ­59


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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.

Mid: offers a very good sound quality at a reasonable CPU usage.

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.

Cabinet Global Bypass:

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:

This option allows you to select the Tempo source.

Host/Global (enabled by default):

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, and it can be set to different values on the metronome “BPM”
value (figure 3.20).

figure 3.20

­60 3 - Input/Output Bar


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The Host/Global BPM value is displayed in the BPM display in gray


(figure 3.21).

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

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 (figure 3.24).

figure 3.24

3 - Input/Output Bar ­61


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3.9.3 Information (Info)

To open the Information page, click Info (figure 3.25).

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

3.9.4 User Area

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

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3.10 MIDI Control, Automation, and Controllers

3.10.1 MIDI

Click MIDI to open the new MIDI Control Panel (figure 3.28).

figure 3.28

For more information, see Chapter 14, “MIDI”.

3.10.2 Automation (Auto)

Click Auto to open the Automation Panel (figure 3.29).

figure 3.29

For more information, see Chapter 13, “Automation”.

3.10.3 Control (Ctrl)

Click Ctrl to open the StealthPedal Control Panel (figure 3.30).

figure 3.30

For more information, see Chapter 15, “Control”.

3 - Input/Output Bar ­63


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Chapter 4 Module/Rig Selector

The Module/Rig Selector (figure 4.1) allows you to:

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).

4.1 Dual Rig Signal Path

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.

4.1.1 Signal Path Presets

To change the signal path of your guitar rig, click each of the Signal Path
Presets’ buttons (figure 4.2).

figure 4.2

Below a brief description of each preset:

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 - Module/Rig Selector ­65


AmpliTube 3

4.1.2 Stereo IN

We have implemented a new full stereo-chain signal path that allows to:

• Use AmpliTube 3 on two instruments simultaneously, each one with


their own rig.
• Use AmpliTube 3 as a true stereo multi-effects unit on every instru-
ment in your DAW session.
• Add AmpliTube 3 effects to your stereo recording of drums, keyboards
and more.

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

4.2 Selecting Modules

To select an AmpliTube 3 module, click on the related button (Tuner, Stomp


A/B, Amp A/B, Cab A/B, and Rack A/B) (figure 4.4).

figure 4.4

The selected module will be displayed in the Module Interface section


(figure 4.5).

figure 4.5

­66 4 - Module/Rig Selector


AmpliTube 3

To Bypass and/or Mute a specific module, select it and click Bypass and/or
Mute (figure 4.6).

figure 4.6

4 - Module/Rig Selector ­67


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Chapter 5 Presets

In this chapter, we will cover all the Preset/Project related functionality.

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

5.1 Preset Selector

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

Presets are organized by “Powered by AmpliTube” applications such as


AmpliTube 2, AmpliTube Jimi Hendrix, AmpliTube Metal, and each applica-
tion has its own sub categorization criteria.

5 - Presets ­69
AmpliTube 3

5.2 Preset Browser

To search presets by keywords, attributes, or apply filters to your search,


click Preset Browser (figure 5.5).

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

The content included in each column is ordered alphabetically. To change


how the content will be displayed (A-Z, Z-A), click on the column name (top
cell) (figure 5.8).

figure 5.8

5 - Presets ­71
AmpliTube 3

5.2.1 Searching Capabilities

AmpliTube 3 allows you to search by keyword and through smart filtering


options.

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

Click Refresh to refresh the Preset Browser (figure 5.11).

figure 5.11

5 - Presets ­73
AmpliTube 3

5.2.2 Filter Options

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
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5.3 Working with Presets

5.3.1 Loading Presets

You can easily load a preset in 2 ways;

A) Via Preset Selector

Click on the Preset Selector, navigate its menus and select a preset.

B) Via Preset Browser

Click the Preset Browser button, search, select a preset by clicking on it


(figure 5.14), and click the Preset Browser button again to see the preset
in the Module Interface.

figure 5.14

5 - Presets ­75
AmpliTube 3

5.3.2 Saving Presets

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
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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

5.3.3 Deleting Presets

To delete a preset, click Delete (figure 5.18).

figure 5.18

5.4 Model Presets

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!

5.4.1 Saving a Model Preset

To save a Stomp Model Preset follow these simple instructions:

1. Right-click (or CTRL-click on Mac) on the body (not on controls) of


the Stomp model and click Save Model Preset.
2. Name your preset and click OK.

To be able to compare between the default settings and the new model
presets we recommend the following:

­78 5 - Presets
AmpliTube 3

1. Right-click (or CTRL-click on Mac) on the body of the Stomp model


(default settings) and click Save Model Preset.
2. Name your preset (e.g., “name of the stomp-default”) and click OK.
3. Change the settings.
4. Right-click on top of the Stomp model (new settings) and click Save
Model Preset.
5. Name your preset (e.g., “name of the stomp-v1”) and click OK.
6. Right-click on top of the Stomp model and select Load Model Preset.
The sub menu will display the default and v1 presets so you are
able to compare them. Now, you can insert more Stomp models in
the other empty slots and repeat the aforementioned steps.

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.

Note: if you right-click on top of a specific control the Assign Automation/


Assign MIDI menu will appear, so right-click anywhere in the Stomp/Rack
model or Amp/Cab modules that is not a control.

5 - Presets ­79
AmpliTube 3

5.4.2 Loading a Model Preset

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

5.4.3 Copy and Paste Settings

AmpliTube 3 allows you to copy and paste settings between Stomp/Rack


model and Amp/Cab module presets.

After you’ve saved two or more model presets, follow these steps:

1. Right-click on top of the Rack model and click Copy Settings.


2. Right-click on top of the Rack model, select Load Model Presets and
click one of the presets.
3. Right-click on top of the Rack model and click Paste Settings.

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.

5.5 Presets and Projects Saving Options

You already know how to save a Model Preset, a Preset, and a Project, so let’s
summarize what they are saving:

Model Preset: A model preset saves the Stomp/Rack individual models’


settings, e.g., an Overdrive stomp or a Digital Delay rackmount. If you are

­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

The BPM display is included in the Preset Manager (figure 5.20).

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
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Chapter 6 Tuner Module

The Tuner is the first module. On the Module/Rig Selector, click Tuner to
open its interface (figure 6.1).

figure 6.1

Considering that this is a fully automatic chromatic tuner, there is no need to


manually select the note you are going to tune. The tuner will automatically
detect and show which note you’re playing.

6.1 On/Off Switch

This switch turns the Tuner Module On/Off (figure 6.2).

figure 6.2

6 - Tuner Module ­83


AmpliTube 3

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

6.4 Graphical Tuner Interface

AmpliTube 3’s Graphical Tuner Interface is based on a high-end rackmount tuner


and allows you to tune your instrument fast and accurately (figure 6.5).

figure 6.5

­84 6 - Tuner Module


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6.5 Tune Display

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

6.6 Cents Display

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

Note: in music, a cent is 1/100 of a semitone. Cents are a convenient way of


describing small increments of pitch.

6 - Tuner Module ­85


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­86 6 - Tuner Module


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Chapter 7 Stomp Module (Stomp Effects)

7.1 Selection and Navigation Options

The second module in AmpliTube 3 is the Stomp module.

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

7 - Stomp Module ­87


AmpliTube 3

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

Another navigation option is to scroll through the different stomp boxes


using the Up/Down arrows (figure 7.7).

figure 7.7

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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).

figure 7.8 figure 7.9 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

7.2 Drag & Drop feature

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?

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7.3 Stomp Models

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

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7.3.1.2 EchoMan

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


stomp pedal effect (figure 7.13).

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

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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.

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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

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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:

• 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.

figure 7.16

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7.3.2.3 Diode Overdrive

A model of a classic overdrive stomp effect (figure 7.17).

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

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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

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7.3.2.5 Feedback

This effect, modeled after a hard-to-find vintage unit, includes a built-in


oscillator for infinite sustain. Hold notes to create amazing synth-like
sounds or boost solos for more cutting tone, combined with classic distortion
timbres (figure 7.19).

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

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7.3.2.6 Metal Distortion

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

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7.3.2.7 Metal Distortion 2

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

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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

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7.3.2.9 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
(figure 7.23).

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.

figure 7.23

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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:

• DIST: controls the amount of distortion the pedal gives.


• VOLUME: controls the PROdrive pedal output level. It does not alter
the timbre of the distortion.
• FILTER: controls the timbre of the PROdrive pedal.

figure 7.24

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7.3.2.11 The Ambass’dor

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


known for making amps with amazing distortion. This model packs a whole
powerful amp into a single stomp box (figure 7.25).

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.

figure 7.25

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7.3.3 Dynamics

7.3.3.1 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 (figure 7.26).

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.

figure 7.26

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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

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7.3.4 EQ

7.3.4.1 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 (figure 7.28).

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.

figure 7.28

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7.3.4.2 10 Band Graphic

IK Multimedia proprietary 10 Band Graphic EQ. (figure 7.29)

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

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7.3.5 Filter

7.3.5.1 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 (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

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7.3.5.2 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 (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

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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:

• 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
figure 7.32 possible. If you want to set another scale and want to remove notes
from the chromatic scale just open this menu and leave on only the
notes you need.
• FILTER: determines the brightness of the resonating voices, from dark
(lower positions) to bright (upper positions).
• MIX: sets the amount of resonating notes you want to hear. When the
control is at min you’ll only hear the original sound, when fully up
you’ll only hear the effected sound.
• OUT: the resonating notes can become very loud. Use this control to
adjust the overall output level of the Rezonator.

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7.3.5.4 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 (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.

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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

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7.3.5.6 Wah 10

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


tiple feedback opamp circuit, the pedal modeled here is a very expressive
and unique wah pedal (figure 7.35).

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

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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

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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

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7.3.6 Fuzz

7.3.6.1 Class 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

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7.3.6.2 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 (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

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7.3.6.3 Fuzz Age 2

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

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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

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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

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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:

• VOLUME: sets the output volume of the stomp effect, from 1 to 6.


• DEPTH: sets the timbre of the distortion, from 1 to 6.

figure 7.43

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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

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7.3.7 Modulation

7.3.7.1 Analog Flanger

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:

• MANUAL: sets the timbre of the flanging effect.


• DEPTH: sets the amount of modulation the LFO will apply to the
flanging effect. If Depth is zero, you’ll get a “static” flanging effect.
• RATE: sets the speed of the LFO modulation that will be applied to
the flanging effect.
• RES: sets the resonance the flanger effect will produce.

figure 7.45

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7.3.7.2 Chorus

This chorus is modeled after a classic Digital Chorus stomp box (figure 7.46).

Controls:

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


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

figure 7.46

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7.3.7.3 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 (figure 7.47).

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

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7.3.7.4 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 (figure
7.48).

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.

figure 7.48

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7.3.7.5 Flanger

This stomp box is a model of a classic Flanger effect (figure 7.49).

Controls:

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


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

figure 7.49

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7.3.7.6 Metal Flanger

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:

• MANUAL: sets the timbre of the flanging effect.


• WIDTH: sets the amount of modulation the LFO will apply to the
flangἀing effect. If Width is zero, you’ll get a “static” flanging effect.
• SPEED: controls the amount of high tones on the sound.
• REGEN: sets the amount of feedback the internal flanger effect will
have.

figure 7.50

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7.3.7.7 Opto Tremolo

This model is based on a vintage Opto-Tremolo effect (figure 7.51).

Controls:

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


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

figure 7.51

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7.3.7.8 Phaze Nine

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:

• SPEED: controls the phase LFO rate.

figure 7.52

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7.3.7.9 Phazer10

A model of a classic analog multimode Phaser stomp box (figure 7.53).

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

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7.3.7.10 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 (figure 7.54).

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.

figure 7.54

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7.3.7.11 Uni-V

This effect is based on an original optical phaser/chorus. This was a chorus/


rotating-speaker simulator that was introduced in 1969 and used predomi-
nantly in live performances. This created a swirling effect quite similar to the
most famous rotary speaker cabinet but with the addition of speed control.
This effect was employed on tracks such as “Hey Baby (The Land of the New
Rising Sun),” “Earth Blues,” and “Machine Gun” (figure 7.55).

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

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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

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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

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7.3.8.3 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 (figure 7.58).

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.

figure 7.58

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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

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7.3.9 Other

7.3.9.1 Volume

This model is a traditional volume pedal (figure 7.60).

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

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7.3.9.2 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 (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

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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

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7.4 Stomp Models (Table)

Stomp Models Based on*


Delay
Delay IK Multimedia
EchoMan Electro Harmonix® Memory Man™
TapDelay IK Multimedia
Distortion
BigPig Electro Harmonix® Big Muff Pi™
Crusher IK Multimedia
Diode Overdrive IK Multimedia
Distortion Boss® DS-1™ Distortion
Feedback Boss® DF-2™ Super feedbacker & Distortion
Metal Distortion Boss® MT-2™ Metal-Zone
Metal Distortion 2 Boss® HM-2™ Heavy Metal
Overdrive Boss® SD-1™ Distortion
OverScream Ibanez® Tube Screamer® TS-9™
PROdrive Pro Co RAT™ Distortion
The Ambass’dor Marshall® Guv'Nor™
Dynamics
Compressor IK Multimedia
Dcomp MXR® Dynacomp™
EQ
7 Band Graphic IK Multimedia
10 Band Graphic IK Multimedia
Filter
Envelope Filter IK Multimedia
LFO Filter IK Multimedia
Rezo IK Multimedia
Step Filter IK Multimedia
Wah IK Multimedia
Wah 10 Ibanez® WH-10™
Wah 46 Vox® Wah V846™
Wah 47 Vox® Wah 847™
Fuzz
Class Fuzz Roger Mayer™ Classic Fuzz®
Fuzz Age Arbiter® Fuzz Face®
Fuzz Age 2 Arbiter® Fuzz Face®

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FuzzOne Maestro® FuzzTone™


Octa-V Roger Mayer™ Octavia®
RightFuzz Mosrite® Fuzzrite®
XS Fuzz Roger Mayer™ Axis Fuzz®
Modulation
Analog Flanger Boss® BF-2™ Flanger
Chorus IK Multimedia
Chorus-1 Boss® CE-1™ Chorus
Electric Flanger Electro-Harmonix® Electric Mistress™
Flanger IK Multimedia
Metal Flanger MXR® Flanger 117™
Opto Tremolo Fender® Super Reverb® Amp Opto-Tremolo™
Phaze Nine MXR® Phase 90™
Phazer10 MXR® Phase 100™
Small Phazer Electro-Harmonix® Small Stone™
Uni-V Univox™ Uni-vibe™
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

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

ARBITER® FUZZ FACE® is a registered trademark of Arbiter Group Plc.


BOSS®, DS-1™, DF-2™, MT-2™, HM-2™, SD-1™, BF-2™, CE-1™, OC-2™ are trademarks or regis-
tered trademarks of Roland Corporation.
DIGITECH® WHAMMY™ WH-1™ is a registered trademark of Harman International Industries,
Incorporated.
ELECTRO-HARMONIX®, Memory Man™, Big Muff Pi™, 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.
MAESTRO® FUZZTONE™ is a registered trademark of Gibson Electronics.
MARSHALL®, Guv’Nor™ are trademarks or registered trademarks of Marshall Amplification Plc.
MOSRITE® is a registered trademark of Loretta Moseley.
MXR®, Dynacomp™, Flanger 117™, Phase 90™, Phase 100™ are trademarks or registered trade-

­142 7 - Stomp Module


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marks of Applied Research and Technology, Inc.


PRO CO RAT™ is a trademark of ProCo Sound, Inc.
ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and registered trade-
marks of Roger Mayer.
UNI-VIBE™ is a trademark of Korg USA Corporation.
UNIVOX™ is a trademark of Korg USA Corporation.
VOX®, Wah V846™, Wah 847™ are trademarks or registered trademarks of VOX Amplification
Ltd.

7 - Stomp Module ­143


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Chapter 8 Amp Module (Amp Head)

8.1 Introduction

AmpliTube 3 includes 31 amps organized in 4 categories: Clean, Crunch,


Lead, and Bass. Each of the modeled amps is a true representation of the
original hardware units and an invaluable addition to your sonic arsenal.

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

To facilitate the amplifier models navigation, please read the following


universal controls descriptions.

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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

The EQ match control automatically selects the EQ section associated to the


selected preamp (figure 8.4). This is useful to quickly select a specific guitar
amp with its related EQ Model.

figure 8.4

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8.4 Amp Match

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”…

8.5 Amp Model Types and Components


Several AmpliTube 3 amp models (typically those that were already included
in AmpliTube 2, AmpliTube Jimi Hendrix and some of the amps included in
AmpliTube Metal) contain separate stages modeling that can be individu-
ally selected. In these cases, the Amp module is divided into three separate
models Pre, EQ, and (Power) Amp. This allows you to design custom amps
choosing different components from a variety of top-notch amplifiers.

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.

Award-winning “Powered by AmpliTube” products like AmpliTube Fender or


Ampeg SVX used this solution to achieve maximum accuracy while model-
ing the original amps.

8 - Amp Module ­147


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8.5.1 Pre Model

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

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8.5.3 Amp Model

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

Below is a brief description of each Pre Amp Models.

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8.6 Pre Amp Models

8.6.1 Clean

8.6.1.1 American Clean MKIII

This is a model of the clean channel from a popular and sought 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.

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• SHIFT: modifies the frequencies where the Bass control works.


• BASS: sets the amount of low frequencies on the sound.
• MIDDLE: sets the amount of mid frequencies on the sound.
• MASTER: determines the level that is sent to the power amp. Turning
this knob up, makes the power amp to saturate and produce great
crunch sounds.
• RHYTHM 2: when enabled the preamp has more gain, and it is there-
fore possible to obtain extremely musical and sweet crunch sounds.
• DEEP: when enabled the bass response of the amplifier is extended.
• EQ: enables the graphic EQ.
• EQ BANDS: these sliders can control the equalization of the amp on
5 distinct frequencies areas. You’ll find it extremely musical and a
powerful sound sculpting tool.
• PRESENCE: when turned up the amp becomes more present and
brighter.
• REVERB: controls the amount of reverb coming from the internal
spring unit.

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8.6.1.2 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 (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.

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8.6.1.3 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 (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.

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8.6.1.4 American Vintage B

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.

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8.6.1.5 American Vintage D

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.

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8.6.1.6 American Vintage T

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.

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8.6.1.7 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 (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.

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8.6.1.8 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 ana-
log chorus and vibrato unit that really made this amp a classic (figure 8.16) .

figure 8.16

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:

• BRIGHT: boosts brilliance of the preamp, especially when the Volume


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

­158 8 - Amp Module


AmpliTube 3

8.6.1.9 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 (figure 8.17).

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 - Amp Module ­159


AmpliTube 3

8.6.2 Crunch

8.6.2.1 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 (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.

­160 8 - Amp Module


AmpliTube 3

8.6.2.2 British Blue Tube 30TB

This is a model of a legendary British amplifier which is one of the most


widely recognizable and popular amps of all time. Throughout its life, its
legendary tone helped to put many of rock’s founding fathers (including 4
guys from Liverpool) on the map and has been a highly sought after sound
that is still heard on many albums today (figure 8.19).

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.

8 - Amp Module ­161


AmpliTube 3

8.6.2.3 British Copper 30TB

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.

­162 8 - Amp Module


AmpliTube 3

8.6.2.4 British Lead S100

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 - Amp Module ­163


AmpliTube 3

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.

­164 8 - Amp Module


AmpliTube 3

8.6.2.6 THD Bi-Valve

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.

8 - Amp Module ­165


AmpliTube 3

8.6.2.7 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 (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.

­166 8 - Amp Module


AmpliTube 3

8.6.3 Lead

8.6.3.1 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 (figure 8.25).

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.

8 - Amp Module ­167


AmpliTube 3

• BASS: sets the amount of low frequencies on the sound.


• MIDDLE: sets the amount of mid frequencies on the sound
• BRIGHT: boosts brilliance of the preamp, especially when the Volume
control is kept low.
• SHIFT (BASS): modifies the frequencies where the Bass control works.
• SHIFT (TREBLE): modifies the frequencies where the Treble control
works.
• RHYTHM 2: when enabled the preamp has even more gain, and
slightly changes its tonal character.
• DEEP: when enabled the bass response of the amplifier is extended.
• EQ: enables the graphic EQ.
• PRESENCE: when turned up the amp becomes more present and
brighter.
• REVERB: controls the amount of reverb coming from the internal
spring unit.

­168 8 - Amp Module


AmpliTube 3

8.6.3.2 British Tube Lead 1

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

8 - Amp Module ­169


AmpliTube 3

8.6.3.3 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 (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.

­170 8 - Amp Module


AmpliTube 3

8.6.3.4 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
(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.

8 - Amp Module ­171


AmpliTube 3

8.6.3.5 Custom Solid State Fuzz

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

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.

­172 8 - Amp Module


AmpliTube 3

8.6.3.6 Custom Solid State Lead

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

8 - Amp Module ­173


AmpliTube 3

8.6.3.7 Metal Lead T

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.

­174 8 - Amp Module


AmpliTube 3

8.6.3.8 Metal Lead V

Engineered to the exacting demands of some of the greatest guitarists of


all time, this amp quickly became a favorite of tone purists and gain heads
alike. Capable of some of the cleanest – or the heaviest – tones of all time
(figure 8.32).

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.

8 - Amp Module ­175


AmpliTube 3

8.6.3.9 Metal Lead W

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.

­176 8 - Amp Module


AmpliTube 3

8.6.3.10 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 (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.

8 - Amp Module ­177


AmpliTube 3

8.6.3.11 Vintage Metal Lead

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.

­178 8 - Amp Module


AmpliTube 3

8.6.4 Bass

8.6.4.1 360Bass Preamp

This amp toured and recorded for years with one of the biggest and 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:

• BRIGHT: boosts brilliance of the preamp, especially when the Volume


control is kept low.
• VOLUME: sets the overall volume of the amp. Set it low for pure and
clean tones and push it for driven sounds.
• TREBLE: sets the amount of mid and high frequencies on the sound.
• BASS: sets the amount of low frequencies on the sound.
• RANGE: forms a semi-parametric midrange equalizer together with
Effect. Use the Range control to select the center frequency of the mid
frequency equalization process among 5 positions.
• EFFECT: forms a semi-parametric midrange equalizer together with
Range. Use Effect boost or cut the midrange frequencies selected
with the Range control.
• FUZZ: turns On the built-in Fuzz effect.
• GAIN: sets the output volume of the Fuzz effect.
• ATTACK: sets the type of Fuzz effect that is applied. When set to Min
the sound is similar to a smooth overdrive, when moved toward max
the sound gets more aggressive and fuzzy.

8 - Amp Module ­179


AmpliTube 3

8.6.4.2 Combo 150MB

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:

• VOLUME: sets the gain of the preamp stage.


• CONTOUR: set it at min for a flat and natural sound, rise it to gradu-
ally mix in a midrange scoop that makes the tone more big and “pro-
cessed.”
• HI BOOST: delivers a gradual boost on mid and high frequencies.
• LOW CUT ON/OFF: when enabled extremely low frequencies are
removed by the preamp. This is to avoid overloading the amp because
of unwanted low frequencies content.
• TREBLE: sets the amount of high frequencies on the sound.
• HI MIDDLE: sets the amount of mid high frequencies on the sound.
• LOW MIDDLE: sets the amount of mid low frequencies on the sound.
• BASS: sets the amount of low frequencies on the sound.
• OUTPUT LEVEL: sets the volume of the power amp stage.
• LIMITER: enables the built-in Limiter. When enabled the power amp
is protected from overloading.
• LIMITER LEVEL: sets the threshold for the limiter to trigger in. When
set lower the limiter will trigger in sooner, and when set to higher
values the limiter will trigger in at higher levels.

­180 8 - Amp Module


AmpliTube 3

8.6.4.3 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 (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

• GRAPHIC EQUALIZATION: turns On the graphic EQ when enabled.


• MIDDLE CUT PRE-SHAPING: engages a mid frequency shaping that’s
very characteristic of this amp. When it is Off, the preamp is almost
flat and natural sounding.
• GAIN: sets the preamp input gain. Follow what the fancy input level
LED meter tells… and you can’t go wrong! Unless you want overdrive
it!
• GRAPHIC EQUALIZATION: 11 sliders to create your tone. Only a few
graphic EQ have the musical quality of this powerful sculpting tool.
• BALANCE: it balances the levels when you engage or disable the
Graphic EQ.
• LEVEL: overall amp volume. It sets the level that is sent to the power
amp stage.

8 - Amp Module ­181


AmpliTube 3

8.6.4.4 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 (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.

­182 8 - Amp Module


AmpliTube 3

8.7 Pre Amp Models (Table)

Preamp 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
American Vintage B Fender® Bassman®
American Vintage D Fender® Dual Showman®
American Vintage T Fender® Twin Reverb®
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 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® Mark III™ 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

8 - Amp Module ­183


AmpliTube 3

8.8 Power Amp Models

Power Amp Models Based on*


Class A EL84 Vox® AC30™ models
50W EL34 Marshall®
100W EL34 Marshall® JMP100™ head
50W 6L6 Fender® DeLuxe Reverb® 65
Single Ended CI. A Supro® Late '50s combo
Solid State Clean Solid State Power Amp
100W KT66 Marshall® 1959 JTM100™ Super Lead
100W 6L6 Fender® Bassman® 100W 6L6
100W 6L6 D Fender® Dual Showman® 100W 6L6
100W 6L6 T Fender® Twin® 100W 6L6
100W 6L6V Peavey® 5150® 100W head
150W 6L6MT Mesa/Boogie® Triple Rectifier® 150W
* 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.

ACOUSTIC®, 360™ are trademarks of Guitar Center, Inc.


FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB®, DUAL SHOWMAN®, TWIN
REVERB®, TWIN® are registered trademarks of Fender Musical Instruments Corporation.
GALLIEN-KRUEGER® MB150™ is a registered trademark of Gallien-Krueger Corporation.
MARSHALL®, 1959 JTM100™ Super Lead, JMP100™, JCM800™, JCM900™, Guv’Nor™ are trade-
marks or registered trademarks of Marshall Amplification Plc.
MESA/BOOGIE®, Rectifier®, Mark III™, are trademarks of Mesa/Boogie Ltd.
ORANGE®, OR-120™are trademarks or registered trademarks property of Orange Music
Electronic Company Ltd
PEAVEY® is a registered trademark of Peavey Electronics Corporation.
RANDALL®, Warhead™ are trademarks or registered trademarks of Randall Amplifiers a division
of U.S. Music Corp.
SUPRO® is a trademark of Zinky Electronics.
THD® BiValve™ is a trademark of THD Electronics Ltd.
TRACE ELLIOT® AH250™ is a registered trademark of Peavey Electronics Corporation.
VOX®, AC30™, Wah V846™, Wah 847™ are trademarks or registered trademarks of VOX
Amplification Ltd.
5150® is a registered trademark of Edward Van Halen.

­184 8 - Amp Module


AmpliTube 3

Chapter 9 Cab Module (Cabinets + Microphones)

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

9 - Cab Module ­185


AmpliTube 3

9.2 Cabinet Model

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

9.2.1 Cab Model Selector

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

­186 9 - Cab Module


AmpliTube 3

9.2.2 Bypass

Click this button to bypass the Cab module (figure 9.6).

figure 9.6

9.2.3 Match

If the Match control is enabled (figure 9.7), it will automatically select a


cabinet that matches the Amp model that you have selected in the Amp
module. If you want to use another cabinet, just turn the Cab match Off and
select another model.

figure 9.7

9.2.4 Size

AmpliTube 3 allows you to go beyond the cabinet physical limitations… Just


use the Size control to expand or reduce the size of the cabinet. (figure 9.8)

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 Cabinet Models

AmpliTube 3 offers 45 cabinet models organized by Instrument (Guitar/


Bass) and by Speaker Type (Rotary). The Guitar/Bass categories are sub-
organized by speaker size, and the Rotary category includes 2 models.
Please take a look at each model and check the Cabinet Models Table.

9 - Cab Module ­187


AmpliTube 3

9.3.1 Guitar 6”

9.3.1.1 1x6 Small Combo

figure 9.9

9.3.2 Guitar 10”

9.3.2.1 1x10 Combo Modern

figure 9.10

­188 9 - Cab Module


AmpliTube 3

9.3.2.2 4x10 Closed Modern

figure 9.11

9.3.2.3 4x10 Open Vintage

figure 9.10

9 - Cab Module ­189


AmpliTube 3

9.3.3 Guitar 12”

9.3.3.1 1x12 Combo

figure 9.13

9.3.3.2 1x12 MB II

figure 9.14

­190 9 - Cab Module


AmpliTube 3

9.3.3.3 1x12 MB III

figure 9.15

9.3.3.4 1x12 Open Modern

figure 9.11

9 - Cab Module ­191


AmpliTube 3

9.3.3.5 1x12 Open Vintage

figure 9.17

9.3.3.6 2x12 Closed Vintage

figure 9.18

­192 9 - Cab Module


AmpliTube 3

9.3.3.7 2x12 Gry British Vint

figure 9.19

9.3.3.8 2x12 JP Jazz

figure 9.20

9 - Cab Module ­193


AmpliTube 3

9.3.3.9 2x12 Open SL

figure 9.21

9.3.3.10 2x12 Open TJ120

figure 9.22

­194 9 - Cab Module


AmpliTube 3

9.3.3.11 2x12 Open Vintage

figure 9.23

9.3.3.12 4x12 British Or

figure 9.24

9 - Cab Module ­195


AmpliTube 3

9.3.3.13 4x12 Closed 25 C

figure 9.25

9.3.3.14 4x12 Closed 75 C

figure 9.26

­196 9 - Cab Module


AmpliTube 3

9.3.3.15 4x12 Closed J120

figure 9.27

9.3.3.16 4x12 Closed Modern 1

figure 9.28

9 - Cab Module ­197


AmpliTube 3

9.3.3.17 4x12 Closed Modern 2

figure 9.29

9.3.3.18 4x12 Closed Vintage 1

figure 9.30

­198 9 - Cab Module


AmpliTube 3

9.3.3.19 4x12 Closed Vintage 2

figure 9.31

9.3.3.20 4x12 Metal F 1

figure 9.32

9 - Cab Module ­199


AmpliTube 3

9.3.3.21 4x12 Metal F 2

figure 9.33

9.3.3.22 4x12 Metal T 1

figure 9.34

­200 9 - Cab Module


AmpliTube 3

9.3.3.23 4x12 Metal T 2

figure 9.35

9.3.3.24 4x12 Metal T 3

figure 9.37

9 - Cab Module ­201


AmpliTube 3

9.3.3.25 4x12 Metal V 1

figure 9.37

9.3.3.26 4x12 Metal V 2

figure 9.38

­202 9 - Cab Module


AmpliTube 3

9.3.3.27 4x12 Metal V 3

figure 9.39

9.3.3.28 4x12 Modern M 1

figure 9.40

9 - Cab Module ­203


AmpliTube 3

9.3.3.29 4x12 Modern M 2

figure 9.41

9.3.3.30 4x12 Modern M 3

figure 9.42

­204 9 - Cab Module


AmpliTube 3

9.3.3.31 4x12 Vintage M 1

figure 9.43

9.3.3.32 4x12 Vintage M 2

figure 9.44

9 - Cab Module ­205


AmpliTube 3

9.3.4 Guitar 15”

9.3.4.1 2x15 Closed B J130

figure 9.45

9.3.4.2 2x15 Closed D J130

figure 9.46

­206 9 - Cab Module


AmpliTube 3

9.3.5 Bass 10”

9.3.5.1 4x10+tw Bass

figure 9.47

9.3.5.2 4x10+tw TE Bass

figure 9.48

9 - Cab Module ­207


AmpliTube 3

9.3.6 Bass 12”

9.3.6.1 1x12 Bass

figure 9.49

9.3.6.2 1x12 BassJz

figure 9.50

­208 9 - Cab Module


AmpliTube 3

9.3.7 Bass 15”

9.3.7.1 1x15 Bass Vintage

figure 9.51

9.3.8 Bass 18”

9.3.8.1 1x18 Horn Bass

figure 9.52

9 - Cab Module ­209


AmpliTube 3

9.3.9 Rotary

9.3.9.1 Rotary 147-1

figure 9.53

9.3.9.2 Rotary 147-2

figure 9.54

­210 9 - Cab Module


AmpliTube 3

9.4 Cabinet Models (Table)

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 SL Sears® Silvertone® 2x12”
2x12 Open TJ120 Fender® Twin® 2x12” JBL® D120F
2x12 Open Vintage Vox® AC30 '60s Bluebacks
4x12 British Or 4x12" Orange® PPC412™
4x12 Closed 25 C Marshall® 4x12”, Greenbacks
4x12 Closed 75 C Marshall® 4x12”, G12 75
4x12 Closed J120 Marshall® 4x12”, JBL® D120F
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 Metal F 1 Fender ® 4x12 MH™ 1
4x12 Metal F 2 Fender ® 4x12 MH™ 2
4x12 Metal T 1 Mesa/Boogie ® 4x12” Rectifier® 1
4x12 Metal T 2 Mesa/Boogie ® 4x12” Rectifier® 2
4x12 Metal T 3 Mesa/Boogie ® 4x12” Rectifier® 3
4x12 Metal V 1 Peavey ® 5150® 4x12” 1
4x12 Metal V 2 Peavey ® 5150® 4x12” 2
4x12 Metal V 3 Peavey ® 5150® 4x12” 3
4x12 Modern M 1 Marshall ® 4x12” JCM800 1

9 - Cab Module ­211


AmpliTube 3

4x12 Modern M 2 Marshall ® 4x12” JCM800 2


4x12 Modern M 3 Marshall ® 4x12” JCM800 3
4x12 Vintage M 1 Marshall ® 1960 4x12” 1
4x12 Vintage M 2 Marshall ® 1960 4x12” 2
Guitar 15”
2x15 Closed B J130 Fender® Bassman® 2 x15”, JBL® D130F
2x15 Closed D J130 Fender® Dual Showman® 2x15”, JBL® D130F
Bass 10”
4x10+tw Bass SWR® Goliath™ 4x10
4x10+tw TE Bass Trace Elliot® 4x10"
Bass 12”
1x12 Bass Custom Bass 1x12
1x12 BassJz Gallien-Krueger® 1x12" MB150
Bass 15”
1x15 Bass Vintage Ampeg® B15R™ 15”
Bass 18”
1x18 Horn Bass Acoustic® 301™ Folded Horn 18”
Rotary
Rotary 147-1 Leslie® 147™ original AlNiCo woofer
Rotary 147-2 Leslie® 147™ modern replacement woofer

* 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.

ACOUSTIC®, 301™ are trademarks of Guitar Center, Inc.


AMPEG®, B15R™ are trademarks of LOUD Technologies, Inc.
FENDER®, BASSMAN®, SUPER REVERB®, DUAL SHOWMAN®, TWIN®, MH™ 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.
ORANGE®, PPC412™ are trademarks or registered trademarks property of Orange Music
Electronic Company Ltd.
ROLAND®, JC-120™ are registered trademarks of Roland Corporation.
SEARS® is a registered trademark of Sears Brand, LLC.
SILVERTONE® is a registered trademark of Samick Music Corporation.
SWR®, Goliath™ are trademarks of SWR Sound Corporation.
TRACE ELLIOT® is a registered trademark of Peavey Electronics Corporation.
VHT® Pitbull™is a trademark of VHT Amplification, Inc.
VOX®, AC30™ are trademarks or registered trademarks of VOX Amplification Ltd.

­212 9 - Cab Module


AmpliTube 3

9.5 Mic Model

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.

Below, a brief description of each control.

9 - Cab Module ­213


AmpliTube 3

9.5.1 Mic Model Selector

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.

­214 9 - Cab Module


AmpliTube 3

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 - Cab Module ­215


AmpliTube 3

9.5.2 Position

To change the position of the microphone in relationship to the cone of the


speaker, move the microphone (or its identification number located in the
spatial graphic) (figure 9.59) from left to right (or vice versa) until you find
the sweet spot. In other words, you will be able to change the microphone’s
position from off axis (outside edge of the speaker) to on axis (center) and
everything in between.

figure 9.59

figure 9.60

On-Axis means that the microphone is positioned in the center of the


speaker. (figure 9.60) Typically, On Axis position delivers a rich tonal bal-
ance, with presence and high-frequency content. However, this could be too
bright or harsh for some Amp settings. In this case, try the Off Axis position
to obtain a sweeter tone.

­216 9 - Cab Module


AmpliTube 3

Off-Axis means that the microphone is positioned at the outside edge of the
speaker. (figure 9.61)

figure 9.61

9 - Cab Module ­217


AmpliTube 3

9.5.3 Distance

To change the distance of the microphone in relationship to the speaker,


move the microphone Up (Near) (figure 9.62) or Down (Far) (figure 9.63) or
vice versa until you find the proper distance.

figure 9.62

figure 9.63

To summarize, moving the microphone horizontally will change its position


(On/Off axis) and moving it vertically will change its distance (Near/Far).

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.

In general, extremely high-gain sounds match well together with an


Off-Axis position and Near distance settings, (especially if you are using
a bright microphone like the Dynamic 57).

­218 9 - Cab Module


AmpliTube 3

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 - Cab Module ­219


AmpliTube 3

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

­220 9 - Cab Module


AmpliTube 3

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

Tip: when combining two microphones it is sometime very useful to slightly


“open” their Pan controls. This can result in some extremely realistic and
nicely 3D sounding tones that can fit better in the mix because they can take
advantage of spatial “cut trough” in addition to 2D normal panning.

9.5.8 Mic Blend

To combine both microphone settings, move the Mic Blend slider to your
desired position (figure 9.68).

figure 9.68

9 - Cab Module ­221


AmpliTube 3

9.6 Microphone Models

AmpliTube 3 offers microphone models organized in 3 categories, Dynamic,


Condenser, and Ribbon.

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.

­222 9 - Cab Module


AmpliTube 3

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

9 - Cab Module ­223


AmpliTube 3

9.6.1.3 Vintage Dynamic 20

This model is a vintage dynamic large diaphragm microphone that used


to be the standard mic for bass amps and kick drums during the ‘60s. It’s
warm and present, and has a smooth roll-off at high frequencies. It has a
very pleasant mid range presence together with a smooth high frequencies
rolloff that delivers a nice vintage sheen to the tone (figure 9.71).

figure 9.71

­224 9 - Cab Module


AmpliTube 3

9.6.1.4 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 (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.

9 - Cab Module ­225


AmpliTube 3

9.6.1.5 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 (figure 9.73).

figure 9.73

­226 9 - Cab Module


AmpliTube 3

9.6.1.6 Dynamic 609

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 - Cab Module ­227


AmpliTube 3

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

Extremely detailed high frequencies can sometimes emphasize some speak-


ers’ fizziness especially when placed on axis, so it is typically used slightly
off.

­228 9 - Cab Module


AmpliTube 3

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 - Cab Module ­229


AmpliTube 3

9.6.2.3 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 (figure 9.77).

figure 9.77

­230 9 - Cab Module


AmpliTube 3

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

9 - Cab Module ­231


AmpliTube 3

9.6.2.5 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 transfor-
merless technology, this microphone came into the world boasting a very
high-quality sound with low noise and a very impressive dynamic range
(figure 9.79).

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.

­232 9 - Cab Module


AmpliTube 3

9.6.2.6 Condenser 414

The Condenser 414 is modeled after another highly regarded large dia-
phragm condenser microphone (figure 9.80). It is a flat and clean/open
microphone that will flatter big full tones and will also blend beautifully
when combined with another cabinet/mic setup.

figure 9.80

9 - Cab Module ­233


AmpliTube 3

9.6.3 Ribbon

9.6.3.1 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
(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.

­234 9 - Cab Module


AmpliTube 3

9.6.3.2 Ribbon 160

This mic is modeled after a double-ribbon hypercardioid microphone, one


of the top choices for capturing the sound of a broad diversity of sources
(figure 9.82).

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 - Cab Module ­235


AmpliTube 3

9.6.3.3 Velo-8

This is a double-ribbon figure-8 microphone with a unique Neodymium


element (figure 9.83). 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.

figure 9.83

­236 9 - Cab Module


AmpliTube 3

9.7 Microphone Models (Table)

Mic Model Based on*


Dynamic
Dynamic 57 Shure® SM57™
Dynamic 20 Electro-Voice® RE20™
Vintage Dynamic 20 AKG® D20™
Dynamic 421 Sennheiser® MD-421™
Dynamic 441 Sennheiser® MD-441™
Dynamic 609 Sennheiser® MD609™
Condenser
Condenser 12 AKG® C12™
Condenser 67 Neumann® U67
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 160 Beyerdynamic® M160™
Ribbon Velo-8 Groove Tubes® Velo-8™

* 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 - Cab Module ­237


AmpliTube 3

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

­238 9 - Cab Module


AmpliTube 3

9.8.1 Room Type Selector

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 - Cab Module ­239


AmpliTube 3

9.8.2 Mute

Click this button to Mute the Room section (figure 9.87).

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

­240 9 - Cab Module


AmpliTube 3

9.8.4 Phase

Click this button to change the Room’s Phase (figure 9.89).

figure 9.89

9 - Cab Module ­241


AmpliTube 3

9.8.5 Room Mics Controls

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

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Use this control to set the Stereo image width that will be produced by the
ambience signal.

When set to default (Center), the ambience will be producing a natural


stereo room sound.

If lowered, the image will gradually narrow up to become completely mono


at the minimum position.

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.

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9.8.6 Room Type Presets

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

9.9 Rotary Speaker

figure 9.96

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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.

9.9.2 Rotary Speaker Models

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.

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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

When set to default (Center) the Rotary speaker is producing a convincing


and natural stereo image.

If lowered, the image will gradually narrow up to become completely mono


at the minimum position.

If increased, the image will be expanded causing the impression of the


stereo field to be wider than the speakers. Be careful not to overdo this
because the sound might be cancelled (or partially cancelled) when listen-
ing in mono.

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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

At default (center) position the sound is usually balanced, moving the


control toward the minimum position makes the level of the top rotating
horns (mid and high frequencies) to be reduced, moving the control toward
the maximum position makes the level of the bottom rotating drum (low
frequencies) to be reduced.

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9.9.6 Speed

Sets the speed of the Rotary Speaker (figure 9.100).

figure 9.100

Slow: makes the horn and drum to rotate at slow speed.


Fast: makes the horn and drum to rotate at high speed.
Brake: makes the horn and drum to stop rotating.

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.

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Chapter 10 Rack FX Module (Post Effects)

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

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10.3 Rack FX Selector

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

10.4 Drag and Drop Feature

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…

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10.5 Rack FX Models

AmpliTube 3 offers 17 rack models organized in 6 categories, Modulation,


Delay & Reverb, Filter, Pitch, EQ & Dynamics, and Other.

10.5.1 Delay & Reverb

10.5.1.1 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 (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.

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10.5.1.2 Digital Reverb

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


creating a huge hall around the instrument (figure 10.6).

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.

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10.5.1.3 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 (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.

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10.5.2 EQ & Dynamics

10.5.2.1 Graphic EQ

IK Multimedia proprietary 31 band Graphic EQ (figure 10.8);

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).

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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.

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10.5.2.3 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 (figure
10.10).

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.

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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.

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


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

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10.5.3.2 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
(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.

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10.5.4 Modulation

10.5.4.1 Analog Chorus

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:

• CHORUS/VIBRATO: enables Vibrato or Chorus modes. Chorus mode is


enabled when the corresponding LED is illuminated.
• CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to
99.
• VIB RATE: sets the rate of the Vibrato effect, from 0.02 Hz to 8 Hz.
• VIB DEPTH: sets the intensity of the Vibrato effect, from 0 to 99.
• STEREO/MONO: changes the rack effect from a stereo to a mono
effect. Stereo is enabled when the corresponding LED is illuminated.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.4.2 Digital Chorus

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:

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


square wave.
• RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz.
• BPM SYNC: allows the effect to synchronize to the project tempo and
changes the Rate control to beat values.
• DEPTH: sets the intensity of the chorus, from 0 to 100.
• STEREO/MONO: changes the rack effect from a stereo to a mono
effect. Stereo is enabled when the corresponding LED is illuminated.
• MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.4.3 Digital Flanger

This model of a digital flanger can create a metallic modulated sound (figure
10.15).

figure 10.15

Controls:

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


square wave.
• RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz.
• BPM SYNC: allows the effect to synchronize to the project tempo and
changes the Rate control to beat values.
• DEPTH: sets the intensity of the Flanger, from 0 to 100.
• FEEDBACK: sets the nominal amount of signal that is returned to the
input after processing effect, from 0 to 10.
• STEREO/MONO: changes the rack effect from a stereo to a mono
effect. Stereo is enabled when the corresponding LED is illuminated.
• MIX: adjusts the amount of effected sound with the un-effected
sound, from 0% to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.4.4 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 (figure 10.16).

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.

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10.5.5 Pitch

10.5.5.1 Harmonator

The Harmonator is an advanced harmonizing effect with three separate


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

figure 10.17

Controls:

• KEY: controls the key and type of scale that will be used by the har-
monizer as a reference. If you’re playing a solo in E major set this to
E Major, from C to B.
• SCALE: changes the scale of the harmonizer, including Major, Dorian,
Phrygian, Lydian, Mixolydian, Minor, and Locrian.
• VOICE: controls the properties of each of the 3 voices of the harmo-
nizer.
• 1: selects voice 1 for editing.
• 2: selects voice 2 for editing.
• 3: selects voice 3 for editing.
• INTERVAL: changes the interval of the selected voice, from low octave
to up octave.
• LEVEL: independently adjusts the level of each of the 3 voices, from
0 to 100.
• PAN: independently adjusts the panning of each of the 3 voices, from
1.0L to 1.0R.
• DRY PAN: adjusts the panning of the dry signal independently from
the harmonized voices, from 1.0L to 1.0R.
• MIX: blends the harmonized voice with the original voice, from 0%
to 100%.

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10.5.5.2 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%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

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10.5.6 Other

10.5.6.1 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 (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.

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10.5.6.2 Stereo Enhancer

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.

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Chapter 11 AmpliTube 3 Models

Stomp Models Based on*


Delay
Delay IK Multimedia
EchoMan Electro Harmonix® Memory Man™
TapDelay IK Multimedia
Distortion
BigPig Electro Harmonix® Big Muff Pi™
Crusher IK Multimedia
Diode Overdrive IK Multimedia
Distortion Boss® DS-1™ Distortion
Feedback Boss® DF-2™ Super feedbacker & Distortion
Metal Distortion Boss® MT-2™ Metal-Zone
Metal Distortion 2 Boss® HM-2™ Heavy Metal
Overdrive Boss® SD-1™ Distortion
OverScream Ibanez® Tube Screamer® TS-9™
PROdrive Pro Co RAT™ Distortion
The Ambass’dor Marshall® Guv'Nor™
Dynamics
Compressor IK Multimedia
Dcomp MXR® Dynacomp™
EQ
7 Band Graphic IK Multimedia
10 Band Graphic IK Multimedia
Filter
Envelope Filter IK Multimedia
LFO Filter IK Multimedia
Rezo IK Multimedia
Step Filter IK Multimedia
Wah IK Multimedia
Wah 10 Ibanez® WH-10™
Wah 46 Vox® Wah V846™
Wah 47 Vox® Wah 847™
Fuzz
Class Fuzz Roger Mayer™ Classic Fuzz®
Fuzz Age Arbiter® Fuzz Face®
Fuzz Age 2 Arbiter® Fuzz Face®

11 - AmpliTube 3 Models ­267


AmpliTube 3

FuzzOne Maestro® FuzzTone™


Octa-V Roger Mayer™ Octavia®
RightFuzz Mosrite® Fuzzrite®
XS Fuzz Roger Mayer™ Axis Fuzz®
Modulation
Analog Flanger Boss® BF-2™ Flanger
Chorus IK Multimedia
Chorus-1 Boss® CE-1™ Chorus
Electric Flanger Electro-Harmonix® Electric Mistress™
Flanger IK Multimedia
Metal Flanger MXR® Flanger 117™
Opto Tremolo Fender® Super Reverb® Amp Opto-Tremolo™
Phaze Nine MXR® Phase 90™
Phazer10 MXR® Phase 100™
Small Phazer Electro-Harmonix® Small Stone™
Uni-V Univox™ Uni-vibe™
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

Preamp Models Based on*


Clean
American Clean MKIII Mesa/Boogie® MKIII™ Combo (Clean Channel)
American Tube Clean 1 Fender® Super Reverb®
American Tube Clean 2 Fender® DeLuxe Reverb® 65
American Vintage B Fender® Bassman®
American Vintage D Fender® Dual Showman®
American Vintage T Fender® Twin Reverb®
Custom Solid State Clean IK Multimedia
Jazz Amp 120 Roland® JC-120™
Metal Clean T Mesa/Boogie® Triple Rectifier® (Clean Channel)

­268 11 - AmpliTube 3 Models


AmpliTube 3

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

Power Amp Models Based on*


Class A EL84 Vox® AC30™ models
50W EL34 Marshall®
100W EL34 Marshall® JMP100™ head
50W 6L6 Fender® DeLuxe Reverb® 65
Single Ended CI. A Supro® Late '50s combo
Solid State Clean Solid State Power Amp
100W KT66 Marshall® 1959 JTM100™ Super Lead
100W 6L6 Fender® Bassman® 100W 6L6
100W 6L6 D Fender® Dual Showman® 100W 6L6
100W 6L6 T Fender® Twin® 100W 6L6

11 - AmpliTube 3 Models ­269


AmpliTube 3

100W 6L6V Peavey® 5150® 100W head


150W 6L6MT Mesa/Boogie® Triple Rectifier® 150W

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 SL Sears® Silvertone® 2x12”
2x12 Open TJ120 Fender® Twin® 2x12” JBL® D120F
2x12 Open Vintage Vox® AC30 '60s Bluebacks
4x12 British Or 4x12" Orange® PPC412™
4x12 Closed 25 C Marshall® 4x12”, Greenbacks
4x12 Closed 75 C Marshall® 4x12”, G12 75
4x12 Closed J120 Marshall® 4x12”, JBL® D120F
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 Metal F 1 Fender ® 4x12 MH™ 1
4x12 Metal F 2 Fender ® 4x12 MH™ 2
4x12 Metal T 1 Mesa/Boogie ® 4x12” Rectifier® 1
4x12 Metal T 2 Mesa/Boogie ® 4x12” Rectifier® 2
4x12 Metal T 3 Mesa/Boogie ® 4x12” Rectifier® 3
4x12 Metal V 1 Peavey ® 5150® 4x12” 1
4x12 Metal V 2 Peavey ® 5150® 4x12” 2

­270 11 - AmpliTube 3 Models


AmpliTube 3

4x12 Metal V 3 Peavey ® 5150® 4x12” 3


4x12 Modern M 1 Marshall ® 4x12” JCM800 1
4x12 Modern M 2 Marshall ® 4x12” JCM800 2
4x12 Modern M 3 Marshall ® 4x12” JCM800 3
4x12 Vintage M 1 Marshall ® 1960 4x12” 1
4x12 Vintage M 2 Marshall ® 1960 4x12” 2
Guitar 15”
2x15 Closed B J130 Fender® Bassman® 2 x15”, JBL® D130F
2x15 Closed D J130 Fender® Dual Showman® 2x15”, JBL® D130F
Bass 10”
4x10+tw Bass SWR® Goliath™ 4x10
4x10+tw TE Bass Trace Elliot® 4x10"
Bass 12”
1x12 Bass Custom Bass 1x12
1x12 BassJz Gallien-Krueger® 1x12" MB150
Bass 15”
1x15 Bass Vintage Ampeg® B15R™ 15”
Bass 18”
1x18 Horn Bass Acoustic® 301™ Folded Horn 18”
Rotary
Rotary 147-1 Leslie® 147™ original AlNiCo woofer
Rotary 147-2 Leslie® 147™ modern replacement woofer

Mic Model Based on*


Dynamic
Dynamic 57 Shure® SM57™
Dynamic 20 Electro-Voice® RE20™
Vintage Dynamic 20 AKG® D20™
Dynamic 421 Sennheiser® MD-421™
Dynamic 441 Sennheiser® MD-441™
Dynamic 609 Sennheiser® MD609™
Condenser
Condenser 12 AKG® C12™
Condenser 67 Neumann® U67
Condenser 84 Neumann® KM-84™
Condenser 87 Neumann® U-87™
Condenser 170 Neumann® TLM 170™

11 - AmpliTube 3 Models ­271


AmpliTube 3

Condenser 414 AKG® C-414 ULS™


Ribbon
Ribbon 121 Royer® R121™
Ribbon 160 Beyerdynamic® M160™
Ribbon Velo-8 Groove Tubes® Velo-8™

* 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.

ACOUSTIC®, 360™, 301™ are trademarks of Guitar Center, Inc.


AKG®, C12™, D20™, C-414 ULS™ are registered trademarks of AKG Acoustics GmbH.
AMPEG®, B15R™ are trademarks of LOUD Technologies, Inc.
ARBITER® FUZZ FACE® is a registered trademark of Arbiter Group Plc.
BEYERDYNAMIC®, M160™ are registered trademarks of Beyerdynamic GmbH & Co.
BOSS®, DS-1™, DF-2™, MT-2™, HM-2™, SD-1™, BF-2™, CE-1™, OC-2™ are trademarks or regis-
tered trademarks of Roland Corporation.
DIGITECH® WHAMMY™ WH-1™ is a registered trademark of Harman International Industries,
Incorporated.
ELECTRO-HARMONIX®, Memory Man™, Big Muff Pi™, Electric Mistress™, Small Stone™ are
trademarks or registered trademarks of New Sensor Corporation.
ELECTRO-VOICE®, RE20™ are registered trademarks of Electro-Voice, Inc.
FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB®, DUAL SHOWMAN®, TWIN
REVERB®, TWIN®, MH™ are registered trademarks of Fender Musical Instruments Corporation.
FUZZRITE® is a registered trademark of Andy J. Moseley.
GALLIEN-KRUEGER® MB150™ is a registered trademark of Gallien-Krueger Corporation.
GROOVE TUBES®, Velo-8™ are registered trademarks of Groove Tubes, LLC.
IBANEZ®, Tube Screamer® TS-9™, WH-10™ are trademarks or registered trademarks of Hoshino
Gakki Co. Ltd. Corporation.
JBL® is a registered trademark of JBL Professional.
LESLIE™ 147™ is a registered trademark of Hammond Suzuki USA, Inc.
MAESTRO® FUZZTONE™ is a registered trademark of Gibson Electronics.
MARSHALL®, 1959 JTM100™ Super Lead, JMP100™, JCM800™, JCM900™, JCM410™, Valvestate™,
Guv’Nor™ are trademarks or registered trademarks of Marshall Amplification Plc.
MESA/BOOGIE®, Rectifier®, MKIII™, Subway Rocket®, Mark II™, Mark III™, are trademarks of
Mesa/Boogie Ltd.
MOSRITE® is a registered trademark of Loretta Moseley.
MXR®, Dynacomp™, Flanger 117™, Phase 90™, Phase 100™ are trademarks or registered trade-
marks of Applied Research and Technology, Inc.
NEUMANN®, U67™, U87™, KM-84™, TLM 170™ are registered trademarks of Georg Neumann
GmbH.
ORANGE®, OR-120™, PPC412™ are trademarks or registered trademarks property of Orange
Music Electronic Company Ltd.
PEAVEY® is a registered trademark of Peavey Electronics Corporation.
PRO CO RAT™ is a trademark of ProCo Sound, Inc.
RANDALL®, Warhead™ are trademarks or registered trademarks of Randall Amplifiers a division
of U.S. Music Corp.
ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and registered trade-
marks of Roger Mayer.
ROLAND®, JC-120™ are registered trademarks of Roland Corporation.
ROYER®, R121™ are registered trademarks of Bulldog Audio, Inc. DBA Royer Labs Corporation.
SEARS® is a registered trademark of Sears Brand, LLC.
SENNHEISER®, MD-421™, MD-441™, MD609™ are registered trademarks of Sennheiser
Electronic Corp.
SHURE®, SM57™ are registered trademarks of Shure Incorporated.
SILVERTONE® is a registered trademark of Samick Music Corporation.

­272 11 - AmpliTube 3 Models


AmpliTube 3

SUPRO® is a trademark of Zinky Electronics.


SWR®, Goliath™ are trademarks of SWR Sound Corporation.
THD® BiValve™ is a trademark of THD Electronics Ltd.
TRACE ELLIOT® AH250™ is a registered trademark of Peavey Electronics Corporation.
UNI-VIBE™ is a trademark of Korg USA Corporation.
UNIVOX™ is a trademark of Korg USA Corporation.
VHT® Pitbull™is a trademark of VHT Amplification, Inc.
VOX®, AC30™, Wah V846™, Wah 847™ are trademarks or registered trademarks of VOX
Amplification Ltd.
5150® is a registered trademark of Edward Van Halen.

11 - AmpliTube 3 Models ­273


AmpliTube 3

­274 11 - AmpliTube 3 Models


AmpliTube 3

Chapter 12 Expanding AmpliTube 3 models

12.1 Adding More Packages to AmpliTube 3

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!

Below, a brief introduction to the AmpliTube Fender™ and Ampeg® SVX


packages.

12.1.1 AmpliTube Fender™

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®.

AmpliTube Fender™ is the first software amplification system to truly model


the amps of the Fender® collection with the respect and accuracy they
deserve. AmpliTube Fender™ includes models of iconic Fender® stomp
boxes, amp heads & cabinets, from the bluesy Bassman® all the way up
to the brutal Metalhead™. It includes 6 stomp boxes, 12 amp models, 12
cabinets and 8 mics, 6 Rack effects and more.

AmpliTube Fender™ offers the same 2 series/parallel rig structure of the


award-winning AmpliTube 2 and has 5 separate modules: tuner, configu-
rable stomp pedal board, amp head, cabinet +mic, and rack effects, ensuring
a complete and flexible rig configuration that can be used not only to recre-
ate the authentic Fender® tones but also to expand your sonic spectrum and
enrich any artistic project that you are working on.

AmpliTube Fender™ can be controlled live with the StompIO and


StealthPedal, or traditional MIDI controller, for the ultimate software stage
rig using the AmpliTube X-GEAR shell-host.

Combining AmpliTube Fender™ with other “Powered by AmpliTube” prod-


ucts inside AmpliTube X-GEAR and using StompIO/StealthPedal allows you
to build your own custom and expandable software-based rig with the wid-
est choice of superior modeled amps and effects.

Get the most legendary collection of guitar tones right on your desktop!

12 - Expanding AmpliTube 3 ­275


AmpliTube 3

AmpliTube Fender™ main features:

• AmpliTube Fender™ works as a standalone application as well as a


plug-in in Windows XP/Vista and Mac OS X (Universal Binary).
• Supported Plug-in formats: Audio Units, VST, RTAS (Mac OS X®) -
VST, RTAS (Windows®).
• Ultra accurate analog modeling with DSM™ technology, “Powered
by AmpliTube.”
• Highest supported Sampling Rate: 96 kHz.
• 6 analog modeled stomps: Fuzz Wah, Blender™, Volume, Phaser,
Tape Echo and ’63 Reverb, plus great routing flexibility.
• High-precision Tuner.
• 12 Amps modeled: ’59 Bassman® LTD, ’65 Twin Reverb®, ’57
Deluxe™, ’65 Deluxe Reverb®, ’64 Vibroverb™ Custom, Super-
Sonic™, Vibro-King®, Pro Junior™, Metalhead™, Champion™ 600,
TBP-1 Pre-amp, and Bassman® 300.
• 13 Speaker emulations: ’59 Bassman® LTD 4x10”, ’65 Twin Reverb®
2x12”, ’57 Deluxe™ 1x12”, ’65 Deluxe Reverb® 1x12”, ’64 Vibroverb™
Custom 1x15”, Super-Sonic™ 1x12”, Vibro-King® 3x10”, Pro Junior™
1x10”, MH-412SL™ 4x12, Champion 600™ 1x6”, Vibratone 1x10” and
810 PRO 8x10”.
• 144 Amp +Cabinet combinations (including no speaker).
• 9 Microphone models: Condenser 87, Condenser 84, Condenser 414,
Dynamic 57, Dynamic 421, Dynamic 441, Ribbon 160, Groove Tubes®
MD1-b FET and Groove Tubes® Velo-8.
• 6 Rack Effects: Pitch Shift, Tape Echo, Triangle Chorus, Sine Flange,
Wah and Compressor.
• Host sequencer BPM synchronization.
• SpeedTrainer™: imports any WAV, AIFF, MP3, and WMA audio file
(Standalone version).
• Assignable DAW automation.
• Metronome (Standalone version).

Visit: www.ikmultimedia.com/fender to find more information about


AmpliTube Fender™.

­276 12 - Expanding AmpliTube 3


AmpliTube 3

12.1.2 Ampeg® SVX

IK Multimedia, the leader in amp-modeling plug-in technology in conjunc-


tion with Ampeg®, the historic brand that invented bass amplification,
bring you the world’s first complete recording plug-in solution for bass. IK
Multimedia’s Ampeg® SVX is a complete Bass Amplification and Effects
software package based on the highly acclaimed Ampeg amplifier and
cabinet models.

Main features:

• Ultra accurate analog modeling with DSM™ technology, “Powered


by AmpliTube.”
• 4 Modules: Tuner, Stomp, Amp, Cabinet+Mic selection and placement.
• High-precision Tuner.
• 8 analog modeled stomps on 6 slots with flexible routing (Chorus,
Delay, Octaver, Wah, Envelope Filter, Overdrive and Compressor).
• 4 signature Ampeg® bass amps modeled (BA-500, B-15R “Portaflex,”
SVT-CL, and the SVT 4PRO).
• 6 signature Ampeg® cabinet models (BA-500 2x10”, SVT-410H
4x10”, SVT-810E 8x10”, PB-212H 2x12”, Ampeg B-15R 1x15”, BXT-
410H 4x10”).
• 6 Microphone models: Dynamic 20, Dynamic 57, Dynamic 421,
Vintage Dynamic 20, Condenser 87, and the Condenser 414.
• 24 bass amp combinations.
• Host sequencer BPM synchronization.
• Two parallel signal paths make it possible to have the direct bass
sound mixed with the processed amped signal for instant high-
quality studio sound.

Visit: www.ikmultimedia.com/ampegsvx to find more information about


Ampeg® SVX.

12 - Expanding AmpliTube 3 ­277


AmpliTube 3

­278 12 - Expanding AmpliTube 3


AmpliTube 3

Chapter 13 Automation

AmpliTube 3 has a versatile and flexible Automation engine. It allows you


to assign automation within each module and via the Automation Panel.

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

13.2 Manage Automation Assignments via the Automation Panel

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.

13.2.1 Plug-in Parameters

The Plug-in Parameters Pane displays AmpliTube 3 Global and Module


parameters, as well as all the Stomp, Amp, Cab, and Rack Modules gear
(figure 13.6).

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.

13.2.2 DAW 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:

Param 1: Swell (AT3) A Time (figure 13.9).

figure 13.9

This means:

• Param 1: DAW Automation parameter # (1 in this case).


• Swell: the selected Stomp Model.
• (AT3): name abbreviation of the Powered by AmpliTube application
that includes the selected Stomp Model (e.g., AmpliTube 3).
• A: Rig A.
• Time: name of the parameter to be automated.

13 - Automation ­283
AmpliTube 3

13.2.3 Assignment Procedure

The easiest way to assign automation is within each module, as described


in 13.1. However, you can also use the Automation Panel to manage your
parameters (move up/down), use the Remove All option, etc.

To assign an AmpliTube 3 parameter to one of the 16 DAW Automation


parameters via the Automation Panel, please follow these steps:

1. Click Auto on the Input/Output bar (figure 13.10).

figure 13.10

2. On the Plug-in Parameters Pane, select which AmpliTube 3 param-


eter you are going to assign to Automation (figure 13.11).

figure 13.11

­284 13 - Automation
AmpliTube 3

3. On the DAW Automation Pane, select which DAW Automation


parameter # you are going to use for the AmpliTube 3 parameter
selected on step #2 (figure 13.12).

figure 13.12

4. Click Add to establish the actual assignment (figure 13.13).

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

To remove a particular assignment, please select it and click Remove (figure


13.15).

figure 13.15

­286 13 - Automation
AmpliTube 3

To remove all the assignments, click Remove All (figure 13.16).

figure 13.16

To move up/down an assignment click the Move Up/Move Down arrows


(figure 13.17).

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

13.2.4 Assignment Save and Recall

Clicking OK will save and close the Automation window.

If you are using AmpliTube 3 as a plug-in, the automation assignment map


will be stored and restored to and from the session you’re working on.

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

AmpliTube 3 MIDI control allows you to assign MIDI control changes to


parameters or commands, so you can remote control AmpliTube 3 with any
kind of hardware or software device able to generate MIDI Control Changes.

AmpliTube 3 responds to MIDI Control Change and Program Changes mes-


sages only. MIDI Note numbers, Aftertouch, Pitch Bend and other types of
messages are not recognized or supported.

There are two types of MIDI control; Global and Preset.

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 switch (Previous/Next)


• Volume pedal control
• Wah pedal control
• Wharmonator pedal control
• All 12 stomp slots bypass control

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

14.2 MIDI Configuration

When running as a plug-in, AmpliTube 3 will be able to receive MIDI from


the host. Refer to your host sequencer or DAW on how to set it up so that it
can send MIDI to audio plug-ins.

When running as a Standalone, AmpliTube 3 needs to be configured to know


from which MIDI port it should read MIDI data from. To do that;

1. Click Audio > Hardware Settings…


2. Select the MIDI interface where your controller is connected from
the MIDI Input menu (figure 14.1).

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 Assigning Controllers

14.3.1 Direct MIDI Controls Assignment (Stomp, Amp, Cab, and Rack Parameters)

This method allows you to quickly assign the MIDI control to a specific
AmpliTube parameter without having to setup anything manually.

1. Right-click on top of the AmpliTube 3 parameter that you want to


control via MIDI and click Assign MIDI > Learn “parameter name”
(figure 14.3).

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.

To assign Global MIDI control:

1. Click the MIDI button located on the Input/Output bar to open the
MIDI Control assignment window (figure 14.4).

figure 14.4

2. Click Global (figure 14.5).

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

4. Click Learn. (figure 14.7)

figure 14.7

5. Move a fader, knob, slider, or switch on your MIDI Controller.


6. The assignment will automatically take place.
7. Click OK to save the association and close the MIDI Control window,
or Cancel to erase it.

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.

To assign Preset MIDI control:

1. Click the MIDI button located on the Input/Output bar to open the
MIDI Control assignment window (figure 14.8).

figure 14.8

2. Click Preset (figure 14.9).

figure 14.9

­294 14 - MIDI
AmpliTube 3

3. Click Add (figure 14.10).

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

5. Click Learn (figure 14.12).

figure 14.12

6. Move a fader, knob, slider, or switch on your MIDI Controller.


7. The assignment will automatically take place.
8. Repeat the steps from #1 to here if you want to add more controls
on the same preset.
9. Click Remove to remove just one of the assignments you did from
the panel.
10. Click OK to save the association and close the MIDI Control window,
or click Cancel to erase it.

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

14.4 Additional Parameters on MIDI Control Window

To delete a particular AmpliTube 3 parameter/MIDI CC# association, select


it, and click Clear (figure 14.13).

figure 14.13

To delete all AmpliTube 3 parameters/MIDI CC# associations at once, click


Clear All (figure 14.14).

figure 14.14

14 - MIDI ­297
AmpliTube 3

Min-Max Range values (figure 14.15).

figure 14.15

These two values expressed in %, are used to determine the range of the
controlled parameter.

To control the parameter on all its range set:

• Min 0%
• Max 100%

To control the parameter from min to half of its range set:

• Min 0%
• Max 50%

­298 14 - MIDI
AmpliTube 3

Curve (figure 14.16)

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.

Always start with 5 as a default (linear).

14 - MIDI ­299
AmpliTube 3

Latch (figure 14.17)

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.

Use this with footswitches or switches in general, to control On – Off param-


eters on AmpliTube 3.

­300 14 - MIDI
AmpliTube 3

Receive channel (14.18)

figure 14.18

To change the MIDI channel #, click the MIDI Channel display and move the
pointer Up to select from 1-16.

Note: AmpliTube 3 MIDI implementation is not associated with StompIO/


StealthPedal MIDI and it works independently from their MIDI ports. To
learn more about StompIO/StealthPedal MIDI implementation, please read
their User Manuals.

14 - MIDI ­301
AmpliTube 3

­302 14 - MIDI
AmpliTube 3

Chapter 15 Control

15.1 Introduction

AmpliTube 3 can be directly controlled by IK Multimedia StompIO-1 and


StealthPedal floor controllers.

All powerful control assignments and management the StompIO-1 can do


is done from the StompIO-1 interface directly on its panel. Please refer to
the StompIO-1 User Manual for all information and instructions about how
to program and use it. On the other end, the StealthPedal control is entirely
configured directly inside AmpliTube 3.

15.2 StealthPedal Control

StealthPedal can be used to control your AmpliTube 3 in studio or during a


live gig by switching among all your AmpliTube 3 presets and by controlling
every single parameter of them with its continuous controllers and switches.

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.

When StealthPedal is connected, select it from the Controller menu (figure


15.1) and press On to activate it (figure 15.2). Once the communication is
established the Red Led will turn On.

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

In this window (figure 15.4) you can:

figure 15.4

• Assign what parameter each Pedal or Switch will control.


• Set a range for all controls.
• Calibrate your pedals.
• Conveniently load and save AmpliTube 3 presets to work on control
assignments for several presets.

­304 15 - Control
AmpliTube 3

15.2.1 Assigning Continuous Controls

StealthPedal’s built-in and optional external expression pedals are two


continuous controls that can be associated to any AmpliTube 3 parameter.

By default, the built-in StealthPedal expression pedal is automatically assigned


to the first pedal effect loaded on the AmpliTube 3 pedalboard, from left to right.
Likewise, the external expression pedal is automatically assigned to the second
pedal effect loaded on the AmpliTube 3 pedalboard, from left to right. Pedal
effects can be Wah’s, Volume’s, Wharmonator, Fuzz-Wah… etc.

However, both expression pedals can be assigned to control any other


parameter within AmpliTube 3. Just select from the fields named “Built-In
Pedal” or “Ext Pedal” the parameter you’re going to control, by selecting
Module, Model, and Parameter (figure 15.5).

figure 15.5

Once you have selected a Parameter to be controlled its abbreviated name


will appear (figure 15.6).

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.

To reverse the control direction set “From” higher than “To.”

15.2.2 Assigning Switch Controls

StealthPedal built-in footswitch is located under the pedal rocker, as you


expect from any standard Wah-style pedal (Built-In Switch).

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).

By default, the built-in StealthPedal switch is automatically assigned to the


first pedal effect bypass loaded on the AmpliTube 3 pedalboard, from left to
right, however, it can be configured, together with the two external switches
to control any AmpliTube 3 parameter, or turning On/Off the Tuner.

In addition, the two external footswitches can be set to switch to Previous or


Next AmpliTube 3 preset (set by default when first attached). It is not pos-
sible to use the built-in footswitch to select Previous or Next preset.

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

Once you have selected a Parameter to be controlled its abbreviated name


will be displayed (figure 15.8).

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.

If “Latch” is set to Off, a footswitch will set the controlled parameter to On


only when it is kept pressed (figure 15.9).

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

15.2.3 Saving Assignments

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.

15.2.4 Switching Presets

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

15.2.5 Pedal Adjust

Expression pedals are mechanical devices that might need adjustment on


their range from time to time to get a perfectly covered range.

This is especially needed if you use a different brand expression pedal as


the external one.

To adjust the pedal’s range click Pedal Adjust (figure 15.12).

figure 15.12

The Pedal Adjust window will open (figure 15.13).

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.

This procedure is valid for both Built-In and External pedals.

15 - Control ­311
AmpliTube 3

15.2.6 StealthPedal LEDs

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

15.2.7 Tuning indication

StealthPedal LEDs will work as tuning indicator when you turn On the Tuner
on AmpliTube 3.

The AmpliTube 3 tuner can be turned On from the AmpliTube 3 interface


(figure 15.17) or from one of the StealthPedal footswitches if it has been
assigned to “Tuner.” (figure 15.18).

figure 15.17

figure 15.18

15 - Control ­313
AmpliTube 3

­314 15 - Control
AmpliTube 3

Chapter 16 Troubleshooting

Where can I find my IK product Serial Number?

The Serial Number is written on the Registration Card (included with


your IK product, inside the license envelope). In the snapshot; please
check its exact location (figure 16.1).

1) You can find your SERIAL NUMBER here

2) At the bottom of the registration card a legend helps you


identify the characters in your SERIAL NUMBER

figure 16.1

For clear characters identification, please analyze the legend.

IMPORTANT: the number zero can easily be identified in your Serial


Number because it is crossed by a line.

Why is the Wizard rejecting my Serial Number?

Probably because it found a typo, so please analyze the common errors:


*Typing a 0 (“zero” number) instead of an O (“o” letter)
*Typing 1 (“one” number) instead of an I (“i” letter)
*Typing 2 (“two” number) instead of an Z (“z” letter)
*Typing 5 (“five” number) instead of an S (“s” letter)
*Typing 8 (“eight” number) instead of an B (“b” letter)
*Typing a “.” (point) instead of a “-” (minus)

16 - Troubleshooting ­315
AmpliTube 3

Suggestions:

• Whenever is possible, please Copy and Paste the information.


• Cut off all the leading and trailing spaces.
• Please type all codes UPPERCASE during the Installation and
Registration process.
• Check that the Serial number that you are entering matches the
product installed.

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.

Where can I find my Digital ID?

The Digital ID is displayed in the Authorization window of your IK product


(figure 16.2).

figure 16.2

­316 16 - Troubleshooting
AmpliTube 3

Why is my Digital ID being rejected during the Online Registration process?

There probably is a typo on it. Remember that the Digital ID has NO


letter “I” and “O”, only the numbers “1” (one) and “0” (zero). In order
to prevent any further mistakes, please Copy the Digital ID from the
Authorization Form to the Registration Form.

Where can I find my Serial Number, Digital ID, and the Authorization Code
of a registered IK Product?

In your IK product interface, locate the Authorization button (the one


with a small lock on it) and click on it. If your product version has no
Authorization button, log in into the User Area, and click Authorizations.
You will be able to check your product Serial Number. Then click on the
View/Request button. You will be able to check the Digital ID and the
Authorization Code information.

How can I 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.

I have already registered my product online, but I did not get an


Authorization Code.

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?

Please go to www.ikmultimedia.com. On the navigation bar click User


Area. On the top left, please click on the “I forgot my username and/or
password” link, located below the login button.

I have already installed, registered, and authorized my IK product in my main


computer. What do I have to do to use my IK product in other computers?

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

I just bought an IK product. What should I do to register and authorize my


new product?

Visit our website www.ikmultimedia.com

In the Support Area, click on the Product Registration link.

In the Serial Number field of the Product Registration Form, please


insert the Serial Number written on the Registration Card (included
with your IK boxed product, inside the license envelope) or the one
that has been delivered to you (e.g., Online purchase, such as a Digital
Delivery, or update).

Complete the Registration Form and click Submit.

Regarding the Authorization process, if you already typed your Digital


ID while filling the Product Registration Form, you will receive an
email from us with your Authorization Code. If not, after you launch the
program the Product Authorization Wizard will appear. Please read and
follow the instructions provided in each of the wizard’s windows and get
an Authorization Code.

­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.

To submit a Technical Support Form, go to:


www.ikmultimedia.com/Support.php

For other requests such as Product, Sales, or Web info, please go to:
www.ikmultimedia.com/ContactIKForm.php

17.1 User Area

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:

• Edit your Personal data


• Manage your product Authorization Codes
• Download the latest products updates and free content
• Transfer your License
• Get Your Free Products
• Share your AmpliTube presets
• Redeem your IK JamPoints

To access the User Area go to www.ikmultimedia.com/userarea or go to


www.ikmultimedia.com and click User Area from the navigation bar.

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™ is a new and exclusive IK Multimedia technology used in the emula-


tion of analog circuitry. DSM was designed to increase the response real-
ism and playability of critical analog circuit models. Musicians always felt
digital emulations of high-quality analog gear (such as guitar amplifiers) to
be good but not completely satisfying because of the lack of certain “play-
ability” and “musicality” qualities that only the real thing provides. DSM has
been designed to improve this aspect.

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.

Traditional emulations are forced to a tradeoff between, for example, those


kind of distortions that appear only when a 2 2 x 6L6 tube power amplifier
is driven to its limit and the cleaner sound it has when it’s driven normally.

DSM delivers a dynamic response that continuously morphs and “follows”


the incoming signal; in other words, that follows the music.

This leads to an accuracy that cannot be found in any other modeling


hardware or software today, respecting all the signal nuances exactly like
a real analog circuit would do with a grade of realism and musicality never
achieved before.

VRM™ Technology

VRM™ (Volumetric Response Modeling) is a new proprietary technology


that IK Multimedia developed to improve quality on digital reproduction of
speakers and acoustic cabinets used with musical instruments.

This technology involves complex and numerous measurements of real

IK Technologies ­321
AmpliTube 3

speakers in the studio and the realism and musicality of the recreated
speaker sound has no rival…

IK Multimedia developed VRM™ because the technology available at the


time of AmpliTube Fender development was not good enough to success-
fully represent the Vibratone rotary speaker in all its nuances and colorful
sounds. We had to come out with a solution that could make people think
the model inside AmpliTube Fender is a recording of a real Vibratone (actu-
ally, a very good recording…) and not a digital model, and we’ve succeeded!

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.

The Speakers and Cabinet section included in AmpliTube 3 offers supreme


sound quality, richness, musicality, and fidelity with the originals units that
it can really have a few rivals, if any… Just listen!

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

IK Multimedia Production, Via dell’industria 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.


PN: MNU-AT3-0002