My first surprise came with my ‘57 Deluxe on the clean guitars. Presently, I’m working on a guitar-heavy song in Cubase with acoustic, clean, and distortion guitars. Render that which is Fender’s unto sequencer It also includes an excellent trainer Riffworks T4, an easy-to-use recording sequencer made specifically for guitar and bass players and X-Gear–a shell-host that allows you to combine your favorite IK Muiltimedia amp and FX models with AmpliTube Fender for near-limitless sonic options. It comes with 15 amp/cab/FX models and a clever little device called a StealthPlug, an audio-interface-in-a-jack that lets you plug your guitar directly into your computer via USB. You can even mix and match amps and cabinets to create your own custom Fender sound–something impossible to do with the originals.Ĭompleting the package is Fender Studio, the easiest, all-in-one way to record classic Fender tone into your computer. There are also models that extend the vintage Fender clean machine with modern sounds.
Plus there’s the Super-Sonic, the face-melting Metalhead, and the Champion 600, which found its way into numerous classic rock recordings.
For example, there’s the ‘57 Deluxe the ‘59 Bassman, the classic blues amp used by countless guitarists the Super Reverb and if you’re searching for Stevie Ray Vaughan, IK modeled his ‘64 Vibroverb with custom mods by the late amp guru, Caesar Diaz. That’s $38,500 worth of history-making Fender tone for under $200. Fender BlenderĪmpliTube Fender gives you 45 models, including amps, cabinets, stompboxes, and rack effects of the legendary variety.
For the first time, software is able to emulate the physical behavior of a rotary speaker moving air. IK also developed VRM (Volumetric Response Modeling) technology for the Vibratone, a Leslie-style rotary speaker cabinet. Instead of superimposing static models over a sound, DSM replicates the non-linear dynamic response of analog circuits by continuously morphing the sound as your expression changes, just like a real-world amp or tube. Your ear detects this–disappointed! Of course, due to its very nature, distortion is a lot easier to get away with than clean sounds, where subtle changes are easier to hear–and that’s where IK’s models shine. Typical amp modelers will superimpose only one distortion “snapshot” across the range of input levels, creating the same distortion tone varied only by volume. In a real tube amp, distortion increases or decreases with a continuous rate of change based upon the guitarist’s dynamic expression. Generally, amp models don’t respond to your playing the way an actual amp does. Let’s talk about the musical problem it solves. Okay, it really stands for Dynamic Saturation Modeling.
Up against the makers of major musical mojo since 1946, IK had to come up with some serious mojo too–and they did, with their DSM (Damn Series Mojo) technology. To get that blessing, IK spent two years (that’s like 20 in software years) working closely with Fender engineers. With that in mind, let’s talk about AmpliTube Fender and AmpliTube Fender Studio, and what it means to have the blessing of Fender’s hyper-picky, ultra-militant tone gurus. In fact, Fender is so militantly nitpicky and protective about the sound of their guitars and amps that no software modeler has ever been allowed to use the Fender name outright–until Fender and IK Multimedia teamed up to give you the full-on Fender tone experience.Ī further bit of insider info: there’s never before been such an intense collaboration between hardware and software manufacturers–and to get it right, Fender chose IK Multimedia. I’m going to let you in on a little high-level industry info: Fender is hyper-picky (but in a good way).