PN: M

NU

-AM

-000

3

A legendary bass sound from the leaders in bass amplication and modeling technology.

Complete bass-rig plug-in with multiple amps, cabinets, stomps and tuner.

24 bass amp combinations of the most sought-after Ampeg gear, with unique DSM technology, Powered by AmpliTube.

Easy to use with dozens of presets ready to go.

Plug-in for every platform and standalone version.

LEGENDARY BASS TONES IN A PLUG-IN

in cooperation with

User Manual

AMPEG is a registered trademark of St. Louis Music, Inc. used under license.SVX is a trademark of IK Multimedia Production.

All other trademarks property of their respective owners.www.ampegsvx.com

IK Multimedia Production, via dellindustria 46, 41100, Modena, Italy.Phone: +39-059-285496, Fax: +39-059-2861671

IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323Phone: (954) 846-9101, Fax: (954) 846-9077, Tech Support Phone: (954) 846-9866

www.ikmultimedia.com

All specifications are subject to change without further notice.

Ampeg SVX

1

P L E A S E N O T E :

AMPEG is a registered trademark of St. Louis Music, Inc. used under license. SVX is a trademark of IK Multimedia Production. All other product names and trademarks are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied during IK Multimedias sound model development and for describing certain types of tones produced with IK Multimedias digital modeling technology.

Use of these names does not imply any co-operation or endorsement.

2Ampeg SVX

3Ampeg SVX

I - Contents

I Contents pag. 3

II Interface pag. 6

III License and copyrights pag. 8

Chapter 1 Ampeg SVX pag. 11 1.1 Ampeg SVX pag. 11 1.2 DSM Technology pag. 11 1.3 Block Diagram pag. 12

Chapter 2 Basic Operation pag. 13 2.1 Starting Ampeg SVX in your Sequencer pag. 13 2.1.1 Starting Ampeg SVX in Pro Tools pag. 13 2.1.2 Starting Ampeg SVX in Cubase SX pag. 13 2.1.3 Starting Ampeg SVX in Logic pag. 13 2.1.4 Starting Ampeg SVX in Digital Performer pag. 13 2.1.5 Starting Ampeg SVX in Sonar pag. 14 2.1.6 Starting Ampeg SVX in Live pag. 14 2.1.7 Starting Ampeg SVX in Garageband pag. 14 2.2 Plug-in Architecture pag. 14 2.3 Using the Interface pag. 15 2.4 Automation pag. 16

Chapter 3 Input/Output Interface pag. 17 3.1 I/O Interface pag. 17 3.2 Connecting your bass and adjusting your levels pag. 17 3.3 Selected Module Volume pag. 18 3.4 Mixing between Amp and Direct signals pag. 18 3.5 Navigation pag. 18 3.6 Tune pag. 18 3.7 Preferences (PREF) pag. 18 3.8 Information (I) pag. 19

Chapter 4 Module Selector pag. 21 4.1 Selecting Modules pag. 21

Chapter 5 Preset Manager pag. 23 5.1 Loading Presets pag. 23 5.2 Other Controls pag. 23 5.3 Saving a Preset pag. 24

Chapter 6 Getting Started pag. 25 6.1 Creating your own bass amp pag. 25 6.1.1 Select an Amp pag. 25 6.1.2 Setup the Cabinet pag. 25 6.1.3 Choosing Stomp Effects pag. 26

4Ampeg SVX

I - Contents

6.1.4 Saving a Preset pag. 26

Chapter 7 TUNER Module pag. 27

Chapter 8 STOMP Module (Stomp Effects) pag. 29 8.1 Controls pag. 29 8.2 Effects pag. 31 8.2.1 Ampeg SCP-OD Overdrive pag. 31 8.2.2 Ampeg SPC-OCT Octaver pag. 31 8.2.3 Analog Chorus pag. 31 8.2.4 Analog Delay pag. 32 8.2.5 Bass Wah pag. 32 8.2.6 Compressor pag. 32 8.2.7 Envelope Filter pag. 33 8.2.8 Volume Pedal pag. 33

Chapter 9 AMP Module (Amp Head) pag. 35 9.1 Bass Amp Models pag. 35 9.1.1 BA-500 pag. 35 9.1.2 B-15R Portaflex Flip Top pag. 36 9.1.3 SVT-Classic pag. 37 9.1.4 SVT-4PRO pag. 38

Chapter 10 CAB Module (Cabinets + Microphones) pag. 41 10.1 SPEAKER MODEL pag. 41 10.2 Speaker Models pag. 42 10.2.1 BA-500 (2 x 10 with adjustable HF driver) pag. 42 10.2.2 B-15R (1 x 15 with adjustable HF driver) pag. 42 10.2.3 BXT-410H (4 x 10 with adjustable HF driver) pag. 43 10.2.4 PB-212H (2 x 12 with adjustable HF driver) pag. 43 10.2.5 SVT-410H (4 x 10 with adjustable HF driver) pag. 43 10.2.6 SVT-810E (8 x 10) pag. 44 10.3 MIC MODEL pag. 44 10.4 Microphone Models pag. 45 10.4.1 Dynamic 20 pag. 45 10.4.2 Dynamic 57 pag. 45 10.4.3 Dynamic 421 pag. 45 10.4.4 Vintage Dynamic 20 pag. 45 10.4.5 Condenser 87 pag. 45 10.4.6 Condenser 414 pag. 45

Chapter 11 Ampeg SVX Models pag. 47

Chapter 12 Standalone Mode pag. 49 12.1 Launch Ampeg SVX Standalone pag. 49 12.2 Audio Configuration pag. 49 12.3 SpeedTrainer pag. 51

5Ampeg SVX

I - Contents

12.4 Loop Trimming pag. 52 12.5 Waveform Display pag. 52 12.6 Tempo and Pitch adjustment pag. 53 12.7 Values Indication pag. 53 12.8 Peak Meter pag. 53 12.9 Metronome pag. 54 12.10 CPU load display pag. 55

Chapter 13 Troubleshooting pag. 57

Chapter 14 Support pag. 61 14.1 User Area pag. 61

6Ampeg SVX

Dozens of bass Amp and Effects preset combinations ready to go.

Module Interface. 24 of the nest Ampeg bass amp combinations.

II - Interface

Bass Amp & Fx Modeling Plug-In

7Ampeg SVX

Four Modules: Amp-Heads, Micd Cabinets, a Stomp Pedalboard, and a Tuner.

Direct/Amped Signal.

Input, Output, Tuner.

II - Interface

8Ampeg SVX

License AgreementEND-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT

Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and contains warranty and liability disclaimers.

By breaking the seal on the media envelope, you are conrming to have taken notice of terms and conditions of this agreement and you acknowledge your acceptance of the software as well as your acceptance of the terms of this agreement. If you do not wish to do so, do not break the seal. Instead, promptly return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.

1) DEFINITIONS

EULA means this end user license agreement

IK Multimedia Product means the software program included in the enclosed package, and all related updates supplied by IK Multimedia.

IK Multimedia Product means the software program and hardware (if any) included in the enclosed package, the related documentation, models, multi-media content (such as animation, sound and graphics) and all related updates supplied by IK Multimedia.

Not for resale (NFR) Version means a version of IK Multimedia Product, so identied, is intended for review and evaluation purposes, only.

2) LICENSE

The IK Multimedia Product is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The IK Multimedia Product is licensed, not sold. This EULA grants you the rights as specied here below. All other actions and means of usage are reserved to the written permission of the right holder IK Multimedia Production srl:

Applications Software. The IK Multimedia Product may be used only by you. You may install and use the IK Multimedia Product, or any prior version thereof for the same operating system, on up to three (3) computers, provided that (a) each computer is owned by (or leased to) and under the exclusive control of the licensee; (b) the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with IK Multimedia software installed shall not be sold, rented, leased, loaned or otherwise be removed from the licensees possession without rst removing (uninstalling) the licensed software, except as provided in Paragraph 4 (below) pertaining to Software Transfer.

Storage/Network use. You may also store or install a copy of the IK Multimedia Product on a storage device, such as a network server, used only to install or run the IK Multimedia Product on your other computers over an internal network; however, you must acquire and dedicate a distinct license for each user of the IK Multimedia Product from the storage device. Any given license for the IK Multimedia Product may not be shared or used concurrently or otherwise on different computers or by different developers in a given organization.

3) AUTHORIZATION CODE

The IK Multimedia Product only functions when you are in the possession of an authorization code. You will receive an authorization code upon complet-ing the authorization code request procedure. Once your authorization code is activated, you may use the product.

You agree to follow the authorization code request procedure and will provide true, accurate and complete information about yourself. If you provide any information that is untrue, inaccurate, not correct or incomplete, or IK Multimedia has reasonable grounds to suspect that such information is untrue, inaccurate, not correct or incomplete, IK Multimedia has the right to suspend or to revoke the license.

The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer, decompile, or disassemble the IK Multimedia Product, except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation of components. The IK Multimedia Product is licensed as a single product. Its component parts may not be separated for use on more than one computer.

Not for Resale Version. If the IK Multimedia Product is labeled Not for Resale or NFR or Evaluation Copy, then, notwithstanding other sections of this EULA, you may not sell, or otherwise transfer the IK Multimedia Product.

Rental. You may not rent, lease, or lend the IK Multimedia Product to any party.

Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any IK Multimedia product, as licensed to you under this agreement without prior written consent of the rights owner. The carrier on which the IK Multimedia product has been distributed may be transferred or otherwise made available to any third party only with the prior written consent of the rights owner and provided that (a) the original media

License Agreement

9Ampeg SVX

and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media.

5) UPGRADES

If the IK Multimedia Product is labeled or otherwise identied by IK Multimedia as an upgrade, you must be properly licensed to use a product identi-ed by IK Multimedia as being eligible for the upgrade in order to use the IK Multimedia Product.

An IK Multimedia Product labeled or otherwise identied by IK Multimedia as an upgrade replaces and/or supplements the product that formed the ba-sis for your eligibility for such upgrade. You may use the resulting upgraded product only in accordance with the terms of this EULA. If the IK Multimedia Product is an upgrade of a component of a package of software programs that you licensed as a single product, the IK Multimedia Product may be used and transferred only as part of that single product package and may not be separated for use on more than one computer.

6) DUAL-MEDIA SOFTWARE

You may receive the IK Multimedia Product in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another user, except as part of the permanent transfer (as provided above) of the IK Multimedia Product.

7) LIMITED WARRANTY

IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original purchase, that under normal use, the software program and the user documentation are free from defects that will materially interfere with the operation of the program as described in the enclosed user documentation.

8) WARRANTY CLAIMS

To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, your name, your return address and a statement of the defect, or send the CD(s) to us at the below address within ninety (90) days of purchase. Include a copy of the dated purchase receipt, your name, your return address and a statement of the defect. IK Multimedia or its authorized dealer will use reasonable com-mercial efforts to repair or replace the product and return it to you (postage prepaid) or issue to you a credit equal to the purchase price, at its option.

9) LIMITATIONS ON WARRANTY

IK Multimedia warrants only that the program will perform as described in the user documentation. No other advertising, description or representation, whether made by a IK Multimedia dealer, distributor, agent or employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DIS-CLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED. IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF OR AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS PRODUCT.

10) CHOICE OF LAW

You agree that any and all claims, suits or other disputes arising from your use of the software shall be determined in accordance with the laws of Itay, in the event IK Multimedia, is made a party thereto. You agree to submit to the jurisdiction of the court in Modena, Italy for all actions, whether in contract or in tort, arising from your use or purchase of the software.

11) GENERAL

This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contempora-neous agreements or understandings, whether oral or written. All questions concerning this Agreement shall be directed to:

IK Multimedia Production srlVia DellIndustria 4641100 ModenaItaly

IK Multimedia. All rights reserved.

License Agreement

10

Ampeg SVX

TUNER Module

STOMP Module

AMP Module

CAB Module

11

Ampeg SVX

Chapter 1 Ampeg SVX

1.1 Ampeg SVX

IK Multimedia, the leader in amp-modeling plug-in technology in conjunc-tion with Ampeg, the historic brand that invented bass amplification, bring you the worlds first complete recording plug-in solution for bass. IK Multimedias Ampeg SVX is a complete Bass Amplification and Effects soft-ware package based on the highly acclaimed Ampeg amplifier and cabinet models.

Main features:

Ultra accurate analog modeling with DSM technology, Powered by AmpliTube.

4 Modules: Tuner, Stomp, Amp, Cabinet+Mic selection and placement.

High-precision Tuner.

8 analog modeled stomps on 6 slots with flexible routing (Chorus, Delay, Octaver, Wah, Envelope Filter, Overdrive and Compressor).

4 signature Ampeg bass amps modeled (BA-500, B-15R Portaflex, SVT-CL, and the SVT-4PRO).

6 signature Ampeg cabinet models (BA-500 2x10, SVT-410H 4x10,SVT-810E 8x10, PB-212H 2x12, Ampeg B-15R 1x15, BXT-410H 4x10).

6 Microphone models: Dynamic 20, Dynamic 57, Dynamic 421, Vintage Dynamic 20, Condenser 87, and the Condenser 414.

24 bass amp combinations.

Host sequencer BPM synchronization.

Two parallel signal paths make it possible to have the direct bass sound mixed with the processed amped signal for instant high-quality studio sound.

1.2 DSM Technology

DSM is new and exclusive IK Multimedia technology used in the emulation of analog circuitry. DSM was designed to increase the response realism and playability of critical analog circuit models. Musicians always felt digital emulations of high quality analog gear (such as guitar and bass amplifiers) to be good but not completely satisfying because of the lack of certain play-

1 - Ampeg SVX

12

Ampeg SVX

ability and musicality qualities that only the real thing provides. DSM has been designed to improve this aspect.

DSM gives special and unique results when applied to circuit emulations where the non-linearity is the main characteristic of the processor, such as in distortion, fuzz, overdrive stomp boxes, tube bass amplifiers, power amps, analog compressors and limiters. The DSM working principle is based on a new approach never applied to DSP analog modeling until now.

Analog circuits, especially Tube and Class-A discrete ones, are not dynami-cally-linear, but have been modeled this way by todays technology. An ana-log circuits character is never constantly shaped but varies depending on lots of parameters, first and foremost the strength, frequency and harmonic content of the incoming signal.

DSM takes the next step. It continuously adapts the shape of the analog circuit instead of applying a static snapshot. By using more complex math-ematical functions, a more articulated and musical response is possible, making DSM ideal for modeling tube preamps and tube power amps.

Traditional emulation is forced to a tradeoff. For example, the kind of distor-tion that appears only when a 2x6L6 tube power amplifier is driven to its limit and the cleaner sound it has when its driven normally.

DSM delivers a dynamic response that continuously morphs and follows the incoming signal; in other words, that follows the music.

This leads to an accuracy that cannot be found in any other modeling hardware or software today, respecting all the signal nuances exactly like a real analog circuit would do with a grade of realism and musicality never achieved before.

1.3 Block Diagram

1 - Ampeg SVX

INPUTOUTPUT

STOMP

MIXER

LEVEL AMP LEVEL CAB LEVEL

STOMP AMP CAB

AMPEG SVX SIGNAL PATH - LEVEL ADJUSTING

figure 1.1

13

Ampeg SVX

Chapter 2 Basic Operation

2.1 Starting Ampeg SVX in your Sequencer

2.1.1 Starting Ampeg SVX in Pro Tools

Launch Pro Tools and create your new session. If playing/recording bass, create a mono audio track. Select Ampeg SVX Mono/Stereo among RTAS plug-ins as the insert for that audio track. The Ampeg SVX interface will then open. If you are using Pro Tools LE, when the track is place in record monitor mode, you will be able to here the effect while recording.

Tip: If you are using Pro Tools TDM and recording a bass track while lis-tening to Ampeg SVX, you should insert a TDM plug-in like Digidesigns TRIM before Ampeg SVX RTAS. This will let you hear Ampeg SVX RTAS while recording on a TDM system, otherwise Pro Tools will bypass the RTAS plug-in (Ampeg SVX in this case) as soon as the track will be REC enabled.

2.1.2 Starting Ampeg SVX in Cubase SX

Launch Cubase. Click on the audio or instrument track that you wish to add Ampeg SVX to. In the inspector window on the left, click on the dark blue bar that says Inserts or click on the e button beside the track name at the top of the inspector.

Once the inserts are visible (under the insert menu on the Inspector, or on the left side of the audio channel editor window) click on empty insert. Select Ampeg SVX. At this point, if you play back audio, you should be able to route sound through your Ampeg SVX plug-in.

Tip: In order to take advantage of the Ampeg SVX stereo ambience you will need to insert SVX on a stereo track or bus.

2.1.3 Starting Ampeg SVX in Logic

Launch Logic. Insert Ampeg SVX on the desired track from the mixer win-dow. The Ampeg SVX edit window will automatically open.

Tip: In order to take advantage of the Ampeg SVX stereo ambience you will need to insert SVX on a stereo track or bus or use a Mono to stereo Ampeg SVX instance.

2.1.4 Starting Ampeg SVX in Digital Performer

Launch Digital Performer (4.1 or newer) and create your new session. Go to

2 - Basic Operation

14

Ampeg SVX

the Mixer View. On your audio track, select Ampeg SVX in the insert. The Ampeg SVX edit window will automatically open. You will now be able to hear the plug-in on the audio youre recording or playing back.

Tip: In order to take advantage of the Ampeg SVX stereo ambience you will need to insert SVX on a stereo track or bus or use a Mono to stereo Ampeg SVX instance.

2.1.5 Starting Ampeg SVX in Sonar

Launch Sonar and create your new session. Open the CONSOLE (pressing ALT+3) and locate the audio track you wish to add Ampeg SVX to. Right Click the FX INSERT AREA (dark square in upper area of the AudioTrack) on the mixer and choose Ampeg SVX from the AUDIO EFFECTS sub-menu. The Ampeg SVX interface will then appear.

2.1.6 Starting Ampeg SVX in Live

Launch Live and click on one of the audio or virtual instrument tracks in the Mixer Drop Area. Notice in the Track View (bottom window), the text Drop Audio Effects appears.

Now, in the Browser Window (window on the left hand side of the screen), click the Plug-in Browser button (looks like an electric plug). Browse to Ampeg SVX and click/drag it into the Track View. Once Ampeg SVX loads, it will appear as a Device with an XY controller on it.

To view the Ampeg SVX interface click the edit plug-in panel (small wrench) button at the top of the Device window.

2.1.7 Starting Ampeg SVX in Garageband

Launch Garageband and create a new session. Go to Track/New track/Real Instrument. In the same window select Bass/Liquid Bass/Input 1&2, monitor on. Then go to Details/Effects, choose Ampeg SVX and enable the left side button. In order to view the GUI click on the pencil (located to the right of the manual menu).

2.2 Plug-in Architecture

The Ampeg SVX is set up as a traditional bass rig. This ensures predictable results and real world flexibility. While it is simple to comprehend and navi-gate, the user interface allows for sophisticated bass.

4 Modules: the interface is divided into 4 modules: Tuner, Stomp effects, Amp, and Cabinet+Mic (figure 2.1). This approach makes it easy to move

2 - Basic Operation

15

Ampeg SVX

between the different sections of the bass amp rig and provides easy access to module specific controls and features.

Flexible Routing: in Ampeg SVX, the amplifier signal coming from the miked cabinet can be mixed with the direct signal via the Direct / Amp signals mix knob (located on the bottom right side of the Input/Output Interface section).This bass production technique is a real world trend commonly used in pro-fessional recording studios by top producers. Now it is in your hands.

Presets: one of the easiest ways to get started with Ampeg SVX is to audition the collection of included presets (figure 2.2). In order to enhance and speed up your creative process, IK has included this col-lection of presets with the powerful Ampeg SVX engine. These presets have been skillfully programmed by the Ampeg SVX designers and by a group of professional users that produce with Ampeg SVX on a regular basis. A variety of music genres, playing techniques, and commonly used signal chain configurations have been taken into consideration when these presets were programmed.

2.3 Using the Interface

There are four basic sections in the interface.

PRESET MANAGER: loads and saves presets (figure 2.3). This section allows you to select, save, and delete presets.

MODULE SELECTOR: includes a graphic representation of the Ampeg SVX signal path via the module display, one individual button per mod-ule, with bypass and mute buttons (figure 2.4).

In fact, using the bypass and mute buttons you are able to control the signal path of your bass rigs. As a visual reference, the bypass and mute buttons will be highlighted when they are activated.

2 - Basic Operation

figure 2.1

figure 2.2

figure 2.3

figure 2.4

16

Ampeg SVX

MODULE INTERFACE: this is the main editing interface where most of the editing takes place (figure 2.5). This interface shows the different modules and all their related controls and parameters.

INPUT/OUTPUT INTERFACE: adjusts the input and output gains (figure 2.6). Additionally, you are able to control the individual modules volume, scroll through them, set the preferences, and display plug-in informations.

2.4 Automation

Ampeg SVX can be automated from your host sequencer. All knobs and onscreen controls can be accessed through the host applications plug-in automation controls. Use the host application to enable and automate the parameters of Ampeg SVX.

The following parameters of Ampeg SVX can be enabled and automated using your host application:

All Stomp controls and switches Amp controls Speaker models, mic models and positions, ambience

Please note that all the available parameters in Ampeg SVX are listed in automation parameters, not just the ones that are being currently used. For example, if you want to automate the Overdrive Texture parameter, just scroll the automation parameters up to Overdrive: Texture (figure 2.7). This allows for changing presets to audition different sounds without loos-ing the previous automation data for the Overdrive parameters (in case no Overdrive has already been inserted in the presets youre auditioning). For specific information regarding automation, please read your host sequencer manual or visit its webpage.

2 - Basic Operation

figure 2.5

figure 2.6

figure 2.7

17

Ampeg SVX

Chapter 3 Input/Output Interface

3.1 I/O Interface

The Input/Output interface provides more than just volume controls and input/output level meters (figure 3.1). It includes a Mini Tuner bar graph, a Mini Tuner Note Indication, a current paramter value display and a phase knob.

3.2 Connecting your bass and adjusting your levels

To fully obtain high sound quality from Ampeg SVX, you need to correctly connect the bass to your computer.

Check the features of your audio interface:

INPUTS TO USE:Hi-Z inputsInstrument inputsThe Microphone XLR input can ONLY be used if you are using an active DI BOX between the bass 1/4 Plug and the Mic XLR input.

NOT TO USE:Regular Line inputs.NEVER connect your bass directly to line inputsNEITHER -10dB nor +4dB inputs can be used for your bass

Once you have successfully connected your bass to your computer, you will need to setup the Input Gain on your audio interface.

To optimally setup your audio interface:

Increase the gain knob on your interface up to the point where the clipping LED on your interface just starts blinking when played hard enough, then decrease the gain to a comfortable level.

Or

Increase the gain knob on your interface to make the Ampeg SVXs Input Lever meter reach almost full scale when played hard enough, then slightly decrease the gain on your interface.

The meter next to the current parameter value display gives an accurate representation of the input signal (figure 3.2).

figure 3.1

3 - Input/Output Interface

figure 3.2

18

Ampeg SVX

If the output level needs to be adjusted, change the master trim (figure 3.3). There is a meter to the right of the volume knob that shows the output level and an overload light to the far right of the meter. Use this meter to gauge how the level should be adjusted. To reset the blue clipping indicator just click on it (figure 3.4).

3.3 Selected Module Volume

The volume control fine tunes the output level of the selected module (figure 3.5). Usually, this control should be kept at its default center position. This control can be used, for example, to boost the signal at the input of the Amplifier. Also, this can be done by selecting the Stomp Module and increas-ing the volume knob.

3.4 Mixing between Amp and Direct signals

The Mix control (figure 3.6) balances the sound between direct and miked amp, as done in professional recording environments, from Direct (0%) to Amp (100%). The direct sound is post stomps.

The Phase control (figure 3.7) adds a variable small delay to the Direct sound. Adjusting this delay time when combining direct and amp sounds will alter the time alignment between the two, allowing for a wider range of possible sounds. The delay range is from 0 to 20 ms.

3.5 Navigation

The navigation buttons scroll between the modules, simplifying their selec-tion (figure 3.8-3.9).

3.6 Tune

TUNE provides a small representation of the TUNER module, making it easy to tune up without having to change the module you are viewing (figure 3.10). It displays the note that you are actually playing and also a graphical representation of the fine tuning (measured in cents). When the OK light illuminates, the tuning is correct.

3.7 Preferences (PREF)

The Preferences menu allows you to set the modeling resolution of the Amplifiers power amp stages (figure 3.11). Enabling it will deliver the best modeling accuracy, disabling it will make the plug-in to use less CPU resources, still sounding great.

figure 3.3

figure 3.4

3 - Input/Output Interface

figure 3.8 figure 3.9

figure 3.5

figure 3.10

figure 3.11

figure 3.6

figure 3.7

19

Ampeg SVX

3.8 Information (I)

The info pages provide useful information about Ampeg SVX (figure 3.12). For example, you will find the version number and a set of instructions about how to setup your audio path (figure 3.13).

3 - Input/Output Interface

figure 3.12

figure 3.13

20

Ampeg SVX

3 - Input/Output Interface

21

Ampeg SVX

Chapter 4 Module Selector

The Ampeg SVX module selector performs multiple functions (figure 4.1). Not only does it shows the signal path through the Signal Chain Display, but also it allows you to select the different modules via each of the individual buttons (Tuner, Stomp, AMP and CAB) and mute or bypass them as desired.

4.1 Selecting Modules

To select modules, click directly on the module button (figure 4.2). This allows easy access to any module contained in your custom bass rig.

figure 4.1

4 - Module Selector

figure 4.2

22

Ampeg SVX

4 - Module Selector

23

Ampeg SVX

Chapter 5 Preset Manager

This system allows you to create and save Ampeg SVX presets (figure 5.1). This means that you can design your own bass rig selecting from one to six stomp units, choosing an AMP, and matching them with your favorite speaker and mic model. Then, you just need to save this new configuration with a descriptive name that expresses your sonic personality.

5.1 Loading Presets

As with any of the drop down menus in Ampeg SVX, you can either click on the preset selector and choose from the drop down menu or click the up/down arrows and scroll through the presets.

5.2 Other Controls

There are 4 buttons under the preset selector.

PRESET FOLDER: opens the presets folder for immediate manual inter-vention on location, grouping, naming, and backup of the preset files via standard OS window (figure 5.2).

SAVE: saves the current setup as a preset. In brief, it will save the parameters for all the modules in Ampeg SVX (Tuner, Stomp, AMP and CAB).

SAVE AS: functions like the save button but always prompts for a new name in the save dialogue.

DELETE: deletes the current selected preset. Be careful because this command can not be undone!

5 - Preset Manager

figure 5.1

figure 5.2

24

Ampeg SVX

5.3 Saving a Preset

Click the save button (figure 5.3).

A pop up window will appear (figure 5.4).

At the top of this window, you can specify a folder where you would like to save the preset or create a new folder to save in. In the middle field on this pop up window, type the name of the preset. The bottom field makes Ampeg SVX auto overwrite when you click Save. This option allows you to save quicker, but if you are not careful, you could unintentionally overwrite a preset that you wanted to keep.

Click the SAVE button in the pop up window (figure 5.5). Your Preset is now saved. It will now appear in the Preset Selector.

5 - Preset Manager

figure 5.4

figure 5.3

figure 5.5

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Ampeg SVX

Chapter 6 Getting Started

With Ampeg SVX you can select one of the four Amp models and match it with one of the six Cabinet models. This way you can instantly have, for example, a classic sound by selecting the B-15R amp with its B-15R cabinet or mixing different models in the combination you prefer.

6.1 Creating your own bass amp

Lets start by loading a preset clicking on the presets selector (figure 6.1). We will modify and customize the setup in the next paragraphs.

6.1.1 Select an Amp

Now, lets change the amp. Click on the AMP module button (located below the Ampeg SVX signal path display) (figure 6.2) and select another ampli-fier, for example SVT-4PRO.

6.1.2 Setup the Cabinet

At this time, lets choose the speaker cabinet that we are going to use. If you set the MATCH switch ON, this will select the default speaker cabinet that is associated with the Amplifier you selected, in this case the SVT-410H. Now, you can experiment with a different cabinet just selecting one from the Speaker Model selector (figure 6.3). Next, you have the possibility to aurally test several microphones. In the Mic Model window, select Dynamic 20. You can also move the microphone to 4 different positions by using the Off/On Axis and Far/Near buttons. Additionally, you are able to increase or decrease the room ambience via the ambience slider. All the parameters values are visualized through the current parameter value display (located on the Input/Output interface at the bottom of the screen (figure 6.4-6.5).

6 - Getting Started

figure 6.1

figure 6.2

figure 6.3

figure 6.4

figure 6.5

26

Ampeg SVX

6.1.3 Choosing Stomp Effects

In addition to the previous setups (Amp and Cab+Mic selections), we are able to expand the sound spectrum via the selection of 6 different stomps effects options. Click on STOMP in the module selector (figure 6.6).

Under the first effect slot (of a total of 6 slots), click on Analog Chorus. This will load a classic analog chorus effect (figure 6.7).

Then, on the next effect slot click on Ampeg SCP-OD Overdrive. This will load a distinctive overdrive effect. After that, you are still able to add 4 more virtual stomps in order to get your signature sound.

6.1.4 Saving a Preset

The next thing that we need to do after the creative process is to save our preset. To do this, locate the preset manager window to the top left of the interface. Notice that there are 4 buttons underneath the preset selector. Choose Save or Save as (check Chapter 5.3), give a name to the preset, and then save it. If you now click on the preset selector window, our newly cre-ated preset will appear in the drop down menu.

6 - Getting Started

figure 6.6

figure 6.7

27

Ampeg SVX

Chapter 7 TUNER Module

The first module in Ampeg SVX is the Tuner (figure 7.1).

To access the tuner, click the TUNER button on the module selector. This tuner is a fully automatic chromatic tuner, meaning that there is no need to manually select the note you are going to tune. The tuner will automatically detect and show which note youre playing. On the left there is an On/Off button for the tuner (figure 7.2). Setting the switch to the ON position will turn it on.

There is a mute control as well (figure 7.3). This makes it possible to silence the bass signal while tuning, a very useful feature for live performance. These bypass and mute controls are the same controls that appear on the top right side of the Ampeg SVX interface (figure 7.4).

Under the On/Off and mute switches, TUNE displays the tuning reference being used. The default and most common tuning reference is 440 Hz, how-ever, this can be adjusted (from a 425 to 455 Hz range) by clicking on the display (figure 7.5).

After the cursor appears, use backspace and cursor buttons to move and edit the value by entering numbers.

The right side of the tuner displays the detected note value and the fine tun-ing in cents (figure 7.6). This is also visible on the bottom of the Ampeg SVX interface with the fine tuning shown graphically (figure 7.7).

The main feature in the tuner is obviously the graphical tuner interface (fig-ure 7.8). Based on a high end rackmount tuner, Ampeg SVXs tuner allows for precise and easy tuning.

figure 7.1

7 - TUNER Module

figure 7.8

figure 7.3

figure 7.2

figure 7.4

figure 7.5

figure 7.6

figure 7.7

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7 - TUNER Module

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Ampeg SVX

Chapter 8 STOMP Module (Stomp Effects)

8.1 Controls

To change the stomp effects configuration, click the STOMP button on the module selector (figure 8.2). The flexible options of the stomp module allows you to freely configure six stomp pedal effects at a time, emulate several classic bass tones, and create your own stomp configurations.

The six stomp effect slots are displayed in the module interface as empty spaces on a wooden pedal board (figure 8.3).

figure 8.1 - STOMP Module

8 - STOMP Module

figure 8.2

figure 8.3

30

Ampeg SVX

You can select different stomp effects by either clicking on one of the six displays under the pedal board or using the up and down arrows to scroll through the different effects (figure 8.4). Like a hardware bass rig, each stomp effects controls are displayed on the stomp box (figure 8.5). When you adjust, for example, the output or the sensitivity controls of the com-pressor stomp box, that controls value is displayed in a window at the bot-tom of the screen (figure 8.6). This feature helps to visualize, compare, and analyze each particular setting.

8 - STOMP Module

figure 8.4 figure 8.5 figure 8.6

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Ampeg SVX

8.2 Effects

8.2.1 Ampeg SCP-OD Overdrive

This virtual stomp effect emulates the Ampeg SCP-OD Overdrive pedal (figure 8.7). It recreates the original distortion circuit, adding upper octave harmonic content to the direct signal and creating as a result a unique overdrive effect.

Controls:

Texture: controls the upper octave harmonic content (or type of distor-tion), from 0 to 10.Balance: controls the mix between the direct and overdriven signal,from 0 to 10.On/Off: turns the Stomp effect On or Off.

8.2.2 Ampeg SPC-OCT Octaver

This stomp effect is modeled after the Ampeg SPC-OCT Octaver pedal (figure 8.8). Moving the octave knob will double your direct signal one octave below the direct signal. In this way you can make your melodic lines richer and fuller, expanding the frequency range.

Controls:

Direct: sets the output level of the direct signal, from 0 to 10.Octave: sets the output level of the sub-octave, from 0 to 10. On/Off: turns the Stomp effect On or Off.

8.2.3 Analog Chorus

A model of a classic analog Chorus/Vibrato unit provides both analog Chorus and analog Vibrato effects (figure 8.9). When in Chorus mode the modula-tion will be lush and slow. When in Vibrato effect the modulation will be faster and more noticeable.

Controls:

Level: sets the input level. Range is from 15dB to +15 dB.Chorus: sets the intensity (or depth) of the Chorus effect, from 0 to 10.Vibrato Rate (vib rate): sets the rate of the Vibrato effect, from 0 to 10.Vibrato Depth(vib depth): sets the intensity of the Vibrato effect, from 0 to 10.Vibrato/Chorus switch (vib/ch): enables Vibrato or Chorus modes. When Vibrato mode is enabled the corresponding LED will light up.On/Off: turns the Stomp effect On or Off.

figure 8.7

8 - STOMP Module

figure 8.8

figure 8.9

32

Ampeg SVX

8.2.4 Analog Delay

This model is based on a classic analog delay with modulation stomp pedal (figure 8.10).

Controls:

Delay: changes the length of the delay between each echo, from 25ms to 500ms.Feedback (f-back): changes the amount of time that the echo repeats, from 0% to 100%.Blend: mixes the amount of the dry signal with the delayed sound, from 0% to 100%. Chorus/Vibrato (chrs/vib): sets the amount of Chorus/Vibrato effect added to the processed signal, from 0% to 100%. Vibrato/Chorus switch: enables Vibrato or Chorus modes.On/Off: Turns the Stomp effect On or Off.BPM Sync ON/OFF: allows the effect to be synchronized to the host BPM.

8.2.5 Bass Wah

This effect is modeled after the classic Wah pedal used by many of the top players from the 60s and 70s (figure 8.11). In addition to the Wah effect, there is a new exciting feature called auto. This option will produce the Wah effect automatically, meaning that there is no need for the manual intervention on the pedal position.

Controls:

Off/On/Auto switch: sets the mode of the Wah effect, OFF, ON, or AUTO.Pedal Position: controls the Wah effect from 0 to 100%.

8.2.6 Compressor

This effect is modeled after a vintage compression stomp pedal (figure 8.12) and can deliver a strong sustain and powerful compression with lots of character.

Controls:

Output: sets the output level for the effect, from inf to 0.00 dB.Sensitivity: sets the sensitivity of the compression, from 0 to 10.On/Off: sets the mode of the virtual pedal.

figure 8.10

figure 8.11

figure 8.12

8 - STOMP Module

33

Ampeg SVX

8.2.7 Envelope Filter

This stomp is a highly developed filter effect (figure 8.13). Essentially, it uses the envelope of the incoming signal to control a synthesizer style filter. The sound palettes range of this virtual unit is wide and rich. You can enhance your bass tone adding from simple auto Wah effects to extreme filtering effects.

Controls:

Frequency (freq): sets the cutoff frequency of the filter, from 40 Hz to 20,480 Hz.Resonance (reso): sets the resonance of the filter, from 0.30 to 10.Depth: changes the amount of effect that the envelope has on the filter, from 0% to 100%.Band pass (bp), Low pass (lp), High pass (hp): sets the type of filter being used, either band pass, low pass or high pass.12/24: toggles between 2 and 4 pole filter.On/Off: sets the mode of the virtual pedal.

8.2.8 Volume Pedal

This is a virtual stomp that emulates a traditional volume pedal (figure 8.14).

Controls:

Minimum (min): sets the minimum volume when the pedal is fully down. The range goes from 0 to 10.Pedal Position: controls the volume effect from 0 to 100%.

8 - STOMP Module

figure 8.13

figure 8.14

34

Ampeg SVX

8 - STOMP Module

35

Ampeg SVX

Chapter 9 AMP Module (Amp Head)

Ampeg SVX contains accurate models of the most sought-after bass amps and cabinets ever made including the BA-500 (based on Ampeg BA500*), B-15R (based on Ampeg B-15R Portaflex Flip Top*), SVT-Classic (based on Ampeg SVT4 CLASSIC*), and SVT-4PRO (based on Ampeg SVT4 PRO*). Following a brief description of each model:

9.1 Bass Amp Models

9.1.1 BA-500

The BA-500 (figure 9.1) is a high quality solid-state bass amp, with a sonic fingerprint that will deliver a big and detailed sound in any musical situa-tion. Thanks to its powerful preamp sound shaping controls, this amp model will be great on all musical genres and styles. Its natural cabinet match is the BA-500 cabinet, but you can get interesting sounds experimenting with all the included cabs options.

Controls:

MUTE: is linked with the Amp Module Peak/Mute light. Essentially, it mutes the signal at the Amp input. PAD: reduces the gain of the preamp by 15dB.PEAK/MUTE LED: this LED turns on when the Mute button is pressed or the preamp is overloaded. GAIN: controls the gain of the BA-500 preamp, from 1 to 10.BASS: boost and cuts the low frequencies of the amps EQ stage, from 1 to 10.ULTRA MID: boost and cuts the mid frequencies of the amps EQ stage, from 1 to 10.

9 - AMP Module

figure 9.1

36

Ampeg SVX

TREBLE: boost and cuts the high frequencies of the amps EQ stage, from 1 to 10.MASTER: controls the volume of the DSP power amp stage, from 1 to 10.LIMIT: enables the limiter in the power amp and is linked with the right side yellow light. This limiter acts only when the master level is very high and the power amp is pushed at its limit.EQ ON: turns on the graphic EQ when pressed.EQ ON LED: turns on when the graphic EQ is enabled.GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -10 to +10 dB.POWER SWITCH: turns On or Off the amplifier and it is linked to the Bypass button in the Amp module.POWER LED: turns on when the Power switch is on 1.

9.1.2 B-15R Portaflex Flip Top

This is the 1960s classic bass amplifier, enhanced and improved for the actual musical scenario (figure 9.2). This all-tube model limited production features the Ampeg classic tube preamp combined with a selectable tube 60W/100W power amplifier. This option gives you the most sought-after vintage bass sound ever. In addition, if you want to get that unmistakable 60s tone; match it with the B-15R cabinet.

Controls:

ULTRA HI/LO: these two switches control the timbre shaping of the B-15R preamp.GAIN: controls the gain of the B-15R preamp, from 1 to 10.BASS: boost and cuts the low frequencies of the amps EQ stage, from 1 to 10.MID: boost and cuts the mid frequencies of the amps EQ stage, from 1 to 10.FREQUENCY: selects a frequency band, from 1 to 5 positions. Intervention

figure 9.2

9 - AMP Module

37

Ampeg SVX

center-frequencies are: 200, 400, 900, 1.5k or 2.5kHz.TREBLE: boost and cuts the high frequencies of the amps EQ stage, from 1 to 10.MASTER: controls the volume of the power amp stage.60W / 100W SWITCH: sets the power of the power amp stage. The vir-tual tubes visually represent the master value.POWER SWITCH: turns On or Off the amplifier and it is linked to the Amp Module Mute button. When ON the mute is Off, and the Amp emits sound. When Power is in the lower position the amp is MUTED and the Mute switch lights up (on the top frame).STANDBY: is linked to the Amp Module Bypass button on the top frame. When bypassed the Amp section is not affecting the sound.ON/OFF: sets the mode of the Amp.

9.1.3 SVT-Classic

This is the authentic and classic Ampeg tube sound (figure 9.3). This all-tube bass head delivers a warm, harmonically rich and punchy sound that is a trademark for the rock bass sound, both live and in the studio. The SVT-Classic is the amp that created the rock bass sound. Its natural speaker match is the SVT-810E or the SVT-410H.

Controls:

GAIN: controls the gain of the SVT head preamp, from 0.0 to 10.0. ULTRA HI/LO: these two switches control the timbre shaping of the SVTClassic preamp.BASS: boost and cuts the low frequencies of the amps EQ stage, from 0 to 10.MIDRANGE: boost and cuts middle frequencies of the amps EQ stage, from 0 to 10.FREQUENCY: selects the center frequency for the Midrange control, from 1 to 5 positions. The numbers correspond to the following center frequen-

figure 9.3

9 - AMP Module

38

Ampeg SVX

cies as indicated:

1=220Hz2=450Hz3=800Hz4=1.6kHz5=3kHz

TREBLE: boost and cuts high frequencies of the amps EQ stage, from 0 to 10.MASTER: controls the volume of the DSP power amp stage, from 0 to 10.STANDBY/POWER: is linked to the Amp Module Bypass button on the top frame. When bypassed the Amp section is not affecting the sound.POWER SWITCH: Turns On or Off the amplifier and it is linked to the Amp Module Mute button. When its on 1 the mute is Off, and the Amp emits sound.

9.1.4 SVT-4PRO

This is a real all-round high end bass amplifier (figure 9.4). It combines a fully featured tube preamp that can really cover any sound need with a tight solid state power amplifier. The SVT-4PRO sound spectrum is wide and rich. You can get from extremely neutral and transparent sounds to powerful unique tones. Experiment with the SVT-4PRO settings and create your own custom sounds.

Controls:

MUTE: cuts the signal at the Amp input and it is linked with the Amp Module Mute button.-15dB: reduces the gain of the preamp.GAIN: controls the gain of the STV-4 preamp, from 1 to 10. PEAK LED: when the preamp is nearing its clipping level this led turns

figure 9.4

9 - AMP Module

39

Ampeg SVX

on.COMPRESSION: sets the SVT preamp internal compressors compression level, from 0 to 10. At 0 there will be no compression at all.ULTRA HI/LO: these two switches control the timbre shaping of the SVT-4 preamp.BASS: boost and cuts the low frequencies of the amps EQ stage, from 0 to 10.MIDRANGE: boost and cuts the mid frequencies of the amps EQ stage, from 0 to 10.FREQUENCY: selects the center frequency for the Midrange control, from 1 to 5 positions. The numbers correspond to the following center frequencies as indicated:

1=220Hz2=450Hz3=800Hz4=1.6kHz5=3kHz

TREBLE: boost and cuts the high frequencies of the amps EQ stage, from 0 to 10.LIMIT DEFEAT: disables the limiter of the Power amp section. LIMIT LED: turns on when the power amp Limiter starts limiting.BRIGHT: when enabled adds a more lively top end response to the input signal.MASTER: controls the volume of the power amp stage.GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -12 to +12dB.GRAPHIC EQ LEVEL SLIDER: sets the gain for the graphic EQ stage from -12 to +12dB.POWER LED: turns on when the power switch is in its upper position, and the Amp is ON.ACTIVE LED: (in the graphic EQ section). Normally, this LED is on. Clicking on it will disable/enable the Graphic EQ section and turns Off/On the LED. POWER SWITCH: linked to the Amp module Bypass button.

9 - AMP Module

40

Ampeg SVX

9 - AMP Module

41

Ampeg SVX

Chapter 10 CAB Module (Cabinets + Microphones)

Most high quality bass amplifiers (and cabinets) are equipped with a high frequen-cy driver in addition to the other full range regular speakers. In fact, Ampeg speak-ers have various types of high frequency drivers (tweeters). For that reason, Ampeg SVX implemented an innovative system to capture and emulate the complete two way speaker system. Through this option, you are able to adjust the level of the tweeter exactly as you would on the real cabinet. To open up the Cabinet module, click the CAB button on the module selector. There are two models in the CAB mod-ule: the SPEAKER MODEL (figure 10.2) and the MIC MODEL (figure 10.3).

10.1 SPEAKER MODEL

The Ampeg SVX SPEAKER MODEL features 6 speaker cabinet emulations with the following controls:

ON/BYPASS: bypasses the CAB module of the plug-in. In other words, bypasses / enables the entire Cabinet + Mic +Ambience section.

Speaker Model: sets the Ampeg cabinet to be loaded. The two arrows on the right allows you to select the previous/next model in the list.

MATCH: when this option is set to ON, the speaker model will automati-cally match the Amplifier model selected in the Amp Page. However, the microphone settings wont be affected by the Match setting.The matching table is this:

AMP CABBA-500 BA-500B-15R B-15RSTV-Classic SVT-810ESTV-4PRO SVT-410H

figure 10.1 - CAB Module

10 - CAB Module

figure 10.3

figure 10.2

42

Ampeg SVX

High Level Control: pressing this button will show you the back of the cabinet so you are able to adjust the level of the high frequency driver. Moving the Level Control big knob sets the level of the Tweeter from inf (Tweeter OFF) to 0 dB. In order to return to the regular Cab front view, click the back of the speaker in any position (except on the High Control).

10.2 Speaker Models

Ampeg SVX offers you 6 different speaker models. All the cabinet models feature different sized speakers (including 10, 12 and 15), and multiple speakers configurations (2, 4, and 8 respectively). Please check the following speaker models alternatives:

10.2.1 BA-500 (2 x 10 with adjustable HF driver)

10.2.2 B-15R (1 x 15 with adjustable HF driver)

figure 10.4BA-500

figure 10.5B-15R

10 - CAB Module

43

Ampeg SVX

10.2.3 BXT-410H (4 x 10 with adjustable HF driver)

10.2.4 PB-212H (2 x 12 with adjustable HF driver)

10.2.5 SVT-410H (4 x 10 with adjustable HF driver)

figure 10.6BXT-410H

figure 10.7PB-212H

figure 10.8SVT-410H

10 - CAB Module

44

Ampeg SVX

10.2.6 SVT-810E (8 x 10)

10.3 MIC MODEL

The MIC MODEL features 6 microphone models and offers you 3 powerful controls: On/Off Axis, Near/Far, and Ambience. Ampeg SVX helps you to reach your personal and unique bass tone through the flexibility and func-tionality of its controls. Basically, you are able to recreate and adapt several real world music production techniques via the experimentation of the On/Off Axis, Near/Far, and ambience controls. Here, a brief explanation:

OFF AXIS/ON AXIS: changes the position of the microphone in relation-ship to the cone of the speaker. On axis means the microphone is in the center of the speaker. Off axis means the microphone is positioned at the outside edge of the speaker. Typically ON AXIS position delivers a more present and high frequencies-rich tonal balance. This can be too bright or harsh for some Amp setting, in this case try the OFF AXIS posi-tion, which deliver a sweeter tone.

FAR/NEAR: changes the distance of the microphone in relation to the speaker cabinet. Near is obviously close to the speaker. Far positions the microphone further away from the speaker cabinet. Typically NEAR position delivers more bass because of the proximity effect and far posi-tion delivers a bass-lighter response.

AMBIENCE: adjusts the amount of room ambience that is mixed with the microphone signal.

Tip: Ambience is STEREO. To completely take advantage of this feature be sure to use Ampeg SVX on a stereo track or bus or use a Mono to Stereo Ampeg SVX instance.

figure 10.9SVT-810E

10 - CAB Module

45

Ampeg SVX

General Cabinet Module usage tips:

Clean sounds can be more present and detailed if miked ON-AXIS, CLOSE. If you feel the sound to be too big for the mix try moving the mic FAR from the cab.

If you think the sound it too bright open the High Level Control and turn down the High Level knob, or try moving the microphone Off Axis.

10.4 Microphone Models

10.4.1 Dynamic 20

This mic model (figure 10.10) recreates a smooth reaction across a wide spectrum of frequencies, especially attractive in the low area. This means that the Dynamic 20 is a great selection for acoustic and electric bass.

10.4.2 Dynamic 57

This is a model of the popular small diaphragm dynamic mic (figure 10.11). Its bright, edgy sound has made it a widely used guitar and bass amp mic.

10.4.3 Dynamic 421

Probably the second most popular dynamic mic to use on guitar amps, this model (figure 10.12) provides an equally pleasing sound, but is a warmer than the 57.

10.4.4 Vintage Dynamic 20

A vintage dynamic large diaphragm microphone (figure 10.13) that used to be the standard mic for bass amps and kick drums during the 60s. Its warm and present, and has a smooth roll-off at high frequencies.

10.4.5 Condenser 87

This is a model of one of the most popular large diaphragm mics ever (figure 10.14). It can be found in any large recording studios mic locker. Because of its excellent frequency response curve, the 87 has become the mic to go when needing a clean, flattering sound.

10.4.6 Condenser 414

The Condenser 414 (figure 10.15) is modeled after another highly regarded

10 - CAB Module

figure 10.10

figure 10.11

figure 10.12

figure 10.14

figure 10.15

figure 10.13

46

Ampeg SVX

large diaphragm condenser microphone. It is a bright, open microphone that will flatter big full tones and will also blend beautifully when combined with another cabinet/mic setup.

10 - CAB Module

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Ampeg SVX

Chapter 11 Ampeg SVX Models

11 - Ampeg SVX Models

AMPLIFIER MODELS BASED ONBA-500 Ampeg BA500B-15R Ampeg B15R Portaex Flip TopSVT-Classic Ampeg SVT CLASSICSVT-4PRO Ampeg SVT-4 PROSTOMP BOX MODELS BASED ONSCP-OD Overdrive Ampeg SCP-OD OverdriveSPC-OCT Octaver Ampeg SPC-OCT OctaverAnalog Chorus AmpliTube Classic ChorusAnalog Delay AmpliTube Classic DelayBass Wah AmpliTube Classic Bass WahCompressor AmpliTube Classic CompressorEnvelope Filter AmpliTube Classic Envelope FilterVolume Pedal AmpliTube Classic Volume PedalCABINET MODELS BASED ONBA-500 (2x10 with adjustable HF driver) Ampeg BA-500B-15R (1x 15 with adjustable HF driver) Ampeg B-15RBXT-410H (4x10 with adjustable HF driver) Ampeg BXT-410HPB-212H (2x12 with adjustable HF driver) Ampeg PB-212HSVT-410H (4x10 with adjustable HF driver) Ampeg SVT-410HSVT-810E (8x10) Ampeg SVT-810EMICROPHONE MODELS BASED ONDynamic 20 Electro-Voice RE-20Dynamic 57 Shure SM57Dynamic 421 Sennheiser MD-421Vintage Dynamic 20 AKG D-20Condenser 87 Neumann U-87Condenser 414 AKG C-414

AMPEG is a registered trademark of St. Louis Music, Inc. used under license. SVX is a trademark of IK Multimedia Production. All other product names and trademarks are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied during IK Multimedias sound model development and for describing certain types of tones produced with IK Multimedias digital modeling technology. Use of these names does not imply any co-operation or endorsement.

AMPEG is a trademark of St. Louis Music, Inc.ELECTRO-VOICE is a trademark of Electro-Voice, Inc.NEUMANN is a trademark of Georg Neumann GmbH.AKG is a trademark of AKG Acoustics GmbH.SENNHEISER is a trademark of Sennheiser Electronic Corp.SHURE is a trademark of Shure incorporated.

48

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Ampeg SVX

Chapter 12 Standalone Mode

Ampeg SVX Standalone version can be used to play and practice live using your computer as the next generation modeling effect processor. It allows you to run the program without the need of a host sequencer application.

12.1 Launch Ampeg SVX Standalone

Once your hardware is properly set-up you can launch Ampeg SVX.To launch Ampeg SVX Standalone go to:

Windows: Start/Programs/Ampeg SVX icon

Macintosh: Application folder/Ampeg SVX icon

12.2 Audio Configuration Windows (figure 12.1)

- Click on Settings/Audio MIDI Set-up.

- Select ASIO or DirectX from the Technology menu.

- In Inputs, your audio interface driver will be automatically selected. If not, manually choose your audio interface driver.

figure 12.1

12 - Standalone Mode

50

Ampeg SVX

- In Channel 1 (below the Inputs menu), select your audio interface input number, in which your guitar is plugged into. For example, if the guitar is plugged into the first audio interface input, you should select Channel 1. However, if the guitar is plugged into the second audio inter-face input, you should select Channel 2, and so on.

- In Outputs, select your audio interface output driver. In short, the Input and Output driver should be the same.

- Below the Outputs menu, select your desired output channels. For example, (Channel 1, Output 1), (Channel 2, Output 2).

- Sample Rate: choose your desired sample rate. (Ampeg SVX will sup-port sample frequencies up to 96KHz).

- Buffer Size: adjusting the buffer settings will change the audio signal latency. In fact, the amount of latency depends on several factors such as computer speed, sound card performance. Decreasing the buffer size value, will reduce the amount of signal delay. So the idea is to get the latency as low as possible without getting any audio artifacts. As start-ing point, a 256 buffer size value should work fine. However, consider-ing that each set-up reacts in a different way, please experiment with your settings until you get the best result.

- Clicking on Panel you will have access to the Control Panel provided by the audio interface you are using.

Macintosh (figure 12.2)

figure 12.2

12 - Standalone Mode

51

Ampeg SVX

- In the Input Audio Driver menu: CoreAudio will be selected. To the right of this selection, choose the audio interface name in which your guitar is plugged into.

- Your Channel selection has to match with your audio interface input number (in which your guitar is plugged into). For example, if the guitar is plugged into the first audio interface input, you should select Channel 1, if the guitar is plugged into the second audio interface input, you should select Channel 2, and so on.

- The Output audio driver will typically be the same as the Input audio driver. Please select the output for Ampeg SVX under left and right channel. Next, select a low Buffer Size value, and a Sampling Frequency (remember that this will be limited by your audio interface/soundcard capabilities).

- Sample Rate: choose your desired sample rate. (Ampeg SVX will sup-port sample frequencies up to 96KHz).

- Buffer Size: adjusting the buffer settings will change the audio signal latency. In fact, the amount of latency depends on several factors such as computer speed, sound card performance. Decreasing the buffer size value, will reduce the amount of signal delay. So the idea is to get the latency as low as possible without getting any audio artifacts. As start-ing point, a 256 buffer size value should work fine. However, consider-ing that each set-up reacts in a different way, please experiment with your settings until you get the best result.

12.3 SpeedTrainer

SpeedTrainer is useful to play along with songs, to practice your solos or rhythmic guitars or just to enjoy making music with Ampeg SVX! It can also be a great learning tool (figure 12.3).

The SpeedTrainer Controls (figure 12.4) include OPEN AUDIO button (figure 12.5) to open an audio file, file PLAY and PAUSE buttons and buttons for setting a loop point within the audio file.

Audio files can also be simply dragged from the system on the SpeedTrainer waveform display to open them.

When you open or drag an audio file on the SpeedTrainer you will see its waveform progressively displayed. The SpeedTrainer will be in Loading status, till the entire file is displayed in the Waveform display.

figure 12.3

figure 12.5

figure 12.4

12 - Standalone Mode

52

Ampeg SVX

When the SpeedTrainer displays the Ready status you are ready to play your file.

A/B repeat (figure 12.6).

- By pressing A during file playback, the Loop Start Marker is memorized and a sign is placed on the timeline. The A button will be highlighted (figure 12.7).

- By pressing B during file playback the Loop End Marker is memorized and a sign is placed on the timeline. In this case, the B button will be highlighted (figure 12.8).

- By pressing A and then B just after having opened an audiofile, A and B markers will be automatically placed at the beginning and at the end of the opened file, to loop the entire file.

- As soon as the B point is placed, the playback will immediately start from A, playing up to B and then returning to A until the Pause or Play button are pressed (figure 12.9).

- Pressing Clear erases the A/B points and disables the loop playback (the A and B highlighted buttons goes off) (figure 12.10).

12.4 Loop Trimming

After you set the A (Loop Start Marker) and B (Loop End Marker), you are able to make small adjustments by holding the mouse on top of the marker sign, and then dragging them horizontally (figure 12.11).

If you click on or drag the A or B markers, their position will be shown in the Time Display (figure 12.12), located below the filename (figure 12.13).

12.5 Waveform Display

The audio file peak waveform is displayed as an average of the L&R chan-nels. This means that you will see it as only one waveform, even if your audio file is stereo (figure 12.14).

figure 12.6

figure 12.7

figure 12.8

figure 12.9

figure 12.10

figure 12.11

figure 12.12

figure 12.13

figure 12.14

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Additionally, there is a Horizontal Zoom In and Out buttons, the Zoom In sign (+) and Zoom Out (-) are located below the waveform display, on the left side (figure 12.15). The Zoom Level range is x1 to x32 and it is shown on the selected parameter display (figure 12.16).

The Horizontal Scroll Bar will allow you to move the file into the display. While dragging the Horizontal Scroll Bar (to the right or left), the waveform will follow your movements, without having to release the mouse click to update the waveform visualization (figure 12.17).

12.6 Tempo and Pitch adjustment

Through the Ampeg SVX SpeedTrainer, you are able to independently change the Tempo and Pitch of your audio file.

While you are playing your audio file, move the Tempo knob from 50% to 150 % (figure 12.18). Increasing the % value will speed up the tempo and vice versa. The Tempo default position is 100%, at center.

For example, you can extract the audio from your guitar CD method, open a file and change the tempo of a particular exercise. In this way, you can measure your progress, speeding up the track gradually, according to your actual technical skills.

The Pitch adjustable range goes from 12 semitones (one octave down) to +12 semitones (one octave up), and its Default position is 0, at center (figure 12.19).

In this way, you are able to practice your favorite artists songs in several keys, increasing your transposition skills and improving you musicianship capabilities.

NOTE: Pitch and Tempo changes will not alter your stored A/B loop points.

12.7 Values Indication

All the SpeedTrainer Controls as well as the Metronome Volume value are shown on the Selected Parameter display located under the peak meter. For instance, if you move the SpeedTrainer Volume knob (figure 12.20), its value will be reflected in the aforementioned display (figure 12.21).

12.8 Peak Meter

The Peak Meter shows the audio file playback instantaneous peak level (figure 12.22).

figure 12.18

figure 12.19

figure 12.15

figure 12.16

figure 12.17

figure 12.20

figure 12.21

figure 12.22

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12.9 Metronome

You can turn on the Metronome by clicking on the On button, and then modify its Tempo (via its Tempo knob) and its volume (through its Volume knob) (figure 12.23).

Tempo values are measured in beats per minute (BPM), and its range goes from 30 to 220 BPM. Tempo values are shown in the Metronome display. However, the volume values are expressed in % (from 0 to 100%) in the Selected Parameter display.

Note: the Metronome Tempo is linked to the Tap. There is no relationship between the Metronome Tempo and the SpeedTrainer Tempo.

If you go to Settings/Preferences, you are able to change the Tempo in 2 different ways (figure 12.24):

1. Typing the BPM value in the Tempo box and then clicking Ok.

2. Clicking the Tap button (at least 5 times) with a steady pulse. The recognized BPM value will be displayed in the Ampeg SVX bottom area, between Ready and CPU Load. Also, if you want to use your computer keyboard, go to the main Ampeg SVX window and enter your tempo tapping the UPPERCASE T key (press Shift + T).

TIP: as a learning tool, you can use Ampeg SVX Metronome to increase your technical skills. For example, you can create a weekly routine and design a Progress Record.

figure 12.23

figure 12.24

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For instance:

Week days Scales Exercises BPM record

Monday Chromatic 76

Tuesday Pentatonic Scale 80

Wednesday Major Scale 82

Thursday Dorian 86

Friday Mixolydian 88

Saturday Minor Harmonic 92

Sunday Diminished 100

In this case, you can compare your weekly progress and redesign your study plan based on your auto-evaluation.

12.10 CPU load display

In standalone mode the CPU load is displayed at the bottom of the interface (figure 12.25). Please refere to chapter 4.7 (Preferences) on tips to manage the CPU load.

figure 12.25

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Chapter 13 Troubleshooting

Where can I find my IK product Serial Number?

The Serial number is written in the Registration Card (included with your IK product, inside the license envelope). In the snapshot, please check its exact location (figure 13.1).

For a clear characters identification, please analyze the legend. IMPORTANT: the number zero can easily be identified in your Serial number because it is crossed by a line.

Why is the Wizard rejecting my Serial Number?

Probably because it found a typo, so please analyze the common errors:

* Typing a 0 (zero number) instead of an O (o letter)* Typing 1 (one number) instead of an I (i letter)* Typing 2 (two number) instead of an Z (z letter)* Typing 5 (five number) instead of an S (s letter)* Typing 8 (eight number) instead of an B (b letter)* Typing a . (point) instead of a - (minus)

13 - Troubleshooting

figure 13.1

1) Here you can nd your SERIAL NUMBER

2) At the bottom of the registration card a legend helps you identify the characters in your SERIAL NUMBER

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Suggestions:

- When is possible, please copy and paste the information.- Cut off all the leading and trailing spaces. - Please type all codes UPPERCASE during the installation and registration process. - Check that the Serial number that you are entering is in correla-tion with the product installed. For instance, Ampeg SVX Serial Number for Ampeg SVX installation.

During the Product Registration process I received this message: The serial number is already registered...

Remember that you are able to register your product only once. So, if you are trying to get a new authorization code, please read the related FAQ.

Where can I find my Digital ID?

The Digital ID is displayed in the Authorization window of your IK product (figure 13.2).

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figure 13.2

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Ampeg SVX

Why is my Digital ID being rejected during the Online Registration process?

There probably is a typo on it. Remember that the Digital ID has NO letter I and O, only the numbers 1 (one) and 0 (zero). In order to prevent any further mistakes, please Copy the Digital ID from the Authorization form to the Registration Form.

Where can I find my Serial Number, Digital ID and the Authorization Code of a registered IK Product?

In your IK product interface, locate the Authorization button and click on it. If your product version has no Authorization button, you can also log in into the User Area and click on Request a new authorization code. You will be able to check all the main information about your registered products.

How can I get a new Authorization Code?

Please log in into the User Area at https://www.ikstore.com/Login/IKLogin.cgi

Then, click on Request a new authorization code and insert your Digital ID.

In order to get your Digital ID, open your host sequencer and launch your IK product.- When the Product Authorization Wizard starts, insert your Serial Number in and click Next.- Choose Request a New Authorization Code and then click Next.- Select Connect Using another Computer, then Next. The current Digital ID will appear.- Now, copy the Digital ID, go back to the User Area and paste it into the proper empty box.- After that, just click on Get New Authorization Code. The new Authorization Code will be sent to your registered email address.

Ive already registered my product online, but I didnt get an Authorization Code.

Usually, this happens because the Digital ID was not submitted dur-ing the registration process. In order to get a new Authorization Code, please read the How can I get a new Authorization Code? FAQ.

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I need to log in into the User Area but I forgot my User name and Password. What should I do?

Please go to the User Area and enter your registered email address (in the proper empty box). You will receive an email with the necessary information to Log in.

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Chapter 14 Support

For any question you may have please refer to the FAQ at:http://www.ampegsvx.com/FAQ.phpwhere youll find answers to the most common questions.

For free support visit:http://www.ikmultimedia.com/Support.php

14.1 User Area

Together with your authorization code you will also have received a user id and password to access your personal user area on the web. The personal user area is an advanced online service provided to you by IK Multimedia. It allows you to download patches and updates or to generate new authoriza-tion codes in the event that you accidentally lose the previous ones.

To access your personal user area, simply go here:https://www.ikstore.com/Login/IKLogin.cgi

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In the personal user area you can

1) Request a new authorization code This is useful for users who need to reinstall their applications with a new authorization code. The codes are supplied immediately with no need to wait before receiving them.

2) Submit a support request Support requests received using this form will follow a preferential line and will be answered first within our standard 24 hours lead time (business hours).

3) Edit your personal and product data Here you can manage all your personal and product data and recall your serial numbers easily.

4 Download software updates and free contents According to the products youve registered, here youll find the latest patches/updates and free contents to download.

5) Customize your Username/Password Here you can change your Username/Password in order to remember them easily.

14 - Support

AMPEG is a registered trademark of St. Louis Music, Inc. used under license.SVX is a trademark of IK Multimedia Production.

All other trademarks property of their respective owners.www.ampegsvx.com

IK Multimedia Production, via dellindustria 46, 41100, Modena, Italy.Phone: +39-059-285496, Fax: +39-059-2861671

IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323Phone: (954) 846-9101, Fax: (954) 846-9077, Tech Support Phone: (954) 846-9866

www.ikmultimedia.com

All specifications are subject to change without further notice.

PN: M

NU

-AM

-000

3

A legendary bass sound from the leaders in bass amplication and modeling technology.

Complete bass-rig plug-in with multiple amps, cabinets, stomps and tuner.

24 bass amp combinations of the most sought-after Ampeg gear, with unique DSM technology, Powered by AmpliTube.

Easy to use with dozens of presets ready to go.

LEGENDARY BASS TONES IN A PLUG-IN

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User Manual

IContentsIIInterfaceIIILicense and copyrightsChapter 1Ampeg SVX1.1Ampeg SVX1.2DSM Technology1.3Block Diagram

Chapter 2Basic Operation2.1Starting Ampeg SVX in your Sequencer2.1.1Starting Ampeg SVX in Pro Tools2.1.2Starting Ampeg SVX in Cubase SX2.1.3Starting Ampeg SVX in Logic 2.1.4Starting Ampeg SVX in Digital Performer2.1.5Starting Ampeg SVX in Sonar2.1.6Starting Ampeg SVX in Live2.1.7Starting Ampeg SVX in Garageband 2.2Plug-in Architecture2.3Using the Interface2.4Automation

Chapter 3Input/Output Interface3.1I/O Interface3.2Connecting your bass and adjusting your levels3.3Selected Module Volume3.4Mixing between Amp and Direct signals3.5Navigation3.6Tune3.7Preferences (PREF) 3.8Information (I)

Chapter 4Module Selector4.1Selecting Modules

Chapter 5Preset Manager5.1Loading Presets5.2Other Controls5.3Saving a Preset

Chapter 6Getting Started6.1Creating your own bass amp 6.1.1Select an Amp6.1.2Setup the Cabinet6.1.3Choosing Stomp Effects6.1.4Saving a Preset

Chapter 7TUNER ModuleChapter 8STOMP Module (Stomp Effects)8.1Controls8.2Effects8.2.1Ampeg SCP-OD Overdrive 8.2.2Ampeg SPC-OCT Octaver8.2.3Analog Chorus 8.2.4Analog Delay8.2.5Bass Wah8.2.6Compressor8.2.7Envelope Filter8.2.8Volume Pedal

Chapter 9AMP Module (Amp Head)9.1Bass Amp Models 9.1.1BA-5009.1.2B-15R Portaflex Flip Top9.1.3SVT-Classic9.1.4SVT-4PRO

Chapter 10CAB Module (Cabinets + Microphones)10.1SPEAKER MODEL10.2Speaker Models10.2.1BA-500 (2 x 10 with adjustable HF driver)10.2.2B-15R (1 x 15 with adjustable HF driver)10.2.3BXT-410H (4 x 10 with adjustable HF driver)10.2.4PB-212H (2 x 12 with adjustable HF driver)10.2.5SVT-410H (4 x 10 with adjustable HF driver)10.2.6SVT-810E (8 x 10)10.3MIC MODEL10.4Microphone Models10.4.1Dynamic 2010.4.2Dynamic 5710.4.3Dynamic 42110.4.4Vintage Dynamic 2010.4.5Condenser 8710.4.6Condenser 414

Chapter 11Ampeg SVX ModelsChapter 12Standalone Mode12.1Launch Ampeg SVX Standalone12.2Audio Configuration12.3SpeedTrainer 12.4Loop Trimming12.5Waveform Display12.6Tempo and Pitch adjustment12.7Values Indication12.8Peak Meter12.9Metronome 12.10CPU load display

Chapter 13TroubleshootingChapter 14Support14.1User Area