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1. i 1 ir Ihe 100 Watt Marshall 1959 Super Lead com monly referred to as the Plexi is the most legendary guitar amplifier of them all and its long list of users makes up a who s who of rock nroll history Softube worked closely with Marshall s product experts and legendary recording engineer Tony Platt who engineered AC DC s Highway to Hell and Back in Black to ensure that the Plexi was cap tured in the best possible manner The result is this plug in which is available exclusively to UAD 2 Apollo users It s not a Plexi It s the Plexi The particular amplifier that Softube modeled and based the UAD 2 Apollo plug in on is not just any Marshall Plexi In the making of this plug in Softube worked closely with Marshall s product expert Chris George who lent us this amp from Marshall Plexi Super Lead 1959 Marshall s own museum not open to the public This very amp built in 1967 and kept in pristine shape at least on the inside by Marshall s techni cal staff is Marshall s own reference to how a Plexi should sound Patching The Plexi has two channels with a high and low input each Channel 115 bright and present while Channel is dark and full bodied A lot of sonic variation can be obtained from patching these channels together in different manners which is faithfully modeled in this plug in The right way to do it But the sound of a guitar amp doesnt just come
2. AM AM ww V iit IW Be 20008 MPAA IA ELL PEPA 11 Al nae HM 1 AMA A EH EH T E T WAY AY APLI 15015 IL A VV A A 1 Bn AFTER 1 AM MA 111 VAALT VAL 11 4117 PPV AAA 1581187 109 X MA AVY LALA de AM HT 4 gt Brent 1597 T1 MT WINE The Silver Jubilee series hit like bomb in 1987 and tapped perfectly into the rock sound of that era Unsurprisingly guitarists such as Slash and 4250 John Frusciante took the amps to their hearts Ihe Mr three different channels flexible EQ and the ability to switch the power amp between pentode triode operation made it a versatile amp that could go from vibrant cleans to soaring leads by the push of a button User Interface MARSHALL LEGENDS PLUG INS ARE what you see is what you get products You should be able to intuitively learn the products within minutes so that you can work fast and efficient with them Ihere are a couple of things that remain the same for all of our plug ins such as the menu row These will be explained in this chapter For detailed infor mation of a particular plug in please see its chapter Menu Row In the bottom of the plug in interface you will
3. LEGENDS Plexi Super Lead 1959 Bluesbreaker 1962 Silver Jubilee 2555 Softu be k Rev Oct 05 2015 4 La e ai Softube User Manual 2007 2015 Amp Room is a registered trademark of Softube AB Sweden Softube is a registered trademark of Softube AB Sweden All visual and aural references to Marshall Super Lead Plexi 1959 and associated logos are trademarks of Marshall Am plification UK used under license The Valley People Dyna mite Tonelux and Tilt are trademarks of PMI Audio used with written permission from PMI Audio The Tonelux and Tilt logo the Valley People Dyna mite and associated logos are trademarks of PMI Audio Group used under license Summit Audio Inc is a trademark by Baltic Latvian Universal Electronics LLC used under license All specifications subject to change without notice All Rights Reserved Other company and product names mentioned herein are trademarks of their respective companies Mention of third party products is for informational purposes only and constitutes neither an endorsement nor a recommendation Softube assumes no responsibility with regard to the performance or use of these products Softube products are protected by patents SE526523 and 5 525332 and related patents patent applications including WO06054943 US11 667360 US20040258250 EP1492081 EP1815459 and JP2004183976 Your rights to the software are governed by the accompanying software license agreement End
4. 16 ohms 1960 BHW cabinet was recorded with a legendary range of microphones all carefully selected to give a wide variety of tones and carefully positioned to sound fantastic when used in combi nation with each other SOFTUBE USER S GUIDE 15 Equaliser Main Out Main Out Low High Volume eene BETT EVER E o 0 amm EE ds DE PETE ET nn EL T ise GH HAIN OUT VOLUME L EQUALISER MAIN OUT AM MEN E m d SS Microphone Selection Solo Pan EJ m F Channel tX pm a A oy Faders IS INPUTS 0 2 U Na es sut Click to show or hide the mixer 16 MARSHALL PLEXI SUPER LEAD 1959 Valve Microphones A thick and solid sound with a slightly rounded top Mic1 Neumann U 67 cardioid 10 dB pad activated Mic2 Neumann U 67 cardioid 10 dB pad activated Room mic AKG C 12 FET Microphones Slightly more open sound with lots of ambience from the room mic Mic 1 Josephson E22 2 Neumann U 87 cardioid 10 dB pad activated Room mic Coles 4038 Dynamic Microphones Typical dynamic sound with a solid low mid range from the 57 and aggressive top from the 609 Mic 1 Shure SM 57 Mic 2 Sennheiser 609 Room mic Neumann U 87 omni Off No Cabinet or Microphone Sets the cabinet and microphone emulation in bypass so that only the direct sound from the Marsha
5. MOhm input impedance Input bottom Bright low gain Around 100 kOhm input impedance Input Il top Dark high gain 1 MOhm input impedance Input I bottom Dark low gain Around 100 kOhm input impedance Note that clicking any parameter name on the front panel resets the corresponding knob to its 12 o clock position Channel Strip Parameters The channel strip can be opened by clicking the wood side with the green Channel Strip sticker It can be closed again by clicking the same wood side or by dragging the amplifier to right Equaliser Main Out Low Neutral bypass in the 12 oclock setting Turning clockwise boosts the low end with a shelving filter Turning counterclockwise cuts the low end with a low cut filter Equaliser Main Out High Neutral bypass in the 12 oclock setting Turning clock wise boosts the treble with a shelving filter Turning coun terclockwise cuts the treble also with a shelving filter Main Out Volume Adjusts the output volume out of the entire plug in Cabinet Microphone Select Select which set of micro phones to use see description in the next section Solo Sets the selected microphone channel in Solo mode disa bling the two others Only one channel can be soloed at the time Pan Places the microphone chan nel in the desired position in the stereo panorama Channel faders Adjusts the volume of the re spective microphone channel Cabinet and Microphones The
6. from the amp itself Ihe cabinet choice microphone we BS IR gt e t Se A gt t t 3 r 4 i 2 gt y ES NAAA GuV 2 WEIT ML ESENCE SEANPUTSS 8 C Se 0 0 ee VOLUME TI VOLUMES INDICATOR ON LI SUA a ETA M PARA Sys pre Ap en ES TOW cy cM ORO FIA ratos N DAVIDA PW NEY oe eee gt LEEDS 5 NT NERS ec Volume Il Treble Bass easily compared to more modern constructions This selection and microphone placement are also vital adds a lot of character to the end result Ihe particu lar speakers in this cabinet were not from the sixties as speakers that have spent nearly 50 years repro parts in getting that sound Therefore Softube used the expertise of legendary engineer Tony Platt for the cabinet and microphone simulation Tony s cre ducing the sound of 100 watt guitar amplifiers will have deteriorated and give a much different sound dentials speak for themselves Among many other he engineered AC DC s Highway fantastic records compared to what was intended Ihe speakers used had however been well broken in to reach their full potential and liveliness s safe to say Tony knows better than most how to record a loud Marshall amplifier to Hell and Back in Black It ings Three mic sett The Cabinet Choice The goal for this plug in was to capture ho
7. see a thin black row with some buttons We ll use the Bass Amp Room plug in as example but the same goes for all plug ins About Box Opens the About Box with version info Value Display Displays the knob value when the mouse is hovering over a control About Box w Softube Value Display Treble 4 9 v Softube Enable Enable Activate the plug in Set to OFF for bypass Setup Changes global options for all instances of that plug in Mode Bypass Mode Active Softube Enable When the Enable switch is set to on I the plug in is active and will process audio When set to OFF 0 it will be bypassed and not process any audio It will take considerably less CPU when it is bypassed Enable Mm Setup Setup In the Setup window you can change settings that will affect all instances of that particular plug in If you for example de select the Show Value Display option in the Bass Amp Room plug in the value display will be off for all Bass Amp Rooms on your system until you select that option again Ihe different options vary between Windows and Mac and also different formats and plug ins Ihe most common options are SHOW VALUE DISPLAY Enables the parameter and value display in the bottom row of the plug in REVERSE MOUSE WHEEL DIRECTION Mac OS Only Changes ifthe a knob is turned up or down when the mouse wheel is turned up or dow
8. the UAD Marshall Plexi Super Lead 1959 and Marshall Bluesbreaker 1962 plug ins Softube worked with legendary engineer Tony Platt and Marshall s own product expert Chris George with the creation of the Marshall Silver Jubilee 2555 plug in The cabinet choice was the obvious the 2551 AV which was also part of the Silver Jubilee series It was clad in grey tolex just like the amplifier head and it was equipped with four 12 inch Marshall Vintage 30 speakers made by Celestion Actually it was the first Marshall cabinet ever to use these speakers Eight Microphones chose to make two microphone sets con DENSOR and DYNAMIC with two close mics and two room mics in each The user can open the plug ins side panel where an easy to use chan Middle MM MM MAMAA HMHM Ut LE Bah WIN Rhythm Clip Treble Master Channel Clean Clip Lead Normal nel strip appears Here the microphone channels can be individually panned bypassed or have their respective levels set Ihe second room mic received some special attention as Softube implemented the studio trick of adding a Delay time to the mic This was upon Tony s request it was a trick that was widely used in the late 80 studio work to add size to the sound of guitar solos and melody lines Fur thermore a Noise Gate was added to clean up any guitar noise and get tighter takes when recording Amplifier Parameters The front panel controls correspond exactly
9. to those of the real amplifier with the exception of the chan nel LED switches which on the original consists of push pull potentiometers On Off Bypass the amplifier Output Low High Switches the power amp output from pentode HIGH to triode Low operation The Low setting reduces the amplifier s output power and gives a slightly smoother and darker sound Presence Increases the amount of presence a treble boost ac complished by reducing the amount of high frequencies being subjected to negative feedback in the power amp section Bass Middle and Treble Tone controls that determine the frequency content from the amplifier Output Master Controls the overall power amp volume Channel Lead Normal Click to activate deactivate the LEAD channel Lead Master Controls the level of the LEAD channel Rhythm Clip Click to activate deactivate the RHYTHM CLIP circuit Input Gain Controls the level fed from the guitar input to the preamp section Note that clicking any parameter name on the front panel resets the corresponding knob to its 12 o clock position Channel Strip Parameters The channel strip can be opened by clicking the right hand aluminum side with the white CHANNEL STRIP sticker Clicking this again closes the channel strip Input Gate Shuts off the input when the signal level is below the set threshold level reducing unwanted noise and giving a cleaner and tighter recording The LED
10. MAIN OUT 4 VOLUME CABINET MICROPHONE SELECT per AN T5 hen a ld 1 lt Channel Fader vooDoo 251 m 12 ROOM MIC I ROOH MIC 1 Cabinet Microphone Select Set which set of microphones you want to use with VALVE FET Or DYNAMIC mics up close See next section for a description of the mics and position In Activates deactivates each microphone channel Pan Places the microphone chan nel in the desired position in the stereo panorama Channel fader Adjusts the volume of the re spective microphone channel Cabinet and Microphones The Bluesbreaker was recorded through the original speakers Celestion T650 branded with the original Marshall block logo through a variety of micro phones at the legendary Strongroom recording facility in London UK The label VALVE FET and DYNAMIC refers to the type of microphones used near field Valve Microphones Selects the microphone set with valve tube con denser microphones in the near field As indicated by the tape markings above each channel these are NEUMANN 17675 while COLES 4038 and TEL EFUNKEN ELA M 251 are used for the room FET Microphones Selects the microphone set with FET condenser microphones in the near field As indicated by the tape markings above each channel these are NEU MANN 0875 with SE ELECTRONICS VOODOO VR2 and TELEFUNKEN ELA M 251 for the room Dynamic Microphones Select
11. OFF STANDBY E amp g Amplifier Parameters The functionality of the front panel controls cor responds exactly to that of the real amplifier On Off and Standby Turns the amplifier on or off Tremolo Speed Sets the speed of the built in tremolo Tremolo Intensity Sets the intensity depth of the built in tremolo Please note that the Tremolo is only active for Input 2 Presence Increases the amount of presence a treble boost ac complished by reducing the amount of high frequencies being subjected to negative feedback in the power amp section Loudness Loudness Il Patch High Treble Normal Switching Bass Middle Treble LOUDNESS I 2 Wow Ww Ww i Bass Middle and Treble Tone controls that determine the frequency content from the amplifier Loudness 1 High Treble Sets the volume of Channel 1 Loudness 2 Normal Sets the volume of Channel 2 the only channel that has Tremolo Patch switching Provides different combina tions of high and low inputs for Channel 2 and Channel 2 separately Clicking one of the four inputs selects it as the main input from the guitar black cable Clicking the selected guitar input again rotates between the available patching patters with the short black white fabric cov ered patch cable Patch Switching By patching the inputs you will get different input gain and different tonality from the amp INPUT II is dark sounding and by combinin
12. Phone 46 13 21 1623 9 am 5 pm CET Contents Marshall Legends Marshall Plexi Super Lead 1959 Marshall Bluesbreaker 1962 Marshall Silver Jubilee 2555 User Interface MenuRow Apollo Unison Meters Mono and Stereo Operation Presets Marshall Plexi Super Lead 1959 Amplifier Parameters Channel Strip Parameters Cabinet and Microphones Marshall Bluesbreaker 1962 Amplifier Parameters Channel Strip Parameters Cabinet and Microphones Marshall Silver Jubilee 2555 Amplifier Parameters Channel Strip Parameters Cabinet and Microphones 11 13 14 14 17 18 19 21 n wu W N Marshall Legends IT S IMPOSSIBLE EXAGGERATE the iconic status of the three guitar amplifiers that are modeled in the UAD Marshall Legends bundle They do not only represent milestones in the history of Marshall they represent milestones in the very history of rock n roll from Jimi Hendrix car split ting solos at the Woodstock performance the warm crunchy tones of Eric Clapton when he played with John Mayall and the Blues Breakers to the fat and smooth distortion from late 19805 players such as Slash John Frusciante of Red Hot Chili Peppers and many others These sounds and tones are all available here but there is also much much more to be found This is not least thanks to the long li
13. User License Agreement Acknowledgements and Licenses zlib h interface of the zlib general purpose compression library version 1 2 8 April 28th 2013 Copyright 1995 2013 Jean loup Gailly and Mark Adler Portions of this software are copyright 2006 The FreeType Project www freetype org All rights reserved WonderGUI used under commercial license Tord Jansson Libpng versions 1 2 6 August 15 2004 through 1 6 12 June 12 2014 are copyright 2004 2006 2014 Glenn Randers Pehrson and are distributed according to the same disclaimer and license as libpng 1 2 5 Some code copyright 2008 The NetBSD Foundation Inc VST is a trademark and software of Steinberg Media Technologies GmbH Mac OS X headers are covered under the Apple Public Source License APSL and available at http www publicsource apple com apsl Disclaimer Every effort has been made to ensure that the information in this manual is accurate However there are a chance that we have made mistakes and we hope that you understand that we are only humans Please let us know about the mistake and we ll fix it in the mix or in the next version of this manual Support On the Softube website www softube com you will find answers to common questions FAQ and other topics that might interest you Support questions can be posted at http www softube where we will help you as fast as we can Web www softube com E mail info softube com
14. V cabinet was recorded with a legendary range of microphones all carefully selected to give a wide variety of tones and carefully positioned to sound fantastic when used in combi nation with each other Condenser Microphones Selects the microphone set with condenser micro phones in the near field As indicated by the tape markings above each channel these are NEUMANN U67 NEUMANN U87 COLES 4038 and SE ELEC TRONICS RNR I Dynamic Microphones Selects the microphone set with dynamic micro phones in the near field As indicated by the tape markings above each channel these are SHURE SM 7B SHURE M57 NEUMANN U87 TELEFUNKEN ELA M 251 Off Bypass Cabinet and Microphones Sets the cabinet and microphone emulation in bypass so that only the direct sound from the Mar shall Silver Jubilee amplifier head is heard Settings the cabinet to OFF is usually not regarded as a very pleasant sound but the setting is useful for combining the amplifier with other cabinet microphone models such as the ones available in the AMP ROOM products In all these plug ins the amplifier section can be bypassed This would be the recommended setting when combining the Mar shall Silver Jubilee head with the cabinet in either of those plug ins SOFTUBE USER S GUIDE 27 Input Gate Master Out Feedback go LTD MIL FEEDBACK Mic MIC SELECT Select Pan n 67 4038 Pen 3 a e 2 i Channel Fa
15. ders amp e 1 MIC 2 ROOM MIC 1 ROOM MIC 2 Click to show or hide the mixer ISI 1 MU a Le SS S SSR N RON QS SS INS ISR S SIS N ANN SN S Sl Oy 14 N JOM 25 50 ODEL 2599 Softube Softube AB S t Larsgatan 10c 582 24 Link ping Sweden www softube com
16. e short black white fabric cov On Off Bypasses the amplifier when set to OFF Presence Increases the amount of presence a treble boost ac complished by reducing the amount of high frequencies being subjected to negative feedback in the power amp ered patch cable section Patch Switching bass Middle and By patching the inputs you will get different input Treble Tone controls that determine the frequency content from the amplifier gain and different tonality from the amp INPUT I1 is very dark sounding and by combining it with INPUT I you can work the Volume knobs almost like an EQ Volume Controls the volume of the brighter sounding INPUT I The most common way of patching is going into Los imm eS D DUM Pon UEXESBRXEOEUSS Black cable guitar in Input I High input no patching between channels Black cable guitar in Input I High input patching between Input I Low Black cable guitar in Input I High input patching between Input I Low Click on the input to select the first patch configuration or another input to select a different input and Input II High This is the standard patch Click the input again to select the second patch configuration and Input II Low Click the input to remove the patch INPUT I at the top and patching from the low 1N PUT 1 to the top INPUT 11 but feel free to experi ment Input Channels Input top Bright high gain 1
17. g it with INPUT I you can work the Volume knobs almost like an EQ The most common way of patching is going into INPUT I at the top and patching from the low 1N PUT 1 to the top INPUT 11 but feel free to experi ment Click on the inputs to switch settings see Patch Switching on page 13 for more info Input Channels Input top Bright high gain 1 MOhm input impedance Input bottom Bright low gain About 100 kOhm input impedance Input II top Dark high gain 1 MOhm input impedance Input II bottom Dark low gain About 100 kOhm input impedance Note that clicking any parameter name on the front panel resets the corresponding knob to its default position Channel Strip Parameters The channel strip can be opened by clicking the right hand wood panel with the green CHANNEL STRIP sticker Clicking this again closes the channel strip Main Out Level VU and clip meters Indicates the plug in s Main Out level The red LED marked or indicates that the channel is overloading and that the Main Out Volume knob should be turned down Main Out Volume Sets the overall output level of the plug in without affecting the sound 20 MARSHALL BLUESBREAKER 1962 Main Out VU Left Main Out VU Right Presence Clip Meter LOUDA 2 4 2 EI n 24 amp A JF LAN Sa 2 l MT Ex MAIN OUT LEVEL S DYNAMIC Jm SL i Cabinet Microphone Marshall ie JE p i
18. has a peak level meter that displays the level of the audio coming out from that channel This meter is before Pan and Main Out Volume Audio levels exceeding 0 dBFS are indicated by red LEDs in the meter but please note that this doesn t necessarily indicate clipping since levels can be affected by the Main Out Volume and Pan as well Ihere is no internal clipping in the plug in so whether the signal clips at 0 dBFS depends on the DAW Mono and Stereo Operation Ihe Marshall Legends plug ins are preferably run in mono to stereo or stereo mode Ihe amplifier will always be in mono but the cabinets can be panned separately Presets Ihe included presets were mostly created by sea soned rock engineer Tony Platt AC DC Motor head Iron Maiden and Marshall s product expert Chris George and provides an excellent way of exploring the tones of this amplifier A difficulty with plug in presets is that it s impossible to know what input gain the user has into the plug in so a clean preset might sound very distorted in your setup or maybe the crunchy presets are just too clean A humbucker might distort the amp while a weak single coil pick up barely bothers the amp If that is the case adjust either the volume control of your guitar or guitar interface or the volume con trols Volume I Volume II Input Gain Loudness I or Loudness IT in the plug in to get the desired sound A common way of using Marshall amps
19. ilver Jubilee 2555 which Marshall have kept to themselves at their headquarters ever since its release Softube worked closely with Marshall s product experts and legendary engineer Tony Platt AC DC Iron Maiden Motorhead and many more to ensure that the Silver Jubilee was captured in the best possible manner Born To Rock The Silver Jubilee was based on the Marshall 800 amplifier but had an innovative and unu sual preamp section which offered higher gain and a somewhat darker and smoother sound compared to the JCM800 The preamp circuit had three gain modes CLEAN RHYTHM CLIP and LEAD Ihe EQ section also set the Silver Jubilee apart from other Marshall amps with its much wider range of tonal variety and it was the first Marshall amplifier where the power amp tubes could be switched from their normal pentode operation mode into triode mode With the power amp tubes working as triodes the power amps output was cut in half and the power amp distortion was silkier and less aggressive All of these features have been accurately modeled by Softube in the Marshall Silver Jubilee 2555 plug in 50 Years in Music 25 50 JUBILEE SERIES 25 Years Marshall Amplification LOW ODEL 2555 1 HIGH STANDBY OUTP e ee eee eee ee ee ee ee AMAU Output On Off Presence Low High Bass Cabinet Just as with
20. is to keep the volume knobs Input Gain Volume Loudness etc at around 12 oclock and changing the gain with the volume control of the guitar Key Commands All numbers and labels in the plug in are clickable This allows you to easily select a setting by clicking on the wanted value Hovering above a label will turn the mouse pointer into a pointing hand Mouse Up Down or Mouse Wheel Change a parameter such as a knob or a switch Keyboard Fine Adjust 3 Mac or Win while changing the parameter value Reset to Default Avr while clicking on the knob or fader Solo Several Mics sur while clicking on a Solo button Credits Henrik Andersson Vogel project management manual and marketing Niklas Odelholm prod uct design cabinet modeling graphic design pre sets Arvid Ros n amp modeling Oscar Oberg power amp modeling Tony Platt sound design and presets Chris George Marshall expert sound design and presets Paul Shyrinskykh quality as surance Patrik Holmstr m framework program ming Torsten Gatu framework programming Erik Hampusgard configurations and building Mattias Danielsson support Tony Platt setting up mics at Kore Studios London m LIGT TY IR PTs DEUTET id Potete meet Saar AAA Edna 1 Ex 9 ime gt O a Er d See
21. ll Plexi amplifier head is heard This is usually not regarded as a very pleasant sound but the setting is useful for combining the amplifier with other cabinet microphone models such as the ones available in Softube Vintage Amp Room Bass Amp Room Metal Amp Room Half Stack or Bass Amp Room 8x10 In all these plug ins the amplifier section can be bypassed This would be the recommended setting when combining the Marshall Plexi head with the cabinet in either of those plug ins Marshall Bluesbreaker 1962 ERIC CLAPTON S PERFORMANCE and sound on the John Mayall amp The Blues Breakers self titled album from 1966 was so seminal that the 30 Watt 2x12 Marshall amplifier combo he used on the record was soon nicknamed Bluesbreaker after the band Ihis Softube plug in model is based on Marshall s own specimen of a Series 1 Bluesbreaker model 1962 amp kept in pristine shape by Marshall since 1965 In the making of this plug in Softube worked closely with Marshall s product experts as well as legendary engineer Tony Platt AC DC Iron Maiden Motorhead and many more to ensure that the Bluesbreaker was captured in the best pos sible manner About the amp Guitarist lore will have it that the idea for the Bluesbreaker actually came from Eric Clapton himself as he wanted an amplifier that could fit in the trunk of his car This myth has since been rebutted and a much more likely reason for the Bluesbreaker to be c
22. n Mac OS Only You need to restart your host software DAW before the changes to fully take effect If you messed something up and manually need to set these options you ll find them in text format in the following locations MAC OS Library Application Support Softube WINDOWS username AppLication Data Apollo Unison These plug ins support Unison functionality togeth er with an Apollo interface Activate Unison by inserting the plug in in the Unison slot the first plug in slot of the Console application With Unison activated you will get Guitar input levels that exactly match the origi nal amplifier so that the plug in will behave just like the original amp Correct input impedance even if you select different input channels and patches so that the guitar will react just like it is connected to a real amplifier Input levels and impedance are two of the most important factors when using software based guitar amplifiers but this hasn t been possible to emulate or control until now With Unison we can guaran tee that the entire chain from guitar via Apollo to the software will be a perfect replica of the original hardware On top of that you ll also get Ability to remote control two input gain con trols and the master output volume from your Apollo interface For more information about Unison Apollo and the Console application please see the UAD documen tation Meters Each channel
23. next to the knob in dicates when the gate is closed not letting any sound through Adjust the Input Gate knob to suit your playing style and your guitar s output If the gate accidentally cuts of notes you intended to be heard lower the Input Gate knob If it lets through everything you wish in addition to unwanted noise from your guitar raise the Input Gate knob The Input Gate is entirely bypassed when set to OFF Master Out Sets the overall output level of the plug in without affecting the sound Mic Select Select which set of micro phones to use see description in the next section CON refers to condeser mics in the near field position and DYN refers to the dynamic mics in near field In Activates deactivates each microphone channel Pan Places the microphone chan nel in the desired position in the stereo panorama Channel Faders Adjusts the volume of the re spective microphone channel Room Mic Delay A delay line has been added to ROOM MIC 2 50 that the sound from this microphone can be delayed more than it was in real life The Room Mic Delay fader sets the time of this delay Feedback A feedback loop has been added to the delay line which sends the signal from this microphone back through the Silver Jubilee cabinet where it s picked up again by the mi crophone etc The Feedback knob sets the volume in this feedback loop Cabinet and Microphones The 16 ohms 2551A
24. onceived was that Jim Marshall simply wanted an amp that could compete with the very popular Vox AC30 which was also a combo amplifier with a 2x12 speaker configuration Ihe Bluesbreaker s amplifier section is identical to the standalone JTM45 Tremolo amplifier head which was Jim Marshall s first amplifier model ever yes in spite of its product name the JTM45 was 30 watt amp This was built into a Baltic birch cabinet with two 12 inch Celestion 652 15 ohm 18 MARSHALL BLUESBREAKER 1962 speakers although there were specimens equipped with the 8 ohm version of that speaker instead the T650 This goes for the particular unit used for this plug in The T650 speaker was Celestior s stock ver sion of the blue alnico speaker T530 known for its use in Vox amplifiers where it contributed substan tially to the sound Ihe T 650 1652s were silver sprayed and Marshall put their own gold colored sticker on top of Celestions sticker Ihe fact that the Bluesbreaker had an open back cabinet with alnico speakers set it very much apart from most other Marshall cabinets which are usually closed designs equipped with ceramic speakers Patching Ihe Bluesbreaker has two channels with a HIGH and Low input each A lot of sonic variation can be obtained from connecting these channels with a patch cord which is faithfully modeled in this plug in Tremolo Tremolo Speed Intensity Presence TREMOLO On Off and Standby
25. s the microphone set with dynamic micro phones in the near field As indicated by the tape markings above each channel these are SHURE SM57 and SENNHEISER M380 with COLES 4038 and TELEFUNKEN ELA M 251 for the room Off No Cabinet or Microphone Sets the cabinet and microphone emulation in by pass so that only the direct sound from the Blues breaker s amp section is heard This is usually not regarded as a very pleasant sound but the setting is useful for combining the amplifier with other cabi net microphone models such as the ones available in Softube Vintage Amp Room Bass Amp Room Metal Amp Room Half Stack or Bass Amp Room 8x10 In all these plug ins the amplifier section can be bypassed This would be the recommended setting when combining the Marshall Bluesbreaker amp section with the cabinet in either of those plug ins Marshall Silver Jubilee 2555 Ihe very limited Silver Jubilee series came out in 1987 to celebrate Jim Marshall s 25 years as guitar amp manufacturer and 50 years of working in the music business Ihe unique sound and strik ing appearance of the Silver Jubilee 2555 made it a big hit among guitarists such as Slash Guns n Roses John Frusciante Red Hot Chili Peppers and Alex Lifeson Rush and since it was only produced for a limited time it quickly became a rare collector s piece This plug in model exclusive for the UAD 2 Apollo platform is based on Marshall s own golden unit S
26. st of presets made by recording engineer Tony Platt AC DC Iron Maiden Motorhead who also had a large part in developing these models ERSTE RAE RS LM ron Rn B GR CRE SBMS EEE PARSE NS SATUS aterert pens Marshall Plexi Super Lead 1959 Jimi Hendrix Pete Townshend Angus Young 90 2 00 Q G C Eddie Van Halen Yngwie Malmsteen the list of Plexi users is a veritable who s who of rock n roll history Forget all stereotypes about British reserved manners and stiff upper lips Ihe Plexi is brash rude and gives you the instantly recognizable sound of rock roll rebellion OEE AB TE TREE LEELA LE ELIA ER GLI ARE TOL SIE mot Marshall Bluesbreaker 1962 Marshall s first ever combo amp was nicknamed the Bluesbreaker after Eric Clapton had used it exclusively on the classic self titled record by John Mayall and the Blues Breakers Ihe Bluesbreaker s amp section is warm and crunchy and the use of alnico speakers in an open back cabinet adds an RE 65955 ORE RATAR GA ELAR US LANGE DORE SEA ARAS Se AAG AEP Dr IR Arien Se unusually chimey and three dimensional sound for a Marshall which has contributed to its status as a VA 111 ut PETA TET 4 4 ATT i 5 Si genuine workhorse far outside of the blues genre
27. w the Tony chose to make three different microphone Plexi sounded when it was new back in 1967 to get the sound Jim Marshall himself intended To capture the typical late sixties tone Tony and sets with three microphones in each two close mics and one room mic Ihe user can open the de panel where an easy to use channel 2 ins si strip appears Here the user can select between the plug Chris after much testing at Marshall headquar three sets of microphones and adjust the individual microphone levels and panning Ihe settings are named rET ters chose to use a straight 1960BHW 4x12 inch 5 30 speaker cabinet loaded with Celestion G12H Ihese are relatively low wattage speakers similar VALVE and DYNAMIC to indicate what microphone types were used to those used at the time which will saturate more Amplifier Parameters Ihe functionality of the front panel controls corre spond exactly to those of the real amplifier And just like in real life it is possible to connect the ampli fiers two channels in a number of ways Volume Il Controls the volume of the darker sounding INPUT 11 Patch switching Provides different combina tions of high and low inputs for INPUT I and INPUT II separately Clicking one of the four inputs selects it as the main input from the guitar black cable Clicking the selected guitar input again rotates between the available patching patters with th

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