AmpliTube Metal Gear Models PDF

Gear Models Guide
Guide to the Models in the

AmpliTube Metal Collection
AmpliTube Metal Gear Models
PLEASE NOTE
AmpliTube, AmpliTube Metal, are trademarks or registered trademarks

property of IK Multimedia Production Srl.
FENDER and all FENDER amplifiers, logos, and trade dress are the trademarks of
FMIC and used herein under license. All rights reserved.
All other product names and images, trademarks and artists names are the property
of their respective owners, which are in no way associated or affiliated with IK
Multimedia. Product names are used solely for the purpose of identifying the specific
products that were studied during IK Multimedias sound model development and
for describing certain types of tones produced with IK Multimedias digital modeling
technology. Use of these names does not imply any cooperation or endorsement.
1
2
Table of Contents
I Contents 3
Chapter 1 Stomp Box Effects 5

1.1 Delay 5
1.2 BigPig 6
1.3 Distortion 7
1.4 Feedback 8
1.5 Metal Distortion 9
1.6 Metal Distortion 2 10
1.7 Overdrive 11
1.8 PROdrive 12
1.9 10 Band Graphic 13
1.10 Wah 47 14
1.11 Analog Flanger 15
1.12 Metal Flanger 16
1.13 Phaze Nine 17
1.14 Wharmonator 18
1.15 Volume 19
1.16 Stomp Box Effect Model List 20
Chapter 2 Amplifiers 21
2.1 Metal Clean T 21
2.2 Metal Lead T 22
2.3 Metal Lead V 23
2.4 Metal Lead W 24
2.5 Vintage Metal Lead 25
2.6 Pre Amp Model List 26
2.7 Power Amp Model List 26
Chapter 3 Cabinets 27
3.1 4x12 Metal F 1 27
3.2 4x12 Metal F 2 27
3.3 4x12 Metal T 1 28
3.4 4x12 Metal T 2 28
3.5 4x12 Metal T 3 29
3.6 4x12 Metal V 1 29
3.7 4x12 Metal V 2 30
3.8 4x12 Metal V 3 30
3.9 4x12 Modern M 1 31
3.10 4x12 Modern M 2 31
3.11 4x12 Modern M 3 32
3.12 4x12 Vintage M 1 32
3.13 4x12 Vintage M 2 33
3.14 Cabinet Model List 34
I - Contents 3
Chapter 4 Microphones 35
4.1 Dynamic 57 35
4.2 Vintage Dynamic 20 36
4.3 Dynamic 421 37
4.4 Dynamic 441 38
4.5 Condenser 87 39
4.6 Condenser 414 40
4.7 Microphone Model List 41
Chapter 5 Rack Effects 43

5.1 Digital Delay 43
5.2 Digital Reverb 44
5.3 Graphic EQ 45
5.4 Parametric EQ 46
5.5 Tube Compressor 47
5.6 Digital Chorus 48
5.7 Digital Flanger 49
5.8 Harmonator 50
5.9 Pitch Shifter 51
4 I - Contents
Chapter 1 Stomp Box Effects
1.1 Delay
This model is based on a traditional digital delay stomp pedal.
Controls:
DELAY: changes the length of the delay between each echo, from 1
ms to 2000 ms.
FBK: changes the amount of time that the echo repeats, from 0% to
100%.
LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.
BPM SYNC: allows the effect to synchronize to the project tempo.
1 - Stomp Box Effects 5

1.2 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.
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
6 1 - Stomp Box Effects

1.3 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.
Controls:
LEVEL: controls the Distortion pedal output level. It does not alter
the timbre of the distortion, unless another distorting device follows,
DIST: controls the amount of distortion the pedal gives.
TONE: controls the timbre of the distortion pedal.

1.4 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 distor-
tion timbres.
Controls:
the timbre of the distortion, unless another distorting device follow,
TONE: controls the timbre of the distortion pedal.
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.

1.5 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.
Controls:
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.

1.6 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.
Controls:
LEVEL: controls the distortion pedal output level. It does not alter
COLOR L: controls the amount of bass tones on the sound.
COLOR H: controls the amount of high tones on the sound.

1.7 Overdrive
This effect is based on one of the most collectible pedals. It is one of the most
aggressive overdrive pedals ever made. From subtle to over-the-top, this
effect pushes amps harder without sacrificing clarity and tone.
Controls:
LEVEL: controls the Overdrive pedal output level. It does not alter
DRIVE: controls the amount of overdrive the pedal gives.
TONE: controls the timbre of the overdrive pedal.

1.8 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.
Controls:

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

1.9 10 Band Graphic
IK Multimedia proprietary 10 Band Graphic EQ.)
Controls:
BANDS: 31, 62, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Each band has +/- 15
dB of boost/cut.
GAIN: the gain slider boosts or cut the overall level by +/- 15 dB.

1.10 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. 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%.

1.11 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.
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, youll 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.

1.12 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 recog-
nizable, making this perfect for hard-rock and metal tone.
Controls:
MANUAL: sets the timbre of the flanging effect.

WIDTH: sets the amount of modulation the LFO will apply to the
flanging effect. If Width is zero, youll 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.

1.13 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. Did you try the Phaze Nine on bass,
keyboards, or vocals?
Controls:
SPEED: controls the phase LFO rate.

1.14 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.
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

1.15 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

1.16 Stomp Box Effect Model List
Stomp Models Based on*

Delay IK Multimedia
BigPig Electro Harmonix Big Muff Pi
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
PROdrive Pro Co RAT Distortion
10 Band Graphic IK Multimedia
Wah 47 Vox Wah 847
Analog Flanger Boss BF-2 Flanger
Metal Flanger MXR Flanger 117
Phaze Nine MXR Phase 90
Wharmonator Digitech Wahmmy WH-1
Volume IK Multimedia
* All product names and trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied durino IK Multimedias sound model develop-
ment and for describing certain types of tones produced with IK Multimedias digital modeling
BOSS, DS-1, DF-2, MT-2, HM-2, SD-1, BF-2 are trademarks or registered trademarks
of Roland Corporation.
DIGITECH WHAMMY WH-1 is a registered trademark of Harman International Industries,
Incorporated.
ELECTRO-HARMONIX, Big Muff Pi are trademarks or registered trademarks of New Sensor
Corporation.
MXR, Phase 90 are trademarks or registered trademarks of Applied Research and Technology,
Inc.
PRO CO RAT is a trademark of ProCo Sound, Inc.
VOX, Wah 847 are trademarks or registered trademarks of VOX Amplification Ltd.

Chapter 2 Amplifiers
2.1 Metal Clean T
This extremely high-quality amplifier delivers a very detailed and clean

response on the clean channel, incredibly well defined is the perfect starting
point for any kind of sound. Use this channel to get your hyper-driven sounds
from stomps only, as well as for creating clean or edgy sounds.
Controls:
PRE MODEL:
GAIN: adjusts the input gain of the preamp stage. Use this setting to
drive the preamp stage, from 1 to 10.
EQ MODEL:
BASS: boosts and cuts the bass frequencies of the amps EQ stage,
from 1 to 10.
MIDDLE: boosts and cuts the mid frequencies of the amps EQ stage,
from 1 to 10.
TREBLE: boosts and cuts the high frequencies of the amps EQ stage,
from 1 to 10.
PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
SPRING REVERB: Sets the level of spring reverb added to the guitar
amp sound, from 1 to 10.
AMP MODEL:
VOLUME: adjusts the output level of the power amp stage, from 1 to
10.
2- Amplifiers 21
2.2 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).
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
SPRING REVERB: sets the level of spring reverb added to the guitar
AMP MODEL:
10.
22 2- Amplifiers
2.3 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.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
BOTTOM: use this knob to enhance the speaker bottom end resonance.
AMP MODEL:
10.
2- Amplifiers 23
2.4 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.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
BOTTOM: use this knob to enhance the speaker bottom end resonance.
AMP MODEL:
10.
24 2- Amplifiers
2.5 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.
Controls:
PRE MODEL:
EQ MODEL:
from 1 to 10.
from 1 to 10.
from 1 to 10.
AMP MODEL:
10.
2- Amplifiers 25
2.6 Pre Amp Model List
Preamp Models Based on*

Metal Clean T Mesa/Boogie Triple Rectifier (Clean Channel)
Metal Lead T Mesa/Boogie Triple Rectifier (Lead Channel)
Metal Lead V Peavey 5150 100W head
Metal Lead W Randall Warhead
Vintage Metal Lead Marshall JMP100 head
2.7 Power Amp Model List
Power Amp Models Based on*

150W 6L6MT Mesa/Boogie Triple Rectifier 150W (clean channel)
150W 6L6MT Mesa/Boogie Triple Rectifier 150W (lead channel)
Solid State Randall Warhead 300W
100W 6L6V Peavey 5150 100W head
100W EL34 Marshall JMP100 head
MARSHALL, JMP100 are trademarks or registered trademarks of Marshall Amplification Plc.

MESA/BOOGIE, Rectifier are trademarks of Mesa/Boogie 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.
5150 is a registered trademark of Edward Van Halen.
26 2- Amplifiers
Chapter 3 Cabinets
3.1 4x12 Metal F 1
3.2 4x12 Metal F 2
3 - Cabinets 27
3.3 4x12 Metal T 1
3.4 4x12 Metal T 2
28 3 - Cabinets
3.5 4x12 Metal T 3
3.6 4x12 Metal V 1
3 - Cabinets 29
3.7 4x12 Metal V 2
3.8 4x12 Metal V 3
30 3 - Cabinets
3.9 4x12 Modern M 1
3.10 4x12 Modern M 2
3 - Cabinets 31
3.11 4x12 Modern M 3
3.12 4x12 Vintage M 1
32 3 - Cabinets
3.13 4x12 Vintage M 2
3 - Cabinets 33
3.14 Cabinet Model List
Cabinet Model Based on*

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 V 1 Peavey 5150 4x12 1
4x12 Modern M 1 Marshall 4x12 JCM800 1
4x12 Vintage M 1 Marshall 1960 4x12 1
4x12 Vintage M 2 Marshall 1960 4x12 2
FENDER, MH are registered trademarks of Fender Musical Instruments Corporation.

MARSHALL, JCM800 are trademarks or registered trademarks of Marshall Amplification Plc.
MESA/BOOGIE, Rectifier are trademarks of Mesa/Boogie Ltd.
PEAVEY is a registered trademark of Peavey Electronics Corporation.
5150 is a registered trademark of Edward Van Halen.
34 3 - Cabinets
Chapter 4 Microphones
4.1 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).
Typically used in studios paired with a smoother and warmer condenser mic.
4 - Microphones 35
4.2 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. Its
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.
36 4 - Microphones
4.3 Dynamic 421
Probably the second most popular dynamic mic to use on guitar amps, this
model provides an equally pleasing sound, but is warmer than the 57.
It also adds a very focused boost on hi-mid frequencies that makes it suit-
able to get aggressive driven tones.
4 - Microphones 37
4.4 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.
38 4 - Microphones
4.5 Condenser 87
This is a model of one of the most popular large diaphragm mics ever. It can
be found in any large recording studio mic locker. Because of its excellent
frequency response curve, the 87 has become the go-to mic when needing
a clean, flattering sound.
4 - Microphones 39
4.6 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
40 4 - Microphones
4.7 Microphone Model List
Mic Model Based on*

Dynamic 57 Shure SM57
Vintage Dynamic 20 AKG D20
Dynamic 421 Sennheiser MD-421
Dynamic 441 Sennheiser MD-441
Condenser 87 Neumann U-87
Condenser 414 AKG C-414 ULS
AKG, D20, C-414 ULS are registered trademarks of AKG Acoustics GmbH.
NEUMANN, U87 are registered trademarks of Georg Neumann GmbH.
SENNHEISER, MD-421, MD-441 are registered trademarks of Sennheiser Electronic Corp.
SHURE, SM57 are registered trademarks of Shure Incorporated.
4 - Microphones 41
42 4 - Microphones
Chapter 5 Rack Effects
5.1 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.
Controls:
MODE: sets the output mode of the Delay effect; Stereo, Left/Right,
Mono, Left/Center/Right, and Doubler.
DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms.
BPM SYNC: allows the effect to synchronize to the project tempo and
changes the Rate control to beat values.
FEEDBACK: changes the amount of time that the delay repeats, from
0% to 100%.
FILTER: sets the low pass filter for the delay effect, from 200 Hz to
20 kHz. When set to mid values it gives a nice warmth to the delay
timbre.
MIX: adjusts the amount of wet sound with the dry sound, from 0%
to 100%.
OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
5 - Rack Effects 43
5.2 Digital Reverb
This digital reverb is capable of adding small amount of space to a signal or

creating a huge hall around the instrument.
Controls:
DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00
seconds.
DENSITY: sets the number of reflections generated by the reverb,
from 0 to 99.
COLOUR: sets the reverb coloration from dark to light, from 2 kHz to
20 kHz.
to 100%.
44 5 - Rack Effects
5.3 Graphic EQ
IK Multimedia proprietary 31 band Graphic EQ;
figure 10.8
20, 25, 31.5, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1k,
1.25k, 1.6k, 2k, 2.5k, 3.15k, 4k, 5k, 6.3k, 8k, 10k, 12.5k, 16k, 20k.
Each band has +/- 15 dB boost, plus Reset button (total reset of all bands at
0 dB), and Level slider (+/- 15 dB).
5 - Rack Effects 45
5.4 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.
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).
46 5 - Rack Effects
5.5 Tube Compressor
This compressor was modeled after a classic tube compressor. It is a very

versatile, smooth compressor, and can add great color to the signal.
Controls:
DRIVE: controls the amount of signal that is input into the effect, set-
ting the compression level.
ATTACK: controls the amount of time that the compressor takes to
react to the audio signal.
RELEASE: controls the amount of time that the compressor takes to
return to normal gain after some compression has occurred.
RATIO: controls the strength of the compression. Higher values will
result in a more evident effect.
5 - Rack Effects 47
5.6 Digital Chorus
This modeled digital chorus effect creates a clear articulate chorus effect.
Like the analog chorus, this effect adds depth and space to the input signal,
but adds a different color to the overall signal.
Controls:
WAVEFORM: selects the shape of the chorus effect, sine, triangle, or

square wave.
RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz.
DEPTH: sets the intensity of the chorus, from 0 to 100.
STEREO/MONO: changes the rack effect from a stereo to a mono
effect. Stereo is enabled when the corresponding LED is illuminated.
to 100%.
48 5 - Rack Effects
5.7 Digital Flanger
This model of a digital flanger can create a metallic modulated sound.
Controls:
WAVEFORM: selects the shape of the flanger effect, sine, triangle, or

square wave.
RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz.
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%.
5 - Rack Effects 49
5.8 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.
Controls:
KEY: controls the key and type of scale that will be used by the har-
monizer as a reference. If youre playing a solo in E major set this to
E Major, from C to B.
SCALE: changes the scale of the harmonizer, including Major, Dorian,
Phrygian, Lydian, Mixolydian, Minor, and Locrian.
VOICE: controls the properties of each of the 3 voices of the harmo-
nizer.
1: selects voice 1 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%.
50 5 - Rack Effects
5.9 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.
Controls:
SHIFT COARSE: sets the coarse tuning of the pitch shifter. Measured
in intervals, from -24 to 24.
SHIFT FINE: sets the fine tuning of the pitch shifter. Measured in
cents, from -50 to 50.
STEREO/SPLIT: sets the output of the effect to split the pitch shifted
sound and the dry sound or blend them in a stereo layered fashion.
MIX: adjusts the amount of pitched shifted sound with the dry sound,
from 0% to 100%.
5 - Rack Effects 51
52 5 - Rack Effects
AmpliTube, AmpliTube Metal, are trademarks or registered trademarks
property of IK Multimedia Production Srl.
FENDER and all FENDER amplifiers, logos, and trade dress are the trademarks
of FMIC and used herein under license. All rights reserved.
All other product names and images, trademarks and artists names are
the property of their respective owners, which are in no way associated or
affiliated with IK Multimedia. Product names are used solely for the purpose of
identifying the specific products that were studied during IK Multimedias sound
model development and for describing certain types of tones produced with IK
Multimedias digital modeling technology. Use of these names does not imply
any cooperation or endorsement.
www.amplitube.com
IK Multimedia Production, Via dellindustria 46, 41122, Modena, Italy.

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

PN: MNU-ATCS-MT01

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Gear Models Guide

Guide to the Models in the

AmpliTube, AmpliTube Metal, are trademarks or registered trademarks

Chapter 1 Stomp Box Effects  5

Chapter 5 Rack Effects 43

Chapter 1 Stomp Box Effects

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

1 - Stomp Box Effects 5

6 1 - Stomp Box Effects

1 - Stomp Box Effects 7

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

8 1 - Stomp Box Effects

1.5 Metal Distortion

1 - Stomp Box Effects 9

1.6 Metal Distortion 2

10 1 - Stomp Box Effects

1 - Stomp Box Effects 11

DIST: controls the amount of distortion the pedal gives.

12 1 - Stomp Box Effects

1.9 10 Band Graphic

IK Multimedia proprietary 10 Band Graphic EQ.)

1 - Stomp Box Effects 13

14 1 - Stomp Box Effects

1.11 Analog Flanger

MANUAL: sets the timbre of the flanging effect.

1 - Stomp Box Effects 15

1.12 Metal Flanger

MANUAL: sets the timbre of the flanging effect.

16 1 - Stomp Box Effects

1.13 Phaze Nine

SPEED: controls the phase LFO rate.

1 - Stomp Box Effects 17

18 1 - Stomp Box Effects

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

1 - Stomp Box Effects 19

1.16 Stomp Box Effect Model List

Stomp Models Based on*

20 1 - Stomp Box Effects

2.1 Metal Clean T

This extremely high-quality amplifier delivers a very detailed and clean

2.2 Metal Lead T

2.3 Metal Lead V

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

2.4 Metal Lead W

2.5 Vintage Metal Lead

2.6 Pre Amp Model List

Preamp Models Based on*

2.7 Power Amp Model List

Power Amp Models Based on*

MARSHALL, JMP100 are trademarks or registered trademarks of Marshall Amplification Plc.

3.1 4x12 Metal F 1

3.2 4x12 Metal F 2

3.3 4x12 Metal T 1

3.4 4x12 Metal T 2

3.5 4x12 Metal T 3

3.6 4x12 Metal V 1

3.7 4x12 Metal V 2

3.8 4x12 Metal V 3

3.9 4x12 Modern M 1

3.10 4x12 Modern M 2

3.11 4x12 Modern M 3

3.12 4x12 Vintage M 1

3.13 4x12 Vintage M 2

Chapter 1 Stomp Box Effects 5

Chapter 5 Rack Effects 43