Distortion Plug-ins

This pop-up menu allows you to select an amplifier model. You can bypass this section by selecting [No Amp].

Controls the amount of amp overdrive.

Tone control for the low frequencies.

Tone control for the mid frequencies.

Tone control for the high frequencies.

Boosts or dampens the higher frequencies.

Controls the overall output level.

This pop-up menu allows you to select a speaker cabinet model. You can bypass this section by selecting [No Speaker].

These tone controls allow you to shape the sound of the selected speaker cabinet.

Switches between multi band and single band mode.

You can save up to 8 different settings. If the default setting of a scene is active, the selected scene button lights up yellow.
If you change the default settings, the button lights up green, indicating that this scene has customized settings.

Sets the level balance between the dry signal and the wet signal.

Sets the output level.

To mute a frequency band, activate the [M] button in each section.

To bypass a frequency band, activate the [Band] button in each section.

To solo a frequency band, activate the [S] button on each section. Only one frequency band can be soloed at a time.

Display the input and output level.

Determines the level at which the gate is activated. Signal levels above the set threshold open the gate and signal levels below the set threshold close the gate.

Controls the amount of tape saturation.

Simulates the use of two machines.

Controls the amount of tube saturation.

Determines the number of tubes that are simulated.

Controls the amount of distortion.

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

Controls the amount of amp overdrive.

Controls the resulting bit-resolution. The lower the resolution, the higher the distortion effect.

Allows you to select one of the four operating modes. In each mode, the effect sounds differently. Modes [I] and [III] are nastier and noisier, while modes [II] and [IV] are more subtle.

Sets the amount by which the audio samples are decimated. At the highest setting, nearly all of the information describing the original audio signal is eliminated, turning the signal into unrecognizable noise.

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If tempo sync is deactivated, the delay time can be set freely with the [Time] knob.

Activates/Deactivates tempo sync for the corresponding delay.

Determines how much the delay signal ducks when an audio signal is present.

Sets the level balance between the dry signal and the wet signal.

Sets the number of repeats for each delay.

If this option is activated, the delay signal is routed back into the distortion unit to create a feedback with distortion.

Sets the stereo width for the corresponding band.

Sets the output gain for the corresponding band.

Sets the stereo position for the corresponding band.

Sets the level balance between the dry signal and the wet signal.

Sets the pre-gain. Use high values if you want an overdriven sound just on the verge of distortion.

Sets the level balance between the dry signal and the wet signal.

Sets the output level.

Controls the second harmonic.

Controls the third harmonic.

Pedal – Controls the filter frequency sweep.

Pedal – Controls the level of the signal passing through the effect.

Intensity – Sets the amount by which an input signal is being compressed.

Threshold – Sets the maximum output level. Signal levels above the set threshold are cut off.
Release – Sets the time after which the gain returns to the original level.

Amount – Sets the loudness of the signal.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.
Width – Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.
Width – Determines the width of the modulation effect between higher and lower frequencies.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.
Feedback – Determines the character of the flanger effect. Higher settings produce a more metallic sounding sweep.
Mix – Sets the level balance between the dry signal and the wet signal.

Rate – Allows you to set the modulation speed. This parameter can be synchronized to the project tempo.
Depth – Governs the depth of the amplitude modulation.

Direct – Adjusts the mix of the original signal and the generated voices. A value of 0 means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.
Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.
Octave 2 – Adjusts the level of the signal that is generated two octaves below the original pitch. A setting of 0 means that the voice is muted.

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.
Feedback – Sets the number of repeats for the delay.
Mix – Sets the level balance between the dry signal and the wet signal.

Delay – Tape Delay creates a delay effect known from tape machines. Sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.
Feedback – Sets the number of repeats for the delay.
Mix – Sets the level balance between the dry signal and the wet signal.

Delay – Tape Ducking Delay creates a delay effect known from tape machines with a ducking parameter. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.
Feedback – Sets the number of repeats for the delay.
Duck – Works like an automatic mix parameter. If the level of the input signal is high, the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value). This way the delayed signal stays rather dry during loud or intensely played passages.

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more harmonics are added to the output signal of this effect.
Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level.

Boost – Fuzz creates a rather harsh distortion effect. The higher this value, the more distortion is created.
Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level.

Threshold – Determines the level at which the gate is activated. Signal levels above the set threshold open the gate and signal levels below the set threshold close the gate.
Release – Sets the time after which the gate closes.

Low – Changes the level of the low-frequency portion of the incoming signal.
Middle – Changes the level of the mid-frequency portion of the incoming signal.
High – Changes the level of the high-frequency portion of the incoming signal.

Type – A convolution-based reverb effect. This parameter allows you to switch between different reverb types ([Studio], [Hall], [Plate], and [Room]).
Mix – Sets the level balance between the dry signal and the wet signal.

Classic British rock tone; extremely transparent sound, very responsive.

British rock tone of the 70s and 80s.

The cutting edge hard rock and metal sounds of the 90s.

Classic American clean tone.

Clean and crunchy tones; originally developed as a bass amp.

American crunch sound coming from a rather small amp with a big tone.

Produces the sparkling clean or harmonically distorted rhythm sounds of the 60s.
The different amps keep their settings if you switch models. If you want to use the same settings after reloading the plug-in, you need to set up a preset.