AMP ROOM

USER MANUAL
Supporting VST/VST3/AU/AAX
Rev. Nov 11, 2020
Softube User Manual
© 2007-2020. Amp Room is a registered trademark of Softube AB, Sweden. Softube is a registered
trademark of Softube AB, Sweden. All visual and aural references to the Valley People Dyna-mite,
Trident A-Range, Tonelux and Tilt are trademarks being made with written permission from PMI
Audio. The Tonelux and Tilt logo, the Valley People, Dyna-mite and associated logos, and the Trident,
A-Range and Triangle logo are trademarks of PMI Audio Group, used under license. Tube­-Tech is a
registered trademark of Lydkraft ApS, Denmark. EMI and Abbey Road are trademarks of EMI (IP)
Limited. REDD, RS127 and RS135 are trademarks of EMI (IP) Limited. SSL and Solid State Logic
are registered trademarks, SL 4000 is a trademark of Red Lion 49 Ltd. Mutator and Mutronics are
trademarks of Mutronics Group Ltd. All specifications subject to change without notice. All Rights
Reserved.
Other company and product names mentioned herein are trademarks of their respective companies.
Mention of third-party products is for informational purposes only and constitutes neither an endorse-
ment nor a recommendation. Softube assumes no responsibility with regard to the performance or use
of these products.
Softube products are protected by patents SE526523 and SE525332, and related patents/patent ap-
plications, including WO06054943, US11/667360, US2004­0258250, EP1492081, EP1815459, and
JP2004­183976.
Your rights to the software are governed by the accompanying software license agreement (End User
License Agreement).

Disclaimer
Every effort has been made to ensure that the information in this manual is accurate. However, there are
a chance that we have made mistakes, and we hope that you understand that we are only humans. Please
let us know about the mistake, and we’ll fix it in the mix (or in the next version of this manual).

Support
On the Softube website (www.softube.com) you will find answers to common questions (FAQ) and
other topics that might interest you.
Support questions can be posted at http://www.softube.com, where we will help you as fast as we can!
Web: www.softube.com
E-mail: info@softube.com
Phone: +46 13 21 1623 (9 am – 5 pm CET)
 AMP ROOM USER’S GUIDE  | iii

Contents
1 Preset Collection 4 7 Getting Modules onto the workspace area 27
Preset Collection. . . . . . . . . . . . . . . . . . . . 8 Using the Gear tab . . . . . . . . . . . . . . . . . . 27
User Interface. . . . . . . . . . . . . . . . . . . . . 11
8 Preset Collection for Amp Room 28
2 This is Amp Room 15
Add-on packages for Amp Room. . . . . . . . . . . . 16 9 Modules – General information 29
“Amp Room-ready" Softube plug-ins . . . . . . . . . . 16
Module right-click options. . . . . . . . . . . . . . . 30
3 Enough talk! How do I get started!? 17
10 The Gear 31
Adding and removing modules. . . . . . . . . . . . . 17
About the effects pedals. . . . . . . . . . . . . . . . 31
Order of the modules. . . . . . . . . . . . . . . . . 19
About the amplifiers . . . . . . . . . . . . . . . . . 37
Flexibility or commitment?. . . . . . . . . . . . . . . 20
About the speaker cabinets . . . . . . . . . . . . . . 41
Cabs and microphones. . . . . . . . . . . . . . . . . 41
4 What to expect from Amp Room! 21
About the Studio FX. . . . . . . . . . . . . . . . . . 47
About the utilities. . . . . . . . . . . . . . . . . . . 49
5 General 22
11 Using Amp Room live 52
General settings . . . . . . . . . . . . . . . . . . . 22
General Tools. . . . . . . . . . . . . . . . . . . . . 22 Credits. . . . . . . . . . . . . . . . . . . . . . . . 52

6 The Amp Room Workspace area 24 12 SOFTUBE AB’S END USER LICENSE AGREEMENT (“EULA”).FOR PLUG-
INS AND OTHER SOFTWARE PRODUCTS
Input and Output levels. . . . . . . . . . . . . . . . 24
(ver 2019-06) liii
Series/Parallel . . . . . . . . . . . . . . . . . . . . 25
Split/Mix. . . . . . . . . . . . . . . . . . . . . . . 26
4 | 

1 Preset Collection

The Preset Collection is a tool to organize your presets in logic, simple, advanced or mysteri-
ous (?) ways (it’s up to you!), or just a simple mechanism to save your favorite sounds and easily
browse through artist's presets.
You can either use the simplified version in the menu bar of each Softube plug-in, or you can
press the open window icon  to open the full Preset Collection.
 SOFTUBE USER’S GUIDE  | 5

Browsing presets Searching for Presets

Use the ◀▶ buttons in the menu row at the top of the If you want to find a specific preset and have a lot of
plug-in to step through presets. Click ▼ to open a menu presets, there are many smart ways to search for preset,
to select presets. By default, presets are sorted by “collec- and all of them require that you open the Preset Collec-
tion”, usually by artist or theme. tion by clicking the  button.

Saving Presets
Press “Add Preset…” in the dropdown menu to save
the current settings as a new preset. Type the name of
the preset and press enter. If you’ve made changes to
a current preset and wish to overwrite that preset, just
press “Save”. Press “Save as…” if you want to save it
with a new name.
Search by tag
All presets have a number of tags associated with them,
in general they describe the function (“distortion”,
“eq”, “compression”), the use case (“female vo-
cals”, “bass”) and the character (“creamy”, “dark”),
etc. In plug-ins that use modules, such as Modular, the
tags also include which modules are used by the preset
(for example “Saturation Knob”)

Factory Open Preset Collection in a

Preset separate window.
Prev/Next Current Open Menu Presets are by default
Preset Preset organized by collection

Browse presets directly from the menu bar at the top of the plug-in.
6 |  PRESET COLLECTION

Two tags (“Female Vocals” and “Joe Chiccarelli”) has been selected to show all Joe’s presets
suitable for female vocals.

Search box
A search in the Search box will search through all metadata (name,
tags, description, etc). If you want to narrow your search, you can
specify what you want to search for by using a qualifier, such as “name:”
or “description:”.
Possible search qualifiers are name, desc, description, tag, tags, and collec-
tion.

Search in the menu bar

When you have selected a subset of presets, for example by searching
for “vocals” or using a tag, the search results are available directly from
the plug-in’s menu bar. That means that you can easily step through the
presets using the ◀▶ buttons.
Open the menu to see the search criteria or clear the search.

Type “name:” before the search criteria to limit the search to the name of the
preset.
The menu shows the current search criteria, currently selected tags, and
options to clear the filter and search criteria.
SOFTUBE USER’S GUIDE  | 7
Plug-in Settings vs. “Metadata”
A Softube preset consists of two parts: the plug-in’s set-
tings and the description of it, what we call “metadata”.
Metadata is everything that’s not the included in the
plug-in’s settings, for example preset name, description,
color, rating, tags.
When you make a new preset by clicking “Add new
preset…” the only metadata that you save is the preset
name. You need to open Preset Collection to add other
metadata, such as a description and tags. If you instead
use “Save as…” when you save a preset, the metadata
(for example tags) in the currently selected preset will be
carried over to the new preset.
Whenever you change the settings in the plug-in, the
preset name will be marked with an asterisk * to indicate
the current settings are different from the current preset.
It also indicates that the preset has changes that aren’t
saved. You need to click “Save” or “Save as” to save
those changes.
Asterisk (*) indicate that the settings of the plug-in is different from the
saved preset.
When you make changes to the metadata, you don’t have to
save these. All metadata changes are saved immediately in the
preset database.
*) An asterisk looks like this: *
*) ibid.
 8 |  PRESET COLLECTION

Preset Collection
Click  to open the Preset Collection. Here you can organize, colorize, tag, add icons and images and sort your
presets.

Add or save Set display

Search field presets options Menu

Tags pane
Info pane

Preset pane

Group edit
Category Name Preset Description Collection
name
Factory preset Color
indicator
 SOFTUBE USER’S GUIDE  | 9

Workflow
For a plug-in with hundreds of presets, the easiest way to start is to type something in the search field,
such as “bass”, or select an appropriate tag.

Type in the search field to find presets.

Use the keyboard up/down arrows to step through presets, and if you find something you like (or dis-
like), change the rating of that preset so that you can easily find it later.

Click on the stars in the Info pane to change the rating. It is also possible to right-click the preset and change rating from the context
menu.
10 |  PRESET COLLECTION

Philosophy ple, reset their color, and use your own color scheme. All
The main ideas behind Preset Collection are fields, except Collection, are possible to change.
1. A preset name doesn’t give enough information
about how to use a preset. Sometimes you need Customizing the Preset Collection
more info, for example what to listen for, how to
tweak it, in which context etc. You can decide yourself how much or how little info you
want to show in the Preset Collection, and these settings
2. Everyone wants to organize their presets in different are stored globally.
ways.
3. Tags are a simple way to create “folder like” struc-
tures, but without being limited by placing the
preset in a single folder. A tag can be a use case, a
project name, or just about anything!
With the preset’s description you’ll be able to add info,
for instance how many dBs of gain reduction you need
for the drum bus to really glue together, and with names,
tags, ratings, categories, and colors you can organize
those presets any way you want. The tags become power-
ful if you want to organize presets after projects you’re
working on. Tag each preset you make/use with the
project name, and you’ll have an extra dimension to use
when you browse presets.

Don't be afraid to add or change metadata in the factory pre-

sets. (And it's always possible to restore the original metadata
later if you want to!)
The minimal view of Preset Collection, only preset names and search field
are visible.

Organizing presets Showing/hiding info panes

All factory presets come with tags and color, but you can
remove those colors and tags and organize them in other
ways. You can mark your favorite presets with a high
rating, a specific tag (“kick ass presets!”, "great for accor-
dion"), a color, or a category, to make them easier to find
later. You can select several presets at once to, for exam-
Click on  or  to show and hide the Tags and Info
pane, respectively.
Showing/hiding columns
Click on the menu () next to the columns header to
turn on/off columns in the preset pane.
 SOFTUBE USER’S GUIDE  | 11

Resizing tags pane or window

You can easily resize the Preset Collection window or
the size of the Tags pane by clicking the edge and drag
it.

User Interface
⌕ Search Row Searches in name, description,
tags, etc. To specify a particular
field to search in, use one of these
qualifiers: name, desc, description,
tag, tags, and collection, for example
“collection:chiccarelli”
Select which columns are visible from the menu.

Sorting  Add Preset Create a new, empty, preset from

the current plug-in settings.
Use the up/down arrows (▲▼) next the the column
header to change preset sorting.
 Save Preset Overwrite the selected preset with
the current plug-in settings . Only
Tile view/List view
possible with user presets. If the
 Click on Tile View  to show
current preset is a factory preset,
presets as tiles, or List View  to
use “SAVE AS” instead.
get back to the default mode.

 Save As Save the current plug-in settings,

together with the selected presets
meta data (tags, description, etc)
under a new name.

 Tags Show/hide the TAGS pane.

 Info Show/hide the INFO pane.

Tile view,
List view Switch between a list of presets
(LIST VIEW) or tiled images (TILE
The Tile View. VIEW)
12 |  PRESET COLLECTION

export a batch of presets, or change

tags, description or other meta data
 Menu Opens the menu with some addi-
in several presets at once.
tional options. See below for Menu
options.
Preferences Opens additional preferences,
listed below.
Menu Options
Add Preset Add a new preset.
Preferences
Warn When… Turn warnings on/off when for
Save Overwrite the selected preset with example deleting or overwriting
the current plug-in settings.
presets.

Save As Copy the selected preset to a new Show Images In Info

preset with the current plug-in's
Panel Turn off to hide the image in the
settings.
INFO PANEL.

Show/Hide Tags Show/hide the Tags pane. Group presets by col-

lection/group presets
Show/Hide Info Show/hide the INFO pane. by category Change how presets are grouped
in the presets menu in the plug-in
menu bar.
Show Tile View Show the TILE view instead of
LIST view.
Pro tip: select “Group Presets By Category” to get a flat list for all
Import Preset(s) Import presets from file, for uncategorized presets in the menu bar.
instance if you downloaded a
“.softubebundle” file from www.
softube.com

Export Selected User

Preset(s) Exports the currently selected
presets to a “.softubebundle” file, so
that you can send them to a friend.

Enter Group Edit

Mode Let’s you select several presets at
once, which is useful if you want to
 SOFTUBE USER’S GUIDE  | 13

Tags pane  To sort presets in the LIST VIEW, click on ▲▼ for a

column to sort down or up for that column. In the TILE
VIEW, open the “SORT BY…” drop down to select sort-
ing.

Context Menu (Right Click on a Preset)

Right-click on a preset to bring up a context menu with
the following options:

Use the Tags pane to filter presets by tag.

Save Save preset
The TAGS PANE lets you filter presets by selecting one or
several tags. Select for example the tag “MALE VOCALS” Save As… Save as a preset with a new name.
if you want to find all presets suitable for male vocals.
You can select several tags at once. Revert Changes Revert all changes made to the
You can add tags to a preset by clicking “ADD TAG ” preset.
in the INFO PANE, and subsequently remove tags by
clicking on the  on the tag. Rename… Rename the current preset

Presets pane  Export… Export the current preset

Delete Delete the current preset

Restore Factory
Metadata If metadata edits, for example
color, tags or ratings were made
to a factory preset, you can revert
them here.

The Presets pane shows all presets in the current search or filter.
Category Sets the category of a preset. By
default, no categories have been set.
The PRESETS pane contains all presets in the current
search. You can sort presets, select a preset, or edit a pre-
set from the presets pane. The PRESETS pane can either Rating Sets/changes the rating (0-5 stars)
be visualized as a list, or as a “TILE VIEW” with images of a preset.
for each preset.
Color Sets/changes the color of the
Tip: Double click on the preset name to change it. preset.
14 |  PRESET COLLECTION

Info pane  Change Image

The image needs to be in PNG format, and will be con-
verted to black-and-white on import.

Group Edit Mode

It’s easy to edit several presets at once, for instance if you
want to change rating or add a tag to multiple presets.
Enter the Group Edit mode by selecting several pre-
sets in the check box on the left. Once in Group Edit
mode, you can use Shift + click to select a range of
presets.

Select several presets by clicking the check box to the left.

In Group Edit mode it is possible to edit several pre-

sets at the same time:
• Change rating, color, and category
• Append text to the name or description
• Add tags, or remove tags common for all selected
presets

The Info pane contains all metadata for the currently selected preset and
lets you edit these fields.

In the INFO pane you can edit the metadata of the

selected preset. You can change image, name, rating,
description, category, tags and color. Whenever it is
possible to change a field, a pen icon  will appear. All
changes made to the description of the plug-in are saved
immediately.
  | 15

2 This is Amp Room

Amp Room is the plugin for the guitarist, bass player, producer or any artist
who needs a great set of effect pedals, amplifiers, speaker cabinets and all kinds of other
sound-shaping tools. Record your instrument through a direct signal or perhaps after
physical pedals and add your desired amount of anything at any production stage. This is
a complete rig for your guitar, bass, keyboard, harmonica, voice or whatever your favorite
instrument happens to be!
Amp Room contains everything you’d expect from a luxurious amplifier rig. You need ef-
fects – there are lots of them here. You want a tube amp – we have a fine selection for you.
Cabinets are important – here’s a bunch. Not to mention all the sound-shaping utilities
and useful studio effects.
16 |  THIS IS AMP ROOM

Amp Room is the perfect playground for experimentation. Do you want to put the cabi-
net first in the chain? Go ahead! How about parallel signal paths? No limitation at all!
Does the echo pedal sound better before or after the overdrive? Find out! We believe in
total creative freedom.
Softube has a long history of tube sound – hence the company name! This experience
boils down perfectly to a compact, sweet sounding, easy-to-use, all-in-one plugin.
Did anyone say plug-and-play? This is plug in and play!

Add-on packages for Amp Room

Over time there will be add-on packages, specifically made for Amp Room, regularly
released. These will have spotlight features on products of a certain type, era, manufacturer
etc. It will not be possible to use these add-on packages if you do not have Amp Room.
Once you own an add-on package (and own Amp Room) the modules/gear included
while appear automatically in the Gear tab and will work and function just like the de-
fault Amp Room gear.

“Amp Room-ready" Softube plug-ins

Not only does Amp Room by default come with a large variety of gear, you will also be
able to use an assortment of other Softube plugins directly inside Amp Room! These
plugins will be labelled as “Amp Room-ready" on their individual product pages. If you
already happen to own a Softube plugin that is Amp Room-ready, it will automatically
show up in your Gear tab, and can be used in the same exact manner as the default Amp
Room gear.
Plugins from the Softube back catalogue to become Amp Room-ready will be chosen
according to their usability within the Amp Room context. The list of Amp Room-ready
Softube plugins will expand over time as more suitable products are released.
  | 17

3 Enough talk! How do I get

started!?
Instantiate Amp Room on an audio track in your
DAW. Plug in your instrument and adjust your input Adding and removing modules
level. Then either select a suitable Amp Room preset After instantiating Amp Room on an audio track, you’ll
from Softube’s Preset Collection or create the signal of course want to try out all the different goodies in the
chain yourself in a matter of seconds directly from the Amp Room Gear tab. You will find there are several
Gear tab, and play! It’s really that simple. ways to do that.
The most flexible method is to use Amp Room as a
plugin effect on an audio track. That way, Amp Room is
used as a playback effect and you are free to tweak the
sound at any time, both while recording and afterwards.
You can also record your instrument with a full set of
Amp Room effects, amp, and cabinets. By committing
to the right sound permanently, there will be one thing
less to worry about later during production.
Or you can use Amp Room to beef up an already re-
corded instrument. Maybe all you want to add is some
delay and gentle tube overdrive?

Upon starting up Amp Room on a new track the Gear

tab will be open (it is open by default as soon as the
workspace area is empty). You will find a huge amount
of devices that you can scroll through. If you select a
device by clicking on it, it will be inserted last in your
signal chain by default. If you know exactly where you
want the device, you can also select it by dragging it out
of the Gear tab by holding down the left mouse button
and dropping it where you want it. There is also a third
18 |  ENOUGH TALK! HOW DO I GET STARTED!?

way of adding a device to your signal chain. Place the

mouse cursor where you would like to insert it in your
signal chain, click anywhere on the green insertion line
that will appear and the Gear tab will open. Choose
whatever device you want by clicking on it and it will
automatically be inserted at the pre-chosen insertion
point.

Note: When clicking on a module in Gear tab, the module will

blink twice upon insertion. This to act as both visual feedback
that something was selected and inserted, plus making it easier
to locate in the workspace area

If you want to make the gear selection a bit easier, you

can sort the items into categories. In the Gear tab, click
on any of the 5 icons at the top of the Gear menu. The
icons in L-R order are: Pedals, Amps, Cabs, FX/rack,
Utility tools and to the right of the search window, lastly,
the Amp Room Store icon.
The Amp Room Store icon will display what is available
You can easily create a second signal path in Amp Room
to add to Amp Room but that you currently do not own.
by dragging and dropping a module to a position above
These can be exclusive Amp Room devices (e.g. a single
or below another module. When doing this, a split
pedal, amp or a cab) or full Amp Room exclusive add-on
module and a mix module will appear automatically to
packages. There will also be a wide choice of other Amp
enable you to tweak the two signals however you want
Room-ready Softube plugins e.g. the Tube-Tech CL1B
them (for full explanation of the Split/Mix modules, see
compressor or the Trident A-range EQ, all with the
"Split/Mix" chapter.
same modular functionality as the default Amp Room
gear.
Note: For stereo effects to work properly in certain DAWs, make
sure you are using a stereo track.
Note: The Amp Room Store-icon filter works in conjunction with
the other selection icons. If you e.g. have the Cabs-icon selected
and then click the Amp Room Store-icon you will only see what
cabs are available in the Amp Room Store that you currently do
not own (meaning, sometimes Amp Room Store might appear
to be empty). In this case, to show everything available in Amp
Room Store: simply unselect the cab-icon.

Removing or replacing a module in a signal chain is also
super easy. Just right click on the module you wish to re-
move or replace and choose between “Remove module”,
“Replace module”, which leads into a menu over your
available modules in the Gear tab, and of course “Re-
move all modules” if you wish to scrap all the modules in
current use and start over fresh.
You can also remove a module by clicking on the small
“X” in the upper left module corner. All modules have a
bypass function. It can be found at the top right corner
of a module and is activated/deactivated simply by click-
ing the circle-shaped button.
Note: Utility modules do not have a info-button on the modules. Infor-
mation pop-up windows for these modules can be found in the Gear tab.
Split/Mix panels do not feature any of the three buttons mentioned.
AMP ROOM USER’S GUIDE  | 19
Lastly, all modules also have an info-icon located at the
top left corner. This info might be tips on how to use the
module or a background story of the module.
Note: Utility modules and Split/Mix panels do not have this feature.
Order of the modules
Why do most “pedal to amp to cab” plugins restrict the
user on how to arrange their signal chains? We don’t
know, and we think it’s a bad idea. Wonderful and crazy
things can happen when you connect your stuff in an
“unorthodox manner”. In real life, you might destroy
your gear by doing so, but here you are in the safe hands
of Softube.
For instance, you could try setting up a patch with a dis-
tortion pedal, a delay pedal, and a cabinet, in that order.
Turn up the distortion quite a bit and turn on the delay.
Then drag the delay so that it sits before the distortion
pedal. Notice the difference? Generally, it’s a good idea
to place the delay after the distortion, but when search-
ing for unusual sounds, it’s sometimes necessary to break
the rules. So why not try putting the cab first?
20 |  ENOUGH TALK! HOW DO I GET STARTED!?

Flexibility or commitment?
Recording without committing!
The most flexible method is to use Amp Room as a
plugin effect on an audio track during recording and
playback. By recording your instrument with a clean
sound, directly from your sound card, you can apply any
kind of effect, amp, and cabinet while recording and
change those settings at any time during the production
process.

Recording with commitment!

You can also record your instrument with a full set of
Amp Room effects, amp, and cabinet. To do so, instanti-
ate Amp Room on an input track and bus the signal to
a second channel where you will now “hard record” you
track onto. You may find it easier to dial in your perfect
sound and commit to that permanently. One less thing
to worry about at later stages in your music production.
However, recording with Amp Room as a playback ef-
fect is by far the most versatile strategy. While recording,
your project may head in another direction than first
envisaged. The flexibility to tweak your Amp Room set-
tings late in the process, could very well be the versatility
you need.

Using Amp Room as a send effect

While Amp Room was designed to be used as an insert
plugin, it is perfectly possible to instantiate it as a send
(aux) effect. When doing so, the entire signal no longer
passes through Amp Room. Instead, it will be a bit like
adding reverb to vocals, which is usually done via aux
sends.
  | 21

4 What to expect from Amp Room!

Will Amp Room do the same job as a regular guitar rig consisting
of effects, amplifier, and a cabinet?

Yes, it will. Amp Room is like a music store; full of everything you
need to get your personal sound. Just without five people playing
Stairway to Heaven.

What’s the advantage of being able to use effects, amps and cabs in
any order?

Just imagine...

Can I run my electric bass through Amp Room?

Absolutely! Amp Room is developed for both bass and electric

guitar (plus whatever usage you can think of, really). For over fifty
years, bass has been recorded by mic’ing a speaker cabinet or by
using a line box (or a combination of the two). In Amp Room you
easily can use both techniques. At the same time.

Is Amp Room CPU hungry?

No, not for the average contemporary computer.

Amp Room is useless to me because I’m a singer.

Have you ever tried adding a soft amp overdrive effect to your
vocals? It can work! There are numerous examples out there.
22 | 
5 General
General settings
Clicking on the settings-symbol at the top right-hand
corner of the plugin will show four settings options.
Here you can turn OpenGL graphics on/off, choose
between using a small or large plugin GUI (handy if you
are working on a smaller laptop for example), turn on/
off confirmation warning when deleting all modules and
the value display.
You can also turn on/off the module tooltips feature in
the Gear tab menu here.
General Tools
Gate
The Gate, located at the top left-hand corner, functions
like most other noise gates you might have encountered.
If you have an annoying noise or humming sound when
you want things to be quiet, try using this function.
Engage/ disengage the Gate by clicking in the green
circle and move the threshold slider to your desired level
of gate.
You can also adjust the gate by placing your mouse cur-
sor over the threshold slider and scroll with your mouse
wheel.
Disabling OpenGL will force the computer processor to
draw all graphics without the help of the graphics card.
This will bypass any compatibility issues the graphics
card might have, but can cause low overall performance
and jerky graphics movements. Therefore, only dis-
able OpenGL if there are instability issues or graphic
glitches.
Disabling auto-open gear menu will stop the Gear menu
from automatically opening when the workspace is
empty. Disabling auto-zoom will let you set a zoom level
manually. This setting will however be overridden when/
if loading a preset.
Please note #1! Turning on/off OpenGL affects all Softube
plugins and requires DAW restart. A change of setting for the
other options shown requires a new instantiation of Amp
Room, but no DAW restart required with most DAWs.
Please Note #2! It is highly recommended to not disable OpenGl
when using Amp Room.
Clicking on the green Softube logo with display the ver-
sion of Amp Room currently installed.
DTC™ -
Dynamic Transient Control
Some pedals, fx and amplifiers impact the overall dy-
namics and transients of a sound. If you want to restore
the original dynamics, DTC™ (Dynamic Transient
Control) can magically bring those transients back.
Engage/ disengage DTC™ by clicking the green circle.
The further you move the slider to the right, the more
the transients and dynamics are enhanced.
You can also adjust the amount by placing your mouse
cursor over the slider and scroll with your mouse wheel.

Headphones Mode
The little button with a headphone symbol next to it, is
a utility for those occasions when you’re working with
headphones. Listening to a completely dry signal in ear-
phones can be really tiring. Real life instruments never
sound like that in a room; they always have a bit of room
and air around them.
The Headphones mode brings some life to your head-
phone sessions by adding some slight room ambience
in stereo. It also removes some harsh high end of the
sound.
The effect of the Headphones-button is hardly notice-
able when listening through speakers.
Engage/disengage Headphones mode by clicking in the
green circle.
Please note! If you render or mix with Headphones mode active,
that little extra ambience will also be added to the overall Amp
Room sound.
Left, Stereo, and Right modes
This handy little switch determines what input audio
signal that will pass through Amp Room, Left, Stereo
or Right.
Your guitar or bass is typically a mono source but if you
choose Left or Right when using the stereo instance
of Amp Room, you can create stereo effects from your
mono source. L-input is chosen by default and will in
most cases be the correct input choice for a mono guitar
or bass.
Please note! If you wish to preserve the stereo image of an
incoming signal, the stereo icon (two interlaced circles) must
be selected.
SOFTUBE USER’S GUIDE  | 23
Tuner
A tuner is always handy, especially if you’re a guitarist or
bass player. Turn it on when you need it. If you find the
blinking pitch indicator disturbing, just turn it off with
the little switch.
By default (speaker + x), turning on the tuner will mute
the through signal, so you can tune your instrument
without disturbing anyone else.
The second symbol (speaker + straight line) will let you
hear the incoming signal while you’re tuning, but with
the entire signal chain bypassed (no effects) while tun-
ing.
The third position (speaker + sinus wave) will play the
instrument with the entire signal chain active (all effects
on) while tuning.
Engage/disengage the Tuner by clicking in the green
circle, select one of the three tuner options by clicking
on the different tuner icons.
Zoom
You will find the Zoom control in the upper right-hand
corner of the Amp Room interface. With it you can eas-
ily adjust the amount of zoom you wish to have by mov-
ing the slider to the left or to the right. It is also possible
to control the zoom with the scroll wheel of your mouse.
Place the cursor in the zoom-indicator window and
scroll away.
You can also zoom by being anywhere in the workspace
area with the mouse cursor and alt/option+scroll (Mac)
Ctrl+scroll (PC).
Please note! Be careful as there might be instances where the
mouse cursor is over a knob etc. and the alt/Ctrl-scrolling will
change that parameter setting instead of zooming in/out.
24 | 

6 The Amp Room Workspace area

Input and Output levels

Input level panel
You can set the input level by adjusting the input volume
slider. As a rule of thumb, adjust the input volume so
that the volume meter hits about 0 dB when playing
hard.

Note: If you prefer amps with more headroom, simply turn

down the input volume. The opposite is also valid.

Output level panel

You can set the output level by adjusting the output vol-
ume slider. As a rule of thumb, adjust the output volume
so that the volume meter hits about 0 dB.

The Input and Ouput level panels are permanent fea-

tures of the workspace area. They cannot be moved or
removed.

Series/Parallel
Creating stereo effects
The signal chain in Amp Room preserves the mono or
stereo information from the input signal. So, mono in –>
mono out. Stereo in –> stereo out (if you remember to
tick the Stereo icon at the top).
Example: If you run a stereo sound through a device in
Amp Room, the output will also be in stereo but with
the additional effect of whatever is in the signal chain.
No stereo information will be added.
However, you may want to add stereo information to the
audio you’re running through Amp Room. A stereo de-
lay – with different delay times in left and right channels
– can be useful when you want to add width to a sound.
Chorus, phasing, and reverb are similar examples.
Example: Drag the Wild Boar Delay pedal to the signal
chain. Then drag a second delay pedal to a position
above or below the existing delay to create a two-lane
signal chain.
When a parallel signal path is created a Split and a Mix
panel automatically appear; Split at the beginning and
Mix at the end of the split/parallel signal path.
AMP ROOM USER’S GUIDE  | 25
Set different delay times to the two units and on Mix
panel, set one of the Pan knobs to the left and the other
one to the right. Done!
Sometimes your signal chain can become a little busy
looking if it has a lot of parallel signal chains. Up in the
right corner of the of the Amp Room interface you will
find “Split” and “Mix” buttons. With them you can
choose if you want either of them visible. Once you’ve
completed your tweaking, perhaps you wish to clear out
the clutter a bit? Easy!
Please note! Depending on your DAW, you may have to use a
stereo audio track for stereo effects to work.
Creating multi-channel effects
You can easily create signal chains with more signal
paths than two. Just follow the instructions in the
previous chapter and add even more paths. By adjusting
the Pan knobs, you can create a sonic landscape of any
width and depth.
Please note! The settings of the Split and Mix panels are in
effect even when the panel is not visible.
Creating parallel signal paths
Series and parallel effects can sound very different. Try
placing a delay and a reverb pedal after each other in the
same lane. Compare that sound to what you get with the
effects in separate lanes. Experiment!
26 |  THE AMP ROOM WORKSPACE AREA
Split/Mix
The Split panel
As mentioned previously, when
creating more than one path in
the signal chain the Split panel
becomes functional. This panel has
crossover functionality. This can
come in very handy when you want
to process two frequency ranges of
an instrument differently.
This technique – generally referred
to as bi-amp'ing – is often applied
to bass guitars. Many bass amps
allow you to split the bass sound
into two ranges. Example: Every-
thing above 200 Hertz goes to one
amp and/or cabinet and everything
below 200 Hertz goes to another.
The crossover frequency is usually
adjustable.
Another example is sending the
upper half to effects while keep-
ing the lower frequencies clean, in
order to keep the bottom end more
solid.
Amp Room allows you to do
exactly that – treating the high and
low ends of a sound separately.
You can swap the high and low
range lanes by clicking on the Low
to Top button.
Please note! The settings in the Split panel
are in effect even when the panel is not
visible.
The Mix panel
Along with the Split panel
appearing, the Mix panel also
appears when creating a parallel
signal chain.
The Mix panel combines the two
signal paths into one stereo out-
put. The Pan controls can be set
to any wide or narrow stereo field,
and the volumes of the lanes are
freely adjustable with the Volume
faders. There is also an option to
Phase Invert either/or both the
upper and lower signal paths if
you like.
There is also a Path Selector-
switch on the Mix panel. With
it you can choose to either only
listen to the top or the lower
signal path at a time, or of course,
both signals at once. Top position
is for the top signal path, bottom
button position is for the lower
signal path and the middle button
position is of course for hearing
both signal paths at once. This
is very useful for when you have
two different sounds and want to
switch between them.
Please note! The settings of the Mix panel
are in effect even when the panel is not
visible.
  | 27
7 Getting Modules onto the
workspace area
Using the Gear tab
After instantiating Amp Room on an audio track, you’ll
of course want to try out all the different goodies in the
Amp Room Gear-tab. You will find there are several
ways to do that.
Upon starting up Amp Room on a new track, the Gear
tab will be open (it is open by default as soon as the
workspace area is empty). You will find a huge amount
of devices that you can scroll through. If you select a
device by clicking on it, it will be inserted last in your
signal chain by default. The whole added module will
also blink to highlight where it is in the signal chain. If
you know exactly where you want the device, you can
also select it by dragging it out of the Gear tab by hold-
ing down the left mouse button and dropping it exactly
where you want it.
There is also a third way of adding a device to your
signal chain. Place the mouse cursor where you would
like to insert it in your signal chain, click anywhere on
the green insertion line that will appear and the Gear
tab will open. Choose whatever module you want by
clicking on it and it will automatically be inserted at the
pre-chosen insertion point.
As mentioned previously in the Adding and removing
modules section, if you want to make the gear selection
a bit easier, you can sort the items into categories. In the
Gear tab, click on any of the five filters at the top of the
Gear menu. The filters are (L-R): Pedals, Amps, Cabs,
FX/rack, Utility tools and to the right of the free text
search field, lastly, the Amp Room Store filter.
The Amp Room Store filter will display what is available
to add to Amp Room but that you currently do not own.
These can be exclusive Amp Room devices (e.g. a single
pedal, amp or a cab) or full Amp Room exclusive add-on
packages. There will also be a wide choice of other Amp
Room-ready Softube plugins e.g. the Tube-Tech CL1B
compressor or the Trident A-range EQ. All with the
same modular functionality as the default Amp Room
gear.
Please note! The Amp Room Store filter works in conjunction
with the other selection icons. If you e.g. have the Cabs-icon
selected and then click the Amp Room Store-icon you will only
see what cabs are available in the Amp Room Store that you
currently do not own (meaning, sometimes Amp Room Store
might appear to be empty). In this case, to show everything
available in Amp Room Store: simply unselect the Cab filter.
Another way of finding what you are looking for is to
type in e.g. “Marshall” or “distortion” in the free text
search field at the top of the Gear tab.
Please Note! Also here, the free text search field works in con-
junction with selected filters e.g. having the Amp Room-store
filter selected etc..
Also please note! For stereo effects to work properly in certain
DAWs, make sure you are using a stereo track.
28 | 

8 Preset Collection for Amp Room

If you are unfamiliar with the vast range of options and

settings that Amp Room offers, a good first step is to
check out Softube’s “Preset Collection” that comes with
Amp Room.
Please check out the dedicated Preset Collection chapter
on page 4 in this manual for more information on how
to use it to its full potential.

In addition to all the hundreds of new Amp Room and

”Amp Room- ready” presets featured in Preset Collec-
tion, the legacy presets from Bass Amp Room, Metal
Amp Room and Vintage Amp Room have also been
included. Please note that because Amp Room features
upgraded mkII versions of the amplifiers from these
three plugins, the legacy presets might vary slightly in
sound compared to when being run on a legacy Bass/
Metal/Vintage plugin.
  | 29
9 Modules – General information
Anything that can be click-selected and/or dragged
from the Gear tab to the workspace area are modules.
As mentioned previously, at the top of every module
you will find (from left to right) a Remove-button, an
Information-mouse over icon (not present on Utility
modules) and to the far right a Bypass-button.
On some amp modules, particularly those based on
Amp Room-ready plugins, there is also an “enlarge”-
button located at the top, second from the right. By
clicking this you will open up the amp interface found in
the stand-alone version. All knobs, buttons etc. are fully
interactive also in this state and whatever changes you
do to your amp settings will remain the same when you
enlarge or decrease the amp interface size. Decrease the
size of the amp simply by clicking somewhere outside of
the amp interface.
By clicking the Remove-button the module will be re-
moved without a confirmation warning. Hovering your
mouse cursor over the Information-icon will show the
same information over the specific module as is shown
in the Gear tab when hovering over the same module.
The Bypass-button does exactly what the names says:
you can bypass the module on and off by clicking this
button.
If you wish to move a module, place the mouse cursor
over the top end of the module over the darker upper
frame (present while hovering over the module). Hold
down the left mouse button (while over the dark area)
and grab the module. You are now able to move and
insert the module where you like.
Apart from moving a module around by grabbing it, you
can also drop it on top of another module. The dropped
module will then replace the other module and the
replaced module is removed from the workspace area.
30 |  MODULES – GENERAL INFORMATION

Module right-click options

Right-clicking on a module will show a list of three op-
tions: Remove Module, Replace Module and Remove
All Modules.

Remove Module Will remove that particular module

instantly without a confirmation
warning.

Replace Module Will lead you to a list version of all

available modules.

Remove All Modules Will, perhaps not surprisingly, re-

move all the modules you currently
have in the workspace area if you
wish to start over fresh with a clean
slate. Choosing this will however
prompt a confirmation warning of
what is about to happen.

Duplicate
Module (DND) Will duplicate the module along
with all its current settings. The
Please note! These right-click options do not appear on the Split
DND refers to “drag&drop”,
and Mix panels, nor the Input and Output meters.
meaning this works just like drag-
ging a module out of the Gear tab.
To duplicate, click and hold the left
mouse button on the “Duplicate
Module (DND)” row and simply
proceed to drag with the mouse.
The duplicated module will stick to
the cursor and can be dropped any-
where in the current signal path.
  | 31

10 The Gear

About the effects pedals

Effects pedals have been the obvious choice for so many musicians during so many years, both live
and in the studio. Effects pedals offer a modular approach to creating exciting and personal sounds.
Combine whatever pedals you want in any order, and something exciting will probably come out at
the other end.
Amp Room offers this playground approach too. Feel free to experiment and feel free to break the
rules. Do you always need an amp after an overdrive? Can I use a bass cabinet with my harmonica?
What if I connect these effects in parallel?
Go ahead and find out!

DIS Distortion pedal

Distortion probably doesn’t get any more classic
than this unit. You could call DIS the mother of
all distorted sounds. This overdrive pedal, with
its tube-like characteristics, can be useful when
your amplifier isn’t heavy enough. The mid
boost provided here is typically popular among
rock and blues guitarists. DIS Overdrive can
even be used to mimic the sound of a vintage
tube amplifier all by itself.
Operation is simple. Adjust the Drive knob for
the right amount of dirt, use the Tone knob to
set the treble content and let Level balance the
overall output volume of the pedal.
32 |  THE GEAR

Doom Chvrch Reverb pedal EQnäs EQ pedal

The Doom Chvrch reverb is a marriage between A seven band EQ can be a lifesaver in so many situations.
vintage and modern. Some parts, such as the You may have created a sound in Amp Room that is almost
modulation and diffusion, are inspired by the clas- there. It just needs a little less low mids or more sparkle.
sic EMT 250 reverb, while the reverb tank itself EQnäs can save your day and make the difference between
comes from the huge hall we built for the Parallels® a good sound and a great one.
instrument. It was designed to allow you to go from
Placing an equalizer in front of a tube amp can help the
a short “boxy” room sound, to epic and almost infi-
amplifier come alive, make it scream and behave more ag-
nite perturbations that evolve over time into some-
gressively. Depending on what frequencies you boost or cut,
thing completely different. It was never intended to
your tube amp will react, so it’s definitely worth pushing all
sound realistic; it was designed to sound good.
the EQ sliders up and down to reach your desired result.
Doom Chvrch is a stereo reverb that will give you
An EQ can also provide an effective method to make
a stereo output, even if the input is a mono signal.
an instrument cut through a dense mix, or to whip up a
You can therefore use it in subtle amounts to give
telephone filter. You can even use the filter sliders to create
some depth to your track. The Time knob provides
a makeshift comb filter (push every second slider up and
almost infinite reverberation. Mix adjusts the dry/
every second slider down on the left side and make an
wet balance and the Bass and Treble controls let
inverted EQ setting on the other side).
you adjust the overall tone of the reverb effect.
The seven sliders affect frequencies between 100 and 6,400
“Doom Chvrch” is a local wordplay on the Dom-
Hertz with a ± 15 dB range. The Level slider on the right
kyrka (Cathedral) of Linköping. Founded in
can be used to compensate for any undesired volume
the 13th century, it is a prominent part of the
change caused by the frequency sliders. It also has a ± 15
Linköping skyline.
dB range.
Ekenäs Castle is a 17th century Baroque-style castle lo-
cated outside of Linköping.
 AMP ROOM USER’S GUIDE  | 33

Jet Town Compressor pedal JJB Chorus pedal

A compressor can affect the dynamics of your instru- The chorus effect will bring a sweeping movement to
ment in a big way. This pedal can be used on an electric almost any sound source. Overuse will bring back strong
guitar to boost the soft rhythmic noises for a funkier 80’s vibes.
sound. Or on a bass to flatten out the volume, so that
This pedal adds a slight stereo image to a mono sound
all notes get a more even loudness. Running an acoustic
(if the track output is set to stereo). The Speed knob has
guitar through Jet Town can affect not only the overall
a range from 0.3 to 9 Hertz. That’s the rate of the modu-
loudness but also the attack and the length of the notes.
lation. For reference, a Leslie cabinet rotates at approxi-
There are several pop recordings with a bit too much
mately 1 Hertz (slow setting) and 8 Hertz (fast setting).
compression on acoustic and electric pianos, giving them
Depth determines the depth of the modulation and Mix
quite different sounds. And, of course, you nearly always
takes you from a dry to a fully wet sound.
use a compressor to tame vocals.
JJB are the initials of Jöns Jacob Berzelius, a native of
Attack can be set from 2 to 100 ms, and the Release
Linköping and one of the fathers of modern chemistry.
range goes from 50 to 500 ms. Intensity sets the com-
pressor threshold, i.e. the level where compression starts
to kick in. In short: Increase the Intensity value to get
more compression. Finally, use Output to balance the
overall output of the pedal by ± 21 dB.
Jet Town is a reference to Linköping being Sweden’s
number one aviation city. Airplane manufacturer SAAB
AB has had its aerospace headquarters in the city since
the early 1900s.
34 |  THE GEAR
Marshall Guv’nor pedal
The pedal modeled here was introduced in the 1980s
and provided a method for obtaining the classic Mar-
shall sound without actually buying a Marshall amplifier.
It recreates the drive tones of the JCM800 and Plexi
amps with its heavy, distorted tones. It’s also flexible
enough to move from transparent overdrives to heav-
ily saturated lead tones and further into huge, distorted
JCM grunt.
Gain provides drive, no doubt about that. The three
Bass, Middle, and Treble controls allow you to sculpt
your sound, while the Level knob sets the overall output
volume.
ODR Overdrive pedal
The classic dual-stage overdrive circuit modeled in this
pedal offers loads of sustain and compression, while pre-
serving the dynamics of the input sound in a great way.
If non-muffled, dynamic tones reminiscent of overdriven
tube amps is what you want, the ODR Overdrive is your
choice.
You could try out different settings on this pedal. Drive
can be set very low as a rather clean booster or higher
for increased grit and compression, perfect for crunch
and lead sounds. The Tone knob is vital for taming
the overdrive effect and adjusting the overall character.
Level takes care of the output volume.

Rökstenen Superstortion pedal
This pedal can produce a wide variety of distorted sounds.
If you focus on the Character knob, you’ll notice how
Rökstenen Superstortion changes … well … character quite
drastically.
The center position of the knob represents a standard
distortion sound. This can serve as a good starting point for
further experimentation. Set the Gain and Level controls
to get a general suitable sound. Then turn Character to the
left, and you’ll notice how the sound gradually changes to a
muddier, brown type of overdrive. Going from 12 o’clock to
the right will change the effect to a tighter distortion.
We could even recommend that you try using Superstor-
tion without an amp or even a cab. You may be surprised
how well it functions on its own.
Gain sets the overall amount of grit while the Level knob
adjusts the total output volume. The Tone knob acts like
a tilt control; centre is flat, a setting to the left boosts bass
and reduces treble, while turning it to the right will give
you a brighter, thinner sound. Contour determines the
overall timbre, going from a traditional loudness curve
(boosted bass and treble) to flat (12 o’clock) to mid boost.
Rökstenen is a Viking age runestone from the 9th century
located outside of Linköping. It has the longest known
runic inscription in a stone and is also the first piece of
Swedish literature.
AMP ROOM USER’S GUIDE  | 35
Trollegater Gate pedal
Stacking up a load of pedals, especially those that
add some kind of distortion, may result in a huge
amount of noise building up. A noise gate can come
in handy if noise becomes a problem.
One method is to put the gate last in the chain.
That way, you will get rid of all unwanted hiss and
rumble from your rig. However, if you use delay and
reverb effects after overdrive and distortion pedals,
the noise gate may cut off the tails of those effects.
You could then try placing the gate before echo and
reverb.
The Trollegater will always do its best to assist you
in removing noise while preserving the music, but
you must give it a little help. Start by turning the
Threshold knob all the way to the left. With your
instrument connected and all effects on but no
music playing, listen closely to the noise. Increase
the Threshold knob until the noise disappears. This
is your correct setting!
Trollegater (transl.: Troll + gata = troll street) is a
nature reserve outside Linköping with one of Swe-
den's largest natural cave systems.
36 |  THE GEAR

Wild Boar Delay pedal

Delay or echo is one of the most desirable and neces-
sary effects for many musicians, not only synth players,
singers, and guitarists. When introduced in the fifties,
tape effect units provided a method of adding space
around singers and made instruments sound more excit-
ing. Later it became a way of adding rhythmic effects in
musical arrangements.
Delay sets a delay time from 20 to 1,000 ms. The Mix
knob goes from completely dry to 50/50 (at 12 o’clock)
to delay only. Feedback gives you anything from a single
delay to almost infinity, and the repeats continue even
after you turn the pedal off. If you want to quickly cut
off the echoes, just turn down the Feedback knob. Tone
does not affect the delay signal at all when set to 12
o’clock. Move it to the left to reduce treble and to the
right to reduce bass.
At the module top bar there is also a Tap tempo func-
tion! Tap away to get the delay time you are looking for!
Sweden is largely covered by forest and, due to the coun-
try’s relatively low population density, rich in wildlife.
The area around Linköping is particularly rife with wild
boar.
 AMP ROOM USER’S GUIDE  | 37

About the amplifiers

The standard amplifiers in Amp Room have been developed from Softube’s classic plugins Bass Amp Room, Metal
Amp Room, and Vintage Amp Room all with new DSP.
These amps are popular among many users, and we’re proud to present them here, side by side, in Amp Room.

30W Top Boost

A 1964 3-channel, 6-input AC30 “Treble” model. This is a
quirky amp, but once you understand the layout it’s quite
easy. It has three channels – Vib-Trem, Normal, and Bril-
liant – with separate inputs.
In order to use all channels at the same time, the player usu-
ally patches these inputs together, and that’s what we’ve done
in this version. Each channel has its own volume control, and
you can blend these to get the sound you want.
The Vib-Trem channel has vibrato and tremolo, and the vi-
brato is the hero of this amp. You cannot set the intensity of
the effect, but you can use one of the other two channels to
blend in a “dry” signal. The Vib-Trem channel is also the one
with the most distortion, since it features an extra tube stage
before (!) the volume control.
The Vib Trem switch selects which of the two effects should
be used, and the speed of the modulation can be set to Slow,
Medium, of Fast with the Slow Fast switch.
The Tone knob cuts the treble frequencies.
A common application is to put a boost or overdrive pedal in
front of this amp and use the output volume of that pedal to
shape the amount of distortion in the amplifier.

Please note! The Tone knob operates contrary to most other knobs;
turning it to the right reduces the highs. Less is more.
38 |  THE GEAR
Custom 100W
This amp was the centerpiece of Softube’s Bass Amp
Room plugin and proved very popular. It’s a late 70’s
British guitar amp which is often used for both classic
rock bass and guitar.
We recommend you to play around with both volume
controls. Normal Volume is the preamp distortion and
Master Volume controls the power amp distortion. The
preamp distortion is very grainy and characteristic, while
the power amp distortion is a lot smoother.
If you are using Custom 100W for bass, you might want
to set the input gain switch to Low to back off a bit of
preamp distortion, unless you want a lot of gunk in the
tone (which is also nice!). Use the Bass, Middle, and
Treble controls to shape the desired tone.
Dual Tremolo 100W
Lifted from Softube’s Vintage Amp Room plug-in, this
is a 1966 black face version of a classic combo amplifier.
While searching for the perfect amp to use, we found an
amp collector with several dozens of Twin Reverb amps
from the 60’s. Like kids on Christmas Day, we started
playing through almost all of them and settled for a unit
that had a bit more crunch than the rest. It is still pos-
sible to back off on the input volume and go super clean,
but this particular amp was made for the semi-dirty
blues riffs.
The tone stack, and in particular the Bass knob, affects
the amount of distortion to a high degree. If you need a
crystal clean sound, back off on the Bass a bit, and it will
be a lot easier to get a clean tone.
The Volume knob controls both the preamp and power
amp distortion. Bright turns on a high frequency boost.
It works only at lower volume settings.
Bass, Middle, and Treble adjust the tone, but these
knobs also control the amount of distortion. Vibrato
(which in fact is tremolo) has its own on-switch plus
knobs for Speed (rate) and Intensity (depth) of the
vibrato (tremolo) effect.
 AMP ROOM USER’S GUIDE  | 39

High Gain 100W 6L6

Finally, a specially designed Gate helps you control
excessive noise. Mute your instrument and turn up the
knob until the noise disappears.
We have previously mentioned that some amps will have
two interfaces; one module interface and one full-sized
interface (similar to the interface you would find on a
Softube stand-alone amp plugin). This will be a standard
feature with all future Amp Room-ready stand-alone
Softube amp plugins. However, the High Gain 100W
6L6 amp was fortunate to also have this feature imple-
mented.

This amp is designed for metal and is taken from the

Metal Amp Room plugin. It has been carefully modeled
to produce an aggressive sound with a smooth high end
and never ending sustain. When used with guitar, palm
mute playing will hit you right in the stomach. We have
also added a lower gain preamp to accommodate for a
more crunch-oriented playing style.
The Gain knob controls the amount of overdrive. Lower
settings give you a tight distortion with fast response, You enlarge the module interface by clicking on the
and higher settings gives you more but not so tight dis- double-arrow icon next to the bypass button and you
tortion. The Lead button at the lower end of the panel decrease back to the amp module by clicking anywhere
switches between lead and rhythm style sounds. outside of the large amp GUI. All controls/parameters
correspond 100% between the two interfaces and enlarg-
The Bass, Middle, and Treble controls are used to shape ing/decreasing the size will not interfere with any sound
the sound of the preamp distortion. Deep increases the processing.
lower end and Scoop scoops out some midrange to cre-
ate a tighter sound.
Depth and Presence are used to define the low and
high frequencies in the feedback loop of the power amp.
Turn them up to get bassier or brighter sound.
40 |  THE GEAR
Marshall JCM800 Lead Series
Nothing embodies the essence of the Marshall
tone more than the classic JCM800. Introduced
in 1981. It was the second Marshall amp that
featured a master volume control, which allows you
to further sculpt the tone. With preamp on full and
a low master volume, you’ll get a tight overdriven
sound, while the opposite setting gives you a looser
and more vintage sounding distortion.
The JCM in the name stands for James Charles
Marshall, and the seemingly meaningless number
800 was taken from his license plate. Later on, it
was said to represent the decade (the 1980ies).
The tone stack Bass, Middle, Treble, and Presence
controls will behave quite differently depending
on your Master Volume setting, and the Pre-Amp
volume will also change tonality depending on its
setting. While the amp seems simple at first glance,
there’s more to it than meets the eye.
Custom DI Direct Input
When designing the Bass Amp Room plug-in, we wanted
to add direct injection functionality, so that the user could
blend the Custom 100W amp with an unprocessed bass
track. We also wanted to give the user a couple of bass gui-
tar specific options, such as an equalizer and a compressor,
and the result is the Custom DI module.
The EQ is inspired by Softube’s Focusing Equalizer, with a
mid-band Tone that sits in the musical center between the
high and low filters.
You can start sculpting your sound by setting the Low Cut
and High Cut to where they sound right. Then adjust the
Tone control from Thin to Fat according to taste.
As the panel scripting denotes, the Low Cut knob does
nothing in its leftmost position. Turning it to the right cuts
bass increasingly. High Cut works the other way around,
with maximum cut in its left position.
The Limiter is a one-knob version of Softube’s FET Com-
pressor, designed to give you subtle limiting and a bit more
sustain. At 7 o’clock it doesn’t affect the sound. Turning the
knob to the right increases limiting.

About the speaker cabinets
Here you will find all the speaker cabinets from Bass
Amp Room, Metal Amp Room, Vintage Amp Room
plus a few extra cabs.
Many musicians and sound engineers consider the
speaker cabinet to be an essential component in any
electric guitar or bass sound. Some say, that changing
the cab makes a bigger difference than switching to
another amp.
When going through the many cabinets in Amp Room,
you will soon discover how big an impact the speakers
have to the overall sound.
Cabs and microphones
Moving microphones around
Microphone placement is crucial! In a recording studio,
there are often a musician/singer and two engineers
working on the sound – one who moves microphones
around, and another who sits in the control room and
decides what mic position is best.
In a project studio, this is usually impractical, simply be-
cause there aren’t enough people. Or your sound source
is located in the same room as your DAW and monitors.
Still, it’s always worth the effort to experiment with mic
positions. Getting the sound right during recording can
save you a ton of work later.
In Amp Room, you are free to move microphones
around during any stage of the creative process. While
listening to a recorded track and running it thorough
Amp Room, all cabs have at least one mic, and you are
free to move it around. We urge you to do so!
As you move the microphone(s) around, you’ll notice
how you suddenly reach a sweet spot – a position where
the tonal balance and acoustic properties sound just
right.
AMP ROOM USER’S GUIDE  | 41
In short, moving a mic really close to a cabinet, makes
the sound bassier and less trebly. With the mic further
away, the sound will become more “open” or “natural”
and you’ll hear more room ambience.
Cabs with two microphones
Some cabs have two microphones. Both can be moved
closer to and further away from the cabinet, but there’s
more. There is a Mix slider that allows you to set the bal-
ance between the two, and there’s a continuous Width
fader that sets the overall stereo image.
Cabs with several microphones
While mic placement is crucial, as described above, so
is the choice of microphone or microphones. Different
types (dynamic, condenser, or ribbon) and models, and
even specific mics of the same model, can make a huge
difference.
Experienced engineers will tell you, how they always
bring their own set of mics to a recording session. Those
guys are often skilled enough to pick not only the right
brand and model, but also the right specific microphone
to put in front of a particular singer, cabinet, or instru-
ment.
Those cabs with Revisited or Signature in their name,
have been recorded with several mics, so now you – the
engineer – can select any single or combination of mi-
crophones that gives you the desired sound.
42 |  THE GEAR
75W 1x12” Open Back
Originally from the Bass Amp Room plugin. We found
this cabinet in the studio while recording the cabinets
for the Bass Amp Room plug-in. It’s a custom-built
open back 1x12” cab that didn’t look like much but
sounded amazing on bass.
With its nice full range and lots of vintage character,
it sits nicely in the mix without too much tweaking.
Mic’ed with an MD421.
British 2x12”
This cab delivers a tightness that is second to none plus
a very percussive mid-punch. If you want notes and riffs
to really stand out, regardless of volume and/or musical
style, then this is the cabinet for you.
This cab features 6 single mic options and 8 mic combo
options, all specifically chosen for this particular cab and
ready-produced by Daniel Bergstrand at his DugOut
studios.
Sporting 8 mic combos. this cab shares the top spot of
having the most mic combo options out of all the cabs
included! During the modelling session, this cab just
kept on sounding great!
Some time after having worked on the Metal Amp
Room plugin together with Softube, Jensen of The
Haunted discovered the blessings of this cabinet, and it
has been his go-to cabinet ever since for all jobs. “We
borrowed about 10 cabinets from the local music store
before entering the studio. This cab was the last one we
tried because, well frankly, back then no one thought of
playing heavier music with this brand’s stuff. We were in
for a serious eye-opener!”, preaches Jensen.
The cabinet used for this module is Jensen’s personal
recording cab.

British 2x12” Open Back
This is an absolute gem of a cabinet! Strictly speaking,
is it a 2 x 12” open back overdrive combo, but here you
get the opportunity to plug straight into the loud and
unabashed cabinet section of the combo with the amp of
your choosing.
This cab features 6 single mic options and 8 mic combo
options, all specifically chosen for this particular cab and
ready-produced by Daniel Bergstrand at his DugOut
studios.
Sporting 8 mic combos. this cab shares the top spot
of having the most mic combo options out of all the
cabs included! This is truly a case of “the little cab that
could”!
Dual Tremolo 2x12” Blue Open Back
The 1966 speaker from the Dual Tremolo 100W combo
amp, with blue Oxford 12T6 drivers. Mic’ed with an
SM57, recorded at Soulmine Studios.
AMP ROOM USER’S GUIDE  | 43
High Gain V30 4x12”
The High Gain V30 4x12” cabinet was part of the
original Metal Amp Room plugin package featuring The
Haunted guitarist Jensen. This is his personal cabi-
net and was part of his studio rig when recording The
Haunted’s “Versus” album. The recording of the cabinet
took place at the famous Fredman Studio in Gothen-
burg, Sweden under the watchful eye of album producer
Tue Madsen.
This cabinet oozes of German precision and is, to some
extent, “unforgiving” due to its uncompromising ability
to articulate sounds. Then again, that is the reward of
using this cabinet. Notes cut through and riffs never feel
muddled, especially if you are a high-gain player. This
shouldn’t put off low to mid-gain players though, as the
articulation available here is great for all kinds of music.
With this cabinet, you have the choice of using either an
SM57 or a C414 as single mics or blended together. You
can adjust the mics individually from close to far range
and you also have the option of going off-center when
up close to the speaker and adjusting the mic angle. A
stereo-widening function and a phase control is also
available.
44 |  THE GEAR
Marshall 1960A 4x12”
A cabinet from the Vintage Amp Room plug-in.
This classic 4x12 cabinet has a bright and focused
sound with weight and punch. Mic’ed with an SM57,
recorded at Soulmine Studios.
Shouldn’t this cab have black vinyl? Well, yes, origi-
nally it did. But someone decided to give it another
color, we don’t know why…
Marshall 1960B 4x12”
Originally from the Bass Amp Room plug-in,
this classic Marshall 1960 cab was mic’ed with an
MD421.
This very cabinet, the 421 mic and the Custom
100W amp were the sole reasons why we made Bass
Amp Room in the first place. With a P-Bass and a
pick you have instant rock.
Marshall 1960B 4x12”
This cab is from the Metal Amp Room plug-in. It doesn’t
get much more classic than this; a straight 1960 in black
tolex. Most musicians will be familiar with this 300W
sound!
This cab features the set-up chosen by producer Dan-
iel Bergstrand: 6 single mic options and 6 specifically
chosen mic combo options. This gives it a wide variety of
ready-produced single and combo options from which to
quickly achieve a great sound.
Standard 8x10”
If there were ever a classic bass guitar cabinet, this is the
one. You’ll find this cab in practically every studio and on
every stage, and for a very good reason. This 8x10” pro-
duces as much bass as you could possibly need, while still
maintaining clarity and definition in the high mids.
The trick is to not exaggerate the low end – there is plenty
of it already – but perhaps roll off a bit of it to make the
bass sit in the mix. The 8x10 was mic’ed with a MD421.

Top Boost Blue 2x12” Open Back
The 1964 speaker from the 30W Top Boost combo
amp with Celestion Blue drivers and open back design.
Mic’ed with an SM57, recorded at Soulmine Studios.
75W 1x12” Open Back Revisited
This cab features 6 single mic options and 6 mic
combo options, all specifically chosen for this particu-
lar cab and ready-produced by Daniel Bergstrand at
his DugOut studios.
This gives you a wide variety of options from which to
quickly achieve a great sound.
AMP ROOM USER’S GUIDE  | 45
Dual Tremolo 2x12”
Blue Open Back Revisited
This cab features 7 single mic options and 6 mic combo
options, all specifically chosen for this particular cab and
ready-produced by Daniel Bergstrand at his DugOut
studios.
This gives you a wide variety of options from which to
quickly achieve a great sound.
High Gain V30 4x12” Revisited
This cabinet oozes of German precision and is, to some
extent, unforgiving due to its uncompromising ability
to articulate sounds. Then again, that is the reward of
using this cabinet. Notes cut through and riffs never feel
muddled, especially if you are a high-gain player. This
shouldn’t put off low to mid-gain players though, as the
articulation available here is great for all kinds of music.
This cab features 6 single mic options and 6 mic combo
options, all specifically chosen for this particular cab and
ready-produced by Daniel Bergstrand at his DugOut
studios.
46 |  THE GEAR

Marshall 1960B 4x12” Revisited Standard 8x10” Revisited

It’s impossible to exaggerate the impact of the Marshall This cab features 8 single mic options and 6 mic combo
1960A/B cabinets. Apart from being the number #1 options, all specifically chosen for this particular cab and
cab choice of the new wave of British heavy metal, they ready-produced by Daniel Bergstrand at his DugOut
are probably featured on more albums than any other studios.
cabinet ever built! With their pronounced mids and
This gives you a wide variety of options from which to
well-rounded bass, they will do an excellent job in any
quickly achieve a great sound.
situation.
This cab features 6 single mic options and 6 mic combo
options, all specifically chosen for this particular cab and
ready-produced by Daniel Bergstrand at his DugOut Top Boost Blue 2x12”
studios.
Open Back Revisited
This gives you a wide variety of options from which to
quickly achieve a great sound.

This cab features 6 single mic options and 6 mic combo

options, all specifically chosen for this particular cab and
ready-produced by Daniel Bergstrand at his DugOut
studios.
This gives you a wide variety of options from which to
quickly achieve a great sound.
 AMP ROOM USER’S GUIDE  | 47

About the Studio FX

When the sound in your dreams requires more detailed utensils than the pedals, amps, and cabs can deliver, the
studio effects come in handy. Amp Room comes with 3 very useful audio tools. They are able to do the same job
as a studio engineer to take you all the way to sonic perfection.

American Class A 25 Comp

This unit is based on Softube’s take on the greatest classics
of American mixing console hardware – a compressor with a
famously punchy sound.
Apart from the standard compressor controls, American
Class A also features a switch which allows you to choose
between a feed forward or a feedback style of compressor.
The feed forward (Type = New) is controlled and predict-
able, while the classic feedback mode (Type = Old) is more
punchy.
A Hard Knee has a sharper transition between compress-
ing and non-compressing states. A Soft Knee offers a more
gradual transition, where the ratio gradually increases around
the threshold. For most applications, Soft Knee is where you
want to set it.
The Attack can be set between 1 and 25 milliseconds and
the Release from 0.3 to 3 seconds. The Ratio knob sets the
ratio which, in general, is often less than what the panel says.
Threshold is adjustable from +10 to –20 dBu.
The Gain Reduction meter shows you how much the com-
pressor squishes the sound.
You can either place it as a pedal style compressor in front of
an amp, or you can use it as a mixing tool at the end of the
signal chain. When using it as a mixing tool, we recommend
that you listen to your guitars together with the rest of the
mix. You will come a long way with just a touch of compres-
sion.
48 |  THE GEAR
American Class A 55 EQ
This EQ is based on a classic console equalizer that
made it into a four-band 1U mastering equalizer, a
Softube Console 1 strip, and now finally turns up inside
Amp Room! This EQ is rock music. The weight of the
mids are legendary and the punch of the low end can be
heard on countless albums.
The four EQ bands each have 7 center frequencies. The
Gain knobs are divided into 11 steps, ranging from –12
to +12 dB.
Both the high and the low filter can be switched be-
tween Shelving or Bell filters.
You can either use it as a pedal style EQ in front of an
amp, or as a mixing tool to sculpt the output of Amp
Room. Anything goes!
Room IR Room Ambience
If you connect an instrument to your sound card and run
the signal through Amp Room while using headphones,
you will hear a completely dry signal.
With this effect somewhere near the end of your signal
chain, you can add some natural room ambience.
Five room impulse responses are available. All of them
have Near and Far faders, plus you can choose to delay
the Near response with a pre-set predelay time to
achieve a great slap-back effect. The two Pan knobs lets
you spread out the room impulses in the stereo field.
Note: The output of this effect is in stereo. To hear the full stereo
sound, you may have to switch the track in your DAW to stereo.
Note: The first version of this module only had one room IR. It is
now located as the first choice on the selector and the default
value when inserting the module. Its name is “Roundhouse”.
 AMP ROOM USER’S GUIDE  | 49

About the utilities

When your sound setting is almost perfect and you only need to make one final tweak,
these Utility devices can save your day. These are the not-so-glamorous tools that take
care of general audio housekeeping like basic filtering, pan, mute, and phase.

High Shelf Filter utility Low Shelf Filter utility

All audio above the All audio below the
frequency set by the Freq frequency set by the Freq
knob will be amplified knob will be amplified
or attenuated. The Gain or attenuated. The Gain
knob sets the amount of knob sets the amount of
boost or cut. boost or cut.
50 |  THE GEAR

High Cut Filter utility Low Cut Filter utility

Noise or unwanted The low cut filter (also
brightness can usually known as high pass filter,
be removed by this high or HPF) is by far the
cut filter. This type is also most widely used tool in
known as low pass filter, any studio. There is often
or LPF. a lot of unwanted, low
frequency rumble going on
This filter removes audio
that doesn’t help the mix
above the frequency set by
at all. Removing all audio
the Freq knob.
below, say, 100 Hertz is
standard procedure, except
for bass instruments and
kick drums, of course.
This utility module
removes audio below the
frequency set by the Freq
knob.

Gain/Mute utility Pan/Volume utility

In complex setups, with This module comes in
several parallel lanes in the handy, when all you need
signal chain, you may want to do is adjust the Volume
to quickly mute or change or Pan at some stage in the
the volume of a lane. By signal chain. Just insert it
placing this utility module wherever it is needed.
last in the chain, you’ll be
able to do exactly that.
The Mute button mutes the
chain where it’s inserted.
Phase inverts the phase by
180 degrees. Volume adjusts
the volume of a chain.

Please note, that inverting the

phase can create unwanted side ef-
fects such as mono incompatibility.
 AMP ROOM USER’S GUIDE  | 51

Short Delay utility

This utility module can be used for time align-
ing between parallel signal paths.
Cab impulses, with mics at different distance
from the cabinets, can cause unintentional
phasing issues between parallel signal paths.
This can result in a sound that feels slightly
“off ”, where certain frequencies are missing.
The Delay knob has a range from 0 to 5 ms.
Adjust the delay and hear the phasing problem
disappear. When you've hit the right spot, press
the – and + buttons to nudge the delay in 0,08
ms sample steps for even finer adjustment.
Short Delay can also be used as a tone shaper.

Variable Phase utility

Two microphones at different distances from a
sound source (say, a speaker cabinet), will inevi-
tably produce two signals that are more or less
out of phase. This is not necessarily a problem,
but if you want to do something about it, Vari-
able Phase is the tool to use.
The Variable Phase knob will turn the phase
above the frequency you choose (20 Hz to 20
kHz). Audio below that frequency passes unaf-
fected.
Variable Phase can be both a problem-solver
and a tool for experimentation.
52 | 

11 Using Amp Room live

Using Amp Room in a live setup is a very tempting
thought. Just think about it – you have a complete
arsenal of gadget go get you any kind of sound and with
instant access to all your presets. What you need is a
sound card and a laptop computer.
And since everything is included in Amp Room, includ-
ing speaker emulations, you can plug the output of your
sound card into any PA-like device. You could use a
stage monitor for your personal listening and also feed
the main PA, while sending a third signal to a recording
device.
If you have a computer/laptop with modern specs, and
that you would trust using live, Amp Room will perform
excellent in a live setting.
Credits
Patrik Jensen – project management. Kim Larsson,
Mattias Olsson and Anton Eriksson – DSP modeling.
Patrik Holmström and Pelle Serander – framework
programming. Björn Rödseth - DSP backend pro-
gramming. Daniel Bergstrand – studio sound design.
Niklas Odelholm – general graphic design. Ulf Ekelöf,
Thomas Merkle, Nis Wegmann and Manuel Colom
- graphic design. Patrik Jensen, Kim Larsson, Maxus
Widarson, Emanuel Enbäre, Markus Krona, Krister
Berglund, Filip Thunström, Johan Bremin. Peter
Möller and Niklas Odelholm – presets. Emanuel
Enbäre - quality assurance. Sven Bornemark – manual
copywriter. Fanny Hökars - manual design.

12 SOFTUBE AB’S END USER
LICENSE AGREEMENT
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AMP ROOM USER’S GUIDE  | liii
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logo, domain or trade name of Softube, its licensors or in
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users of the Product.
5. Grant of license to you from Softube
You are as from the effective date of this EULA under
the Terms and the provisions of this EULA granted
a non-exclusive, transferable, time-restricted (if ap-
plicable to the specific Product) and revocable right to
use the Product subject to the agreed License Model.
The license may thus be perpetual or subject to certain
limitations in time or otherwise, and may also only be
possible to use together with certain equipment.
The license applies for all versions of the Product (i.e.
such as patches, updates, upgrades etc.), which you may
receive from us during the term of the agreed License
Model. The availability of such later versions of the
Product, if any, is subject to our sole and exclusive dis-
cretion as applied from time to time.
Unless you change (subject to possibility under the
Terms) and/or agree to change the applicable License
Model for your Product with us, as applicable, the origi-
nally agreed License Model shall continue to apply for
you until expiry or termination of the same, as the case
may be.
6. Termination of a Product license and
effects of a termination
You may at any time and for any reason terminate the
Product license granted to you with immediate effect,
subject however to certain provisions and limitations
in relation to Time restricted Licenses, Subscription
Licenses, Rent-to-Own Licenses and Combination
Licenses in accordance with the Terms. If we have
lvi |
agreed to provide you with either of a Time restricted
License, Subscription License, Rent-to-Own License or
Combination License, you can normally not prematurely
terminate such a license prior to the first expiry date. We
will however not refund any amounts paid to us if you
prematurely terminate any license granted to you, unless
such termination is due to a material breach against the
provisions herein or the Terms from us.
In relation to a possible Evaluation License, the Evalu-
ation license granted to you will continue until it is
terminated by us or you or on the date when it expires
automatically (as the case may be).
Softube may however terminate the relevant Product
license with immediate effect if you breach the provi-
sions of this EULA or the Terms and/or fail to make the
agreed payments under the Terms. In case of a violation
of our and our licensors’, if any, intellectual property
rights to the Product or other material breach of this
EULA or the Terms, such termination may follow
immediately upon detection of such violation/breach.
Upon termination of the relevant Product license, you
must delete the Product from your equipment and any
copies thereof.
7. Agreed limitations in your right to use
the Product
You may use the Product for only as many simultaneous
users, servers or other limiting parameters as are set out
in the Product (by means of technical limitations), ap-
plicable Product manual or Products instructions, as set
out in the Terms, the EULA or otherwise.
You may not copy or reproduce the Product, except
to the extent otherwise set out in applicable statutory
provisions. You as an end-user may neither transfer, sell,
distribute, lend, rent, lease nor in other way, directly
or indirectly, dispose of the Product or any deriva-
tive work of the Product (including its accompanying
information), except and only to the extent that such
dispositions are explicitly allowed due to the Terms, the
applicable Product manual or Product instructions.
You may neither alter nor modify the Product and may
not analyze, reverse engineer, decompile or disassemble
the Product or any part of the Product, incorporate the
Product into any other application Product, or print
out the Product, except and only to the extent that such
activity is expressly permitted by applicable law, not-
withstanding this limitation.
8. Limited warranty for the Product
Warranty for media upon which the Product is delivered, if
applicable
In addition to what is set out in the Terms, we warrant
the media on which the Product is recorded (to the
extent the Product is delivered upon such media, other-
wise not) to be free from defects in design, material and
workmanship under normal use for a period of ninety
(90) days from the date of purchase (as evidenced by a
copy of the receipt).
Unless otherwise set forth in this EULA together with
the Terms and/or following from mandatory and appli-
cable consumer legislation, Softube’s entire liability and
your exclusive remedy in case of warranty breaches is an
obligation to replace he media not meeting the Softube’s
limited warranty and which is returned to Softube or an
authorized representative of Softube with a copy of the
receipt. Softube will have no responsibility to replace any
media damaged by accident, abuse or misapplication.
Other defects in relation to the Product
Without prejudice to the foregoing and such statutory
rights available for you as a consumer (or an individual
with corresponding rights) under applicable law, our
responsibility and liability with regard to possible defects
in the Products shall be limited to faults arising during
the above ninety (90) day period and entailing that the
Products do not conform to the relevant specification
when used on advised equipment and in accordance
with the documentation and other instructions, gener-

ally or specifically issued/published from time to time by
us. Softube may in its own discretion decide how such
possible defects shall be handled, i.e. through rectifica-
tion, circumvention, issue of a Product update/upgrade,
replacement of the Product or through any other appro-
priate means. We shall not have any liability to remedy
defects in the Product where such defect results from
any default, non-compliance or non-agreed use of the
Product by you. Subject to the foregoing, all conditions,
warranties, terms and undertakings, express or implied,
statutory or otherwise, in respect of the Products are
hereby excluded. Softube’s entire liability in case of a
defect during the warranty period, which we are unable
to rectify, shall be (in our reasonable discretion) either
(a) your right to return the Product (and deletion
of the relevant Product license key as per our
instructions) and our following repayment of
Product price paid by you;
or
(b) our rectification or replacement of the Product
(as to ensure that it meets the applicable specifi-
cation) that does not meet our limited warranty.
This limited warranty is not valid if the alleged defect of
the Product has resulted from accident, abuse, or misuse.
A possible replacement Product will be warranted for
the remainder of the original warranty period or thirty
(30) days from your receipt thereof, whichever is longer.
Softube disclaims all other warranties, either express or
implied, including but not limited to implied warranties
of merchantability and fitness for a particular purpose,
with respect to the Product and the accompanying
materials.
9. “AS IS” and LIMITATION OF LIABILITY
This EULA, including this section 9 and applicable
parts of the Terms, is not intended to constitute any
restriction or limitation of your rights, to the extent you
AMP ROOM USER’S GUIDE  | lvii
are a consumer (or an individual with corresponding
rights) under applicable law. If and to the extent this
EULA and/or applicable parts of the Terms limit, re-
strict or contradict any such rights, your statutory rights
shall remain unaffected in case of such contradictions
with the EULA and/or the Terms.
All our Products, are provided to you strictly on an
“AS IS”-basis without warranty of any kind, except as
expressly set out herein.
ALL EXPRESSED OR IMPLIED REPRESENTA-
TIONS AND WARRANTIES, INCLUDING ANY
IMPLIED WARRANTY OF MERCHANTABIL-
ITY, FITNESS FOR A PARTICULAR PURPOSE
OR NON-INFRINGEMENT, ARE HEREBY
EXCLUDED. SOFTUBE DOES NOT WAR-
RANT THAT THE FUNCTIONS CONTAINED
IN THE PRODUCT WILL MEET YOUR RE-
QUIREMENTS, OR THAT THE OPERATION
OF THE PRODUCT WILL BE INTERRUPTED
OR ERROR-FREE, OR THAT DEFECTS IN THE
PRODUCT WILL BE CORRECTED. FURTHER-
MORE, SOFTUBE DOES NOT WARRANT OR
MAKE ANY REPRESENTATIONS REGARDING
THE USE OR THE RESULTS OF THE USE OF
THE PRODUCT OR RELATED DOCUMENTA-
TIONS IN TERMS OF THEIR CORRECTNESS,
ACCURACY, RELIABILITY OR OTHERWISE.
NOR ORAL OR WRITTEN INFORMATION OR
ADVICE GIVEN BY SOFTUBE OR AN AU-
THORIZED REPRESENTATIVE OF SOFTUBE
SHALL CREATE A WARRANTY OR IN ANY
WAY INCREASE THE SCOPE OF THIS WAR-
RANTY. SOME STATES DO NOT ALLOW THE
EXCLUSION OF IMPLIED WARRANTY, SO
THE ABOVE EXCLUSION MAY NOT APPLY TO
YOU.
NEITHER SOFTUBE NOR ITS LICENSORS
SHALL BE LIABLE FOR ANY DAMAGES SUF-
FERED BY YOU OR ANY THIRD PARTY AS A
RESULT OF USE OR INABILITY TO USE THE
lviii |
PRODUCT. IN NO EVENT WILL SOFTUBE
NOR ITS LICENSORS’ BE LIABLE FOR ANY
LOST REVENUE, PROFIT OR ANTICIPATED
SAVINGS, DATA, OR FOR DIRECT, INDIRECT,
SPECIAL, CONSEQUENTIAL, INCIDENTAL
OR PUNITIVE DAMAGES, HOWEVER CAUSED
AND REGARDLESS OF THE THEORY OF LI-
ABILITY, ARISING OUT OF YOUR OR ANY
THIRD PARTY’S USE OF OR INABILITY TO
USE PRODUCT, EVEN IF THAT PARTY HAS
BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. IN ANY CASE SOFTUBE’S
AND ITS SOFTUBES’ ENTIRE LIABILITY UN-
DER ANY THEORY OF LIABILITY SHALL BE
LIMITED TO THE AMOUNT ACTUALLY PAID
BY YOU TO SOFTUBE FOR THE PRODUCT
(INCLUDING THE RELEVANT LICENCE KEY)
UNDER THE APPLICABLE LICENSE MODEL.
10. Third party beneficiaries
Except as provided in this section 10, nothing contained
in this EULA is intended or shall be construed to confer
upon any person (other than the parties hereto) any
rights, benefits or remedies of any kind or to create any
obligations or liabilities of a party to any such party.
You however acknowledge and agree that Softube’s
licensors, subject to the existence of relevant provisions
in the agreement and/or understanding between us and
relevant third party licensor, if any, are third-party ben-
eficiaries of this EULA with respect to the provisions of
this EULA that create rights of or obligations to such
third party licensor and/or Softube, as the case may be
and that, upon your acceptance of the terms and condi-
tions of this EULA, also such third party licensor will
have the right to enforce the provisions of this EULA
against you in its capacity as a third party beneficiary to
this EULA.
11. Version(s) of the EULA
Both technology development as well as our in-licensing
of third party technology and intellectual property
rights, if any, may and will result in Softube amending
and adjusting the EULA from time to time. The EULA
governing your purchase of the product shall however
remain the version that originally applied in connection
with the original purchase of the Product. However, if
and to the extent you purchase a new version and/or
additional features to a Product, and in connection with
such purchase accept the applicability of a new EULA,
that new version of the EULA shall apply.
12. Questions, comments or remarks in
relation to the Products, this EULA or the
Terms
If and to the extent you have questions, comments or
remarks in relation to us, the Products or the EULA/the
Terms, please contact us, as to enable us to answer your
questions, solve the Product issue and to improve our
services to you as an end-user. The easiest way of getting
into contact with us is via e-mail support@softube.com
or such other communication means as is set out on our
website.
13. Applicable law and dispute resolution
If you are a consumer (or an individual with correspond-
ing rights) under applicable and statutory law, we will
submit us to the choice of law and competent venues
for dispute resolution, as set forth under such applicable
statutory rules. Otherwise (i.e. primarily for other end-
users than consumers), with regard to applicable law,
venue, and procedure for dispute resolution, the corre-
sponding provisions of the Terms shall apply for possible
disputes between us and you.

ACKNOWLEDGEMENTS AND LICENSES
Third Party Legal Notices
One or more of Softube’s products may include software
licensed under terms that require Softube to display the
following notices:
--
Nigel Stewart, Milan Ikits, Marcelo E. Magallon and
Lev Povalahev
The OpenGL Extension Wrangler Library
Copyright (C) 2008-2016, Nigel Stewart
<nigels[]users sourceforge net>
Copyright (C) 2002-2008, Milan Ikits
<milan ikits[]ieee org>
Copyright (C) 2002-2008, Marcelo E. Magallon
<mmagallo[]debian org>
Copyright (C) 2002, Lev Povalahev
All rights reserved.
• Redistribution and use in source and binary forms,
with or without modification, are permitted provided
that the following conditions are met:
• Redistributions of source code must retain the above
copyright notice, this list of conditions and the fol-
lowing disclaimer.
• Redistributions in binary form must reproduce the
above copyright notice, this list of conditions and the
following disclaimer in the documentation and/or
other materials provided with the distribution.
• The name of the author may be used to endorse or
promote products derived from this software without
specific prior written permission.
THIS SOFTWARE IS PROVIDED BY THE
COPYRIGHT HOLDERS AND CONTRIBUTORS
“AS IS”
AND ANY EXPRESS OR IMPLIED WARRAN-
TIES, INCLUDING, BUT NOT LIMITED TO,
THE IMPLIED WARRANTIES OF MERCHANT-
ABILITY AND FITNESS FOR A PARTICULAR
PURPOSE ARE DISCLAIMED. IN NO EVENT
AMP ROOM USER’S GUIDE  | lix
SHALL THE COPYRIGHT OWNER OR CON-
TRIBUTORS BE LIABLE FOR ANY DIRECT, IN-
DIRECT, INCIDENTAL, SPECIAL, EXEMPLARY,
OR CONSEQUENTIAL DAMAGES (INCLUD-
ING, BUT NOT LIMITED TO, PROCUREMENT
OF SUBSTITUTE GOODS OR SERVICES; LOSS
OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND
ON ANY THEORY OF LIABILITY, WHETHER
IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF
THIS SOFTWARE, EVEN IF ADVISED OF THE
POSSIBILITY OF SUCH DAMAGE.
--
Brian Paul
Mesa 3-D graphics library
Version: 7.0
Copyright (C) 1999-2007 Brian Paul All Rights Re-
served.
Permission is hereby granted, free of charge, to any
person obtaining a copy of this software and associated
documentation files (the “Software”), to deal in the Soft-
ware without restriction, including without limitation
the rights to use, copy, modify, merge, publish, distribute,
sublicense, and/or sell copies of the Software, and to
permit persons to whom the Software is furnished to do
so, subject to the following conditions:
The above copyright notice and this permission notice
shall be included in all copies or substantial portions of
the Software.
THE SOFTWARE IS PROVIDED “AS IS”, WITH-
OUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO
THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL
BRIAN PAUL BE LIABLE FOR ANY CLAIM,
DAMAGES OR OTHER LIABILITY, WHETHER
IN AN ACTION OF CONTRACT, TORT OR
lx |
OTHERWISE, ARISING FROM, OUT OF OR
IN CONNECTION WITH THE SOFTWARE
OR THE USE OR OTHER DEALINGS IN THE
SOFTWARE.
--
The Khronos Group Inc.
Copyright (c) 2007 The Khronos Group Inc.Permission
is hereby granted, free of charge, to any person obtaining
a copy of this software and/or associated documentation
files (the “Materials”), to deal in the Materials without
restriction, including without limitation the rights to
use, copy, modify, merge, publish, distribute, subli-
cense, and/or sell copies of the Materials, and to permit
persons to whom the Materials are furnished to do so,
subject to the following conditions:
The above copyright notice and this permission notice
shall be included in all copies or substantial portions of
the Materials.
THE MATERIALS ARE PROVIDED “AS IS”,
WITHOUT WARRANTY OF ANY KIND, EX-
PRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO THE WARRANTIES OF MER-
CHANTABILITY, FITNESS FOR A PARTICU-
LAR PURPOSE AND NONINFRINGEMENT.
IN NO EVENT SHALL THE AUTHORS OR
COPYRIGHT HOLDERS BE LIABLE FOR ANY
CLAIM, DAMAGES OR OTHER LIABILITY,
WHETHER IN AN ACTION OF CONTRACT,
TORT OR OTHERWISE, ARISING FROM, OUT
OF OR IN CONNECTION WITH THE MATERI-
ALS OR THE USE OR OTHER DEALINGS IN
THE MATERIALS.
--
Baptiste Lepilleur
JsonCpp
Copyright (c) 2007-2010 Baptiste Lepilleur
Permission is hereby granted, free of charge, to any
person obtaining a copy of this software and associated
documentation files (the “Software”), to deal in the Soft-
ware without restriction, including without limitation
the rights to use, copy, modify, merge, publish, distribute,
sublicense, and/or sell copies of the Software, and to
permit persons to whom the Software is furnished to do
so, subject to the following conditions:
The above copyright notice and this permission notice
shall be included in all copies or substantial portions of
the Software.
THE SOFTWARE IS PROVIDED “AS IS”, WITH-
OUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO
THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL
THE AUTHORS OR COPYRIGHT HOLDERS
BE LIABLE FOR ANY CLAIM, DAMAGES OR
OTHER LIABILITY, WHETHER IN AN AC-
TION OF CONTRACT, TORT OR OTHERWISE,
ARISING FROM, OUT OF OR IN CONNEC-
TION WITH THE SOFTWARE OR THE USE OR
OTHER DEALINGS IN THE SOFTWARE.
--
dhbaird@gmail.com
easywsclient
Copyright (c) 2012, 2013 <dhbaird@gmail.com>
Permission is hereby granted, free of charge, to any
person obtaining a copy of this software and associated
documentation files (the “Software”), to deal in the Soft-
ware without restriction, including without limitation
the rights to use, copy, modify, merge, publish, distribute,
sublicense, and/or sell copies of the Software, and to
permit persons to whom the Software is furnished to do
so, subject to the following conditions:
The above copyright notice and this permission notice
shall be included in all copies or substantial portions of
the Software.
THE SOFTWARE IS PROVIDED “AS IS”, WITH-
OUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO
THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL
THE AUTHORS OR COPYRIGHT HOLDERS

BE LIABLE FOR ANY CLAIM, DAMAGES OR
OTHER LIABILITY, WHETHER IN AN AC-
TION OF CONTRACT, TORT OR OTHERWISE,
ARISING FROM, OUT OF OR IN CONNEC-
TION WITH THE SOFTWARE OR THE USE OR
OTHER DEALINGS IN THE SOFTWARE.
--
The FontStruction “Graph 35+ pix”
(http://fontstruct.com/fontstructions/show/664062) by
“30100flo” is licensed under a Creative Commons At-
tribution Share Alike license (http://creativecommons.
org/licenses/by-sa/3.0/). The font file in this archive was
created using Fontstruct the free, online font-building
tool.
This font was created by “30100flo”.
This font has a homepage where this archive and other
versions may be found:
http://fontstruct.com/fontstructions/show/664062
Try Fontstruct at http://fontstruct.com
It’s easy and it’s fun.
NOTE FOR FLASH USERS: Fontstruct fonts
(fontstructions) are optimized for Flash. If the font in
this archive is a pixel font, it is best displayed at a font-
size of 8.
Fontstruct is sponsored by FontShop.Visit them at
http://fontshop.com
FontShop is the original independent font retailer.
We’ve been around since the dawn of digital type.
Whether you need the right font or need to create the
right font from scratch, let our 22 years of experience
work for you. Fontstruct is copyright ©2012-2013 Rob
Meek
--
Mutable Instruments
Mutable Instruments Braids
Mutable Instruments Clouds
Mutable Instruments Rings
Copyright (c) 2018 Mutable Instruments
Permission is hereby granted, free of charge, to any
AMP ROOM USER’S GUIDE  | lxi
person obtaining a copy of this software and associated
documentation files (the “Software”), to deal in the Soft-
ware without restriction, including without limitation
the rights to use, copy, modify, merge, publish, distribute,
sublicense, and/or sell copies of the Software, and to
permit persons to whom the Software is furnished to do
so, subject to the following conditions:
The above copyright notice and this permission notice
shall be included in all copies or substantial portions of
the Software.
THE SOFTWARE IS PROVIDED “AS IS”, WITH-
OUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO
THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL
THE AUTHORS OR COPYRIGHT HOLDERS
BE LIABLE FOR ANY CLAIM, DAMAGES OR
OTHER LIABILITY, WHETHER IN AN AC-
TION OF CONTRACT, TORT OR OTHERWISE,
ARISING FROM, OUT OF OR IN CONNEC-
TION WITH THE SOFTWARE OR THE USE OR
OTHER DEALINGS IN THE SOFTWARE.
--
Christian Robertson
Roboto typeface
Copyright (c) 2015 Christian Robertson
Licensed under the Apache License, Version 2.0 (the
“License”); you may not use this file except in compli-
ance with the License. You may obtain a copy of the Li-
cense at http://www.apache.org/licenses/LICENSE-2.0.
Unless required by applicable law or agreed to in writing,
software distributed under the License is distributed on
an “AS IS” BASIS, WITHOUT WARRANTIES OR
CONDITIONS OF ANY KIND, either express or im-
plied. See the License for the specific language govern-
ing permissions and limitations under the License.
--
Softube AB, S:t Larsgatan 9D, 582 24 Linköping, Sweden. www.softube.com