2. This is Amp Room

Amp Room is the plugin for the guitarist, bass player, producer or any artist who needs a great set of effect pedals, amplifiers, speaker cabinets and all kinds of other sound-shaping tools. Record your instrument through a direct signal or perhaps after physical pedals and add your desired amount of anything at any production stage. This is a complete rig for your guitar, bass, keyboard, harmonica, voice or whatever your favorite instrument happens to be!

Amp Room contains everything you’d expect from a luxurious amplifier rig. You need effects – there are lots of them here. You want a tube amp – we have a fine selection for you. Cabinets are important – here’s a bunch. Not to mention all the sound-shaping utilities and useful studio effects.

Amp Room is the perfect playground for experimentation. Do you want to put the cabinet first in the chain? Go ahead! How about parallel signal paths? No limitation at all! Does the echo pedal sound better before or after the overdrive? Find out! We believe in total creative freedom.

Softube has a long history of tube sound – hence the company name! This experience boils down perfectly to a compact, sweet sounding, easy-to-use, all-in-one plugin.

Did anyone say plug-and-play? This is plug in and play!

Add-on packages for Amp Room

Over time there will be add-on packages, specifically made for Amp Room, regularly released. These will have spotlight features on products of a certain type, era, manufacturer etc. It will not be possible to use these add-on packages if you do not have Amp Room. Once you own an add-on package (and own Amp Room) the modules/gear included while appear automatically in the Gear tab and will work and function just like the default Amp Room gear.

“Amp Room-ready" Softube plug-ins

Not only does Amp Room by default come with a large variety of gear, you will also be able to use an assortment of other Softube plugins directly inside Amp Room! These plugins will be labelled as “Amp Room-ready" on their individual product pages. If you already happen to own a Softube plugin that is Amp Room-ready, it will automatically show up in your Gear tab, and can be used in the same exact manner as the default Amp Room gear.

Plugins from the Softube back catalogue to become Amp Room-ready will be chosen according to their usability within the Amp Room context. The list of Amp Room-ready Softube plugins will expand over time as more suitable products are released.

 

3. Enough talk! How do I get started!?

Instantiate Amp Room on an audio track in your DAW. Plug in your instrument and adjust your input level. Then either select a suitable Amp Room preset from Softube’s Preset Collection or create the signal chain yourself in a matter of seconds directly from the Gear menu, and play! It’s really that simple.

The most flexible method is to use Amp Room as a plugin effect on an audio track. That way, Amp Room is used as a playback effect and you are free to tweak the sound at any time, both while recording and afterwards.

You can also record your instrument with a full set of Amp Room effects, amp, and cabinets. By committing to the right sound permanently, there will be one thing less to worry about later during production.

Or you can use Amp Room to beef up an already recorded instrument. Maybe all you want to add is some delay and gentle tube overdrive?

Adding and removing modules

After instantiating Amp Room on an audio track, you’ll of course want to try out all the different goodies in the Amp Room Gear menu. You will find there are several ways to do that.

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Upon starting up Amp Room on a new track the Gear menu at the bottom of the plugin window will be open (it is open by default). You will find a huge amount of devices that you can scroll through. If you select a device by clicking on it, it will be inserted last in your signal chain by default. If you know exactly where you want the device, you can also select it by dragging it out of the Gear menu by holding down the left mouse button and dropping it where you want it. There is also a third way of adding a device to your signal chain. Place the mouse cursor where you would like to insert it in your signal chain, click anywhere on the green insertion line that will appear and the Gear menu will open. Choose whatever device you want by clicking on it and it will automatically be inserted at the pre-chosen insertion point.

Note: When clicking on a module in Gear menu, the module will blink twice upon insertion. This to act as both visual feedback that something was selected and inserted, plus making it easier to locate in the workspace area

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If you want to make the gear selection a bit easier, you can sort the items into categories. In the Gear menu, click on any of the 5 icons above the Gear menu. The icons in L-R order are: Pedals, Amps, Cabs, FX/rack, Utility tools.

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You can easily create a second signal path in Amp Room by dragging and dropping a module to a position above or below another module. When doing this, a split module and a mix module will appear automatically to enable you to tweak the two signals however you want them (for full explanation of the Split/Mix modules, see "Split/Mix" chapter.

Note: For stereo effects to work properly in certain DAWs, make sure you are using a stereo track.

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Removing or replacing a module in a signal chain is also super easy. Just right click on the module you wish to remove or replace and choose between “Remove module”, “Replace module”, which leads into a menu over your available modules in the Gear menu, and of course “Remove all modules” if you wish to scrap all the modules in current use and start over fresh.

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You can also remove a module by clicking on the small “X” in the upper left module corner. All modules have a bypass function. It can be found at the top right corner of a module and is activated/deactivated simply by clicking the circle-shaped button.

Lastly, all modules also have an info-icon located at the top left corner. This info might be tips on how to use the module or a background story of the module.

Note: Utility modules do not have a info-button on the modules. Information pop-up windows for these modules can be found in the Gear menu. Split/Mix panels do not feature any of the three buttons mentioned.

Note: Utility modules and Split/Mix panels do not have this feature.

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Order of the modules

Why do most “pedal to amp to cab” plugins restrict the user on how to arrange their signal chains? We don’t know, and we think it’s a bad idea. Wonderful and crazy things can happen when you connect your stuff in an “unorthodox manner”. In real life, you might destroy your gear by doing so, but here you are in the safe hands of Softube.

For instance, you could try setting up a patch with a distortion pedal, a delay pedal, and a cabinet, in that order. Turn up the distortion quite a bit and turn on the delay. Then drag the delay so that it sits before the distortion pedal. Notice the difference? Generally, it’s a good idea to place the delay after the distortion, but when searching for unusual sounds, it’s sometimes necessary to break the rules. So why not try putting the cab first?

Flexibility or commitment?

Recording without committing!

The most flexible method is to use Amp Room as a plugin effect on an audio track during recording and playback. By recording your instrument with a clean sound, directly from your sound card, you can apply any kind of effect, amp, and cabinet while recording and change those settings at any time during the production process.

Recording with commitment!

You can also record your instrument with a full set of Amp Room effects, amp, and cabinet. To do so, instantiate Amp Room on an input track and bus the signal to a second channel where you will now “hard record” you track onto. You may find it easier to dial in your perfect sound and commit to that permanently. One less thing to worry about at later stages in your music production.

However, recording with Amp Room as a playback effect is by far the most versatile strategy. While recording, your project may head in another direction than first envisaged. The flexibility to tweak your Amp Room settings late in the process, could very well be the versatility you need.

Using Amp Room as a send effect

While Amp Room was designed to be used as an insert plugin, it is perfectly possible to instantiate it as a send (aux) effect. When doing so, the entire signal no longer passes through Amp Room. Instead, it will be a bit like adding reverb to vocals, which is usually done via aux sends.

 

4. What to expect from Amp Room!

Will Amp Room do the same job as a regular guitar rig consisting of effects, amplifier, and a cabinet?

Yes, it will. Amp Room is like a music store; full of everything you need to get your personal sound. Just without five people playing Stairway to Heaven.

What’s the advantage of being able to use effects, amps and cabs in any order?

Just imagine...

Can I run my electric bass through Amp Room?

Absolutely! Amp Room is developed for both bass and electric guitar (plus whatever usage you can think of, really). For over fifty years, bass has been recorded by mic’ing a speaker cabinet or by using a line box (or a combination of the two). In Amp Room you easily can use both techniques. At the same time.

Is Amp Room CPU hungry?

No, not for the average contemporary computer.

Amp Room is useless to me because I’m a singer.

Have you ever tried adding a soft amp overdrive effect to your vocals? It can work! There are numerous examples out there.

 

5. General

General settings

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Clicking on the Settings symbol at the top right-hand corner of the plugin will show the settings options.

Here you can turn OpenGL graphics on/off, disable/enable different warning pop-ups, auto-zoom (when the level of zoom automatically adjusts to display an increasing amount of modules in use) and various other settings.

Disabling OpenGL will force the computer processor to draw all graphics without the help of the graphics card. This will bypass any compatibility issues the graphics card might have, but can cause low overall performance and jerky graphics movements. Therefore, only disable OpenGL if there are instability issues or graphic glitches.

Disabling auto-open gear menu will stop the Gear menu from automatically opening when the workspace is empty. Disabling auto-zoom will let you set a zoom level manually. This setting will however be overridden when/if loading a preset.

Please note #1! Turning on/off OpenGL affects all Softube plugins and requires DAW restart. A change of setting for the other options shown requires a new instantiation of Amp Room, but no DAW restart required with most DAWs.

Please Note #2! It is highly recommended to not disable OpenGl when using Amp Room.

Clicking on the green Softube logo with display the version of Amp Room currently installed.

By default, hovering over a module, widget or function will result in a tooltip pop-up that briefly explains the object in question. Tooltip pop-ups might become superfluous over time and can be disabled in Settings.

General Tools

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Click here to view the full-sized image in a new tab

Gate

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The Gate, located at the top left-hand corner, functions like most other noise gates you might have encountered. If you have an annoying noise or humming sound when you want things to be quiet, try using this function. Engage/ disengage the Gate by clicking in the green circle and move the threshold slider to your desired level of gate.

You can also adjust the gate by placing your mouse cursor over the threshold slider and scroll with your mouse wheel.

DTC™ - Dynamic Transient Control

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Some pedals, fx and amplifiers impact the overall dynamics and transients of a sound. If you want to restore the original dynamics, DTC™ (Dynamic Transient Control) can magically bring those transients back.

Engage/ disengage DTC™ by clicking the green circle. The further you move the slider to the right, the more the transients and dynamics are enhanced.

You can also adjust the amount by placing your mouse cursor over the slider and scroll with your mouse wheel.

Headphones Mode

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The little button with a headphone symbol next to it, is a utility for those occasions when you’re working with headphones. Listening to a completely dry signal in earphones can be really tiring. Real life instruments never sound like that in a room; they always have a bit of room and air around them.

The Headphones mode brings some life to your headphone sessions by adding some slight room ambience in stereo. It also removes some harsh high end of the sound.

The effect of the Headphones-button is hardly noticeable when listening through speakers.

Engage/disengage Headphones mode by clicking in the green circle.

Please note! If you render or mix with Headphones mode active, that little extra ambience will also be added to the overall Amp Room sound.

Left, Stereo, and Right modes

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This handy little switch determines what input audio signal that will pass through Amp Room, Left, Stereo or Right.

Your guitar or bass is typically a mono source but if you choose Left or Right when using the stereo instance of Amp Room, you can create stereo effects from your mono source. L-input is chosen by default and will in most cases be the correct input choice for a mono guitar or bass.

Please note! If you wish to preserve the stereo image of an incoming signal, the stereo icon (two interlaced circles) must be selected.

Tuner

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A tuner is always handy, especially if you’re a guitarist or bass player. Turn it on when you need it. If you find the blinking pitch indicator disturbing, just turn it off with the little switch.

By default (speaker + x), turning on the tuner will mute the through signal, so you can tune your instrument without disturbing anyone else.

The second symbol (speaker + straight line) will let you hear the incoming signal while you’re tuning, but with the entire signal chain bypassed (no effects) while tuning.

The third position (speaker + sinus wave) will play the instrument with the entire signal chain active (all effects on) while tuning.

Engage/disengage the Tuner by clicking in the green circle, select one of the three tuner options by clicking on the different tuner icons.

Zoom

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You will find the Zoom control in the upper right-hand corner of the Amp Room interface. With it you can easily adjust the amount of zoom you wish to have by moving the slider to the left or to the right. It is also possible to control the zoom with the scroll wheel of your mouse. Place the cursor in the zoom-indicator window and scroll away.

You can also zoom by being anywhere in the workspace area with the mouse cursor and alt/option+scroll (Mac) Ctrl+scroll (PC).

Please note! Be careful as there might be instances where the mouse cursor is over a knob etc. and the alt/Ctrl-scrolling will change that parameter setting instead of zooming in/out.

Help section

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To the far right we have the help button. From here you can launch the tutorial and find links to the online manual and to instruction videos.

The tutorial is designed to give a brief but general understanding of how Amp Room works. If you have previously chosen to not show the tutorial dialogue window again, or If you wish to do the tutorial again, or you can check “Enable Tutorial” in the Settings menu.

 

6. The Amp Room Workspace area

Input and Output levels

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The Input and Ouput level panels are permanent features of the workspace area. They cannot be moved or removed.

Input level panel

You can set the input level by adjusting the input volume slider. As a rule of thumb, adjust the input volume so that the volume meter hits about 0 dB when playing hard.

Note: If you prefer amps with more headroom, simply turn down the input volume. The opposite is also valid.

Output level panel

You can set the output level by adjusting the output volume slider. As a rule of thumb, adjust the output volume so that the volume meter hits about 0 dB.

Series/Parallel

Creating stereo effects

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The signal chain in Amp Room preserves the mono or stereo information from the input signal. So, mono in –> mono out. Stereo in –> stereo out (if you remember to tick the Stereo icon at the top).

Example: If you run a stereo sound through a device in Amp Room, the output will also be in stereo but with the additional effect of whatever is in the signal chain. No stereo information will be added.

However, you may want to add stereo information to the audio you’re running through Amp Room. A stereo delay – with different delay times in left and right channels – can be useful when you want to add width to a sound. Chorus, phasing, and reverb are similar examples.

Example: Drag the Wild Boar Delay pedal to the signal chain. Then drag a second delay pedal to a position above or below the existing delay to create a two-lane signal chain.

When a parallel signal path is created a Split and a Mix panel automatically appear; Split at the beginning and Mix at the end of the split/parallel signal path.

Set different delay times to the two units and on Mix panel, set one of the Pan knobs to the left and the other one to the right. Done!

Sometimes your signal chain can become a little busy looking if it has a lot of parallel signal chains. Up in the right corner of the of the Amp Room interface you will find “Split” and “Mix” buttons. With them you can choose if you want either of them visible. Once you’ve completed your tweaking, perhaps you wish to clear out the clutter a bit? Easy!

Note: Depending on your DAW, you may have to use a stereo audio track for stereo effects to work.

Creating multi-channel effects

You can easily create signal chains with more signal paths than two. Just follow the instructions in the previous chapter and add even more paths. By adjusting the Pan knobs, you can create a sonic landscape of any width and depth.

Note: The settings of the Split and Mix panels are in effect even when the panel is not visible.

Creating parallel signal paths

Series and parallel effects can sound very different. Try placing a delay and a reverb pedal after each other in the same lane. Compare that sound to what you get with the effects in separate lanes. Experiment!

Split/Mix

The Split panel

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As mentioned previously, when creating more than one path in the signal chain the Split panel becomes functional. This panel has crossover functionality. This can come in very handy when you want to process two frequency ranges of an instrument differently.

This technique – generally referred to as bi-amp'ing – is often applied to bass guitars. Many bass amps allow you to split the bass sound into two ranges. Example: Everything above 200 Hertz goes to one amp and/or cabinet and everything below 200 Hertz goes to another. The crossover frequency is usually adjustable.

Another example is sending the upper half to effects while keeping the lower frequencies clean, in order to keep the bottom end more solid.

Amp Room allows you to do exactly that – treating the high and low ends of a sound separately.

You can swap the high and low range lanes by clicking on the Swap bands button.

Note: The settings in the Split panel are in effect even when the panel is not visible.

The Mix panel

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Along with the Split panel appearing, the Mix panel also appears when creating a parallel signal chain.

The Mix panel combines the two signal paths into one stereo output. The Pan controls can be set to any wide or narrow stereo field, and the volumes of the lanes are freely adjustable with the Volume faders. There is also an option to Phase Invert either/or both the upper and lower signal paths if you like.

There are also buttons for Mute and Solo. Mute will mute the signal at that point in the signal chain. This will be indicated by a red signal cable. Solo will instead solo the signal from that point of the signal chain all the way out to the output level panel. This will be indicated by a yellow signal cable. Several Mute and Solo buttons can be used and combined at the same time.

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Note: The settings of the Mix panel are in effect even when the panel is not visible.

Plugin resize

By grabbing (left mouse-click and hold) the bottom right corner of the plugin window, it is easy to change the size of the Amp Room plugin window between a set max and min size. The chosen size will be saved along with the project. In Settings you can choose to make a customized sized window to be the default size.

 

7. Multistates

Freedom to Experiment

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Amp Room has four different states; A, B, C and D, where signal chains can be created, modules can be copy/pasted between and presets can be opened and saved to and from independently.

How to use multistates

Switch between the different states by hovering over a letter tab. The tab will extend, showing what is currently in this state (if anything). Click on the tab to go to the state.

If you wish to copy what you are doing in one state to another, simply hover over the desired other state tab. When it extends, hover over the camera icon and click it once. The current signal chain has now been copied into the other state.

Other examples on how to use multistates:

Example 1: Adding modules from a pre-existing preset to a signal chain in progress

“You have a great signal chain going on in state A but would like to add a pedal set-up from a favorite preset.”

  1. Go to an empty state by clicking on a lettered tab on the right side of the Amp Room interface.
  2. Load the desired preset into this state.
  3. Hold down the shift-key and drag a selection box over the modules you wish to copy.
  4. When high-lighted, right-click and select “Copy selected modules”.
  5. Go back to the original state and hover with the mouse at an insertion point along the side edge of the module where you wish to paste the modules.
  6. A green plus-icon will appear. Right-click and select “Paste modules to here”.

 

Example 2: Saving parts of a signal chain as building blocks for future signal chains.

“To speed up your workflow you wish to, over time, create your own library of pedal set-ups, cab configurations etc. that you create and really like.”

  1. Hold down the shift-key and drag a selection box over the modules you wish to copy.
  2. When high-lighted, right-click and select “Copy selected modules”.
  3. Go to an empty state, right-click on the “Add Gear” box and choose “Paste modules to here”.
  4. In the top-left corner of the Amp Room interface, click in the Preset Browser search field and choose “Add preset…” from the dropdown list.
  5. Name your preset and press Enter.
  6. This present individual state has now been saved as a preset and can be used in future signal chains.

 

Multistates background color

The different multistates also display the current letter in the workspace and feature different colors to make work in Amp Room both more varying and easier to keep track of the different states, perhaps from a distance. If you do not wish to have different background colors and letter indicator, go to Settings and check “Disable multistate letter and color scheme”.

 

8. Getting Modules onto the workspace area

Using the Gear menu

After instantiating Amp Room on an audio track, you’ll of course want to try out all the different goodies in the Amp Room Gear-tab. You will find there are several ways to do that. Upon starting up Amp Room on a new track, the Gear menu will be open (it is open by default as soon as the workspace area is empty). You will find a huge amount of modules that you can scroll through. If you select a module by clicking on it, it will be inserted last in your signal chain by default. The added module will blink twice to highlight where it is in the signal chain. If you know exactly where you want the device, you can also add it by dragging it out of the Gear menu by holding down the left mouse button and hovering with it briefly over where you wish to insert it. An empty slot will appear to indicate where it will be placed. Simply drop the module and it will be inserted at that location.

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There is also a third way of adding a device to your signal chain. Place the mouse cursor where you would like to insert it in your signal chain, click anywhere on the green insertion line that will appear and the Gear menu will open. Choose whatever module you want by clicking on it and it will automatically be inserted at the pre-chosen insertion point.

Gear menu icons

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If you wish to make the gear selection a bit easier, you can sort the modules into categories. To the left, directly about the Gear menu, you will find a set of gear icons. They are (L-R): Pedals, Amps, Cabs, Studio FX and Utility tools.

You can also use the free text search field located to the right, directly above the Gear menu. Brand names, functionality or gear type can all be used as search keywords.

Please note! The Amp Room Store icon works in conjunction with the other gear icons. If you e.g. have the Cabs-icon selected and then click the Amp Room Store-icon you will only see what cabs are available in the Amp Room Store that you currently do not own (meaning, sometimes Amp Room Store might appear to be empty). To show everything available in Amp Room Store: simply unselect any currently selected gear icon. To exit Amp Room Store, deselect the Amp Room Store icon.

To the right side of Gear menu, you will find a set of icons:

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The top icon is a pin. Selecting it will keep the Gear menu open, while deselecting it will set the Gear menu to open automatically when the mouse is close to it. The three following icons are different view options, ranging from largest to smallest view. At the bottom you will find the Amp Room store icon.

The Amp Room Store icon will display what is available to add to Amp Room but that you currently do not own. These can be exclusive Amp Room devices (e.g. a single pedal, amp or a cab) or full Amp Room exclusive add-on packages. There will also be a wide choice of other Amp Room-ready Softube plugins e.g. the Tube-Tech CL1B compressor or the Trident A-range EQ, all with the same modular functionality as the default Amp Room gear.

Note: The Amp Room Store-icon filter works in conjunction with the other selection icons. If you e.g. have the Cabs-icon selected and then click the Amp Room Store-icon you will only see what cabs are available in the Amp Room Store that you currently do not own (meaning, sometimes Amp Room Store might appear to be empty). In this case, to show everything available in Amp Room Store: simply unselect the cab-icon.

Also please note! For stereo effects to work properly in certain DAWs, make sure you are using a stereo track.

 

9. Preset Collection for Amp Room

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If you are unfamiliar with the vast range of options and settings that Amp Room offers, a good first step is to check out Softube’s “Preset Collection” that comes with Amp Room.

Please check out the dedicated Preset Collection chapter on page 4 in this manual for more information on how to use it to its full potential.

In addition to all the hundreds of new Amp Room and ”Amp Room- ready” presets featured in Preset Collection, the legacy presets from Bass Amp Room, Metal Amp Room and Vintage Amp Room have also been included. Please note that because Amp Room features upgraded mkII versions of the amplifiers from these three plugins, the legacy presets might vary slightly in sound compared to when being run on a legacy Bass/Metal/Vintage plugin.

 

10. Modules – General information

Anything that can be click-selected and/or dragged from the Gear menu to the workspace area are modules. As mentioned previously, at the top of every module you will find (from left to right) a Remove-button, an Information-mouse over icon (not present on Utility modules) and to the far right a Bypass-button.

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All modules also have an "Focus mode-button" located at the top, second from the right. By clicking this you will have the module in what we call “focus mode”. It will become larger and displayed centered in the plugin. Amps are special in focus mode, as they open up the amp interface found in the stand-alone version. All knobs, buttons etc. are fully interactive also in this state and whatever changes you do to your amp settings will remain the same when you enlarge or decrease the amp interface size. Decrease the size of the module in focus mode simply by clicking somewhere outside of the amp interface.

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Note: focus mode for a module can also be achieved by double-clicking on it!

By clicking the Remove-button the module will be removed without a confirmation warning. Hovering your mouse cursor over the Information-icon will show the same information over the specific module as is shown in the Gear menu when hovering over the same module. The Bypass-button does exactly what the names says: you can bypass the module on and off by clicking this button.

If you wish to move a module, place the mouse cursor over the top end of the module over the darker upper frame (present while hovering over the module). Hold down the left mouse button (while over the dark area) and grab the module. You are now able to move and insert the module where you like.

Apart from moving a module around by grabbing it, you can also drop it on top of another module. The dropped module will then replace the other module and the replaced module is removed from the workspace area.

Module right-click options

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Right-clicking on a module will show a list of options

Remove module: Will remove that particular module instantly without a confirmation warning.

Replace module: Will lead you to a list version of all available modules.

Remove all modules: Will, perhaps not surprisingly, remove all the modules you currently have in the workspace area if you wish to start over fresh with a clean slate. Choosing this will however prompt a confirmation warning of what is about to happen.

Add duplicate after module: This will duplicate the module along with all its current settings and paste it directly after the module being duplicated.

Please note! These right-click options do not appear on the Split and Mix panels, nor the Input and Output meters.

 

Arranging modules in the workspace area

As previously mentioned, modules can be rearranged by grabbing onto the top bar of the modules and dragging/dropping them into a new position. If you wish to move, bypass, copy or delete several modules at once, there are two ways of doing so.

By holding down shift or control (Mac) … (Win) and “drawing” a box over a set of modules you are able to select one or more modules. You can also achieve this by holding down the same keys and clicking on them. By right-clicking on one of the high-lighted modules this menu will appear:

Remove modules: Does what it says. It removes the selected modules from the signal chain.

By-pass toggle modules: When set to by-pass the signal passes through a module unaffected. With this feature several modules can be by-passed on/off at a time.

Copy to clipboard: Copies the selected modules to the clipboard for later pasting.

“Copy to clipboard” can be used to move several modules within a signal chain, but is perhaps primarily to be used when you wish to copy a selection of modules to another state (See Multistates)

 

11. The Gear

About the effects pedals

Effects pedals have been the obvious choice for so many musicians during so many years, both live and in the studio. Effects pedals offer a modular approach to creating exciting and personal sounds. Combine whatever pedals you want in any order, and something exciting will probably come out at the other end.

Amp Room offers this playground approach too. Feel free to experiment and feel free to break the rules. Do you always need an amp after an overdrive? Can I use a bass cabinet with my harmonica? What if I connect these effects in parallel?

Go ahead and find out!

DIS Distortion pedal

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Distortion probably doesn’t get any more classic than this unit. You could call DIS the mother of all distorted sounds. This overdrive pedal, with its tube-like characteristics, can be useful when your amplifier isn’t heavy enough. The mid boost provided here is typically popular among rock and blues guitarists. DIS Overdrive can even be used to mimic the sound of a vintage tube amplifier all by itself.

Operation is simple. Adjust the Drive knob for the right amount of dirt, use the Tone knob to set the treble content and let Level balance the overall output volume of the pedal.

Doom Chvrch Reverb pedal

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The Doom Chvrch reverb is a marriage between vintage and modern. Some parts, such as the modulation and diffusion, are inspired by the classic EMT 250 reverb, while the reverb tank itself comes from the huge hall we built for the Parallels® instrument. It was designed to allow you to go from a short “boxy” room sound, to epic and almost infinite perturbations that evolve over time into something completely different. It was never intended to sound realistic; it was designed to sound good.

Doom Chvrch is a stereo reverb that will give you a stereo output, even if the input is a mono signal. You can therefore use it in subtle amounts to give some depth to your track. The Time knob provides almost infinite reverberation. Mix adjusts the dry/wet balance and the Bass and Treble controls let you adjust the overall tone of the reverb effect.

“Doom Chvrch” is a local wordplay on the Domkyrka (Cathedral) of Linköping. Founded in the 13th century, it is a prominent part of the Linköping skyline.

EQnäs EQ pedal

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A seven band EQ can be a lifesaver in so many situations. You may have created a sound in Amp Room that is almost there. It just needs a little less low mids or more sparkle. EQnäs can save your day and make the difference between a good sound and a great one.

Placing an equalizer in front of a tube amp can help the amplifier come alive, make it scream and behave more aggressively. Depending on what frequencies you boost or cut, your tube amp will react, so it’s definitely worth pushing all the EQ sliders up and down to reach your desired result.

An EQ can also provide an effective method to make an instrument cut through a dense mix, or to whip up a telephone filter. You can even use the filter sliders to create a makeshift comb filter (push every second slider up and every second slider down on the left side and make an inverted EQ setting on the other side).

The seven sliders affect frequencies between 100 and 6,400 Hertz with a ± 15 dB range. The Level slider on the right can be used to compensate for any undesired volume change caused by the frequency sliders. It also has a ± 15 dB range.

Ekenäs Castle is a 17th century Baroque-style castle located outside of Linköping.

Jet Town Compressor pedal

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A compressor can affect the dynamics of your instrument in a big way. This pedal can be used on an electric guitar to boost the soft rhythmic noises for a funkier sound. Or on a bass to flatten out the volume, so that all notes get a more even loudness. Running an acoustic guitar through Jet Town can affect not only the overall loudness but also the attack and the length of the notes. There are several pop recordings with a bit too much compression on acoustic and electric pianos, giving them quite different sounds. And, of course, you nearly always use a compressor to tame vocals.

Attack can be set from 2 to 100 ms, and the Release range goes from 50 to 500 ms. Intensity sets the compressor threshold, i.e. the level where compression starts to kick in. In short: Increase the Intensity value to get more compression. Finally, use Output to balance the overall output of the pedal by ± 21 dB.

Jet Town is a reference to Linköping being Sweden’s number one aviation city. Airplane manufacturer SAAB AB has had its aerospace headquarters in the city since the early 1900s.

JJB Chorus pedal

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The chorus effect will bring a sweeping movement to almost any sound source. Overuse will bring back strong 80’s vibes.

This pedal adds a slight stereo image to a mono sound (if the track output is set to stereo). The Speed knob has a range from 0.3 to 9 Hertz. That’s the rate of the modulation. For reference, a Leslie cabinet rotates at approximately 1 Hertz (slow setting) and 8 Hertz (fast setting). Depth determines the depth of the modulation and Mix takes you from a dry to a fully wet sound.

JJB are the initials of Jöns Jacob Berzelius, a native of Linköping and one of the fathers of modern chemistry.

Kleen 22 pedal

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Want to make a roaring monster out of any old amp? In that case, the Kleen 22 is the pedal for you! It will add up +22dB of clean boost to the signal in addition to cutting some of the low frequencies to the keep the sound nice and tight.

Kraft pedal

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An overdrive/fuzz/distortion pedal masterpiece. Probably featured on more of your favorite recordings than you realize, and that is almost regardless of music genre.

The Kraft pedal transitions easily between warm, tempered overdrive to heaving chunks of heavy gain all around. Thanks to its renowned tone filter the output signal never lacks “muscle” or body and the pedal works just as well for bass as it does for guitar.

Whatever you are looking for in the gain, fuzz and/or distortion department, this is a good place to start your search at.

Lion head Vibrato pedal

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Try placing the Lion Head pedal after a cleanish amp, use the Random waveform setting and be gentle with Speed and Depth to add some dimension to your sound. Or place it after a dirty amp and play around with the Vibe mode and Multisine waveform setting to bring back memories from the past. Alternatively, dial up the Speed and Depth to max and enter the experimental zone!

Don’t forget to try out the Stereo setting either. But do so on your own risk! This pleasant effect might keep you busy long after your intended bedtime.

A lion’s head is the Linköping city coat of arms and is a frequent symbol of the local sports teams.

Marshall Guv’nor pedal

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The pedal modeled here was introduced in the 1980s and provided a method for obtaining the classic Marshall sound without actually buying a Marshall amplifier. It recreates the drive tones of the JCM800 and Plexi amps with its heavy, distorted tones. It’s also flexible enough to move from transparent overdrives to heavily saturated lead tones and further into huge, distorted JCM grunt.

Gain provides drive, no doubt about that. The three Bass, Middle, and Treble controls allow you to sculpt your sound, while the Level knob sets the overall output volume.

ODR Overdrive pedal

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The classic dual-stage overdrive circuit modeled in this pedal offers loads of sustain and compression, while preserving the dynamics of the input sound in a great way. If non-muffled, dynamic tones reminiscent of overdriven tube amps is what you want, the ODR Overdrive is your choice.

You could try out different settings on this pedal. Drive can be set very low as a rather clean booster or higher for increased grit and compression, perfect for crunch and lead sounds. The Tone knob is vital for taming the overdrive effect and adjusting the overall character. Level takes care of the output volume.

Rökstenen Superstortion pedal

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This pedal can produce a wide variety of distorted sounds. If you focus on the Character knob, you’ll notice how Rökstenen Superstortion changes … well … character quite drastically.

The center position of the knob represents a standard distortion sound. This can serve as a good starting point for further experimentation. Set the Gain and Level controls to get a general suitable sound. Then turn Character to the left, and you’ll notice how the sound gradually changes to a muddier, brown type of overdrive. Going from 12 o’clock to the right will change the effect to a tighter distortion.

We could even recommend that you try using Superstortion without an amp or even a cab. You may be surprised how well it functions on its own.

Gain sets the overall amount of grit while the Level knob adjusts the total output volume. The Tone knob acts like a tilt control; centre is flat, a setting to the left boosts bass and reduces treble, while turning it to the right will give you a brighter, thinner sound. Contour determines the overall timbre, going from a traditional loudness curve (boosted bass and treble) to flat (12 o’clock) to mid boost.

Rökstenen is a Viking age runestone from the 9th century located outside of Linköping. It has the longest known runic inscription in a stone and is also the first piece of Swedish literature.

Tinnerö Tremolo pedal

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Time to usher back the sound of the 50’s!

Experiment with the placing of the Tinnerö in the signal chain. Speed adjusts the number of wave cycles per minute, in this case, ranging from very low to very high. The Speed value can in fact be set so slow that striking a note or a chord might coincide with a “quiet” wave phase. Use the Dynamics knob to blend in more of the direct signal to compensate for such events. Also, if Dynamics is turned very high up while playing long notes or chords, the tremolo effect with only appear towards the tail end of what is being played. This is where a high Speed setting works particularly well!

If you however wish to have a more traditional tremolo effect, set Dynamic to zero and tweak Depth to your liking.

Tinnerö is an oak woodland bordering to Linköping and is Europe’s most important region for biological diversity linked to the oak tree. As such, it is a designated national treasure.

Trollegater Gate pedal

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Stacking up a load of pedals, especially those that add some kind of distortion, may result in a huge amount of noise building up. A noise gate can come in handy if noise becomes a problem.

One method is to put the gate last in the chain. That way, you will get rid of all unwanted hiss and rumble from your rig. However, if you use delay and reverb effects after overdrive and distortion pedals, the noise gate may cut off the tails of those effects. You could then try placing the gate before echo and reverb.

The Trollegater will always do its best to assist you in removing noise while preserving the music, but you must give it a little help. Start by turning the Threshold knob all the way to the left. With your instrument connected and all effects on but no music playing, listen closely to the noise. Increase the Threshold knob until the noise disappears. This is your correct setting!

Trollegater (transl.: Troll + gata = troll street) is a nature reserve outside Linköping with one of Sweden's largest natural cave systems.

Wahstena Auto-Wah

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Use the Wahstena pedal preferably early in the signal chain. There are two main modes: Soft and Sharp. Use Sharp combined with a relatively high Q-value for that extra quacky sound and adjust Sensitivity to your liking. For a more discrete, but still impactful, sound, use the Soft mode together with a low to mid Q-value.

The Guitar/Bass switch should be seen as a recommendation and not necessary to follow. Use the one that suits your music best. Bass mode preserves more of the low frequencies to the keep the rhythm more intact.

Vadstena is a small medieval town to the southwest of Linköping. It has a castle, with moat and all, along with being the home of St. Bridgit of the Vadstena Abbey, one out of four patron saints of Europe.

Wild Boar Delay pedal

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Delay or echo is one of the most desirable and necessary effects for many musicians, not only synth players, singers, and guitarists. When introduced in the fifties, tape effect units provided a method of adding space around singers and made instruments sound more exciting. Later it became a way of adding rhythmic effects in musical arrangements.

Delay sets a delay time from 20 to 1,000 ms. The Mix knob goes from completely dry to 50/50 (at 12 o’clock) to delay only. Feedback gives you anything from a single delay to almost infinity, and the repeats continue even after you turn the pedal off. If you want to quickly cut off the echoes, just turn down the Feedback knob. Tone does not affect the delay signal at all when set to 12 o’clock. Move it to the left to reduce treble and to the right to reduce bass.

At the module top bar there is also a Tap tempo function! Tap away to get the delay time you are looking for!

Sweden is largely covered by forest and, due to the country’s relatively low population density, rich in wildlife. The area around Linköping is particularly rife with wild boar.

 

About the amplifiers

The standard amplifiers in Amp Room have been developed from Softube’s classic plugins Bass Amp Room, Metal Amp Room, and Vintage Amp Room all with new DSP.

These amps are popular among many users, and we’re proud to present them here, side by side, in Amp Room.

30W Top Boost

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A 1964 3-channel, 6-input AC30 “Treble” model. This is a quirky amp, but once you understand the layout it’s quite easy. It has three channels – Vib-Trem, Normal, and Brilliant – with separate inputs.

In order to use all channels at the same time, the player usually patches these inputs together, and that’s what we’ve done in this version. Each channel has its own volume control, and you can blend these to get the sound you want.

The Vib-Trem channel has vibrato and tremolo, and the vibrato is the hero of this amp. You cannot set the intensity of the effect, but you can use one of the other two channels to blend in a “dry” signal. The Vib-Trem channel is also the one with the most distortion, since it features an extra tube stage before (!) the volume control.

The Vib Trem switch selects which of the two effects should be used, and the speed of the modulation can be set to Slow, Medium, of Fast with the Slow Fast switch.

The Tone knob cuts the treble frequencies.

A common application is to put a boost or overdrive pedal in front of this amp and use the output volume of that pedal to shape the amount of distortion in the amplifier.

Note: The Tone knob operates contrary to most other knobs; turning it to the right reduces the highs. Less is more.

American Mainstayer 100W

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This amp probably needs no introduction. It is an absolute “mainstay” in the scene since its origin in the early 90’s. Few amps have had such tremendous impact on distorted and high gain music as this amp has had. The American Mainstayer 100W features two channels. Channel One is perfect for that crunchier hard rock tone and has heavy, low frequencies in spades, whereas channel two is tweaked more towards the demands of high gain metal.

A tip is to use the DIS or ODR pedal in front of the amp while playing channel one, perhaps along with a High Shelf filter utility tool to control the sometimes overly loose low frequencies. In general, channel one often needs some tonal sculpting, but is the perfect channel for creating your own desired tone.

Another thing to keep in mind is that a lot of great tone results are achievable by combined tweaking of the Presence, Master Volume and Gain knobs alone. The amp takes some time to get to know, but you are almost certain to find tones that you like with this amp.

Bass Standard Line V8

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This model of an all-tube gem of an amp is the way to go when looking for a bass sound that has punch and grit, but also, - when rolling the knobs back a bit - when searching for superb tone and clarity. It might be the 100W little bother of it’s “industry standard” 300W sibling, but it’s quad if 6L6s leave nothing to be desired when it comes to a fullness of sound.

Did we mention that this amp is superb for clean guitar tones? Give it a try. It just might become your go-to amp for the sparkly, spanking clean guitar notes!

Custom 100W

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This amp was the centerpiece of Softube’s Bass Amp Room plugin and proved very popular. It’s a late 70’s British guitar amp which is often used for both classic rock bass and guitar.

We recommend you to play around with both volume controls. Normal Volume is the preamp distortion and Master Volume controls the power amp distortion. The preamp distortion is very grainy and characteristic, while the power amp distortion is a lot smoother.

If you are using Custom 100W for bass, you might want to set the input gain switch to Low to back off a bit of preamp distortion, unless you want a lot of gunk in the tone (which is also nice!). Use the Bass, Middle, and Treble controls to shape the desired tone.

Dual Tremolo 100W Black

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Lifted from Softube’s Vintage Amp Room plug-in, this is a 1966 black face version of a classic combo amplifier. While searching for the perfect amp to use, we found an amp collector with several dozens of Twin Reverb amps from the 60’s. Like kids on Christmas Day, we started playing through almost all of them and settled for a unit that had a bit more crunch than the rest. It is still possible to back off on the input volume and go super clean, but this particular amp was made for the semi-dirty blues riffs.

The tone stack, and in particular the Bass knob, affects the amount of distortion to a high degree. If you need a crystal clean sound, back off on the Bass a bit, and it will be a lot easier to get a clean tone.

The Volume knob controls both the preamp and power amp distortion. Bright turns on a high frequency boost. It works only at lower volume settings.

Bass, Middle, and Treble adjust the tone, but these knobs also control the amount of distortion. Vibrato (which in fact is tremolo) has its own on-switch plus knobs for Speed (rate) and Intensity (depth) of the vibrato (tremolo) effect.

Dual Tremolo 100W Silver

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Following in the footsteps of its older sibling (the Dual Tremolo 100W Black) the Silver has definitely made a name for itself over the years since it first saw the light of day in the late 60’s.

Similar to the Dual Tremolo Black, the Silver tone stack can be used to induce more distortion of the signal when pushed hard. What the Silver has that the Black hasn’t however is a master volume control. It will allow you to push the power amp even further into distortion territory or, when turned down, lets the tone stack handle the overdrive.

Distortion aside, this amp can deliver the most beautiful and chimey clean tones as well. All in all, a very versatile and legendary amp in its own right!

High Gain 100W 6L6

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This amp is designed for metal and is taken from the Metal Amp Room plugin. It has been carefully modeled to produce an aggressive sound with a smooth high end and never ending sustain. When used with guitar, palm mute playing will hit you right in the stomach. We have also added a lower gain preamp to accommodate for a more crunch-oriented playing style.

The Gain knob controls the amount of overdrive. Lower settings give you a tight distortion with fast response, and higher settings gives you more but not so tight distortion. The Lead button at the lower end of the panel switches between lead and rhythm style sounds.

The Bass, Middle, and Treble controls are used to shape the sound of the preamp distortion. Deep increases the lower end and Scoop scoops out some midrange to create a tighter sound.

Depth and Presence are used to define the low and high frequencies in the feedback loop of the power amp. Turn them up to get bassier or brighter sound.

Finally, a specially designed Gate helps you control excessive noise. Mute your instrument and turn up the knob until the noise disappears.

Marshall JCM800 Lead Series

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Nothing embodies the essence of the Marshall tone more than the classic JCM800. Introduced in 1981. It was the second Marshall amp that featured a master volume control, which allows you to further sculpt the tone. With preamp on full and a low master volume, you’ll get a tight overdriven sound, while the opposite setting gives you a looser and more vintage sounding distortion.

The JCM in the name stands for James Charles Marshall, and the seemingly meaningless number 800 was taken from his license plate. Later on, it was said to represent the decade (the 1980ies).

The tone stack Bass, Middle, Treble, and Presence controls will behave quite differently depending on your Master Volume setting, and the Pre-Amp volume will also change tonality depending on its setting. While the amp seems simple at first glance, there’s more to it than meets the eye.

Custom DI Direct Input

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When designing the Bass Amp Room plug-in, we wanted to add direct injection functionality, so that the user could blend the Custom 100W amp with an unprocessed bass track. We also wanted to give the user a couple of bass guitar specific options, such as an equalizer and a compressor, and the result is the Custom DI module.

The EQ is inspired by Softube’s Focusing Equalizer, with a mid-band Tone that sits in the musical center between the high and low filters.

You can start sculpting your sound by setting the Low Cut and High Cut to where they sound right. Then adjust the Tone control from Thin to Fat according to taste.

As the panel scripting denotes, the Low Cut knob does nothing in its leftmost position. Turning it to the right cuts bass increasingly. High Cut works the other way around, with maximum cut in its left position.

The Limiter is a one-knob version of Softube’s FET Compressor, designed to give you subtle limiting and a bit more sustain. At 7 o’clock it doesn’t affect the sound. Turning the knob to the right increases limiting.

 

About the speaker cabinets

Apart from Amp Rooms own dedicated variety of great cabinets, you will also find included the great and much-loved cabinets from Softube’s legacy plugins; Bass Amp Room, Metal Amp Room and Vintage Amp Room.

Many musicians and sound engineers consider the speaker cabinet to be an essential component in any electric guitar or bass sound. Some say, that changing the cab makes a bigger difference than switching to another amp.

When going through the many cabinets in Amp Room, you will soon discover how big an impact the speakers have to the overall sound.

Cabs and microphones

To move or not to move a microphone.. That is the question

You will find that some cabinet modules allow the user to move the microphones around while others won’t. The reasoning behind this is that there are two ways of achieving “better results”. Either the user is able to (thus also responsible for) moving microphones to a spot where they sound great (solo or combined with another microphone) in order to get great results, or, the user wishes to use modules with fixed microphone positions (again, solo or combined with another microphone) to quicker get great sounds recorded to the track.

Here is an example of a cabinet module that has movable microphones.

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And here is an example of a cabinet module that has fixed microphones.

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75W 1x12” Open Back

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Originally from the Bass Amp Room plugin. We found this cabinet in the studio while recording the cabinets for the Bass Amp Room plug-in. It’s a custom-built open back 1x12” cab that didn’t look like much but sounded amazing on bass.

With its nice full range and lots of vintage character, it sits nicely in the mix without too much tweaking. Mic’ed with an MD421.

British 2x12”

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This cab delivers a tightness that is second to none plus a very percussive mid-punch. If you want notes and riffs to really stand out, regardless of volume and/or musical style, then this is the cabinet for you.

This cab features 6 single mic options and 8 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

Sporting 8 mic combos. this cab shares the top spot of having the most mic combo options out of all the cabs included! During the modelling session, this cab just kept on sounding great!

Some time after having worked on the Metal Amp Room plugin together with Softube, Jensen of The Haunted discovered the blessings of this cabinet, and it has been his go-to cabinet ever since for all jobs. “We borrowed about 10 cabinets from the local music store before entering the studio. This cab was the last one we tried because, well frankly, back then no one thought of playing heavier music with this brand’s stuff. We were in for a serious eye-opener!”, preaches Jensen.

The cabinet used for this module is Jensen’s personal recording cab.

 

British OR 2x12” Open Back

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This is an absolute gem of a cabinet! Strictly speaking, is it a 2 x 12” open back overdrive combo, but here you get the opportunity to plug straight into the loud and unabashed cabinet section of the combo with the amp of your choosing.

This cab features 6 single mic options and 8 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

Sporting 8 mic combos. this cab shares the top spot of having the most mic combo options out of all the cabs included! This is truly a case of “the little cab that could”!

Dual Tremolo 2x12” Open Back

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The 1966 speaker from the Dual Tremolo 100W combo amp, with blue Oxford 12T6 drivers. Mic’ed with an SM57, recorded at Soulmine Studios.

High Gain V30 4x12”

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The High Gain V30 4x12” cabinet was part of the original Metal Amp Room plugin package featuring The Haunted guitarist Jensen. This is his personal cabinet and was part of his studio rig when recording The Haunted’s “Versus” album. The recording of the cabinet took place at the famous Fredman Studio in Gothenburg, Sweden under the watchful eye of album producer Tue Madsen.

This cabinet oozes of German precision and is, to some extent, “unforgiving” due to its uncompromising ability to articulate sounds. Then again, that is the reward of using this cabinet. Notes cut through and riffs never feel muddled, especially if you are a high-gain player. This shouldn’t put off low to mid-gain players though, as the articulation available here is great for all kinds of music.

With this cabinet, you have the choice of using either an SM57 or a C414 as single mics or blended together. You can adjust the mics individually from close to far range and you also have the option of going off-center when up close to the speaker and adjusting the mic angle. A stereo-widening function and a phase control is also available.

Marshall 1960A 4x12”

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A cabinet from the Vintage Amp Room plug-in. This classic 4x12 cabinet has a bright and focused sound with weight and punch. Mic’ed with an SM57, recorded at Soulmine Studios.

Shouldn’t this cab have black vinyl? Well, yes, originally it did. But someone decided to give it another color, we don’t know why…

Marshall 1960B 4x12”

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Originally from the Bass Amp Room plug-in, this classic Marshall 1960 cab was mic’ed with an MD421.

This very cabinet, the 421 mic and the Custom 100W amp were the sole reasons why we made Bass Amp Room in the first place. With a P-Bass and a pick you have instant rock.

Marshall 1960B 4x12”

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This cab is from the Metal Amp Room plug-in. It doesn’t get much more classic than this; a straight 1960 in black tolex. Most musicians will be familiar with this 300W sound!

This cab features the set-up chosen by producer Daniel Bergstrand: 6 single mic options and 6 specifically chosen mic combo options. This gives it a wide variety of ready-produced single and combo options from which to quickly achieve a great sound.

Standard Line 8x10”

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If there were ever a classic bass guitar cabinet, this is the one. You’ll find this cab in practically every studio and on every stage, and for a very good reason. This 8x10” produces as much bass as you could possibly need, while still maintaining clarity and definition in the high mids.

The trick is to not exaggerate the low end – there is plenty of it already – but perhaps roll off a bit of it to make the bass sit in the mix. The 8x10 was mic’ed with a MD421.

 

Top Boost 2x12” Open Back

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The 1964 speaker from the 30W Top Boost combo amp with Celestion Blue drivers and open back design. Mic’ed with an SM57, recorded at Soulmine Studios.

75W 1x12” Open Back Revisited

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This cab features 6 single mic options and 6 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

This gives you a wide variety of options from which to quickly achieve a great sound.

Dual Tremolo 2x12” Open Back Revisited

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This cab features 7 single mic options and 6 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

This gives you a wide variety of options from which to quickly achieve a great sound.

High Gain V30 4x12” Revisited

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This cabinet oozes of German precision and is, to some extent, unforgiving due to its uncompromising ability to articulate sounds. Then again, that is the reward of using this cabinet. Notes cut through and riffs never feel muddled, especially if you are a high-gain player. This shouldn’t put off low to mid-gain players though, as the articulation available here is great for all kinds of music.

This cab features 6 single mic options and 6 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

Marshall 1960B 4x12” Revisited

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It’s impossible to exaggerate the impact of the Marshall 1960A/B cabinets. Apart from being the number #1 cab choice of the new wave of British heavy metal, they are probably featured on more albums than any other cabinet ever built! With their pronounced mids and well-rounded bass, they will do an excellent job in any situation.

This cab features 6 single mic options and 6 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

This gives you a wide variety of options from which to quickly achieve a great sound.

Standard Line 8x10” Revisited

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This cab features 8 single mic options and 6 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

This gives you a wide variety of options from which to quickly achieve a great sound.

Top Boost 2x12” Open Back Revisited

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This cab features 6 single mic options and 6 mic combo options, all specifically chosen for this particular cab and ready-produced by Daniel Bergstrand at his DugOut studios.

This gives you a wide variety of options from which to quickly achieve a great sound.

 

About the Studio FX

When the sound in your dreams requires more detailed utensils than the pedals, amps, and cabs can deliver, the studio effects come in handy. Amp Room comes with 3 very useful audio tools. They are able to do the same job as a studio engineer to take you all the way to sonic perfection.

American Class A 25 Comp

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This unit is based on Softube’s take on the greatest classics of American mixing console hardware – a compressor with a famously punchy sound.

Apart from the standard compressor controls, American Class A also features a switch which allows you to choose between a feed forward or a feedback style of compressor. The feed forward (Type = New) is controlled and predictable, while the classic feedback mode (Type = Old) is more punchy.

A Hard Knee has a sharper transition between compressing and non-compressing states. A Soft Knee offers a more gradual transition, where the ratio gradually increases around the threshold. For most applications, Soft Knee is where you want to set it.

The Attack can be set between 1 and 25 milliseconds and the Release from 0.3 to 3 seconds. The Ratio knob sets the ratio which, in general, is often less than what the panel says. Threshold is adjustable from +10 to –20 dBu.

The Gain Reduction meter shows you how much the compressor squishes the sound.

You can either place it as a pedal style compressor in front of an amp, or you can use it as a mixing tool at the end of the signal chain. When using it as a mixing tool, we recommend that you listen to your guitars together with the rest of the mix. You will come a long way with just a touch of compression.

American Class A 55 EQ

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This EQ is based on a classic console equalizer that made it into a four-band 1U mastering equalizer, a Softube Console 1 strip, and now finally turns up inside Amp Room! This EQ is rock music. The weight of the mids are legendary and the punch of the low end can be heard on countless albums.

The four EQ bands each have 7 center frequencies. The Gain knobs are divided into 11 steps, ranging from –12 to +12 dB.

Both the high and the low filter can be switched between Shelving or Bell filters.

You can either use it as a pedal style EQ in front of an amp, or as a mixing tool to sculpt the output of Amp Room. Anything goes!

Room IR Room Ambience

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If you connect an instrument to your sound card and run the signal through Amp Room while using headphones, you will hear a completely dry signal.

With this effect somewhere near the end of your signal chain, you can add some natural room ambience.

Five room impulse responses are available. All of them have Near and Far faders, plus you can choose to delay the Near response with a pre-set predelay time to achieve a great slap-back effect. The two Pan knobs lets you spread out the room impulses in the stereo field.

Room info:

1. Roundhouse: A wooden curved house in Oslo, Norway.

2. Brick Brewery: Is what the name says. Located in Copenhagen, Denmark.

3. Concrete Harbor: A stripped bare office floor, overlooking the harbor in Torshavn, Faroe Islands.

4. Fallout Shelter: A classic Scandinavian public fallout shelter. Recorded in Helsinki, Finland.

5. Winter Garden: Beautiful place. Owned by a well-known Swedish actor. Located outside of Stockholm, Sweden.

Note: The output of this effect is in stereo. To hear the full stereo sound, you may have to switch the track in your DAW to stereo.

 

About the utilities

When your sound setting is almost perfect and you only need to make one final tweak, these Utility devices can save your day. These are the not-so-glamorous tools that take care of general audio housekeeping like basic filtering, pan, mute, and phase.

High Shelf Filter utility

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All audio above the frequency set by the Freq knob will be amplified or attenuated. The Gain knob sets the amount of boost or cut.

Low Shelf Filter utility

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All audio below the frequency set by the Freq knob will be amplified or attenuated. The Gain knob sets the amount of boost or cut.

High Cut Filter utility

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Noise or unwanted brightness can usually be removed by this high cut filter. This type is also known as low pass filter, or LPF.

This filter removes audio above the frequency set by the Freq knob.

Low Cut Filter utility

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The low cut filter (also known as high pass filter, or HPF) is by far the most widely used tool in any studio. There is often a lot of unwanted, low frequency rumble going on that doesn’t help the mix at all. Removing all audio below, say, 100 Hertz is standard procedure, except for bass instruments and kick drums, of course.

This utility module removes audio below the frequency set by the Freq knob.

Gain/Mute utility

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In complex setups, with several parallel lanes in the signal chain, you may want to quickly mute or change the volume of a lane. By placing this utility module last in the chain, you’ll be able to do exactly that.

The Mute button mutes the chain where it’s inserted. Phase inverts the phase by 180 degrees. Volume adjusts the volume of a chain.

Note: That inverting the phase can create unwanted side effects such as mono incompatibility.

Pan/Volume utility

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This module comes in handy, when all you need to do is adjust the Volume or Pan at some stage in the signal chain. Just insert it wherever it is needed.

 

Short Delay utility

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This utility module can be used for time aligning between parallel signal paths.

Cab impulses, with mics at different distance from the cabinets, can cause unintentional phasing issues between parallel signal paths. This can result in a sound that feels slightly “off”, where certain frequencies are missing.

The Delay knob has a range from 0 to 5 ms. Adjust the delay and hear the phasing problem disappear. When you've hit the right spot, press the – and + buttons to nudge the delay in 0,08 ms sample steps for even finer adjustment.

Short Delay can also be used as a tone shaper.

Variable Phase utility

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Two microphones at different distances from a sound source (say, a speaker cabinet), will inevitably produce two signals that are more or less out of phase. This is not necessarily a problem, but if you want to do something about it, Variable Phase is the tool to use.

The Variable Phase knob will turn the phase above the frequency you choose (20 Hz to 20 kHz). Audio below that frequency passes unaffected.

Variable Phase can be both a problem-solver and a tool for experimentation.

 

12. Using Amp Room live

Using Amp Room in a live setup is a very tempting thought. Just think about it – you have a complete arsenal of gadget go get you any kind of sound and with instant access to all your presets. What you need is a sound card and a laptop computer.

And since everything is included in Amp Room, including speaker emulations, you can plug the output of your sound card into any PA-like device. You could use a stage monitor for your personal listening and also feed the main PA, while sending a third signal to a recording device.

If you have a computer/laptop with modern specs, and that you would trust using live, Amp Room will perform excellent in a live setting.

Credits

Patrik Jensen – Project management
Kim Larsson, Mattias Olsson and Anton Eriksson – DSP modeling
Patrik Holmström and Pelle Serander – Framework programming
Björn Rödseth – DSP backend programming
Daniel Bergstrand – Studio sound design
Niklas Odelholm – General graphic design
Ulf Ekelöf, Thomas Merkle, Nis Wegmann and Manuel Colom – Graphic design
Patrik Jensen, Kim Larsson, Maxus Widarson, Emanuel Enbäre, Markus Krona, Krister Berglund, Filip Thunström, Johan Bremin, Peter Möller and Niklas Odelholm – Presets
Emanuel Enbäre – Quality assurance
Sven Bornemark – Manual copywriter