Apple Logic Express - 9 Installation Manual
Logic Express 9
Effects
Copyright © 2009 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner or
authorized user of a valid copy of Logic Express software
may reproduce this publication for the purpose of learning
to use such software. No part of this publication may be
reproduced or transmitted for commercial purposes, such
as selling copies of this publication or for providing paid
for support services.
The Apple logo is a trademark of Apple Inc., registered in
the U.S. and other countries. Use of the “keyboard” Apple
logo (Shift-Option-K) for commercial purposes without
the prior written consent of Apple may constitute
trademark infringement and unfair competition in violation
of federal and state laws.
Every effort hasbeen made to ensure thatthe information
in this manual is accurate. Apple is not responsible for
printing or clerical errors.
Note: Because Apple frequently releases new versions
and updates to its system software, applications, and
Internet sites,images shownin this manualmay be slightly
different from what you see on your screen.
Apple
1 Infinite Loop
Cupertino, CA 95014
408-996-1010
www.apple.com
Apple, the Apple logo, GarageBand, Logic, and Macintosh
are trademarks of Apple Inc., registered in the U.S. and
other countries.
Finder is a trademark of Apple Inc.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention of
third-party products is for informational purposes only
and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
Contents
An Introduction to the Logic Express Effects7Preface
About the Logic Express Effects7
About the Logic Express Documentation10
Additional Resources10
Amps and Pedals13Chapter 1
Amp Designer13
Bass Amp30
Guitar Amp Pro31
Pedalboard37
Delay Effects53Chapter 2
Echo54
Sample Delay54
Stereo Delay55
Tape Delay57
Distortion Effects59Chapter 3
Bitcrusher60
Clip Distortion61
Distortion Effect62
Distortion II63
Overdrive63
Phase Distortion64
Dynamics Processors67Chapter 4
Types of Dynamics Processors67
Compressor69
DeEsser72
Ducker74
Enveloper77
Expander79
Limiter80
Noise Gate81
3
Preset Multipressor83
Silver Compressor84
Silver Gate85
Equalizers87Chapter 5
Channel EQ88
DJ EQ91
Fat EQ92
Single-Band EQs93
Silver EQ95
Filter Effects97Chapter 6
AutoFilter97
EVOC 20 Filterbank103
EVOC 20 TrackOscillator107
Fuzz-Wah119
Spectral Gate123
Imaging Processors127Chapter 7
Direction Mixer127
Stereo Spread130
Metering Tools133Chapter 8
BPM Counter133
Correlation Meter134
Level Meter Plug-in134
Tuner135
Modulation Effects137Chapter 9
Chorus Effect138
Ensemble Effect138
Flanger Effect140
Microphaser140
Modulation Delay141
Phaser Effect143
Ringshifter144
Rotor Cabinet Effect150
Scanner Vibrato Effect152
Spreader154
Tremolo Effect155
Pitch Effects157Chapter 10
Pitch Correction Effect157
Pitch Shifter II161
4 Contents
Vocal Transformer162
Reverb Effects167Chapter 11
Plates, Digital Reverb Effects, and Convolution Reverb168
AVerb168
EnVerb169
GoldVerb172
PlatinumVerb175
SilverVerb179
Specialized Effects and Utilities181Chapter 12
Denoiser181
Enhance Timing183
Exciter184
Grooveshifter185
Speech Enhancer187
SubBass188
Utilities and Tools191Chapter 13
Gain Plug-in191
I/O Utility192
Test Oscillator194
5Contents
An Introduction to the Logic Express Effects
Logic Express has an extensive range of digital signal processing (DSP) effects and
processors that are used to color or tonally shape existing audio recordings, software
instruments, and external audio sources—in real time. These will cover almost every audio
processing and manipulation need you will encounter in your day-to-day work.
The most common processing options include EQs, dynamic processors, modulations,
distortions, reverbs, and delays.
Less common are simulations of amplifiers and speaker cabinets, which enable you to
“play” your instruments or other signals through a range of vintage and modern sound
reproduction systems. Guitarists will also benefit from a number of classic pedal effect
emulations.
Further advanced features include precise signal meters and analyzers, a test tone
generator, noise reduction, pitch correction, imaging, bass enhancement, andtime-altering
processors and utilities.
Preface
As you can see, many of the included processors and utilities don’t really fall into the
“effects” category, but they may prove to be invaluable in your studio.
All effects, processors, and utilities provide an intuitive interface that simplifies operation,
enabling you to work quickly. Outstanding audio quality is assured when needed, or—at
the other end of the spectrum—extreme processing is possible when you need to radically
alter your audio. All effects and processors are highly optimized for efficient CPU usage.
This preface covers the following:
• About the Logic Express Effects (p. 7)
• About the Logic Express Documentation (p. 10)
• Additional Resources (p. 10)
About the Logic Express Effects
Logic Express includes a comprehensive suite of effects processors and utilities that can
be used to enhance your music projects. Effects are grouped in the following categories.
7
Included effectsEffect category
Amp DesignerAmp Modeling
Bass Amp
Guitar Amp Pro
Pedalboard
EchoDelay
Sample Delay
Stereo Delay
Tape Delay
BitcrusherDistortion
Clip Distortion
Distortion Effect
Distortion II
Overdrive
Phase Distortion
CompressorDynamics
DeEsser
Ducker
Enveloper
Expander
Limiter
Noise Gate
Preset Multipressor
Silver Compressor
Silver Gate
Channel EQEQ
DJ EQ
Fat EQ
Single-Band EQs
Silver EQ
AutoFilterFilter
EVOC 20 Filterbank
EVOC 20 TrackOscillator
Fuzz-Wah
Spectral Gate
8 Preface An Introduction to the Logic Express Effects
Included effectsEffect category
Direction MixerImaging
Stereo Spread
BPM CounterMetering
Correlation Meter
Level Meter Plug-in
Tuner
Chorus EffectModulation
Ensemble Effect
Flanger Effect
Microphaser
Modulation Delay
Phaser Effect
Ringshifter
Rotor Cabinet Effect
Scanner Vibrato Effect
Spreader
Tremolo Effect
Pitch Correction EffectPitch
Pitch Shifter II
Vocal Transformer
AVerbReverb
EnVerb
GoldVerb
PlatinumVerb
SilverVerb
DenoiserSpecialized
Enhance Timing
Exciter
Grooveshifter
Speech Enhancer
SubBass
Gain Plug-inUtility
I/O Utility
Test Oscillator
9Preface An Introduction to the Logic Express Effects
About the Logic Express Documentation
Logic Express comes with various documents that will help you get started as well as
provide detailed information about the included applications.
• Logic Express User Manual: This onscreen manual provides comprehensive instructions
for using Logic Express to set up a recording system, compose music, edit audio and
MIDI files, and output audio for CD productions.
• Exploring Logic Express: This booklet provides a fast-paced introduction to the main
features and tasks in Logic Express, encouraging hands-on exploration for new users.
• Logic Express Control Surfaces Support: This onscreen manual describes the configuration
and use of control surfaces with Logic Express.
• Logic Express Instruments: This onscreen manual provides comprehensive instructions
for using the powerful collection of instruments included with Logic Express.
• Logic Express Effects: This onscreen manual provides comprehensive instructions for
using the powerful collection of effects included with Logic Express.
• Logic Express Working with Apogee Hardware: This onscreen manual describes the use
of Apogee hardware with Logic Express.
Additional Resources
In addition to the documentation that comes with Logic Express, there are a variety of
other resources you can use to find out more.
Release Notes and New Features Documents
Each application offers detailed documentation that covers new or changed features and
functions. This documentation can be accessed in the following way:
• Open the application Help menu and choose Release Notes or New Features.
Logic Express Website
For general information and updates, as well as the latest news on Logic Express, go to:
• http://www.apple.com/logicexpress
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple
products, go to the general Apple Support webpage. You’ll also have access to product
specifications, reference documentation, and technical articles about Apple products and
products from other companies.
• http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most
frequently asked questions for Logic Express, go to:
• http://www.apple.com/support/logicexpress
10 Preface An Introduction to the Logic Express Effects
For discussion forums for all Apple products from around the world, where you can search
for an answer, post your question, or answer other users’ questions, go to:
• http://discussions.apple.com
11Preface An Introduction to the Logic Express Effects
Amps and Pedals
1
Logic Express features an extensive collection of guitar and bass amplifiers and classic
pedal effects. You can play live—or process recorded audio and software instrument
parts—through these amps and effects.
The amplifier models re-create vintage and modern tube and solid-state amps. Built-in
effect units, such as reverb, tremolo, or vibrato, are also reproduced. Accompanying the
amplifiers are a variety of emulated speaker cabinets, which can be used as a matching
set or combined in different ways to create interesting hybrids.
Also emulated are a number of “classic” foot pedal effects—or stompboxes—that were,
and remain, popular with guitarists and keyboardists. As with their real-world counterparts,
you can freely chain pedals in any order to create the perfect sound.
This chapter covers the following:
• Amp Designer (p. 13)
• Bass Amp (p. 30)
• Guitar Amp Pro (p. 31)
• Pedalboard (p. 37)
Amp Designer
Amp Designer emulates the sound of over 20 famous guitar amplifiers and the speaker
cabinets used with them. Each preconfigured model combines an amp, cabinet, and EQ
that re-creates a well-known guitar amplifier sound. You can process guitar signals directly,
which allows you to reproduce the sound of your guitar played through these amplification
systems. Amp Designer can also be used for experimental sound design and processing.
You are free to use it with other instruments, applying the sonic character of a guitar amp
to a trumpet or vocal part, for example.
The amplifiers, cabinets, and EQs emulated by Amp Designer can be combined in a
number of ways to radically or subtly alter the tone. Virtual microphones are used to pick
up the signal of the emulated amplifier and cabinet. You can choose from three different
microphone types, and you can reposition them.
13
Amp parameters
Amp parameters
Effects parameters
Microphone parameters
Amp Designer also emulates classic guitar amplifier effects, including spring reverb,
vibrato, and tremolo.
The Amp Designer interface can be broken down into four general sections in terms of
different kinds of parameters.
• Model parameters: The Model pop-up menu is found at the left of the black bar at the
bottom. It is used to choose a preconfigured model, consisting of an amplifier, a cabinet,
an EQ type, and a microphone type. See Choosing an Amp Designer Model. The
model-customizing parameters on the black bar allow you to independently choose
the type of amplifier and cabinet. See Building a Customized Amp Designer Combo.
The EQ type is chosen from the EQ pop-up menu above the Bass, Mids, and Treble
knobs in the knobs section. See Using Amp Designer’s Equalizer.
• Amp parameters: Located at each end of the knobs section, these parameters are used
to set an amp’s input gain, presence, and output level. See Using Amp Designer’s Gain,
Presence, and Master Controls.
• Effects parameters: Located in the center of the knobs section, these parameters allow
you to control the integrated guitar effects. See Getting to Know Amp Designer’s Effects
Parameters.
• Microphone parameters: Located slightly above the right end of the black bar at the
bottom, these parameters are used to set the type and position of the microphone
that captures the amplifier and cabinet sound. See Setting Amp Designer Microphone
Parameters.
14 Chapter 1 Amps and Pedals
To switch between full and smaller versions of the interface
Click here in
full interface.
Click here in
small interface.
Click the disclosure triangle between the Cabinet and Mic pop-up menus in the full
µ
interface to switch to the smaller version. To switch back to the full interface, click the
disclosure triangle beside the Output field in the small interface. You can access all the
parameters, with the exception of microphone selection and positioning, in the small
interface.
Choosing an Amp Designer Model
You can choose a preconfigured model—consisting of an amplifier, a cabinet, an EQ type,
and a microphone type—from the Model pop-up menu at the left end of the black bar
at the bottom of the Amp Designer interface. Your choices include several combinations
in each of the following categories:
• Tweed Combos
• Classic American Combos
• British Stacks
• British Combos
• British Alternatives
• Metal Stacks
• Additional Combos
15Chapter 1 Amps and Pedals
Tweed Combos
The Tweed models are based on American combos from the 1950s and early 1960s that
helped define the sounds of blues, rock, and country music. They have warm, complex,
clean sounds that progress smoothly through gentle distortion to raucous overdrive as
you increase the gain. Even after half a century, Tweeds can still sound contemporary.
Many modern boutique amplifiers are based on Tweed-style circuitry.
DescriptionModel
Small Tweed Combo
Large Tweed Combo
Mini Tweed Combo
Tip: Tweed combos respond beautifully to your playing dynamics. Adjust the knobs to
create a distorted sound, then reduce the level of your guitar’s volume knob to create a
cleaner tone. Turn up your guitar’s volume knob when the time comes for a scorching
solo.
A 1 x 12" combo that transitions smoothly from clean to crunchy,
making it a great choice for blues and rock. For extra definition, set
the Treble and Presence controls to a value around 7.
This 4 x 10" combo was originally intended for bassists, but was also
used by blues and rock guitarists. More open and
transparent-sounding than the Small Tweed Combo, but can deliver
crunchy sounds.
A small amp with a single 10" speaker, used by countless blues and
rock artists. It is quite punchy-sounding, and can deliver the clean
and crunch tones that the Tweed combos are known for.
Classic American Combos
The Blackface, Brownface, and Silverface models are inspired by American combos of the
mid 1960s. These tend to be loud and clean with tight lows and relatively restrained
distortion. They are great for clean-toned rock, vintage R & B, surf music, twangy country,
jazz, or any other style where strong note definition is essential.
Large Blackface Combo
Silverface Combo
Mini Blackface Combo
Small Brownface Combo
Blues Blaster Combo
16 Chapter 1 Amps and Pedals
DescriptionModel
A 4 x 10" combo with a sweet, well-balanced tone favored by rock,
surf, and R & B players. Great for lush, reverb-drenched chords or
strident solos.
A 2 x 12" combo with a loud, ultra-clean tone. Its percussive,
articulate attack is great for funk, R & B, and intricate chord work. It
can be crunchy when overdriven, but most players favor it for clean
tones.
A 1 x 10" combo that is bright and open-sounding, with a surprising
amount of low-end impact. It excels at clean tones with just a hint
of overdrive.
A 1 x 12" combo that is smooth and rich-sounding, but retains a
nice level of detail.
A 1 x 15" combo that has a clear top end with a tight, defined low
end. This model is favored by blues and rock players.
Tip: While these amps tend toward a clean and tight sound, you can use a Pedalboard
distortion stompbox to attain hard-edgedcrunch sounds witha biting treble and extended
low-end definition. See Distortion Pedals and Pedalboard.
British Stacks
The British Stack models are based on the 50- and 100-watt amplifier heads that have
largely defined the sound of heavy rock, especially when paired with their signature
4 x 12" cabinets. At medium gain settings, these amps are great for chunky chords and
riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex
peaks and dips across the tonal spectrum keep the tones clear and appealing, even when
heavy distortion is used.
DescriptionModel
Vintage British Stack
Modern British Stack
Brown Stack
British Blues Combo
Captures the sound of a late 1960s 50-watt amp famed for its
powerful, smooth distortion. Notes retain clarity, even at maximum
gain. After four decades this remains a definitive rock tone.
1980s and 1990s descendants of the Vintage British amplifier head,
which were optimized for hard rock and metal styles of the time.
The tones are deeper on the bottom, brighter on top, and more
“scooped” in the middle than the Vintage British amp.
Unique tones can be coaxed from a British head by running it at
lower voltages than its designers intended. The resulting “brown”
sound—often more distorted and loose than the standard
tone—can add interesting thickness to a guitar sound.
This 2 x 12" combo has a loud, aggressive tone that is cleaner than
the British heads, yet delivers fat distortion tones at high-gain
settings.
Tip: You’ll rarely go wrong combining a British head, a 4 x 12" cabinet, and a great riff at
high levels. But don’t hesitate to break that mold. These heads can sound stunning
through small cabinets, or at clean, low-gain settings. If the British Blues Combo is too
clean for your needs, combine it with Pedalboard’s Hi Drive stompbox for an aggressive
blues tone, or the Candy Fuzz stompbox for an explosive rock tone. See Distortion Pedals
and Pedalboard.
British Combos
The British Combos capture the brash, treble-rich sound that will forever be associated
with 1960s British rock and pop. The sonic signature of these amps is characterized by
their high-end response, yet they are rarely harsh-sounding due to a sweet distortion
and smooth natural compression.
DescriptionModel
British Combo
A 2 x 12" combo based on the early 1960s amps that powered the
British Invasion. Perfect for chiming chords and stabbing solos.
17Chapter 1 Amps and Pedals
DescriptionModel
Small British Combo
Boutique British Combo
A 1 x 12" combo with half the power of the British Combo, this amp
offers a slightly darker, less open tone.
A 2 x 12" combo that is a modern take on the original 1960s sound.
The tone is thicker, with stronger lows and milder highs than the
other British Combos.
Tip: Using high Treble and Presence knob settings that might become strident on other
amp types can sound great with the British Combos.
British Alternatives
The late 1960s amplifier heads and combos that inspired the Sunshine models are loud
and aggressive, with full-bodied mid frequencies. These amps are not just for single note
solos and power chords, as they can sound great with big, open chords—one reason
why they were embraced by the “Brit-pop” bands of the 1990s. The Stadium amps are
famed for their ability to play ultra-loud without dissolving into mushy distortion. They
retain crisp treble and superb note definition, even at maximum gain settings.
DescriptionModel
Sunshine Stack
Small Sunshine Combo
Stadium Stack
Stadium Combo
A robust-sounding head paired with a 4 x 12" cabinet. It’s a great
choice for powerful pop-rock chords.
A 1 x 12" combo based on a modern amp known for a “big amp”
sound. It is brighter than the Sunshine Stack head, with a touch of
1960s British Combo flavor.
A classic head and 4 x 12" cabinet configuration popular with 1970s
arena rock bands. Its tones are cleaner than other Amp Designer
4 x 12" stacks, while still retaining body and impact. A good choice
if you need power and clarity.
A 2 x 12" combo based on a modern amp. The tone is a little
smoother and rounder than that of the Stadium Stack.
Tip: The tone of the Sunshine Stack can seem dark at times, but a high Treble knob setting
opens up the sound. While the Small Sunshine Combo sounds great with its default
1 x 12" cabinet, it also shines through a 4 x 12" cabinet. The Stadium amps can be slow
to distort, so most famous users have paired them with aggressive fuzz pedals. Try
combining it with Pedalboard’s Candy Fuzz or Fuzz Machine stompboxes. See Distortion
Pedals and Pedalboard.
Metal Stacks
The Metal Stack models are inspired by the powerful, ultra-high gain amplifier heads that
put the “chunk” into modern hard rock and metal music. All are paired with 4 x 12"
cabinets. Their signature tones range from heavy distortion to extremely heavy distortion.
If you want powerful lows, razor-edged highs, and serious sustain, these are the models
you should look to first.
18 Chapter 1 Amps and Pedals
DescriptionModel
Modern American Stack
High Octane Stack
Turbo Stack
A powerful, ultra-high gain amp that is ideal for heavy rock and
metal. Use the Mids knob to set an ideal amount of scoop or boost.
Although a powerful, high-gain amp, this model offers a smooth
transition between gain settings andexcellent natural compression.
It is a great choice for fast soloing and for two- and three-note
chords.
An aggressive-soundingamp with spiky highs and noisy harmonics,
especially at high gain settings. Try the Turbo Stack when you need
to slice through a mix.
Tip: Combining the Turbo Stack with distortion and fuzz pedals may actually diminish
the amp’s edge. A dry sound is often the best choice for high-impact riffs.
Additional Combos
The combos and utility models in this category are versatile amps that can be used for a
wide variety of musical styles.
DescriptionModel
Studio Combo
Boutique Retro Combo
Pawnshop Combo
Transparent Preamp
A 1 x 12" combo based on boutique combos of the 1980s and 1990s
that use multiple gain stages to generate smooth, sustain-heavy
distortion without sacrificing bold, bright, clean sounds.
A 2 x 12" combo inspired by high-end modern amps that combine
the sounds of several great 1960s combos. It excels at shimmering
clean tones and crunch tones, making it a good choice when you
want an old-fashioned flavor, but with the crisp highs and defined
lows of a modern amplifier.
A 1 x 8" combo based on the inexpensive amps sold in American
department stores in the 1960s. Despite their limited features and
budget workmanship, these amps are the secret behind the sound
of many rock, blues, and punk players. The clean sounds are warm,
and distorted sounds are thick and satisfying, despite the small
speaker.
As the name suggests, a preamp stage with no coloration. You
should note that the Transparent Preamp is activated in the Amp
pop-up menu, not in the Model pop-up menu.
Tip: Try pairing the Studio Combo amp with one of the 4 x 12" cabinets for a heavier
sound. The Boutique Retro Amp has very sensitive tone controls, providing countless
tonal shadings. Even extreme settings can yield great results. Combine the Pawnshop
Combo amp with Pedalboard’s Hi Drive or Candy Fuzz stompboxes to emulate hard rock
tones of the late 1960s. See Distortion Pedals and Pedalboard.
19Chapter 1 Amps and Pedals
Building a Customized Amp Designer Combo
Model pop-up menu
Cabinet pop-up menu
Amp pop-up menu
Mic pop-up menu
EQ pop-up menu
You can use one of the default models or you can create your own hybrid of different
amplifiers, cabinets, and so on, using the Amp, Cabinet, and Mic pop-up menus, located
on the black bar at the bottom of the interface. The EQ pop-up menu is accessed by
clicking the word EQ or Custom EQ toward the left of the knobs section.
Note: If you create your own hybrid amp combo, you can use the Settings menu to save
it as a setting file, which also includes any parameter changes you may have made.
Building an Amp Designer model is described in the following sections:
• Choosing an Amp Designer Amplifier
• Choosing an Amp Designer Cabinet
• Using Amp Designer’s Equalizer
• Setting Amp Designer Microphone Parameters
Choosing an Amp Designer Amplifier
You can choose an amplifier model from the Amp pop-up menu on the black bar at the
bottom of the Amp Designer interface. See the following sections for details on the
20 Chapter 1 Amps and Pedals
characteristics of each amplifier in these categories:
• Tweed Combos
• Classic American Combos
• British Stacks
• British Combos
• British Alternatives
• Metal Stacks
• Additional Combos
Choosing an Amp Designer Cabinet
Cabinets have a huge impact on the character of a guitar sound (see Amp Designer
Cabinet Reference Table). While certain amplifier and cabinet pairings have been popular
for decades, departing from them is an effective way to create fresh-sounding tones. For
example, most players automatically associate British heads with 4 x 12" cabinets.
Amp Designer allows you to drive a small speaker with a powerful head, or to pair a tiny
amp with a 4 x 12" cabinet.
There’s nothing wrong with trying random combinations. But if you consider the variables
that determine a cabinet’s sound, you’ll be able to make educated guesses about
non-traditional amplifier and cabinet combinations. Some factors to consider:
Combos or Stacks
Combo amps include both an amplifier and speakers in a single enclosure. These usually
have an open back, so the sound resonates in multiple directions. The resulting sound is
“open”—with bright, airy highs and a general feeling of spaciousness. Amplifier “stacks”
consist of an amplifier head, with the speakers in a separate cabinet. These cabinets
generally have a closed back, and project the sound forward in a tight, focused “beam.”
They tend to sound more powerful than open-back cabinets, and typically have a tighter
low-end response at the expense of some high-end transparency.
Old or New Speakers
Amp Designer models that are based on vintage cabinets capture the character of aged
speakers. These may be a bit looser and duller-sounding than new speakers, but many
players prefer them for their smoothness and musicality. Sounds based on new cabinets
tend to have more snap and bite.
Large Speakers or Small Speakers
A larger speaker doesn’t guarantee a larger sound. In fact, the most popular bass guitar
cabinet of all time uses only small 8" speakers. Don’t be surprised if you get a deeper,
richer tone from a 10" speaker than from a large 4 x 12" cabinet. Try several sizes and
choose the one that works best for your music.
Single Speakers or Multiple Speakers
Guitarists sometimes use cabinets with multiple speakers, and not only for the larger
sound they tend to provide. Phase cancellations occur between the speakers, adding
texture and interest to the tone. Much of the “classic rock” sound, for example, has to do
with the tonal peaks and dips caused by this interaction between the speakers in a 4 x 12"
cabinet.
21Chapter 1 Amps and Pedals
Amp Designer Cabinet Reference Table
You can choose a cabinet model from the Cabinet pop-up menu on the black bar at the
bottom of Amp Designer’s interface. The table below covers the properties of each cabinet
model available in Amp Designer.
DescriptionCabinet
Tweed 1 x 12
Tweed 4 x 10
Tweed 1 x 10
Blackface 4 x 10
Silverface 2 x 12
Blackface 1 x 10
Brownface 1 x 12
Brownface 1 x 15
Vintage British 4 x 12
Modern British 4 x 12
Brown 4 x 12
British Blues 2 x 12
Modern American 4 x 12
Studio 1 x 12
British 1 x 12
Boutique British 2 x 12
A 12" open-back cabinet from the 1950s with a warm and smooth
tone.
A 4 x 10" open-back cabinet that was originally conceived for
bassists, but guitarists love its sparkling presence. An authentic late
1950s sound.
A single 10" open-back combo amp cabinet from the 1950s with a
smooth sound.
Classic open-back cabinet with four 10" speakers. Its tone is deeper
and darker than the Tweed 4 x 10.
An open-back model from the 1960s that provides great low-end
punch.
An open-back 1960s cabinet with glistening highs and surprising
low-mid body.
A beautifully balanced 1960s open-back cabinet. It is smooth and
rich-sounding, but with nice transparency.
This early 1960s open-back cabinet houses the largest speaker
emulated by Amp Designer. Its highs are clear and glassy, and its
lows are tight and focused.
This late 1960s closed-backcabinet is synonymous with classic rock.
The tone is big and thick, yet also bright and lively, thanks to the
complex phase cancellations between the four 30-watt speakers.
A closed-back 4 x 12" cabinet that is brighter, and has a better
low-end than the Vintage British 4 x 12, with less mid-range
emphasis.
A closed-back 4 x 12" cabinet with a great bottom end and complex
mid-range.
A bright-sounding open-back cabinet with solid lows, and highs
that maintain their edge even at high gain settings.
A closed-back 4 x 12" cabinet that has a full sound. The low-mids
are denser than the British 4 x 12" cabinets.
A compact-sounding open-back cabinet with full mids and
shimmering highs.
A mid 1960s open-back cabinet with an open, smooth tone.British 2 x 12
A small open-back cabinet with crisp highs and nice low-mid
transparency.
A 2 x 12" cabinet based on the British 2 x 12. It has a richer mid-range
and is more assertive in the treble range.
22 Chapter 1 Amps and Pedals
DescriptionCabinet
A 4 x 12" closed-back cabinet with a thick, rich mid-range.Sunshine 4 x 12
Sunshine 1 x 12
Stadium 4 x 12
Stadium 2 x 12
Boutique Retro 2 x 12
High Octane 4 x 12
Turbo 4 x 12
A single 12" open-back combo amp cabinet with a bright, lively
sound that has sweet highs, and transparent mids.
A tight, bright, closed-back British cabinet with bold upper-mid
peaks.
A nicely balanced modern British open-back cabinet. Tonally, it is
a compromise between the fatness of the Blackface 4 x 10 and the
brilliance of the British 2 x 12.
A 2 x 12" cabinet based on the British 2 x 12. It has a rich, open
mid-range and is more assertive in the treble range.
A modern, closed-back European cabinet with strong lows and
highs and scooped mids appropriate for metal and heavy rock.
A modern, closed-back European cabinet with strong lows, very
strong highs, and deeply scooped mids appropriate for metal and
heavy rock.
Single 8" speaker cabinet that has excellent low-end punch.Pawnshop 1 x 8
This option bypasses the speaker emulation section.Direct
Using Amp Designer’s Equalizer
Hardware amplifier tone controls vary between models and manufacturers. There’s a
good chance, for example, that the treble knobs on two different models target different
frequencies, or provide different levels of cut or boost. Some equalizer (EQ) sections
amplify the guitar signal more than others, affecting the way the amp distorts.
Amp Designer provides multiple EQ types to mirror these variations in hardware amplifiers.
No matter which EQ type you choose, you’ll see an identical set of controls: Bass, Mids,
and Treble. Switching between EQ types can result in these controls behaving very
differently.
Selecting an EQ type other than the one traditionally associated with a certain amplifier
typically results in significant tonal changes, although these may not necessarily be for
the better. As with hardware amplifiers, Amp Designer’s EQs are calibrated to perform
well with particular amplifier sounds. Choosing other EQ types can sometimes produce
a thin, or unpleasantly distorted tone. See Amp Designer Equalizer Type Reference Table.
23Chapter 1 Amps and Pedals
Despite these less pleasant-sounding possibilities, you should experiment with different
Bass, Mids, and Treble
knobs
EQ pop-up menu
amplifier and EQ combinations because many will sound great together.
The EQ parameters include the EQ pop-up menu and the Bass, Mids, and Treble knobs.
These parameters are found toward the left-end of the knobs section.
• EQ pop-up menu: Click the word EQ or CUSTOM EQ above the Bass, Mids, and Treble
knobs to open the EQ pop-up menu, which contains the following EQ models: British
Bright, Vintage, U.S. Classic, Modern, and Boutique. Each EQ model has unique tonal
qualities that affect the way the Bass, Mids, and Treble knobs respond. See Amp Designer
Equalizer Type Reference Table.
• Bass, Mids, and Treble knobs: Adjust the frequency ranges of the EQ models, similar to
the tone knobs on a hardware guitar amplifier. The behavior and response of these
knobs changes when different EQ models are chosen.
Amp Designer Equalizer Type Reference Table
You can choose an Equalizer type by clicking the word EQ or CUSTOM EQ above the Bass,
Mids, and Treble knobs in the knobs section. The table below covers the properties of
each EQ type available in Amp Designer.
British Bright
24 Chapter 1 Amps and Pedals
Vintage
U.S. Classic
DescriptionEQ type
Inspired by the EQ of British combo amps of the 1960s. It is loud
and aggressive, with even bolder highs than the Vintage EQ. This
EQ is useful if you want more treble definition without an overly
clean sound.
Emulates the EQ response of American Tweed-style amps and the
vintage British stack amps that used a very similar circuit. It is loud
and somewhat distortion-prone. This EQ is useful if you want to
roughen the sound.
Derived from the EQ circuit of the American Blackface-style amps.
The tone is of higher fidelity than the Vintage EQ, with tighter lows
and crisper highs. This EQ is useful if you want to brighten your
tone and reduce distortion.
DescriptionEQ type
Gain
Presence Master
Modern
Boutique
Based on a digital EQ unit popular in the 1980s and 1990s. This EQ
is useful for sculpting the hyped highs, booming lows, and scooped
mids associated with the era’s rock and metal music styles.
Replicates the tone section of a “retro modern” boutique amp. It
excels at precise EQ adjustments, though its tone may be cleaner
than desired when used with vintage amplifiers. This EQ is a good
choice if you want a cleaner, brighter sound.
Using Amp Designer’s Gain, Presence, and Master Controls
The amp parameters include controls for the input gain, presence, and master output.
The Gain knob is found to the left in the knobs section and the Presence and Master
knobs are to the right.
• Gain knob: Sets the amount of pre-amplification applied to the input signal. This control
affects various amp models differently. For example, when you are using the British
Amp, the maximum gain setting produces a powerful crunch sound. When you are
using the Vintage British Head or Modern British Head, the same gain setting produces
heavy distortion, suitable for lead solos.
• Presence knob: Adjusts the high-frequency range—above the range of the Treble
control. The Presence parameter affects only the output (Master) stage.
• Master knob: Sets the output volume of the amplifier going to the cabinet. For tube
amplifiers, increasing the Master level typically produces a somewhat compressed and
saturated sound, resulting in a more distorted and powerful—that is, louder—signal.
High Master settings can produce an extremely loud output that can damage your
speakers or hearing, so ramp this up slowly. The final output level of Amp Designer is
set with the Output slider at the lower-right edge of the interface. See Setting Amp
Designer’s Output Level.
25Chapter 1 Amps and Pedals
Getting to Know Amp Designer’s Effects Parameters
The effects parameters include Tremolo, Vibrato, and Reverb, which emulate the processors
found on many amplifiers. these controls are found in the center of the knobs section.
You can use the switch toward the right to select either Tremolo (TREM), which modulates
the amplitude or volume of the sound, or Vibrato (VIB), which modulates the pitch.
Reverb, which is controlled by a switch in the middle, can be added to either of these
effects, or used independently.
Note: The Effects section is placed before the Presence and Master controls in the signal
flow, and receives the pre-amplified, pre-Master signal.
Reverb, Tremolo, and Vibrato are described in the following sections:
• Using Amp Designer’s Reverb Effect
• Using Amp Designer’s Tremolo and Vibrato Effects
Using Amp Designer’s Reverb Effect
Reverb is always available in Amp Designer, even when using a model that is based on
an amplifier that provides no reverb function. Reverb is controlled by an On/Off switch
and a Level knob in the middle, above which is the Reverb pop-up menu. Reverb can be
added to either the Tremolo or Vibrato effect, or used independently.
• On/Off switch: Enables or disables the reverb effect.
• Reverb pop-up menu: Click the word Reverb to choose one of the following reverb types
from the pop-up menu: Vintage Spring, Simple Spring, Mellow Spring, Bright Spring,
Dark Spring, Resonant Spring, Boutique Spring, Sweet Reverb, Rich Reverb, and Warm
Reverb. See Amp Designer Reverb Type Reference Table for information on these reverb
types.
26 Chapter 1 Amps and Pedals
• Level knob: Sets the amount of reverb applied to the pre-amplified signal.
Amp Designer Reverb Type Reference Table
You can choose a reverb type by clicking the Reverb label in the center of the Amp section.
The table below covers the properties of each reverb type available in Amp Designer.
DescriptionReverb type
Vintage Spring
Bright Spring
Resonant Spring
Boutique Spring
This bright, splashy sound has largely defined combo amp reverb
since the early 1960s.
A darker, subtler spring sound.Simple Spring
An even darker, somewhat low-fidelity spring sound.Mellow Spring
Has some of the brilliance of Vintage Spring, but with less surf-style
splash.
A moody-sounding spring. More restrained than Mellow Spring.Dark Spring
Another 1960s-style spring with a strong, slightly distorted
mid-range emphasis.
A modernized version of the classic Vintage Spring with a richer
tone in the bass and mids.
A smooth modern reverb with rich lows and restrained highs.Sweet Reverb
A bold, well-balanced modern reverb.Rich Reverb
A lush modern reverb with rich low-mids and understated highs.Warm Reverb
Using Amp Designer’s Tremolo and Vibrato Effects
Tremolo and vibrato are controlled by several switches and two knobs in the Effects
section found toward the right of the knobs section. Tremolo modulates the amplitude
or volume of the sound, and vibrato modulates the pitch.
• On/Off switch: Enables or disables the tremolo or vibrato effect.
• Trem/Vib switch: Choose either tremolo or vibrato.
• Depth knob: Sets the intensity of the modulation (tremolo or vibrato).
• Speed knob: Sets the speed of the modulation in Hertz. Lower settings produce a
smooth, floating sound. Higher settings produce a rotor-like effect.
27Chapter 1 Amps and Pedals
• Sync/Freeswitch: When the switch is set to Sync, the modulation speed is synchronized
Move your mouse
above the Mic pop-up
menu to display the
speaker-adjustment
graphic.
with the host application tempo. The Speed knob lets you select different bar, beat,
and musical note values (1/8, 1/16, and so on, including triplet and dotted-note values).
When the switch is set to Free, the modulation speed can be set to any available value
with the Speed knob.
Setting Amp Designer Microphone Parameters
Amp Designer offers a choice between three different virtual microphones. As with every
other component in the tone chain, different selections yield very different results. After
choosing a cabinet, you can set the type of microphone you want to be emulated, and
where the microphone is placed in relation to the cabinet. The Mic pop-up menu is
available near the right end of the black bar at the bottom, and the speaker-adjustment
graphic appears when you move your mouse to the area above the Mic pop-up menu.
Note: The parameters described in this section are accessible only in the full Amp Designer
interface. If you are in the small interface, click the disclosure triangle to the right of the
Output field at the bottom-right edge of the interface to switch back to the full interface.
• Cabinet and speaker-adjustment graphic: By default, the microphone is placed in the
center of the speaker cone (on-axis). This placement produces a fuller, more powerful
sound, suitable for blues or jazz guitar tones. If you place the microphone on the rim
of the speaker (off-axis), you obtain a brighter, thinner tone, making it suitable for
cutting rock or R & B guitar parts. Moving the microphone closer to the speaker
emphasizes bass response.
The microphone position is shown on the cabinet and indicated by the white dot in
the speaker-adjustment graphic. Drag the whitedot to change the microphone position
and distance, relative to the cabinet. Placement is limited to near-field positioning.
28 Chapter 1 Amps and Pedals
• Mic pop-up menu: You can choose one of the Microphone models from the pop-up
menu:
• Condenser: Emulates the sound of a high-endGerman studio condenser microphone.
The sound of condenser microphones is fine, transparent, and well-balanced.
• Dynamic: Emulates the sound of popular American dynamic cardioid microphones.
This microphone type sounds brighter and more cutting than the Condenser model.
The mid-rangeis boosted, with lower-mid frequencies being less pronounced, making
it a good choice for miking rock guitar tones. It is especially useful if you want your
guitar part to cut through other tracks in a mix.
• Ribbon: Emulates the sound of a ribbon microphone. A ribbon microphone is a type
of dynamic microphone that captures a sound often described as bright or brittle,
yet still warm. It is useful for rock, crunch, and clean tones.
Tip: Combining multiple microphone types can produce an interesting sound. Duplicate
the guitar track, and insert Amp Designer on both tracks. Select different microphones
in each Amp Designer instance while retaining identical settings for all other parameters,
and set track signal levels to taste.
Setting Amp Designer’s Output Level
The Output slider (or the Output field, in the small interface) is found at the lower-right
corner of the Amp Designer interface. It serves as the final level control for Amp Designer
and can be thought of as a “behind the speaker” volume control that sets the level of the
output that is fed to the ensuing Insert slots in the channel strip, or directly to the channel
strip output.
Note: This parameter is different from the Master control, which serves the dual purpose
of sound design as well as controlling the level of the Amp section.
29Chapter 1 Amps and Pedals
Bass Amp
Bass Amp simulates the sound of several famous bass amplifiers. You can route bass
guitar and other signals directly through the Bass Amp, reproducing the sound of your
musical part played through a number of high-quality bass guitar amplification systems.
Bass Amp offers the following parameters.
• Model pop-up menu: Includes the following amplifier models:
• American Basic: 1970s-era American bass amp, equipped with eight 10" speakers.
Well-suited for blues and rock recordings.
• American Deep: Based on the American Basic amp, but with strong lower-mid
frequency (from 500 Hz on) emphasis. Well-suited for reggae and pop recordings.
• American Scoop: Based on the American Basic amp, but combines the frequency
characteristics of the American Deep and American Bright, with both low-mid (from
500 Hz) and upper-mid (from 4.5 kHz) frequencies emphasized. Well-suited for funk
and fusion recordings.
• American Bright: Based on the American Basic amp, this model emphasizes the
upper-mid frequencies (from 4.5 kHz upward).
• New American Basic: 1980s-era American bass amp, well-suited for blues and rock
recordings.
• New American Bright: Based on the New American Basic amp, this model strongly
emphasizes the frequency range above 2 kHz. Well-suited for rock and heavy metal.
30 Chapter 1 Amps and Pedals
Loading...