AmpliTube Custom Shop Gear Models

AmpliTube Custom Shop
Gear Models
AmpliTube Custom Shop Gear Models
AmpliTube 4 is available in different versions.

The difference between the different versions is in the number of
gear models included and in the features available.
While consulting this manual, please refer to the specific gear models
and features available in the AmpliTube 4 version you are using.
2
Table of Contents
Contents 3
License Agreement 12
English 16
Stomp Box Effects 16

AmpliTube Delay 16
Delay 16
EchoMan 17
EP Tape Echo 18
TapDelay 19
AmpliTube Distortion 21
BigPig 21
Crusher 22
Diode Overdrive 23
Distortion 24
Feedback 25
Metal Distortion 26
Metal Distortion 2 27
Overdrive 28
OverScream 29
PROdrive 30
The Ambass’dor 31
AmpliTube Dynamics 32
Compressor 32
Dcomp 33
AmpliTube EQ 34
7 Band Graphic 34
10 Band Graphic 35
AmpliTube Filter 36
Envelope Filter 36
LFO Filter 37
Rezo 38
Step Filter 40
Wah 42
Wah 10 43
Wah 46 44
Wah 47 45
Nu-Tron III 46
AmpliTube Fuzz 47
Class Fuzz 47
Fuzz Age 48
Fuzz Age 2 49
FuzzOne 50
3 Contents
Octa-V 51
RightFuzz 52
XS Fuzz 53
AmpliTube Modulation 54
Analog Flanger 54
Chorus 55
Chorus-1 56
Electric Flanger 57
Flanger 58
Metal Flanger 59
Opto Tremolo 60
Phaze Nine 61
Phazer 10 62
Small Phazer 63
Uni-V 64
AmpliTube Pitch 65
Harmonator 65
Octav 66
Pitch Shifter 67
Wharmonator 68
Acoustic Sim 69
Volume 70
Step Slicer 71
Swell 72
Ampeg® 73
SCP-OD Overdrive 73
SPC-OCT Octaver 74
Analog Chorus 75
Analog Delay 76
Bass Wah 77
Compressor 78
Envelope Filter 79
Volume 80
Fender® 81
Blender™ 81
Volume 82
Wah 83
Fuzz Wah 84
Fender® Phaser 85
Fender® Tremolo 86
’63 Reverb 87
Tape Echo 88
Compressor 89
4 Contents
Fulltone® 90
OCD 90
Morley® 91
Contour Wah 91
Seymour Duncan® 93
Power Grid 93
Shape Shifter 94
Slash 95
/Delay 95
Booster 96
Gate 97
Octo Blue 98
X-Chorus 99
Wah Dist 100
T-Rex® 101
Møller 101
Mudhoney 102
Replica 103
Wampler Pedals® 104
Nirvana 104
Pinnacle Deluxe 105
Z.Vex® 106
Seek Trem 106
Seek Wah 107
Amplifiers 108
AmpliTube Clean 108
American Clean MKIII 108
American Tube Clean 1 110
American Tube Clean 2 111
American Vintage B 112
American Vintage D 113
American Vintage T 114
Custom Solid State Clean 115
Jazz Amp 120 116
JH 1200 118
Metal Clean T 119
AmpliTube Crunch 120
American Tube Vintage 120
British Tube 30 TB 121
British Copper 30 TB 122
British Lead S100 124
HiAmp 125
JH Gold 126
SilverTwelve 127
Tube Vintage Combo 129
5 Contents
AmpliTube Lead 130

American Lead MKIII 130
British Tube Lead 1 132
British Tube Lead 2 133
Custom Modern Hi-Gain 134
Custom Solid State Fuzz 135
Custom Solid State Lead 136
Metal Lead T 137
Metal Lead V 138
Metal Lead W 139
Modern Tube Lead 140
Vintage Metal Lead 141
AmpliTube Bass 142
360Bass Preamp 142
Green BA250 144
Solid State Bass Preamp 145
AmpliTube Classic Brit Collection 146
Brit Valve Pre 146
Brit 8000 148
Brit 9000 149
Red Pig 150
Brit Silver 151
Ampeg® 152
BA-500 152
B-15R Portaflex “Flip Top” 154
SVT-Classic 156
SVT-4PRO 158
SVT-VR 160
V-4B 162
HERITAGE B-15N 164
Carvin® 166
V3M 166
Dr. Z Amplification® 168
MAZ 18 Jr. 168
Z Wreck 169
Engl® 170
E650 170
Powerball 172
Fender® 174
’57 Deluxe 174
Pro Junior 175
’64 Vibroverb Custom 176
’65 Deluxe Reverb 177
’65 Twin Reverb 178
Super-Sonic 179
6 Contents
Vibro-King 180
’59 Bassman 181
Bassman 300 182
Champion 600 184
MH-500 Metalhead 185
TBP-1 186
’65 Princeton Reverb 188
’57 Champ 189
’57 Custom Champ 190
’57 Custom Deluxe 191
’57 Custom Twin-Amp 192
’57 Custom Pro-Amp 193
’57 Bandmaster 194
’65 Super Reverb 195
’53 Bassman 196
Gallien-Krueger® 198
MB 150 S 198
Jet City Amplification 333® 200
JCA20H 200
JCA100H 201
Marshall® - Slash 202
AFD 100 202
JCM Slash 203
MESA/Boogie® 204
Mark III 204
Mark IV 207
Dual Rectifier 210
Triple Rectifier 212
Transatlantic TA-30 214
Orange® 216
OR-120 216
Tiny Terror 217
Rockerverb 50 218
AD 30 219
Thunderverb 200 220
AD 200 222
Dual Terror 223
OR 50 224
Soldano® 225
Soldano SLO-100 225
THD® 227
THD Bi-Valve 227
Cabinets 228
AmpliTube Guitar 6" 228
1x6 Small Combo 228
7 Contents

1x10 Combo Modern 229
4x10 Closed Modern 230
4x10 Open Vintage 231
AmpliTube Guitar 1x12" 232
1x12 Combo 232
1x12 MB II 233
1x12 MB III 234
1x12 Open Modern 235
2x12 Closed Vintage 237
2x12 Gry British Vint 238
2x12 JP Jazz 239
2x12 Open SL 240
2x12 Open T J120 241
4x12 Closed 25 C 243
4x12 Closed 75 C 244
4x12 Closed J120 245
4x12 Closed Modern 1 246
4x12 Closed Modern 2 247
4x12 Closed Vintage 1 248
4x12 Closed Vintage 2 249
4x12 HiAmp 250
4x12 Metal F 1 251
4x12 Metal F 2 252
4x12 Metal T 1 253
4x12 Metal T 2 254
4x12 Metal T 3 255
4x12 Metal V 1 256
4x12 Metal V 2 257
4x12 Metal V 3 258
4x12 Modern M 1 259
4x12 Modern M 2 260
4x12 Modern M 3 261
4x12 Vintage M 1 262
4x12 Vintage M 2 263
2x15 Closed B J130 264
2x15 Closed D J130 265
AmpliTube Bass 266
4x10+tw Bass 266
8 Contents
4x10+tw TE Bass 267

1x12 Bass 268
1x15 Bass Vintage 269
1x18 Horn Bass 270
AmpliTube Rotary 271
Rotary 147-1 271
Rotary 147-2 272
AmpliTube Classic Brit Collection 273
4x12 Brit 8000 273
4x12 Brit 9000 274
4x12 Brit 30 275
4x12 Brit Silver 276
4x12 Red Pig 277
Ampeg® 278
BA-500 278
B-15R 279
BXT-410H 280
PB-212H 281
SVT-410H 282
SVT-810E 283
B-15N 115 284
SVT-212 AV 285
SVT-810 AV 286
Carvin® 287
2x12 V3M 287
Dr. Z Amplification® 288
1x12 MAZ 18 Jr. 288
2x12 Z Wreck 289
ENGL® 290
E 412 PRO XXL 290
E 412 Standard 291
Fender® 292
‘57 Deluxe 292
Pro Junior 293
‘64 Vibroverb Custom 294
‘65 Deluxe Reverb 295
‘65 Twin Reverb 296
Super-Sonic 297
Vibro-King 298
‘59 Bassman 299
Bass 810 PRO 300
Champion 600 301
MH-412SL 302
Vibratone 303
‘65 Princeton 304
9 Contents
‘57 Champ 305

1x8 ’57 Custom Champ 306
1x12 ’57 Custom Deluxe 307
2x12 ’57 Custom Twin-Amp 308
1x15 ’57 Custom Pro-Amp 309
3x10 ’57 Bandmaster 310
4x10 ’65 Super Reverb 311
1x15 ’53 Bassman 312
Gallien-Krueger® 313
1x12 MB 150 S 313
Marshall® - Slash 314
4x12 1960AV SL 314
4x12 1960BV SL 315
MESA/Boogie® 316
1x12 Mark III 316
1x12 Mark IV 317
2x12 Rectifier Horizontal 318
4x12 Recto Traditional Slant 319
2x12 TransAtlantic TA-30 320
Orange® 321
1x12 PPC 112 321
1x12 Tiny Terror 322
2x12 PPC 212 323
2x12 PPC OB 324
4x12 PPC 412 325
2x12 AD 30 326
1x15 OBC 115 327
4x10 OBC 410 328
8x10 OBC 810 329
Microphones 330
Dynamic 330
Dynamic 57 330
Dynamic 20 331
Vintage Dynamic 20 332
Dynamic 421 333
Dynamic 441 334
Dynamic 609 335
Double Dynamic 57 336
Condenser 337
Bottle 563 337
Condenser 12 338
Condenser 67 339
Condenser 84 340
Condenser 87 341
Condenser 170 342
10 Contents
Condenser 414 343

MD1-b 344
Tube VM 345
Ribbon 346
Ribbon 121 346
Ribbon 160 347
Velo-8 348
Rack Effects 349

AmpliTube Delay & Reverb 349
Digital Delay 349
Digital Reverb 350
Tap Delay 351
AmpliTube EQ & Dynamics 352
Graphic EQ 352
Parametric EQ 353
Tube Compressor 354
AmpliTube Filter 355
Rezo 355
Step Filter 356
Analog Chorus 357
Digital Chorus 358
Digital Flanger 359
Rotary Speaker 360
AmpliTube Pitch 361
Harmonator 361
Pitch Shifter 362
AmpliTube Other 363
Step Slicer 363
Stereo Enhancer 364
Swell 365
Fender® 366
Pitch Shift 366
Sine Flange 367
Tape Echo 368
Triangle Chorus 369
Wah 370
Compressor 371
Fender® ‘63 Reverb 372
Fulltone® 373
SSTE - Solid State Tape Echo 373
TERC - That 80’s Rack Chorus! 375
Legal 376
11 Contents
License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
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package, including the unopened media package, to the dealer from whom you have obtained it, for a full
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12 License Agreement

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Stomp Box Effects
AmpliTube Delay
Delay
This model is based on a traditional digital delay stomp pedal.
Controls:
• DELAY: changes the length of the delay between each echo, from 1 ms to 2000 ms.
• FBK: changes the amount of time that the echo repeats, from 0% to 100%.
• LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.
• BPM SYNC: allows the effect to synchronize to the project tempo.
16 Stomp Box Effects

EchoMan
Based on Electro Harmonix® Memory Man™
A model of a classic bucket-brigade analog echo/delay (with modulation) stomp pedal effect.
Controls:
• DELAY: changes the length of the delay between each echo, from 25 ms to 500 ms.
• FEEDBACK: changes the amount of time that the echo repeats, from 0% to 100%.
• BLEND: mixes the amount of dry signal with the effected signal, from 0% (dry) to 100% (effected).
• CH/VIB: sets the amount of Chorus/Vibrato effect added to the effected sound, from 0% to 100%.
• CHORUS VIBRATO: changes whether chorus or vibrato can be added to the effect.

EP Tape Echo
Based on Maestro® Echoplex™
The EP Tape Echo is the gold standard of vintage tape-echo units. Jimi Hendrix liked experimenting with it to
produce wild psychedelic effects in the studio, and he used it heavily during the recording of Electric Ladyland.
Controls:
• DELAY SLIDER: moves the Recording Head changing the length of the delay between each echo, from 26
ms to 939 ms.
• VOLUME: sets the level of the effected (or wet) sound, from 1 to 9.
• BPM: allows the effect to synchronize to the project tempo.
• SUSTAIN: changes the amount of time that the echo repeats, from 1 to 9.

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

depending on the BPM Sync switch position.

• FILTER: sets the timbre for the selected delay tap, darker at minimum and brighter at maximum.
• REVERSE: enable this button to transform the selected delay tap from normal to reverse. When set to
reverse a delay tap will sound like a reversed tape loop.
• LINK: enable this button to make a changes to the above mentioned parameters to apply to all the 8 taps
at the same time.

AmpliTube Distortion
BigPig
Based on Electro Harmonix® Big Muff Pi™
This effect is modeled after an iconic distortion pedal that has stood the test of time. Capable of tones from
smooth sustain & compression to heavy buzz-saw distortion, this pedal is perfect for all different styles of metal.
Controls:
• VOLUME: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless
another distorting device follow, like another distortion pedal or an amplifier at high gain or volume.
• SUSTAIN: controls the amount of distortion the pedal gives.
• TONE: controls the timbre of the distortion pedal

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

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

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

Distortion
Based on Boss® DS-1™ Distortion
This effect is based on one of the most versatile distortion boxes ever made. From subtle crunch to complete
mayhem, this pedal has been used by countless guitarists of all styles.
Controls:
• LEVEL: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless
another distorting device follows, like another distortion pedal or an amplifier at high gain or volume.
• DIST: controls the amount of distortion the pedal gives.
• TONE: controls the timbre of the distortion pedal.

Feedback
Based on Boss® DF-2™ Super feedbacker & Distortion
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.
Controls:
another distorting device follow, like another distortion pedal or an amplifier at high gain or volume.
• TONE: controls the timbre of the distortion pedal.
• OVERTONE: controls the octave for the feedback effect.
• FBK button: press this button to activate the feedback.
Notes:
• When the stomp is On, clicking on the FBK button will make the led flash.
• When using StompIO, feedback will be automatically activated when distortion is On, and the On/Off
button for this pedal is hold down for 1 second or more.

Metal Distortion
Based on Boss® MT-2™ Metal Zone
This effect is based on one of the favorite pedals of some of the heaviest bands of all time. This unit is perfect
for extreme gain and sustain. Nothing compares to this pedal for pure distortion mayhem.
Controls:
• LOW – HIGH: coaxial tone control.
• Center knob: controls High frequencies.
• External knob: controls Low frequencies.
• MID – MIDFREQ: coaxial parametric mid tone control.
• Center knob: controls Mids level.
• External knob: controls Mids frequency.

Metal Distortion 2
Based on Boss® HM-2™ Heavy Metal
This effect is modeled after a classic from the ‘80s. It delivers deep, distorted crunch perfect for heavy metal and
hard rock. Long discontinued, this is a rare vintage find that delivers deep, dark crunch from the ‘70s, ‘80s, and
beyond.
Controls:
• LEVEL: controls the distortion pedal output level. It does not alter the timbre of the distortion, unless
• COLOR L: controls the amount of bass tones on the sound.
• COLOR H: controls the amount of high tones on the sound.

Overdrive
Based on Boss® SD-1™ Super OverDrive
This effect is based on one of the most collectible pedals. It is one of the most aggressive overdrive pedals ever
made. From subtle to over-the-top, this effect pushes amps harder without sacrificing clarity and tone.
Controls:
• LEVEL: controls the Overdrive pedal output level. It does not alter the timbre of the distortion, unless
• DRIVE: controls the amount of overdrive the pedal gives.
• TONE: controls the timbre of the overdrive pedal.

OverScream
Based on Ibanez® Tube Screamer® TS-9™
This is a model of a classic overdrive/distortion pedal which has become the go to overdrive pedal for some of
the most influential guitar players of all time. Its basic controls make it easy to dial in the exact sound you want.
Controls:
• DRIVE: increases the amount of clipping in the distortion circuit, from 0 to 10.
• LEVEL: sets the output level of the pedal, from 0 to 10.
• TONE: adjusts boost or cut of high frequencies in the stomp effect, from 0 to 10.

PROdrive
Based on Pro Co RAT™ Distortion
This effect is modeled after one of the most versatile distortion boxes ever. From smooth, light crunch, to
extreme shred sustain and over-the-top gain, this pedal has been a classic ever since its release in the early
‘80s.
Controls:

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

The Ambass’dor
Based on Marshall® Guv’Nor™
This pedal is a model of a beloved ‘80s-era distortion pedal by a company known for making amps with
amazing distortion. This model packs a whole powerful amp into a single stomp box.
Controls:
• GAIN: sets the amount of distortion generated by the pedal.

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

AmpliTube Dynamics
Compressor
This effect is a model of a classic high-end compressor. It is capable of mild compression or intense signal
slamming, and does it all with a tremendous amount of finesse.
Controls:
• COMP: sets the amount of compression, from 0 to 100.

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

Dcomp
Based on MXR® Dynacomp™
This effect is modeled after a vintage compression stomp pedal.
Controls:
• OUTPUT: sets the output level for the effect, from –inf to 0.0 dB.
• SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.

AmpliTube EQ
7 Band Graphic
This model is a clean, highly effective 1 octave graphic equalizer, capable of fine tuning and dialing in that
perfect tone. It is also very useful when you need to “push” the signal for the next stompbox or amp.
Controls:
• FREQUENCY BAND LEVEL: each frequency band is one octave apart and allows for +/- 15 dB of
adjustment. The controls include 100 Hz, 200 Hz, 400 Hz, 800 Hz, 1.6 kHz, 3.2 kHz, 6.4 kHz.
• LEVEL: sets the output level of the graphic EQ, from -15 dB to +15 dB.

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

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

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

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

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

• MIX: sets the amount of resonating notes you want to hear. When the control is at min you’ll only hear the
original sound, when fully up you’ll only hear the effected sound.
• OUT: the resonating notes can become very loud. Use this control to adjust the overall output level of the
Rezonator.

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

• SWING: increase this control to give to the steps a swing type quantization.

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

Wah 10
Based on Ibanez® WH-10™
This is a faithful rendition of a very sought-after wah pedal. Based on a multiple feedback opamp circuit, the
pedal modeled here is a very expressive and unique wah pedal.
Controls:
• WAH: sets the position of the wah pedal. It gives a darker sound when moved lower (heel position) and a
brighter sound when moved higher (toe position).
• DEPTH: determines how strong the wah effect is. When is set at minimum the wah effect is barely
noticeable, but when is set to max the effect is very strong.
• GUITAR/BASS SWITCH: modify the response of the wah to make it more suitable to guitar or bass.

Wah 46
Based on Vox® Wah V846™
This effect is based on the most famous Wah-Wah model used by Jimi Hendrix, which became his signature
sound in masterpiece tunes like “Voodoo Child.” Although the original had no auto-Wah features, this additional
functionality has been added for a more convenient usage when played on a computer. The original model is
considered to be one of the best sounding Wah-Wahs of all time.
Controls:
• OFF/ON/AUTO: sets the mode of the Wah effect; Off, On, or Auto.
• OFF: turns the effect Off, no Wah effect.
• ON: the center frequency of the Wah effect is only set by the pedal.

Wah 47
Based on Vox® Wah V847™
This effect is based on the Wah pedal used by the most influential guitarists of the late ‘60s and ‘70s. The Auto
function allows you to use this effect without an external controller. This is a great feature!
Controls:
• OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto.
• WAHWAH: this directly controls the wah effect, from 0% to 100%.

Nu-Tron III
Based on Musitronics® Mu-Tron™ III
This stomp box effect is based on the patented automatic wah device from 1972 that became famous
through its use with keyboards. Filters allowed for low-pass, bandpass, and high-pass filter response which
could be triggered from low to high frequency or vice versa.
Controls:
• MODE: switch between the type of filter: LP (lowpass, filters high frequencies), BP (bandpass, filters both
low and high frequencies) and HP (highpass, filters low frequencies).
• PEAK: sets the amount of resonant emphasis at the cutoff frequency of the filter.
• GAIN: adjusts the input level to the effect.
• RANGE: determines whether the cutoff frequency of the filter is set to a low frequency or a high frequency.
• DRIVE: determines whether the filter sweeps from low to high (filter opening) or from high to low (filter
closing).

AmpliTube Fuzz
Class Fuzz
Based on Roger Mayer™ Classic Fuzz®
This effect is based on the fuzz pedal that can be heard on Jimi Hendrix’s early recordings.
Controls:
• VOLUME: sets the output volume of the stomp effect, from -inf to 0.0 dB.
• DRIVE: sets the fuzz sound by increasing or decreasing the amount of distortion, from 0 to 10.

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

Fuzz Age 2
Based on Arbiter® Fuzz Face®
This classic germanium transistor fuzz effect was the main fuzz box used by Jimi Hendrix. Often combined with
a wah, this effect produced permanent sustain and endless distortion. The original Fuzz Face® is one of the
most collectible fuzz boxes ever.
Controls:
• VOL: sets the output volume of the stomp effect, from –inf. to 0.0 dB.
• FUZZ: sets the fuzz level of the effect, from 0 to 10.

FuzzOne
Based on Maestro® FuzzTone™
Jimi Hendrix began using this fuzz box while playing in New York City before founding the Experience. Its
sounds can be heard in the enormously popular Rolling Stones song “Satisfaction”.
Controls:
• VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB.
• ATTACK: adjusts the sound character by having more or less distortion.

Octa-V
Based on Roger Mayer™ Octavia®
This effect was first used on “Purple Haze” and “Fire.” It is a fuzz box with frequency-doubling circuitry that
produces a second note an octave above the fundamental note.
Controls:
• DRIVE: sets the amount of distortion the unit will produce, from 0 to 10. The higher octave can be more
distinct for medium positions of this control.

RightFuzz
Based on Mosrite® Fuzzrite®
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 appearance in 1966. It doesn’t get any more vintage than this when it comes to
stomp pedals.
Controls:
• VOLUME: sets the output volume of the stomp effect, from 1 to 6.

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

XS Fuzz
Based on Roger Mayer™ Axis Fuzz®
This effect is modeled after the effect used on the title track of the album “Axis Bold as Love.” The original
stomp can also be heard on the “Band of Gypsies” and various Jimi Hendrix recordings post 1968.
Controls:
• DRIVE: sets the distortion amount, from 0 to 10.

AmpliTube Modulation
Analog Flanger
Based on Boss® BF-2™ Flanger
This effect is based on one of the most flexible flangers ever made. This unit delivers everything from classic
tape flange to over-the-top sweeps, vibratos, chorus, and more! Perfect for adding classic metal-style flange to
your rig.
Controls:
• MANUAL: sets the timbre of the flanging effect.

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

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

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

Chorus-1
Based on Boss® CE-1™ Chorus
A model of a classic bucket-brigade analog Chorus/Vibrato unit. It provides both analog Chorus and analog
Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the
modulation will be faster and more noticeable.
Controls:
• LEVEL: sets the input level. Range is from –15 dB to +15 dB.
• CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to 10.
• VIBRATO DEPTH: sets the intensity of the Vibrato effect, from 0 to 10.
• VIBRATO RATE: sets the rate of the Vibrato effect, from 0 to 10.
• VIBRATO/CHORUS SWITCH: enables Vibrato or Chorus modes, when Vibrato mode is enabled the
corresponding LED will illuminate.

Electric Flanger
Based on Electro-Harmonix® Electric Mistress™
This stomp box is a model of a vintage flanger/filter matrix used by many well-known guitarists to achieve
classic sounds. While it has amazing warmth, it is also capable of very versatile chorus and steady comb
filtering/matrix that can imprint a very specific sonic signature to the sound.
Controls:
• RATE: controls the speed of the effect, from slow to fast.

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

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

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

Metal Flanger
Based on MXR® Flanger 117
This effect is modeled after one of the best and most musical modulation effects ever. A classic association
with an iconic ‘80s guitarist made prices erupts and flooded the market with reissues. Still, no flanger is more
recognizable, making this perfect for hard-rock and metal tone.
Controls:
• MANUAL: sets the timbre of the flanging effect.

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

Opto Tremolo
Based on Fender® Super Reverb® Amp Opto-Tremolo™
This model is based on a vintage Opto-Tremolo effect.
Controls:
• RATE: sets the rate of the Flanger effect, from 0 to 10.


Phaze Nine
Based on MXR® Phase 90™
This effect is based on one of the most popular phase pedals of all times. Used by a wide range of first-class
guitarists, this unit could add a little bit of shimmer to your solos or generate a smooth, watery effect while
playing chords and muted strumming. Did you try the Phaze Nine on bass, keyboards, or vocals?
Controls:
• SPEED: controls the phase LFO rate.

Phazer 10
Based on MXR® Phase 100™
A model of a classic analog multimode Phaser stomp box.
Controls:
• INTENSITY: selects one of the four different Phaser modes. From left to right the perceived effect intensity
will increase.
• SPEED: sets the speed of the modulation, from 0 to 10.

Small Phazer
Based on Electro-Harmonix® Small Stone™
This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to
outlandish swirling effects. You may wonder why it is called “small” when you hear it.
Controls:
• RATE: controls the speed of the effect, from slow to fast.

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

Uni-V
Based on Univox™ Uni-vibe™
This effect is based on an original optical phaser/chorus. This was a chorus/rotating-speaker simulator that was
introduced in 1969 and used predominantly in live performances. This created a swirling effect quite similar to
the most famous rotary speaker cabinet but with the addition of speed control. This effect was employed on
tracks such as “Hey Baby (New Rising Sun),” “Earth Blues,” and “Machine Gun”.
Controls:
• INTENSITY: sets the depth of the modulation, from 0 to 10. The sound is affected even when the Intensity
knob is set to zero.
• RATE: sets the rate of the Chorus/Vibrato effect from 0 to 10. The LFO rate is going from approx 1 Hz to
approx 8 Hz.
• CHORUS/VIBRATO SWITCH: selects the Chorus of Vibrato effect. Default: Chorus.

AmpliTube Pitch
Harmonator
This effect is a 3 voice digital harmonizer effect. More than just a pitch shifter, this pedal will create 3 separate
harmony voices with independent interval values based on a musical scale. Simply select the scale to use,
select the voice and the desired pitch and play. The harmonized notes will be according to the selected scale.
Controls:
• MIX: blends the harmonized voice with the original voice, from 0 to 100.
• KEY-SCALE: controls the key and type of scale that will be used by the harmonizer as a reference. If you’re
playing a solo in E major set this to E Major. Possible scales types are: Major, Dorian, Phrygian, Lydian,
Mixolydian, Minor, and Locrian.
• VOICE: controls the properties of each of the 3 voices of the harmonizer.
• LEVEL: independently adjusts the level of each of the 3 voices.
• 1: selects voice 1 for editing.
• INTERVAL: changes the interval of the selected voice, from octave down to octave up.

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

Pitch Shifter
This effect shifts the pitch of the incoming signal. This new pitch shifted signal is blended with the original sound
to create harmony guitar leads or other types of dual pitch effects.
Controls:
• COARSE: sets the coarse tuning of the pitch shifter. Measured in intervals, from -24 to 24.
• FINE: sets the fine tuning of the pitch shifter. Measured in cents, from -50 to 50.
• LEVEL: sets the output level of the pitch shifted sound, from 0 to 10.

Wharmonator
Based on Digitech® Wahmmy™ WH-1™
This effect is modeled after one of the most extreme effects of all time. From classic shred to the most
aggressive modern metal, this effect is an essential part of any extreme guitar rig.
Controls:
• HARM knob: sets the harmonic interval range you can span with the action of the pedal.
• BEND knob: sets the bending range you can span with the action of the pedal.
• MODE: sets the Wharmonator operating mode.
• HARM: this mode gives both original and pitched signal mixed together, useful to create harmonies.
• BEND: this mode only gives the pitched signal, useful to create great bending effects

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

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

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

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

Ampeg®
SCP-OD Overdrive
Officially Certified Ampeg® SCP-OD Overdrive® Model
This virtual stomp effect emulates the Ampeg SCP-OD Overdrive pedal. It recreates the original distortion circuit,
adding upper octave harmonic content to the direct signal and creating as a result a unique overdrive effect.
Controls:
• Texture: controls the upper octave harmonic content (or type of distortion) from 0 to 10.
• Balance: controls the mix between the direct and overdriven signal, from 0 to 10.
• On/Off: turns the Stomp effect On or Off.

SPC-OCT Octaver
Officially Certified Ampeg® SCP-OCT Octaver® Model
This stomp effect is modeled after the Ampeg SPC-OCT Octaver pedal. Moving the octave knob will double
your direct signal one octave below the direct signal. In this way you can make your melodic lines richer and
fuller, expanding the frequency range.
Controls:
• Direct: sets the output level of the direct signal from 0 to 10.
• Octave: sets the output level of the sub-octave from 0 to 10.

Analog Chorus
A model of a classic analog Chorus/Vibrato unit provides both analog Chorus and analog Vibrato effects. When
in Chorus mode the modulation will be lush and slow. When in Vibrato effect the modulation will be faster and
more noticeable.
Controls:
• Level: sets the input level. Range is from –15dB to +15 dB.
• Chorus: sets the intensity (or depth) of the Chorus effect from 0 to 10.
• Vibrato Rate (“vib rate”): sets the rate of the Vibrato effect from 0 to 10.
• Vibrato Depth(“vib depth”): sets the intensity of the Vibrato effect from 0 to 10.
• Vibrato/Chorus switch (“vib”/“ch”): enables Vibrato or Chorus modes. When Vibrato mode is enabled the
corresponding LED will light up.

Analog Delay
This model is based on a classic analog delay with modulation stomp pedal.
Controls:
• Delay: changes the length of the delay between each echo from 25ms to 500ms.
• Feedback (“f-back”): changes the amount of time that the echo repeats from 0% to 100%.
• Blend: mixes the amount of the dry signal with the delayed sound from 0% to 100%.
• Chorus/Vibrato (“chrs/vib”): sets the amount of Chorus/Vibrato effect added to the processed signal from
0% to 100%.
• Vibrato/Chorus switch: enables Vibrato or Chorus modes.
• BPM Sync ON/OFF: allows the effect to be synchronized to the host BPM.

Bass Wah
This effect is modeled after the classic Wah pedal used by many of the top players from the 60’s and 70’s. In
addition to the Wah effect, there is a new exciting feature called “auto”. This option will produce the Wah effect
automatically, meaning that there is no need for the manual intervention on the pedal position.
Controls:
• Off/On/Auto switch: sets the mode of the Wah effect, OFF, ON, or AUTO.
• Pedal Position: controls the Wah effect from 0 to 100%.

Compressor
This effect is modeled after a vintage compression stomp pedal and can deliver a strong sustain and powerful
compression with lots of character.
Controls:
• Output: sets the output level for the effect from –inf to 0.00 dB.
• Sensitivity: sets the sensitivity of the compression from 0 to 10.
• On/Off: sets the mode of the virtual pedal.

Envelope Filter
This stomp is a highly developed filter effect. Essentially, it uses the envelope of the incoming signal to control a
synthesizer style filter. The sound palette’s range of this virtual unit is wide and rich. You can enhance your bass
tone adding from simple auto Wah effects to extreme filtering effects.
Controls:
• Frequency (“freq”): sets the cutoff frequency of the filter from 40 Hz to 20,480 Hz.
• Resonance (“reso”): sets the resonance of the filter from 0.30 to 10.
• Depth: changes the amount of effect that the envelope has on the filter from 0% to 100%.
• Band pass (“bp”), Low pass (“lp”), High pass (“hp”): sets the type of filter being used, either band pass,
low pass or high pass.
• 12/24: toggles between 2 and 4 pole filter.
• On/Off: sets the mode of the virtual pedal.

Volume
This is a virtual stomp that emulates a traditional volume pedal.
Controls:
• Minimum (“min”): sets the minimum volume when the pedal is fully down. The range goes from 0 to 10.
• Pedal Position: controls the volume effect from 0 to 100%.

Fender®
Blender™
Officially Certified Fender® Blender™ Model
A unique germanium fuzz/distortion pedal. With a tone unlike any distortion pedal on the market, the
Blender™ is capable of a harsh fuzz-effect unlike most vintage distortion pedals, and is great as a tool for
Alternative Rock and modern Metal soloing. Perfect for those who want to create instead of copying, with a
bit of experimentation, this pedal can deliver a huge range of unique tones.
Controls:
• Volume: controls the overall output volume of the effect.

• Sustain: adds sustain and distortion to the input signal from 1 to 10.
• Tone: shifts the tonal balance from low to high frequencies from 1 (low) to 10 (high).
• Blend: controls the mix of the original to the effected signal from 1 to 10.
• Tone Boost: adds range to the tone control.
• On/Off: turns the effect on or off.

Volume
A classic volume control. Use to control the volume of your guitar signal, or in conjunction with an overdrive/
distortion pedal for dynamic control of your signal boost.
Controls:
• Volume: adjusts the volume of the output signal

• Min: controls the range of the volume effect.

Wah
Based on Fender® Cyber-Twin® SE Wah
The Fender® Wah model is based on the Fender® Cyber-Twin® SE Wah. Two distinct wah voices give this
model a huge range of “wah-ptions.” Switch between the traditional “Cryin’” sound or the famous “Clyde
McCoy” inspired sound. Both are included in the same pedal. Adjust your effect frequency range with the
minimum and maximum knobs, and control the amount of effect applied with the “wah” control and volume
level knobs. A very inspiring pedal that will add dramatic effects to your bass lines.
Controls:
• Min Freq: controls the minimum frequency effected from 1 to 10.

• Max Freq: controls the maximum frequency effected from 1 to 10.
• Volume: controls the volume of the wah effect from 1 to 10.
• Cryin’/McCoy: switches between two different classic Wah styles.

Fuzz Wah
Officially Certified Fender® Fuzz Wah Model
A combination of a Fuzz-style distortion effect and a Wah pedal, the Fuzz Wah is two pedals in one. Due to
this combination, the Fuzz Wah is capable of effects not easily achieved by traditional distortion and Wah-style
effects.
Controls:
• Pedal: use to control the frequency and amount of the Wah/Fuzz effect. Up/Down controls the Wah, Left/
Right controls Fuzz. Holding the SHIFT key while dragging allows you to easily choose between moving the
pedal vertically or horizontally only.
• Fuzz Control: controls the volume of the Fuzz-distortion.
• Effects Order: switches the order of the effects (Wah->Fuzz or Fuzz->Wah) within the pedal to give two
different tone styles.
• Fuzz Volume: adjusts the amount and volume of the Fuzz effect.
• Fuzz button: turns the Fuzz effect on-off.
• Wah button: turns the Wah effect on-off.

Fender® Phaser
Officially Certified Fender® Phaser Model
A Classic analog Phase shift effect as heard on countless recordings since the 1970s.
Controls:

• Rate Knob: controls the rate at which the phase shift occurs. The rate control knob alternately illuminates
blue and red at the same rate as the phase shifting.
• Intensity: this knob adjusts the intensity of the phasing effect.
• Frequency: this knob adjusts what frequencies are affected by the phasing action.
• BPM Sync: syncs the effect to the master BPM of your DAW/Standalone metronome.

Fender® Tremolo
Based on the classic Fender® tube tremolo circuit
Based on the classic Fender® tube tremolo circuit, you can adjust the speed and intensity to perfection and add
this classic effect to any amplifier setting. The BPM sync function allows automated effect syncing to your DAW
tempo, or set your tempo manually to add a dramatic tremolo sparkle or darkness to your tracks.
Controls:
• BPM Sync: turns BPM sync on and off overriding the Speed control and taking the tempo from your DAW
instead to determine the rate of the tremolo effect.
• Speed: determines the rate of the tremolo effect. Note that if BPM sync is turned on, your DAW’s tempo
will override the Speed knob.
• Intensity: determines the amount of tremolo effect.

’63 Reverb
Officially Certified Fender® ‘63 Reverb Model
First introduced in 1963, this classic all-tube spring reverb unit is capable of producing an incredibly lush Reverb
due to it’s unique 6v6 driven output.
Controls:
• Dwell: controls the amount of the reverb effect from 1 to 10. The spring reverb is overdriven when Dwell is
set to high values (from 7 to 10). This produces interesting and very characteristic tones.
• Tone: shifts the tonal balance from low to high frequencies from 1 to 10.
• Mixer: controls the mix of the original signal to the effected signal from 1 to 10.

Tape Echo
Based on Fender® Cyber-Twin® SE Tape Echo
A classic tape echo effect, taken from the Fender® Cyber-Twin®. Use for retro, lo-fi-style echo effects, or to add
a subtle amount of ambience to your playing.
Controls:
• Echo Level: controls the amount of the echo effect from 1 to 10.
• Time: controls the length of the echo effect from 30ms to 1450ms. When BPM Sync is turned on, time is
displayed from a 1/32 to 1/1 ratio.
• Feedback: controls the amount of repeats of the echo effect from 1 to 10.
• Wow&Flutter: controls the amount of pitch drift/variation of the echo effect, to emulate tape playback from
1 to 10.
• Brightness: controls the amount of high-end of the treble from 1 to 10.
• Volume: controls the volume of the echo effect from 1 to 10.
• Ramp/Step: alters the way that changes to echo time change from a “ramp up” style” to a “stair step”
style.

Compressor
Based on Fender® Cyber-Twin® SE Compressor
Based on the Fender® Cyber-Twin® SE compressor, this stomp box allows you to increase your signal gain
before it hits other effects and amplifiers, or use it elsewhere in your pedalboard chain to create dramatic
“attack” effects. The Fender® Stomp Compressor has four detented switch positions for varying degrees of gain
boost and compression.
Controls:
Ratio Knob: sets the amount of compression from “Low” to “Even Higher”.

Fulltone®
OCD
Officially Certified Fulltone® OCD® Model
An overdrive pedal that provides the same kind of touch sensitivity and complex harmonics that you’d get
from a quality tube amp. Volume, Tone, and Drive controls let you dial in the perfect sound for your song.
Take your overdriven tones to a new level with OCD.
Controls:
• VOLUME: sets the overall volume, from 0 to 10.

• DRIVE: controls the amount of distortion, from 0 to 10.
• TONE: controls the tone of the distortion pedal, from 0 to 10.

Morley®
Contour Wah
Officially Certified Morley® Contour Wah™ Model
The Morley Contour Wah is a modelled recreation of the original hardware pedal. This pedal offers a
distinctive sonic signature as it was developed in conjunction with a notable guitarist in the contemporary
rock field. Furthermore it has some cool features that make it tweakable and customizable to suit different
sound requirements. The sound of this wah is very modern and cutting, as it’s focused on specific key
frequencies that give it presence. However, the contour feature can modify this, making it mellower or
sharper, depending on the user’s requirements. The original hardware sports an auto ON/OFF function as
the rocker pedal is pressed or released, and the spring load feature, which brings the rocker pedal back to
the heel position as the pedal is released. These features are included and adapted to work with AmpliTube’s
behavior and functionality.
Controls:
• PEDAL: controls the filter’s frequency of the “Wah” effect.

• CONTOUR KNOB: shifts the filter’s shape; counterclockwise positions have a mellower sound, clockwise
positions sharpen the high frequency response.
• CONTOUR SWITCH: activates the Contour function, whose frequency is controlled by the Contour knob.
• LEVEL KNOB: controls the additional level of the pedal when the Contour switch is active. Values are from

-8 dBs to +4 dBs.
• ON: global bypass of the pedal.
• AUTO OFF: if activated the pedal automatically shuts off when the rocker is in the heel position. Make sure
you do a proper hardware controller calibration before using the AUTO OFF feature.
• DELAY TIME: when AUTO OFF is activated, DELAY TIME controls the time it takes for the pedal to shut off
once the rocker is brought to the heel position. Time range is 0 to 3 seconds.

Seymour Duncan®
Power Grid
Officially Certified Seymour Duncan® Power Grid™ Model
The Power Grid is a high gain, solid state distortion pedal capable of a myriad of tones thanks to a three-
band active EQ section. It is perfect for all styles of rock. The pedal is designed to provide powerful
overdrive and distortion suitable for all kinds of rhythm and lead playing thanks to five stages of discrete
Class A circuitry. This raw horsepower is managed by a multi-element gain and volume control system that
provides very fine control. The tone is further refined with three bands of active EQ. Each band allows for
up to 12dB of boost or cut at selectable frequencies for maximum control. This allows you to create tones
with a far greater degree of surgical precision than what’s possible with any distortion pedal with a traditional
passive EQ.
Controls:
• VOLUME: sets the overall volume, from 1 to 10.

• BASS: boosts and cuts the bass frequencies, from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies, from 1 to 10.
• TREBLE: boosts and cuts the high frequencies, from 1 to 10.
• GAIN: controls the amount of distortion.
• ON/OFF: bypasses the effect.

Shape Shifter
Officially Certified Seymour Duncan® Shape Shifter™ Model
This amazing stomp box reproduces the hypnotic, pulsing tremolo sound characteristic of ‘50s tube amps.
It can also produce crazy and innovative tones never heard before. With its detailed “Wave” and “Shape”
controls, it is one of the most versatile tremolo stomp boxes available. The Wave control shapes the tremolo
effect from a smooth sine wave to a sharper triangle wave to the abrupt “on/off effect” of a square wave.
The Shape control sets the rise and fall time of the tremolo (how fast or slow the volume increases and
decreases). This adds some very different variations to the tremolo effect: With a quick swell and a slow
drop, the effect is percussive like a piano. Conversely, with a slow swell and a sudden drop, the result is
reminiscent of a tape played backwards. A LED pulses in time with the tremolo effect to easily set the Rate.
Controls:
• DEPTH: sets the intensity of the effect, varying the tremolo effect from a subtle shimmer to an intense
rhythmic pulse.
• SHAPE: this control varies the tremolo rise and fall time (how fast or slow the volume increases and
decreases) for unique percussion, “reverse decay” effects and everything in between.
• WAVE: sets the wave form from a smooth sine wave (like vintage amps) to a choppier triangular wave to an
abrupt “on/off”pulsing square wave.
• RATE: sets the speed of the tremolo effect (A LED flashes in time with the tremolo effect to easily set the
Rate).
• BPM SYNC: allows the effect to synchronize to the DAW tempo.

Slash
/Delay
Based on Boss® DD-3™
The digital delay stomp box used by Slash. It is based on one of the most famous modern digital delays. Use
this effect to add space and repetitions to your parts.
Controls:
• LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.
• TIME: changes the length of the delay between each repetition, from 1ms to 800ms.
• FEEDBACK: changes the amount of time that the echo repeats, from 0 to 10.
• ON BPM: allows the effect to synchronize to the BPM tempo.

Booster
Based on MXR® CAE MC401™ Boost/Line Driver
The booster stomp box used by Slash. It boosts your signal up to 20 dB. It’s perfect for solos, punchy rhythm
parts or to drive effects harder for more dynamics and sensitivity.
Controls:
• dB: boosts the signal from 0 to 20 dB.


Gate
Based on MXR® Smart Gate®
The gate stomp box used by Slash. It gates out noise slowly when notes are being held and quickly when they
are stopped short.
Controls:
• LEVEL: varies the sensitivity of the gate‘s threshold, allowing it to be adjustable to any input source. from 0
to 10.
• Three filter cut-off points are available: Full, Mid, or Hiss Band:
• FULL: the Full Band noise cut is most effective in quieting input sources with low-end hum and buzz
problems.
• MID: the Mid noise band cut is effective on instruments with high gain midrange frequency boost.
• HISS: the Hiss noise band cut works well with instruments and input sources that have high frequency
boost.

Octo Blue
Based on MXR® Blue Box™ Octave Fuzz
The Fuzz/Octave stomp box used by Slash. Adds fuzz to your signal and then duplicates it two octaves down.
This is one of the most evil and vicious pedals!
Controls:
• OUTPUT: sets the output volume of the stomp effect, from 0 to 10.
• BLEND: adjusts ratio of fuzzed signal with Octaved signal, from 0 to 10.

X-Chorus
Based on MXR® M134™
The chorus stomp box used by Slash offering great control and flexibility. Used in one of the most famous
song in the history of Rock: Paradise City. Use this stomp box with Clean/Crunch settings to add shimmer and
moving modulation to arpeggios or chords.
Controls:
• INT.: sets overall chorus effect, from 0 to 10.

• WIDTH: sets the amplitude of the modulation from light to deep, from 0 to 10.
• RATE: sets the speed of the modulation from slow shimmering to watery, from 0 to 10.
• BASS FILTER: keeps low end frequencies intact.
• BASS: adjusts the bass frequencies of the chorus voice , from 0 to 10.
• TREBLE: adjusts the high frequencies of the chorus voice, from 0 to 10.

Wah Dist
Based on Dunlop® Slash Signature Wah SW95™
The wah pedal with integrated distortion used by Slash. One of the most classic wahs combined with powerful
high gain distortion. Very useful on rock solos to add expression and bending.
Controls:
• WAH: directly controls the Wah effect, from 0 to 10.

• DIST: enables the distortion.
• GAIN: adjusts the input gain. Use this setting to drive the preamp stage, from 0 to 10.
• VOL: adjusts the output level (when distortion is enable), from 0 to 10.

T-Rex®
Møller
Officially Certified T-Rex® Møller™ Model
The T-Rex Møller is a unique overdrive pedal that creates a wide variety of overdriven tones with flexible
tonal control along with a separate transparent 0-20 dB adjustable and switchable clean boost and a special
option to mix overdriven and clean signals. The Møller was developed in 2003 for a well known Danish
guitarist named Knud Møller who wanted a tube screamer but with an added clean boost. T-Rex made the
custom pedal based on the Alberta and subsequently named the Møller pedal after the guitarist.
Controls:
• TONE: changes the color of the overdrive.

• LEVEL: adjusts the output volume.
• GAIN: controls the amount of overdrive.
• BOOST (knob): cleanly boosts the output of the pedal from 1 to 20 dB independent of the overdrive circuit.
Used for increasing your volume for soloing.
• MIX: mixes the balance between the overdriven signal and clean signal.
• ON/OFF: turns the overdrive effect on and off.
• VOICE: optimizes for humbucker or single coil pickups.
• BOOST (switch): turns the clean boost on and off.

Mudhoney
Officially Certified T-Rex® Mudhoney™ Model
The T-Rex Mudhoney is designed for those looking for an in-your-face wall of sound jumping out of the
speakers. The boost button and the tone knob give you the ability to dial in any sound you like from ultra
fuzz to smooth jazz sounds. With the boost function bypassed, the Mudhoney delivers moderate gain and a
rich, smooth sound that many jazz guitarists prefer. The boost button engages a high gain circuit for a more
aggressive sound.
Controls:
• GAIN: controls the amount of distortion.

• LEVEL: sets the overall volume. In middle position (12:00), the volume level is 1:1. When turned fully
clockwise, the output signal is boosted by 15 dB.
• TONE: changes the color of the overdrive.
• BOOST (switch): switches between moderate and high gain.

Replica
Officially Certified T-Rex® Replica™ Model
The T-Rex Replica is possibly the world’s best delay pedal. With its astonishingly warm tone and clever tap
tempo feature, it is the perfect mix of controls that delivers everything the most demanding guitarists could ask
for in a delay. The Replica is used by guitar heroes from Pete Townsend to John Mayer to deliver their classic
sounds.
Controls:
• ECHO: mixes between the amount of delay signal and dry signal.
• LEVEL: sets the overall volume. At maximum level, the signal is boosted by approximately 3 dB.
• REPEAT: controls the number of repeats in the delay signal. At the minimum position, the delay repeats
only once. At the maximum position, the delay signal repeats almost infinitely and self-oscillates.
• TEMPO: sets the delay time. The minimum delay time is approximately 12 milliseconds, and the maximum
delay time is approximately 1,500 milliseconds. Note that the delay signal is muted when the TEMPO knob
is turned while playing to avoid unwanted pitch changing artifacts.
• SUBDIVISION: syncs the effect to the master BPM of your DAW/Standalone metronome.
• BROWN: is a High-Cut filter that alters the tone of the repeats. The result is a warmer, smoother delay
sound reminiscent of a vintage tape echo.

Wampler Pedals®
Nirvana
Officially Certified Wampler Nirvana™ Chorus/Vibrato Model
A very versatile chorus pedal capable of many modulation colors. The power of this pedal lies in the triple
mode Intensity switch which sets the range of the modulation that can then be dialed in with the Depth
control. The Tone control, a feature that other chorus pedals lack, fine tunes the high end content of the
chorused signal, a nice touch to get a lush shimmer effect. An additional cool feature, the “Vib” switch,
effectively acts as a dry kill switch, turning the chorus in a vibrato.
Controls:
• DEPTH: sets the modulation amount.

• RATE: sets the modulation speed.
• LEVEL: sets the ratio between the dry and chorused signal.
• TONE: fine tunes the high end content of the chorused signal.
• INTENSITY: this is a three way switch where each position gives a progressively increased modulation
range.
• VIB: this switch kills the dry part of the signal leaving only the chorused sound which, being modulated, will
sound like a vibrato effect. Speed, Depth, Tone and Level controls will work on the vibrato character.

Pinnacle Deluxe
Officially Certified Wampler Pinnacle Deluxe™ Model
This pedal is designed to reproduce the sound of late 70’s to early 80’s plexi-style amplifiers pushed to their
limit. This classic tone, also known as “Brown Sound” was the trademark of several guitarists of that era,
later known as “shredders”. This pedal has the flexibility of a dual mode operation, where it can be used as
a standard overdrive, or pushed further with the Boost switch, where an additional gain stage is added for
increased distortion. On top of this cool and handy feature, the Tone and Contour controls allow you to find
the perfect balance of high end and midrange, so that the pedal can be tailored to rhythm or lead sounds
with relative ease.
Controls:
• GAIN: sets the level of distortion of the pedal.

• VOLUME: sets the output level of the pedal.
• TONE: fine tunes the high end response of the pedal: clockwise values result in more high end.
• CONTOUR: Determines the midrange response of the pedal; clockwise positions result in more scooped mids.
• VINTAGE/MODERN: this switch toggles the pedals frequency response between Vintage (with a mellower
character) and Modern, with a more full range response and high end content.
• BOOST: kicks in an additional gain stage for increased distortion - useful for leads.

Z.Vex®
Seek Trem
Officially Certified Z.Vex® Seek Trem™ Model
Seek Trem is a tremolo pedal combined with an adjustable 4-, 6-, or 8-step analog-style sequencer. Each
step has a volume knob so that you can turn it up or down in the pedal’s output, giving you complete control
over the rhythmic pattern, and allowing for ultimate creativity. There’s also a knob for adjusting the pattern’s
overall speed.
Controls:
• BPM: allows the effect to synchronize to the DAW tempo.

• 4-6-8: governs the number of steps.
• SPD (speed): sets what time interval each step represents.
• STEP KNOBS (from 1 to 8): set the volume for each step, from 0 to 10.

Seek Wah
Officially Certified Z.Vex® Seek Wah™ Model
A wah with a 4-, 6-, or 8-step analog-style sequencer in it, featuring LEDs that light up to show the steps.
The speed control governs overall sequencer tempo, and the 4-6-8 switch governs the number of steps.
This pedal produces rhythmic-pattern wah sounds that are totally unique.
Controls:
• BPM: allows the effect to synchronize to the DAW tempo.

• 4-6-8: governs the number of steps.
• SPD (speed): sets what time interval each step represents.
• STEP KNOBS (from 1 to 8): set the position of the wah, from 0 to 10.

Amplifiers
AmpliTube Clean
American Clean MKIII

Based on Mesa/Boogie® Mark III™ Combo (Clean Channel)
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 capability
for a touch of crunch when cranked up.
This beautiful amp is crystal clear but can also deliver edgy sounds by pushing the Master volume, and can
deliver a nice preamp crunch tone when Rhythm 2 is engaged.
This amp is extremely versatile you can really get many types of clean or edgy tones from its incredibly flexible
preamplifier. By selecting two different preamp shapes (Rhythm 2), and by adapting the tone with the Shift and
Deep switches, you can really shape your clean/edgy sound in almost all possible ways. Add the final 5 band
graphic EQ and the tonal possibilities are really wide. But be careful, this is not a ‘set and forget’ amp. Being it
extremely versatile it can of course be set to a tone that could be totally far from what is needed on that part. It
needs a degree of experimentation and experience before you can really master it!
108 Amplifiers
Controls:
• VOLUME: sets the volume of the clean preamp. Push it closer to 10 for an edgy sound that starts to
crunch.
• BRIGHT: boosts brilliance of the preamp, especially when the Volume control is kept low.
• TREBLE: sets the amount of high frequencies on the sound.
• SHIFT: modifies the frequencies where the Bass control works.
• BASS: sets the amount of low frequencies on the sound.
• MIDDLE: sets the amount of mid frequencies on the sound.
• MASTER: determines the level that is sent to the power amp. Turning this knob up, makes the power amp
to saturate and produce great crunch sounds.
• RHYTHM 2: when enabled the preamp has more gain, and it is therefore possible to obtain extremely
musical and sweet crunch sounds.
• DEEP: when enabled the bass response of the amplifier is extended.
• EQ: enables the graphic EQ.
• EQ BANDS: these sliders can control the equalization of the amp on 5 distinct frequencies areas. You’ll find
it extremely musical and a powerful sound sculpting tool.
• PRESENCE: when turned up the amp becomes more present and brighter.
• REVERB: controls the amount of reverb coming from the internal spring unit.
109 Amplifiers
American Tube Clean 1

Based on Fender® Super Reverb®
This amp is modeled after a classic American guitar amp. This amp is great for clean to dirty sounds, making
ideal for clean and crunchy rhythm, rock, country, blues, and anything else requiring a clean amp capable of
getting a little dirty when the music calls for it.
Controls:
EQ MODEL:
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10.
• PRESENCE: boost the high frequencies of the EQ stage, from 1 to 10.
• SPRING REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10.
AMP MODEL:
• VOLUME: adjusts the output level of the power amp stage, from 1 to 10.
110 Amplifiers
American Tube Clean 2

Based on Fender® DeLuxe Reverb® ’65
This model features yet another classic American amplifier. Unlike the American Tube Clean 1, this model is a
smaller combo amp. This amp delivers a clean yet warm tone.
Controls:
EQ MODEL:
AMP MODEL:
111 Amplifiers
American Vintage B
Based on Fender® Bassman®
The design of this amp influenced many of its successors and was used by Jimi Hendrix in the studio recording
of “Voodoo Child”.
PRE MODEL Controls:

• GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10.
EQ MODEL Controls:
AMP MODEL Controls:

112 Amplifiers
American Vintage D
Base on Fender® Dual Showman®
Jimi Hendrix acquired this 100 watt amp in 1968 and used it in 1968-1969 with the Experience tour, together
with an assortment of other amps. The amp sported a built-in spring reverb unit.
PRE MODEL Controls:

EQ MODEL Controls:
AMP MODEL Controls:

113 Amplifiers
American Vintage T
Based on Fender® Twin Reverb®
This was Jimi Hendrix’s amp of choice during 1965 through 1966. It included a spring reverb.
PRE MODEL Controls:

EQ MODEL Controls:
AMP MODEL Controls:

114 Amplifiers
Custom Solid State Clean
This amp model is clean. It provides a very uncolored signal, perfect for jazz. It could be compared to amps like
the Jazz Amp 120, ideal for sparkling clean tones.
Controls:
EQ MODEL:
AMP MODEL:
115 Amplifiers
Jazz Amp 120

Based on Roland® JC-120™
It may have Jazz in its name, but this versatile clean sound can be heard in many genres. Many of the top
metal players keep this not-so-secret weapon in the studio for great clean sounds. Its sonic feature is the
fantastic built-in analog chorus and vibrato unit that really made this amp a classic.
Important: this amp contains a built-in stereo Chorus/Vibrato unit. To actually be able to hear this in stereo you
will need to use two microphones in front of its Cabinet and pan the wide L – R. For more information about
how to set this, see Chapter 9.5.7.
Controls:
• VOLUME: sets the overall amp volume. The amp remains clean up to volume 3 or 4 and starts distorting
for higher positions.
• DISTORTION: turning this knob up from the minimum position by a little bit turns On the distortion circuit.
From there, continuing rising the control brings more and more distortion.
• REVERB: controls the amount of reverb.
• MIDDLE: sets the amount of mid frequencies on the sound.
116 Amplifiers
• VIB/OFF/CHORUS: this is a three position switch;

• When set to Off, the sound will not be affected by chorus or vibrato.
• When set to Vib, vibrato will be turned On.
• When set to Chorus, chorus will be turned On.
• SPEED: sets the speed of the Vibrato effect. Note that Chorus has no settings.
• DEPTH: sets the intensity of the Vibrato effect. Note that Chorus has no settings.
117 Amplifiers
JH 1200
Based on Sunn® 1200S™
The JH 1200 is an high-powered tube bass head. Concertgoers at any Hendrix show between 1967 and
1968 would have seen an entire backline consisting of Sunn amps and cabinets. As with many amps from the
psychedelic era, the ultra-loud 1200 was popular with both guitarists and bass players.
Controls:
• VOLUME: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 0 to
10.
• TREBLE: boosts and cuts the very high frequencies of the amp’s EQ stage, from 0 to 10.
• CONTOUR: boosts and cuts the mid and high frequencies of the amp’s EQ stage, from 0 to 10.
• RATE: sets the speed of the tremolo effect, from 0 to 10.
• DEPTH: sets the intensity of the Tremolo, from 0 to 10.
• REVERB: sets the level of spring reverb added to the guitar amp sound, from 0 to 10.
• MID BOOST: Boosts the mid frequencies.
118 Amplifiers
Metal Clean T
Based on Mesa/Boogie® Triple Rectifier® (Clean Channel)
This extremely high-quality amplifier delivers a very detailed and clean response on the clean channel,
incredibly well defined is the perfect starting point for any kind of sound. Use this channel to get your hyper-
driven sounds from stomps only, as well as for creating clean or edgy sounds.
Controls:
PRE MODEL:
EQ MODEL:
• SPRING REVERB: Sets the level of spring reverb added to the guitar amp sound, from 1 to 10.
AMP MODEL:
119 Amplifiers
AmpliTube Crunch
American Tube Vintage

Based on Fender® Bassman®
This classic American amplifier was at first designed to be a bass amp, but later became one of the most
popular American guitar amps ever made. Great for clean tones, it is also versatile in a variety of music genres
and playing styles.
Controls:
EQ MODEL:
AMP MODEL:
120 Amplifiers
British Tube 30 TB
Based on Vox® AC30™ Top Boost - Blue Panel
This is a model of a legendary British amplifier which is one of the most widely recognizable and popular amps
of all time. Throughout its life, its legendary tone helped to put many of rock’s founding fathers (including 4 guys
from Liverpool) on the map and has been a highly sought after sound that is still heard on many albums today.
Controls:
EQ MODEL:
• CUT: as on the original, cuts the high frequencies of the amp’s EQ stage when turned down.
AMP MODEL:
121 Amplifiers
British Copper 30 TB
Based on Vox® AC30™ - Copper Panel
Take yourself back to the ‘60s with this quintessential amp. Not just any version, but an accurate model of the
well-known and loved version of an already spectacular amplifier. If you want some British sound, you can find it
here.
The original copper panel model was non-top boost, and you can find it exactly replicated here when the switch
Top Boost is Off. Turn it On to add the top boost circuit in a second and be then able to adjust your sound with
Bass and Treble pots.
Controls:
• NORMAL: sets the volume level for the Normal channel. Normal channel has a mellower response when
compared to the Brilliant channel.
• BRILLIANT: sets the volume level for the Brilliant channel.
• VIB -TREM: sets the volume level for the Vibrato and Tremolo channel.
• TOP BOOST: adds the Top Boost circuit in the Brilliant channel signal path. Normal and Vib-Trem channels
are not affected by this.
• BASS: adjusts the level of low frequencies in the sound. Active only on Brilliant channel and only when Top
Boost is On.
• TREBLE: adjust the level of high frequencies in the sound. Active only on Brilliant channel and only when
Top Boost is On.
122 Amplifiers
• TONE: sets the overall brightness of the amp. It is always active, on all channels. When set to Min the amp
is bright, when set to Max the amp is mellower.
• SPEED: sets the speed of the Tremolo or Vibrato effect.
• SWITCH: determines if the Vib-Trem channel will produce a Vibrato or a Tremolo effect.
123 Amplifiers
British Lead S100

Based on Marshall® 1959 JTM100™ Super Lead
This amp is modeled on the Classic British 100 watt amp Jimi Hendrix is generally associated with. Jimi Hendrix
often used multiple amp heads (up to 6) looping them together to get more power, a setup that can be recreated
in AmpliTube 3 because of its dual rig capability.
PRE MODEL Controls:

EQ MODEL Controls:
AMP MODEL Controls:

124 Amplifiers
HiAmp
Based on Hiwatt® DR103™ Head
HiAmp is based on one of the most legendary British tube amplifiers. This amp’s full-bodied, warm sound
characterized countless music productions and performances in the 70s and early 80s. The amp was highly
valued for its warm clean and its powerful crunch tones.
Controls:
• NORMAL/BRIGHT: selects normal or bright channel.

• NORMAL VOLUME: adjusts the input gain of the normal channel preamp stage from 1 to 10.
• BRIGHT VOLUME: adjusts the input gain of the bright channel preamp stage from 1 to 10.
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage from 1 to 10.
• TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage from 1 to 10.
• MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage from 1 to 10.
• PRESENCE: determines the amount of high-end frequencies, from 1 to 10.
• MASTER VOLUME: adjust the global level, from 1 to 10.
125 Amplifiers
JH Gold
Based on Marshall® JTM45™
“The” amp that Jimi Hendrix used almost exclusively from 1968 on. He liked to crank it to full volume and chain
multiple heads to produce a huge, mind-blowing wall of sound. The new model has been reworked from the
ground up, using IK’s DSM™ and SCC™ modeling technologies, and includes both the Normal and Treble
channels, plus fully modeled channel bridging.
Controls:
• PRESENCE: boosts the high frequencies of the EQ stage, from 0 to 10.

• HI TREBLE (Loudness 1): adjusts the input gain of the preamp stage. Use this setting to drive the Hi
Treble Channel, from 0 to 10.
• NORMAL (Loudness 2): adjusts the input gain of the preamp stage. Use this setting to drive the Normal
Channel, from 0 to 10.
• NORMAL - Hi TREBLE SWITCH: switches between Normal and High Treble Channel.
• BRIDGE: enables channel bridging. Use the Bridge option to add more drive.
126 Amplifiers
SilverTwelve
Based on Silvertone® Twin Twelve 1484™
A 60W tube head which Hendrix used in the early part of his career. The amp produces a powerful clean sound,
as well as a gritty distortion that has stood the test of time from the psychedelic era through the Grunge period
and into today’s modern rock.
Global Controls:
• CH.1 - CH.2 SWITCH: switches between Channel One and Channel Two.
Controls for Channel One:

• VOLUME: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 0
to 10.
Controls for Channel Two:

• VOLUME: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 0
to 10.
• DEPTH REVERB: sets the level of spring reverb added to the guitar amp sound, from 0 to 10.
127 Amplifiers
• STRENGTH TREMOLO: sets the intensity of the Tremolo, from 0 to 10.

• SPEED TREMOLO: sets the speed of the tremolo effect, from 0 to 10.
128 Amplifiers
Tube Vintage Combo

Based on Supro® Late ‘50s combo
This is a model of a small vintage amplifier that was basic in design but big in tone. This model is simple but
sweet.
Controls:
EQ MODEL:
• PRESENCE: cuts the high frequencies of the amp’s EQ stages when turned down.
AMP MODEL:
129 Amplifiers
AmpliTube Lead
American Lead MKIII

Based on Mesa/Boogie® Mark III™ Combo (Lead Channel)
This is the lead channel of a renowned three-channel American amplifier, known for excelling at both clean and
lead sounds. This channel can be big and aggressive when you want some California crunch and you can get
smooth, tasty sustained lead sounds too.
This amp is extremely versatile, you can really get almost any type of sound from its incredibly flexible
preamplifier. By calibrating the various gain stages (Volume -> Lead Drive -> Master), by selecting two different
preamp shapes (Rhythm 2), and by adapting the tone with the SHIFT switches, you can really shape your driven
sound in almost all possible ways. Add the final 5 band graphic EQ and the tonal possibilities are really endless.
But be careful, this is not a ‘set and forget’ amp. Being it extremely versatile it can of course be set to a tone
that could be totally far from what is needed on that part. It needs a degree of experimentation and experience
before you can really master it!
Controls:
• LEAD DRIVE: sets the amount of gain of the lead stage. Increase this to have more sustaining distortion
and decrease it to get a more edgy and crunchy type of distortion.
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• VOLUME: sets the gain of the initial stage. This is the gain that comes before all others in the amp signal
path.
• MASTER: sets the power amp level. This is the latest level in the amp signal path. Setting high gains in the
preamp (Volume and Lead Drive) and also setting Master to a very high level can result in an overly pushed
sound that could be difficult to obtain a good sound. Keep this at high levels only if Volume and Lead drive
are not so high.
• MIDDLE: sets the amount of mid frequencies on the sound
• SHIFT (BASS): modifies the frequencies where the Bass control works.
• SHIFT (TREBLE): modifies the frequencies where the Treble control works.
• RHYTHM 2: when enabled the preamp has even more gain, and slightly changes its tonal character.
• DEEP: when enabled the bass response of the amplifier is extended.
• PRESENCE: when turned up the amp becomes more present and brighter.
• REVERB: controls the amount of reverb coming from the internal spring unit.
131 Amplifiers
British Tube Lead 1

Based on Marshall® JCM800™ head
Made popular by the hard rockers of the ‘80s this British guitar amp has remained a prized tone for many of
today’s guitar players. Able to crank out great tube saturated tone with ease this model is a go to amp for a
variety of heavy rock guitar sounds.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
132 Amplifiers
British Tube Lead 2

The younger sibling to the British Tube Lead 1, this model is capable of great rock tone, leads, and heavy
crunch. While grittier and a little more aggressive, it still has the classic tone that has made this family of amps a
household name in rock guitar.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
133 Amplifiers
Custom Modern Hi-Gain
Based on the classic AmpliTube model, this amp features lots of gain for that over the edge distortion sound.
Similar to modern tube lead sound in character, Modern Hi-Gain provides an additional take on that type of
sound.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
134 Amplifiers
Custom Solid State Fuzz
Based on AmpliTube 1’s fuzz amp, this model is a very distinct and distorted sound, reminiscent of ‘60s fuzz
sounds (figure 8.29).
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
135 Amplifiers
Custom Solid State Lead
This model features a precise solid state lead sound. It has a darker tone and excels at high gain lead tones. It is
very suitable for hard rock leads and it’s gain is very stable, making it easy to use at low volume levels.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
136 Amplifiers
Metal Lead T
Based on MESA/Boogie® Triple Rectifier® (Lead Channel)
This classic amp provides the tightest bass and fastest response, even at extreme speeds and gain. The result
is perfect for speed, thrash, and other aggressive metal styles as well as smoother, cleaner styles, and it is a
must for all modern metal contaminations).
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
137 Amplifiers
Metal Lead V
Based on Peavey® 5150® 100W head
Engineered to the exacting demands of some of the greatest guitarists of all time, this amp quickly became a
favorite of tone purists and gain heads alike. Capable of some of the cleanest – or the heaviest – tones of all
time.
Controls:
PRE MODEL:
EQ MODEL:
• BOTTOM: use this knob to enhance the speaker bottom end resonance.
AMP MODEL:
138 Amplifiers
Metal Lead W
Based on Randall® Warhead™
Designed by some of the hardest rockers of the ‘90s, this amp was built for pure metal mayhem. There may be
no heavier, more aggressive amp in the world.
Controls:
PRE MODEL:
EQ MODEL:
• BOTTOM: use this knob to enhance the speaker bottom end resonance.
AMP MODEL:
139 Amplifiers
Modern Tube Lead

Base on Mesa-Boogie® Dual Rectifier®
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 rectified to create a modern rock tone that is hard to beat.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
140 Amplifiers
Vintage Metal Lead

Based on Marshall® JMP100™ head
This amp is based on an all-time classic, from its origin in the ‘70s through Aussie hard rock crazy ‘80s metal
and beyond. Few amps have rocked as hard, for as long.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
141 Amplifiers
AmpliTube Bass
360Bass Preamp
Based on Acoustic® 360™ Bass Preamp
This amp toured and recorded for years with one of the biggest and bold rock bands ever. Classic rock tones
are a natural with this amp, but it is also known for being used by one of the most famous jazz bassists of all
time. Show no quarter and make your bass kill with this amp-solid state but loud and proud.
When paired with its Matching cabined (1x18” Horn Bass) it can sound really dark when compared to today’s
bass amps, but that’s the magic of it!
Controls:
• VOLUME: sets the overall volume of the amp. Set it low for pure and clean tones and push it for driven
sounds.
• TREBLE: sets the amount of mid and high frequencies on the sound.
• RANGE: forms a semi-parametric midrange equalizer together with Effect. Use the Range control to select
the center frequency of the mid frequency equalization process among 5 positions.
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• EFFECT: forms a semi-parametric midrange equalizer together with Range. Use Effect boost or cut the
midrange frequencies selected with the Range control.
• FUZZ: turns On the built-in Fuzz effect.
• GAIN: sets the output volume of the Fuzz effect.
• ATTACK: sets the type of Fuzz effect that is applied. When set to Min the sound is similar to a smooth
overdrive, when moved toward max the sound gets more aggressive and fuzzy.
143 Amplifiers
Green BA250
Based on Trace Elliot® AH250™ Head
This is a model of a solid state powerhouse bass amplifier with great tone-shaping controls, a warm sound
unlike most solid state amps, and a sought-after preamp.
Despite being solid state this amp delivers an incredibly warm and tasteful tone. With its signature “Middle cut
pre shaping” feature will immediately bring you back to ‘80s bass lines!
Controls
• GRAPHIC EQUALIZATION: turns On the graphic EQ when enabled.

• MIDDLE CUT PRE-SHAPING: engages a mid frequency shaping that’s very characteristic of this amp.
When it is Off, the preamp is almost flat and natural sounding.
• GAIN: sets the preamp input gain. Follow what the fancy input level LED meter tells… and you can’t go
wrong! Unless you want overdrive it!
• GRAPHIC EQUALIZATION: 11 sliders to create your tone. Only a few graphic EQ have the musical quality
of this powerful sculpting tool.
• BALANCE: it balances the levels when you engage or disable the Graphic EQ.
• LEVEL: overall amp volume. It sets the level that is sent to the power amp stage.
144 Amplifiers
Solid State Bass Preamp
This model features a solid state bass preamp, EQ, and a solid state power amp module. It cleans up beautifully
and drives just as hard.
Controls:
PRE MODEL:
EQ MODEL:
AMP MODEL:
145 Amplifiers
AmpliTube Classic Brit Collection
Brit Valve Pre

Based on Marshall® JMP-1™ tube preamp
Rounding out the new Brit series of amps is a preamp model based on the Marshall JMP-1 valve preamp. The
JMP-1 was Marshall’s first foray into the world of MIDI control with Marshall tone. It allows players to sculpt the
tones they want, then save those tone presets for recall by MIDI control at any time. It’s one of the most simple
preamps, very straight forward. It has the staple Marshall controls like Volume, Gain, Bass, Middle, Treble and
Presence. It features a bass shift, 2 overdrive channels, and 2 clean channels. For its ease of use and its “ready
to go” sound character, it quickly became one of the most iconic Guitar preamps of the era. Almost 90% of the
pro players at the time had a JMP-1 in their rack of toys.
Controls:
• DATA DISPLAY: Shows the value of the selected parameter

• DATA knob: decreases, increases the value of the selected parameter.
• GAIN: selects the input gain parameter.
• BASS: selects the Bass parameter.
• MIDDLE: selects the Middle parameter.
• TREBLE: selects the Treble parameter.
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• PRESENCE: selects the Presence parameter.

• OD1: engages the overdrive 1 channel.
• OD2: engages the overdrive 2 channel.
• BASS SHIFT: enhances the Bass frequencies.
• CLEAN 1: engages the Clean 1 channel.
• CLEAN 2: engages the Clean 2 channel.
• OUTPUT LEVEL: adjusts the final output level of the unit from 0 to 10.
147 Amplifiers
Brit 8000
The new Brit 8000 is based upon the early 80s JCM800, the amp that although most think of the Plexi’s as the
defining tone of a pushed Marshall, in reality it’s the JCM800 that people are hearing. The JCM800 was the first
departure from the Plexi format designed for players who desired a “hotter” front end and more control over the
overall output volume. The result? More preamp overdrive and crunch at controllable volumes.
Controls:
• SENSITIVITY: switches between High or Low input gain

• PRESENCE: boosts high frequencies from 0 to 10.
• MASTER VOLUME: adjusts the final output level of the power amp stage from 0 to 10.
• PRE AMP VOLUME: adjusts the input gain of the preamp stage from 0 to 10.
148 Amplifiers
Brit 9000
The new Brit 9000 is based upon the early 90s introduction of the “evolution” of the JCM800, the JCM900.
This dual channel, dual reverb head was designed for versatility with channel 1 voiced from clean to low level
lead gain when cranked, and channel 2 voiced with enough gain to provide fearsome lead tones at low gain to
screaming solo tones at high gain.
Controls:

• GAIN SENSITIVITY: boosts the input gain of the main preamp stage from 0 to 10.
• PRE AMP VOLUME: adjusts the input gain of the main preamp stage from 0 to 10.
• POWER LEVEL: switches between High and Low power level.
149 Amplifiers
Red Pig
Based on Marshall® Major™ head
This gem from the 60s is based on the Marshall Major 200 “Pig” (as it was nicknamed) made famous by players
like Ritchie Blackmore, Jimmy Page, Joe Perry and at times Stevie Ray Vaughan. It was originally produced
for players who needed more stage volume and sported a full 200 watts powered by KT88 power tubes.
Nicknamed “the Pig” because it was a full 3” deeper than Marshalls of the day to accommodate the larger
transformers, it quickly became the favorite of larger venue players.
Controls:

• VOLUME 1: adjusts the input gain of the “bright” channel 1 from 0 to 10.
• VOLUME 1: adjusts the input gain of the “normal” channel 2 from 0 to 10.
• 1-2 SWITCH: switches between channel 1 and channel 2.
• BRIDGE: enables channel bridging. Use the Bridge option to add more drive.
150 Amplifiers
Brit Silver
Based on Marshall® Jubilee™ head
Based on the 1987 Marshall Silver Jubilee commemorating the 25th anniversary of the Marshall company, the
Brit Silver features the 3-gain mode of the preamp circuit “clean”, Rhythm Clip and Lead. The Silver Jubilee was
also the first Marshall to feature an output power section that could be switched from full to 1/2 power, thus
providing that JCM800 tone at reasonable volumes. The Brit Silver faithfully recreates the original Silver Jubilee
down to every minute detail for hyper-real authentic Marshall tone.
Controls:

• OUTPUT MASTER: adjusts the final output level of the power amp stage from 0 to 10.
• PULL CHANNEL: switches between Clean channel and Lead channel
• LEAD MASTER: adjusts the final output level of the lead channel from 0 to 10.
• INPUT GAIN: adjusts the input gain of the main preamp stage from 0 to 10.
• PULL RHYTHM CLIP: adds more gain to the preamp stage.
151 Amplifiers
Ampeg®
BA-500
Officially Certified Ampeg® BA500® Model
The BA-500 is a high quality solid-state bass amp, with a sonic fingerprint that will deliver a big and detailed
sound in any musical situation. Thanks to its powerful preamp sound shaping controls, this amp model will
be great on all musical genres and styles. Its natural cabinet match is the BA-500 cabinet, but you can get
interesting sounds experimenting with all the included cabs options.
Controls:
• MUTE: is linked with the Amp Module “Peak/Mute” light. Essentially, it mutes the signal at the Amp input.
• PAD: reduces the gain of the preamp by 15dB.
• PEAK/MUTE LED: this LED turns on when the Mute button is pressed or the preamp is overloaded.
• GAIN: controls the gain of the BA-500 preamp from 1 to 10.
• BASS: boost and cuts the low frequencies of the amp’s EQ stage from 1 to 10.
• ULTRA MID: boost and cuts the mid frequencies of the amp’s EQ stage from 1 to 10.
• TREBLE: boost and cuts the high frequencies of the amp’s EQ stage from 1 to 10.
• MASTER: controls the volume of the DSP power amp stage from 1 to 10.
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• LIMIT: enables the limiter in the power amp and is linked with the right side yellow light. This limiter acts
only when the master level is very high and the power amp is pushed at its limit.
• EQ ON: turns on the graphic EQ when pressed.
• EQ ON LED: turns on when the graphic EQ is enabled.
• GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -10 to +10 dB.
• POWER SWITCH: turns On or Off the amplifier and it is linked to the Bypass button in the Amp module.
• POWER LED: turns on when the Power switch is on “1”.
153 Amplifiers
B-15R Portaflex “Flip Top”

Officially Certified Ampeg® B15R Portaflex “Flip Top”® Model
This is the 1960’s classic bass amplifier, enhanced and improved for the actual musical scenario. This all-
tube model limited production features the Ampeg “classic” tube preamp combined with a selectable tube
60W/100W power amplifier. This option gives you the most sought-after vintage bass sound ever. In addition, if
you want to get that unmistakable 60s tone; match it with the B-15R cabinet.
Controls:
• ULTRA HI/LO: these two switches control the timbre shaping of the B-15R preamp.
• GAIN: controls the gain of the B-15R preamp from 1 to 10.
• MID: boost and cuts the mid frequencies of the amp’s EQ stage from 1 to 10.
• FREQUENCY: selects a frequency band from 1 to 5 positions. Intervention center-frequencies are: 200,
400, 900, 1.5k or 2.5kHz.
• MASTER: controls the volume of the power amp stage.
• 60W / 100W SWITCH: sets the power of the power amp stage. The virtual tubes visually represent the
master value.
• POWER SWITCH: turns On or Off the amplifier and it is linked to the Amp Module Mute button. When ON
the mute is Off, and the Amp emits sound. When Power is in the lower position the amp is MUTED and the
Mute switch lights up (on the top frame).
154 Amplifiers
• STANDBY: is linked to the Amp Module Bypass button on the top frame. When bypassed the Amp section
is not affecting the sound.
• ON/OFF: sets the mode of the Amp.
155 Amplifiers
SVT-Classic
Officially Certified Ampeg® SVT CLASSIC® Model
This is the authentic and classic Ampeg tube sound. This all-tube bass head delivers a warm, harmonically rich
and punchy sound that is a trademark for the rock bass sound, both live and in the studio. The SVT-Classic is
the amp that created the rock bass sound. Its natural speaker match is the SVT-810E or the SVT-410H.
Controls:
• GAIN: controls the gain of the SVT head preamp from 0.0 to 10.0.
• ULTRA HI/LO: these two switches control the timbre shaping of the SVT
• Classic preamp.
• MIDRANGE: boost and cuts middle frequencies of the amp’s EQ stage from 0 to 10.
• FREQUENCY: selects the center frequency for the Midrange control from 1 to 5 positions. The numbers
correspond to the following center frequencies as indicated:
• 1=220Hz
• 2=450Hz
• 3=800Hz
• 4=1.6kHz
• 5=3kHz
• TREBLE: boost and cuts high frequencies of the amp’s EQ stage from 0 to 10.
156 Amplifiers
• MASTER: controls the volume of the DSP power amp stage from 0 to 10.
• STANDBY/POWER: is linked to the Amp Module Bypass button on the top frame. When bypassed the
Amp section is not affecting the sound.
• POWER SWITCH: turns On or Off the amplifier and it is linked to the Amp Module Mute button. When it’s
on “1” the mute is Off, and the Amp emits sound.
157 Amplifiers
SVT-4PRO
Officially Certified Ampeg® SVT-4 PRO® Model
This is a real all-round high end bass amplifier. It combines a fully featured tube preamp that can really cover any
sound need with a tight solid state power amplifier. The SVT-4PRO sound spectrum is wide and rich. You can
get from extremely neutral and transparent sounds to powerful unique tones. Experiment with the SVT-4PRO
settings and create your own custom sounds.
Controls:
• MUTE: cuts the signal at the Amp input and it is linked with the Amp Module “Mute” button.
• -15dB: reduces the gain of the preamp.
• GAIN: controls the gain of the STV-4 preamp from 1 to 10.
• PEAK LED: when the preamp is nearing its clipping level this led turns on.
• COMPRESSION: sets the SVT preamp internal compressor’s compression level from 0 to 10. At 0 there
will be no compression at all.
• ULTRA HI/LO: these two switches control the timbre shaping of the SVT-4 preamp.
• MIDRANGE: boost and cuts the mid frequencies of the amp’s EQ stage from 0 to 10.
158 Amplifiers
• FREQUENCY: selects the center frequency for the Midrange control from 1 to 5 positions. The numbers
correspond to the following center frequencies as indicated:
• 1=220Hz
• 2=450Hz
• 3=800Hz
• 4=1.6kHz
• 5=3kHz
• LIMIT DEFEAT: disables the limiter of the Power amp section.
• LIMIT LED: turns on when the power amp Limiter starts limiting.
• BRIGHT: when enabled adds a more lively top end response to the input signal.
• GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -12 to +12dB.
• GRAPHIC EQ LEVEL SLIDER: sets the gain for the graphic EQ stage from -12 to +12dB.
• POWER LED: turns on when the power switch is in its upper position, and the Amp is ON.
• ACTIVE LED: (in the graphic EQ section). Normally, this LED is on. Clicking on it will disable/enable the
Graphic EQ section and turns Off/On the LED.
• POWER SWITCH: linked to the Amp module Bypass button.
159 Amplifiers
SVT-VR
Officially Certified Ampeg® SVT-VR® Model
The Ampeg SVT-VR is a vintage reissue of an early 1970’s “Blue-Line” SVT head. The preamp stage, power
section, and even rocker switches emulate the exact signal path, tone, and vibe of the original rock ’n’ roll
workhorse. This is the exact recreation of the 70’s best rock bass amp ever.
Global Controls:
• CH1 / COMBINE / CH2: Selects Channel 1, Combine mode or Channel 2. Combine mode emulates the
bridged input configuration. In this mode the controls of both channels affect the sound.
• NORMAL / BRIGHT: This switch, when engaged (right side down), enables the bright mode. Bright mode
enhances the high frequencies of the input signal.
Controls for Channel I:
• ULTRA-HI: this switch, when engaged (right side down), enhances the amount of high frequency output.
The amount of boost is dependent on the setting of the volume control.
• 1•2•3: this switch selects the frequency that will be affected by the midrange knob. The available
frequencies are 220 Hz (left side of the switch engaged), 800 Hz (switch in the center position), or 3 kHz
(right side of the switch engaged).
160 Amplifiers
• BASS-CUT/OFF/ULTRA-LO: engaging the left side of this switch decreases the low frequency output.
Engaging the right side of this switch enhances the low frequency output. The switch is inactive in the
center position.
• VOLUME: use this control to adjust the level of the power amp stage.
• TREBLE: use this to adjust the high frequency level. This provides up to 12 dB of boost, or 12 dB of cut at
4 kHz. The high frequency output is flat at the center position.
• MIDRANGE: use this to adjust the midrange frequency level. This provides up to 20 dB of boost, or 20 dB
of cut at the selected frequency. The midrange frequency output is flat at the center position. Rotate the
control counter-clockwise for a “contoured” sound (more distant, less midrange output) or clockwise for a
sound which really cuts through.
• BASS: use this to adjust the low frequency level. This provides up to 12 dB of boost, or 12 dB of cut at 40
Hz. The low frequency output is flat at the center position.
Controls for Channel II:
• ULTRA-HI: this switch, when engaged (right side down), enhances the amount of high frequency output.
The amount of boost is dependent on the setting of the volume control.
• ULTRA-LO: this switch, when engaged (right side down), enhances the low frequency output.
• VOLUME: use this control to adjust the level of the power amp stage.
• TREBLE: use this to adjust the high frequency level. This provides up to 12 dB of boost, or 12 dB of cut at
4 kHz. The high frequency output is flat at the center position.
• BASS: use this to adjust the low frequency level. This provides up to 12 dB of boost, or 12 dB of cut at 40
Hz. The low frequency output is flat at the center position.
161 Amplifiers
V-4B
Officially Certified Ampeg® V-4B® Model
The Ampeg V-4B is an all-tube 100W legend, reissue of the legendary 1971 original, delivering the pure tube
vintage sound and unmistakable grind that earned this classic a place in bass history.
Controls:
• ULTRA LO: this switch, when engaged (right side down), enhances the amount of low frequency output by
2 dB at 40 Hz and -11 dB cut at 500 Hz.
• 1•2•3 SWITCH: this switch selects the frequency that will be affected by the midrange control. The available
frequencies are:
• Left = 220 Hz
• Center = 800 Hz
• Right = 3 kHz
• ULTRA HI: this switch, when engaged (right side down), enhances the amount of high frequency output by
7 dB at 8 kHz.
• GAIN: this control adjusts the basic level of signal in the preamp.
• BASS: use this to adjust the low frequency level of the amplifier. This provides up to 13 dB of boost, or 12
dB of cut at 40 Hz. The low frequency output is flat at the center position.
• MIDRANGE: use this to adjust the midrange frequency level of the amplifier. This provides up to 11 dB
of boost, or 21 dB of cut at the selected frequency. The midrange frequency output is flat at the center
position. Rotate the control counter-clockwise for a “contoured” sound (more distant, less midrange output)
or clockwise for a sound which really cuts through.
162 Amplifiers
• TREBLE: use this to adjust the high frequency level of the amplifier. This provides up to 14 dB of boost, or
17 dB of cut at 4 kHz. The high frequency output is flat at the center position.
163 Amplifiers
HERITAGE B-15N
Officially Certified Ampeg® HERITAGE B-15N® Model
The Heritage B-15N features distinct 1964 and 1966 channels, plus Ampeg’s flexible Baxandall EQ and
selectable bias modes for ultimate tone control. Built to exacting standards, it meticulously recreates the world’s
most recorded bass tone.
Global Controls:
• 1964 CH / 1966 CH: Toggles between the 1964 and 1966 channels. Centered above the Heritage B-15N
knobs is an Ampeg script logo. It will illuminate purple when 1966 channel is selected and green when
1964 channel is selected
• 1964 BIAS / 1966 BIAS: Toggles between 1964 cathode bias or 1966 fixed bias.
• ON / OFF: turns On or Off the amplifier and it is linked to the Amp Module Mute button. When ON the
mute is Off, and the Amp emits sound. When Power is in the lower position the amp is MUTED and the
Controls for 1964 Channel
• VOLUME: Use this control to adjust the level of the power amp stage.
• TREBLE: Use this to adjust the high frequency level of the amplifier. This provides up to 18 dB of boost or
cut at 5 kHz. The high frequency output is flattest at the center position.
• BASS: Use this to adjust the low frequency level of the amplifier. This provides up to 10 dB of boost or cut
at 40 Hz. The low frequency output is flattest at the center position.
164 Amplifiers
Controls for 1966 Channel
• VOLUME: Use this control to adjust the level of the power amp stage.
• TREBLE: Use this to adjust the high frequency level of the amplifier. This provides up to 18 dB of boost, or
–30 dB of cut at 5 kHz. The high frequency output is flattest at the center position.
• BASS: Use this to adjust the low frequency level of the amplifier. This provides up to 11 dB of boost or cut
at 40 Hz. The low frequency output is flattest at the center position.
165 Amplifiers
Carvin®
V3M
Officially Certified Carvin® V3M™ Head Model
The 50 watt V3M amp is the musician’s dream, delivering awesome power with incredible tone including lush
reverb. The V3M is one of the most versatile amplifier. It offers “Pristine Clean” for shimmering highs and deep
bass. Switch the channel to classic rock with the deepest metal crunch or continuous sustain. Or, switch to
another channel for rich harmonics infused from the “Soak” control for rich Jazz or country blues. Each channel
incorporates its own character drive switches - “Bright to Soak” and “Thick” to “Intense” with EQ switches
expanding the tone.
Global Controls:
• MASTER VOLUME: adjusts the overall output level, from 0 to 10.

• MASTER REVERB: controls the amount of reverb coming from the internal spring unit, from 0 to 10.
• CH. : channel selector.
• BACK: visualizes the Rear Panel.
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Controls for each of the 3 channels:
• DRIVE: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 0 to
10.
• MID: boosts and cuts the mid frequencies of the amp’s EQ stage, from 0 to 10.
• EQX: expands the tone adding mid range frequencies.
• INTENSE / THICK: (Channel 1 - 2) selects three different drive modes, from Thick to Intense.
• BRIGHT / SOAK: (Channel 3) selects three different frequency responses, from Soak to Bright.
Controls for Rear Panel:
• POWER MODE: switches the power amp output between 50, 22 and 7 watts.
• BOOST SWITCH: enables the power amp stage boost.
• BOOST LEVEL: adjusts the power amp boost amount from 0 to 6 dB.
• LED ON: turns on the leds behind the grille.
• LED RED/BLUE: selects the leds color, Red or Blue.
• FRONT: visualizes the front main panel.
167 Amplifiers
Dr. Z Amplification®
MAZ 18 Jr.
Officialli Certified Dr. Z Amplification® MAZ 18 Jr.™ Combo Model
This amp features EL84 output tubes, 12AX7 and 12AT7 preamp tubes, along with a GZ34 rectifier tube, and
delivers a much bigger sound than its 18W rating would indicate. Our model faithfully recreates the smooth
top end and tight bass response of the amp’s tone, as well as its awesome 3D reverb. Whether you’re using
humbuckers or single-coil pickups, the MAZ 18 Jr. will deliver plenty of definition, headroom and signature tone.
Controls:
• VOLUME: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage from 0 to
10.
• TREBLE: boosts and cuts the treble frequencies of the amp’s EQ stage from 0 to 10.
• REVERB: sets the level of spring reverb added to the guitar amp sound from 0 to 10.
• CUT: adjusts the high frequencies of the EQ stage, from 0 to 10.
• MASTER: adjusts the output level of the power amp stage from 0 to 10.
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Z Wreck
Officially Certified Dr. Z Amplification®Z Wreck™ Head Model
It rocks, it twangs, and it provides incredible touch sensitivity to go along with killer tone. Push the volume past
12, on this 30W tube head and it will start getting crunchy. Turn the volume up higher and listen to it scream.
With the amp set for crunch, roll off your guitar volume to get a clean tone without harshness.
Controls:
• CUT: adjusts the high frequencies of the EQ stage, from 0 to 10.

• TREBLE: boosts and cuts the treble frequencies of the amp’s EQ stage from 0 to 10.
• VOLUME: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage from 0 to
10.
169 Amplifiers
Engl®
E650
Officially Certified ENGL® E650™ Head Model
This model is based on the Engl E650 amp head which was designed as an evolution of the previous Savage
technology. The amp design features two switchable channels with selectable HI/LO gain ranges, which share
EQ settings, additional contour and bright switches to fine tune midrange and high end response. This effectively
makes it a four channel amp. For this reason the E650 is capable of a vast array of tones, from sparkling cleans
to bone crunching distortions and lead tones. Many in between and crunch sounds can be found by judiciously
setting the gain and tone controls. .
Controls:
• GAIN LO/HI: selects the gain range for the current channel.
• CLEAN/LEAD: toggles between the Clean and Lead channels.
• CLEAN: sets the input gain for the Clean channel preamp stage.
• LEAD: sets the input gain for the Lead channel preamp stage.
• BRIGHT: boosts the high end part of the frequency spectrum, active on Clean channel.
• BASS: sets the low end amount for both channels.
• MIDDLE: sets the midrange amount for both channels.
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• TREBLE: sets the high end amount for both channels.

• LEAD PRESENCE: sets the high end presence for the Lead channel.
• LEAD VOLUME: sets the output level of the Lead channel.
• MASTER A LO GAIN: sets the level of the Lo Gain mode for both channels.
• MASTER B HI GAIN: sets the level of the HI Gain mode for both channels.
• CONTOUR: boosts the low end response of the Lead channel.
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Powerball
Officially Certified ENGL® Powerball™ Head Model
The Powerball is based on one of the most powerful modern high-gain amplifiers from the Engl brand. It’s
highly regarded for its heavy rhythm tones and its many sound-sculpting options. The Powerball has two main
channels, and then each channel has two different modes. Channel I offers “Clean” and “Crunch,” and Channel
II has “Low Lead” and “High Lead.” The Powerball has the power and flexibility to create everything from
modern super high-gain leads to heavy crunch rhythms to crystal-clear clean tones.
Global Controls:
• CH I/II: selects between Channel I and Channel II.

• OPEN/FOCUSED: this button lets you select between two different midrange styles. Choose open for a
looser tone, focused for a tighter mid-range voicing. It affects all channels.
• GAIN LO/HI. : when you press this button, the input sensitivity of both Main channels is increased. The
Hi-Gain function switches from Clean to Crunch in Channel I, and from Lo Lead to Hi Lead in Channel II.
• PRESENCE: determines the amount of high-end frequencies and affects all channels, from 1 to 10.
• D.-PUNCH: determines the amount of low-end frequencies from 1 to 10. Affects all channels.
• MASTER: adjusts the global output level from 1 to 10.
Controls for Channel I (Clean and Crunch mode):
• CH I GAIN: adjusts the input gain of the channel I preamp stage from 1 to 10.
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• BRIGHT: boosts the upper end of the high frequency range.

• BOTTOM: boosts the low end of the frequency range.
• TREBLE-CL.: this control boosts and cuts the high frequencies of the amp’s EQ stage when “Clean mode”
is selected. From 1 to 10.
• TREBLE-CR.: this control boosts and cuts the high frequencies of the amp’s EQ stage when “Crunch
mode” is selected. From 1 to 10.
• CL.-VOLUME: adjusts the level of the Clean mode. The green LED to the right of the knob lights up to
indicate Clean mode is on.
• CR.-VOLUME: adjusts the level of the Crunch mode. The green LED to the right of the knob lights up to
indicate Crunch mode is on.
Controls for Channel II (Low Lead and High Lead mode):
• CH II GAIN: adjusts the input gain of the channel 2 preamp stage from 1 to 10.
• LO LEAD BOTTOM: boosts the low end of the frequency range. (Low Lead mode only)
• HI LEAD BOTTOM: boosts the low end of the frequency range. (High Lead mode only)
• BASS: boosts and cuts the bass frequencies of the amp’s EQ stage from 1 to 10. (Low Lead and High
Lead mode)
• MID-OPEN: this control determines the response of a specific mid frequency range when sound style
“OPEN” is selected. From 1 to 10.
• MID-FOCUSED: this control determines the response of a specific mid frequency range when sound style
“FOCUSED” is selected. From 1 to 10.
• LO LEAD VOL.: adjusts the level of the Low lead mode. The green LED to the right of the knob lights up to
indicate Low lead mode is on.
• HI LEAD VOL.: adjusts the level of the High Lead mode. The green LED to the right of the knob lights up to
indicate High lead mode is on.
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Fender®
’57 Deluxe
Officially Certified Fender® ’57 Deluxe™ (Inst. Channel) Model
One of the first amplifiers designed by Leo Fender, and one of the most influential. The Tweed Deluxe provides
classic compressed overdriven tones when cranked, and rich harmonic clean tones when played at low
volumes. The Deluxe is a great amplifier for Chicago-style Blues tones, as well as Country and early Rock and
Roll tones. Today, modern players of all stripes use a Deluxe in the studio to create their own “tone magic.”
Controls:
• TONE: shifts the tonal balance from low to high frequencies from 1 (low) to 12 (high).
• INST. VOL.: adjusts the output level of the ’57 Deluxe’s power amp stage from 1 to 12.
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Pro Junior
Officially Certified Fender® Pro Junior™ (Single Channel) Model
The Pro Junior, with its single volume and tone controls, is a unique marriage of classic Fender® tone at low
volumes and angry bite when cranked. This amp is excellent at achieving touch-sensitive overdriven studio
tones, and players everywhere have discovered the simple joys of plugging in and turning up the volume for
simple, pure Blues and Rock performance.
Controls:
• TONE: shifts the tonal balance from low to high frequencies from 1 (low) to 12 (high).
• VOLUME: adjusts the output level of the Pro Junior’s power amp stage from 1 to 12.
175 Amplifiers
’64 Vibroverb Custom

Officially Certified Fender® ’64 Vibroverb™ Custom (Vibrato Channel, both Stock and Mod modes) Model
A hand-wired reissue specifically based on Stevie Ray Vaughan’s original Vibroverb, as modified by “Amp
Doctor” Cesar Diaz. Its Blackface circuit and 15” speaker create a shimmering clean tone that is perfect for Jazz
or Country. With the available “Mod” mode, the Vibroverb Custom can create the famous Texas Blues tone with
its touch of preamp tube distortion and punchy mid focus.
Controls:
• BASS: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.
• TREBLE: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.
• VOLUME: adjusts the output level of the power amp stage from 1 to 10.
• MOD: when engaged, gain is increased, as well as overall brightness. This control also disconnects the
Vibrato controls from the circuit.
• REVERB: controls the amount of Reverb from 1 to 10.
• SPEED: controls the speed of the Vibrato effect from 1 to 10.
• INTENSITY: controls the intensity of the Vibrato effect from 1 to 10.
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’65 Deluxe Reverb

Officially Certified Fender® ’65 Deluxe Reverb® Model
A true classic that delivers classic Country and Rock tones from Nashville to Liverpool. The Deluxe Reverb has
a bright, punchy attack that is perfect for finger-picking, Garage-Rock... just about anything. The Deluxe Reverb
is an amp that has been used on countless recordings due to its pure tube tone, great Reverb and Tremolo, and
amazing versatility.
Controls:
• Bass: adjusts the bass frequencies of the amp’s EQ stage from 1 to 10.
• Treble: adjusts the high frequencies of the amp’s EQ stage from 1 to 10.
• Volume: adjusts the output level of the power amp stage from 1 to 10.
• Reverb: controls the amount of Reverb from 1 to 10.
• Speed: controls the speed of the Vibrato effect from 1 to 10.
• Intensity: controls the intensity of the Vibrato effect from 1 to 10.
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’65 Twin Reverb

Officially Certified Fender® ’65 Twin Reverb® (Vibrato Channel) Model
One of the most distinctive amps of all time. It delivers a shimmering, pure clean tone that is perfect for any style
of music, yet it will bark when turned up to arena volume. The Twin Reverb® is known as the first popular “built-
in effects” amp, with world-standard Fender® Reverb and Tremolo. This is also a great amplifier for accentuating
the character of external stomp boxes, making it an incredibly versatile platform to build on.
Controls:
• BRIGHT: provides a high-frequency presence boost.

• MID: adjusts the mid frequencies of the amp’s EQ stage from 1 to 10.
• VOLUME: adjusts the output level of the power amp from 1 to 10.
• SPEED: controls the speed of the Vibrato effect from 1 to 10.
• INTENSITY: controls the intensity of the Vibrato effect from 1 to 10.
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Super-Sonic
Officially Certified Fender® Super-Sonic™ “Burn” Channel Model
A marriage of classic Fender® tone and modern versatility, perfect for everything from vintage clean tones to
70’s-style Classic Rock crunch to modern Metal and Punk. Its independent cascading gain stages and custom
EQ allow guitarists to create a huge variety of both vintage and modern harder-edged distorted tones, all while
retaining that unmistakable Fender® character.
Controls:
• GAIN 1: adjusts the input gain of the first set of preamp stages from 1 to 10.
• GAIN 2: adjusts the input gain of the second set of preamp stages from 1 to 10.
• MIDDLE: adjusts the mid frequencies of the amp’s EQ stage from 1 to 10.
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Vibro-King
Officially Certified Fender® Vibro-King® Custom Model
This modern Fender® classic provides incredible clean tones, unequalled touch sensitivity, and a thick overdrive
character that will inspire artistic inspiration for any player. Engaging the FAT switch helps boost it into classic
Rock distortion. The Vibro-King® also contains Fender®’s unique ’63 Reverb circuit, which means this amplifier
is a perfect choice for Country, Blues, and Surf players, as well.
Controls:
• DWELL: controls the amount of the reverb effect from 1 to 10.

• MIX: adjusts the amount of Reverb mixed into the output signal from 1 to 10.
• TONE: adjusts the tone of the Reverb signal from 1 to 10.
• FAT: boosts preamp gain in the mid-frequency range, for classic overdriven tones.
• VOLUME: adjusts the loudness of the amplifier from 1 to 10.
• SPEED: adjusts the rate of the Vibrato effect from 1 to 10.
• INTENSITY: adjusts the depth of the Vibrato effect from 1 to 10.
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’59 Bassman
Officially Certified Fender® ’59 Bassman® LTD (Bright Channel) Model
Quite possibly the most famous guitar amp of all time, the tweed Bassman® is considered a must-have for any
serious tone connoisseur. Originally conceived in the 1950s to amplify the newly invented Fender® Precision
Bass® guitar, it was quickly adopted by guitarists who found that it was able to provide shimmering clean tones
and a cranked up “crunch” tone that lent itself perfectly to Rock and Roll. That tone became the basis for the
famous British “stacks” of the 60s and beyond. Played clean or distorted from Rock to Blues to Country, with or
without external effects, the ’59 Bassman® is the foundation for a wide variety of great tones.
Controls:
• PRESENCE: boosts the high frequencies of the EQ stage from 1 to 12.

• VOLUME: adjusts the output level of the Bassman®’s power amp stage from 1 to 12.
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Bassman 300
Officially Certified Fender® Bassman® 300 (Channels 1&2) Model
The Bassman® 300 PRO produces warm all-tube bass tone and combines it with modern flexibility. Features
like 10-band graphic EQ, mid-notch switch (great for slap playing), two-band studio-grade compressor, and
clean and overdrive channels make the Bassman® 300 a great choice for any bass player.
Controls:
• CH 1 VOLUME: adjusts the loudness of channel 1 from 1 to 10.

• CH 2 GAIN: adjusts the channel 2 gain/distortion level from 1 to 10.
• CH 2 VOLUME: adjusts the loudness of channel 2 from 1 to 10.
• CH 1 / 2 MIX: mixes the channel 1 (clean) and channel 2 (overdrive) output levels.
• LOW: adjusts the Low frequencies of the amp’s EQ stage from 1 to 10.
• HIGH: adjusts the High frequencies of the amp’s EQ stage from 1 to 10.
• DEEP: low frequency boost when this button is IN.
• BRIGHT: high frequency boost when this button is IN.
• MID NOTCH: reduces the mid-frequency tones.
• GRAPHIC: activates the graphic equalizer.
• GRAPHIC EQ: the 10 band-pass / band-reject filters are spaced at octave intervals. Adjusts selected
frequencies cut and boost from 1 to 10.
• LOW COMP: adjusts the compression ratio below 400Hz. Clockwise rotation increases the amount of
compression from 1 to 10.
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• COMP: activates the Compressor(s).

• HIGH COMP: adjusts the compression ratio above 400Hz from 1 to 10.
• COMP EQ BAL: mixes the low and high compressor balance from 1 to 10.
• COMP GAIN TRIM: this knob adjusts gain to compensate for any level imbalance when the compression
circuitry has been engaged from 1 to 10.
• MASTER VOLUME: adjusts the overall loudness of the amplifier from 1 to 10.
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Champion 600
Officially Certified Fender® Champion™ 600 Model
The Champion™ 600 is an updated version of the classic Fender® practice amp, providing slightly more gain
than the original model. With only a volume control, a clean, simple circuit with just one power tube and low
wattage, its distinctive reedy tone has been used on countless Classic Rock recordings.
Controls:
VOLUME: adjusts the volume of the amp from 1 to 12.
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MH-500 Metalhead
Officially Certified Fender® MH-500 Metalhead™ (Loose Channel) Model
Designed from the ground up to provide the perfect amp for modern down-tuned and 7-string guitarists, with a
searing gain and a punishing low end that is perfect for more aggressive styles of Rock and Metal. Its solid-state
power amp gives enough headroom for incredible note definition even when distorted, and the preamp has an
unmatched amount of gain for lead players.
Controls:
• DRIVE: adjusts the amount of preamp distortion from low to high.

• PRESENCE: boosts the high frequencies of the EQ stage from low to high.
• BASS: adjusts the bass frequencies of the amp’s EQ stage from low to high.
• MIDDLE: adjusts the mid frequencies of the amp’s EQ stage from low to high.
• TREBLE: adjusts the high frequencies of the amp’s EQ stage from low to high.
• MASTER VOLUME: adjusts the output level of the power amp stage from low to high.
185 Amplifiers
TBP-1
Officially Certified Fender® TBP-1 Pre-amp (Vintage Tube and Overdrive Channels) Model
The TBP-1 is a truly professional tube bass preamp designed around Fender®’s passive tone stack (used in
classic designs such as the Twin Reverb® and Showman®) which delivers creamy tube tone while allowing the
color of the instrument to shine through. A tube overdrive section adds “bite”, while the Vari-Q™ circuit provides
modern active tone shaping. Thick, natural and balanced; the TBP-1 is an amazing device for creating great
bass tone.
Controls:
• VOLUME: adjusts the loudness of the Vintage Tube Channel.

• BASS: adjusts the bass frequencies of the EQ stage from 1 to 10.
• DEEP: Extends the Bass EQ range.
• MIDDLE: adjusts the mid frequencies of the EQ stage from 1 to 10.
• TREBLE: adjusts the high frequencies of the EQ stage from 1 to 10.
• BRIGHT: Extends the Treble EQ range.
• ON (TUBE OVERDRIVE): switches between the Vintage and Tube Overdrive Channels.
• GAIN: adjusts the Tube Overdrive distortion level from 1 to 10.
• VOLUME: adjusts the loudness of the Tube Overdrive channel from 1 to 10.
• BLEND: adjusts the mix of clean vintage tube tone with overdriven tube tone when the Tube Overdrive is
enabled.
• ON (VARI-Q): enables VariQ™ semi-parametric EQ section.
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• FREQ: selects the center of frequency range that the Level knob controls.
• LEVEL: adjusts the amount of boost or cut (±15dB) at the frequency selected by the Freq control.
• ROOM BALANCE: adjusts the Room Balance EQ. At the center position, the effect is neutral. Turned
clockwise, highs are emphasized (bright), while deemphasizing lows (deep). Turned clockwise, lows are
emphasized (deep), while de-emphasizing highs (bright).
• MUTE: mutes the amplifier while leaving it turned on.
• MASTER VOLUME: adjusts the overall loudness of the amplifier from 1 to 10.
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’65 Princeton Reverb

Officially Certified Fender® ’65 Princeton® Reverb Model
For anybody who craves top – notch tube driven tone, naturally dynamic clean, overdriven tones, and
unmistakable long Fender spring reverb and tube vibrato, here is the new ’65 Princeton Reverb Vintage Reissue.
The legendary Princeton Reverb of the 1960s was originally intended for practice purposes, but thanks to its big
tube tone and the countless guitarists that chose it as a studio amp, the ’65 Princeton Reverb became one of
the legendary prize collectibles among Fender amps.
Controls:
• VOLUME: adjusts the volume of the power amp stage. Use this setting to drive the amp from 1 to 10.
• SPEED: adjusts rate of the vibrato. Use this setting to set the rate of the vibrato from 1 to 10.
• INTENSITY: adjusts the amount of the vibrato. Use this set to amount of vibrato from 1 to 10.
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’57 Champ
Officially Certified Fender® ’57 Champ™ Model
Out of the late 1950s comes the prized compact tweed amp that is revered for both practice and recording
because of its low, 5-watt output. With the volume turned all the way up, you can manipulate your tone using
the guitar’s own controls to go from glassy clean to bluesy overdrive with the amp reacting to the input signal
just the way you want it to. Small but mighty, the ‘57 Champ is a true classic that belongs in the amp collection
of every dedicated guitarist.
Controls:
• VOLUME: adjusts the volume to the power amp stage. Use this setting to drive the amp from 1 to 10.
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’57 Custom Champ

Officially Certified Fender® ’57 Custom Champ® Model
Probably THE most recorded amp of all time, the Fender Champ provides an amazingly diverse tone palette
for a small, single knob amp. The ’57 Custom Champ is the perfect companion for those who love dynamic,
overdriven tones and crisp, classic cleans.
Controls:
• 1/2 switch: selects between inputs 1 and 2 allowing different tonal characters.
• VOLUME: sets the volume of the amplifier; as the control is turned up the amount of power amp saturation
increases, resulting in more distortion.
• ON/OFF switch: bypasses or enables the amplifier.
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’57 Custom Deluxe

Officially Certified ’57 Custom Deluxe™ Model
One of the most loved Fender tweeds of all time, the ’57 Custom Deluxe has it all – virtually everything from
sparkling cleans to major crunch and everything in between. The hand-wired all-tube 5E3 circuit is pure magic at
all volume levels.
Controls:
• INST/MIC switch: selects between the instrument and mic channels, allowing different tonal characters
and gain levels.
• BRIDGE/SINGLE switch: allows you to bridge the two channels with the special jumper cable sitting on
top of the amp. This can also be achieved by clicking directly on the cable itself. Bridging the channels will
result in summing the gain stages of the two channels for increased distortion and overall fatter tone.
• TONE: regulates the tonal character of the amplifier; counterclockwise position is the darkest tone, getting
brighter as the control is turned up.
• INST. VOL: sets the volume of the amplifier when the Instrument Channel is engaged; as the control is
turned up the amount of power amp saturation increases, resulting in more distortion.
• MIC. VOL: sets the volume of the amplifier when the Microphone Channel is engaged; as the control is
turned up the amount of power amp saturation increases, resulting in more distortion.
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’57 Custom Twin-Amp

Officially Certified ’57 Custom Twin-Amp™ Model
The ’57 Custom Twin-Amp is the original “low-powered” 40W tweed beauty known for its sweet, singing tone
and responsive dynamics. The Tweed Twin delivers a luxurious clean tone that adds some richness, clarity and
sparkle.
Controls:
• BRIGHT /NORMAL switch: allows you to select between the Bright or Normal channel.
• PRESENCE: controls the overall amount of brightness and presence of the amp’s tone.
• BASS: controls the amount of low end of the tone.
• TREBLE: controls the amount of high end in amp’s tone.
• VOL. BRIGHT: sets the volume of the amplifier when the Bright Channel is engaged; as the control is
turned up the amount of power amp saturation increases, resulting in more distortion; as in all non master
volume amplifiers, the amount of distortion is also influenced by the level of the Bass and Treble controls.
• VOL. NORMAL: sets the volume of the amplifier when the Normal Channel is engaged; as the control is
turned up the amount of power amp saturation increases, resulting in more distortion; as in all non master
volume amplifiers, the amount of distortion is also influenced by the level of the Bass and Treble controls.
192 Amplifiers
’57 Custom Pro-Amp

Officially Certified ’57 Custom Pro-Amp Model
The ’57 Custom Pro is based on the original Pro of the 50s, known for its rich harmonic content and it
possesses a legendary flexible and vintage sound. The creamy overdrive and smooth presence are perfect for all
vintage tones, and incredible for modern sounds.
Controls:
• INST/MIC switch: selects between the instrument and mic channels, allowing different tonal characters
and levels of gain.
• INST. VOL: sets the volume of the amplifier when the Bright Channel is engaged; as the control is turned
up the amount of power amp saturation increases, resulting in more distortion; as in all non master volume
amplifiers, the amount of distortion is also influenced by the level of the Bass and Treble controls.
• MIC. VOL: sets the volume of the amplifier when the Normal Channel is engaged; as the control is turned
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’57 Bandmaster
Officially Certified ’57 Bandmaster™ Model
The ’57 Bandmaster provides Vintage blues tone through a 3x10 set-up and hand-wired all tube construction.
Designed as a “plug straight in and turn it up” amp, the sound is flexible and fills the room with its vibe, giving
the impression of a 3D surround sound.
Controls:
• INSTRUMENT/MIC switch: selects between the instrument and mic channels, allowing different tonal
characters and levels of gain.
• INST. VOL: sets the volume of the amplifier when the Bright Channel is engaged; as the control is turned
• MIC. VOL: sets the volume of the amplifier when the Normal Channel is engaged; as the control is turned
194 Amplifiers
’65 Super Reverb

Officially Certified ’65 Super Reverb® Model
The ’65 Super Reverb is another classic collectible workhorse amp that has a special place in tone history and
in the hearts of players everywhere. With shimmering tone and vintage overdrive, this legendary blackface amp
is a medium output stage-filling sound machine.
Controls:
• BRIGHT switch: engages the Bright circuit increasing the overall high end of the amplifier
• VOLUME: sets the output volume of the amplifier. As the knob is turned up the output level of the amplifier
will increase but also become more distorted as the power tubes clip and saturate.
• TREBLE: controls the level of the high end; adjust carefully to avoid harsh and unbalanced tone, especially
if the Bright switch is enabled.
• MIDDLE: controls the level of the mids in the amp’s tone, where fully counterclockwise positions will result
in a more hollow sound, while fully clockwise allows you to achieve more body and thickness.
• BASS: sets the low end of the tone, adjust to taste and to suit the tone of the guitar you are using.
• REVERB: controls the amount of the spring reverb mixed in with the direct, dry sound of the amplifier.
• SPEED: controls the speed of the opto tremolo effect onboard the amp. Low values will result in a slow
tremolo effect, while higher values will increase the speed for a more pronounced effect.
• INTENSITY: controls the depth of the tremolo effect. Higher values will produce a more pronounced and
choppy effect on the sound.
195 Amplifiers
’53 Bassman
Officially Certified ’53 Bassman® Model
This model is based on an original Fender Bassman 26-watt 1x15” speaker bass amp, the first Fender bass
amp ever created. It features an “aging” switch that lets you toggle between “new-old stock” or “worn” vintage
for that well-aged, broken-in sound.
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Controls:
• TONE: controls the tone circuit of the amp, lower values will result in a darker, rounder tone, while higher
values will allow more high end to pass through.
• VOLUME: controls the output level of the amplifier. Turning this control up will also increase the power
tubes saturation for more distortion as volume gets louder.
• NEW/WORN OUT switch: switches between the “new old stock” version of the amp for the original sound
and the “aged components” one which produces a more “lo-fi” sound with earlier breakup and an overall
dirtier tone. GUI switches accordingly.
197 Amplifiers
Gallien-Krueger®
MB 150 S
Officially Certified Gallien-Krueger® MB150S™ Model
This is a rendition of “the” bass combo for double bass. The tone doesn’t stop there, though. Electric bassists
have used this tiny but mighty (and toneful) combo amp with great success. Great things can come in small
sizes, and can sound surprisingly big and full.
Controls:
• VOLUME: sets the gain of the preamp stage.

• CONTOUR: set it at min for a flat and natural sound, rise it to gradually mix in a midrange scoop that
makes the tone more big and “processed.”
• HI BOOST: delivers a gradual boost on mid and high frequencies.
• LOW CUT ON/OFF: when enabled extremely low frequencies are removed by the preamp. This is to avoid
overloading the amp because of unwanted low frequencies content.
• HI MIDDLE: sets the amount of mid high frequencies on the sound.
• LOW MIDDLE: sets the amount of mid low frequencies on the sound.
198 Amplifiers
• OUTPUT LEVEL: sets the volume of the power amp stage.

• LIMITER: enables the built-in Limiter. When enabled the power amp is protected from overloading.
• LIMITER LEVEL: sets the threshold for the limiter to trigger in. When set lower the limiter will trigger in
sooner, and when set to higher values the limiter will trigger in at higher levels.
199 Amplifiers
Jet City Amplification 333®
JCA20H
Officially Certified Jet City Amplification 333® JCA20H™ Head Model
Pure, simple and full of tube tone, JCA20H is a single-channel amp with absolutely no gimmicks or unnecessary
features that might otherwise dilute the all-tube signal path. With full EQ control and separate Preamp and
Master volumes, JCA20H can deliver tones from spanky clean through crunchy overdrive.
Controls:
• PREAMP GAIN: adjusts the input gain of the preamp stage from 1 to 9.
• PRESENCE: boosts high frequencies for both preamp channels from 1 to 9.
200 Amplifiers
JCA100H
Officially Certified Jet City Amplification 333® JCA100H™ Head Model
With two channels of Soldano tone and its pure tube power, this amp was made for the big stage. The Normal
channel has plenty of headroom to deliver clear, bright clean tones and can also be driven hard enough to get
downright raunchy. The Overdrive channel is based on the the circuit that made Soldano famous.
Controls:
• NORMAL-OVERDRIVE: the Bright Switch offers sparkling highs to the Normal channel adding to its
versatility.
• NORMAL PREAMP: adjusts the input gain of the Normal channel preamp stage from 1 to 9.
• OVERDRIVE PREAMP: adjusts the input gain of the Overdrive channel preamp stage from 1 to 9.
• NORMAL MASTER: adjusts the final output level of the Normal channel to the power amp stage from 1 to
9.
• OVERDRIVE MASTER: adjusts the final output level of the Overdrive channel to the power amp stage from
1 to 9.
201 Amplifiers
Marshall® - Slash
AFD 100
Officially Certified Slash-Marshall® AFD100 Model
The most aggressive amp head used by Slash. A dual mode amplifier that revisits the legendary tones of one of
the most important rock albums of the last three decades: “Appetite for Destruction”.
Controls:
• #34 / AFD SWITCH: selects #34 or AFD channel.

• MASTER: adjusts the overall output level of the power amp stage, from 0 to 10.
• GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 0 to
10.
202 Amplifiers
JCM Slash
Officially Certified Slash-Marshall® JCM SLASH 2555SL Model
The Marshal®l JCM Slash was designed to the specs of Slash’s original 1987 Marshall® Silver Jubilee 2555
amplifier. It was the first amplifier built by Marshall as a signature model.
Controls:
• LEAD CH. SWITCH: enables the Lead Channel.

• RHYTHM SWITCH: adds more Gain to he preamp stage.
• OUTPUT MASTER: adjusts the overall output level of the power amp stage, from 0 to 10.
• LEAD MASTER: adjusts the output level of the Lead Channel, from 0 to 10.
10.
203 Amplifiers
MESA/Boogie®
Mark III
Officially Certified MESA/Boogie® Mark III™ Combo Model
Originally introduced in 1984, the MESA/Boogie Mark III was the first 3-channel “Tri-Modal Amplifier.” It features
an amazing set of sonic sculpting options plus a three-channel setup: Rhythm, a distinct midrange “Crunch”
Rhythm and a Lead channel. Each has its own independent gain and master volume controls. Just like on the
hardware counterpart, it sports a full spread of tone controls plus the vitally important Boogie 5-band Graphic
EQ section.
Front Panel Controls:
• VOLUME: adjusts the input gain of the preamp stage from 0 to 10.
• PULL-BRIGHT: adds brightness to Rhythm 1 and Rhythm 2 clean sounds. Its effect diminishes as Volume
1 is turned up and has no effect when the Volume is at 10.
• PULL-SHIFT: increases the upper-midrange drive in Lead Mode only.
204 Amplifiers
• PULL-SHIFT: alters bass frequencies to fit guitar pickup type: pulled-out for single coil and pushed-in for
humbucker pickups.
• PULL-RHY2: activates the Rhythm 2 circuitry for added chunky crunchy character.
• MASTER: adjusts the final output level of the power amp stage from 0 to 10.
• PULL-DEEP: adds fatness and body, mostly for single coil pickups.
• LEAD DRIVE: adjusts the input gain of the Lead Channel from 0 to 10.
• PULL-LEAD: engages Lead Channel mode.
• LEAD MASTER: adjusts the final output level of the lead channel to the power amp stage from 0 to 10.
• PULL-BRIGHT: adds brightness to the Lead Channel. Intended for low volume playing.
• EQ ON/OFF: toggles the Graphic EQ on/off.

• GRAPHIC EQ: this 5-band graphic EQ allows you to shape your tone. The V shape is a classic setup,
vastly used on Mark amps.
• BACK: access the rear panel for further controls.
205 Amplifiers
Rear Panel Controls:

• REVERB: controls the amount of reverb coming from the internal spring unit from 0 to 10.
• CLASS A / SIMUL-CLASS: switches between two different power amp configurations. CLASS A uses only
two power tubes and provides 15 Watts and a great degree of power tube distortion. SIMUL-CLASS uses
four power tubes for more power and headroom.
• FRONT: go back to the front panel.
206 Amplifiers
Mark IV
Officially Certified MESA/Boogie® Mark IV™ Combo Model
The very definition of Mesa Engineering’s signature high-gain sound, this update of the classic Mark III design
from 1990 takes that unmistakable Boogie tone and makes it even better and more sonically versatile. Three
big sounds with individual controls and total conviction define the tonal palette for this powerhouse of a unit. Its
three channels deliver an incredibly wide sonic palette that stretches from sparkling cleans to ultra high-gain lead
sounds that are rich with harmonics and sustain.
• RHY 1 GAIN: adjusts the input gain of the Rhythm 1 channel from 0 to 10.
• BRIGHT: this function adds shimmer and sparkle to your sound when activated. Note that the amount of
added brightness varies with the R1 GAIN setting: more brights at lower settings, less at higher.
• RHY 2 GAIN: adjusts the input gain of the Rhythm 2 channel from 0 to 10.
• FAT: When pushed in, RHYTHM 2 loses gain in the low mids and the sound reveals more of your guitar’s
inherent personality.
• R1 TREBLE: boosts and cuts the high frequencies of the Rhythm 1 Channel from 0 to 10.
• R1+R2 BASS: boosts and cuts the bass frequencies of the Rhythm 1 and 2 Channels from 0 to 10.
• R1+R2 MID: boosts and cuts the mid frequencies of the Rhythm 1 and 2 Channels from 0 to 10.
• R2 TREBLE: boosts and cuts the high frequencies of the Rhythm 2 Channel from 0 to 10.
207 Amplifiers
• LEAD GAIN: adjusts the input gain of the Rhythm 2 channel from 0 to 10.
• FAT: thickens the sound and saturates the signal further. It lowers the frequency of the treble, adding a
boost in the lower midrange, adding focus at virtually any setting of the GAIN control.
• LEAD TREBLE: boosts and cuts the high frequencies of the Lead Channel from 0 to 10.
• LEAD BASS: boosts and cuts the bass frequencies of the Lead Channel from 0 to 10.
• LEAD MID: boosts and cuts the mid frequencies of the Lead Channel from 0 to 10.
• LEAD DRIVE: works in conjunction with LEAD GAIN to determine the amount of sustain and overdrive.
• BRIGHT: adds desirable sizzle, and gain in the highs to the overdrive sound.
• R1: engages the rhythm 1 channel.

• R2: engages the rhythm 2 channel.
• LD: engages the lead channel.
• R1 MASTER: adjusts the final output level of the Rhythm 1 channel to the power amp stage from 0 to 10.
• R2 MASTER: adjusts the final output level of the Rhythm 2 channel to the power amp stage from 0 to 10.
• LD MASTER: adjusts the final output level of the Lead channel to the power amp stage from 0 to 10.
• R1 PRESENCE: boosts high frequencies of the rhythm 1 channel from 0 to 10.
• R2 PRESENCE: boosts high frequencies of the rhythm 2 channel from 0 to 10.

• SHIFT: alters the working frequency range of the presence effect.
• LD PRESENCE: boosts high frequencies of the lead channel from 0 to 10.

• SHIFT: alters the working frequency range of the presence effect.

• GRAPHIC EQ: this 5-band graphic EQ allows you to shape your tone. The V shape is a classic setup
commonly used on Mark amps.
208 Amplifiers
• TRIODE / PENTODE: this switch reconfigures the circuitry for the two outer-end power tubes. PENTODE
increases power and punch resulting in a harder clip. TRIODE lowers the power and softens and smooths
the onset of clipping. This makes it easier to get a rich singing sound full of sustain and harmonics, but
some headroom is sacrificed for this sweeter response.
• CLASS A / SIMUL-CLASS: switches between two different power amp configurations. CLASS A uses only
two power tubes and provides 15Watts and a great degree of power tube distortion. SIMUL-CLASS uses
four power tubes for more power and headroom.
• HARMONICS / MID GAIN: this switch affects the LEAD mode only. MID GAIN adds gain in the mid-range
“punch” region and is most noticeable when the LEAD DRIVE control is set very low - at the “threshold of
distortion”. HARMONICS yields a more balanced harmonic spectrum more suitable for loud high gain lead
playing.
209 Amplifiers
Dual Rectifier
Officially Certified MESA/Boogie® Dual Rectifier® Head Model
Soul, personality and feel: The MESA/Boogie Dual Rectifier is THE standard for modern high-gain heavy guitar
tone and more. The Recto is an aggressive amplifier designed for aggressive players. It’s one of the most
recorded amplifiers ever made and its tone can be heard rocking big-venue stages all over the world. Originally
introduced in 1989, it delivers maximum flexibility of tone and has played a major role in defining the sound of
grunge, metal and countless other heavy styles. It delivers 3-channel, 8-mode operation and varying levels of
tube saturation as well as a virtually switchable tube/solid state rectifier section.
CH1 - Green Channel

• GAIN: adjusts the input gain of the preamp stage from 0 to 10.
• CLEAN / PUSHED: selects two different flavors: a sweet shimmering clean or a raging crunch machine.
210 Amplifiers
CH2 CH3 - Orange and Red Channels:

• RAW / VINTAGE / MODERN: selects three different flavors: the lowest gain RAW mode, the liquid Recto
voice of the VINTAGE mode and the aggressive menacing power of the MODERN mode.
• BIAS SWITCH: selects between 6L6 and EL34 power tubes.

• RECTIFIER: switches between VACUUM TUBES (normal) and SILICONE DIODES (Hi Power) rectifier.
Diode mode offers punch, attack and headroom. VACUUM TUBES offers a more vintage vibe with
sweetness and a liquid feel.
• POWER: switches between SPONGY or BOLD power modes. SPONGY mode offers a vintage feel with
less headroom. BOLD mode offers the full power and headroom.
211 Amplifiers
Triple Rectifier
Officially Certified MESA/Boogie® Triple Rectifier® Head Model
The MESA/Boogie Triple Rectifier is THE standard for modern high gain heavy guitar tone and more. The MESA/
Boogie Triple Rectifier is an aggressive amplifier designed for aggressive players — it’s one of the most recorded
amplifiers ever made and its tone can be heard rocking big-venue stages all over the world. Originally introduced
in 1989, it delivers maximum flexibility of tone and has played a major role in defining the sound of grunge, metal
and countless other heavy styles. It delivers 3-channel, 8-mode operation and varying levels of tube saturation
as well as a virtually switchable tube/solid state rectifier section.
CH1 - Green Channel
• CLEAN / PUSHED: selects two different flavors: a sweet shimmering clean to a raging crunch machine.
212 Amplifiers
CH2 CH3 - Orange and Red Channels
• RAW / VINTAGE / MODERN: selects three different flavors: the lowest gain RAW mode, the liquid Recto
voice of the VINTAGE mode and the aggressive menacing power of the MODERN mode.
• BIAS SWITCH: selects between 6L6 and EL34 power tubes.

• RECTIFIER: switches between VACUUM TUBES (normal) and SILICONE DIODES (Hi Power) rectifier.
Diode mode offers punch, attack and headroom. Instead VACUUM TUBES offers a more vintage vibe with
sweetness and a liquid feel.
• POWER: switches between SPONGY or BOLD power modes. SPONGY mode offers a vintage feel with
less headroom. BOLD mode offers the full power and headroom.
213 Amplifiers
Transatlantic TA-30
Officially Certified MESA/Boogie® TransAtlantic® Combo Model
A decidedly British tribute of an amplifier, the TransAtlantic TA-30 mixes simplicity of operation with
comprehensive sonic sculpting. It sports two-channel operation with 5 distinct “Mode” voice choices that
reference not only several classic British circuits but also some American ones as well. Each channel features
the flexibility of 3 levels of output power, allowing for powerful response and character. Throw in a Gain Boost
feature and 2 high-gain options (HI 1 and HI 2 in Channel 2), and it’s easy to see why this model covers every
sound from classic 60s to crushing contemporary and everything in between.
Global Controls:
• CH SW: channel selector.
Channel 1
• NORMAL/TOP BOOST: switches between two modes: NORMAL for shimmering clean sounds and TOP
BOOST for British clipped rhythm and lead sounds.
• VOLUME: adjusts the input gain of the preamp stage from 0 to 10.
• PULL: switches the CUT/MASTER knob between its two functionalities.
214 Amplifiers
• CUT/MASTER: when pushed-in this knob works as a high frequency cut (much like a reverse presence
control). When pulled out it works as a normal master volume control. Both range from 0 to 10.
• 15W/30W/40W: switches between three power tube configurations. 15W and 30W for a CLASS A classic
configuration. 40W for more headroom and power.
Channel 2
• TWEED/HI 1/HI 2: Switches between three modes. TWEED for Southern California clean/crunch sounds.
HI 1 for Brit sounds ranging from vintage crunch to crisp and searing high-gain solo sounds. HI 2 for a
fatter and rounder version of HI 1 best for single note work.
• PULL: engages a gain boost in all three modes.
• GAIN/BOOST: adjusts the gain of the preamp stage from 0 to 10.
• REVERB: controls the amount of reverb coming from the internal spring unit, from 0 to 10.
• 15W/30W/40W: switches between three power tube configurations. 15W and 30W for a CLASS A classic
configuration and 40W for more headroom and power.
215 Amplifiers
Orange®
OR-120
Officially Certified Orange® OR50H™ Head Model
An exciting new addition to the line, this model can really turn heads. You’ll hear the vintage hand-wired and
very original sound of this killer British powerhouse from the first note.
Controls:
• F.A.C.: 6-position switch that adjusts the midrange EQ.

• EQ Hz: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10.
• EQ kHz: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10.
• HF. DRIVE: presence control that boosts the high frequencies of the amp’s EQ stage from 1 to 10.
• GAIN: adjusts the output level of the power amp from 1 to 10.
216 Amplifiers
Tiny Terror
Officially Certified Orange® Tiny Terror™ Head Model
The UK-manufactured point-to-point, all hand wired, Tiny Terror Hand Wired Edition offers a step up from the
already legendary Tiny Terror. A wider frequency response gives this amp more bite and punch. The Orange Tiny
Terror is a compact classic!
Controls:
• TONE: emphasizes bass frequencies when turned to the left and high frequencies when turned to right.
This is amp’s EQ stage.
• GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage from 1 to 10.
• OUTPUT: switches the power amp output between 15W and 7W.
217 Amplifiers
Rockerverb 50
Officially Certified Orange® RockerVerb 50 MKII™ Head Model
Rockerverb is, to say the least, “dirty”, but it is by no means a one trick pony. Start at full gain and and then pull
back to experience a variety of classic Orange tones. Whether you’re looking for metal, fusion, blues, rock or
even country, the Rockerverb delivers!
Controls:
218 Amplifiers
AD 30
Officially Certified Orange® AD-30TC™ Combo Model
With a tight, springy and fast character, the AD 30 has its own original vintage sound. The AD 30 is the best
candidate to be the new world standard for 30-watt Class A valve amplifiers.
Controls:
• MASTER: adjusts the output level of the power amp stage from 1 to 10.
219 Amplifiers
Thunderverb 200
Officially Certified Orange® Thunderverb™ 200 Head Model
This powerful amplifier sports two clean/crunch lead channels, each with three stages of gain. Channel A
has the same 3-band EQ as the lead channel used on the Rockerverb series. Channel B has a new shape
control that scoops the mids and increases the bass and treble when turned up. Use this scoop knob to dial
in everything from vintage rock to modern blues, hard rock to metal. Nothing can match the bone crushing,
bottom-end punch of this big stage tone head. Even when used quietly, you know you are in command of some
serious power! The Thunderverb 200 is the new standard for versatility in a guitar amplifier. The Extended Tonal
Range enables this revolutionary amplifier to also be used as a bass head.
Global Controls:
• ATTENUATOR: attenuates the general output level. This control allows to make use of the power amp
distortion. Attenuate the general output, then increase the volume to saturate the power amp stage.
• REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10.
Controls for Channel A:
• VOLUME: adjusts the output level of the preamp stage, from 1 to 10.
220 Amplifiers
10.
Controls for Channel B:
• VOLUME: adjusts the output level of the preamp stage, from 1 to 10.
• SHAPE: scoops the mids and increases the bass and high when turned up.
10.
221 Amplifiers
AD 200
Officially Certified Orange® AD200B MK 3™ Head Model
The AD 200 is quite simply one of the purest bass tube amplifiers ever produced. No bells and whistles, just the
shortest signal path from your guitar to your speaker. Vintage-inspired, but full of modern tones, the AD200B has
a creamy, dynamic low-end with a focused midrange crunch. Simple to use, this amp has only full EQ, master
volume, and gain controls.
Controls:
• VOLUME: adjusts the overall output level of the power amp stage, from 0 to 10.
10.
222 Amplifiers
Dual Terror
Officially Certified Orange® Dual Terror™ Head Model
Twin channel 30 watt guitar head. Featuring a unique two stage preamp which has a massive tonal range using
just three controls per channel. The Fat Channel delivers warmer tones whilst the Tiny Terror Channel has the
sonic character of the original Tiny Terror.
Global Controls:
• FAT/TINY TEERROR: selects the FAT Channel or the TINY TERROR Channel.
• OUTPUT: switches the power amp output between 15W (HALF) and 30W (FULL).
Controls for each of the two channels:
• TONE: emphasizes bass frequencies when turned to the left and high frequencies when turned to right,
from 0 to 10. This is amp’s EQ stage.
223 Amplifiers
OR 50
Officially Certified Orange® Dual Terror™ Head Model
In 1972 Orange launched an amp which came to define the Orange sound; years later it was dubbed the ‘Pics
Only’ due the use of pictures and the absence of any text. Although not a reissue, the OR50H owes more than
a nod to this vintage legend in its cosmetics, tone and even the construction techniques adopted.Featuring a
traditional single channel with a three stage gain section, the real weapon in the OR50′s arsenal is the HF Drive
control. This is two controls in one! As you turn the control clockwise you will hear the power amp presence
increase whilst adding an extra dimension of power amp gain.This is truly one of the most versatile single
channel amps ever created.
Controls:
• HF DRIVE: increase the power amp presence whilst adding an extra dimension of power amp gain, from 0
to 10.
• VOLUME: adjusts the overall output level of the power amp stage, from 0 to 10.
10.
224 Amplifiers
Soldano®
Soldano SLO-100
Officially Certified Soldano® SLO-100™ Head Model
The Soldano SLO-100 (Super Lead Overdrive) is true icon of high-gain tube distortion tone. The design has
remained constant for over 20 years, and it is a hallmark of quality and design. It is often regarded as the
finest guitar amp in the world. With the SLO-100 you have separate preamp and master volume controls
along with three bands of equalization and a presence control. The SLO-100 uses the finest military grade
components and custom designed transformers to put the industry’s finest high-gain guitar tone right in your
hands.
Controls:
• BRIGHT-NORMAL: the Bright Switch offers sparkling highs to the Normal channel adding to its versatility.
• CRUNCH-CLEAN: when set to clean, the gain is cut, providing full, clean, undistorted warmth, which is incredibly
responsive and alive. When switched to crunch, the Normal channel responds with higher gain and a tough, metal
edged crunch.
• NORMAL PREAMP: adjusts the input gain of the Normal channel preamp stage from 1 to 11.
• OVERDRIVE PREAMP: adjusts the input gain of the Overdrive channel preamp stage from 1 to 11.
225 Amplifiers
• NORMAL MASTER: adjusts the final output level of the Normal channel to the power amp stage from 1 to 11.
• OVERDRIVE MASTER: adjusts the final output level of the Overdrive channel to the power amp stage from 1 to
11.
• OVERDRIVE-NORMAL: switches between the overdrive and normal channels.
226 Amplifiers
THD®
THD Bi-Valve
Officially Certified THD® BiValve™ Head Model
This is a model of the THD® BiValve™. This modern boutique amplifier has become very popular on the stage
and in the studio. Using a single ended class A design it is capable of wide expanse of tone. From the clean to
the crunchy to the heavily saturated, the THD BiValve can create all these tones with ease.
EQ Model Controls:
AMP Model Controls:
227 Amplifiers
Cabinets
AmpliTube Guitar 6"
1x6 Small Combo

Based on Fender® SS 1x6 Combo
228 Cabinets
AmpliTube Guitar 10"
1x10 Combo Modern

Based on Mesa/Boogie® 1x10 Subway Rocket®
229 Cabinets
4x10 Closed Modern

Based on Marshall® Marshall® 4x10 ’90s JCM410™
230 Cabinets
4x10 Open Vintage

Based on Fender® SuperReverb® 4x10 1967
231 Cabinets
AmpliTube Guitar 1x12"
1x12 Combo
Based on Marshall® 1x12 Valvestate™ 12
232 Cabinets
1x12 MB II
Based on MESA/Boogie® Mark II™ 1x12 EV
233 Cabinets
1x12 MB III
Based on MESA/Boogie® Mark III™ 1x12 EV
234 Cabinets
1x12 Open Modern

Based on VHT® Pitbull™ 1x12 Combo
235 Cabinets
1x12 Open Vintage

Based on Fender® Deluxe® 65 1x12
236 Cabinets
2x12 Closed Vintage

Based on Marshall® 1922 2x12 Greenbacks
237 Cabinets
2x12 Gry British Vint

Based on Vox® AC30™ 2x12" ‘60s Graybacks
238 Cabinets
2x12 JP Jazz
Based on Roland® JC-120™ 2x12
239 Cabinets
2x12 Open SL
Based on Sears® Silvertone® 2x12
240 Cabinets
2x12 Open T J120

Based on Fender® Twin 2x12 equipped with J.B. Lansing® D120F
241 Cabinets
2x12 Open Vintage

Based on Vox® AC30™ Top Boost equipped with Jensen® Blue Back 2x12
242 Cabinets
4x12 Closed 25 C
Based on Marshall® 4x12" equipped with 25W Celestion™
243 Cabinets
4x12 Closed 75 C
Based on Marshall® 4x12" equipped with 75W Celestion™
244 Cabinets
4x12 Closed J120

Based on Marshall® 4x12" equipped with J.B.Lansing® D120F
245 Cabinets

Based on Marshall® 4x12 ‘80s 1982A
246 Cabinets

Based on Mesa/Boogie® Rectifier® 4x12
247 Cabinets

Based on Marshall® 4x12 Angled, ‘70s Greenbacks
248 Cabinets

Based on Marshall® 4x12 Straight, Greenbacks
249 Cabinets
4x12 HiAmp
Based on Hiwatt® 4x12
250 Cabinets
4x12 Metal F 1
Based on Fender® 4x12 MH™ 1
251 Cabinets
4x12 Metal F 2
Based on Fender® 4x12 MH™ 2
252 Cabinets
4x12 Metal T 1
Based on MESA/Boogie® 4x12" Rectifier® 1
253 Cabinets
4x12 Metal T 2
254 Cabinets
4x12 Metal T 3
255 Cabinets
4x12 Metal V 1
Based on Peavey® 5150™ 4x12 1
256 Cabinets
4x12 Metal V 2
257 Cabinets
4x12 Metal V 3
258 Cabinets
4x12 Modern M 1
Based on Marshall® JCM800™ 4x12 1
259 Cabinets
4x12 Modern M 2
260 Cabinets
4x12 Modern M 3
261 Cabinets
4x12 Vintage M 1
Based on Marshall® 1960 4x12 1
262 Cabinets
4x12 Vintage M 2
Based on Marshall® 1960 4x12 2
263 Cabinets
AmpliTube Guitar 15"
2x15 Closed B J130

Based on Fender® Bassman® 2 x15", JBL® D130F
264 Cabinets
2x15 Closed D J130

Based on Fender® Dual Showman® 2x15", JBL® D130F
265 Cabinets
AmpliTube Bass
4x10+tw Bass
Based on SWR® Goliath™ 4x10
266 Cabinets
4x10+tw TE Bass
Based on Trace Elliot® 4x10
267 Cabinets
1x12 Bass
Based on Custom Bass 1x12
268 Cabinets
1x15 Bass Vintage

Based on Ampeg® B15R™ 1x15
269 Cabinets
1x18 Horn Bass

Based on Acoustic® 301™ Folded Horn 1x18
270 Cabinets
AmpliTube Rotary
Rotary 147-1
Based on Leslie® 147™ with original AlNiCo woofer
271 Cabinets
Rotary 147-2
Based on Leslie® 147™ with a modern woofer
272 Cabinets
AmpliTube Classic Brit Collection
4x12 Brit 8000

Based on Marshall® 1960 Lead Vintage 4x12" Slanted, G12-80
273 Cabinets
4x12 Brit 9000

Based on Marshall® 1960A Lead Vintage 4x12" Slanted, T75
274 Cabinets
4x12 Brit 30
Based on Marshall® 1960A Lead Vintage 4x12" Slanted, V30
275 Cabinets
4x12 Brit Silver

Based on Marshall® 2551A 4x12" Slanted, T75
276 Cabinets
4x12 Red Pig

Based on Marshall® Major 4x12" Slanted, T75
277 Cabinets
Ampeg®
BA-500
Officially Certified Ampeg® BA-500 2x10" Model with adjustable HF driver
278 Cabinets
B-15R
Officially Certified Ampeg® B-15R Portaflex Flip Top 1x15" Model with adjustable HF driver
279 Cabinets
BXT-410H
Officially Certified Ampeg® BXT-410H 4x10" Model with adjustable HF driver
280 Cabinets
PB-212H
Officially Certified Ampeg® PB-212H 2x12" Model with adjustable HF driver
281 Cabinets
SVT-410H
Officially Certified Ampeg® SVT-410H 4x10" Model with adjustable HF driver
282 Cabinets
SVT-810E
Officially Certified Ampeg® SVT-810E 8x10" Cab Model
283 Cabinets
B-15N 115
Officially Certified Ampeg® HERITAGE B-15N® 1x15” Cab Model
284 Cabinets
SVT-212 AV
Officially Certified Ampeg® SVT-212 AV® 2x12” Cab Model
285 Cabinets
SVT-810 AV
Officially Certified Ampeg® SVT-810 AV 8x10” Cab Model
286 Cabinets
Carvin®
2x12 V3M
Officially Certified Carvin® 212V 2x12 Cab Model
287 Cabinets
Dr. Z Amplification®
1x12 MAZ 18 Jr.

Officially Certified Dr. Z Amplification® MAZ 18 Jr.™ 1x12" Cabinet Model
288 Cabinets
2x12 Z Wreck
Officially Certified Dr. Z Amplification® Z Wreck™ 2x12" Cabinet Model
289 Cabinets
ENGL®
E 412 PRO XXL

Officially Certified ENGL® 4x12" XXL PRO Straight E412XXLB Cabinet Model
290 Cabinets
E 412 Standard
Officially Certified ENGL® 4x12" Standard Slanted E412SSB Cabinet Model
291 Cabinets
Fender®
‘57 Deluxe
Officially Certified ’57 Deluxe™ 1x12" Open Back Cabinet Model equipped with Jensen® P12Q speaker
292 Cabinets
Pro Junior
Officially Certified Pro Junior™ 1x10" Open Back Cabinet Model equipped with Eminence® speaker
293 Cabinets
‘64 Vibroverb Custom

Officially Certified ’64 Vibroverb™ 1x15" Open Back Cabinet Model equipped with Eminence® speaker
294 Cabinets
‘65 Deluxe Reverb

Officially Certified ’65 Deluxe Reverb® 1x12" Open Back Cabinet Model equipped with Jensen® C12k speaker
295 Cabinets
‘65 Twin Reverb

Officially Certified 65 Twin Reverb® 2x12" Open Back Cabinet Model equipped with Jensen® C12k speakers
296 Cabinets
Super-Sonic
Officially Certified Super-Sonic™ 1x12" Open Back Cab Model equipped with Celestion® Vintage 30 speaker
297 Cabinets
Vibro-King
Officially Certified Vibro-King® 3x10" Open Back Cabinet Model equipped with Jensen® P10R speakers
298 Cabinets
‘59 Bassman
Officially Certified ’59 Bassman® 4x10 Open Back Cabinet Model equipped with Jensen® P10R speakers
299 Cabinets
Bass 810 PRO

Officially Certified 810 Pro 8x10" Front-Ported Cab Model equipped with Eminence® speaker
300 Cabinets
Champion 600
Officially Certified Champion™ 600 1x6" Open Back Cab Model with Fender® Spec. Design speaker
301 Cabinets
MH-412SL
Officially Certified MH-412SL 4x12" Closed Back Cab Model equipped with Celestion® G12T-100 speakers
302 Cabinets
Vibratone
Officially Certified Vibratone 1x10" Rotary Speaker Cabinet Model
303 Cabinets
‘65 Princeton
Officially Certified Fender® ‘65 Princeton® 1x10" Open Back Cabinet Model
304 Cabinets
‘57 Champ
Officially Certified Fender® ’57 Champ 1x8" Open Back Cabinet Model
305 Cabinets
1x8 ’57 Custom Champ

Officially Certified Fender® ’57 Custom Champ® 1X8" Cabinet Model
306 Cabinets
1x12 ’57 Custom Deluxe

Officially Certified Fender® ’57 Custom Deluxe™ 1x12" Cabinet Model
307 Cabinets
2x12 ’57 Custom Twin-Amp

Officially Certified Fender® ’57 Custom Twin-Amp™ 2x12" Cabinet Model
308 Cabinets
1x15 ’57 Custom Pro-Amp

Officially Certified Fender® ’57 Custom Pro-Amp 1x15" Cabinet Model
309 Cabinets
3x10 ’57 Bandmaster

Officially Certified Fender® ’57 Bandmaster™ 3x10" Cabinet Model
310 Cabinets
4x10 ’65 Super Reverb

Officially Certified Fender® ’65 Super Reverb® 4x10" Cabinet Model
311 Cabinets
1x15 ’53 Bassman

Officially Certified Fender® ’53 Bassman® 1x15" Cabinet Model
312 Cabinets
Gallien-Krueger®
1x12 MB 150 S
Officially Certified Gallien-Krueger® MB150S™ 1x12 Cabinet Model
313 Cabinets
Marshall® - Slash
4x12 1960AV SL
Officially Certified Slash-Marshall® 1960AV Cabinet Model
314 Cabinets
4x12 1960BV SL
Officially Certified Slash-Marshall® 1960BV Cabinet Model
315 Cabinets
MESA/Boogie®
1x12 Mark III

Officially Certified MESA/Boogie® Mark III™ Combo Cabinet Model
316 Cabinets
1x12 Mark IV
Officially Certified MESA/Boogie® Mark IV™ Combo Cabinet Model
317 Cabinets
2x12 Rectifier Horizontal

Officially Certified MESA/Boogie® 2x12 Recto® Horizontal Closed Cabinet Model
318 Cabinets
4x12 Recto Traditional Slant

Officially Certified MESA/Boogie® 4x12 Recto® Traditional Slant Closed Cabinet Model
319 Cabinets
2x12 TransAtlantic TA-30

Officially Certified MESA/Boogie® TransAtlantic® TA-30 Combo Cabinet Model
320 Cabinets
Orange®
1x12 PPC 112

Officially Certified Orange® PPC 112 1x12" Cabinet Model
321 Cabinets
1x12 Tiny Terror

Officially Certified Orange® 1x12" Tiny Terror™ Combo Cabinet Model
322 Cabinets
2x12 PPC 212

Officially Certified Orange® PPC 212 2x12" Closed Back Cabinet Model
323 Cabinets
2x12 PPC OB
Officially Certified Orange® PPC 212 2x12" Open Back Cabinet Model
324 Cabinets
4x12 PPC 412

Officially Certified Orange® PPC 412 4x12" Cabinet Model
325 Cabinets
2x12 AD 30
Officially Certified Orange® AD-30TC™ 2x12" Combo Cabinet Model
326 Cabinets
1x15 OBC 115

Officially Certified Orange® OBC 115™ 1x15" Cabinet Model
327 Cabinets
4x10 OBC 410

328 Cabinets
8x10 OBC 810

329 Cabinets
Microphones
Dynamic
Dynamic 57
Based on Shure® SM57™
This mic model is based on one of the most popular small diaphragm dynamic microphones. Its bright, edgy
sound has made it a widely used guitar amp mic. Typically used in studios paired with a smoother and warmer
condenser mic.
330 Microphones
Dynamic 20
Based on Electro-Voice® RE20™
This mic model recreates a smooth reaction across a wide spectrum of frequencies, especially attractive in the
low area. This means that the Dynamic 20 is a great selection for acoustic and electric bass.
331 Microphones
Vintage Dynamic 20
Based on AKG® D20™
This model is a vintage dynamic large diaphragm microphone that used to be the standard mic for bass amps
and kick drums during the ‘60s. It’s warm and present, and has a smooth roll-off at high frequencies. It has a
very pleasant mid range presence together with a smooth high frequencies rolloff that delivers a nice vintage
sheen to the tone.
332 Microphones
Dynamic 421
Based on Sennheiser® MD421™
Probably the second most popular dynamic mic to use on guitar amps, this model provides an equally pleasing
sound, but is warmer than the 57. It also adds a very focused boost on hi-mid frequencies that makes it suitable
to get aggressive driven tones.
333 Microphones
Dynamic 441
This model has a flatter frequency response than most other dynamic mics. This mic is highly regarded as a
guitar mic and used widely in studios all over the world.
334 Microphones
Dynamic 609
This is a model of a faithful and popular microphone used daily in many studios and can be found “hanging
around” there or on stages everywhere. This dynamic microphone can deliver honest yet punchy sounds. Can
result in very mid-rangey sounds at times, but this is sometimes what you want, especially when combined with
a warmer condenser microphone.
335 Microphones
Double Dynamic 57
Based on Shure® SM57™
This double mic setup is a typical trick in modern Metal production. It will capture a fatter sound with a smoother
top end.
336 Microphones
Condenser
Bottle 563
Based on Neumann® CMV-563™
This model is based on one of the most legendary vintage tube condenser microphones. Its bright frequency
response and gentle compression make this microphone a mandatory tool in your guitar rig.
337 Microphones
Condenser 12
Based on AKG® C12™
This mic model is based on one of the first legendary tube microphones in the history of recording.
Extremely detailed high frequencies can sometimes emphasize some speakers’ fizziness especially when
placed on axis, so it is typically used slightly off.
338 Microphones
Condenser 67
Based on Neumann® U67™
This mic model is based on one of the most famous multi-purpose studio microphones.
339 Microphones
Condenser 84
Based on Neumann® KM84™
No microphone collection would be complete without a great small diaphragm condenser mic. This model is
based on the standard for small diaphragm mics. As with any good small condenser mic, the 84 provides a
clean clear picture of the guitar tone.
340 Microphones
Condenser 87
Based on Neumann® U-87™
This is a model of one of the most popular large diaphragm mics ever. It can be found in any large recording
studio mic locker. Because of its excellent frequency response curve, the 87 has become the go-to mic
when needing a clean, flattering sound.
341 Microphones
Condenser 170
Based on Neumann® TLM 170™
This is a model of a high-quality large-diaphragm condenser microphone used in famous studios around the
world. One of the first with transformerless technology, this microphone came into the world boasting a very
high-quality sound with low noise and a very impressive dynamic range. This microphone will not color the
sound of the speaker, or at least will color it very little. That’s why it is a great choice to hear a very natural
rendering of the speaker sound even when used alone.
342 Microphones
Condenser 414
Based on AKG® C-414 ULS™
The Condenser 414 is modeled after another highly regarded large diaphragm condenser microphone. It is a
flat and clean/open microphone that will flatter big full tones and will also blend beautifully when combined with
another cabinet/mic setup.
343 Microphones
MD1-b
Based on Groove Tubes® MD1b-FET
This is a modern-sounding large diaphragm condenser microphone based on the Groove Tubes® MD1b-FET.
With a subtle boost in the highs and a smooth low end, this is an excellent choice for capturing brighter, more
modern guitar tones.
344 Microphones
Tube VM
Based on Brauner® VM1™
The Tube VM condenser microphone provides an extremely natural, contemporary sound with extreme detail
and clarity. The Tube VM sound is transparent and open, and this makes it the go-to mic for many artists
and engineers around the globe.
345 Microphones
Ribbon
Ribbon 121
Based on Royer® R121™
Use this ribbon microphone to capture a pure, natural sound. This is modeled after one of the must-have studio
ribbon microphones of our time. Incredibly present mid range with a natural and smooth roll off on the high
frequencies, makes it ideal when you’re hearing too much “fizz” from the in axis tone on high gain and metal
tones, switching to this mic will reduce the unwanted high frequencies fizzness in a way that will not reduce
presence at all.
346 Microphones
Ribbon 160
Based on Beyerdynamic® M160™
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. 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.
347 Microphones
Velo-8
Based on Groove Tubes® VELO-8™
This is a double-ribbon figure-8 microphone with a unique Neodymium element. 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.
348 Microphones
Rack Effects
AmpliTube Delay & Reverb
Digital Delay
This advanced delay modeled effect can add a variety of depth to the sound, by providing five different delay
modes. The delay can also be synched to the host tempo providing even more flexibility.
Controls:
• MODE: sets the output mode of the Delay effect; Stereo, Left/Right, Mono, Left/Center/Right, and Doubler.
• DELAY TIME: sets the time between the echoes, from 1 ms to 2000 ms.
• BPM SYNC: allows the effect to synchronize to the project tempo and changes the Rate control to beat
values.
• FEEDBACK: changes the amount of time that the delay repeats, from 0% to 100%.
• FILTER: sets the low pass filter for the delay effect, from 200 Hz to 20 kHz. When set to mid values it gives
a nice warmth to the delay timbre.
• MIX: adjusts the amount of wet sound with the dry sound, from 0% to 100%.
• OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.
349 Rack Effects

Digital Reverb
This digital reverb is capable of adding small amount of space to a signal or creating a huge hall around the
instrument.
Controls:
• DECAY TIME: sets the length of the reverb, from 0.60 seconds to 14.00 seconds.
• DENSITY: sets the number of reflections generated by the reverb, from 0 to 99.
• COLOUR: sets the reverb coloration from dark to light, from 2 kHz to 20 kHz.
350 Rack Effects

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

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

Parametric EQ
With its three totally independent EQs, this parametric EQ provides enough power to sculpt the perfect guitar
tone or surgically enhance and alter any signal sent through it.
Controls:
• BASS:
• GAIN: adjusts the boost or cut of the bass parametric EQ, from -15 dB to +15 dB.
• FREQ: changes the center frequency of the bass parametric EQ, from 20 Hz to 20 kHz.
• Q: sets the bandwidth of the bass parametric EQ, from 0.1 (very wide) to 8.0 (very narrow).
• MID:
• GAIN: adjusts the boost or cut of the mid parametric EQ, from -15 dB to +15 dB.
• FREQ: changes the center frequency of the mid parametric EQ, from 20 Hz to 20 kHz.
• Q: sets the bandwidth of the mid parametric EQ, from 0.1 (very wide) to 8.0 (very narrow).
• HI:
• GAIN: adjusts the boost or cut of the Hi parametric EQ, from -15 dB to +15 dB.
• FREQ: changes the center frequency of the Hi parametric EQ, from 20 Hz to 20 kHz.
• Q: sets the bandwidth of the Hi parametric EQ, from 0.1 (very wide) to 8.0 (very narrow).
353 Rack Effects

Tube Compressor
This compressor was modeled after a classic tube compressor. It is a very versatile, smooth compressor, and
can add great color to the signal.
Controls:
• DRIVE: controls the amount of signal that is input into the effect, setting the compression level.
• ATTACK: controls the amount of time that the compressor takes to react to the audio signal.
• RELEASE: controls the amount of time that the compressor takes to return to normal gain after some
compression has occurred.
• RATIO: controls the strength of the compression. Higher values will result in a more evident effect.
354 Rack Effects

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

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

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

Analog Chorus
This classic analog stereo chorus model adds depth and space to the input signal. It can also be used as a
vibrato effect.
Controls:
• CHORUS/VIBRATO: enables Vibrato or Chorus modes. Chorus mode is enabled when the corresponding
LED is illuminated.
• CHORUS: sets the intensity (or depth) of the Chorus effect, from 0 to 99.
• VIB RATE: sets the rate of the Vibrato effect, from 0.02 Hz to 8 Hz.
• VIB DEPTH: sets the intensity of the Vibrato effect, from 0 to 99.
• STEREO/MONO: changes the rack effect from a stereo to a mono effect. Stereo is enabled when the
corresponding LED is illuminated.
357 Rack Effects

Digital Chorus
This modeled digital chorus effect creates a clear articulate chorus effect. Like the analog chorus, this effect
adds depth and space to the input signal, but adds a different color to the overall signal.
Controls:
• WAVEFORM: selects the shape of the chorus effect, sine, triangle, or square wave.
• RATE: sets the rate of the chorus effect, from 0.1 Hz to 8 Hz.
values.
• DEPTH: sets the intensity of the chorus, from 0 to 100.
358 Rack Effects

Digital Flanger
This model of a digital flanger can create a metallic modulated sound.
Controls:
• WAVEFORM: selects the shape of the flanger effect, sine, triangle, or square wave.
• RATE: sets the rate of the Flanger effect, from 0.1 Hz to 8 Hz.
values.
• FEEDBACK: sets the nominal amount of signal that is returned to the input after processing effect, from 0
to 10.
• MIX: adjusts the amount of effected sound with the un-effected sound, from 0% to 100%.
359 Rack Effects

Rotary Speaker
This effect is a model of a rotary speaker cabinet. Rotary speaker cabinets create a lush vibrato/chorus effect
and add a tremendous amount of depth to the sound.
Controls:
• SPEED: sets the speed of the rotary speaker effect, from .50 Hz to 7.80 Hz.
• DRIVE: sets the amount of overdrive in the rotary speaker effect, from 0% to 100%.
• BALANCE: changes the balance of high and low rotors in the signal, from 0 to 100.
360 Rack Effects

AmpliTube Pitch
Harmonator
The Harmonator is an advanced harmonizing effect with three separate voices, each with independent harmony,
level and pan. By entering the key and scale that the instrument is playing, the harmonator analyzes the input
signal and track the three independent voices to the correct music key and scale (figure 10.17).
Controls:
• KEY: controls the key and type of scale that will be used by the harmonizer as a reference. If you’re playing
a solo in E major set this to E Major, from C to B.
• SCALE: changes the scale of the harmonizer, including Major, Dorian, Phrygian, Lydian, Mixolydian, Minor,
and Locrian.
• VOICE: controls the properties of each of the 3 voices of the harmonizer.
• INTERVAL: changes the interval of the selected voice, from low octave to up octave.
• LEVEL: independently adjusts the level of each of the 3 voices, from 0 to 100.
• PAN: independently adjusts the panning of each of the 3 voices, from 1.0L to 1.0R.
• DRY PAN: adjusts the panning of the dry signal independently from the harmonized voices, from 1.0L to
1.0R.
• MIX: blends the harmonized voice with the original voice, from 0% to 100%.
361 Rack Effects

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

AmpliTube Other
Step Slicer
Add programmed rhythmic parts to your power chords and phrases with this powerful and creative beat synced
slicing effect. It can be setup to create anything from the most amazing tremolos to the most complex rhythm
effects that always stay in perfect sync with the beat.
It contains two independent stepping engines, one for Level and one for Pan, so you can create independent
patterns for level and panning within the same synched effect.
Controls:
• LEVEL: sets the amount of level modulation the steps will give. At min position the steps will not have
effect, at maximum the steps range will be full.
• RAMP: sets the steepness of the level change between steps. Set it at lower positions to get a more gate-
like effect, or set it to higher positions to get a smoother effect.
• DIVISION: sets what time interval each step represents.
• VOLUME: select this to work on the Volume steps pattern.
• PAN: select this to work on the Panning steps pattern.
• MODE: When set to Free, the cycle will be continuous and will cover all the steps that are specified in the
Steps parameter. When set to Strike, the cycle will re-start each time a chord or a note is played.
363 Rack Effects

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

Swell
This is an “auto volume” swell processor that can automatically create fantastic swell effects while playing
without any manual intervention. Use it subtly to add groove to your rhythm parts or use it with deeper settings
to create dreaming pads or string-like sounds.
Controls:
• DEPTH: sets the depth of the volume swell, in dB. By default the depth is at max position, meaning that
the volume will start from silence. By lowering this control you’ll make the effect to start the swell phase
from a level which is higher than silence, up to min position that makes the effect to have no action.
• SENS: this control sets the sensitivity for the Swell to recognize a new note or chord and therefore start a
new Swell cycle. Set it higher if you want the Swell cycle to start even at the beginning of softer passages,
or set it lower if you want the Swell cycle to only start for louder strikes.
• TIME: sets the length of the Swell cycle.
• SWELL: this LED goes On during the Swell phase.
• OPEN: this LED goes On when the Swell phase has finished.
• BPM SYNC: allows the effect to synchronize to the project tempo making the swell time to be specified in
musical figures.
365 Rack Effects

Fender®
Pitch Shift
Based on Fender® Cyber-Twin® SE Pitch Shift
A pitch-shifting effect with both pitch-shifting and detuning effects. Use for both wild soloing and unusual
detuned textures.
Controls:
• Pitch Level: controls the Wet/Dry ratio from 1 to 10.

• Pitch: controls the amount of the pitch shift from 1 to 10.
• Detune: controls the detune amount from 1 to 10.
• Feedback: controls the feedback amount from 1 to 10.
• PreDelay: controls the Predelay amount from 1 to 10.
• Volume: controls the volume of the pitch effect from 1 to 10.
366 Rack Effects

Sine Flange
Based on Fender® Cyber-Twin® SE Sine Flange
A classic flange effect for swirling, psychedelic jams or intense metal rhythmic playing.
Controls:
• Level: controls the amount of the flange effect from 1 to 10.

• Rate: controls the rate of the flange effect from 1 to 10.
• Depth: controls the depth of the flange effect from 1 to 10.
• Avg Delay: controls the delay amount of the flange effect from 1 to 10.
• Phase: controls the phase of the flange from 1 to 10.
• Volume: controls the volume of the flange effect from 1 to 10.
• BPM Sync: syncs the Flange effect to the master BPM of your DAW/Standalone metronome.
367 Rack Effects

Tape Echo
Based on Fender® Cyber-Twin® SE Tape Echo
A classic tape echo effect. Use for retro, lo-fi-style echo effects.
Controls:
• Time: controls the length of the echo effect from 30ms to 1450ms. When BPM Sync is turned on, time is
displayed from a 1/32 to 1/1 ratio.
• Feedback: controls the amount of repeats of the echo effect from 1 to 10.
• Wow&Flutter: controls the amount of pitch drift/variation of the echo effect, to emulate tape playback from
1 to 10.
• Brightness: controls the amount of high-end of the treble from 1 to 10.
• Volume: controls the volume of the echo effect from 1 to 10.
• Ramp/Step: alters the way that changes to echo time change from a “ramp up” style to a “stair step” style.
• BPM Sync: syncs the Echo effect to the master BPM of your DAW/Standalone metronome.
368 Rack Effects

Triangle Chorus
Based on Fender® Cyber-Twin® SE Triangle Chorus*
A chorus/doubling effect for thickening up your guitar’s tone.
Controls:
• Level: controls the amount of the chorus effect from 1 to 10.

• Rate: controls the rate of the chorus effect from 1 to 10.
• Depth: controls the depth of the chorus effect from 1 to 10.
• Avg Delay: controls the delay amount of the chorus effect from 1 to 10.
• Phase: controls the phase of the chorus from 1 to 10.
• Volume: controls the volume of the chorus effect from 1 to 10.
369 Rack Effects

Wah
Based on Fender® Cyber-Twin® SE Wah
A classic-voiced wah effect with multiple settings to fit your playing style. Can add a funky, almost vocal vibe to
your playing.
Controls:
• Cryin’/Mccoy: switches between two different classic Wah styles.

• Wah: controls the amount of the wah effect from 1 to 10.
• Min Freq: controls the minimum frequency effected from 1 to 10.
• Max Freq: controls the maximum frequency effected from 1 to 10.
• Volume: controls the volume of the wah effect from 1 to 10.
370 Rack Effects

Compressor
Based on Fender® Cyber-Twin® SE Compressor
A classic compressor effect. Use to even out volume levels when playing for a studio-like tone, to add sustain to
metal leads, or to accentuate the “twang” in country-style picking.
Controls:
• Ratio Buttons: sets the overall level of compression from “Low” to “Even Higher”.
• Volume: controls the volume of the compressor effect from 1 to 10.
371 Rack Effects

Fender® ‘63 Reverb

Officially Certified Fender® ‘63 Reverb Model
The classic ‘63 Fender® Reverb Tank is now available in convenient rack form! This classic all-tube spring
reverb unit is capable of producing an incredibly lush Reverb due to it’s unique 6v6 driven output. Revered as
THE sound of reverb, you’ll hear this all tube driven signature Fender spring reverb on thousands of records from
Surf to Soul, Country to Punk.
Controls:
• Dwell: controls how hard the signal hits the reverb tank from 1 to 10. The spring reverb is overdriven when
Dwell is set to high values (from 7 to 10). This produces interesting and very characteristic tones.
• Mixer: controls the mix of the original signal to the effected signal from 1 to 10.
• Tone: shifts the tonal balance from low to high frequencies from 1 to 10.
• Volume: controls the output level of the effect from 1 to 10.
372 Rack Effects

Fulltone®
SSTE - Solid State Tape Echo

Officially Certified Fulltone® SSTE® - Solid State Tape Echo
The features and the general mood of the Fulltone Tape Echo are based on the iconic vintage EP-2 Echoplex.
Fulltone enhanced it adding new improved components like better heads, 2 tape speeds, better quality tape and
a new mechanical transport construction for a more consistent behaviour.
All these aspects have been meticulously studied and developed for these new AmpliTube Rack models.
The Real Tape Echo by Fulltone is a classical lunch box unit. Inside AmpliTube we designed it as a Rack Model.
Controls:
• DELAY TIME: moves the Recording Head changing the length of the delay between each echo, from 120
ms to 900ms.
• INSTRUMENTS VOLUME: sets the input level of the effect.
• ECHO ON/BYPASS: use switch to insert or bypass effect.
• ECHO VOLUME: sets the level of the effected (or wet) sound.
• ECHO REPEATS: turn clockwise to add repeats, and easily go into self-oscillation around 1 o’clock
depending on Record Level knob setting.
• TAPE SPEED LOW/HIGH: sets the speed of the tape to achieve different delay lengths. Low speed also
have less highs, like a vintage EP-3.
• PREAMP FULL/EP-3: engage one of the 2 circuit modes:
• EP-3: it is the identical TIS58 JFET circuit of the first version (pre-serial #9451) Echoplex EP-3, offering
that slight bass cut and slight treble boost favored by Page, Brian May, Steve Stevens, Tommy Bolin, etc.
that works so well in high-volume stage situations.
• FULL: it is dead-on, honest, full-range rich sound, just like your bypassed sound, in case you aren’t
craving that unique Ep-3 color. Beautiful.
• BRILLIANT ECHOS/VINTAGE HIGHS: this switch affects only the Echo Repeats, not your guitar tone:
• VINTAGE HIGHS: look, Echoplexes hissed a lot, so instead of fixing the problem, they slapped a
capacitor to ground to kill the highs where the hiss resides… primitive but effective. It’s part of the “EP-3
sound” and Vintage mode gets that sound.
• BRILLIANT ECHOS: allows more overtones and highs on the repeats…a subtle difference, not trebly, but
(no joke) I find myself checking to see if the reverb is on due to the intoxicating psycho-acoustic imagery
373 Rack Effects

this mode imparts. Who needs drugs? A little Green Dot or Maker’s Mark over ice and I’m good for 3
hours on the SSTE.
• RECORD LEVEL: small mini-knob adjusts how much signal smacks the tape. 3 o’clock is normal, above
that and the Echoes get THICKER.
• BPM: allows the effect to synchronize to the project tempo.
374 Rack Effects

TERC - That 80’s Rack Chorus!

Officially Certified Fulltone® TERC - That 80’s Rack Chorus!®
The features and the general mood of the Fulltone TERC are based on the iconic Tri Stereo Chorus produced in
the 80’s by “Dyno My Piano” brand.
Controls:
• EFFECT ON/OFF BUTTON: push button IN for EFFECT-ON, push to OUT for EFFECT OFF.
• OUTPUTS STEREO / MONO BUTTON: there are 3 analog Chorus Circuits in a TERC: Left (L), Right (R),
and Center (C). With this button pushed IN to STEREO, the L OUTPUT emits signal from the L & C Chorus
circuits only, and the R OUTPUT emits signal from the R & C circuits only. With this button switched OUT
(MONO mode) the L, R, and C Chorus circuits all sum evenly to both the L and R OUTPUTS.
• PRESET MODE : this is the classic Tri-Stereo-Chorus slow chorus sound. PRESET mode only happens
when the PRESET button is IN and the MANUAL button is OUT. You will notice that the INTENSITY knobs
and the SPEED knob do not function when the PRESET is selected. NOTE: make sure MANUAL button is
OUT or you will hear BOTH the PRESET and the MANUAL sounds at the same time!
• MANUAL MODE : MANUAL mode happens when the PRESET button is OUT and MANUAL button is
pressed IN. In MANUAL mode the L, R and C INTENSITY knobs and the SPEED knob are functional.
NOTE: make sure PRESET button is OUT.
• Combining PRESET & MANUAL modes: yes, by pressing IN both PRESET and MANUAL mode buttons,
you can combine all the different Low Frequency Oscillators (LFO’s) for all sorts of possibilities. It’s amazing
to hear the PRESET mode’s slow swirl with a fast speed selected in the MANUAL mode on top of that.
• INTENSITY knobs: the knobs ONLY function when the MANUAL knob is pressed IN. Turning these
Clockwise (CW) will increase the chorus effect level, with the deepest chorus being around 12 o’clock
to 1 o’clock. Chorus is created by taking the original signal, processing that signal through a delay and
modulating (pitch bending) it, then mixing the original and the processed signals back together. The
strongest chorus sounds you can get are when the original and processed signals are mixed together
equally with a 50/50 balance, the “chorus” is created by these original and processed signals fighting
against each other! Once you change the balance so that the processed signal gets louder than the original
signal, you are only hearing the processed signal... which is what we call VIBRATO. Therefore, when any
of the TERC’s INTENSITY knobs are past 1 o’clock your will be hearing mostly the pitch bend vibrato from
those channels, something Michael Landau made famous during his “Raging Honkies” Band period.
• SPEED knob: this knob only operates when the MANUAL mode button is pressed IN. Turn it CW to
increase the rate of the modulation, turn it counter clockwise (CCW) to decrease the modulation rate. It
has a ridiculously wide range of available speeds, and you can turn it (CCW) to a point where it is so slow
the entire modulation cycle takes five seconds or more to complete. You will hear both Flange and Phase
effects at lower speeds, especially with the INTENSITY knobs around 12 o’clock.
375 Rack Effects

Legal
AmpliTube® is a registered trademark property of IK Multimedia Production. FENDER® and all FENDER amplifiers,
logos, and trade dress are the trademarks of FMIC and used herein under license. All rights reserved. AMPEG® is a
trademark of LOUD Technologies, Inc. MESA/Boogie® is a registered trademark property of MESA/Boogie Limited
Corporation. ORANGE® is a registered trademark of Orange Music Electronic Company Ltd. SOLDANO® is a reg-
istered trademark of Gremlin Inc. DBA Soldano Custom Amplification Corporation. SEYMOUR DUNCAN® is a regis-
tered trademark of Carter Duncan Corporation. GROOVE TUBES® is a registered trademark of ROKR Ventures, Inc.
GALLIEN-KRUEGER® is a registered trademark of Gallien-Krueger Corporation. JET CITY AMPLIFICATION 333® is a
registered trademark property of 333 Enterprises Incorporated DBA Jet City Amplification Corporation. THD® is a reg-
istered trademark of THD Electronics Ltd. T-REX ENGINEERING® is a registered trademark of T-Rex Engineering ApS
Corporation. CARVIN® is a registered trademark of Carvin Corporation. DR. Z AMPLIFICATION® is a registered trade-
mark of Dr. Z Amps, Inc. FULLTONE® is a registered trademark property of Fulltone Musical Products, Inc. Z.VEX® is a
registered trademark property of Zachary Vex. ENGL® is a registered trademark property of Edmund Engl. WAMPLER
PEDALS® is a registered trademark property of Wampler Pedals, Inc. MORLEY® is a registered trademark property of
Sound Enhancement Products, Inc. Jimi Hendrix™ name used under license of Authentic Hendrix, LLC. © TM Authen-
tic Hendrix, LLC.
All other product names and images, trademarks and artists names are the property of their respective owners, which
are in no way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of identifying the
specific products that were studied during IK Multimedia’s sound model development and for describing certain types
of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation
or endorsement.
ACOUSTIC® is a registered trademark of Guitar Center, Inc.
AKG® is a registered trademark of AKG Acoustics GmbH.
AMPEG® is a trademark of LOUD Technologies, Inc.
ARBITER® FUZZ FACE® is a registered trademark of Arbiter Group Plc.
BEYERDYNAMIC® is a registered trademark of Beyerdynamic GmbH & Co.
BOSS® is a trademark of Roland Corporation.
BRAUNER® is a registered trademark of Dirk Brauner.
CARVIN® is a registered trademark of Carvin Corporation.
CELESTION™ is a trademark of Celestion International Ltd.
DIGITECH WHAMMY™ is a registered trademark of Harman International Industries, Incorporated.
DR. Z AMPLIFICATION® is a registered trademark of Dr. Z Amps, Inc.
ELECTRO-HARMONIX® is a registered trademark of New Sensor Corporation.
ELECTRO-VOICE® is a trademark of Electro-Voice, Inc.
ENGL® is a registered trademark of Edmund Engl.
FENDER®, BASSMAN®, DELUXE REVERB®, SUPER REVERB® are registered trademarks of Fender Musical Instru-
ments Corporation.
FENDER®, BASSMAN®, TWIN REVERB®, DELUXE™, DELUXE REVERB®, VIBROVERB™, VIBRO-KING®, CHAM-
PION™ 600, SUPER-SONIC™, MH-500 METALHEAD™, PRO JUNIOR™, BASSMAN® 300, CYBER-TWIN®,
BLENDER™, SUPER REVERB®, CHAMP®, PRINCETON®, are trademarks or registered trademarks of Fender Musi-
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376 Legal
FULLTONE® is a registered trademark property of Fulltone Musical Products, Inc.

FUZZRITE® is a registered trademark of Andy Moseley.
GALLIEN-KRUEGER® is a registered trademark of Gallien-Krueger Corporation.
GROOVE TUBES® MD1b-FET, GROOVE TUBES® VELO-8 are registered trademarks of ROKR Ventures, Inc.
HIWATT® is a registered trademark of FERNANDES COMPANY LTD.
IBANEZ® is a registered trademark of Hoshino Gakki Co. Ltd. Corporation.
JBL® is a registered trademark of JBL Professional.
JET CITY AMPLIFICATION 333® is a registered trademark property of 333 Enterprises Incorporated DBA Jet City Am-
plification Corporation.
JIMI HENDRIX™ name used under license of Authentic Hendrix, LLC. © TM Authentic Hendrix, LLC.
LESLIE™ is a registered trademark of Hammond Suzuki USA, Inc.
MAESTRO® FUZZTONE is a registered trademark of Gibson Electronics.
MARSHALL®, 1959 JTM100™ Super Lead, JMP100™ are registered trademarks and trademarks of Marshall Ampli-
fication Plc.
MESA/BOOGIE® and RECTIFIER® are trademarks of Mesa/Boogie Ltd.
MORLEY® is a registered trademark of SOUND ENHANCEMENT PRODUCTS, INC.
MOSRITE® is a registered trademark of Loretta Moseley.
MU-TRON® III is a registered trademark of Zajac, Henry A., Jr. Washington, NJ 07882.
MXR® is a registered trademark of Applied Research and Technology, Inc.
NEUMANN® is a registered trademark of Georg Neumann GmbH.
ORANGE® is a registered trademark property of Orange Music Electronic Company Ltd.
PEAVEY® is a registered trademark of Peavey Electronics Corporation.
PRO CO RAT™ is a trademark of ProCo Sound, Inc.
RANDALL® is a registered trademark of Randall Amplifiers a division of U.S. Music Corp.
ROGER MAYER™, Classic Fuzz®, Axis Fuzz®, Octavia®, are trademarks and registered trademarks of Roger Mayer.
ROLAND® is a registered trademark of Roland Corporation.
ROYER® is a registered trademark of Bulldog Audio, Inc. DBA Royer Labs Corporation.
SEARS® is a registered trademark of Sears Brand, LLC.
SENNHEISER® is a trademark of Sennheiser Electronic Corp.
SEYMOUR DUNCAN® is a registered trademark of Carter Duncan Corporation
SHURE® is a registered trademark of Shure Incorporated.
SILVERTONE® is a registered trademark of Samick Music Corporation.
SOLDANO® is a registered trademark property of Gremlin Inc. DBA Soldano Custom Amplification Corporation.
SUPRO® is a registered trademark of Absara Audio LLC.
SWR® and Goliath™ are trademarks of SWR Sound Corporation.
T-REX ENGINEERING® is a registered trademark property of T-Rex Engineering ApS Corporation.
THD® BIVALVE is a trademark of THD Electronics Ltd.
TRACE ELLIOT is a registered trademark of Peavey Electronics Corporation.
377 Legal
TUBE SCREAMER® is a registered trademark of Hoshino Gakki Co. Ltd.

UNI-VIBE™ is a trademark of Korg USA Corporation.
UNIVOX™ is a trademark of Korg USA Corporation.
VHT® is a trademark of VHT Amplification, Inc.
VOX® and VOX® WAH V846 are registered trademarks of VOX Amplification Ltd.
WAMPLER PEDALS® is a registered trademark property of Wampler Pedals, Inc.
Z.VEX® is a registered trademark property of Zachary Vex.
5150® is a registered trademark of Edward Van Halen.
378 Legal
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All specifications are subject to change without further notice.
© 2002-2017 IK Multimedia. All rights reserved.
Latest Update: 2017/08/29

AmpliTube Custom Shop Gear Models

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AmpliTube 4 is available in different versions.

Stomp Box Effects 16

AmpliTube Lead 130

AmpliTube Guitar 10" 229

4x10+tw TE Bass 267

‘57 Champ 305

Condenser 414 343

Rack Effects 349

“EULA” means this end user license agreement.

­­­­­­­­­12 License Agreement

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

­­­­­­­­­13 License Agreement

­­­­­­­­­14 License Agreement

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR

10) CHOICE OF LAW

IK Multimedia Production Srl

­­­­­­­­­15 License Agreement

Stomp Box Effects

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

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depending on the BPM Sync switch position.

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

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A model of a classic overdrive stomp effect.

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

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

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

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This effect is modeled after a vintage compression stomp pedal.

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IK Multimedia proprietary 10 Band Graphic EQ.

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

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Stomp Box Effects 16

AmpliTube Lead 130

AmpliTube Guitar 10" 229

4x10+tw TE Bass 267

‘57 Champ 305

Condenser 414 343

Rack Effects 349

12 License Agreement

13 License Agreement

14 License Agreement

15 License Agreement

16 Stomp Box Effects

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