User manual

3 - Controlling AmpliTube™ LE
20
Delay
Click on the Delay switch and set it to ON to engage the effect. The red led
shows that the unit is active (fig. 16).
Level: determines the amount of the delay. Fully counterclockwise is
dry, no effect, fully clockwise is only delay.
Delay: sets the delay time. From 2 mS to one second.
Feedback: determines the number of repetitions. Being an analog delay
the sound bandwidth will decrease on each repetition. Fully
clockwise gives a sustaining effect.
Overdrive
This is modeled after one of the most acclaimed overdrive stomp box ever
made. When used with crunch or lead amps it delivers a very high gain, and
when used with clean amps it can drive them to produce a rich, warm and
thick crunch sound (fig. 17).
Click on the Overdrive switch button and set it to ON to engage the effect.
The red led shows that the unit is active.
Distortion: determines the amount of distortion that occurs inside the
overdrive pedal. High settings of this control will produce a
more solid-state sounding kind of distortion because the
distortion occurs within the circuitry of the overdrive pedal.
Level: sets the output level of the overdrive pedal. By turning this up
the amplifier that follows will be overdriven. To get a more
amp driven sound use low distortion settings with a high
output level.
Tone: Controls the timbre of the overdrive pedal. From extra warm at
the full counterclockwise position to extra bright and sharp at
the fully clockwise position.
Spring reverb
There are no digital reverbs that can deliver this tone. For many years the
guitar amplifier’s reverb unit was a double metallic spring to which the
sound was applied at one side and received at the other. It’s a very strange
kind of reverb, nothing to do with real rooms or digital devices; it’s a rough
resonant sound that is thought to be unbeatable for certain kinds of, mostly,
clean sounds. AmpliTube™ LE spring reverb (fig. 18) is patched between the
amplifier’s stages, like in the real things and the sound is really close to the
very particular one of the spring, use it especially on clean non sustained
sounds.
3.5
3.6
3.7
fig. 16
fig. 17
fig. 18