BluGuitar AMP1 User manual

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| 100 Watts Tube Guitar Amp designed by Thomas Blug

™

AMP1

BluGuitar

MANUAL

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TABLE OF CONTENTS

Introduction 4-11

Setups

AmpHead 12 StompAmp 13 Recording 14 Programmable Guitar System 15 AMP1+ REMOTE1+ LOOPERKIT = fully programmable professional guitar system 16-17

Control Panel 18-19 Inputs 20-21 CUSTOM CONTROL 22-23 Nanotube, Power Amp and Speaker 24-25 Recording Out 26-27

AMP1’s Channels

Clean Channel 28 Vintage 29 Classic 30 Modern 31

Tone Control 32 Boost, Reverb, Noisegate 33 FX Loop 34-35 FOOTSWITCH / MIDI1 / REMOTE & MIDI 36-37 REMOTE1 & your favourite sounds on the foot pedals 38-39 PowerSoak, Accessories 40-41

Academy Of Tone

Your Sound in the Band 42-43 Mastering Different Sound 44-45 Home & Recording 46-47 Troubleshooting and Maintenance 48-49 Safety Instructions 50-52 Technical Data 53 AMP1 Family 54-55

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I HAVE A DREAM

Dear Guitar buddy,

Many congratulations on your

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AMP1

is an extraordinary ampliﬁer, and its back story is just as unusual…

AMP1

™

purchase!

… I had a dream. This dream has come true, and you’re holding it in your hand right now.

I’ve always dreamed of an amp that can fulﬁl all my professional requirements onstage and

in the studio, and that at the same time is so small and light I can always have it with me in

my gigbag. The powerful tones of guitarists like Jimi Hendrix, Jeff Beck and Ritchie Blackmore

have inspired and inﬂuenced me. As a professional guitarist, sound designer and co-develop-

er of numerous guitar amps, I feel committed to continuing these powerful tonal traditions

that are naturally assertive and full of character. As well as my own trademark sounds, my

work requires me to have a wide tonal palette – from jazz to metal – and all in professional

quality. My dream was to put the immense power and character of vintage tube ampliﬁers

into one small package that would ﬁt in your glove compartment or gigbag – without com-

promising on the tones. Sounds like Mission Impossible!

My dream amp should suit any guitarist, whether he or she plays country, blues or heavy

metal. It should also suit everyone from purists to full-on sound geeks, without weighing

them down with unnecessary features, but also leaving all the vital functions intact!

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TUBEAMP EVOLUTION

1950s and 60s

The main function of the ﬁrst tube amps in the 50s was to get guitars heard over bands and orchestras. When distorted guitar tones were at last discovered in the 60s, this radical stylistic device paved the way for new genres like rock. In those days, before the birth of the PA system, the only source of sound for concert audiences came from the onstage amps themselves. Because of this, volume was the key feature of the 60s tube amp.

1970s and 80s

In the 70s and 80s, guitarists demanded more and more features from their amps. Multiple channels and an effects loop became the new amp standard. The newly emerging digital technology brought programmable amps into the marketplace for the ﬁrst time. However, a massive ﬂood of additional features meant that before long, hardly anyone was able to make good use of them.

1990s

Seeing as the ﬁrst digital modelling amps offered a bunch of presets, but couldn’t convince tonally, the 90s saw a return back to the true virtues of the tube amp. Traditional build types – like Plexi or Tweed – experienced a renaissance as players once again expressed the desire for more individual tones. Some classic amp models were upgraded with MIDI interfaces to be more ﬂexible.

Since 2000

Since the turn of the century, a clear trend towards smaller, more portable amps has appeared – seeing as not every guitarist wants to have to take a van to the gig.

However, these so-called “Lunchbox Amps” are often limited to just one sound. Should a genuinely clean or heavy sound be desired, these small specialist amps are often lacking in headroom, dynamics, tone and assertiveness. While 30 watts may be enough for a living room, they quickly reach their limits when playing on big stages, at open air gigs, or even in the practice room. The sound becomes “muddy” and can’t ﬁll the space. Sometimes you just need the power reserves of a 100-watt amp; it’s just that no one wants to lug these heavy boxes around nowadays.

Powerful All-Tube Amps

Big amps want to be played loud, though, but in many situations, they’re just too loud, and clog up the stage sound. Everyone – the crowd, the soundman, and the band – ends up being unhappy with the results. Despite this, many guitarists don’t want to go without the fat, warm sound of a driven tube amp. They buy into the purist solution of a full-tube amp with PowerSoak. A PowerSoak enables the player to push the amp into saturation while limiting the volume to more tolerable levels. Unfortunately, due to ﬂaws in the system, the PowerSoak also leads to a loss in sound quality. The power reduction doesn’t just reduce the volume, but also the power amp’s “Current Feedback”, which leads to a ﬂatter, less lively tone. To combat this problem, it was necessary to develop a new power reduction system that doesn’t compromise on sound quality.

Most of today’s amps are still based on the philosophies of yesterday. In order to fully meet musicians’ current needs, I have had to go down completely new technological and conceptual paths.

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Time For A New Standard 100 Watt Compact Tube Amp

Pros

•

good, individual tone

•

few control

buttons/features

•

easy operation

Cons

•

not ﬂexible

•

normally only works in one

1960

1970

situation

The New Standard:

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AMP1

- 100W TUBE TONE POWER

In 2014, stress-free operation and professional features.

™

AMP1

becomes the ﬁrst ever guitar amp to bridge the previously insurmountable gap between the loud, characterful tube sound, and easy transportation,

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AMP1

is the ﬁrst of a new generation of amps: without compromise on sound quality and performance, suitable for

any application, and always with you wherever you need it. As a guitarist, with

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AMP1

heralds the start of a new tube amp era.

1980

AMP1

1990

™

, you’re ready for anything, anywhere.

2010

2000

Pros

•

ﬂexibe

•

versatile

Cons

•

compromises on sound

•

complicated operation

•

too many features

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AMP1

is an amp with genuine character. You can play any style with it.

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AMP1

’s uniquely customisable sounds and features give you the freedom to realise, save and recall all your favourite tones at any time. Despite its versatility and its remarkable options for expansion, AMP1TM does not burden you with any unnecessary features, so you can concentrate on the most important thing: making music.

I wanted to create an amp that would deliver the perfect sound in ANY SITUATION: from 0.15 Watts at home to 100 Watts on big stages.

4 5

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INDIVIDUAL

During my career as a pro guitarist, I have had the chance to test nearly all the legendary guitar amps of the past ﬁve decades, and have tried countless FX units. Thanks to my experience, today I know what good tone depends on, and how to recognise what is unnecessary or even disruptive. To ﬁnd your own tone, you need room to manoeuvre. But too many features are not the answer! make you stand out from the crowd. It offers you every possibility to ﬁnd your own personal tone without having to get lost in a jungle of countless functions.

If you’re a player who needs just a few basic sounds, then match. Should you want more sounds to play with, though, bunch of extra possibilities. Plus, if you want to integrate your favourite pedals into

AMP1

™

setup, use the

REMOTE1

your fully programmable switching system featuring four true bypass relay loops. You decide what you need. My tip: less is often more! ;-)

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with the

AMP1

REMOTE1

LOOPERKIT

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AMP1

will

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is your perfect

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offers a

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to create a

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UNIQUE

Only with ‘your tone’ will you become one with your guitar. Find it, and you’ll be truly happy. You’ll hear and feel that it’s not just but that its playing feel will also draw you in – until you’re hooked! direct response, booming bass that never muddies, trebles that never get tinny and annoying, and almost unfathomable depth of tone allow you to become one with

AMP1

™

you’ll ﬁnd your own tone!

your guitar. With

AMP1

™

’s tones that inspire you,

AMP1

™

’s

EVERyTHINg yOU NEED – ALwAys ON HAND

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VERsATILE AND LOUD

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AMP1

100-watt power amp delivers your own tonal palette with the best tube quality and enormous sound pressure levels.

AMP1

a stunning journey through the history of the guitar amp (from Clean to Vintage to Classic and Modern tones). and Reverb controls, three integrated footswitches, a truly outstanding Speaker Simulation mode for recording, and a headphone output, giving you all the options you would expect from a modern, boutique tube amp.

On the other hand, thanks to its lively overtones, fat at living room volume. And with the PowerSoak, you can even do an authentic "Jimi" in your bedroom using just 0.15 watts of power.

is designed for professional use onstage and in the studio. The Nanotube

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is incredibly LOUD! Four amazing, modiﬁable channels will take you on

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AMP1

also features switchable and adjustable Boost

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AMP1

also sounds balanced and

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FLExIBLE

You can take your It’s incredibly compact and very light. Just to make everything that little bit quicker before and after the gig, from) your pedalboard or amp cab in seconds thanks to magnetic attachment system from BluGuitar you can build

PowerSoak.

AMP1 AMP1

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AMP1

with you wherever you are – it ﬁts right in your gigbag.

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AMP1

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into a fully programmable amp system – including adjustable

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offers you the ultimate in practicality and tonal ﬂexibility.

can be securely attached to (and then removed

EASYLOCK

. With the

REMOTE1

™

– the

™ ﬂoor control

BOUTIQUE TO gO

6564

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My DREAM CAME TRUE

For a very long time, it seemed to be impossible from a technical viewpoint – but I ﬁnally managed to achieve the unachievable by collaborating with a brilliant Russian engineer. By employing an unusual technical mix, we were able to keep a 100% analogue signal from the guitar to the loudspeaker, just like with a classic tube amp: years of experience as a pro musician and developer.

AMP1

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was born! All of

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AMP1

’s features draw on my 30-odd

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To make my dream come true, I founded complete and uncompromising implementation of my visions and product ideas. As a guitarist, I only want to develop products that are also fun for me to use and play with. For this reason, I hope I can offer really interesting products to every guitarist out there.

As well as my personal signature tones, numerous classic amps – from American clean to metal – all at professional quality. I have made this dream come true for every guitarist out there – and for me. The dream of a huge sound in your gig bag. From now on, companion wherever you are.

Have fun, and I wish you every success with it!

BluGuitar

AMP1

. This brand stands for the

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naturally offers the tones of

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AMP1

will be your

10 1110

AmpHead StompAmp

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AMP1

is a fully analogue guitar amp with four separate channels, ampliﬁed by a 100-watt Class D tube power amp. nels can be supplemented with an extra portion of gain via the built-in Boost control.

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AMP1

features ONE Clean Channel and THREE Overdrive channels. Each of the four chan-

AMP1

™

is perfect for

use without a loudspeaker, just with headphones or for “Silent Recording” (see pages 27 ). You can use

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AMP1

like an amp head on top of your cab, connect it up to your effects board and stompboxes, or simply have it on the ﬂoor in front of you. The underside of

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AMP1

also features a handy recess that allows the system to sit safely on cabs that

have carry handles on top.

Put your CLEAN/OVERDRIVE and BOOST On/Off settings. Your

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AMP1

on a guitar cab, and you can use a standard double footswitch to select between

™

AMP1

is now a fully-ﬂedged 100-watt amp

head!

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AMP1

is equipped with numerous ports and features. With these, you can operate

AMP1

™

as a single or

multi-channel amp, or even as a completely programmable MIDI system.

Footswitch

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AMP1

is designed so that you can have it as a fully-ﬂedged, standalone amp right on the ﬂoor in front of you. The illuminated footswitch 11 allows you to select between Clean and the desired Overdrive Chan- nel. With 12, you activate the Boost, and with 13 you can choose Reverb.

For this use, you will need a longer speaker cable to plug your amp cab in with, as you should always put the cab behind or next to you.

REMOTE1

™

has been developed for those of you who want direct access by footswitch to all four chan-

nels, the FX loop, Reverb, Boost, a second Master Volume, PowerSoak and programmable Gain.

REMOTE1

™

connects to same time transfers all the switching functions to controllers, the

For the optimal use of

MIDI1

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AMP1

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AMP1

simply via a normal guitar cable. The cable powers the unit, and at the

REMOTE1

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. For controlling

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AMP1

via other MIDI foot

Adapter is available (see page 37 ).

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as a StompAmp, you can program the three footswitches with individual

sound settings (see page 39 ).

It’s your choice whether you want to use with

REMOTE1

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Input

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AMP1

as a single, double or multi-channel system together

Speaker Out

12 1313

OVERDRIVE

BOOSTCLEAN/

OVERDRIVE

BOOSTCLEAN/

REVERB

Recording

Programmable Guitar System

You can also use

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AMP1

without loud speakers: just with headphones, or by connecting it to a mixing desk or a home stereo system. Even without load, the amp won’t get damaged, whatever setting you select. The Recording Out delivers the very authentic signal of a miked-up guitar cab. That means you can make recordings at any time, or practice through headphones. In this context, the Master Volume 3 then controls the volume of the Recording Out or headphones (see pages 26 and 27 ).

Attention!

If you connect the Recording Out to your home stereo, make sure not to overload your hi-ﬁ speakers. This kind of speaker does not provide the volume levels needed to play in a band. However, it should provide sufﬁcient power to practice at moderate volumes in most cases. Compared with guitar amps, home stereo speakers are designed to produce a deep bass response, which makes them a lot more sensitive.

Recording Out

Input

With

™

AMP1

it’s possible to build a complete 100-watt guitar amp and effects setup on a single pedalboard for the ﬁrst time ever. This will really help reduce the amount of cabling guitarists will need to use compared to a normal amp/FX/pedalboard setup. pedalboard. With

™

AMP1

– you can securely attach and then remove

EASYLOCK

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(see page 40 ) – the magnetic attachment system for

movement (no ﬁddly Velcro required!) to use it as a “standalone”. With

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AMP1

’s functions and create Presets too. With each Preset,

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AMP1

is so light and compact that you can easily mount it to a

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AMP1

to and from your pedalboard in one quick

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, you can use all of

simultaneously sends a MIDI

REMOTE1

™

program change command that can be used to switch external MIDI-enabled effects equipment.

For those who wish to use their own MIDI board, there is an adapter available that transforms Remote port into MIDI:

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AMP1

’s switching and control functions – just like you could with

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MIDI1

. When plugged in, you can use your own MIDI board to operate all of

REMOTE1

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(see page 38 ).

AMP1

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’s

Speaker Out

FX-Loop

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REMOTE1

14 15

AMP1

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+ REMOTE1

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+ LOOPERKIT

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The pedalboard of the future!

A fully programmable professional guitar system

DIRECT ACCESS - MODE

This

REMOTE1

CLEAN, VINTAGE, CLASSIC, MODERN, BOOST, REVERB, FX-LOOP, as well as MasterVolume and PowerSoak.

•MasterVolume expands your footswitch-selectable second Master Volume.

•PowerSoak expands your footswitch-selectable reduction in power.

•LEVEL controls the level of the previously selected function.

PRESET - MODE

In Direct Access Mode, every footswitch setting can be saved on one of the 36 Presets (which come in four banks of 9). Like this, you can save the same sound with different volumes and effects as rhythm and solo tones, for example. The Gain level is also controllable for each Preset, which opens up a lot of new sound nuances. With each Preset, a MIDI program change command is sent via the MIDI-OUT connector to switch external MIDI-enabled effects equipment. This way, you can control all of stomp of your foot, and switch a MIDI FX unit to your chosen Preset at the same time.

LOOPERKIT

For players who want to integrate their favourite FX pedals into the Looper Kit extension, which features four true bypass relay loops, is available. The switching status of the Loops is saved together with the Presets. With just one stomp of the foot, ’s sound, the FX pedal in the FX Loop, and the four Loops simultaneously. This makes tap dancing on the pedalboard a thing of the past! Thanks to the four True Bypass Loops, the signal only passes through the FX units that are active within the speciﬁed Preset. This guarantees the shortest signal path, with as little sound loss as possible.

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mode enables the following convenient footswitch options:

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AMP1

’s functionality by adding a controllable and

™

AMP1

’s functionality by adding a controllable and

AMP1

™

AMP1

guitar system, the optional

REMOTE1

™

’s functions with a simple

™

controls

AMP1

™

Speaker Out

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REMOTE1

1 2 3 4FX-Loop

Looper Kit

With

™

AMP1

it’s possible to build a complete, programmable guitar amp and effects setup on your pedalboard for the ﬁrst time ever. This doesn’t just save on weight and extra equipment, but also signiﬁcantly reduces the amount of cabling, which not only beneﬁts your tone, but saves you an awful lot of time with assembly and clear-up before and after the gig!

16 17

Control Panel

1 Overdrive Channel

Selection between Pages 29-31

2 Nanotube

Sub miniature tube. Page 24

3 MasterVolume

Controls the overall volume of the 100-watt power amp. Page 25

4 Clean Volume Controls the Clean Channel’s volume and drive. Page 28

Vintage, Classic

™

and

Modern

5 Overdrive Gain

The GAIN knob controls the input sensitivity – and therefore the distortion – of the Vintage Classic and Modern Channels Pages 29-31

6 Overdrive Master

Controls the overall volume of all three Overdrive Channels (Vintage, Classic and Modern), Pages 29-31. To regulate volume and tone between the three Overdrive Channels, use the CUSTOM CONTROL™ Classic Volume 27 and Classic Tone 28, as well as Modern Volume 25 and Modern Tone 26.

7 8 9 13

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AMP1

VOLUME determines the CLEAN Channel’s volume and drive. GAIN 5 controls the distortion, and MASTER 6 the volume of all three OVERDRIVE Channels. MASTER controls the overall volume of the power amp and therefore the volume of all the sounds.

’s channels:

7-9 Sound Control

To regulate cabs, space etc. Sounds most balanced in central positions. If necessary, don’t be afraid of extreme settings! Page 32

10 Reverb

Regulates the volume of the added reverb signal. The reverb is modelled on the warmth and musicality of a classic spring reverb. Page 33

11 Clean / Overdrive Channel Here you switch between CLEAN and OVERDRIVE.

12 Boost on/off

The Boost switches a 2-level tube-like control in front of channels. You can control its intensity via 24. Page 33

13 Reverb on/off

Switches Reverb on and off.

You can allocate your favourite sounds and recall them directly with the three integrated footswitches 11, 12 and 13. Page 39

AMP1

™

’s

14 Input

Connect your guitar to AMP1 here. Please only use suitable, shielded guitar cables!

15 FX-Loop Send

FX Loop between the preamp and the power amp. Connect this port to the input of your FX equipment. Also usable as a Line Out. Page 34

16 FX-Loop Return

FX Loop between the preamp and the power amp. Connect this port to the output of your FX equipment. Also usable as a Line In. Page 34

20 FOOTSW. / MIDI1 / REMOTE Multifunction port for connecting: standard footswitch (single and

double footswitch, with or without LED) for switching Clean/Overdrive (Tip) and Boost (Ring). Page 36

REMOTE1

™

MIDI1 ™

for switching:

 •CLEAN •BOOST

  •VINTAGE •REVERB   •CLASSIC •LOOP   •MODERN •MasterVolume     •POWERSOAK     •GAIN/CLEANVolume

Inputs

17 Rec Out

21 On/off power switch

Output for headphones and mixers. For use exclusively with head phones, just don’t connect a speaker. MASTER 3 then determines headphone volume Page 26

18 Speaker Out 8 Ohm / 100W

1619 17 15 141821 2023 22

Please use only one of the Speaker Out ports at a time, using the right

22 Mains plug socket

A modern switching power supply constantly provides all the internally required operating voltages, regardless of network voltage. This enables

™

AMP1

to provide the exact same sound and performance anywhere in the world – without the need for additional adjustment. All you need is a suitable power cord with the country-speciﬁc mains power plug.

impedance. Page 25

23 Fan

19 Speaker Out 16 Ohm / 100W

Please use only one of the Speaker Out ports at a time, using the right impedance. Page 25

The regulated fans become are activated when intensely. The openings must remain uncovered, to ensure that can be properly cooled at all times.

AMP1

™

is used

AMP1

™

Custom Contols - Customize your

Voicing

AMP1

™

’s channels – with the exception of the pure Vintage Overdrive Channel – feature inﬁnitely adjustable sound ﬁlters that enable you to tune

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AMP1

’s tone control for more “fullness” on a singlecoil guitar, and turn the tone control up to experience more “bite and attack”

All of each channel’s character individually. On top of that, there is a control for the individual volume of each channel. In general: turn down on humbucker-equipped axes.

AMP1

- For your individual tone

™

CUSTOM CONTROL

2524 26 27

29 3130

24 Boost Character

Gain Boost with tube character – left Clean with a subtle treble increase, right with light, inherent distortion for creamy lead sounds

Page 33

25 Volume Modern

Volume adjustment for Modern to match with Classic and Vintage. Page 31

26 Tone Modern

From creamy, fat high gain to ultra modern metal.

Page 31

27 Volume Classic

Volume adjustment for Classic to match with Modern and Vintage. Page 30

All four channels can be easily controlled with just a 3-band EQ. As well as different tonal ideas, you can also adapt different types of guitar to your personal sound tastes.

28 Tone Classic

From 70s British rock to modern “wall of sound”.

Page 30

29 Tone Clean

From classic California Vintage Clean to Modern Sparkling.

Page 28

30 FX-Loop Switch

Serial/Parallel. Page 34

31 Noise-Gate Switch

Intelligent suppressor of unwanted excess noise. SOFT reduces noise, and OFF turns off the Noise Gate. Switching to METAL produces an ultra fast Noise Gate response with extreme damping, speciﬁcally for metal rifﬁng with Modern and Classic. When changing to Clean and Vintage, the Gate is automatically switched to SOFT. Page 33

NANOTUBE

™

MASTER 3

Connecting to a guitar amp cabinet

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Nanotube

For decades, tubes have been the “sound makers” in guitar amps. However, every type of tube used up to now has had weaknesses, such as heat build-up, sensitive mechanics, short lifespans and – from an electronics viewpoint – their bulky size. While American technicians settled on semiconductors, their Russian counterparts re-examined and optimised the proven tube technology instead, to develop a completely reliable, shock-resistant tube to use for their space travel programme. These sub-miniature vacuum tube tubes were reduced in terms of size and weight, and consequently were more mechanically stable and noticeably more resistant to microphonics.

The sub-miniature vacuum tube is characterised by its lower noise levels at high input resistance and lower internal capacitance. This results in outstanding musical properties. It is clearly superior to conventional tubes in efficiency, energy consumption and reliability. Thanks to its mechanical strength, it can be constructed without a socket. It is firmly soldered in place, which eliminates any contact problems with the tube sockets. In comparison with classic tubes, sub-miniature vacuum tubes are almost “indestructible”, and require no maintenance. This tube is rock ‘n’ roll and is ideal for hard use in strongly vibrating loud speakers or stage floors. It is the most technically advanced tube technology on offer today. However, until now, the sub-miniature vacuum tube has never been used in guitar amps. When it came to market, the zeitgeist – the spirit of the age – was different, with huge 100-watt tube amps in fashion.

BluGuitar® relies on Nanotubes™. This means only

using selected vacuum sub miniature tubes that fulﬁl our extremely high standards. The Nanotubes in the power amp and gives

AMP1

™

works

100 Watts of character, punch and the assertiveness you would normally only get from a large 100-watt full tube amp.

The Nanotube lifespan:

The Nanotubes

™

tube is a Russian creation, which – among other things – is used in the aerospace and aviation industries. The speciﬁcation requires 97% of all Nanotubes standard ECC83 tube. In addition, Nanotubes

™

tubes to have triple the lifespan of a

™

AMP1

uses the

™

at a slightly lower operating voltage,

doubling the lifespan again.

This guarantees NANOTUBE

™

an extremely long lifespan, and for this reason is constructed without a socket. It should even outlive you!

Controls the overall volume of the amp with 100 Watts of power.

AMP1

™

power amp reacts just like a tube power amp. When it’s pushed to the maximum, it will ﬁrst go into saturation, and then into overdrive. Please make sure that the output power does not exceed the speaker’s maximum power.

The output stage can be operated at full load without any problems. The fan will switch itself on automatically during periods of heavy usage to ensure that everything stays cool. The amp is also overload and short-circuit protected.

Warning: High volume levels can cause hearing damage and can destroy speakers.

MASTER: power range of the amp

’s

™

AMP1

provides separate outputs for the usual impedances of guitar cabs:

1 x 8 Output 18 1 x 16 Output 19

Only one speaker output must be used at a time!

Tip: Of course you can connect multiple speakers to one output simultaneously, even with different impedances. Usually, speakers are connected in parallel. If using two speakers with the same impedance, the overall impedance is always halved. If you have two 16-Ohm cabs, you have to connect them in parallel, and then connect to

AMP1

™

’s 8-Ohm output.

The cab impedance should not be lower than the output impedance of the amp, because

AMP1

™

’s power amp would otherwise produce more power than desired. If used for prolonged periods over full load, the amp may switch itself off due to overheating.

Power Amp and Speaker

Recording Out

You can connect either headphones or mixing desks to this multifunctional port. An elaborate ﬁlter circuit simulates the sound of a guitar amp cabinet.

These days, there are lots of applications that require a good direct signal from a Recording Out. That’s why elaborate, fully analogue speaker simulations. A total of seven different ﬁlters simulate the tonal character of a guitar amp. The signal sounds open and fresh – without sounding scratchy – and delivers powerful bass, without “booming”. With such a large frequency spectrum, you can even ﬁne-tune the Recording Out signal for every application – because removing certain frequencies often sounds a lot more musical than adding frequencies. This way, you always get your perfect, consistent sound, directly into the PA or for recording. (More tips on Pages 46-47) .

™

AMP1

works with one of the most

Connecting headphones

Connect headphones with a 6.3mm stereo jack through output 17.

™

AMP1

automatically activates a headphone ampliﬁer when loudspeaker

ports 18 and 19 are not in use.

Connecting to a mixing desk

Connect RECORDING OUT 17 with a guitar cable or stereo jack cable with the mixing desk’s Line In. The stereo jack provides a symmetrical signal, which delivers a better signal if you’re using a cable longer than 10 metres. If you want to use your mixing desk’s microphone input, you’ll need to adjust the

You regulate the headphone volume with the MASTER 3 control.

It is advisable to use some reverb. If you do, the guitar will sound a lot more natural through the headphones, and you’ll have more fun playing.

level with an adapter (see image below).

The signal level is directly dependent on the MASTER and PowerSoak (if activated) settings.

Silent Recording

™

AMP1

provides a well-balanced recording signal for silent recording without a loudspeaker. Because feedback), the recording sound changes if you use a loudspeaker. You can hear the difference even when using quieter Master settings. When you’re connected to a loudspeaker, the sound has less mids and more bite.

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AMP1

’s power amp reacts to the loudspeaker (current

Recording Out

In-ear quality

These days, in-ear monitors are often used on stage to improve a band’s sound. For this, the Recording Out signal is sent to a mixing desk, where it is mixed with the other instruments. This mix is then sent to an in-ear system. By using this elaborate speaker emulation, you get an authentic and constant guitar sound in an in-ear monitor system, which – in contrast to a miked sound – never changes.

Kai Sonnhalter

Stereo jack XLR connector

10 k Ohm

Jack TIP

Jack GND

Jack Ring

330 Ohm

10 k Ohm

50 V 10 uF

XLP Pin2

Schematic for constructing an adapter to connect to a microphone input – with phantom power protection.

XLR Pin1

XLR Pin 3

CLEAN 1

VINTAGE 1

’s channels

™

AMP1

The Clean Channel delivers a wide spectrum of crystal clear (VOLUME up to 5) to dynamically reacting, lightly overdriven tones. In principal, it works like a classic California Clean amp with a ‘Bright’ switch. The more the volume is turned down, the more transparent and HiFi-like the Clean Channel sounds. For my tastes, clean sounds are at their best just before you can hear the signal starting to break up. The output factor from single coil pickups to active humbuckers varies up to a factor of 10! Because of this, there is no perfect Clean Volume setting that works for all pickups. To ﬁnd your own clean sound, ﬁrst turn your clean volume to about 6 – depending on your pickups, you may already hear noticeable amounts of overdrive – and then turn it down until the tone becomes clean enough for your tastes (for single coils, this would normally be 5-6, for humbuckers 3-5).

CLEAN-TONE 29 allows silky warm (backed off) and brilliant, glittery high (turned up) cleans for single coils and humbuckers. The Clean Channel can also be overdriven, which means it can deliver perfect sounds from blues to classic rock. The Clean Channel is also ideal for combining with FX pedals like boosts, overdrives and compressors.

By switching on the internal

BOOST, you can enormously expand on the tonal spectrum of the Clean Channel. If you have the Boost on at the minimum level, you’ll get ﬁne, shimmering highs. This can really freshen up humbuckers, or produce those ultra-clean “straight into the

California

Sparkling

mixing desk” single coil tones.

If you turn the Boost up more, the tube-like boost circuit will go into overdrive. This way, you can use the Boost to switch between clean and lightly distorted sounds. If Boost and Volume are both fully turned up, this Channel will also deliver dynamic vintage lead sounds. For experts, there’s an additional trick: the possibility to drive the power amp into saturation or overdrive, and using the PowerSoak (which you can only activate via levels. This gives you the possibility to create very special sounds, like we know from the Guitar Heroes of the 60´s and flower power era. This way you can do exactly what those artists did: they turned their clean amps up until the power amp was compressed or distorted.

REMOTE1

™

or MIDI) to turn the volume down to suitable

Humbucker

Single Coil

Tonal colour and overdrive of the Clean Channel.

Classic British overdrive. This Channel covers the versatile sonic spectrum between almost clean and distorted sounds, ideally suited to anything from blues to AC/DC. Full gain with boost is my trademark sound. I personally control my gain with the volume pot on my guitar.

This purist Overdrive Channel, with its fat and dynamic distorted character, cannot be edited by its character. The 3-band EQ should be enough to adapt this sound to your speaker and the room. In contrast to the Classic Channel, Vintage features some compression, as you know from those classic cranked amps. If you want to increase the effect even more, use the PowerSoak.

Combined with BOOST, you get expressive, creamy rhythm and lead sounds. If you turn down the CUSTOM CONTROL “woody” lead sounds; turn it up, and the lead tone is “creamier”.

Clean

™

AMP1

’s CUSTOM CONTROL™, as it would lose

™

Drive

Boost, you’ll get

Fig. 1: Boost Custom Control

The Vintage Channel delivers the good old honest TONE of rock ‘n’ roll. Vintage responds to every playing nuance. It reveals the differences between every pickup and guitar, and also lets you control the sound with your volume pot.

Tip: For lightly distorted riffs, I recommend settings between 5 and 7 for single coil pickups. If using high output pickups – like humbuckers or active pickups – you should test settings between 3 and 5. If you push the gain control way up past 7, you can produce beautifully fat “power crunch chords” and classic lead sounds.

Humbucker

Single Coil

Fig. 2: optimal gain in the Vintage Channel.

CLASSIC 1

MODERN 1

’s channels

™

AMP1

This “Brown Sound” is punchy, dynamic, elegant, clear and balanced in all frequencies, and has all the necessary tight power and aggression for all kinds of rock riffs. The sound cuts through the band without getting annoying or grating. Even with single coil pickups, there’s plenty enough Gain on tap for creamy solo sounds and rock riffs. You can also use the BOOST to increase the Gain. The extra overtones provided by the Boost give the CLASSIC Channel a rich, singing tone. With the PowerSoak ( overtones. In this way, you can ﬁne-tune sound like a “vintage” guitar amp.

The CUSTOM CONTROL channel’s overtones and basses. Turned down, it creates woody, creamy 70s sounds, and turned up, it results in hard, cutting, modern tones with more bite. With CLASSIC VOLUME 27, you can match the volume level to the Vintage Channel.

In combination with the Boost, you can also get musical high gain sounds from this Channel. This makes legato and tapping playing techniques possible on any guitar. At low gain settings, the Channel also provides open, well-rounded crunch sounds. Use more Gain to get a “hot-rodded” sound (or Brown Sound), just like you know from boutique amps.

REMOTE1

™

) , you’ll get more compression and soft

™

AMP1

™

CLASSIC TONE 28 shapes the character of the

’s CLASSIC Channel to

Tip: Use your guitar’s volume control to coax out cleaner sounds (backed off) and rich, overdriven tones (turned up) from this Channel.

80s Rock

70s Rock

Modern Rock & Metal

Using CLASSIC TONE, you can dial in this Channel to your personal taste to anything between the woody, rough sounding tones of the 70s and the rich, modern sounds of a hot-rodded amp.

This Channel delivers American high-gain sounds with tight basses and gripping highs, thanks to its thick and rich overtone spectrum. The primary focus of Modern is quick response and a very precise tonal resolution at high gain levels.

The MODERN Channel delivers a merciless performance not just suited to aggressive metal riffs (MODERN TONE turned up). Thanks to the direct response, drop tunings become a great experience without going all muddy. This Channel is also an interesting alternative for guitarists who are looking for ultra-rich, creamy lead sounds. All this is possible thanks to MODERN

TONE's 26 (turned all the way down) ﬂexibility. Using MODERN VOLUME

25, you can match the volume to the volume of the other Overdrive Chan-

nels.

Tight basses, combined with rich gain, are a basic requirement for modern rock and metal rifﬁng. Classic amps fail in this regard, because their response is often too slow and muddy.

™

AMP1

’s newly developed circuit design delivers a dry, direct tone without

altering the guitar’s basic sound. This revolutionary concept is the foundation for sounds that can also cut through the mix in a band context. The new circuit, which features “tight and fat” gain stacking, is even capable of conjuring up extra tight sounds from classic single-coil guitars. A metal guitar will sound like metal guitar, and a classic vintage guitar will also be recognisable.

Tips: To get even tighter aggressive metal riffs, the Gate 31 should be set to Metal. Then, when you dampen the strings while using the Modern Channel, all unwanted noise will be removed through the fast-acting Noisegate. This will make the riffs super hard and dry.

When MODERN TONE 26 is turned all the way down, Modern even pro- vides creamy tones for fans of classic overdrive sounds.

Hi Gain

Rock & Metal

Fat Screaming

Classic Lead

Ultra Metal

The CUSTOM CONTROL

™

tone selection offers a broad spectrum,

from rock and metal to doom.

BASS 7 MIDDLE 8 TREBLE 9

BOOST 12

NOISE GATE 31

For the tone controls have been precisely tuned to the Channels, making a wide range of tonal nuances possible. Within each Channel, the tone controls access speciﬁc frequency ranges that are characteristic to the selected Channel.

In contrast to more conventional tone controls, in a cut in the mids – and vice versa. This makes tailoring your own perfect sounds considerably easier. Setting the controls to the centre position provides – depending on the speaker, room and your tonal tastes – a balanced frequency mix that you can start from before reﬁning your sound.

If you want to fundamentally change the tonal character of a channel, use the relevant developed for this purpose. This will help you a lot when playing – because if you change something on the tone control, for example if you want some more mids, you’ll end up with more mids on all of the channels. I put a lot of time and practical testing into ﬁne-tuning the channels, to make sure everything ﬁts together naturally. (Also see Academy of Tone, pages 42-47 )

™

AMP1

, we have developed a special set of tone controls that allow all four Channels to be used to optimum levels with a shared EQ. The effects of

™

AMP1

’s controls do not inﬂuence each other. That means that boosting the highs does not result

CUSTOM CONTROL

™

on the side of

AMP1

™

, which was speciﬁcally

Tip: To get to know the amp and its basic sounds, I recommend that you start off with all the tone controls in the centre position. Settings where all the knobs are similarly positioned, like 7-7-7 or 9-9-9, also result in more balanced tones. The higher you turn the controls, the more open and more modern the resulting sounds.

ATTENTION: The controls’ working ranges are designed to be very effective. When all the controls are set to 0, there won’t be any sound!

The Boost activates a 2-level tube simulation in front of channels. With the boost control 24, you can regulate the tonal character from transparent to creamy with “inherent distortion”. Depending on the channel, this makes more transparent, creamy or even aggressive tones possible.

AMP1

™

’s

Tip: For stronger pickups with higher outputs, you’ll get light overdrive with the Boost turned to halfway, which will make the tone in OVERDRIVE singing and creamy. On the other hand, if you want ultra-brilliant and pure clean sounds, it’s advisable to keep the control turned less than halfway up.

You can activate the Boost with switch 12 or with a double footswitch (ring), and also via MIDI and REMOTE1

™

The integrated NOISE GATE is an intelligent suppressor of unwanted excess noise. Compared to external noise gates, signal at several points in the circuit simultaneously, in order to react as sensitively as possible. This way, the NOISE GATE automatically and intelligently adapts to the channels and their gain settings, so that as little signal as possible is lost.

Switch 31 offers three possibilities:

SOFT - for all classic guitar sounds. On this setting, the signal is kept intact as much as possible, with unwanted noise only being removed when you’re not playing.

OFF - this deactivates the gate.

METAL- ultra-fast and hard gate responsiveness, with extreme damping.

This setting is ideal for high-gain metal rifﬁng. This setting is only usable on the Modern and Classic Channels. When using Clean and Vintage, the Gate is automatically switched to SOFT, so no clean sounds are lost.

AMP1

™

’s evaluates the

Tone controls

Clean

Boost Custom-Control

Drive

REVERB

™

AMP1

Volume 10, the reverb level is added to the dry signal. It is especially suitable for traditional clean sounds. It’s also advisable to use a bit of reverb when practicing, especially if you’re using headphones.

’s digital reverb was modelled on a classic spring reverb. Using

Boost, Reverb, Noisegate

FX Loop

FX SEND 15

What else you can do with the FX Loop…

The FX Loop can be used in serial or parallel mode (Pic. 1) 30. In serial mode, the signal passes completely through the FX unit. In parallel mode, the FX signal is mixed with the direct signal. Modulation effects, equalizers and compressors must be used in series in order to function properly. Of course, the sound quality depends on the quality of the effects unit(s) themselves. There are some FX units, like Delays, with which you can control the ratio of the effect level and the dry level yourself. These effects should then only provide the pure effect sound, and be used in PARALLEL 30. This way,

™

AMP1

’s analogue tube sound will not be interrupted at any point,

resulting in optimal sound quality.

You can switch between serial and parallel modes by using the CUSTOM

CONTROL

AMP1 PREAMP

™

30.

™

SEND RETURN

SERIAL

PARALLEL

™

AMP1

POWERAMP

Pic 1. Serial and parallel mode.

Effects Loop between the preamp and power amp. Connect the input of your FX unit to this port.

FX RETURN 16

Connect the output of your FX unit to this port. The FX Loop can be activated ort deactivated (bypass) via

™

MIDI1

REMOTE1

Tip:

The FX Loop can be switched on and off, and presets can be saved, via

REMOTE1

™

or MIDI in. This way, you can activate the desired channel and the FX Loop simultaneously. If you are using a MIDI-enabled FX unit, you can change your effects program via MIDI at the same time. For example, you can save a CLEAN sound with chorus and reverb as a preset, or a dry, CLASSIC rhythm sound without any FX, or a MODERN solo sound with delay, and each can be directly recalled with one simple tap of the foot switch.

More on programming presets on page 37

™

If no effects device is looped into the FX Loop, you can use the FX Loop for different, unconventional things:

™

AMP1

as a preamp

The Send port can also be used as a Line Out. Here you could, for example, connect another power amp.

™

AMP1

with a volume pedal

If you place an analogue volume pedal between SEND and RETURN, you can use it to conveniently control basic sound. This is a very handy feature, especially when playing live onstage

AMP1

™

as a power amp

(Pic 3.). The Return port also doubles as a Line In. Here, you can connect a preamp. The input sensitivity can be switched from 200mV to 1 Volt by using the FX

Loop level switch on the bottom.

FX RETURN

The power amp behaves like a tube amp, because the signal passes through the tube. If using

™

AMP1

as a boutique distortion pedal

REMOTE1

You can go directly into a guitar amp from the SEND port. It is advisable to

™

, you can also use the PowerSoak function.

SERIAL

Pic 3. Volume pedal as Master Volume

set the amp to clean. You should also reduce AMP1TM’s Treble and Overdrive volume, because the SEND signal has a very high output level (Pic 2.) So you don’t overdrive the input, the FX Loop level on the underside of

™

AMP1

should be set to -10dB.

™

AMP1

with additional audio sources

A second instrument or audio source (for example an MP3 player) can be

connected to the RETURN port in parallel mode (Pic 4.).

™

AMP1

’s overall volume without changing the

FX SEND

Volume-Pedal

InputOutput

FX-Loop

FX Loop Level

AMP1

™

’s underside you will ﬁnd a recess with a small pressure switch,

On which enables you to switch the sensitivity between -10dB (for foot pedals) and +4dB (for studio FX).

High

FX-LOOP LEVEL

SWITCH

+4dB

Pic 2. Recess with FX Loop level switch

Low

-10dB

Input

FX SEND

Input

FX RETURN

PARALLEL

MP3

Pic 4. MP3 player in parallel mode.

FOOTSWITCH / MIDI1 / REMOTE 20

MIDI1

Port for both conventional single or double footswitches, and also for that was specially designed to go with

AMP1

™

– and the MIDI IN adapter

REMOTE1

™

– the foot controller

™

MIDI1

AMP1

™

automatically detects which kind of footswitch or interface is connected! With a single footswitch, you can switch between Clean mode and the Overdrive channel, which is available via the Overdrive selector switch 1. With a double footswitch, the boost is also switchable. When

REMOTE1

that controls all of

REMOTE1

™

MIDI1

™

and

AMP1

™

MIDI1

are connected, this jack port automatically becomes a serial data input

™

’s switching and control functions.

™

enable you (in conjunction with a MIDI controller) to switch the functions

CLEAN, VINTAGE, CLASSIC, MODERN, BOOST, REVERB, FX-LOOP, and additionally to control MasterVolume and PowerSoak, as well as CLEAN VOLUME and GAIN. To connect

REMOTE1

™

, simply use a standard mono jack cable (for example a guitar cable or speaker cable).

AMP1

™

with

NOTE: Apart from (passive) standard footswitches (with and without LED display), you may exclusively connect the BluGuitar

REMOTE1

™

foot controller or BluGuitar

MIDI1 ™

adapters to this 6.3mm stereo jack port. Connection to another foot controller may cause defects to this controller and/or to

AMP1

™

’s internal electronics.

ATTENTION: The connecting cable should generally only be plugged in/removed when the amp is switched off, in order to prevent faulty switching on the amp.

If you want to build an individual programmable guitar system using the MIDI controller of your choice, you can control This turns

™

AMP1

using the BluGuitar®

™

AMP1

’s remote port into a MIDI In port. This allows you to recall all of

MIDI1 ™

adapter interface.

AMP1

™

’s switching

functions via MIDI program change commands. Additionally, control change commands CC 007 (Master-

Volume), CC 020 (Gain) and CC 030 (PowerSoak) are also received. You put face’s port into

interface electronics are powered by

Every available switching possibility on

™

AMP1

’s REMOTE port: on the opposite end is a 5-pin DIN socket for the MIDI IN. The

™

AMP1

, meaning that no extra power supply or cables are required.

™

AMP1

can be recalled via MIDI programm change commands,

MIDI1 ™

’s adapter inter-

when the corresponding command is sent from MIDI Channel 1. You can create up to 128 presets by

"MIDI-Learn" assigning.

Select your setting on

While the

MIDI1 ™

adapter is plugged in, MIDI-Learn is activated when holding the BOOST switch for a

few seconds. Now fast blinking of the REVERB LED indicates that

AMP1

™

AMP1

is waiting for MIDI programm change command. When sending any MIDI programm change command within the next 10 seconds, the setting is stored. The REVERB Led stops blinking. Anytime this MIDI programme change command is send,

AMP1

™

switches to the desired state.

MIDI CONTROL-CHANGE:

MIDI RECEIVE CHANNEL: 1

128 Programm Change Befehle MIDI Programm Change Nummer: 000 - 127

Master: CC 007 Gain: CC 020

FOOTSWITCH / MIDI1 / REMOTE & MIDI

Configuration of the Remote stereo jack port

Jack Tip: Kanal

Jack GND

PowerSoak: CC 030

Jack Ring: Boost

36 37

REMOTE1

™

- the programmable footswitch with MIDI

Assign your favourite sounds to the footswitches

™

REMOTE1

™

is designed to be a convenient remote control for

AMP1

™

“Direct Access Mode” (Mode Switch is not lit)

The incredibly convenient remote control for your AMP1

Every switch on the foot controller is assigned to one of

™

AMP1

™

’s func-

tions. Now you can directly select the CLEAN, VINTAGE, CLASSIC and

MODERN Channels as well as switching BOOST, REVERB and the FX-LOOP. In addition,

™

AMP1

, with a second controllable Master Volume and a controllable

REMOTE1

™

expands the functions of your

and switchable PowerSoak. A standard jack cable (guitar or speaker cable) connects

AMP1

™

and

REMOTE1

™

and powers the system.

“Preset Mode” (Mode Switch lights up blue)

A fully programmable guitar system

REMOTE1

™

offers 4 banks, each with 9 memory locations, on which you can save your own, preferred sound settings. Each channel can be freely combined with or without BOOST, REVERB, FX-LOOP and any desired MasterVolume andPowerSoak level, which can then be stored to one of the presets. This allows you to save the same sound e.g. as rhythm and solo sounds with different volume levels.

For each switching state,

REMOTE1

™

simultaneously sends a program change command for switching external MIDI effect devices via its MIDI out port (see table on page 37 ). This turns

™

AMP1

into a programmable

MIDI guitar system.

LOOPERKIT

Those who want to program their favourite guitar pedals with to avoid pedalboard tap dancing should use the

™

(optional extension module for connecting effects pedals)

REMOTE1

LOOPERKIT

™

, which

™

features four true bypass relay mono loops. The True Bypass wiring ensures optimum signal quality. The four Loops can be individually assigned to each preset, thereby combining the connected effects with the amp settings.

The Looperkit is ﬁxed to the side of

REMOTE1

™

with a screw. External

pedals are wired through a breakout box.

Note: If you want to use

REMOTE1

™

to directly switch the Presets of a device that is directly connected via the MIDI Out, the table on page 37 shows you the program change commands that are sent from As each of

AMP1

™

’s switching states is assigned a MIDI program change

REMOTE1

™

command (see Table), you have to assign each switching state its own Preset at the FX unit. In order to make assigning these more comfortable, almost all FX devices have built-in MIDI Mapping. The advantage for you is that you always have the right FX program for your sound (switching state

™

AMP1

), no matter on which Preset this sound is situated at that time. Please also note that some MIDI devices switch, for example, Program 1 via the program change command 0. Via MIDI Mapping in your FX device, you have to then add a 1 to this Table, in order to activate the desired program.

You can use

AMP1

™

’s integrated footswitches in two different modes:

Standard or Personal Preset.

Standard-Mode: In Standard Mode, the left footswitch always switches between CLEAN and OVERDRIVE. The middle switch switches the BOOST, and the right switch the REVERB.

Personal Preset Mode with three Presets:

In addition, you can freely assign three of your most loved sound settings from CLEAN, VINTAGE, CLASSIC and MODERN – including BOOST and

REVERB – to your

AMP1

™

’s footswitches. The settings are stored, and will even remain available if you turn the power off. The Personal Preset Mode is exceptionally handy when you prefer to play with only three different sounds, or if you want to work without

REMOTE1

™

or an additional MIDI board.

The factory default setting is programmed as follows:

Clean /

Overdrive Boost

Recalling the Preset Mode:

Switch off your

AMP1

™

. Then switch it on again while pressing down the REVERB footswitch. Now your are in Preset-Mode. Previously saved settings are assigned to the three footswitches. Note that the footswitches’ LEDs now show the active sound functions, not which footswitch is active. To change back to Standard Mode, switch off your

AMP1

™

and then

switch it on again while pressing down the REVERB footswitch.

Programming your own Presets:

If you wish to change the default factory programmed sounds in Personal Preset Mode, ﬁrst select your desired sound, e.g. VINTAGE with BOOST and REVERB. Then hold down the REVERB footswitch for three seconds. The REVERB footswitch will start ﬂashing. Now, by pressing down on one of the three footswitches, you can store your sound to that footswitch. In this way, you can add two more sounds to the two remaining footswitches.

BONUS: Four Channels and switchable Boost

In addition, in Preset Mode you can also use a standard double footswitch to switch between CLEAN and OVERDRIVE, giving you an additional

CLEAN channel when the three internal footswitches are assigned with VINTAGE, CLASSIC and MODERN.

The second button on a double footswitch turns the BOOST off if it was originally selected in the Preset, or on if it wasn’t. In this way, I have all four Channels in my mini setup directly available!

Your favourite sounds on the footswitches

VINTAGE +

BOOST + REVERB

CLASSIC +

REVERB

MODERN +

REVERB

3939

MASTER

LEVEL

2ND MASTER

In connection with and control it within a 10dB range. This will let you use all your different sounds at two different volumes. Classically speaking, that would be rhythm and solo volumes!

For this, you activate the “MasterVolume” button on ton will become active. Then, using this knob, you can control the MasterVolume. Pressing the

“MasterVolume” button again will take you back to the ﬁrst MasterVolume.

REMOTE1

to save any of your sounds’ volumes in Preset Mode.

REMOTE1

™

can also save all of your settings to one of its nine Presets. This way, you have the possibility

™

, a 2nd Master Volume is available. You can activate this via a footswitch,

REMOTE1

™

, and the knob directly next to the but-

REMOTE1

™

EASYLOCK

For ﬁxing your the board, and two magnetic counterparts that you screw to your

™

AMP1

off your pedalboard at any time and easily transport it in your gigbag at those times when

you don’t want to lug around the whole shebang.

2nd Master and Accessories

40 414141

™

AMP1

to a pedalboard. The set consists of two magnets, which are screwed on to

™

AMP1

. In this way, you can take

AMP1

™

Pedalboard, Cabinet, etc.

Fixing EASYLOCK

™

via a woodscrew.

EASYLOCK

™

PowerSoak

In connection with

The PowerSoak was invented so that the sound of a fully saturated tube amp could be reduced to tolera- ble levels. The “lively” sound of a tube power amp set to maximum gain and overdrive is very popular. Most PowerSoaks use thick power resistors to convert the high power at the speaker output into heat. With classic PowerSoaks, the sound gets more deadened, the more you decrease the volume.

™

AMP1

’s PowerSoak works in a completely new, very sound neutral way, and without any power resi- stors. When PowerSoak is activated, the LEVEL control reduces the power amp’s power rating smoothly. For this, the standard routing has been divided into two ranges, the 100% sound neutral “STAGE”, and the somewhat milder sounding “HOME”. After the centre position on the LEVEL control is reached, the PowerSoak switches automatically from “HOME” to “STAGE”. In order to make the PowerSoak responsive, the power of the power amp at the Master must obviously be higher than the chosen power reduction of the power amp. That is: crank the Master and reduce it again with the PowerSoak!

REMOTE1

Power ranges with PowerSoak

™

, a 2-stage PowerSoak is available

™

AMP1

works in two ranges:

Home from 150m Watts to 2 Watts Stage from 7-100 Watts

’s PowerSoak

Your tone in the band

™

Academy of Tone

I want to use these pages to give you some tips on how to sound better – and more at home – in your band. In short, how you arrive at ‘your’ tone. A tone that sounds great in your living room at low volumes will generally not work in a band context. Why?

Well, it’s because many instruments are being used simultaneously in the band. Their frequencies all overlap, and only the distinctive parts of the sonic spectrum will come through.

Indeed, there are loads of different roles in bands, so the “frequency soup” differs depending on the group.

That said, most bands don’t just have bass and drums, but more common features that we have to take into consideration in order to master any situation.

For me, AC/DC is a great example of how a band’s sound works. With two guitars, bass, drums and vocals, you get the feeling that this is a band whose guitars always sound amazing.

Level

20 Hz

50 Hz

80 Hz

100 Hz

200 Hz

400 Hz

1 kHz

The reason for that is simple: the two guitars have plenty of space because all the other instruments are secondary to them and give them plenty of room, frequency-wise, in the mix. AC/DC’s sound was probably created and reﬁned through trial and error in the rehearsal room. So you can see that every great sounding group has developed their own recipe for their own band sound, and you’ll ﬁnd that in every genre – from jazz to metal.

Not enough Mids

Sounds that you’ve created at home (i.e. on your own, without fellow musicians) just don't cut the mustard in a band context. Tones that sounded fat, bold and aggressive when you were playing at home use exactly the same frequencies as the bass and drums, and so won’t stand out at all.

Tip:

Use less Bass. Turn the Mids up, and even decrease the Highs to experience a different sort of High with AMP1

2 kHz

4 kHz

™

’s CUSTOM CONTROL™.

8 kHz

16 kHz

Bass Drum

Bass

Guitar

Vocals

Cymbals

Frequency

20 kHz

You’ll still need to make sure these agree with the other instruments in the band, though. Hint: The classic EQs on guitar amps make the Mids disappear when you turn the Highs up, and add Mids when you decrease the Highs.

In contrast, the controls on AMP1

™

’s 3-band EQ do not inﬂuence each other. This makes searching for the best sound settings much easier. The EQ should be used for adjusting to speakers and space, and for setting the basic character of the channels, it is better to use the Custom Controls. Once you’ve found a great tone, you can remember the settings like a numerical code. My code is 5-5-5 (Bass-Middle-Treble).

Chiming Highs:

In a band context, clean tones often sound too thin. Because of the overlap of Mids from the other instruments, the only Highs we hear are piercing. Here, it can often help simply to turn up the Mids or backing off the Highs.

AMP1

™

’s CLEAN Channel, I designed a special Character Control that

For allows you to enjoy the stable Mids you know from classic guitar combo amps. To access it, just turn the

Clean Tone

29 CUSTOM CONTROL™ anticlockwise – depending on your speakers, of course, you might want to turn it up a bit more. The Middle control should not be at less than 5.

Thumping bass vs. smaller tones

It often happens that the bass and guitars are using similar frequencies. This can lead to rumbling and throbbing sounds. Test things out a bit, and try turning your Bass control up and down in a band context. If nothing’s rumbling, then you can play with plenty of bass. This’ll make the guitar sound bigger…

If your bassist allows it, try turning his 120Hz control down. Any rumbling should disappear completely, and you’ll have a super fat tone! To get a better feeling of frequencies and how they overlap, you can also try playing your guitar along to a backing track. You should set your amp up so that it sounds good with the backing track and cuts through the mix.

When the backing track stops, you might be surprised at how your dry tone sounds. It should be noted that the recorded signal – in comparison with a live band, whether onstage or in the practice room – will have been thinned out, and the frequencies processed, at the mixing stage. It’s worth experimenting with the tone controls on occasion, until you find your perfect sound for your situation (be that in the band or recording at home).

™

Academy of Tone

Mastering different sounds

Modern amps often let you save a range of different sounds that can then be accessed by footswitch. When the need arises, and with skilful use, this variety can really enrich a band’s sound. Right now, such a wealth of sounds is in demand with guitar players in cover bands, who need to be able to accurately reproduce the widest variety of music styles authentically. From personal experience, I can say that a small but perfectly functioning set of sounds is usually better than an elaborate tap dance on the pedalboard. On top of that, each sound requires a different playing style, and each of these has to be mastered ﬁrst. It takes a long time for a player to really get to know the varied playing styles, and to be “in control” of the numerous sounds and playing techniques. Because of that, you shouldn’t get too stressed – you want to focus on actually playing the guitar, and not on chasing as many sounds as possible.

While watching some live bands I’ve noticed how the guitars simply disappear when the rest of the band starts playing too, even though the players on stage can still hear their own sound loud and clear. In particular, the channel switch between Overdrive and Clean – which is something virtually every player uses – seems to cause problems. The reason for this is very simple: the frequency spectrum varies too much. While the Clean sound works, the Overdrive sound disappears – in this case, lots of the Mids are normally missing. If the Overdrive sounds full and fat, but clean tones are thin, then there’s too many Highs and, at the same time, too few Mids. Tones that sound amazing when the guitarist plays unaccompanied often sound thin and lack substance in a full-band context.

Stompboxes and overdrive pedals have never been more popular. The main reason for this is that they actually work! If you run a pedal through a clean or slightly overdriven amp, then the frequency settings you’ve chosen on the amp will remain largely and noticeably intact and audible. The main reason for this is that you don’t need to change the tonal settings on the amp at all. The sound changes from the pedal stay within the acceptable range, without changing the frequency spectrum of the amp.

™

AMP1

matched to each other in terms of frequency. With the effective 3-band EQ, the overall sound can be quickly and easily adapted to suit your amp cab and your band’s sound. The biggest advantage of this is when playing live, where you would otherwise have to adjust four tonal settings. Using the

CUSTOM CONTROL™, you can add nuanced timbres to each individual

sound. For me, I adjust all my other sounds. You can also achieve beautiful clean sounds through this channel by backing off the volume pot on your guitar. To make the sounds match perfectly, I ﬁrst select the VINTAGE Channel, and then switch to the CLEAN Channel. Then I use CUSTOM CONTROL™ Clean Tone to adjust the sounds to each other.

AMP1

When you turn the CLEAN TONE anticlockwise, you’ll get the typical “Californian” clean sounds for country and funk, with plenty of fullness in the Mids. This works particularly well with single coil pickups. If your guitar has humbuckers and you want pearly clean tones, use it in

’s four channels were constructed separately and were optimally

™

AMP1

™

CUSTOM CONTROL™ TONE:

’s Vintage Channel is the reference point to which

“split coil” mode or turn the CUSTOM CONTROL™ clockwise. With the Clean Tone turned all the way down, most humbuckers will deliver balanced, warm, rounded jazz tones.

If you turn the Classic Tone control anticlockwise, you’ll get classic sounds, while turning it clockwise will result in more modern tones. I would advise you to turn these down slightly if you’re using single coils, or up a bit if you’re using humbuckers. MODERN TONE is a totally extreme control, which will give you two completely different – and seemingly incompatible – tonal options. Turned down, you get creamy, warm, singing Classic Lead Sounds that don’t grate at all – in the style of Gary Moore or Eric Johnson. Turning it up gives you the exact opposite: the world of metal, featuring ultra-modern metal sounds with extreme amounts of bite and dry bass that’ll make classic rock fans’ hair stand on end, but will bring a massive smile to the faces of metalheads. Here, you must show your own colours!

4544

Home & Recording

™

Academy of Tone

Home

At home, what you want is as vibrant and full a sound as possible at living room levels. With

™

AMP1

, a single 1x12 cab will do the job (Nano CAB or FAT CAB). If you just love the punch and overtones of a howling tube amp, you’ll need a PowerSoak to tame the volume levels. Using the

REMOTE1

™

foot controller, you can operate AMP1TM’s integrated POWERSOAK within the home from anywhere between 150 mW and 2 Watts. If there’s no guitar speaker available, you can connect your headphones or home stereo to

™

AMP1

’s Recording Out port. Be careful with the

volume levels, though!

The Recording Out simulates the sound of a guitar speaker with a very elaborate 7-stage analogue ﬁlter circuit. In contrast to digital solutions, the signal is never converted, and therefore has a super quick response, with no latency.

Recording

There are many options available to you if you want to record with

AMP1

™

. The simplest is to use the Recording Out and, at the mixing stage, use a few effects to position the direct and dry guitar sound perfectly in the mix. This works ﬁne even without a connected loudspeaker. When you do use a loudspeaker – even if it’s only at room volume levels – the sound from the Recording Out will be that little bit more vibrant and punchy because of the “current feedback”. This current has an effect on the sound, since it allows the power amp and speaker to work together in tandem. With

REMOTE1

™

and the help of the PowerSoak, you can bring the amp into saturation while reducing the power. This lets you keep the volume level bearable and you will also get more overtones and punch from the amp for your recording.

Of course, you can also position a microphone in front of the loudspeaker for recording. In that case, I would record both the microphone signal and the direct Recording Out signal. In your recording software, after you have recorded you should make sure you compensate for the time lag differences from all signals, to make certain they are all in phase with one another. Later, when you get to the mixing stage, you can still make any necessary adjustments to the mix ratios.

Miking up – an art in itself

Anyone who has ever tried to record a guitar amp with a microphone will have had the following experience: through the microphone, the signal sounds completely different to what you hear when you’re stood directly in front of the amp. So, how do you mike up an amp correctly? Here are a few tips from my experience. Put the microphone really close to the speaker – this is also known as “close miking”. If you were to put the mic further away, then power and presence would be lacking. Sure, if you have a large recording space, you can record the amp with multiple mics. The different amounts of time it takes the sound to reach the mics can result in so-called

Sharp highs

Cold frequencies

Middle frequencies

Warm, muffled frequencies

Fig. 1: Sound zones

Fig. 2: Miking up a loudspeaker

phase shifts. The time differences, though, can be compensated for with modern recording software. Here, the craft of the sound engineer begins. In the studio, but also live, close miking – without any ambient sound – is almost always used. If a certain sound space is required, it is conveniently supplied by the mixing desk. In live situations, the picked up guitar sound is sent back through a PA system into sound spaces with sufﬁcient reﬂections. Therefore, in these cases, close miking is the right solution. The decisive factor is always the quality of the direct – close miked – signal.

Naturally, a miked guitar speaker offers up the most authentic solution. But the placement of the mic in front of the speaker is an art, because every centimetre you move it alters the sound radically, making a balanced sound very hard to ﬁnd. I’ve spent hours in front of a speaker, moving the mic around and ﬁnding the best position and angle, in order to ﬁnd and then mark my own “sweet spot”…

The sound of the recording is one thing, but the playing feel also has to be right. The sound also has to be big and powerful, otherwise you won’t ‘feel’ it.

Mixing

Regardless of whether you’re recording with a mic or through the direct Recording Out signal, a little post-production – with echo (even just a bit, so it’s almost inaudible), reverb, and minimal EQ and compression – will make your sound vibrant and natural, and will deliver professional sounding results.

There are three different types of reverb that help me with this: Plate, the good old plate reverb, which can be heard on early Van Halen albums. Their sound simulates larger rooms, like sports halls. During mixing, I use plate reverb to deﬁne the depth of the room in which the guitar is being played. The reverb time is between 1.5 and 3.5 seconds. Room – a small room can get the guitars to sound particularly wide. You can also use this effect in conjunction with short delays. Nowadays, I also like to use short convolution reverb IR Responses for this. In the 80s, the ‘Eventide’ Chorus was particularly fashionable.

The simulation of a real genuine space, in my opinion, is very well suited for giving a sound real height, as well as depth. It’s also worth trying out mixing the various miked and Recording Out signals. Trying out a mix with all of these effects is worth it – mainly because you need to check the different volumes against each other. Often I only use very little of two of these effects, but the third one very prominently. If I were only to use one of the effects, though, something would be missing. It’s also worth lightly EQing and compressing the guitar and reverb signals again. This is because every instrument needs its own space in the mix, and everything you take away somewhere gives other instruments more room. Here’s the motto: slim down everything as much as possible without losing character or making the sound lifeless.

46 47

Troubleshooting

What to do as standard when looking for the cause of a fault

Check if all cables (guitar, FX, and speaker cables) have been correctly plugged in and are in full working order. Take out all FX devices and test

™

AMP1

There is no power. Ensure you’ve connected the cable to the mains correctly.

AMP1

I still don’t hear anything

•TheVOLUMEcontrolontheguitaristurneddown.

•

•Allsoundcontrolsaresetto0.

•TheFXpathisactivated,andissettoSERIAL,buttheconnected

FX device is not working.

The CLEAN Channel sounds overdriven

Turn the Boost off, and turn down control 24. Turn the CLEAN Volume down to 3. From 5, standard guitar pickups will start to overdrive. Powerful pickups can fully saturate when the Clean Channel is only at 3. So don’t worry – if the Volume can’t be turned up much, this is deliberate! The best clean amps don’t have a Master. For this reason, turn up the Master! Now you can slowly turn up the CLEAN Volume up to the point that the sound starts to go into overdrive. After that, you can also

Faults and possible causes

reactivate the Boost and carefully turn up its control 24, until you get a sound you like.

ﬁrst without any peripheral devices.

™

won’t switch on

™

is correctly cabled up and switched on, but

™

AMP1

’s MASTER and/or VOLUME controls are turned down.

The footswitches don’t show my selected function

™

AMP1

is in Preset Mode 39. To return to Normal Mode, switch Channel button.

™

AMP1

on while holding down the

The amp is not reacting to external control com-

™

mands from the

•Is

REMOTE1

•Isthejackcableyou’reusinginfullworkingorder?

•WhentheswitchesontheRemotelightup,thereisaconnection.

REMOTE1

™

connected to the Remote port?

foot controller

When using FX units, the sound is undefined and “muddy”

The FX unit provides a direct signal that is mixed with the original signal in the parallel FX path. Depending on the FX you’re using, the phase length of the direct signal when mixed in parallel with to phase cancellation. This is particularly the case with digital FX devices, because by changing from analogue into digital and back, latency naturally occurs. This changes the phase length. To prevent this from happening, you should turn down the direct signal in the FX device. If that’s not possible, switch the FX path to SERIAL.

AMP1

™

can lead

Humming noises. This topic is very complex, and there are different causes!

•Theshieldingofthejackcableyouareusingisdamagedattheinputor

the effects path. Test this by exchanging the cable.

•Networkgroundingisnotworkingcorrectlyorismissingcompletely: 

exchange power cord, try a different power socket.

•Strongexternalmagneticeldsareaffectingthepickup,cableconnections

or even the ampliﬁer. Check whether situated near power transformers and/or electric motors, and make sure to keep a sufﬁcient distance from these.

AMP1

™

and connected cables are

“Bright humming noises” / “whirring”

(These noises often occur on stage near dimmer packs)

•Changeelectricalcircuit.Keepasufcientdistance.Switchthelighting

system to full power and leave it there.

•Groundloop:isthereaconnection(forexampleviaashieldedcable) 

between grounding via its own power plug?

If you do not have the skills or knowledge required, please consult an authorised service workshop or a service professional.

™

AMP1

and other equipment, which is also connected to network

Maintenance and Service

™

How can I extend the lifespan of my

•Avoidextremeshaking

•Alwaysmakesureventilationslotsareuncovered,foranundisturbed

air circulation

•Neverexpose

•Preventdustandmoisturefromenteringthedevice.

•Neverconnectdeviceswithexcessivelyhighoutputlevelsto

AMP1

™

’s input ports.

•No“doityourself”repairs!Thereplacementofinternalfusesalsoshould

be done by an experienced technician.

•No“doityourself”replacingoftubes!Thetubesusedin

characterised by exemplary build quality and an extremely long lifespan. It’s extremely unlikely that you’ll have change tubes as would be the case with typical tube amps.

AMP1

™

to extreme heat or cold.

AMP1

™

are

Important Safety Instructions! Please read before connecting!

This product has been built in accordance with IEC 60065 and left the factory in safe working order. In order to maintain this condition and ensure safe operation, the user must follow the advice and warnings in the operating manual.

The device conforms to Protection Class 1 (protectively earthed). If this product is used in vehicles, ships or aircraft or at altitudes exceeding 2000m above sea level, make sure to follow the appropriate safety regulations, which may exceed the IEC 60065 requirements.

WARNING: To avoid the risk of ﬁre and electric shock, do not expose the device to moisture or rain. Do not open the housing – no user serviceable parts are contained inside. Must only be serviced by qualiﬁed service personnel.

This symbol, wherever it appears, alerts you to the presence of dangerous, uninsulated dangerous voltage inside the enclosure – voltage that may be sufﬁcient to constitute a risk of electric shock.

This symbol, wherever it appears, alerts you to the presence of externally accessible dangerous voltage. External wiring connected to any terminal marked with this symbol must be a pre-assembled cable

Safety Instructions

complying with the manufacturers’ recommendations, or must be wiring installed by qualiﬁed personnel only.

This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.

This symbol, wherever it appears, alerts you: Take care! Hot surface! To prevent burns, do not touch.

The CE mark is a conformity marking that conﬁrms compliance with the valid EMC directive (2004/108/EG). The standards EN 61000-6-1, EN 61000-6-3 and the Low Voltage Directive

(2006/95/EG) with standard EN 60335-1 are also complied with.

This device complies with directive (2002/96/EG) WEEE. Appliance must not be disposed of with household waste, but must be recycled at the appropriate collection points for electrical and electronic

equipment/waste.

•Pleasereadtheseinstructions.

•Keeptheseinstructions.

•Thespecicationplateandtechnicaldatacanbefoundontheunderside

of the device.

•Followallwarningsmarkedontheproductandfollowallinstructionsin

this manual.

•Donotusethisproductnearwater.Donotplacetheproductnearwater,

bathtubs, washbasins, kitchen sinks, wet areas, swimming pools or damp rooms.

•Donotplaceobjectsthatcontainliquidontheproduct(suchasvases,

glasses, bottles, etc.)

•Cleanonlywithadrycloth.

•Donotremoveanycoversorsectionsofthehousing.

•Toavoidtheriskofelectricshock,thegroundingofthisproductmust

always be maintained. Use only the supplied power cable, and always maintain the function of the lateral grounded contacts of the mains connection. Do not attempt to bypass the safety purpose of the grounded plug.

•Protectthepowercablefrombeingwalkedonorsqueezed,particularly

near plugs, electrical sockets, and the point where they exit the device! Power supply cables should always be handled with care. Check power cables for cuts and signs of wear and tear at regular intervals, especially around the plug and the point where the cable exits the device.

•Neveruseadamagedpowercable.

•Unplugthedeviceduringthunderstormsorwhenunusedforlongperiods

of time.

•Referallservicingtoqualiedservicepersonnel.Servicingisrequired 

when the unit has been damaged in any way, such as:

- When the power cable or plug is damaged or frayed.

- If liquid has been spilled or objects have fallen into the device.

- If the device has been exposed to rain or moisture.

- If the device does not operate normally when the operating instructions are followed.

- If the device has been dropped or the housing has been damaged.

•Donotconnectexternalspeakerstothisproductwithanimpedance 

lower than the minimum impedance given on the product or in this manual. Use only cables with an adequate cross section in accordance with the local safety regulations.

•Neverexposethedevicetodirectsunlight.

•Donotinstallthedevicenearheatsourcessuchasradiators,heatex 

changers, ovens or other devices that produce heat.

•Donotblocktheventilationopenings.Installthedeviceinaccordance

with manufacturer’s instructions. The device must not be incorporated into a built-in installation, for example a rack, unless proper ventilation is provided.

•Allowthedevicetorestforatleastonehourafterithasbeenmovedfrom

cold to warm surroundings. Risk of condensation water inside the unit.

•Neverusethedevicenearopenre.

•Thedevicemustbeplacedatleast20cmawayfromwalls,mustnotbe

covered, and it must be ensured that at least 50cm of free air space is left above the device.

CAUTION: When in Lead mode, extremely high gain and volume levels can cause strong feedback. Avoid this at all costs, as this may cause hearing loss, and speakers may be damaged! For this reason, when operating at higher volumes, reduce the Gain, Treble and Presence settings!

•Thedevicemayonlybeusedwithstands,tripods,tablesorbrackets

speciﬁed by the manufacturer or sold with the product.

•Useonlyaccessoriesrecommendedbythemanufacturer.Thisappliestoall

kinds of accessories, for example protective covers, transport bags, stands, wall or ceiling mounting equipment. When attaching any kind of accessories to the product, always follow the instructions provided by the manufacturer. Only use the ﬁxing points on the product as speciﬁed by the manufacturer.

•ThedeviceisNOTsuitabletobeusedbyanypersonorindividuals 

(including children) with reduced physical, sensory or mental ability, or by individuals with insufﬁcient experience and/or knowledge to operate such an appliance. Children under four years of age must be kept away from the device at all times.

•Neverpushobjectsofanykindintothedevicethroughhousingslotsas

they might touch dangerous voltage points or cause short outs. This could result in the risk of ﬁre or electric shock.

•Thedeviceiscapableofproducingsoundpressurelevelsinexcessof 

90dB. This could lead to permanent hearing damage! Exposure to extremely high noise levels may cause permanent hearing loss. If continuously exposed to such high volume levels, hearing protection should be worn.

•Themanufactureronlyguaranteesthesafety,reliabilityandperformance

of this device under the following conditions:

- Installation, extension, re-adjustment, modiﬁcations or repairs are carried out by the manufacturer or by authorised personnel.

- The electrical installation of the relevant part complies with the requirements of IEC (ANSI) speciﬁcations.

- The device is used in accordance with the operating instructions.

- The electrical safety of the device is regularly checked and tested by a qualiﬁed technician.

Technical Data:

Input: unbalanced jack Sensitivity: OV-15V P2P maximum Input impedance: 2 M Ω Power output: about 100 watts

Speaker connections

Input jacks: 1 x 8 Ω, 1 x 16 Ω

FX Send/Return: unbalanced jack

FX Send-Output and FX-Return Input levels dependent on switching LOW: -10dBU +/-1dB or 0.7V P2P HI: +4dBU +/-1dB or 3.46V P2P FX Send-Output impedance: < 1.3kΩ FX Return-Input impedance: > 18kΩ

Mains voltage range: 100-240V +/- 10 % 50-60 Hz Power consumption: max. 150 watts Fuses: internal: 3.15 SB

Logic MIDI control system:

STM 8 S

System interfaces:

Upgradeable with external programming device BluGuitar

Dimensions:

Width: 245 mm Height: 68 mm Depth: 192 mm

Weight: 1.2 kg

speciﬁc, anachronous data protocol.

Safety Instructions

Ambient operating temperature range:

0 °C to + 35 °C

We reserve the right to perform technical modiﬁcations without prior notice.

BluGuitar GmbH

Universität des Saarlandes Campus Starterzentrum, Geb. A1 1 D-66123 Saarbrücken

Technical Data

Phone: +49 (0)681 3022054 E-Mail: mail@bluguitar.com www.bluguitar.com

AMP

MASTER

LEVEL

VOLUME GAIN

MASTER

LEVEL

VOLUME GAIN

AMP

MIDI

REMOTE

LOOPER KIT

FEATURES

100 WATT POWER, CLEAN, VINTAGE, CLASSIC, MODERN, BOOST, REVERB,

™

CUSTOM CONTROL

access to all AMP1 switching functions by MIDI Program Change

2ND MASTERVOLUME, POWERSOAK, MIDI OUT

, FX-LOOP (serial - parallel), PHONES, RECORDING OUT

MIDI IN-ADAPTER for AMP1

programmable GAIN for all 4 Channels

36 Presets in 4 Banks à 9 Sounds

4 TRUE-BYPASS-RELAIS-LOOPS

SWITCHING

CLEAN - OVERDRIVE, BOOST, REVERB

Your 3 favourite sounds as Presets on internal Footswitches

CLEAN, VINTAGE, CLASSIC, MODERN, BOOST, REVERB, FX-LOOP,

128 PRESETS*,

POWERSOAK LEVEL and GAIN for all 4 Channels by MIDI Control Change

2ND MASTER

* REQUIRES STANDARD MIDI PEDAL ** REQUIRES MIDI PEDAL WITH CONTROLER

CLEAN, VINTAGE, CLASSIC, MODERN, BOOST,

REVERB, FX-LOOP , 2ND-MASTER, POWERSOAK

PRESETMODE: 4 BANKS à 9 PROGAMMABLE PRESETS

Programmable with REMOTE1

, POWERSOAK**, access to

2ND MASTER,

HOME & STUDIO

CLUB STAGE

OPEN AIR

ARENA

PERFECT

54 55

FOR

Recording Out

NANOCAB

FATCAB

2x12 Box

4x12 Box

BluGuitar.com

1 2 3 4

BluGuitar AMP1 User manual

Specifications and Main Features

Frequently Asked Questions

User Manual