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Amplitube 3 user manual pdf

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You will be able to check your product Serial Number. Right-click on top of the Stomp model new settings and click Save Model Preset. Turn this off to have the tuning of each voice to be displayed as frequency in Hz. They can be used independently or together for a total of 8 rack effects. This is a great new feature. Turning this knob up, makes the power amp to saturate and produce great crunch sounds. Similar to modern tube lead sound in character.

This effect is based on one of the most versatile distortion boxes ever made. From subtle crunch to complete mayhem, this pedal has been used by count- less guitarists of all styles figure 7. It does not alter the timbre of the distortion, unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume.

This effect, modeled after a hard-to-find vintage unit, includes a built-in oscillator for infinite sustain. Hold notes to create amazing synth-like sounds or boost solos for more cutting tone, combined with classic distortion timbres figure 7.

This effect is based on one of the favorite pedals of some of the heaviest bands of all time. This unit is perfect for extreme gain and sustain. Nothing compares to this pedal for pure distortion mayhem figure 7.

It delivers deep, distorted crunch perfect for heavy metal and hard rock. This effect is based on one of the most collectible pedals. It is one of the most aggressive overdrive pedals ever made.

From subtle to over-the-top, this effect pushes amps harder without sacrificing clarity and tone figure 7. Its basic controls make it easy to dial in the exact sound you want figure 7. This effect is modeled after one of the most versatile distortion boxes ever.

It does not alter the timbre of the distortion. This model packs a whole powerful amp into a single stomp box figure 7. This effect is a model of a classic high-end compressor. It is capable of mild compression or intense signal slamming, and does it all with a tremendous amount of finesse figure 7.

This effect is modeled after a vintage compression stomp pedal figure 7. This model is a clean, highly effective 1 octave graphic equalizer, capable of fine tuning and dialing in that perfect tone. The controls include Hz, Hz, Hz, Hz, 1. This stomp is an advanced filter effect. It uses the envelope of the incoming signal to control a synthesizer style filter. It is capable of sounds ranging from very simple auto wah effects to extreme never before heard filtering effects figure 7.

This complex stomp effect uses an LFO to modulate the frequency of its filter. With the included BPM Sync this is a very useful effect for creating interest- ing, moving guitar parts with a minimum amount of trouble figure 7. A unique effect that can add synth-like drones and sustaining resonances to your parts. Make your guitar sound like a sitar or like a synth-drone to cre- ate sonic resonances to sing on and control the notes with your controller to create arpeggios and steps while playing figure 7.

You have 4 resonating voices that can be tuned independently from note E0 to note B7, in half tone steps. For example, if you want to create a resonating C Major chord, just set the first three voices to C3, E3 and G3. By moving the All slider you can shift the recently created Chord without changing the intervals between the voices. Turn this Off to have the tuning of each voice to be displayed as frequency in Hz.

If you want to set another scale and want to remove notes from the chromatic scale just open this menu and leave on only the notes you need. Use this control to adjust the overall output level of the Rezonator. A powerful and deep beat synchronized filter effect. If you want, this effect could make your guitars and bass parts to sound like a rhythmic synth figure 7. This is the cutoff frequency the filter will have when the steps are set to half position. You can also draw a curve while holding the mouse while dragging over multiple steps.

This is the resonance amount the filter will have when the steps are set to half position. At full minimum position only Cutoff frequency is modulated, at max position only Resonance is modulated. When set to Strike the cycle will re-start each time a chord or a note is played. In addition to the wah effect it also features an auto function, allowing it to be used easily without an external controller. This is a faithful rendition of a very sought-after wah pedal. Based on a mul- tiple feedback opamp circuit, the pedal modeled here is a very expressive and unique wah pedal figure 7.

It gives a darker sound when moved lower heel position and a brighter sound when moved higher toe position. When is set at minimum the wah effect is barely noticeable, but when is set to max the effect is very strong. The original model is considered to be one of the best sounding Wah-Wahs of all time figure 7. The Auto function allows you to use this effect without an external controller figure 7.

This is a great feature! This effect is modeled after a classic germanium transistor fuzz stomp effect. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years figure 7. This was the main fuzz box that Jimi Hendrix used. Often combined with a Wah, this effect produced permanent sustain and endless distortion.

It is one of the most collectible fuzz boxes ever figure 7. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years. Jimi Hendrix began using this fuzz box while playing in New York City before founding the Experience. The higher octave can be more distinct for medium positions of this control. This effect is modeled after a highly sought-after, rare fuzz box. It was one of the first commercially available floor effect units, making its first appear- ance in This effect is based on one of the most flexible flangers ever made.

This unit delivers everything from classic tape flange to over-the-top sweeps, vibratos, chorus, and more! Perfect for adding classic metal-style flange to your rig figure 7. This chorus is modeled after a classic Digital Chorus stomp box figure 7.

It provides both analog Chorus and analog Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the modulation will be faster and more noticeable figure 7. This means that you can use the effect to have static resonance and filter matrix effects. Adjust the timbre of the resonance and filters by setting the Range knob, and adjust the intensity of the resonances by setting the Color knob.

When the effect is on the red LED is light. When enabled, the Rate knob becomes a selector that allows you to choose between various musical figures. This stomp box is a model of a classic Flanger effect figure 7. This effect is modeled after one of the best and most musical modulation effects ever.

Still, no flanger is more rec- ognizable, making this perfect for hard-rock and metal tone figure 7. This model is based on a vintage Opto-Tremolo effect figure 7. This effect is based on one of the most popular phase pedals of all times. Used by a wide range of first-class guitarists, this unit could add a little bit of shimmer to your solos or generate a smooth, watery effect while playing chords and muted strumming figure 7.

Did you try the Phaze Nine on bass, keyboards, or vocals? A model of a classic analog multimode Phaser stomp box figure 7. From left to right the perceived effect intensity will increase. This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to outlandish swirling effects.

When enabled the rate knob becomes a selector that allows to choose between various musical figures. This created a swirling effect quite similar to the most famous rotary speaker cabinet but with the addition of speed control.

The sound is affected even when the Intensity knob is set to zero. This effect is a 3 voice digital harmonizer effect. More than just a pitch shifter, this pedal will create 3 separate harmony voices with independent interval values based on a musical scale. Simply select the scale to use, select the voice and the desired pitch and play. The harmonized notes will be according to the selected scale figure 7. Possible scales types are: This stomp effect is modeled after a classic dual voice octave pedal.

It will produce two additional sounds, one and two octaves below the direct signal figure 7. This effect shifts the pitch of the incoming signal. This new pitch shifted signal is blended with the original sound to create harmony guitar leads or other types of dual pitch effects figure 7.

Measured in intervals, from to Measured in cents, from to This effect is modeled after one of the most extreme effects of all time. From classic shred to the most aggressive modern metal, this effect is an essential part of any extreme guitar rig figure 7. Add programmed rhythmic parts to your power chords and phrases with this powerful and creative beat synced slicing effect. It can be setup to cre- ate anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat figure 7.

At min position the steps will not have effect, at maximum the range will be full. Set it at lower positions to get a more gate-like effect or set it to higher posi- tions to get a smoother effect. When set to Free the cycle will be continuous and will always cover all the steps that are specified in the Steps parameter. Use it subtly to add groove to your rhythm parts or use it with deeper settings to create dreaming pads or string-like sounds figure 7.

By default the depth is at max position, meaning that the volume will start from silence. Set it higher if you want the Swell cycle to start even at the beginning of softer passages, or set it lower if you want the Swell cycle to only start for louder strikes.

This helps to immediately recognize when the swell is trig- gered. AmpliTube 3 includes 31 amps organized in 4 categories: Clean, Crunch, Lead, and Bass.

Each of the modeled amps is a true representation of the original hardware units and an invaluable addition to your sonic arsenal. There are two separate amplifier modules that can be accessed independently e. To facilitate the amplifier models navigation, please read the following universal controls descriptions. The EQ match control automatically selects the EQ section associated to the selected preamp figure 8.

This is useful to quickly select a specific guitar amp with its related EQ Model. The Amp match control selects the power amp stage associated to the selected preamp figure 8.

This allows you to design custom amps choosing different components from a variety of top-notch amplifiers. This feature allows you to create your own mixture of stages and promotes experimentation. For this reason, and to reach a higher level of sonic fidelity when compared with the original real amps we added more details and finesse to our modeling techniques and improved the level of interaction between the amp blocks in the DSP.

Basically, making a whole single model of the entire amp. This is the menu where the Amp model is selected. As a result, the EQ and Power Amp menus are not included. The Pre Model is the first stage in the Amp module. This section models the initial preamp and drive of each amplifier figure 8. The final stage of the amplifier module is the Amp model figure 8.

For those amps that have been modeled with individual selectable stages you could use a Fender-style power amp section on a Marshall-style preamp…. This is a model of the clean channel from a popular and sought after American amplifier.

The signature tone can be heard on many albums and many stages around the world. Experience a sparkling clean with the capa- bility for a touch of crunch when cranked up figure 8. This beautiful amp is crystal clear but can also deliver edgy sounds by push- ing the Master volume, and can deliver a nice preamp crunch tone when Rhythm 2 is engaged. This amp is extremely versatile you can really get many types of clean or edgy tones from its incredibly flexible preamplifier.

Add the final 5 band graphic EQ and the tonal possibilities are really wide. Being it extremely versatile it can of course be set to a tone that could be totally far from what is needed on that part.

It needs a degree of experimentation and experience before you can really master it! Push it closer to 10 for an edgy sound that starts to crunch.

3 user pdf amplitube manual

Turning this knob up, makes the power amp to saturate and produce great crunch sounds. This amp is modeled after a classic American guitar amp. This amp is great for clean to dirty sounds, making ideal for clean and crunchy rhythm, rock, country, blues, and anything else requiring a clean amp capable of getting a little dirty when the music calls for it figure 8.

This model features yet another classic American amplifier. Unlike the American Tube Clean 1, this model is a smaller combo amp. This amp deliv- ers a clean yet warm tone figure 8. This classic American amplifier was at first designed to be a bass amp, but later became one of the most popular American guitar amps ever made. Great for clean tones, it is also versatile in a variety of music genres and playing styles. Use this setting to drive the preamp stage, from 1 to Jimi Hendrix acquired this watt amp in and used it in with the Experience tour, together with an assortment of other amps.

The amp sported a built-in spring reverb unit figure 8. It included a spring reverb figure 8. This amp model is clean.

It provides a very uncolored signal, perfect for jazz. It could be compared to amps like the Jazz Amp , ideal for sparkling clean tones figure 8.

It may have Jazz in its name, but this versatile clean sound can be heard in many genres. Many of the top metal players keep this not-so-secret weapon in the studio for great clean sounds. Its sonic feature is the fantastic built-in ana- log chorus and vibrato unit that really made this amp a classic figure 8. To actu- ally be able to hear this in stereo you will need to use two microphones in front of its Cabinet and pan the wide L — R. For more information about how to set this, see Chapter 9.

The amp remains clean up to volume 3 or 4 and starts distorting for higher positions. From there, continuing rising the control brings more and more distortion. Note that Chorus has no settings. This extremely high-quality amplifier delivers a very detailed and clean response on the clean channel, incredibly well defined is the perfect starting point for any kind of sound. Use this channel to get your hyper-driven sounds from stomps only, as well as for creating clean or edgy sounds figure 8.

Sets the level of spring reverb added to the guitar amp sound, from 1 to Great for clean tones, it is also versatile in a variety of music genres and playing styles figure 8. This is a model of a legendary British amplifier which is one of the most widely recognizable and popular amps of all time.

Not just any version, but an accurate model of the well-known and loved version of an already spectacular amplifier. If you want some British sound, you can find it here figure 8. The original copper panel model was non-top boost, and you can find it exactly replicated here when the switch Top Boost is Off. Turn it On to add the top boost circuit in a second and be then able to adjust your sound with Bass and Treble pots.

3 pdf amplitube user manual

Normal chan- nel has a mellower response when compared to the Brilliant channel. Normal and Vib-Trem channels are not affected by this. Active only on Brilliant channel and only when Top Boost is On. It is always active, on all channels. When set to Min the amp is bright, when set to Max the amp is mellower.

This amp is modeled on the Classic British watt amp Jimi Hendrix is generally associated with. Jimi Hendrix often used multiple amp heads up to 6 looping them together to get more power, a setup that can be recreated in AmpliTube 3 because of its dual rig capability figure 8.

An exciting new addition to the line, this model can really turn heads. It is a six position selectable bass cut in the preamp. When set to the first position 1 it is cutting low frequency just a bit, when set to last position 6 it is cutting lots of low frequencies. Intermediate positions deliver intermediate results. This modern boutique amplifier has become very popular on the stage and in the studio. Using a single ended class A design it is capable of wide expanse of tone.

User pdf manual 3 amplitube

From the clean to the crunchy to the heavily saturated, the THD BiValve can create all these tones with ease figure 8. This is a model of a small vintage amplifier that was basic in design but big in tone.

This model is simple but sweet figure 8. This is the lead channel of a renowned three-channel American amplifier, known for excelling at both clean and lead sounds.

This channel can be big and aggressive when you want some California crunch and you can get smooth, tasty sustained lead sounds too figure 8. This amp is extremely versatile, you can really get almost any type of sound from its incredibly flexible preamplifier. Add the final 5 band graphic EQ and the tonal possibilities are really endless. Increase this to have more sustaining distortion and decrease it to get a more edgy and crunchy type of distortion. This is the gain that comes before all others in the amp signal path.

This is the latest level in the amp signal path. Setting high gains in the preamp Volume and Lead Drive and also setting Master to a very high level can result in an overly pushed sound that could be difficult to obtain a good sound. Keep this at high levels only if Volume and Lead drive are not so high.

Able to crank out great tube saturated tone with ease this model is a go to amp for a variety of heavy rock guitar sounds figure 8. The younger sibling to the British Tube Lead 1, this model is capable of great rock tone, leads, and heavy crunch. While grittier and a little more aggressive, it still has the classic tone that has made this family of amps a household name in rock guitar figure 8.

Based on the classic AmpliTube model, this amp features lots of gain for that over the edge distortion sound. Similar to modern tube lead sound in character, Modern Hi-Gain provides an additional take on that type of sound figure 8. This model features a precise solid state lead sound.

It has a darker tone and excels at high gain lead tones. This classic amp provides the tightest bass and fastest response, even at extreme speeds and gain. The result is perfect for speed, thrash, and other aggressive metal styles as well as smoother, cleaner styles, and it is a must for all modern metal contaminations figure 8. Engineered to the exacting demands of some of the greatest guitarists of all time, this amp quickly became a favorite of tone purists and gain heads alike.

Capable of some of the cleanest — or the heaviest — tones of all time figure 8. There may be no heavier, more aggressive amp in the world figure 8. This amp is a model of one of the leaders in hard, driven rock tones made today.

Capable of searing leads and heavy crunch, this amp has been recti- fied to create a modern rock tone that is hard to beat figure 8. Few amps have rocked as hard, for as long figure 8.

This amp toured and recorded for years with one of the biggest and bold rock bands ever. Classic rock tones are a natural with this amp, but it is also known for being used by one of the most famous jazz bassists of all time. Show no quarter and make your bass kill with this amp-solid state but loud and proud figure 8.

Set it low for pure and clean tones and push it for driven sounds. Use the Range control to select the center frequency of the mid frequency equalization process among 5 positions.

Use Effect boost or cut the midrange frequencies selected with the Range control. When set to Min the sound is similar to a smooth overdrive, when moved toward max the sound gets more aggressive and fuzzy. Electric bassists have used this tiny but mighty and toneful combo amp with great success. Great things can come in small sizes, and can sound surprisingly big and full figure 8.

This is to avoid overloading the amp because of unwanted low frequencies content. When enabled the power amp is protected from overloading. When set lower the limiter will trigger in sooner, and when set to higher values the limiter will trigger in at higher levels.

This is a model of a solid state powerhouse bass amplifier with great tone- shaping controls, a warm sound unlike most solid state amps, and a sought- after preamp figure 8.

Despite being solid state this amp delivers an incredibly warm and tasteful tone. When it is Off, the preamp is almost flat and natural sounding.

Unless you want overdrive it! Only a few graphic EQ have the musical quality of this powerful sculpting tool. It sets the level that is sent to the power amp stage. This model features a solid state bass preamp, EQ, and a solid state power amp module. It cleans up beautifully and drives just as hard figure 8. Music Corp.

The Cab module includes 2 models: To select a Cabinet model, click the Cab Model Selector figure 9. If the Match control is enabled figure 9. If you want to use another cabinet, just turn the Cab match Off and select another model. AmpliTube 3 allows you to go beyond the cabinet physical limitations… Just use the Size control to expand or reduce the size of the cabinet. Please take a look at each model and check the Cabinet Models Table.

Thanks to the new design of the Cab module, you are able to Mute, Solo, change the Phase, and Pan each microphone individually and then combine their settings via the MIC blend slider. All of these options allow you to recre- ate your microphones techniques and expand your music production skills. To select a microphone model, click the Mic Model Selector figure 9. If you want to use 2 microphones select a mic model from both Mic 1 and Mic 2. To add a second microphone in AmpliTube 3 just click the Mic Model Selector and choose a mic model instead of None figure 9.

To change the position of the microphone in relationship to the cone of the speaker, move the microphone or its identification number located in the spatial graphic figure 9. On-Axis means that the microphone is positioned in the center of the speaker.

However, this could be too bright or harsh for some Amp settings. In this case, try the Off Axis position to obtain a sweeter tone. Off-Axis means that the microphone is positioned at the outside edge of the speaker. To change the distance of the microphone in relationship to the speaker, move the microphone Up Near figure 9. To obtain detailed clean sounds, mic up your Cab using the On Axis position and Near distance settings.

If the sound is too big for your mix, change the mic distance to Far. In general, extremely high-gain sounds match well together with an Off-Axis position and Near distance settings, especially if you are using a bright microphone like the Dynamic Although, again, this is sometimes something wanted!

Click this button to Mute the selected microphone its number will be dimmed figure 9. Click this button to change the selected microphone Phase figure 9. You can get some really weird tones by combining two microphones in different positions and reversing phase on one. To change a microphone pan setting, move the Pan knob figure 9. To combine both microphone settings, move the Mic Blend slider to your desired position figure 9.

AmpliTube 3 offers microphone models organized in 3 categories, Dynamic, Condenser, and Ribbon. This mic model is based on one of the most popular small diaphragm dynamic microphones. Its bright, edgy sound has made it a widely used guitar amp mic figure 9.

This mic model recreates a smooth reaction across a wide spectrum of fre- quencies, especially attractive in the low area. This means that the Dynamic 20 is a great selection for acoustic and electric bass figure 9. It has a very pleasant mid range presence together with a smooth high frequencies rolloff that delivers a nice vintage sheen to the tone figure 9.

Probably the second most popular dynamic mic to use on guitar amps, this model provides an equally pleasing sound, but is warmer than the 57 figure 9. It also adds a very focused boost on hi-mid frequencies that makes it suit- able to get aggressive driven tones. This model has a flatter frequency response than most other dynamic mics.

This mic is highly regarded as a guitar mic and used widely in studios all over the world figure 9. This dynamic microphone can deliver honest yet punchy sounds figure 9. Can result in very mid-rangey sounds at times, but this is sometimes what you want, especially when combined with a warmer condenser microphone.

This mic model is based on one of the first legendary tube microphones in the history of recording figure 9. This mic model is based on one of the most famous multi-purpose studio microphones figure 9. No microphone collection would be complete without a great small dia- phragm condenser mic.

This model is based on the standard for small dia- phragm mics. As with any good small condenser mic, the 84 provides a clean clear picture of the guitar tone figure 9.

IK Multimedia • Amplitube 4 User Manual

This is a model of one of the most popular large diaphragm mics ever figure 9. It can be found in any large recording studio mic locker. Because of its excellent frequency response curve, the 87 has become the go-to mic when needing a clean, flattering sound. This is a model of a high-quality large-diaphragm condenser microphone used in famous studios around the world.

One of the first with transfor- merless technology, this microphone came into the world boasting a very high-quality sound with low noise and a very impressive dynamic range figure 9. This microphone will not color the sound of the speaker, or at least will color it very little. The Condenser is modeled after another highly regarded large dia- phragm condenser microphone figure 9. Use this ribbon microphone to capture a pure, natural sound.

This is mod- eled after one of the must-have studio ribbon microphones of our time figure 9. This mic is modeled after a double-ribbon hypercardioid microphone, one of the top choices for capturing the sound of a broad diversity of sources figure 9.

Very detailed and with a focus on mid range, try this when you want more mid range presence without applying EQ or changing amp settings. This is a double-ribbon figure-8 microphone with a unique Neodymium element figure 9. With a silky-smooth high end and good low end body, a great choice for more vintage-sounding guitar tones, this mic mixes very well with other microphones for very full-bodied recordings. The new Room section allows you to place the cabinet in a particular ambi- ence and control the width, pan, and level of the Room Mics.

In addition, it includes the Mute, Solo, and Phase buttons. Experiment with all the Cab, Mic Models, and Room Types to create your perfect cabinet sound figure 9. Click the Room Type Selector figure 9. Click this button to Solo the Room section the microphones selected via Mic Model will be muted and their identification numbers will be dimmed figure 9.

At 0, the microphones are next to each other in the center of the room figure 9. At , one microphone is located to the left side and the other to the right side figure 9. Use this control to set the Stereo image width that will be produced by the ambience signal. When set to default Center , the ambience will be producing a natural stereo room sound. If lowered, the image will gradually narrow up to become completely mono at the minimum position. If increased, the image will be expanded causing the impression of the ste- reo field to be wider than the speakers.

Be careful not overdo this because the sound might be cancelled or partially when listening in mono. This is a great tool to create different dimensions within your mix figure 9. Listen to each preset and select the one that best fits your sound figure 9.

You could choose either of them, depending on the type of music and sound you want to process with the Rotary speaker.

Consider Model to be more accurate with the original with an upfront mid range, and to be more bass-powerful and defined on low frequencies. This menu figure 9. Use this control to set the Stereo image width that will be produced by the Rotary speaker figure 9. When set to default Center the Rotary speaker is producing a convincing and natural stereo image. If increased, the image will be expanded causing the impression of the stereo field to be wider than the speakers.

Be careful not to overdo this because the sound might be cancelled or partially cancelled when listen- ing in mono. Use this control to alter the balance between the top rotating horns and the bottom rotating drum on the Rotary Speaker unit. At default center position the sound is usually balanced, moving the control toward the minimum position makes the level of the top rotating horns mid and high frequencies to be reduced, moving the control toward the maximum position makes the level of the bottom rotating drum low frequencies to be reduced.

The real rotating speakers inside this unit are taking their time to both slow down or speed up; this characteristic is also part of its sound.

The model here is behaving in the same way, with the exact times. There are two independent Rack modules featuring 4 stereo rack effects each.

They can be used independently or together for a total of 8 rack effects. To facilitate the Rack models navigation, please read the following controls descriptions. When is On, the switch looks red. To select a rack model, click the Rack Model Selector figure This advanced delay modeled effect can add a variety of depth to the sound, by providing five different delay modes.

The delay can also be synched to the host tempo providing even more flexibility figure When set to mid values it gives a nice warmth to the delay timbre. This digital reverb is capable of adding small amount of space to a signal or creating a huge hall around the instrument figure You can create groov- ing rhythm patterns by combining more taps with a specific time signature, and you can mix this up with psychedelic reverse tape effects you are able to set for each tap figure The TapDelay is actually 8 delays in one single unit, and it allows you to set time, timbre and level for each one of these units.

This is a relative control that works in this way: Use it to globally change the delay tempo without changing the rela- tions between all taps. When set at maximum, the delay with be sustaining itself. It can be shown in milliseconds or in musical divisions, depending on the BPM Sync switch position. The horizontal position of the bar represent the delay time, the height of the bar represent the audio level. With its three totally independent EQs, this parametric EQ provides enough power to sculpt the perfect guitar tone or surgically enhance and alter any signal sent through it figure This compressor was modeled after a classic tube compressor.

It is a very versatile, smooth compressor, and can add great color to the signal figure Higher values will result in a more evident effect. This rack model is a unique effect that can add synth-like drones and sus- taining resonances to your parts. Make your guitar sound like a sitar or like a synth-drone to create sonic resonances to sing on and control the notes with your controller to create arpeggios and steps while playing figure You can set the desired voice note by note number of by frequency in Hz.

Turn this off to have the tuning of each voice to be displayed as frequency in Hz. When set to max the note will sustain by itself, when set to min the voice will not be resonating. This is a powerful and deep beat sync filter effect.

This will make your guitars and bass parts to sound like a rhythmic synth, if you want it figure This classic analog stereo chorus model adds depth and space to the input signal figure It can also be used as a vibrato effect. Chorus mode is enabled when the corresponding LED is illuminated.

Stereo is enabled when the corresponding LED is illuminated. This modeled digital chorus effect creates a clear articulate chorus effect figure Like the analog chorus, this effect adds depth and space to the input signal, but adds a different color to the overall signal. This model of a digital flanger can create a metallic modulated sound figure This effect is a model of a rotary speaker cabinet.

The Harmonator is an advanced harmonizing effect with three separate voices, each with independent harmony, level and pan. By entering the key and scale that the instrument is playing, the harmonator analyzes the input signal and track the three independent voices to the correct music key and scale figure This pitch shifting effect creates an independent harmony voice that can be blended with the original signal to create harmony lead parts and duet type guitar lines figure It can be setup to cre- ate anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat.

It contains two independent stepping engines, one for Level and one for Pan, so you can create independent patterns for level and panning within the same synched effect figure At min position the steps will not have effect, at maximum the steps range will be full. Set it at lower positions to get a more gate-like effect, or set it to higher posi- tions to get a smoother effect. When set to Free, the cycle will be continuous and will cover all the steps that are specified in the Steps parameter.

When set to Strike, the cycle will re-start each time a chord or a note is played. Normal width is in the middle of the slider. Moving the slider to the right widens the stereo image. Moving the slider to the left narrows the stereo image. Use it subtly to add groove to your rhythm parts or use it with deeper settings to create dreaming pads or string-like sounds figure It includes 6 stomp boxes, 12 amp models, 12 cabinets and 8 mics, 6 Rack effects and more.

AmpliTube 3 has a versatile and flexible Automation engine. It allows you to assign automation within each module and via the Automation Panel. Right-click on top of the AmpliTube 3 parameter that you are going to assign to Automation figure Choose which DAW Automation parameter you are going to use for the AmpliTube 3 parameter selected on step 2 figure AmpliTube 3 has more parameters than audio sequencers DAWs can sup- port.

For this reason, it has its own Automation Panel, so that the enormous number of theoretically automatable parameters in AmpliTube 3 can be grouped in a smaller number to allow all DAWs being able to handle it. The Automation Panel has two panes. This Panel can also be used to recap the Automation assignment made with the procedure described on DAWs do not support automation parameter name changes while the plug- in is open.

DAW Automation parameter 1 in this case. Rig A. The easiest way to assign automation is within each module, as described in Click OK to save the setup and close the Automation window figure To remove a particular assignment, please select it and click Remove figure Each AmpliTube 3 instance is independent from the others.

This means that saving your DAW session will save each AmpliTube 3 instance with its own Automation assignments setup. To do that;. This method allows you to quickly assign the MIDI control to a specific AmpliTube parameter without having to setup anything manually. Move the knob, slider, switch or pedal you want to use to control this parameter on your MIDI device and the assignment will auto- matically be applied.

You can do this for all the parameters that you want to control on this preset. Remember that this assignment is per preset and it needs be done on all the presets that you want to control. This allows you to apply different MIDI control schemes for all your presets. This method allows you to manually setup, edit, and compare all the MIDI assignments that you have done for Global control or for Preset control in a single panel.

Click on the parameter that you want to control on the left pane figure The assignment will automatically take place. Repeat the steps from 1 to here if you want to add more controls on the same preset.

Click Remove to remove just one of the assignments you did from the panel. This allows you to create specific MIDI assignment for each preset. This affects the way the controlled parameter will change with the position of the MIDI control knob, slider or pedal. Curve range is from 0 to 10 with 5 as default. When it is set to Off, the selected parameter will temporarily stay to the value imposed by the external MIDI Control.

Use this with footswitches or switches in general, to control On — Off param- eters on AmpliTube 3. All powerful control assignments and management the StompIO-1 can do is done from the StompIO-1 interface directly on its panel. Please refer to the StompIO-1 User Manual for all information and instructions about how to program and use it.

On the other end, the StealthPedal control is entirely configured directly inside AmpliTube 3. StealthPedal can be used to control your AmpliTube 3 in studio or during a live gig by switching among all your AmpliTube 3 presets and by controlling every single parameter of them with its continuous controllers and switches. Each AmpliTube 3 preset can have a different control setup, so you are able to control specific parameters on each preset, depending on what you need. When StealthPedal is connected, select it from the Controller menu figure Once the communication is established the Red Led will turn On.

By default, the built-in StealthPedal expression pedal is automatically assigned to the first pedal effect loaded on the AmpliTube 3 pedalboard, from left to right.

Likewise, the external expression pedal is automatically assigned to the second pedal effect loaded on the AmpliTube 3 pedalboard, from left to right.

However, both expression pedals can be assigned to control any other parameter within AmpliTube 3. Once you have selected a Parameter to be controlled its abbreviated name will appear figure In all of these cases as well as in many others, you might just need a subtle variation.

StealthPedal built-in footswitch is located under the pedal rocker, as you expect from any standard Wah-style pedal Built-In Switch. In addition, the two external footswitches can be set to switch to Previous or Next AmpliTube 3 preset set by default when first attached. It is not pos- sible to use the built-in footswitch to select Previous or Next preset. Once you have selected a Parameter to be controlled its abbreviated name will be displayed figure Switch controls are normally working in Latched mode, meaning that the controlled parameter will toggle between On and Off every time the Switch is pressed.

Once you have assigned Pedals and Footswitches on your preset to control the sound the way you need, you can save the current preset by clicking Save figure If you were working on a previously loaded preset and you click Save, you will be asked if you want to overwrite it.

This selection is not stored to the Preset, and it is global. Since presets Up and Down browsing works on all your AmpliTube 3 presets, we suggest to create a folder and group all presets you need for a gig inside that folder by numbering them.

Expression pedals are mechanical devices that might need adjustment on their range from time to time to get a perfectly covered range. This is especially needed if you use a different brand expression pedal as the external one.

To properly set the Pedal range set the physical pedal to the heel position and click Min figure Now the pedal range is properly set. Double check it by moving the pedal over the entire range and looking at the bar graph. To get the best sound from the high-quality models included, it is very important to properly set the AmpliTube 3 input level. When playing normally, the green LED should be the one that is lit more often, with yellow one to light up during softer passages, and Red one never or really only occasionally lighting up.

If while you are playing, only the yellow LED turns On you need to increase the input gain. If while you are playing you frequently see the red LED lighting up you need to decrease the input gain. In the snapshot; please check its exact location figure For clear characters identification, please analyze the legend.

Probably because it found a typo, so please analyze the common errors: During the Product Registration process I received this message: The Serial Number is already registered RTAS Windows. AmpliTube 3 automatically sets the Audio Interface sample rate for you. Considering that DAWs are in constant update. But in case you hear imported audio files playing at wrong speed first thing to check is Sample Rate on your Audio Interface.

AmpliTube 3 works in any DAW that supports the following plug-in formats: Audio Units. Acid Pro. Digital Performer..

Avoid red… 3. You can check important information about your product. To understand how the IK Controller selector works. Lead Guitar track. On the other hand. The Phase control is normally set at zero center considering that could be a positive or negative value. AmpliTube 3 3. The following table shows you which control is implemented in each module. When the signal drops below the set threshold level.

This is useful with bass amps. Just click On. AmpliTube 3 threshold level at the lowest possible value fully counterclockwise and set it higher only when you need to activate the gate figure 3.

If you need to add more attenuation. Higher values will result in a gate that takes a longer amount of time to close again. Default is dB. If it does. Cab or Rack parameter. This situation can be fixed by reducing the Master level so that the output master signal stays slightly below the clipping level. The clipping indicator should never light up. Preferences and More 3. Preamps and Power amps when AmpliTube 3 is set to Hi quality. Amps Reverb: Real Spring: AmpliTube 3 Stomps.

Amplifiers with built-in reverb will use a digital algorithmic emulation of a spring reverb. Oversampling is enabled by default on Stomps. Real Ambience: Pre and Amp Oversampling: Enabling oversampling improves the sound quality significantly when the signal is heavily distorted.

This option. Please disable High Resolution only if your computer does not have sufficient CPU power for the current session. High Resolution enabled by default: This is the most realistic option. AmpliTube 3 will use a high-quality digital reverberation algo- 3.

This will take a little bit more CPU power than the Digital option. When this is enabled Amplifiers with built-in reverb will use a real spring reverb model. If you use high gain sounds. Tempo Source: This option allows you to select the Tempo source. This is useful when you play live with AmpliTube 3 but are using an external real guitar cabinet. Cabinet Global Bypass: This bypasses the Cab module globally.

Cabinet Resolution: This will deliver the best quality from the AmpliTube 3 speakers. This option has to be used only when you really need to save CPU power as the realism and musicality of the speakers is not really expressed at its maximum potential under this setting. When you use AmpliTube 3 as standalone. In this case. Always use this setting when it is possible. Tap at least 4 times figure 3. The tempo can be overridden by clicking tapping the tempo on the TAP button.

In the BPM display. This is another cool feature considering that from there. Two separate amp setups. Through the eight available presets. Two separate stomp effects setups into two separate amp rigs into all the rack effects. This is a very important feature because it allows you to route your guitar signal to multiple amplifiers or cabinets.

All stomp effects and rack effects into both amp rigs. All stomp effects and rack effects into one amp rig. All stomp effects and rack effects into one amp rig with both cabinets. Two separate stomp effects setups into one amp setup with all the rack effects.

Two separate amp setups with separate stomps into two indepen- dent rack effects. Two separate stomp effects setups into one amp with two cabinet setups. AmpliTube 3 4. Select the Signal Path Presets 2 or 6.

A Preset contains all of the information for the models selected. A Patch is the combination of a preset and its external controller settings such as master volume. Once you save a preset into a patch. AmpliTube 3 Chapter 5 Presets and Patches 5. This is because the name of the associated preset contained inside each patch can also be thought of as the name of the patch since the preset contained inside a patch is a unique pre- set that is only associated with that patch and is not tied to any other preset in AmpliTube.

The new Patch mode shows 4. Patches have numbers for example. Presets have names for example. For more information on Presets and Patches. Tuner Module. The default refer- ence is Hz but it could be changed from Hz to Hz by clicking on the display. When the pointer appears.

AmpliTube 3 6. AmpliTube 3 Cents are a convenient way of describing small increments of pitch. To access the Stomp module. Stomp Module. When the effect is On the red LED is lit figure 7. AmpliTube 3 Like the actual gear itself. This option allows you to experiment different configurations and explore new sonic territories on the fly… By the way. The TapDelay is actually 8 delays in one single unit.

When set at maximum. This is a relative control. You can create groov- ing rhythm patterns by combining more taps with a specific time signature. It can be shown in milliseconds or in musical divisions. When set to reverse a delay tap will sound like a reversed tape loop. Use it to globally change the delay tempo without changing the relations between all taps. In addition. It does not alter the timbre of the distortion. The Low pass filter is very creative when combined to high distortion levels figure 7.

This effect can produce very aggressive distorted sounds. Useful when creating heavily distorted sounds. From subtle crunch to complete mayhem. Hold notes to create amazing synth-like sounds or boost solos for more cutting tone.

This unit is perfect for extreme gain and sustain. Nothing compares to this pedal for pure distortion mayhem figure 7. It delivers deep. Long discontinued. It is one of the most aggressive overdrive pedals ever made. From subtle to over-the-top. Its basic controls make it easy to dial in the exact sound you want figure 7. From smooth. This model packs a whole powerful amp into a single stomp box figure 7.

It is capable of mild compression or intense signal slamming. The controls include Hz. It is capable of sounds ranging from very simple auto wah effects to extreme never before heard filtering effects figure 7. It uses the envelope of the incoming signal to control a synthesizer style filter. With the included BPM Sync this is a very useful effect for creating interest- ing.

Make your guitar sound like a sitar or like a synth-drone to cre- ate sonic resonances to sing on and control the notes with your controller to create arpeggios and steps while playing figure 7.

You can set the desired voice note by note number or by frequency in Hz. By moving the All slider you can shift the recently created Chord without changing the intervals between the voices.

When set to max the note will sustain by itself. You have 4 resonating voices that can be tuned independently from note E0 to note B7. E3 and G3. If you want to set another scale and want to remove notes from the chromatic scale just open this menu and leave on only the notes you need.

Turn this Off to have the tuning of each voice to be displayed as frequency in Hz. Use this control to adjust the overall output level of the Rezonator. At full minimum position only Cutoff frequency is modulated.

This is the cutoff frequency the filter will have when the steps are set to half position. This is the resonance amount the filter will have when the steps are set to half position. When set to Strike the cycle will re-start each time a chord or a note is played.

If you want. You can also draw a curve while holding the mouse while dragging over multiple steps. In addition to the wah effect it also features an auto function. When is set at minimum the wah effect is barely noticeable. Based on a mul- tiple feedback opamp circuit. It gives a darker sound when moved lower heel position and a brighter sound when moved higher toe position.

The original model is considered to be one of the best sounding Wah-Wahs of all time figure 7. This is a great feature! The Auto function allows you to use this effect without an external controller figure 7. Typically used on lead guitar. This was the main fuzz box that Jimi Hendrix used. Often combined with a Wah. It is one of the most collectible fuzz boxes ever figure 7. The higher octave can be more distinct for medium positions of this control. It was one of the first commercially available floor effect units.

This unit delivers everything from classic tape flange to over-the-top sweeps. Perfect for adding classic metal-style flange to your rig figure 7.

If Depth is zero. It provides both analog Chorus and analog Vibrato effects. When the effect is on the red LED is light. When enabled.

AmpliTube 3 User Manual.pdf

Adjust the timbre of the resonance and filters by setting the Range knob. This means that you can use the effect to have static resonance and filter matrix effects. While it has amazing warmth. If Width is zero. Used by a wide range of first-class guitarists. Did you try the Phaze Nine on bass. From left to right the perceived effect intensity will increase. When enabled the rate knob becomes a selector that allows to choose between various musical figures.

The sound is affected even when the Intensity knob is set to zero. This created a swirling effect quite similar to the most famous rotary speaker cabinet but with the addition of speed control. More than just a pitch shifter. Simply select the scale to use. The harmonized notes will be according to the selected scale figure 7.

Possible scales types are: It will produce two additional sounds. This new pitch shifted signal is blended with the original sound to create harmony guitar leads or other types of dual pitch effects figure 7. Measured in intervals. Measured in cents. From classic shred to the most aggressive modern metal. Set it at lower positions to get a more gate-like effect or set it to higher posi- tions to get a smoother effect.

It can be setup to cre- ate anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat figure 7. At min position the steps will not have effect. When set to Free the cycle will be continuous and will always cover all the steps that are specified in the Steps parameter. This helps to immediately recognize when the swell is trig- gered. Set it higher if you want the Swell cycle to start even at the beginning of softer passages.

Use it subtly to add groove to your rhythm parts or use it with deeper settings to create dreaming pads or string-like sounds figure 7. By default the depth is at max position. Use of these names does not imply any cooperation or endorsement. AmpliTube 3 marks of Applied Research and Technology.

Amp A and Amp B. Each of the modeled amps is a true representation of the original hardware units and an invaluable addition to your sonic arsenal. There are two separate amplifier modules that can be accessed independently e.

This is useful to quickly select a specific guitar amp with its related EQ Model. Amp Module. For this reason. This feature allows you to create your own mixture of stages and promotes experimentation.

In these cases. This allows you to design custom amps choosing different components from a variety of top-notch amplifiers. AmpliTube Jimi Hendrix and some of the amps included in AmpliTube Metal contain separate stages modeling that can be individu- ally selected. The Pre Model is the first stage in the Amp module. This section models the initial preamp and drive of each amplifier figure 8. For those amps that have been modeled with individual selectable stages.

As a result. For newer amps that have been modeled as a single block non-flexi. For those amps that have been modeled with individual selectable stages you could use a Fender-style power amp section on a Marshall-style preamp… figure 8. It needs a degree of experimentation and experience before you can really master it! Experience a sparkling clean with the capa- bility for a touch of crunch when cranked up figure 8.

Add the final 5 band graphic EQ and the tonal possibilities are really wide. By selecting two differ- ent preamp shapes Rhythm 2. But be careful. Being it extremely versatile it can of course be set to a tone that could be totally far from what is needed on that part. Push it closer to 10 for an edgy sound that starts to crunch.

The signature tone can be heard on many albums and many stages around the world. This amp is extremely versatile you can really get many types of clean or edgy tones from its incredibly flexible preamplifier. Turning this knob up. This amp is great for clean to dirty sounds. This amp deliv- ers a clean yet warm tone figure 8. Unlike the American Tube Clean 1. Use this setting to drive the preamp stage. Great for clean tones.

The amp sported a built-in spring reverb unit figure 8. It included a spring reverb figure 8. It provides a very uncolored signal. It could be compared to amps like the Jazz Amp The amp remains clean up to volume 3 or 4 and starts distorting for higher positions.

To actu- ally be able to hear this in stereo you will need to use two microphones in front of its Cabinet and pan the wide L — R. Its sonic feature is the fantastic built-in ana- log chorus and vibrato unit that really made this amp a classic figure 8.

From there. For more information about how to set this. Note that Chorus has no settings. Many of the top metal players keep this not-so-secret weapon in the studio for great clean sounds.

Sets the level of spring reverb added to the guitar amp sound. Use this channel to get your hyper-driven sounds from stomps only. Throughout its life. Active only on Brilliant channel and only when Top Boost is On.

If you want some British sound. It is always active.

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Turn it On to add the top boost circuit in a second and be then able to adjust your sound with Bass and Treble pots. Normal and Vib-Trem channels are not affected by this.

Normal chan- nel has a mellower response when compared to the Brilliant channel. Not just any version. When set to Min the amp is bright. Jimi Hendrix often used multiple amp heads up to 6 looping them together to get more power. Intermediate positions deliver intermediate results. It is a six position selectable bass cut in the preamp. When set to the first position 1 it is cutting low frequency just a bit. This modern boutique amplifier has become very popular on the stage and in the studio.

From the clean to the crunchy to the heavily saturated. Using a single ended class A design it is capable of wide expanse of tone. This model is simple but sweet figure 8. This is the gain that comes before all others in the amp signal path.

This channel can be big and aggressive when you want some California crunch and you can get smooth. Setting high gains in the preamp Volume and Lead Drive and also setting Master to a very high level can result in an overly pushed sound that could be difficult to obtain a good sound. Keep this at high levels only if Volume and Lead drive are not so high.

This is the latest level in the amp signal path. Add the final 5 band graphic EQ and the tonal possibilities are really endless. Increase this to have more sustaining distortion and decrease it to get a more edgy and crunchy type of distortion. Able to crank out great tube saturated tone with ease this model is a go to amp for a variety of heavy rock guitar sounds figure 8. While grittier and a little more aggressive.

Similar to modern tube lead sound in character. Modern Hi-Gain provides an additional take on that type of sound figure 8.

AmpliTube 3 User Manual

It has a darker tone and excels at high gain lead tones. The result is perfect for speed. Capable of some of the cleanest — or the heaviest — tones of all time figure 8.

There may be no heavier. Capable of searing leads and heavy crunch. Few amps have rocked as hard. Use Effect boost or cut the midrange frequencies selected with the Range control. Use the Range control to select the center frequency of the mid frequency equalization process among 5 positions. Show no quarter and make your bass kill with this amp-solid state but loud and proud figure 8.

Classic rock tones are a natural with this amp. Set it low for pure and clean tones and push it for driven sounds. When set to Min the sound is similar to a smooth overdrive. Electric bassists have used this tiny but mighty and toneful combo amp with great success. When enabled the power amp is protected from overloading. Great things can come in small sizes. When set lower the limiter will trigger in sooner.

This is to avoid overloading the amp because of unwanted low frequencies content. It sets the level that is sent to the power amp stage. Unless you want overdrive it! Only a few graphic EQ have the musical quality of this powerful sculpting tool. When it is Off. It cleans up beautifully and drives just as hard figure 8. Music Corp. Cab Module. If you want to use another cabinet.

Please take a look at each model and check the Cabinet Models Table. All of these options allow you to recre- ate your microphones techniques and expand your music production skills. If you want to use just one microphone select None from Mic 2 models list.

To add a second microphone in AmpliTube 3 just click the Mic Model Selector and choose a mic model instead of None figure 9. AmpliTube 3 Note: In other words. On Axis position delivers a rich tonal bal- ance. AmpliTube 3 Off-Axis means that the microphone is positioned at the outside edge of the speaker. Production Tips: To obtain detailed clean sounds.

In general. If the sound is too big for your mix. Although, again, this is sometimes something wanted! Click this button to Mute the selected microphone its number will be dimmed figure 9. Click this button to change the selected microphone Phase figure 9. You can get some really weird tones by combining two microphones in different positions and reversing phase on one. To change a microphone pan setting, move the Pan knob figure 9.

To combine both microphone settings, move the Mic Blend slider to your desired position figure 9. AmpliTube 3 offers microphone models organized in 3 categories, Dynamic, Condenser, and Ribbon. This mic model is based on one of the most popular small diaphragm dynamic microphones.

Its bright, edgy sound has made it a widely used guitar amp mic figure 9. This mic model recreates a smooth reaction across a wide spectrum of fre- quencies, especially attractive in the low area. This means that the Dynamic 20 is a great selection for acoustic and electric bass figure 9. It has a very pleasant mid range presence together with a smooth high frequencies rolloff that delivers a nice vintage sheen to the tone figure 9.

This model has a flatter frequency response than most other dynamic mics. This mic is highly regarded as a guitar mic and used widely in studios all over the world figure 9. This dynamic microphone can deliver honest yet punchy sounds figure 9. Can result in very mid-rangey sounds at times, but this is sometimes what you want, especially when combined with a warmer condenser microphone. This mic model is based on one of the first legendary tube microphones in the history of recording figure 9.

This mic model is based on one of the most famous multi-purpose studio microphones figure 9. No microphone collection would be complete without a great small dia- phragm condenser mic.

This model is based on the standard for small dia- phragm mics. As with any good small condenser mic, the 84 provides a clean clear picture of the guitar tone figure 9. This is a model of one of the most popular large diaphragm mics ever figure 9. It can be found in any large recording studio mic locker.

Because of its excellent frequency response curve, the 87 has become the go-to mic when needing a clean, flattering sound. This is a model of a high-quality large-diaphragm condenser microphone used in famous studios around the world. One of the first with transfor- merless technology, this microphone came into the world boasting a very high-quality sound with low noise and a very impressive dynamic range figure 9. This microphone will not color the sound of the speaker, or at least will color it very little.

The Condenser is modeled after another highly regarded large dia- phragm condenser microphone figure 9. Use this ribbon microphone to capture a pure, natural sound. This is mod- eled after one of the must-have studio ribbon microphones of our time figure 9.

This mic is modeled after a double-ribbon hypercardioid microphone, one of the top choices for capturing the sound of a broad diversity of sources figure 9. Very detailed and with a focus on mid range, try this when you want more mid range presence without applying EQ or changing amp settings. With a silky-smooth high end and good low end body. Experiment with all the Cab. Mic Models. At If lowered. Be careful not overdo this because the sound might be cancelled or partially when listening in mono.

This is a great tool to create different dimensions within your mix figure 9. If increased. When set to default Center. AmpliTube 3 Use this control to set the Stereo image width that will be produced by the ambience signal.

Amp Closet. Mid Studio. Large Studio and Hall. Small Studio. Listen to each preset and select the one that best fits your sound figure 9. You could choose either of them. Consider Model to be more accurate with the original with an upfront mid range. AmpliTube 3 Back: Be careful not to overdo this because the sound might be cancelled or partially cancelled when listen- ing in mono. The model here is behaving in the same way.

The real rotating speakers inside this unit are taking their time to both slow down or speed up. When is On. There are two independent Rack modules featuring 4 stereo rack effects each. They can be used independently or together for a total of 8 rack effects. Rack FX Module. The delay can also be synched to the host tempo providing even more flexibility figure When set to mid values it gives a nice warmth to the delay timbre.

Use it to globally change the delay tempo without changing the rela- tions between all taps.