User Manual.pdf

TheOfficialFender®
Software Amp & Fx Suite
forGuitarandBass
The World’s Most Influential
Guitar and Bass Tones
Right on Your Desktop
User Manual

AmpliTube Fender
®
1
PLEASE NOTE
AmpliTube®, StompIO™, StealthPedal™, SpeedTrainer™, DSM™ are trade-
marks or registered trademarks property of IK Multimedia Production. All other
product names and trademarks are the property of their respective owners,
which are in no way associated or affiliated with IK Multimedia.
FENDER™, STRATOCASTER™, and the distinctive headstock and body designs
commonly found on the STRATOCASTER guitar, and all FENDER® amplifiers,
logos, and trade dress are the trademarks of FMIC and used herein under
license. All rights reserved.

2
AmpliTube Fender
®

I - Contents 3
AmpliTube Fender
®
Table of Contents
I Contents 3
II Interface 8
III License Agreement 10
IV AmpliTube Fender® versions 13
Chapter 1 AmpliTube Fender® Overview 15
1.1 Introduction 15
1.2 DSM Technology 16
1.3 Block Diagram 17
1.4 Plug-in Architecture 17
1.5 Using the Interface 20
Chapter 2 Getting started with AmpliTube Fender® 23
2.1 AmpliTube Fender® - Standalone Mode 23
2.1.1 Launch AmpliTube Fender® Standalone 23
2.1.2 Audio Configuration 23
2.1.3 SpeedTrainer 26
2.1.4 Loop Trimming 27
2.1.5 Waveform Display 28
2.1.6 Tempo and Pitch Adjustment 28
2.1.7 Values Indication 29
2.1.8 Peak Meter 29
2.1.9 Metronome 29
2.1.10 Status Bar 30
2.2 AmpliTube Fender® - Plug-in Mode 31
2.2.1 Starting AmpliTube Fender® in your host application 31
2.2.2 Pro Tools 31
2.2.3 Digital Performer 31
2.2.4 Logic 31
2.2.5 Cubase 32
2.2.6 Nuendo 32
2.2.7 Live 32
2.2.8 GarageBand 32
2.2.9 Sonar 33
2.2.10 Acid 33
2.2.11 Tracktion 33
2.2.12 RiffWorks Standard 33
2.2.13 Adobe Audition 33
2.2.14 MainStage 34
2.3 Hands on examples 34
2.3.1 Selecting Amps 34
2.3.2 Choosing the Cabinet 35
2.3.3 Adding Effects 35

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AmpliTube Fender
®
I - Contents
Chapter 3 Input/Output Interface 37
3.1 I/O Interface 37
3.2 Connecting Your Guitar and Adjusting Your Levels 37
3.3 Selected Module Pan and Volume 38
3.4 Phase 38
3.5 Mix 39
3.6 Using Noise Gate 39
3.7 Tune 40
3.8 Selected Parameter Display 40
3.9 Preferences 40
3.10 Information (“I”) 42
3.11 Lock 43
Chapter 4 Module Selector 45
4.1 Dual Signal Paths 45
4.2 Selecting Modules 46
Chapter 5 Preset Manager 47
5.1 Loading Presets 47
5.2 Other Controls 47
5.3 Saving a Preset 49
Chapter 6 TUNER Module 53
Chapter 7 STOMP Module (Stomp Effects) 55
7.1 Controls 55
7.2 Stomp Models 58
7.2.1 Fender® Blender™ 58
7.2.2 Fender® Phaser 59
7.2.3 Fuzz Wah 60
7.2.4 Fender® ’63 Reverb 61
7.2.5 Tape Echo 62
7.2.6 Volume 63
7.2.7 Stomp Models (Table) 64
Chapter 8 AMP Module (Amp Head) 65
8.1 Introduction 65
8.2 Model Components 66
8.3 Amplifier Models 67
8.3.1 ’59 Bassman® 67
8.3.2 ’65 Twin Reverb® 68
8.3.3 ’57 Deluxe™ 69
8.3.4 ’65 Deluxe Reverb® 70
8.3.5 ’64 Vibroverb™ Custom 71
8.3.6 Super-Sonic™ 72
8.3.7 Vibro-King® 73
8.3.8 Pro Junior™ 74
8.3.9 MH-500 Metalhead™ 75
8.3.10 Champion™ 600 76
8.3.11 Bassman® 300 77

I - Contents 5
AmpliTube Fender
®
8.3.12 TBP-1 78
8.3.13 Amp Models (Table) 79
Chapter 9 CAB Module (Cabinets + Microphones) 81
9.1 Introduction 81
9.2 SPEAKER MODEL 81
9.3 Speaker Cabinet Models 82
9.3.1 ’59 Bassman® 83
9.3.2 ’65 Twin Reverb® 83
9.3.3 ’57 Deluxe™ 84
9.3.4 ’65 Deluxe Reverb® 84
9.3.5 ’64 Vibroverb™ 85
9.3.6 Super-Sonic™ 85
9.3.7 Vibro-King® 86
9.3.8 Pro Junior™ 86
9.3.9 MH-412SL 87
9.3.10 Champion™ 600 87
9.3.11 Vibratone 88
9.3.12 Bass 810 Pro 89
9.3.13 Speaker Cabinet Models (Table) 90
9.4 MIC MODEL 91
9.5 Microphone Models 94
9.5.1 Condenser 87 94
9.5.4 Dynamic 57 96
9.5.5 Dynamic 421 96
9.5.6 Dynamic 441 97
9.5.7 Ribbon 160 97
9.5.8 MD1-b 98
9.5.9 Velo-8 98
9.5.10 Microphone Models (Table) 99
Chapter 10 RACK FX Module (Post Effects) 101
10.1 Introduction 101
10.2 Rack FX Models 102
10.2.1 Pitch Shift 102
10.2.2 Tape Echo 102
10.2.3 Triangle Chorus 103
10.2.4 Sine Flange 103
10.2.5 Wah 104
10.2.6 Compressor 104
10.2.7 Rack FX Models (Table) 104
Chapter 11 AmpliTube Fender® Models 105
Chapter 12 Automation 109
12.1 Left Pane 109
12.2 Right Panel 110
12.3 Assignment procedure 111

I - Contents
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AmpliTube Fender
®
12.4 Assignment Save and Recall 115
Chapter 13 Troubleshooting 117
Chapter 14 Support 121
14.1 User Area 121

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AmpliTube Fender
®
I - Contents

II - Interface
8
AmpliTube Fender
®
Module Interface. Choose from
over 38 Fender® guitar bass gear
models. (45 total gear models)
Input, Output Interface.
Hundreds of different guitar amp
and effects presets ready to go.
Includes SpeedTrainer™ for playing
along with your favorite recordings

II - Interface 9
AmpliTube Fender
®
Five Modules: Tuner, Stomp Pedalboard, Amp-Heads,
Mic’d Cabinets, and Rack Effects.
Two Guitar Rigs. Experience the
flexible routing system provided by
Dual Rig technology.
Stand-alone and VST/AU/RTAS
plug-in for all popular DAWs

III - License Agreement
10
AmpliTube Fender
®
License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and contains
warranty and liability disclaimers.
By breaking the seal on the media envelope, you are confirming to have taken notice of terms and conditions of this agreement and you acknowledge your
acceptance of the software as well as your acceptance of the terms of this agreement. If you do not wish to do so, do not break the seal. Instead, promptly
return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.
1) DEFINITIONS
“EULA” means this end user license agreement
“IK Multimedia Product” means the software program included in the enclosed package, and all related updates supplied by IK Multimedia.
“IK Multimedia Product” means the software program and hardware (if any) included in the enclosed package, the related documentation, models, multi-
media content (such as animation, sound and graphics) and all related updates supplied by IK Multimedia.
“Not for resale (NFR) Version” means a version of IK Multimedia Product, so identified, is intended for review and evaluation purposes, only.
2) LICENSE
The “IK Multimedia Product” is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties.
The “IK Multimedia Product” is licensed, not sold. This EULA grants you the rights as specified here below. All other actions and means of usage are
reserved to the written permission of the right holder IK Multimedia Production Srl:
Applications Software. The “IK Multimedia Product” may be used only by you. You may install and use the “IK Multimedia Product”, or any prior version
thereof for the same operating system, on up to three (3) computers, provided that (a) each computer is owned by (or leased to) and under the exclusive
control of the licensee; (b) the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with IK Multimedia
software installed shall not be sold, rented, leased, loaned or otherwise be removed from the licensee’s possession without first removing (uninstalling)
the licensed software, except as provided in Paragraph 4 (below) pertaining to “Software Transfer”.
Storage/Network use. You may also store or install a copy of the “IK Multimedia Product” on a storage device, such as a network server, used only to install
or run the “IK Multimedia Product” on your other computers over an internal network; however, you must acquire and dedicate a distinct license for each
user of the “IK Multimedia Product” from the storage device. Any given license for the “IK Multimedia Product” may not be shared or used concurrently or
otherwise on different computers or by different developers in a given organization.
3) AUTHORIZATION CODE
The “IK Multimedia Product” only functions when you are in the possession of an authorization code. You will receive an authorization code upon complet-
ing the authorization code request procedure. Once your authorization code is activated, you may use the product.
You agree to follow the authorization code request procedure and will provide true, accurate and complete information about yourself. If you provide any
information that is untrue, inaccurate, not correct or incomplete, or IK Multimedia has reasonable grounds to suspect that such information is untrue,
inaccurate, not correct or incomplete, IK Multimedia has the right to suspend or to revoke the license.
The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.
4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS
Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer, decompile, or disassemble the “IK Multimedia
Product”, except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation of components. The “IK
Multimedia Product” is licensed as a single product. Its component parts may not be separated for use on more than one computer.
Not for Resale Version. If the “IK Multimedia Product” is labeled “Not for Resale” or “NFR” or “Evaluation Copy”, then, notwithstanding other sections of
this EULA, you may not sell, or otherwise transfer the “IK Multimedia Product”.
Rental. You may not rent, lease, or lend the “IK Multimedia Product” to any party.
Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any IK Multimedia product, as licensed to you
under this agreement without prior written consent of the rights owner. The carrier on which the IK Multimedia product has been distributed may be
transferred or otherwise made available to any third party only with the prior written consent of the rights owner and provided that (a) the original media

III - License Agreement 11
AmpliTube Fender
®
and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media.
5) UPGRADES
If the “IK Multimedia Product” is labeled or otherwise identified by IK Multimedia as an “upgrade”, you must be properly licensed to use a product identi-
fied by IK Multimedia as being eligible for the upgrade in order to use the “IK Multimedia Product”.
An “IK Multimedia Product” labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or supplements the product that formed the ba-
sis for your eligibility for such upgrade. You may use the resulting upgraded product only in accordance with the terms of this EULA. If the “IK Multimedia
Product” is an upgrade of a component of a package of software programs that you licensed as a single product, the “IK Multimedia Product” may be used
and transferred only as part of that single product package and may not be separated for use on more than one computer.
6) DUAL-MEDIA SOFTWARE
You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another
user, except as part of the permanent transfer (as provided above) of the “IK Multimedia Product”.
7) LIMITED WARRANTY
IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original purchase,
that under normal use, the software program and the user documentation are free from defects that will materially interfere with the operation of the
program as described in the enclosed user documentation.
8) WARRANTY CLAIMS
To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, your
name, your return address and a statement of the defect, or send the CD(s) to us at the below address within ninety (90) days of purchase. Include a copy of
the dated purchase receipt, your name, your return address and a statement of the defect. IK Multimedia or its authorized dealer will use reasonable com-
mercial efforts to repair or replace the product and return it to you (postage prepaid) or issue to you a credit equal to the purchase price, at its option.
9) LIMITATIONS ON WARRANTY
IK Multimedia warrants only that the program will perform as described in the user documentation. No other advertising, description or representation,
whether made by a IK Multimedia dealer, distributor, agent or employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.
EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DIS-
CLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE
LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED.
IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR
AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE
LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER
CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT.
10) CHOICE OF LAW
You agree that any and all claims, suits or other disputes arising from your use of the software shall be determined in accordance with the laws of Italy, in
the event IK Multimedia, is made a party thereto. You agree to submit to the jurisdiction of the court in Modena, Italy for all actions, whether in contract or
in tort, arising from your use or purchase of the software.
11) GENERAL
This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contempora-
neous agreements or understandings, whether oral or written. All questions concerning this Agreement shall be directed to:
IK Multimedia Production Srl
Via dell’Industria 46
41100 Modena
Italy
© 2009 IK Multimedia. All rights reserved.

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AmpliTube Fender
®

IV - Versions 13
AmpliTube Fender
®
AmpliTube Fender® versions
AmpliTube Fender® comes in 3 different versions:
AmpliTube Fender®
•
AmpliTube Fender® SE (Studio Edition)
•
AmpliTube Fender® LE (Light Edition)
•
The difference between each version is in the number of models included.
AmpliTube Fender® version Models included
AmpliTube Fender®
12 Amplifier models
12 Cabinet models
6 Stomp Effect models
6 Rack FX models
9 Microphone models
AmpliTube Fender® SE
4 Amplifier models
5 Cabinet models
2 Stomp Effect models
2 Rack FX models
2 Microphone models
AmpliTube Fender® LE
3 Amplifier models
4 Cabinet models
2 Microphone models
While consulting this manual, please refer to the specific models included in
the AmpliTube Fender® version you are using.

14
AmpliTube Fender
®

1 - Overview 15
AmpliTube Fender
®
Chapter 1 AmpliTube Fender® Overview
1.1 Introduction
AmpliTube Fender® is the first and only guitar amp and effects model-
ing software authorized and created in cooperation with Fender Musical
Instruments Corporation. It comes stocked with 6 decades’ worth of legend-
ary tones, offering a collection of Amps, Cabs, Stomps and Rack Effects span-
ning the entire history of Fender®.
AmpliTube Fender® is the first software amplification system to truly model
the amps of the Fender® collection with the respect and accuracy they
deserve. AmpliTube Fender® includes models of iconic Fender® stomp
boxes, amp heads cabinets, from the bluesey Bassman® all the way up
to the brutal Metalhead™. It includes 6 stomp boxes, 12 amp models, 12
cabinets and 8 mics, 6 Rack effects and more.
AmpliTube Fender® offers the same 2 series/parallel rig structure of the
award-winning AmpliTube 2 and has 5 separate modules: tuner, configu-
rable stomp pedal board, amp head, cabinet +mic, and rack effects, ensuring
a complete and flexible rig configuration that can be used not only to recre-
ate the authentic Fender® tones but also to expand your sonic spectrum and
enrich any artistic project that you are working on.
AmpliTube Fender® can be controlled live with the StompIO and
StealthPedal, or traditional MIDI controller, for the ultimate software stage
rig using the AmpliTube X-GEAR shell-host.
Combining AmpliTube Fender® with other “Powered by AmpliTube” prod-
ucts inside AmpliTube X-GEAR and using StompIO/StealthPedal allows you
to build your own custom and expandable software-based rig with the wid-
est choice of superior modeled amps and effects.
Get the most legendary collection of guitar tones right on your desktop!
AmpliTube Fender® main features:
AmpliTube Fender® works as a standalone application as well as a
•
plug-in in Windows XP/Vista and Mac OS X (Universal Binary).
Supported Plug-in formats: Audio Units, VST, RTAS (Mac OS X) - VST,
•
RTAS (Windows XP/Vista).
Ultra accurate analog modeling with DSM™ technology, “Powered
•
by AmpliTube”.
Highest supported Sampling Rate: 96 kHz.
•
6 analog modeled stomps: Fuzz Wah, Blender™, Volume, Phaser,
•
Tape Echo and ’63 Reverb, plus great routing flexibility.
High-precision Tuner.
•
12 Amps modeled: ’59 Bassman® LTD, ’65 Twin Reverb®, ’57
•
Deluxe™, ’65 Deluxe Reverb®, ’64 Vibroverb™ Custom, Super-

1 - Overview
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AmpliTube Fender
®
Sonic™, Vibro-King®, Pro Junior™, Metalhead™, Champion™ 600,
TBP-1 Pre-amp, and Bassman® 300.
13 Speaker emulations: ’59 Bassman® LTD 4x10”, ’65 Twin Reverb®
•
2x12”, ’57 Deluxe™ 1x12”, ’65 Deluxe Reverb® 1x12”, ’64 Vibroverb™
Custom 1x15”,, Super-Sonic™ 1x12”, Vibro-King® 3x10”, Pro Junior™
1x10”, MH-412SL™ 4x12, Champion 600™ 1x6”, Vibratone 1x10” and
810 PRO 8x10”.
144 Amp +Cabinet combinations (including no speaker).
•
9 Microphone models: Condenser 87, Condenser 84, Condenser 414,
•
Dynamic 57, Dynamic 421, Dynamic 441, Ribbon 160, Groove Tubes®
MD1-b FET and Groove Tubes® Velo-8
6 Rack Effects: Pitch Shift, Tape Echo, Triangle Chorus, Sine Flange,
•
Wah and Compressor
Host sequencer BPM synchronization.
•
SpeedTrainer™: imports any WAV, AIFF, MP3, and WMA audio file
•
(Standalone version).
Assignable DAW automation.
•
Metronome (Standalone version).
•
1.2 DSM Technology
DSM™ is a new and exclusive IK Multimedia technology used in the emula-
tion of analog circuitry. DSM™ was designed to increase the response real-
ism and playability of critical analog circuit models. Musicians always felt
digital emulations of high quality analog gear (such as guitar amplifiers) to
be good but not completely satisfying because of the lack of certain “play-
ability” and “musicality” qualities that only the real thing provides. DSM™
has been designed to improve this aspect.
DSM™ gives special and unique results when applied to circuit emulations
where the non-linearity is the main characteristic of the processor, such as in
distortion, fuzz, overdrive stomp boxes, tube guitar preamplifiers and power
amps, and analog compressors and limiters. The DSM™ working principle
is based on a new approach never applied to DSP “analog modeling” until
now.
Analog circuits, especially Tube and Class-A discrete ones, are not dynami-
cally-linear, but have been modeled this way by today’s technology. An ana-
log circuit’s character is never constantly shaped but varies depending on
lots of parameters, first and foremost the strength, frequency, and harmonic
content of the incoming signal.
DSM™ takes the next step. It continuously adapts the “shape” of the analog
circuit instead of applying a static snapshot. By using more complex math-
ematical functions, a more articulated and musical response is possible,
making DSM™ ideal for modeling tube preamps and tube power amps.
Traditional emulations are forced to a trade off between, for example, those
kind of distortions that appear only when a 2x 6L6 tube power amplifier is
driven to its limit and the cleaner sound it has when it’s driven normally.

1 - Overview 17
AmpliTube Fender
®
DSM™ delivers a dynamic response that continuously morphs and “follows”
the incoming signal; in other words, that follows the music.
This leads to an accuracy that cannot be found in any other modeling hardware
or software today, respecting all the signal nuances exactly like a real analog
circuit would do with a grade of realism and musicality never achieved before.
1.3 Block Diagram
figure 1.1
1.4 Plug-in Architecture
AmpliTube Fender® is set up as a traditional guitar rig. This ensures pre-
dictable results and real world flexibility. While it is simple to comprehend
and navigate, the user interface allows for complex guitar rigs and advanced
signal routing.
The interface is divided into 5 modules:
1) TUNER
figure 1.2

1 - Overview
18
AmpliTube Fender
®
2) STOMP effects
figure 1.3
3) AMP
figure 1.4

1 - Overview 19
AmpliTube Fender
®
4) CAB
figure 1.5
5) RACK effects
figure 1.6

1 - Overview
20
AmpliTube Fender
®
This approach makes it easy to move between the different sections of the gui-
tar amp rig and provides easy access to module specific controls and features.
AmpliTube Fender® is divided into two simultaneous guitar rigs (figure 1.7).
figure 1.7
This means there are two independent stomp effects, amps, cabinet, and rack
effect signal chains. This lets you create a guitar rig with two independent
amplifier setups, use the two rigs in an extensive single guitar amp setup, or a
combination of the two using the flexible routing system provided (figure 1.8).
AmpliTube Fender® offers eight routing configurations presets, providing
easy access to sophisticated effects and amp patching. For example;
all stomp effects and rack effects into one amp rig.
1.
two separate amp setups.
2.
all stomp effects and rack effects into one amp rig with both cabinets.
3.
all stomp effects and rack effects into both amp rigs.
4.
two separate stomp effects setups into one amp with two cabinet setups.
5.
two separate amp setups with separate stomps into two independent
6.
rack effects.
two separate stomp effects setups into two separate amp rigs into all the
7.
rack effects.
two separate stomp effects setups into one amp setup with all the rack
8.
effects.
One of the easiest ways to get started with AmpliTube Fender® is to audi-
tion the included collection of presets. These presets have been skillfully
programmed by the AmpliTube Fender® designers to accurately reproduce
each particular tone.
1.5 Using the Interface
AmpliTube Fender® interface has four basic sections:
1) Preset Manager (figure 1.9)
figure 1.9
figure 1.8

1 - Overview 21
AmpliTube Fender
®
2) Module Selector (figure 1.10)
figure 1.10
3) Module Interface (figure 1.11)
figure 1.11
4) Input/Output interface (figure 1.12)
figure 1.12
PRESET MANAGER: loads and saves AmpliTube Fender® presets.
MODULE SELECTOR: is the main navigation menu for AmpliTube Fender®. It
displays both guitar rigs, selects the modules, bypasses and mutes modules,
and allows you to control the signal path of the guitar rigs.
MODULE INTERFACE: this is the main editing interface. This is where most
of the editing takes place. This interface shows the different modules and all
their related controls.
INPUT/OUTPUT INTERFACE: adjusts input and output gain, sets the noise gate,
adjusts the pan, volume, phase and mix knob values for the current AmpliTube
Fender® preset, and displays the preferences and system information.

1 - Overview
22
AmpliTube Fender
®
The SpeedTrainer (figure 1.13) as well as the bottom interface area that
displays the SpeedTrainer import process status message (e.g., Ready), the
Input gain value, and the CPU load display (figure 1.14), are only available
when AmpliTube Fender® Standalone is used.
figure 1.13
figure 1.14

2 - Getting started 23
AmpliTube Fender
®
Chapter 2 Getting started with AmpliTube Fender®
2.1 AmpliTube Fender® - Standalone Mode
AmpliTube Fender® Standalone version can be used to play and practice
live using your computer as a next generation modeling effect processor.
It allows you to run the program without the need of a host sequencer
application.
2.1.1 Launch AmpliTube Fender® Standalone
Once your hardware is properly set-up you can launch AmpliTube
Fender®.
To launch AmpliTube Fender® Standalone go to:
Windows: StartProgramsAmpliTube Fender® icon
Macintosh: Application folder/AmpliTube Fender® icon
2.1.2 Audio Configuration
Windows
figure 2.1
Click on Settings Audio MIDI Setup.

2 - Getting started
24
AmpliTube Fender
®
Select ASIO or DirectX from the top menu. ASIO is the default option because
it gives the best performance.
In Inputs, your audio interface driver will be automatically selected. If not,
manually choose your audio interface driver.
In Channel 1 (below the Inputs menu), select the audio interface input into
which your guitar is plugged. For example, if the guitar is plugged into the
first audio interface input, you should select Channel 1. However, if the
guitar is plugged into the second audio interface input, you should select
Channel 2, and so on.
NOTE: sometimes, Channel 1 is identified with L (Left channel) and Channel
2 with R (Right channel).
In Outputs, select your audio interface output driver. The Input and Output
driver should be the same.
Below the Outputs menu, select your desired output channels. For example,
(Channel 1, Output 1), (Channel 2, Output 2).
Sample Rate: choose your desired sample rate (AmpliTube Fender® will
support sample frequencies up to 96 kHz).
Buffer Size: to change the buffer size of an ASIO device, click the PANEL but-
ton located on the right of the buffer size selector, and it will give you access
to the Control Panel of the audio interface you are using.
Adjusting the buffer settings will change the audio signal latency. In gen-
eral, smaller buffer sizes deliver a faster response, but extremely small
values can overload your computer, resulting in intermittent audio clicks and
unreliable system performance. Usually, values between 128 and 256 give
the best performance / reliability compromise.

AmpliTube Fender
®
Macintosh
figure 2.2
Select the audio interface you are going to use on the Input Audio Interface
and Output Audio Interface menus.
Your Channel selection has to match the audio interface channel into which
your guitar is plugged. For example, if the guitar is plugged into the first
audio interface input, you should select Channel 1, if the guitar is plugged
into the second audio interface input, you should select Channel 2, and so
on.
The Output audio Interface will typically be the same as the Input audio
Interface. Please select the output for AmpliTube Fender® under left and
right channel. Next, select a low Buffer Size value, and a Sampling Frequency
(remember that this will be limited by your audio interface capabilities).
Sample Rate: choose your desired sample rate. (AmpliTube Fender® will
support sample frequencies up to 96 kHz).
Buffer Size: adjusting the buffer settings will change the audio signal
latency. In fact, the amount of latency depends on several factors such as
computer speed and sound card performance. Decreasing the buffer size
value will reduce the amount of signal delay. So, the idea is to get the latency
as low as possible without getting any audio artifacts. As a starting point,
a 256 buffer size value should work fine. However, considering that each
setup reacts in a different way, please experiment with your settings until
you get the best result.

2 - Getting started
26
AmpliTube Fender
®
2.1.3 SpeedTrainer
SpeedTrainer™ is useful to play along with songs, to practice your solos or
rhythmicguitarsorjusttoenjoymakingmusicwithAmpliTubeFender®! Itcan
also be a great learning tool (figure 2.3).
figure 2.3
The SpeedTrainer Controls (figure 2.4) include Open Audio button (figure 2.5)
to open an audio file, file Play and Pause buttons, and A/B buttons for setting a
loop point within the audio file.
Audio files can be simply dragged from the system to the SpeedTrainer wave-
form display. NOTE: you can drag only one audio file at a time.
When you open or drag an audio file on SpeedTrainer you will see its waveform
progressively displayed. SpeedTrainer will be in Loading status, until the entire
file is displayed in the Waveform display.
When the SpeedTrainer displays the Ready status you are ready to play your
file.
A/B repeat (figure 2.6).
By pressing A during file playback, the Loop Start Marker is memo-
•
rized and a sign is placed on the timeline. The A button will be high-
lighted (figure 2.7).
By pressing B during file playback the Loop End Marker is memorized
•
and a sign is placed on the timeline. In this case, the B button will be
highlighted (figure 2.8).
By pressing A and then B just after having opened an audio file, A and
•
B markers will be automatically placed at the beginning and at the
end of the opened file, to loop the entire file (figure 2.9).
figure 2.9
figure 2.5
figure 2.4
figure 2.6
figure 2.7
figure 2.8

AmpliTube Fender
®
As soon as the B point is placed, the playback will immediately start
•
from A, playing up to B and then returning to A until the Pause or Play
button is pressed (figure 2.10).
figure 2.10
Pressing Clear erases the A/B points and disables the loop playback
•
(figure 2.11).
figure 2.11
2.1.4 Loop Trimming
After you set the A (Loop Start Marker) and B (Loop End Marker), you are
able to make small adjustments by holding the mouse on top of the marker
sign, and then dragging them horizontally (figure 2.12).
figure 2.12
If you click on or drag the A or B markers, their position will be shown in the
Time Display (figure 2.13), located below the filename (figure 2.14).
figure 2.13 figure 2.14

2 - Getting started
28
AmpliTube Fender
®
2.1.5 Waveform Display
The audio file peak waveform is displayed as an average of the L R chan-
nels. This means that you will see it as only one waveform, even if your
audio file is stereo (figure 2.15).
figure 2.15
Additionally, there are Horizontal Zoom In and Out buttons. The Zoom In
(+) and Zoom Out (-) are located below the waveform display, on the left
side (figure 2.16). The Zoom Level range is x1 to x32 and it is shown on the
Selected Parameter Display (figure 2.17).
The Horizontal Scroll Bar will allow you to move the file into the display.
While dragging the Horizontal Scroll Bar (to the right or left), the waveform
will follow your movements, without having to release the mouse click to
update the waveform visualization (figure 2.18).
figure 2.18
2.1.6 Tempo and Pitch Adjustment
Through the AmpliTube Fender® SpeedTrainer, you are able to indepen-
dently change the Tempo and Pitch of your audio file.
While you are playing your audio file, move the Tempo knob from 50% to
150% (figure 2.19). Increasing the % value will speed up the tempo and vice
versa. The Tempo default position is 100%, at center. For example, you can
extract the audio from your guitar CD method, open a file and change the
tempo of a particular exercise. In this way, you can measure your progress,
speeding up the track gradually, according to your actual technical skills.
The Pitch adjustable range goes from –12 semitones (one octave down) to +12
semitones (one octave up), (figure 2.20), and its Default position is 0, at center.
In this way, you are able to practice your favorite artist’s songs in several
keys, increasing your transposition skills and improving you musicianship
capabilities.
NOTE: Pitch and Tempo changes will not alter your stored A/B loop points.
figure 2.20
figure 2.19
figure 2.17
figure 2.16

AmpliTube Fender
®
2.1.7 Values Indication
All the SpeedTrainer Controls as well as the Metronome Volume value are
shown on the Selected Parameter display located under the peak meter. For
instance, if you move the SpeedTrainer Volume knob (figure 2.21), its value
will be reflected in the aforementioned display (figure 2.22).
2.1.8 Peak Meter
The Peak Meter shows the audio file playback instantaneous peak level
(figure 2.23).
2.1.9 Metronome
You can turn on the Metronome by clicking on the On button, and then
modify its Tempo (via its Tempo knob) and its volume (through its Volume
knob), (figure 2.24).
Tempo values are measured in beats per minute (BPM), and its range goes
from 30 to 220 BPM. Tempo values are shown in the Metronome display.
However, the volume values are expressed in % (from 0 to 100%) in the
Selected Parameter display.
NOTE: the Metronome Tempo is linked to the Tap. There is NO relationship
between the Metronome Tempo and the SpeedTrainer Tempo.
In AmpliTube Fender® Standalone version, you are able to change the BPM
Tempo in 4 different ways:
- In Settings/Preferences (figure 2.25):
figure 2.25
figure 2.24
figure 2.23
figure 2.22
figure 2.21

2 - Getting started
30
AmpliTube Fender
®
1. Typing the BPM value in the Tempo box and then clicking OK.
2. Clicking the Tap button (at least 5 times) with a steady pulse and
then clicking OK. The recognized BPM value will be displayed in
the Tempo field.
- In the main AmpliTube Fender® window (you have to close the previ-
ously opened Preferences window):
3. On your computer keyboard press the Caps lock key and tap the
UPPERCASE T key at least 5 times.
4. Hold the Shift key and tap the UPPERCASE T key at least 5 times.
TIP: as a learning tool, you can use AmpliTube Fender® Metronome to
increase your technical skills. For the example, you can create a weekly
routine and design a Progress Record.
2.1.10 Status Bar
The Status Bar (bottom area) of the AmpliTube Fender® interface contains
the SpeedTrainer Import process status message (e.g., Ready), the Input
Gain value, and the CPU load display (figure 2.26).
figure 2.26
Import process status message: located in the Status Bar left area, it displays
the SpeedTrainer Import process status message, e.g., Ready (figure 2.27).
figure 2.27
Input gain: the AmpliTube Fender® Global Input Level is determined by the
audio interface gain plus the AmpliTube Fender® Input Gain value (figure 2.28).
PleasereadChapter3.2ConnectingYourGuitarandAdjustingYourLevelsformore
information.
figure 2.28
NOTE: to quickly set the input level while playing live with the StompIO,
please check the StompIO manual.
CPU load display: please refer to chapter 3.9 (Preferences) for tips on how to
manage the CPU load (figure 2.29).
figure 2.29

AmpliTube Fender
®
2.2 AmpliTube Fender® - Plug-in Mode
2.2.1 Starting AmpliTube Fender® in your host application
2.2.2 Pro Tools
Launch Pro Tools® and create your new session. If playing/recording gui-
tar, create a mono audio track. Go to Insert/Plug in/Harmonic and select
“AmpliTube Fender®” Mono or Mono/Stereo. The AmpliTube Fender®
interface will then open. If you are using Pro Tools LE, when the track
is placed in the record monitor, you will be able to hear the effect while
recording.
TIP: if you are using Pro Tools HD and recording a guitar track while listen-
ing to AmpliTube Fender®, you should insert a TDM plug-in like Digidesign’s
“TRIM” before AmpliTube Fender® RTAS. This will let you hear AmpliTube
Fender® RTAS while recording on an HD system. Otherwise, Pro Tools will
bypass the RTAS plug-in (AmpliTube Fender® in this case) as soon as the
track will be REC enabled.
2.2.3 Digital Performer
Launch Digital Performer™ and create your new session. Go to the Mixer
View. On your audio track, select your Audio interface Input and Outputs,
and add “AmpliTube Fender®” as an insert. The AmpliTube Fender® edit
window will automatically open. You will be able to hear the plug-in on the
audio you are recording or playing back.
TIP: in order to take advantage of the stereo capabilities of AmpliTube
Fender®, Cabinets panning, stereo rack FX, open the plug-in as Mono to
Stereo when inserted on mono tracks, or open it on stereo tracks.
2.2.4 Logic
Launch Logic™. Insert “AmpliTube Fender®” on the desired track from the
mixer window. The AmpliTube Fender® edit window will automatically
open.
Fender®, Cabinets panning, stereo rack FX, open the plug-in as Mono -
Stereo when inserted on mono tracks, or open it on stereo tracks.

2 - Getting started
32
AmpliTube Fender
®
2.2.5 Cubase
Launch Cubase®. Click on the audio or instrument track you wish to add
AmpliTube Fender® to. In the inspector window on the left, click on the dark
blue bar that says “Inserts” or click on the “e” button beside the track name
at the top of the inspector.
Once the inserts are visible (under the insert menu on the Inspector, or
on the left side of the audio channel editor window) click on empty insert.
Select “AmpliTube Fender®” At this point, if you play back audio, you should
be able to route sound through your AmpliTube Fender® plug-in.
Fender®, Cabinets panning, stereo rack FX, insert it on a stereo track or
stereo groups tracks.
2.2.6 Nuendo
Launch Nuendo™, open a new project, then go to Project/Add track/Audio,
select your audio track configuration (mono/stereo) and click OK. Click on
“Inserts” to expand the menu, and then click on the dark blue area below
“i1” to see the available plug-in list. Select AmpliTube Fender® so it opens.
To open/close its interface click on the “e” button.
Fender®, Cabinets panning, stereo rack FX, insert it on a stereo track or
stereo groups tracks.
2.2.7 Live
Launch Live™ and click on one of the audio or virtual instrument tracks in
the “Mixer Drop Area.” Notice in the “Track View” (bottom window), the text
“Drop Audio Effects” appears.
Now, in the “Browser Window” (window on the left hand side of the
screen), click the Plug-in Browser button (looks like an electric plug).
Browse to “AmpliTube Fender®” and click/drag it into the “Track View.”
Once AmpliTube Fender® loads, it will appear as a “Device” with an XY
controller on it.
To open/close the AmpliTube Fender® interface click the “edit plug-in
panel” (small wrench) button at the top of the Device window.
2.2.8 GarageBand
Launch GarageBand®, go to Track/New Track. Now, set up this window in
the following way: click on Real Instrument, Monitor On, Expand the Details

AmpliTube Fender
®
menu, and uncheck the Echo and Reverb effect. Select “AmpliTube Fender®”
from the 3rd or 4th effects drop down menu, check its left box, and click the
Create button.
Play your guitar, you should be able to monitor it. To open the AmpliTube
Fender® interface, double click the track (the track info window will pop up)
and click on the pencil icon located to the right, and the AmpliTube Fender®
interface will open.
2.2.9 Sonar
Launch Sonar™ and create your new session. Open the Console (pressing
ALT+3) and locate the audio track you wish to add AmpliTube Fender® to.
Right click into the FX Insert Area (dark square located in the Audio track’s
upper area) and choose “AmpliTube Fender®” from the Audio FX sub-menu.
The AmpliTube Fender® interface will then appear.
2.2.10 Acid
Launch Acid™, go to InsertAudio track. Then go to Insert again and select
Assignable FX, double click the VST folder, select “AmpliTube Fender®” and
then click on Add/OK. The AmpliTube Fender® interface will open.
2.2.11 Tracktion
Launch Tracktion™, open a project and drag the “new filter” from the top
right area to the selected audio track. When the plug-ins list appears, select
“AmpliTube Fender®” so its interface will open. To monitor your guitar, click
“R” from your selected track input device (left area).
2.2.12 RiffWorks Standard
Launch Riffworks™ Standard, click on the Hardware button (located at the
bottom of the interface) to turn it off. Then click on the little AMP down arrow
and select “AmpliTube Fender®” from the “other” category.
2.2.13 Adobe Audition
LaunchAudition™andselectyourI/OAudioInterfacesettingsfromtheaudiotrack.
ToopenAmpliTubeFender®,clickontheFXiconandselectitfromthedropdown
menu (VST/AmpliTube Fender®). To monitor, click the audio track “R” button and
play your instrument (remember to check your Monitoring settings from Options/
Monitoring). To record, just click the REC button from the Transport bar and play.

2 - Getting started
34
AmpliTube Fender
®
2.2.14 MainStage
Launch MainStage™ and select the Starter Concert template. Create a new
mono audio track by clicking “+” on the Channel strip area. Click on Insert
and go to Audio Units/IK Multimedia/AmpliTube Fender®. To monitor,
remember to check the audio track, Output, and Master faders’ settings.
2.3 Hands on examples
Now that you’ve learned the basic concepts about AmpliTube Fender®
standalone mode as well as how to insert it as a plug-in in your host applica-
tion, let’s begin to “experience” this exciting program through the following
hands on example: click on the Presets Selector and choose one preset.
2.3.1 Selecting Amps
Now, let’s change the amp. Click on the AMP module button located below
the signal chain display (figure 2.30).
figure 2.30
Select an amplifier from the Amps menu, e.g., ’65 Twin Reverb® (figure
2.31). Unlike in other “Powered by AmpliTube®” titles, the Preamp, EQ and
Power Amp stages in AmpliTube Fender® are not separated. This gives the
models the maximum level of accuracy in modeling the original amplifier.
figure 2.31

AmpliTube Fender
®
2.3.2 Choosing the Cabinet
To explore the speaker cabinet options, click on the CAB module button
(figure 2.32), turn off the Match switch, and navigate through the speaker
models using the Up/Down arrow keys.
figure 2.32
After that, experiment with different microphone settings. For example,
select “Condenser 87” from the Mic Model menu (figure 2.33) and modify
its position and/or its distance using the On/Off Axis and Near/Far switches.
To adjust the amount of room ambience that is mixed with the microphone
signal, move the Ambience slider to the desired position.
2.3.3 Adding Effects
You can expand the sound spectrum of your rig adding effects via the STOMP
and RACK modules.
Click on the STOMP module button from the Module Selector (figure 2.34).
figure 2.34
Click on any of the 6 selectable effect slots and choose one of the 6 modeled
stomps, e.g., Blender (figure 2.35). After that, you are able to add 5 more virtual
stomps in order to get your signature sound.
To add an effect at the end of the chain, click on the RACK module button from
the Module Selector (figure 2.36).
figure 2.36
figure 2.35
figure 2.33

2 - Getting started
36
AmpliTube Fender
®
There are 4 rack units available per rig, this mean that if you are using a dual-
rig configuration you can set up to 8 effects simultaneously.
Toloadarackeffect,clickthedisplaytotheleftsideoftherack(figure2.37)and
select from the drop down menu, or click the Up/Down arrows to scroll through
the effects (figure 2.38), e.g., Wah.

3 - Input/Output Interface 37
AmpliTube Fender
®
Chapter 3 Input/Output Interface
3.1 I/O Interface
The Input/Output interface provides more than just volume controls. It
includes a noise gate, a selected parameter display, an integrated tuner
display, independent volume and pan, phase and mix knobs, and plug-in
parameters and version information (figure 3.1).
figure 3.1
3.2 Connecting Your Guitar and Adjusting Your Levels
Plug your guitar/bass into a Hi-Z input, Instrument input,
•
or a Microphone XLR input (ONLY if you are using an active
DI BOX between the guitar 1/4” Plug and the Mic XLR input).
Do NOT use Regular Line inputs. NEITHER -10dB nor +4dB inputs can
•
be used for your guitar.
There are two options to optimally set up your Global Input level:
•
While using AmpliTube Fender® as standalone;
In the Status bar (figure 3.2), please decrease the AmpliTube
1.
Fender®Input Gain value to 0 dB (just click and drag its value)
(figure 3.3) and increase the audio interface gain knob up to the
point where the clipping LED starts blinking (usually, when you play
extremely hard, e.g., doing strong down strokes). After, decrease
the audio interface gain level a little bit so you can avoid clipping.
figure 3.2
figure 3.3
1.
Keep the AmpliTube Fender® Input Gain value at +6 dB (default) and
2.
modify the audio interface gain accordingly, to avoid clipping.

3 - Input/Output Interface
38
AmpliTube Fender
®
To summarize, the Global Input Level is determined by the audio interface
gain plus the AmpliTube Fender® Input Gain value (located in the Status
bar).
The Preset Input Level is determined by the AmpliTube Fender® Input level knob
(locatedontheI/OInterface,figure3.4),independentlyoftheaudiointerfaceinuse.
figure 3.4
If you need to modify the AmpliTube Fender® output level, use the Master
knob (figure 3.5). On the Master knob right, there is a meter that shows you
the output level and an overload light that works as a clipping indicator
(figure 3.6). If you need to reset the red clipping indicator, just click on it.
figure 3.6
3.3 Selected Module Pan and Volume
For added flexibility, you are able to control the volume for each selected
module (figure 3.7). The Volume control fine tunes the output level on
any module. The Pan control adjusts the pan position on stereo modules.
However, only the CAB and RACK modules can be panned. Usually, these
controls should be kept at their default center position.
figure 3.7
3.4 Phase
The Phase control (figure 3.8) is normally set at zero (center), considering
that could be a positive or negative value.
figure 3.8
figure 3.5

AmpliTube Fender
®
To delay the Direct signal, adjust the Phase Control to negative values.
•
To delay the Cabinet signal, adjust the Phase Control to positive values.
•
As an example, you can use the Phase control with dual Cabinets setups to
create stereo sounds by delaying one Cabinet (adjust the Phase Control to
positive values) by a few milliseconds in respect of the other one. In addi-
tion, you can use this control to experiment with delay between the Direct
and Cabinet sounds on bass sounds.
NOTE: this control has to be used in conjunction with Mix and is only avail-
able while using the CAB module.
3.5 Mix
The Mix control (figure 3.9) is normally set at zero as it mixes the signal
captured by the Cab model microphone with the direct signal taken from the
Stomps output. This is mainly useful with bass amps to mix the direct signal
with the cabinet one, but could be interesting also on certain kind of guitar
sounds as well.
figure 3.9
NOTE: this control has to be used in conjunction with Phase and is only
available while using the CAB module.
3.6 Using Noise Gate
Through the Noise Gate, you are able to minimize the amount of unneces-
sary noise, especially if you are using high gain (figure 3.10).
figure 3.10
THRESH. (Threshold): sets the threshold level for the signal. When the sig-
nal drops below the set threshold level, the noise gate silences the signal.
Usually, keep the threshold level at the lowest possible value (fully coun-
terclockwise) and set it higher only when you need to activate the gate.
REL. (Release): sets the gate release time. Higher values will result in a
gate that takes a longer amount of time to close again, when the input
signal drops below the threshold.

40
AmpliTube Fender
®
3.7 Tune
Tune provides a small representation of the TUNER module, making it easy
to tune up without having to change the module you are working on.
It displays the detected note name, and provides you with a graphical repre-
sentation of the fine tuning (figure 3.11).
When the OK arrow light illuminates, the tuning is within +/- 4 cents.
3.8 Selected Parameter Display
Every time that you adjust a STOMP, AMP, CAB (Ambience only) or RACK
parameter, the actual value will be displayed (including the unit measure-
ment when it is necessary) in the Selected Parameter Display.
For example, if you increase the AMP module level, a dB (Decibel) abbrevia-
tion will appear on the right of the value (figure 3.12).
Also,ifyoutweakanyInput/OutputInterfaceknobsuchasInput,Thresh,Rel,Pan,
Level, and Master, their values will be shown in the Selected Parameter Display.
3.9 Preferences
To open the Preferences menu, click on the PEFERENCES button (figure
3.13). Through the Preferences menu (figure 3.14), you are able to enable/
disable the following options:
figure 3.14
figure 3.13
figure 3.12
figure 3.11

AmpliTube Fender
®
Stomps Oversampling
•
Pre Oversampling
•
Amp Oversampling
•
High Resolution
•
Tempo Source: Host/Global or Preset
•
Stomps, Pre, and Amp Oversampling
Enabling oversampling improves the sound quality significantly when the
signal is heavily distorted. However, it will increase your CPU load. If you
use high gain sounds, we suggest enabling the Pre Oversampling option.
Oversampling is enabled by default on preamplifiers, and disabled on
stomps and power amplifiers.
TIP: you can disable Oversampling when working on a session in real- time
and activate it just before bouncing the final mix.
High Resolution
Enabling “High Resolution” will improve the dynamic and musical response
of the power amplifiers, but the CPU usage will be somewhat higher. Please
disable High Resolution only if your computer does not have sufficient CPU
power for the current session. High Resolution is enabled by default.
Tempo Source
This option allows you to select between Host/Global and Preset Tempo
source.
Host/Global: the BPM Sync Tempo source is the Host Application Tempo,
(the tempo of the application into which AmpliTube Fender® is inserted
as a plug-in).
The Host/Global BPM value is displayed on the right side of the Preset
selector in “Gray” color (figure 3.15).
figure 3.15
When you use AmpliTube Fender® as standalone, the default Global
tempo is 120 BPM.

42
AmpliTube Fender
®
Preset: the BPM Sync Tempo source is the value saved with the Preset.
The Preset BPM value is displayed on the right side of the Preset selec-
tor in “Red” color (figure 3.16).
figure 3.16
To save a BPM value to a particular Preset, click Preferences enable
the Preset option and click Save. Put the mouse pointer below the BPM
value, delete the current value, insert a new one, and click Save.
3.10 Information (“I”)
To open the Info page, click on the “I” button (figure 3.17). You will find the
product name, its version number, and the related copyright notes (figure
3.18).
figure 3.18
figure 3.17

AmpliTube Fender
®
3.11 Lock
If you are running the software in demo mode, and you click on the
Lock button (figure 3.19), the Product Authorization Wizard will appear.
However, if you already registered and authorized your product, clicking on
the Lock button will show you the product Serial Number, Digital ID, and
Authorization Code (figure 3.20).
figure 3.20
figure 3.19

44
AmpliTube Fender
®

4 - Module Selector 45
AmpliTube Fender
®
Chapter 4 Module Selector
The Module Selector performs multiple functions (figure 4.1). First; it allows
you to select the different modules in AmpliTube Fender®, second; it dis-
plays the dual signal paths. Another function of the Module Selector is to
select and display eight different signal paths.
figure 4.1
4.1 Dual Signal Paths
AmpliTube Fender® provides two discrete signal paths; each one contain-
ing STOMP box, AMP, CAB, and RACK modules. Through the eight available
presets, these two signal paths can be configured in multiple variations
allowing a tremendous amount of flexibility. This is a very important fea-
ture because it allows you to route your guitar signal to multiple amplifiers
or cabinets; create two separate six stomp pedal setups or create one big
twelve pedal setup.
The Preset buttons located to the left of the Module Selector allow you to
change the signal path of the guitar rig (figure 4.2).
figure 4.2
Clicking on the individual buttons (from 1 to 8) or using the Up/Down arrows
will allow you to select different signal paths.
For example;
all stomp effects and rack effects into one amp rig.
1.
two separate amp setups.
2.
all stomp effects and rack effects into one amp rig with both cabi-
3.
nets.
all stomp effects and rack effects into both amp rigs.
4.
two separate stomp effects setups into one amp with two cabinet
5.
setups.
two separate amp setups with separate stomps into two indepen-
6.
dent rack effects.

4 - Module Selector
46
AmpliTube Fender
®
two separate stomp effects setups into two separate amp rigs into
7.
all the rack effects.
two separate stomp effects setups into one amp setup with all the
8.
rack effects.
4.2 Selecting Modules
Once the signal path for the guitar rig is set up, you can easily navigate the
different AmpliTube Fender® modules via the Module Selector. To select a
particular module, just click on it (figure 4.3).
figure 4.3
This option allows you to easy access to any module on either of the dual
signal path. Clicking on the module buttons below (TUNER, STOMP, AMP,
CAB, and RACK) selects the first module of the two available in the chain.

5 - Preset Manager 47
AmpliTube Fender
®
Chapter 5 Preset Manager
ThePresetManager(figure5.1)allowsyoutocontrolAmpliTubeFender®presets.
figure 5.1
5.1 Loading Presets
To load a preset in AmpliTube Fender®, click on the Preset Selector (figure 5.2) and
choose from the drop down menu, or click the Up/Down arrows and scroll through
theavailablepresets.
figure 5.2
5.2 Other Controls
There are 5 buttons under the Preset Selector:
FOLDER: opens the Presets Folder for immediate manual intervention on location,
grouping,naming,andbackupofthepresetfilesviastandardOSwindow(figure5.3).
figure 5.3
SAVE:savesthecurrentsetupasapreset.Infact,itwillsavetheparametersfor
allthemodulesinAmpliTubeFender®(figure5.4).
figure 5.4

5 - Preset Manager
48
AmpliTube Fender
®
SAVE AS: functions like the SAVE button but always prompts for a new
name in the save dialogue (figure 5.5).
figure 5.5
DELETE: deletes the currently selected preset. Remember that this com-
mand cannot be undone, so be careful (figure 5.6).
figure 5.6
AUTOMATION: AmpliTube Fender® has many parameters, more than
what typically audio sequencers (DAWs) can support, (figure 5.7). For
this reason, it has its own internal Automation Parameter assignment
window. Please check Chapter 12 Automation for more information.
figure 5.7

AmpliTube Fender
®
5.3 Saving a Preset
Click the SAVE button (figure 5.8). If you just launched the program a pop up
window will appear (figure 5.9).
figure 5.9
At the top of this window, you can specify a folder where you would like to
save the preset or create a new folder to save in (figure 5.10). In the middle
field on this pop up window, type the name of the preset (figure 5.11). The
bottom field makes AmpliTube Fender® auto overwrite when you click
SAVE. This will allow you to save quicker, but if not careful, you could unin-
tentionally overwrite presets that you wanted to keep.
figure 5.10
figure 5.11
figure 5.8

5 - Preset Manager
50
AmpliTube Fender
®
Click the SAVE button in the pop up window (figure 5.12). Your preset is now
saved and it will immediately appear in the Preset Selector (figure 5.13).
figure 5.12
figure 5.13
Now, if you click the SAVE button again, the “Are you sure you want to
replace (name of the previously saved file will appear here)?” message will
appear (figure 5.14). Clicking YES, will replace the old preset for the new
one, clicking NO, will keep the old preset.
figure 5.14

AmpliTube Fender
®
If you want to keep several versions of a particular preset, click SAVE AS
and rename the actual preset, e.g., “preset name” 1, “preset name” 2, “preset
name” 3, etc. (figure 5.15).
figure 5.15

5 - Preset Manager
52
AmpliTube Fender
®

6 - TUNER Module 53
AmpliTube Fender
®
Chapter 6 TUNER Module
The first module in AmpliTube Fender® is the TUNER (figure 6.1).
figure 6.1
To access the tuner, click the TUNER button on the Module Selector. This is a
fully automatic chromatic tuner, meaning that there is no need to manually
select the note you are going to tune. The tuner will automatically detect
and show which note you’re playing. On the left there is an ON/OFF button
for the tuner (figure 6.2).
There is a Mute control as well (figure 6.2). This makes it possible to silence
the guitar signal while tuning, a very useful feature for live performance.
These Bypass and Mute controls are the same controls that appear on the
top right side of the AmpliTube Fender® interface (figure 6.3).
Under the ON/OFF and Mute controls, TUNE displays the tuning reference
being used (figure 6.4). The default reference is 440 Hz. This can be adjusted
by clicking on the display. A cursor will appear, use backspace and cursor
buttons to move and edit the value entering numbers, the standard and
most common tuning reference is 440 Hz, and the possible range is from
425 to 455 Hz.
figure 6.4
The right side of the tuner displays the detected note value and the fine tun-
ing in cents (figure 6.5). This is also visible on the bottom of the AmpliTube
Fender® interface with the fine tuning shown graphically (figure 6.6).
figure 6.6
figure 6.3
figure 6.2
figure 6.5

6 - TUNER Module
54
AmpliTube Fender
®
The main feature in the tuner is obviously the graphical tuner’s interface
(figure 6.8). The AmpliTube Fender® Tuner allows for precise and easy
tuning.
figure 6.7

7 - STOMP Module 55
AmpliTube Fender
®
Chapter 7 STOMP Module (Stomp Effects)
7.1 Controls
The AmpliTube Fender® STOMP module (figure 7.1) includes several mod-
els of unique and iconic effects such as the Fender® Fuzz/Wah, Fender®
Blender™, Fender® Phaser, Fender® Volume and Fender® ’63 Reverb,
plus great routing flexibility. Featuring effects modeled after some of the
most desirable effects units in Fender®'s history, there is plenty of flex-
ibility to emulate your favorite guitar sounds as well as create your own
new amp sounds.
figure 7.1
To access the STOMP module, click the STOMP button on the Module Selector
(figure 7.2).
figure 7.2
The STOMP module flexibility allows you to freely configure six stomp pedal effects
atatime.Infact,youcanusetheSTOMPmoduleastwoindependentsixpedalstomp
setups(figure7.3)orasonetwelvepedalstompsetup(figure7.4).Thisisconfiguredby
selectingtheappropriateroutingpresettotheleftofthesignalpathdisplay(figure7.5).
figure 7.3 figure 7.4 figure 7.5

7 - STOMP Module
56
AmpliTube Fender
®
The six stomp effect slots are displayed in the module interface as “empty”
slots on a pedal board (figure 7.6).
figure 7.6
To select a stomp unit, click on each of the six stomp slots (where it says
“empty”) and choose one of the available options (figure 7.7) or scroll
through the different stomp boxes using the Up/Down arrows (figure 7.8).

7 - STOMP Module 57
AmpliTube Fender
®
Like a hardware guitar rig, each stomp effect’s controls are displayed on
the stomp box (figure 7.9). When you adjust a rotary or slide control on
the stomp box, that control’s value is displayed in the Selected Parameter
Display (figure 7.10).

7 - STOMP Module
58
AmpliTube Fender
®
7.2 Stomp Models
7.2.1 Fender® Blender™
A unique germanium fuzz/distortion pedal. With a tone unlike any distortion
pedal on the market, the Blender™ is capable of a harsh fuzz-effect unlike
most vintage distortion pedals, and is great as a tool for Alternative Rock and
modern Metal soloing. Perfect for those who want to create instead of copying,
with a bit of experimentation, this pedal can deliver a huge range of unique
tones.
Controls:
Volume: controls the overall output volume of the effect.
Sustain: adds sustain and distortion to the input signal, from 1 to 10
Tone: shifts the tonal balance from low to high frequencies, from 1 (low)
to 10 (high).
Blend: controls the mix of the original to the effected signal, from 1 to
10.
Tone Boost: adds range to the tone control.
On/Off: turns the effect on or off.
figure 7.11

7 - STOMP Module 59
AmpliTube Fender
®
7.2.2 Fender® Phaser
A Classic analog Phase shift effect as heard on countless recordings since
the 1970s.
Controls:
Rate Knob: controls the rate at which the phase shift occurs. The rate
control knob alternately illuminates blue and red at the same rate as
the phase shifting.
Intensity: this knob adjusts the intensity of the phasing effect.
Frequency: this knob adjusts what frequencies are affected by the phas-
ing action.
BPM Sync: syncs the effect to the master BPM of your DAW/Standalone
metronome.
figure 7.12

7 - STOMP Module
60
AmpliTube Fender
®
7.2.3 Fuzz Wah
A combination of a Fuzz-style distortion effect and a Wah pedal, the Fuzz
Wah is two pedals in one. Due to this combination, the Fuzz Wah is capable
of effects not easily achieved by traditional distortion and Wah-style
effects.
Controls:
Pedal: use to control the frequency and amount of the Wah/Fuzz effect.
Up/Down controls the Wah, Left/Right controls Fuzz. Holding the SHIFT
key while dragging allows you to easily choose between moving the
pedal vertically or horizontally only.
Fuzz Control: controls the volume of the Fuzz-distortion.
Effects Order: switches the order of the effects (Wah-Fuzz or Fuzz-Wah)
within the pedal to give two different tone styles.
Fuzz Volume: adjusts the amount and volume of the Fuzz effect.
Fuzz button: turns the Fuzz effect on-off.
Wah button: turns the Wah effect on-off.
figure 7.13

7 - STOMP Module 61
AmpliTube Fender
®
7.2.4 Fender® ’63 Reverb
First introduced in 1963, this classic all-tube spring reverb unit is capable of
producing an incredibly lush Reverb due to it's unique 6v6 driven output.
Controls:
Dwell: controls the amount of the reverb effect, from 1 to 10. The spring
reverb is overdriven when Dwell is set to high values (from 7 to 10). This
produces interesting and very characteristic tones.
Tone: shifts the tonal balance from low to high frequencies, from 1 to 10.
Mixer: controls the mix of the original signal to the effected signal,
from 1 to 10.
figure 7.14

7 - STOMP Module
62
AmpliTube Fender
®
7.2.5 Tape Echo
A classic tape echo effect, taken from the Fender® Cyber-Twin®. Use for
retro, lo-fi-style echo effects, or to add a subtle amount of ambience to your
playing.
Echo Level: controls the amount of the echo effect, from 1 to 10.
Time: controls the length of the echo effect, from 30ms to 1450ms. When
BPM Sync is turned on, time is displayed from a 1/32 to 1/1 ratio.
Feedback: controls the amount of repeats of the echo effect, from 1 to 10.
WowFlutter: controls the amount of pitch drift/variation of the echo
effect, to emulate tape playback, from 1 to 10.
Brightness: controls the amount of high-end of the treble, from 1 to 10.
Volume: controls the volume of the echo effect, from 1 to 10.
Ramp/Step: alters the way that changes to echo time change, from a
“ramp up” style” to a “stair step” style.
metronome.
figure 7.16

7 - STOMP Module 63
AmpliTube Fender
®
7.2.6 Volume
A classic volume control. Use to control the volume of your guitar signal,
or in conjunction with an overdrive/distortion pedal for dynamic control of
your signal boost.
Controls:
Volume: adjusts the volume of the output signal
Min: controls the range of the volume effect.
figure 7.17

7 - STOMP Module
64
AmpliTube Fender
®
7.2.7 Stomp Models (Table)
Stomp Models Based on*
Fender® Blender™ Fender® Blender™
Fender® Phaser Fender® Phaser
Fuzz Wah Fender® Fuzz Wah
Fender® ’63 Reverb Fender® ’63 Reverb
Tape Echo Fender® Cyber-Twin® SE Tape Echo
Volume Fender® Volume
* See page 107 for disclaimer.

8 - AMP Module 65
AmpliTube Fender
®
Chapter 8 AMP Module (Amp Head)
figure 8.1
8.1 Introduction
The AmpliTube Fender® AMP module includes 12 amp models including the
’59 Bassman® LTD, Deluxe Reverb®, and Super-Sonic™.
To access the AMP module, click the AMP button on the Module Selector.
There are two separate amplifier modules that can be accessed indepen-
dently (e.g., Amp A and Amp B), or parallel for dual amp setups. Just select 1
of the 8 routing presets located to the left of the signal path display (figure
8.2).
To facilitate the amplifier models navigation, please read the following
universal controls descriptions;
On/Off: this control disables the AMP module from the plug-in’s signal
(figure 8.3).
AMP Model: the amp model control selects the associated amplifier.
(figure 8.4).
These controls simplify selecting guitar amps and are very useful when try-
ing to locate your favorite Fender® amp.
figure 8.2
figure 8.4
figure 8.3

8 - AMP Module
66
AmpliTube Fender
®
8.2 Model Components
The AMP module is based on 12 specifically matched guitar/bass ampli-
fiers. These span the entire history of Fender® amplification. Unlike other
“Powered by AmpliTube” products, Amplitube Fender® does not allow for
splitting up individual preamp, eq and power amp circuitry. This is done to
ensure the most accurate representation possible of the included ampli-
fiers.
AMP MODEL: the first control of the amplifier module is the AMP model
(figure 8.8). From here, you can select different amplifier designs based
on the tone you seek.
figure 8.8

8 - AMP Module 67
AmpliTube Fender
®
8.3 Amplifier Models
8.3.1 ’59 Bassman®
This amp model is based on a Fender® ’59 Bassman® LTD (Bright Channel),
(figure 8.9).
figure 8.9
Quite possibly the most famous guitar amp of all time, the tweed Bassman®
is considered a must-have for any serious tone connoisseur. Originally con-
ceived in the 1950s to amplify the newly invented Fender® Precision Bass®
guitar, it was quickly adopted by guitarists who found that it was able to
provide shimmering clean tones and a cranked up “crunch” tone that lent
itself perfectly to Rock and Roll. That tone became the basis for the famous
British “stacks” of the 60s and beyond. Played clean or distorted, from Rock
to Blues to Country, with or without external effects, the ’59 Bassman® is
the foundation for a wide variety of great tones..
Controls:
Presence: boosts the high frequencies of the EQ stage, from 1 to 12.
Bass: adjusts the bass frequencies of the amp’s EQ stage, from 1 to 12.
Middle: adjusts the mid frequencies of the amp’s EQ stage, from 1 to 12.
Treble: adjusts the high frequencies of the amp’s EQ stage, from 1 to 12.
Volume: adjusts the output level of the Bassman®’s power amp stage,
from 1 to 12.

8 - AMP Module
68
AmpliTube Fender
®
8.3.2 ’65 Twin Reverb®
This amp is modeled after the Fender® ’65 Twin Reverb® (Vibrato
Channel), (figure 8.10).
figure 8.10
One of the most distinctive amps of all time. It delivers a shimmering, pure
clean tone that is perfect for any style of music, yet it will bark when turned
up to arena volume. The Twin Reverb® is known as the first popular “built-
in effects” amp, with world-standard Fender® Reverb and Tremolo. This
is also a great amplifier for accentuating the character of external stomp
boxes, making it an incredibly versatile platform to build on.
Controls:
Bright: provides a high-frequency presence boost.
Mid: adjusts the mid frequencies of the amp’s EQ stage, from 1 to 10.
Volume: adjusts the output level of the power amp, from 1 to 10.
Reverb: controls the amount of Reverb, from 1 to 10.
Speed: controls the speed of the Vibrato effect, from 1 to 10.
Intensity: controls the intensity of the Vibrato effect, from 1 to 10.

8 - AMP Module 69
AmpliTube Fender
®
8.3.3 ’57 Deluxe™
This amp is modeled after the Fender® ’57 Deluxe™ (Inst. Channel), (figure
8.11).
figure 8.11
One of the first amplifiers designed by Leo Fender, and one of the most
influential. The Tweed Deluxe provides classic compressed overdriven tones
when cranked, and rich harmonic clean tones when played at low volumes.
The Deluxe is a great amplifier for Chicago-style Blues tones, as well as
Country and early Rock and Roll tones. Today, modern players of all stripes
use a Deluxe in the studio to create their own “tone magic.”
Controls:
to 12 (high).
Inst. Volume: adjusts the output level of the ’57 Deluxe’s power amp
stage, from 1 to 12.

8 - AMP Module
70
AmpliTube Fender
®
8.3.4 ’65 Deluxe Reverb®
This amp model is based on the Fender® ’65 Deluxe Reverb® (figure
8.12).
figure 8.12
A true classic that delivers classic Country and Rock tones, from Nashville to
Liverpool. The Deluxe Reverb has a bright, punchy attack that is perfect for
finger-picking, Garage-Rock... just about anything. The Deluxe Reverb is an
amp that has been used on countless recordings due to its pure tube tone,
great Reverb and Tremolo, and amazing versatility.
Controls:
Volume: adjusts the output level of the power amp stage, from 1 to 10.

8 - AMP Module 71
AmpliTube Fender
®
8.3.5 ’64 Vibroverb™ Custom
This amp (figure 8.13) is based on a Fender® ’64 Vibroverb™ Custom
(Vibrato Channel, both Stock and Mod modes).
figure 8.13
A hand-wired reissue specifically based on Stevie Ray Vaughan’s original
Vibroverb, as modified by “Amp Doctor” Cesar Diaz. Its Blackface circuit
and 15” speaker create a shimmering clean tone that is perfect for Jazz or
Country. With the available “Mod” mode, the Vibroverb Custom can create
the famous Texas Blues tone with its touch of preamp tube distortion and
punchy mid focus.
Controls:
Mod: when engaged, gain is increased, as well as overall brightness.
This control also disconnects the Vibrato controls from the circuit.

8 - AMP Module
72
AmpliTube Fender
®
8.3.6 Super-Sonic™
This amp model is based on the Fender® Super-Sonic™ “Burn” channel
(figure 8.14).
figure 8.14
A marriage of classic Fender® tone and modern versatility, perfect for every-
thing from vintage clean tones to 70’s-style Classic Rock crunch to modern
Metal and Punk. Its independent cascading gain stages and custom EQ allow
guitarists to create a huge variety of both vintage and modern harder-edged
distorted tones, all while retaining that unmistakable Fender® character.
Controls:
Gain 1: adjusts the input gain of the first set of preamp stages, from 1
to 10.
Gain 2: adjusts the input gain of the second set of preamp stages, from
1 to 10.

8 - AMP Module 73
AmpliTube Fender
®
8.3.7 Vibro-King®
This amp is based on a Fender® Vibro-King® Custom (figure 8.15).
figure 8.15
This modern Fender® classic provides incredible clean tones, unequalled
touch sensitivity, and a thick overdrive character that will inspire artistic
inspiration for any player. Engaging the FAT switch helps boost it into clas-
sic Rock distortion. The Vibro-King® also contains Fender®’s unique ’63
Reverb circuit, which means this amplifier is a perfect choice for Country,
Blues, and Surf players, as well.
Controls:
Dwell: controls the amount of the reverb effect, from 1 to 10.
Mix: adjusts the amount of Reverb mixed into the output signal, from
1 to 10.
Tone: adjusts the tone of the Reverb signal, from 1 to 10.
Fat: boosts preamp gain in the mid-frequency range, for classic over-
driven tones.
Volume: adjusts the loudness of the amplifier, from 1 to 10.
Speed: adjusts the rate of the Vibrato effect, from 1 to 10.
Intensity: adjusts the depth of the Vibrato effect, from 1 to 10.

8 - AMP Module
74
AmpliTube Fender
®
8.3.8 Pro Junior™
This amp is based on the Fender® Pro Junior™ (figure 8.16).
figure 8.16
The Pro Junior, with its single volume and tone controls, is a unique mar-
riage of classic Fender® tone at low volumes and angry bite when cranked.
This amp is excellent at achieving touch-sensitive overdriven studio tones,
and players everywhere have discovered the simple joys of plugging in and
turning up the volume for simple, pure Blues and Rock performance.
Controls:
to 12 (high).
Volume: adjusts the output level of the Pro Junior’s power amp stage,
from 1 to 12.

8 - AMP Module 75
AmpliTube Fender
®
8.3.9 MH-500 Metalhead™
This amp is based on a Fender® MH-500 Metalhead™ (Loose Channel)
(figure 8.17).
figure 8.17
Designed from the ground up to provide the perfect amp for modern down-
tuned and 7-string guitarists, with a searing gain and a punishing low end
that is perfect for more aggressive styles of Rock and Metal. Its solid-state
power amp gives enough headroom for incredible note definition even
when distorted, and the preamp has an unmatched amount of gain for lead
players.
Controls:
Drive: adjusts the amount of preamp distortion, from low to high.
Presence: boosts the high frequencies of the EQ stage, from low to
high.
Bass: adjusts the bass frequencies of the amp’s EQ stage, from low to
high.
Middle: adjusts the mid frequencies of the amp’s EQ stage, from low
to high.
Treble: adjusts the high frequencies of the amp’s EQ stage, from low
to high.
Master Volume: adjusts the output level of the power amp stage, from
low to high.

8 - AMP Module
76
AmpliTube Fender
®
8.3.10 Champion™ 600
This amp model is based on the Fender® Champion™ 600 (figure 8.18).
figure 8.18
The Champion™ 600 is an updated version of the classic Fender® practice
amp, providing slightly more gain than the original model. With only a
volume control, a clean, simple circuit with just one power tube and low
wattage, its distinctive reedy tone has been used on countless Classic Rock
recordings.
Controls:
Volume: adjusts the volume of the amp, from 1 to 12.

8 - AMP Module 77
AmpliTube Fender
®
8.3.11 Bassman® 300
This amp (figure 8.17) is based on a Fender® Bassman® 300 (Channels 12).
figure 8.19
The Bassman® 300 PRO produces warm all-tube bass tone and combines it
with modern flexibility. Features like 10-band graphic EQ, mid-notch switch
(great for slap playing), two-band studio-grade compressor, and clean and over-
drive channels make the Bassman® 300 a great choice for any bass player.
Controls:
CH1Volume:adjuststheloudnessofchannel1,from1to10.
CH2Gain:adjuststhechannel2gain/distortionlevel,from1to10.
CH2Volume:adjuststheloudnessofchannel2,from1to10.
CH1/2Mix:mixesthechannel1(clean)andchannel2(overdrive)outputlevels.
Low:adjuststheLowfrequenciesoftheamp’sEQstage,from1to10.
High:adjuststheHighfrequenciesoftheamp’sEQstage,from1to10.
Deep:lowfrequencyboostwhenthisbuttonisIN.
Bright:highfrequencyboostwhenthisbuttonisIN.
MidNotch:reducesthemid-frequencytones.
Graphic:activatesthegraphicequalizer.
Graphic EQ: the 10 band-pass / band-reject filters are spaced at octave intervals.
Adjustsselectedfrequenciescutandboost,from1to10.
Low Comp: adjusts the compression ratio below 400Hz. Clockwise rotation
increasestheamountofcompression,from1to10.
Comp:activatestheCompressor(s).
HighComp:adjuststhecompressionratioabove400Hz,from1to10.
CompEQBal:mixesthelowandhighcompressorbalance,from1to10.
Comp Gain Trim: this knob adjusts gain to compensate for any level imbalance
whenthecompressioncircuitryhasbeenengaged,from1to10.
MasterVolume:adjuststheoverallloudnessoftheamplifier,from1to10.

8 - AMP Module
78
AmpliTube Fender
®
8.3.12 TBP-1
This model (figure 8.20) is based on a Fender® TBP-1 Pre-amp (Vintage
Tube and Overdrive Channels).
figure 8.20
TheTBP-1isatrulyprofessionaltubebasspreampdesignedaroundFender®’s
passive tone stack (used in classic designs such as the Twin Reverb® and
Showman®) which delivers creamy tube tone while allowing the color of the
instrument to shine through. A tube overdrive section adds “bite”, while the
Vari-Q™ circuit provides modern active tone shaping. Thick, natural and bal-
anced; the TBP-1 is an amazing device for creating great bass tone.
Controls:
Volume: adjusts the loudness of the Vintage Tube Channel.
Bass: adjusts the bass frequencies of the EQ stage, from 1 to 10.
Deep: Extends the Bass EQ range.
Middle: adjusts the mid frequencies of the EQ stage, from 1 to 10.
Treble: adjusts the high frequencies of the EQ stage, from 1 to 10.
Bright: Extends the Treble EQ range
On(TubeOverdrive):switchesbetweentheVintageandTubeOverdriveChannels.
Gain: adjusts the Tube Overdrive distortion level, from 1 to 10.
Volume: adjusts the loudness of the Tube Overdrive channel, from 1 to 10.
Blend: adjusts the mix of clean vintage tube tone with overdriven tube tone
when the Tube Overdrive is enabled.
On (Vari-Q): enables VariQ™ semi-parametric EQ section.
Freq: selects the center of frequency range that the Level knob controls.
Level:adjuststheamountofboostorcut(±15dB)atthefrequencyselected
by the Freq control.
RoomBalance:adjuststheRoomBalanceEQ.Atthecenterposition,theeffectisneutral.
Turned clockwise, highs are emphasized (bright), while deemphasizing lows (deep).
Turnedclockwise,lowsareemphasized(deep),whilede-emphasizinghighs(bright).
Mute: mutes the amplifier while leaving it turned on.
Master Volume: adjusts the overall loudness of the amplifier, from 1 to 10.

8 - AMP Module 79
AmpliTube Fender
®
8.3.13 Amp Models (Table)
Amp Models Based on*
’59 Bassman® ’59 Bassman® LTD (Bright Channel)
’65 Twin Reverb® ’65 Twin Reverb® (Vibrato Channel)
’57 Deluxe™ ’57 Deluxe™ (Inst. Channel)
’65 Deluxe Reverb® ’65 Deluxe Reverb® (Vibrato Channel )
’64 Vibroverb™
Custom
’64 Vibroverb™ Custom (Vibrato Channel-Stock
and Mod Modes)
Super-Sonic™ Super-Sonic™ (Burn Channel)
Vibro-King® Vibro-King® (Single Channel)
Pro Junior™ Pro Junior™ (Single Channel)
MH-500 Metalhead™ MH-500 Metalhead™ (Loose Channel)
Champion™ 600 Champion™ 600 (Single Channel)
Bassman® 300 Bassman® 300 (Channels 12)
TBP-1 TBP-1 (Vintage and Overdrive Channels)

8 - AMP Module
80
AmpliTube Fender
®

9 - CAB Module 81
AmpliTube Fender
®
Chapter 9 CAB Module (Cabinets + Microphones)
figure 9.1
9.1 Introduction
To access the AmpliTube Fender® CAB module, click the CAB button on the
Module Selector (figure 9.2).
figure 9.2
There are two models in the CAB module: the SPEAKER MODEL (figure 9.3)
and the MIC MODEL (figure 9.4).
9.2 SPEAKER MODEL
The SPEAKER MODEL features 13 speaker cabinet emulations, a plug-in
Bypass control, and a cabinet match switch.
BYPASS: bypasses the CAB module of the plug-in (figure 9.5).
figure 9.5

9 - CAB Module
82
AmpliTube Fender
®
MATCH: automatically selects the cabinet to match the preamp that is
selected in the AMP module (figure 9.6).
For example, click on the AMP module button from the Module Selector
and choose the Twin Reverb® amp model. Now, turn the CAB match switch
Off, so you are able to select any other speaker model.
9.3 Speaker Cabinet Models
The AmpliTube Fender® CAB module includes 12 speaker models:
• ’59 Bassman®
• ’65 Twin Reverb®
• ’57 Deluxe™
• ’65 Deluxe Reverb®
• ’64 Vibroverb™ Custom
• Super-Sonic™
• Vibro-King®
• Pro Junior™
• MH-412SL
• Champion™ 600
• Vibratone
• Bass 810 Pro
Please take a look at each model and check the Speaker Cabinet Models
Table.
figure 9.6

9 - CAB Module 83
AmpliTube Fender
®
9.3.1 ’59 Bassman®
This model is based on the Fender® ’59 Bassman® 4x10” Open Back Cab,
equipped with Jensen® P10R speakers (figure 9.7).
figure 9.7
9.3.2 ’65 Twin Reverb®
This model is based on the Fender® ’65 Twin Reverb® 2x12” Open Back
Cab, equipped with Jensen® C12k speakers (figure 9.8).
figure 9.8

9 - CAB Module
84
AmpliTube Fender
®
9.3.3 ’57 Deluxe™
This model is based on the Fender® ’57 Deluxe™ 1x12” Open Back Cab,
equipped with a single Jensen® P12Q speaker (figure 9.9).
figure 9.9
9.3.4 ’65 Deluxe Reverb®
This model is based on the Fender® ’65 Deluxe Reverb® 1x12” Open Back
Cab, equipped with Jensen® C12k speaker (figure 9.10).
figure 9.10

9 - CAB Module 85
AmpliTube Fender
®
9.3.5 ’64 Vibroverb™
This model is based on the Fender® ’64 Vibroverb™ 1x15” Open Back Cab,
equipped with a single Eminence® speaker (figure 9.11).
figure 9.11
9.3.6 Super-Sonic™
This model is based on the Fender® Super-Sonic™ 1x12” Open Back Cab,
equipped with a single Celestion® Vintage 30 speaker (figure 9.12).
figure 9.12

9 - CAB Module
86
AmpliTube Fender
®
9.3.7 Vibro-King®
This model is based on the Fender® Vibro-King® 3x10” Open Back Cab,
equipped with Jensen® P10R speakers (figure 9.13).
figure 9.13
9.3.8 Pro Junior™
This model is based on the Fender® Pro Junior™ 1x10” Open Back Cab,
equipped with a single Eminence® speaker (figure 9.14).
figure 9.14

9 - CAB Module 87
AmpliTube Fender
®
9.3.9 MH-412SL
This model is based on the Fender® MH-412SL 4x12” Closed Back Cab,
equipped with Celestion® G12T-100 speakers (figure 9.15).
figure 9.15
9.3.10 Champion™ 600
This model is based on the Fender® Champion™ 600 1x6” Open Back Cab,
equipped with a single Fender® Spec. Design speaker (figure 9.16).
figure 9.16

9 - CAB Module
88
AmpliTube Fender
®
9.3.11 Vibratone
This model is based on the Fender® Vibratone 1x10” Rotary Speaker Cab
(figure 9.17).
figure 9.17
Note: due to the nature of the cab, the controls for this unit are slightly dif-
ferent than other cabs.
Controls:
On/Off: controls if the Vibratone is engaged or not. When ON both the
Vibratone and the Auxiliary Speaker are playing, when OFF only the
Auxiliary Speaker is playing.
Slow/Fast: controls the speed of the rotary speaker/Vibrato effect.
Stereo/Mono: enables stereo recording of the vibrato effect.
Auxiliary Cabinet:
Speaker Model: selects a second speaker model. When enabled, mid-
range frequencies are sent to the Vibratone, and high/low frequen-
cies are sent to the secondary (auxiliary) cab. The Vibratone sound
alone is heard when “None” is selected on the Speaker Model list.
Mic Model: selects microphone model for the Auxiliary Speaker.
On/Off Axis: selects mic position for the Auxiliary Speaker.
Near/Far: selects mic distance for the Auxiliary Speaker.
Ambience: controls the amount of room ambience that is mixed with the
microphone signal.

9 - CAB Module 89
AmpliTube Fender
®
9.3.12 Bass 810 Pro
This model is based on the Fender® 810 PRO 8x10” Front Ported Cab,
equipped with Eminence® speaker (figure 9.18).
figure 9.18
Note: due to the nature of the cab, the controls for this unit are slightly dif-
ferent than other cabs.
Controls:
Hi Level: shows the back panel of the cabinet (figure 9.19).
Speaker Model: controls the level of the high frequency horn driver of
the 810 Pro cabinet. Click anywhere else on the back panel to return
to the cabinet front view.
figure 9.19

9 - CAB Module
90
AmpliTube Fender
®
9.3.13 Speaker Cabinet Models (Table)
Cabinet Models Based on*
’59 Bassman®
’59 Bassman® 4x10 Open Back, Jensen® P10R
speakers
’65 Twin Reverb®
65 Twin Reverb® 2x12” Open Back, Jensen® C12k
speakers
’57 Deluxe™
’57 Deluxe™ 1x12” Open Back, Jensen® P12Q
speaker
’65 Deluxe Reverb®
’65 Deluxe Reverb® 1x12” Open Back, Jensen®
C12k speaker
’64 Vibroverb™
’64 Vibroverb™ 1x15” Open Back, Eminence®
speaker
Super-Sonic™
Super-Sonic™ 1x12” Open Back, Celestion®
Vintage 30 speaker
Vibro-King®
Vibro-King® 3x10” Open Back, Jensen® P10R
speakers
Pro Junior™
Pro Junior™ 1x10” Open Back, Eminence®
speaker
MH-412SL
MH-412SL 4x12” Closed Back, Celestion® G12T-
100 speakers
Champion™ 600
Champion™ 600 1x6” Open Back, Fender® Spec.
Design speaker
Vibratone Vibratone 1x10” Rotary Speaker Cab
Bass 810 Pro
810 Pro 8x10” Front-Ported Cab, Eminence®
speaker

9 - CAB Module 91
AmpliTube Fender
®
9.4 MIC MODEL
The MIC MODEL features 8 microphone response models with Position (On/
Off Axis), and Distance (Near/Far) options.
MIC MODEL: through this selector, you are able to select the microphone
model to use (figure 9.20).
figure 9.20
POSITION: through this selector, you are able to change the position of
the microphone in relationship to the cone of the speaker (figure 9.21).
ONAXIS:On-Axismeansthatthemicrophoneisinthecenterofthespeaker
(figure 9.22). Typically, On Axis position delivers a more present and high
frequencies-richtonalbalance.ThiscanbetoobrightorharshforsomeAmp
settings,inthiscasetrytheOffAxisposition,whichdeliverasweetertone.
figure 9.22
figure 9.21

9 - CAB Module
92
AmpliTube Fender
®
OFF AXIS: Off-Axis means that the microphone is positioned at the
outside edge of the speaker (figure 9.23).
figure 9.23
DISTANCE: via this selector, you can change the distance of the micro-
phone in relation to the speaker cabinet (figure 9.24).
NEAR: near is obviously close to the speaker. Usually, Near position
delivers more bass presence due to the proximity effect (figure
9.25).
figure 9.25
figure 9.24

9 - CAB Module 93
AmpliTube Fender
®
FAR: positions the microphone further away from the speaker cabi-
net, delivering a bass-lighter response (figure 9.26).
figure 9.26
TIPS:
- If you want to obtain more present and detailed clean sounds, you
can virtually mic up your CAB using the On Axis position and Close
distance settings. Now, if you feel that the sound is too big for your
mix, change the mic distance to Far.
- In general, extremely high gain sounds match well together with
an Off-Axis position and Close distance settings, (especially if you
are using a bright microphone like the Dynamic 57).
AMBIENCE: adjusts the amount of room ambience that is mixed with the
microphone signal (figure 9.27).
figure 9.27
TIP: ambience is STEREO so to completely take advantage of this
feature be sure to use AmpliTube Fender® on a stereo track or bus
or use a “Mono to Stereo” AmpliTube Fender® instance.

9 - CAB Module
94
AmpliTube Fender
®
9.5 Microphone Models
The AmpliTube Fender® CAB module includes 9 Microphone Models;
Condenser 87
•
Condenser 84
•
Condenser 414
•
Dynamic 57
•
Dynamic 421
•
Dynamic 441
•
Ribbon 160
•
Velo-8
•
MD1-b
•
9.5.1 Condenser 87
This is a model of one of the most popular large diaphragm mics ever, the
Neumann® U87 (figure 9.28). It can be found in any large recording studio
mic locker. Because of its excellent frequency response curve, the 87 has
become the go-to mic when needing a clean, flattering sound.
figure 9.28

9 - CAB Module 95
AmpliTube Fender
®
9.5.2 Condenser 84
No microphone collection would be complete without a great small dia-
phragm condenser mic. This model is based on the standard for small dia-
phragm mics, the Neumann® KM84 (figure 9.29). As with any good small
condenser mic, the 84 provides a clean clear picture of the guitar tone.
figure 9.29
9.5.3 Condenser 414
The Condenser 414 is modeled after another highly regarded large dia-
phragm condenser microphone, the AKG® C-414 ULS (figure 9.30). It is a
bright, open microphone that will flatter big full tones and will also blend
beautifully when combined with another cabinet/mic setup.
figure 9.30

9 - CAB Module
96
AmpliTube Fender
®
9.5.4 Dynamic 57
This mic model is based on the Shure® SM-57, one of the most popular
small diaphragm dynamic microphones. Its bright, edgy sound has made it a
widely used guitar amp mic (figure 9.31).
figure 9.31
9.5.5 Dynamic 421
Probably the second most popular dynamic mic to use on guitar amps (figure
9.32), this model, based on the Sennheiser® MD-421, provides a equally
pleasing sound, but is warmer than the 57.
figure 9.32

9 - CAB Module 97
AmpliTube Fender
®
9.5.6 Dynamic 441
This model, based on the Sennheiser® MD-441, has a flatter frequency
response than the other dynamic mics (figure 9.33). This mic is highly
regarded as a guitar mic and used widely in studios all over the world.
figure 9.33
9.5.7 Ribbon 160
This mic is modeled after the Beyerdynamic® M160 (double-ribbon hyper-
cardioid microphone), one of the top choices for capturing the sound of a
broad diversity of sources (figure 9.34)
figure 9.34

9 - CAB Module
98
AmpliTube Fender
®
9.5.8 MD1-b
This is a modern-sounding large diaphragm condenser microphone based
on the Groove Tubes® MD1b-FET (figure 9.35). With a subtle boost in
the highs and a smooth low end, this is an excellent choice for capturing
brighter, more modern guitar tones.
figure 9.35
9.5.9 Velo-8
This is a double-ribbon figure-8 microphone with a unique Neodymium ele-
ment, based on the Groove Tubes® Velo-8 (figure 9.36). With a silky-smooth
high end and good low end body, a great choice for more vintage-sounding
guitar tones, this mic mixes very well with other microphones for very full-
bodied recordings.
figure 9.36

9 - CAB Module 99
AmpliTube Fender
®
9.5.10 Microphone Models (Table)
Microphone Models Based on*
Condenser 87 Neumann® U87 (Cardioid mode)
Condenser 84 Neumann® KM84
Condenser 414 AKG® C-414 ULS (Cardioid mode)
Dynamic 57 Shure® SM-57
Dynamic 421 Sennheiser® MD-421
Dynamic 441 Sennheiser® MD-441 (“M” position)
Ribbon 160 Beyerdynamic® M160
MD1-b Groove Tubes® MD1b-FET
Velo8 Groove Tubes® Velo-8

9 - CAB Module
100
AmpliTube Fender
®

10 - RACK FX Module 101
AmpliTube Fender
®
Chapter 10 RACK FX Module (Post Effects)
figure 10.1
10.1 Introduction
To access the AmpliTube Fender® RACK module, click the RACK button on the
Module Selector. There are two independent RACK modules featuring 4 stereo rack
effectseach.Theycanbeusedindependentlyortogetherforatotalof8rackeffects.
To select a rack unit, click on each of the 4 racks displays (where it says “empty”),
(figure10.2)andchooseoneoftheavailableoptionsorscrollthroughthedifferent
rack effects using the Up/Down arrows (figure 10.3).

10 - RACK FX Module
102
AmpliTube Fender
®
10.2 Rack FX Models
AmpliTube Fender® includes 6 rack effects taken from the Fender® Cyber-Twin® SE
Amplifier: Pitch Shift, Tape Echo, Triangle Chorus, Sine Flange, Wah, and Compressor,
increasingyourtonalflexibilityoptionsandallowingyoutocarvethesoundevenfurther.
10.2.1 Pitch Shift
A pitch-shifting effect (figure 10.4) with both pitch-shifting and detuning
effects. Use for both wild soloing and unusual detuned textures.
figure 10.4
Controls:
Pitch Level: controls the Wet/Dry ratio, from 1 to 10.
Pitch: controls the amount of the pitch shift, from 1 to 10.
Detune: controls the detune amount, from 1 to 10.
Feedback: controls the feedback amount, from 1 to 10.
PreDelay: controls the Predelay amount, from 1 to 10.
Volume: controls the volume of the pitch effect, from 1 to 10.
10.2.2 Tape Echo
A classic tape echo effect (figure 10.5). Use for retro, lo-fi-style echo effects.
figure 10.5
Controls:
Time: controls the length of the echo effect, from 30ms to 1450ms. When
BPM Sync is turned on, time is displayed from a 1/32 to 1/1 ratio.
Feedback: controls the amount of repeats of the echo effect, from 1 to 10.
WowFlutter: controls the amount of pitch drift/variation of the echo
effect, to emulate tape playback, from 1 to 10.
Brightness: controls the amount of high-end of the treble, from 1 to 10.
Volume: controls the volume of the echo effect, from 1 to 10.
Ramp/Step: alters the way that changes to echo time change, from a
“ramp up” style to a “stair step” style.
BPMSync:syncstheEchoeffecttothemasterBPMofyourDAW/Standalonemetronome.

10 - RACK FX Module 103
AmpliTube Fender
®
10.2.3 Triangle Chorus
Achorus/doublingeffectforthickeningupyourguitar’stone.(figure10.6).
figure 10.6
Controls:
Level: controls the amount of the chorus effect, from 1 to 10.
Rate: controls the rate of the chorus effect, from 1 to 10.
Depth: controls the depth of the chorus effect, from 1 to 10.
Avg Delay: controls the delay amount of the chorus effect, from 1 to 10.
Phase: controls the phase of the chorus, from 1 to 10.
Volume: controls the volume of the chorus effect, from 1 to 10.
metronome.
10.2.4 Sine Flange
A classic flange effect for swirling, psychedelic jams or intense metal rhyth-
mic playing (figure 10.7).
figure 10.7
Controls:
Level: controls the amount of the flange effect, from 1 to 10.
Rate: controls the rate of the flange effect, from 1 to 10.
Depth: controls the depth of the flange effect, from 1 to 10.
Avg Delay: controls the delay amount of the flange effect, from 1 to 10.
Phase: controls the phase of the flange, from 1 to 10.
Volume: controls the volume of the flange effect, from 1 to 10.
BPM Sync: syncs the Flange effect to the master BPM of your DAW/
Standalone metronome.

10 - RACK FX Module
104
AmpliTube Fender
®
10.2.5 Wah
A classic-voiced wah effect (figure 10.8), with multiple settings to fit your
playing style. Can add a funky, almost vocal vibe to your playing..
figure 10.8
Cryin’/Mccoy: switches between two different classic Wah styles.
Wah: controls the amount of the wah effect, from 1 to 10.
Min Freq: controls the minimum frequency effected, from 1 to 10.
Max Freq: controls the maximum frequency effected, from 1 to 10.
Volume: controls the volume of the wah effect, from 1 to 10.
10.2.6 Compressor
A classic compressor effect (figure 10.9). Use to even out volume levels when
playing for a studio-like tone, to add sustain to metal leads, or to accentuate
the “twang” in country-style picking.
figure 10.9
Controls:
Ratio Buttons: sets the overall level of compression, from “Low” to
“Even Higher”.
Volume: controls the volume of the compressor effect, from 1 to 10.
10.2.7 Rack FX Models (Table)
Rack FX Models Based on*
Pitch Shift Fender® Cyber-Twin® SE Pitch Shift
Tape Echo Fender® Cyber-Twin® SE Tape Echo
Triangle Chorus Fender® Cyber-Twin® SE Triangle Chorus
Sine Flange Fender® Cyber-Twin® SE Sine Flange
Wah Fender® Cyber-Twin® SE Wah
Compressor Fender® Cyber-Twin® SE Compressor

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