- sergiogibson
-
Custom Méga utilisateur
- MP
- #1
- Publié par
sergiogibson le 23 Jan 04, 07:11
je la mettrai en page plut tard,,,,,,,, voici ce que donne les ampli du v amp basse, géant il y a parmis les ampli clavier le roland jazz chorus, utilisable pour la gratte
BRITISH '70s: This virtual amp is based -on the '69 Marshall Major. It's a classic among tube amps, and was used by Jack Bruce, among others. The sound remains warm even in high drive settings, and gets a natural-sounding distortion characteristic, commonly found on old Cream records.
BRITISH '80s: A sound coined in the '80s by musicians such as Trace Elliot or Mark King from Level 42. It's a very transparent and "wirily" sound that produced a lot of pressure.
BRITISH POP: Created using the Vox AC-1 00 as a model. This amp was very "in" in the '60s because it had a memorable bass foundation while stilileaving enough playroom in the highs. The AC-100 had one very unique feature: the bass control worked the wrong way around! Turning the control to the left meant elevating the bass frequencies. Since this feature takes some time to get used to, we stuck to the more conventional solution, so that turning the control leftward lowers the bass frequencies and turning the control rightward elevates them.
THUNDERBIRD: This simulation leans in the direction of smaller bass combos, similarto the BEHRINGER THUNDERBIRD BX108, hence the designation. The result is a full and warm sound that forgives minor playing impreciseness.
MOSOUND: No other amp was used more often in Motown recordings as this one: the Ampeg B-15. The list of artists who used the typical B-15 bass sound looks like "Who's Who in Motown": The Supremes, The FourTops, The Temptations, Marvin Gaye and Stevie Wonder to mention just a few.
ROCK CLASSIC: A little quiz question: what's the name of the bass amp that has been manufactured for the past 30 years, without modifications, and is still as popular as ever? Correct: it is the Ampeg SVT Classic-a true power package. With its 300 Watts of raw tube power, this amp has been indispensible to rock bass players for years. Among others, Van Halen and the Rolling Stones use this amp.
ROCK 2: Here we have the next stage in the development of the SVT CLASSIC: SVT PRO II. With this model you can use a graphic EQ, which was a feature that made this amp weil liked among hard rock and heavy metal bands. But pop-rock combos like those of Bruce Springsteen and David Lee Roth use it often.
SILVER PANEL: This simulation reproduces the '67 Fender Bassman-it's an amp from the legendary "Silverface" series. Shortly after its introduction it became many a bass player's absolute darling. Paul McCartney used the Bassman on the later Beatles albums and also used it on his first solo album with the Wings.
WHITE PANEL: What would the '80s be without their typical .
bass sound? This decade was hugely influenced by the sound of Gallien/Krueger bass amps. Some liked the authentic reproduction of transistor-powered amps; others yearned for the warmth, for that special something that was missing. Whatever the case: the Gallien/Krueger was in the early '80s, along with Trace Elliot, the amp of choice. Therefore, we chose the WHITE PANEL as the model for the 800RB, as it is popular even today, and used by the likes of Flea (Red Hot Chilli Peppers).
RED PANEL: The relatively young company by the name of SWR started creating the so-called "L. A.-Sound" in the mid '80s. The decisive factor was the combination of tubes (preamp) and transistors (power amp). Since then, the SWR amps belong surely to the most demanded amps on the market. The SWR SM-400 was used as a model for RED PANEL-it's a 500-Watt mono head that finds its home in many bass racks due to its ri ch tone possibilities.
GOLD PANEL: This is a simulation of the Eden Traveller WT-300. This amp got its name from its developer: David Eden. He proved his engineering prowice at SWR before starting to design bass amps of his own. Eden amps became famous through their typically crystal-clear and powerful sound.
CALIFORNIAN: Toward the end of the '80s Mesa Boogie presented the 400+. This amp's head is extremely easy to navigate, and features four preamp tubes and twelwe amp tubes,
delivering a massive 500 Watts of power.
JAZZ TONE: This amp, with its typical Marcus Miller sound, has a classic amp as its role model: the Polytone A 101. It's a 15" speaker bass combo. If you'Te yearning for a jazzy sound, this is the right amp for the occasion.
BOTTOM END: How times change: nowadays, almost ail current music productions feature a markedly deep bass sound that could previously only be achieved on a synth. But to preserve "true" liveliness, it is advantageous to bring in an electric bass. Only then can you have authentic dead notes and a percussive way of playing. A bass player who became very popular thanks to his ultra-deep bass sound is Justin Meldal-Johnsen. He played for Beck and Tori Amos, among others. But hip hop, trance and rave musicians will find this sound just right.
TUBE PREAMP: Sound engineers discovered the appeal of a tube very early.on. They use tubes to endow sound sources of ail kinds with warmth. You can modify not only the sound of a bass, but can for example also run a vocal signal through you BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE PREAMP. (This amp model is however best suited to instill more life into your bass guitar.)
<1IIIIIeiIlW1:1118
BRITISH CLASS A: Created by using the Vox AC 30 as a role model. The roots of this amp go ail the way back to the sixties. Back then, bass players demanded sound with a brilliant characteristic, which Vox engineers addressed by including "revolutionary" bass and treble controls. Brian May and U2 guitarist The Edge are the most famous users of this amp.
MODERN HI GAIN: ln this case, sound controls take a back seat to distortion, giving the extremely distorted sound more strength. The sound of MODERN HI GAIN is ideal for grunge guitarists, but also finds its appeal among the guitarists such as Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt, Steve Vai and others made the Solda no sound famous. When using a Gibson Les Paul, MODERN HI GAIN sounds at its best when the volume control on the guitar itself is somewhat supressed.
RECTIFIED HI GAIN: This amp's role model was a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb. Its modern, high-gain-oriented sound marks this amp, and it works very weil when playing in a band. Sound control takes place post distortion, which makes a "post-treatment" of distorted sounds possible. The amp works optimally for heavy metal, but also for achieving Steve Lukather sounds. The most famous user of this amp is Dream Theater's guitarist John Petrucci.
CUSTOM HI GAIN: This sound originates in the sound of a '69'
50-Watt Marshall Plexi Pate modified by Jose Arrendondo. Arrendondo was Eddie Van Halen's guitar tech. The amp is characterized by its great mids and the ability to obtain the ultimate gain without blurring the sound. Attention: addictive!
UL TIMATE PLUS: Those to whom DRIVE V-AMP (see below)
is not enough will find more gain than they could ever ask for.
CRUNCH V-AMP: This amp is ideally suited for modern blues
or jazz sounds: its sound is neither too low-key nor too intrusive.
DRIVE V-AMP: This is a modern high gain lead amp. It produces a soft but stiJl formidable sound with a lot of drive, therefore ideal for a lead guitar. The role model was the Mesa Boogie Mark III.
BRIT. HI GAIN: Compare this model with a Marshall JCM 800. Even though the original caused a furry mostly due to its distorted sound, this model produces a similar effect even with moderate gain. You get excellent Steve Ray Vaughan/Michael Landau sounds. When distorting, it is ideal for producing the old Gary Moore sound as weil as heavy metal sound.
PIEZO SIM: Simulates a piezo pick up. This way, sound with an acoustic character is created. Electric guitars get this accoustic
11
5. AMP/SPEAKER SIMULATION
BASS V.AMP jBASS V.AMP PRO
touch, but without the feedback typical for acoustic instruments.
MIC SIM: A guitar with steel strings mic'd with a dynamic microphone is simulated here. While piezo pickups have the tendency to make the sound rather hard, using a mic makes the sound much more evened-out. Of course, the feedback typical for micing acoustic instruments is no longer an issue.
MAGNETIC EQ: Magnetic pick ups are very common in western guitars because they can easily be mounted into the instrument's cavity. However, the sound produced is not 50 clear as with piezo systems or with mics, because only the vibrations of the strings are captured in the signal. This amp model corrects the tone quality of a magnetic pick up system and gives it an acoustic character.
I@f A discreet ambience effect lets your instrumet sound more "natural".
PIEZO EQ: The sound character of the instrument is presented a bit more harshly. The EQ corrects the sound so that the end result sounds like it was directly recorded using a mic.
. BLACK TWIN: A Fender Blackface Twin from the year 1965 was the role model used for this simulation. ln the '60s, this amp was used by jazz, country and even rock musicians. Its appeal was in that it was exceptionally loud, so it was primarily used in live situations. You can drive your Blackface Twin extremely loud, but the distortion remains moderate even as you increase the volume. Try using it with the sound of a Rhodes electric piano sound or another electric piano.
ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strangly influenced the classical Hammond sound. During the analysis of this system, we noticed distortions that partly spring fram the organ tube end amp and partly fram a Leslie. Both characteristics can be controlled with a gain control the same they would be controlled by using a Hammond volume pedal. This sound and the rotary cabinet effect make a Rhodes electric piano sound amazing, a clavinet sound absolutely cool, analog synth sounds (Moog) get even better, and an electric bass and even drum sounds get nicely elevated.
I@f You can dynamically steer the GAIN control via MIDI by using a foot controller board, such as the BEHRINGER MIDI FOOT CONTROLLER FCB1010. This way, you get even closer to the original sound.
BRITISH CLASSIC: This amp model, created by leaning closely ta a '59 Marshall Plexi 100-Watt amp, is particularly weil suited for creating clean sounds. The amp was used by Jimi Hendrix, Eric Clapton and Jeff Beck. This amp model is therefore located among the keyboard models because you can create the organ sound influenced by John Lord (Deep Purple).
CLASSIC CLEAN: ln the '80s, the chorus effect of a Roland JC-120 was the trademark of Buzzy Feiten (Dave Weckl Band guitarist). What makes this solid-state amp special is the brilliance of its sound, noticable in every mix. It is also outstanding for the new wave sound of the '80s that's making a come-back. Not to forget its popularity with Fender Rhodes pianists live on the stage with a Yamaha CP70 or a Wurlitzer electric piano.
Fender, Vox, Marshall, Mesa Boogie. Leslie, Roland, Motown, Ampeg, Gallien-Krueger, SWR, Eden as weil as the names of musiclans and music groups are reglstered trademarks of their respective owners and are in no way associated with BEHRINGER.
5.2 Speaker descriptions
The sound of a bass combo depends a great deal on the speaker type and combination. We saw a lot of experimentation in this field in the past 50 years. The goal was to figure out which speakers are most suited for reproducing bass sounds and how the sound changes when you combine a particular speaker with other speaker types.
Among other things, the character of a speaker is determined by its power rating, impedance, sound pressure level and its size. Also, never underestimate the importance of the material(s) used to build it. Over the years, using a 15" speaker together with a 4 x 10" speaker became standard-issue for electric bass applications.
This combination produced a healthy bass foundation and at the same time ensured perceptible highs. The sound was also balanced and not too strained, which was often the case with 15" speakers used alone. Nowadays, in bass cabinets you can find almost ail speaker sizes you can think of: 8",10", 12", 15" or 18". Even HF drivers are no longer a rarity in bass cabinets.
I@f When you select an amp simulation, a matching speaker simulation is automatically activated as weil (see table 5.1). Otherwise, the authenticity of the sound could be jeopardized, particularly when you use headphones. Of course, you can alter these settings depending on personal preferences.
A list of speaker/cabinet simulations can be found in the following section.
BRITISH CLASS A 16
MODERN HI GAIN 17
RECTIFIED HIGH GAIN 18 CUSTOM HI GAIN 19
ULTIMATE PLUS 20
CRUNCH V-AMP 21
DRIVE V-AMP 22
BRIT. HIGH GAIN 23
PIEZO SIM. 24
MIC. SIM. 25
MAGNETIC EO 26
PIEZO EO 27
BLACK TWIN 28
ORGAN CLASSIC 29
BRITISH CLASSIC 30
CLASSIC CLEAN 31
PREAMP BYPASS 32
0 68 Marshall4x12"
1 68 Marshall4x12"
2 Trace Elliot 4x10"
3 Voc AC100 2x15"
4 1x8" Tweed
5 Ampeg B15 1x15" Closed Back Combo
6 Ampeg SVT 8x10" '79
7 Ampeg SVT 8x10" '79
8 FenderBassman 2x15" with,JBLs
9 6x10" SWR Goliath Senior
10 6x10" SWR Goliath Senior
11 Ampeg4x10"
12 Mesa/Boogie 2x 15"
13 Polytone A101, 1x15" Ciosed Back Combo
14 Ampeg SVT 18E, 1x18"
15 No Cabinet-Simulation
6 6 2 9 16
7 1 1 11
3 3 4 10 8 14
2x12" Twin Combo 4x12" V-AMP Custom 4x12" Vintage 30 4x12" '78 Std. 4x12" V-AMP Custom 4x12" '78 Std. 4x12" Vintage 30
4x12" '78 Std. No Cabinet-Simuiation No Cabinet-Simulation No Cabinet-Simulation No Cabinet-Simulation
2x12" Twin Combo
Leslle 760 Cabinet, 1x15"+HF Hom
4x12" '78 Std. 2x12" V-AMP Custom No Cabinet-Simulation
18 12 21 19
Tab. 5.1: Assignment of cabinet simulations ta amp models
12
5 AMP/SPEAKER SIMULATION
BRITISH '70s: This virtual amp is based -on the '69 Marshall Major. It's a classic among tube amps, and was used by Jack Bruce, among others. The sound remains warm even in high drive settings, and gets a natural-sounding distortion characteristic, commonly found on old Cream records.
BRITISH '80s: A sound coined in the '80s by musicians such as Trace Elliot or Mark King from Level 42. It's a very transparent and "wirily" sound that produced a lot of pressure.
BRITISH POP: Created using the Vox AC-1 00 as a model. This amp was very "in" in the '60s because it had a memorable bass foundation while stilileaving enough playroom in the highs. The AC-100 had one very unique feature: the bass control worked the wrong way around! Turning the control to the left meant elevating the bass frequencies. Since this feature takes some time to get used to, we stuck to the more conventional solution, so that turning the control leftward lowers the bass frequencies and turning the control rightward elevates them.
THUNDERBIRD: This simulation leans in the direction of smaller bass combos, similarto the BEHRINGER THUNDERBIRD BX108, hence the designation. The result is a full and warm sound that forgives minor playing impreciseness.
MOSOUND: No other amp was used more often in Motown recordings as this one: the Ampeg B-15. The list of artists who used the typical B-15 bass sound looks like "Who's Who in Motown": The Supremes, The FourTops, The Temptations, Marvin Gaye and Stevie Wonder to mention just a few.
ROCK CLASSIC: A little quiz question: what's the name of the bass amp that has been manufactured for the past 30 years, without modifications, and is still as popular as ever? Correct: it is the Ampeg SVT Classic-a true power package. With its 300 Watts of raw tube power, this amp has been indispensible to rock bass players for years. Among others, Van Halen and the Rolling Stones use this amp.
ROCK 2: Here we have the next stage in the development of the SVT CLASSIC: SVT PRO II. With this model you can use a graphic EQ, which was a feature that made this amp weil liked among hard rock and heavy metal bands. But pop-rock combos like those of Bruce Springsteen and David Lee Roth use it often.
SILVER PANEL: This simulation reproduces the '67 Fender Bassman-it's an amp from the legendary "Silverface" series. Shortly after its introduction it became many a bass player's absolute darling. Paul McCartney used the Bassman on the later Beatles albums and also used it on his first solo album with the Wings.
WHITE PANEL: What would the '80s be without their typical .
bass sound? This decade was hugely influenced by the sound of Gallien/Krueger bass amps. Some liked the authentic reproduction of transistor-powered amps; others yearned for the warmth, for that special something that was missing. Whatever the case: the Gallien/Krueger was in the early '80s, along with Trace Elliot, the amp of choice. Therefore, we chose the WHITE PANEL as the model for the 800RB, as it is popular even today, and used by the likes of Flea (Red Hot Chilli Peppers).
RED PANEL: The relatively young company by the name of SWR started creating the so-called "L. A.-Sound" in the mid '80s. The decisive factor was the combination of tubes (preamp) and transistors (power amp). Since then, the SWR amps belong surely to the most demanded amps on the market. The SWR SM-400 was used as a model for RED PANEL-it's a 500-Watt mono head that finds its home in many bass racks due to its ri ch tone possibilities.
GOLD PANEL: This is a simulation of the Eden Traveller WT-300. This amp got its name from its developer: David Eden. He proved his engineering prowice at SWR before starting to design bass amps of his own. Eden amps became famous through their typically crystal-clear and powerful sound.
CALIFORNIAN: Toward the end of the '80s Mesa Boogie presented the 400+. This amp's head is extremely easy to navigate, and features four preamp tubes and twelwe amp tubes,
delivering a massive 500 Watts of power.
JAZZ TONE: This amp, with its typical Marcus Miller sound, has a classic amp as its role model: the Polytone A 101. It's a 15" speaker bass combo. If you'Te yearning for a jazzy sound, this is the right amp for the occasion.
BOTTOM END: How times change: nowadays, almost ail current music productions feature a markedly deep bass sound that could previously only be achieved on a synth. But to preserve "true" liveliness, it is advantageous to bring in an electric bass. Only then can you have authentic dead notes and a percussive way of playing. A bass player who became very popular thanks to his ultra-deep bass sound is Justin Meldal-Johnsen. He played for Beck and Tori Amos, among others. But hip hop, trance and rave musicians will find this sound just right.
TUBE PREAMP: Sound engineers discovered the appeal of a tube very early.on. They use tubes to endow sound sources of ail kinds with warmth. You can modify not only the sound of a bass, but can for example also run a vocal signal through you BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE PREAMP. (This amp model is however best suited to instill more life into your bass guitar.)
<1IIIIIeiIlW1:1118
BRITISH CLASS A: Created by using the Vox AC 30 as a role model. The roots of this amp go ail the way back to the sixties. Back then, bass players demanded sound with a brilliant characteristic, which Vox engineers addressed by including "revolutionary" bass and treble controls. Brian May and U2 guitarist The Edge are the most famous users of this amp.
MODERN HI GAIN: ln this case, sound controls take a back seat to distortion, giving the extremely distorted sound more strength. The sound of MODERN HI GAIN is ideal for grunge guitarists, but also finds its appeal among the guitarists such as Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt, Steve Vai and others made the Solda no sound famous. When using a Gibson Les Paul, MODERN HI GAIN sounds at its best when the volume control on the guitar itself is somewhat supressed.
RECTIFIED HI GAIN: This amp's role model was a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb. Its modern, high-gain-oriented sound marks this amp, and it works very weil when playing in a band. Sound control takes place post distortion, which makes a "post-treatment" of distorted sounds possible. The amp works optimally for heavy metal, but also for achieving Steve Lukather sounds. The most famous user of this amp is Dream Theater's guitarist John Petrucci.
CUSTOM HI GAIN: This sound originates in the sound of a '69'
50-Watt Marshall Plexi Pate modified by Jose Arrendondo. Arrendondo was Eddie Van Halen's guitar tech. The amp is characterized by its great mids and the ability to obtain the ultimate gain without blurring the sound. Attention: addictive!
UL TIMATE PLUS: Those to whom DRIVE V-AMP (see below)
is not enough will find more gain than they could ever ask for.
CRUNCH V-AMP: This amp is ideally suited for modern blues
or jazz sounds: its sound is neither too low-key nor too intrusive.
DRIVE V-AMP: This is a modern high gain lead amp. It produces a soft but stiJl formidable sound with a lot of drive, therefore ideal for a lead guitar. The role model was the Mesa Boogie Mark III.
BRIT. HI GAIN: Compare this model with a Marshall JCM 800. Even though the original caused a furry mostly due to its distorted sound, this model produces a similar effect even with moderate gain. You get excellent Steve Ray Vaughan/Michael Landau sounds. When distorting, it is ideal for producing the old Gary Moore sound as weil as heavy metal sound.
PIEZO SIM: Simulates a piezo pick up. This way, sound with an acoustic character is created. Electric guitars get this accoustic
11
5. AMP/SPEAKER SIMULATION
BASS V.AMP jBASS V.AMP PRO
touch, but without the feedback typical for acoustic instruments.
MIC SIM: A guitar with steel strings mic'd with a dynamic microphone is simulated here. While piezo pickups have the tendency to make the sound rather hard, using a mic makes the sound much more evened-out. Of course, the feedback typical for micing acoustic instruments is no longer an issue.
MAGNETIC EQ: Magnetic pick ups are very common in western guitars because they can easily be mounted into the instrument's cavity. However, the sound produced is not 50 clear as with piezo systems or with mics, because only the vibrations of the strings are captured in the signal. This amp model corrects the tone quality of a magnetic pick up system and gives it an acoustic character.
I@f A discreet ambience effect lets your instrumet sound more "natural".
PIEZO EQ: The sound character of the instrument is presented a bit more harshly. The EQ corrects the sound so that the end result sounds like it was directly recorded using a mic.
. BLACK TWIN: A Fender Blackface Twin from the year 1965 was the role model used for this simulation. ln the '60s, this amp was used by jazz, country and even rock musicians. Its appeal was in that it was exceptionally loud, so it was primarily used in live situations. You can drive your Blackface Twin extremely loud, but the distortion remains moderate even as you increase the volume. Try using it with the sound of a Rhodes electric piano sound or another electric piano.
ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strangly influenced the classical Hammond sound. During the analysis of this system, we noticed distortions that partly spring fram the organ tube end amp and partly fram a Leslie. Both characteristics can be controlled with a gain control the same they would be controlled by using a Hammond volume pedal. This sound and the rotary cabinet effect make a Rhodes electric piano sound amazing, a clavinet sound absolutely cool, analog synth sounds (Moog) get even better, and an electric bass and even drum sounds get nicely elevated.
I@f You can dynamically steer the GAIN control via MIDI by using a foot controller board, such as the BEHRINGER MIDI FOOT CONTROLLER FCB1010. This way, you get even closer to the original sound.
BRITISH CLASSIC: This amp model, created by leaning closely ta a '59 Marshall Plexi 100-Watt amp, is particularly weil suited for creating clean sounds. The amp was used by Jimi Hendrix, Eric Clapton and Jeff Beck. This amp model is therefore located among the keyboard models because you can create the organ sound influenced by John Lord (Deep Purple).
CLASSIC CLEAN: ln the '80s, the chorus effect of a Roland JC-120 was the trademark of Buzzy Feiten (Dave Weckl Band guitarist). What makes this solid-state amp special is the brilliance of its sound, noticable in every mix. It is also outstanding for the new wave sound of the '80s that's making a come-back. Not to forget its popularity with Fender Rhodes pianists live on the stage with a Yamaha CP70 or a Wurlitzer electric piano.
Fender, Vox, Marshall, Mesa Boogie. Leslie, Roland, Motown, Ampeg, Gallien-Krueger, SWR, Eden as weil as the names of musiclans and music groups are reglstered trademarks of their respective owners and are in no way associated with BEHRINGER.
5.2 Speaker descriptions
The sound of a bass combo depends a great deal on the speaker type and combination. We saw a lot of experimentation in this field in the past 50 years. The goal was to figure out which speakers are most suited for reproducing bass sounds and how the sound changes when you combine a particular speaker with other speaker types.
Among other things, the character of a speaker is determined by its power rating, impedance, sound pressure level and its size. Also, never underestimate the importance of the material(s) used to build it. Over the years, using a 15" speaker together with a 4 x 10" speaker became standard-issue for electric bass applications.
This combination produced a healthy bass foundation and at the same time ensured perceptible highs. The sound was also balanced and not too strained, which was often the case with 15" speakers used alone. Nowadays, in bass cabinets you can find almost ail speaker sizes you can think of: 8",10", 12", 15" or 18". Even HF drivers are no longer a rarity in bass cabinets.
I@f When you select an amp simulation, a matching speaker simulation is automatically activated as weil (see table 5.1). Otherwise, the authenticity of the sound could be jeopardized, particularly when you use headphones. Of course, you can alter these settings depending on personal preferences.
A list of speaker/cabinet simulations can be found in the following section.
BRITISH CLASS A 16
MODERN HI GAIN 17
RECTIFIED HIGH GAIN 18 CUSTOM HI GAIN 19
ULTIMATE PLUS 20
CRUNCH V-AMP 21
DRIVE V-AMP 22
BRIT. HIGH GAIN 23
PIEZO SIM. 24
MIC. SIM. 25
MAGNETIC EO 26
PIEZO EO 27
BLACK TWIN 28
ORGAN CLASSIC 29
BRITISH CLASSIC 30
CLASSIC CLEAN 31
PREAMP BYPASS 32
0 68 Marshall4x12"
1 68 Marshall4x12"
2 Trace Elliot 4x10"
3 Voc AC100 2x15"
4 1x8" Tweed
5 Ampeg B15 1x15" Closed Back Combo
6 Ampeg SVT 8x10" '79
7 Ampeg SVT 8x10" '79
8 FenderBassman 2x15" with,JBLs
9 6x10" SWR Goliath Senior
10 6x10" SWR Goliath Senior
11 Ampeg4x10"
12 Mesa/Boogie 2x 15"
13 Polytone A101, 1x15" Ciosed Back Combo
14 Ampeg SVT 18E, 1x18"
15 No Cabinet-Simulation
6 6 2 9 16
7 1 1 11
3 3 4 10 8 14
2x12" Twin Combo 4x12" V-AMP Custom 4x12" Vintage 30 4x12" '78 Std. 4x12" V-AMP Custom 4x12" '78 Std. 4x12" Vintage 30
4x12" '78 Std. No Cabinet-Simuiation No Cabinet-Simulation No Cabinet-Simulation No Cabinet-Simulation
2x12" Twin Combo
Leslle 760 Cabinet, 1x15"+HF Hom
4x12" '78 Std. 2x12" V-AMP Custom No Cabinet-Simulation
18 12 21 19
Tab. 5.1: Assignment of cabinet simulations ta amp models
12
5 AMP/SPEAKER SIMULATION
IMPORTANT §§§§§§§§§§§§
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Cherche batteur sur orleans
http://mesguitares.chez.tiscali.fr
http://perhapsmaybes.blogspot.com
