Amp and Cabinet
Amp is an effect that emulates the sound and character of seven classic guitar amplifiers. Developed in collaboration with Softube, Amp uses physical modelling technology to provide a range of authentic and usable amplifier tones, with a simple and consistent set of controls.
Guitar amps are designed to be used with accompanying speaker cabinets. For this reason, Amp comes with a companion effect called Cabinet (see 24.5) which is designed to be used after Amp in a device chain.
Cabinet is an effect that emulates the sound of five classic guitar cabinets. Developed in collaboration with Softube, Cabinet uses physical modelling technology to provide a range of authentic sounds, with optimized mics and mic positioning.
The Speaker chooser allows you to select from a variety of speaker sizes and combinations. The chooser’s entries indicate the number of speakers and the speaker size in inches. For example, ”4x12” means four 12-inch speakers. In the real world, more and larger speakers generally means higher volumes.
EQ
Inspired by EQs found on classic mixing desks, Channel EQ is a simple, yet flexible three-band EQ, fine-tuned to provide musical results for a variety of audio material.
Activating the HP 80 Hz switch will toggle a high-pass filter, which is useful for removing the rumble from a signal.
Chorus
Chorus-Ensemble offers a classic two-delay line chorus with an optional third delay line mode. With a wide variety of tools for thickening sounds, creating flanging and vibrato effects, this device also allows you to easily recreate string ensemble chorus sounds.
Use Ensemble mode at a rate between 1 Hz and 1.8 Hz and 100% Amount on dry guitars to create a typical surf-rock sound
Echo
Note: the Echo effect is not available in the Intro, Lite and Standard Editions.)
Echo is a modulation delay effect that lets you set the delay time on two independent delay lines, while giving you control over envelope and filter modulation.
Compressor
A compressor reduces gain for signals above a user-settable threshold. Compression reduces the levels of peaks, opening up more headroom and allowing the overall signal level to be turned up. This gives the signal a higher average level, resulting in a sound that is subjectively louder and ”punchier” than an uncompressed signal.
A compressor’s two most important parameters are the Threshold and the compression Ratio.
The Threshold slider sets where compression begins. Signals above the threshold are attenuated by an amount specified by the Ratio parameter, which sets the ratio between the input and output signal. For example, with a compression ratio of 3, if a signal above the threshold increases by 3 dB, the compressor output will increase by only 1 dB. If a signal above the threshold increases by 6 dB, then the output will increase by only 2 dB. A ratio of 1 means no compression, regardless of the threshold.
The orange Gain Reduction meter shows how much the gain is being reduced at any given moment. The more reduction, the more audible the effect; a gain reduction above 6 dB or so might produce the desired loudness, but significantly alters the sound and is easily capable of destroying its dynamic structure. This is something that cannot be undone in later production steps. Keep this in mind especially when using a compressor, limiter or sound loudness-maximizing tool in the master channel. Less is often more here.
Because compression reduces the volume of loud signals and opens up headroom, you can use the Output (Out) control so that the peaks once again hit the maximum available headroom. The Output meter shows the output signal’s level. Enabling the Makeup button automatically compensates the output level if the threshold and ratio settings change.
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