15 Free Amp Sims (With Killer Tones) To Add To Your Collection ()

While the focus on this Logic workshop is on getting the most out of Amp Designer, I like where possible to put some analogue pedals before the input to my audio interface rather than relying on Logic\’s pedalboard for everything.

As well as ensuring you have the right input impedance, using analogue pedals helps round off any sharp peaks that might cause brief converter clipping, which in turn makes the attack of the notes sound more natural. And don\’t be tempted to push your record levels too high — peaking at around dBFS is more than loud enough.

If you call up a Dual Mono plug-in you\’ll see L and R tabs that let you view and adjust the left and right channels independently. This opens up some interesting creative possibilities, particularly when it comes to guitar processing. To make use of these Dual Mono plug-ins, we need a stereo channel — even though the guitar input or pre-recorded dry track is probably mono. My approach is to set the track to stereo input, then instantiate a Direction Mixer plug-in from the Imaging plug-in menu and adjust its Spread fader to give zero stereo width — which puts your mono input equally into the two channels.

A Dual Mono instance of the Pitch Correction plug-in will let you achieve a natural-sounding double-tracked effect. If you want a safety net to ensure your bent notes end up in exactly the right place, then put an instance of Logic\’s Pitch Correction after it set to Chromatic and with a slow correction speed — about half way up on the correction speed fader.

This allows your bends and wobbles to pass through intact but any long sustained notes will land on an accurate pitch. This might sound like a bit of a cheat, and it won\’t work quite so well if you like to use those slightly off-key blues bends, but it can also be used creatively by setting different correction speeds for the two sides of a Dual Mono instance, to introduce small changes in pitching when notes are being bent.

This helps cement the fake stereo double—tracking illusion that I\’ll cover later on. A little compression before any amp modelling can help make the sound feel more springy. If you haven\’t got a compressor pedal you can always just use a plug-in — I like to use the Logic X Opto or Vintage FET compressor models set to an attack time of 10 to 20 ms and a release time of maybe 50ms.

A ratio of around usually works well, then adjust the threshold to get between 5 and 10 dB of gain reduction on the loudest peaks. This doesn\’t sound too obviously compressed but adds a bit of life to the guitar sound. Placing a compressor early on in the signal path will help smooth out the \’spimky\’ DI signal. As any amp or pedal designer with tell you, EQ is a powerful pre-treatment, as the overdrive section of an amp or pedal will react differently according to the EQ of the input.

I\’m planning to use a Dual Mono amplifier for this example so I\’ve put a Dual Mono Channel EQ after the compressor, dialling in a few dB of mid-range boost between 1 and 2. If you make the centre frequency a little different on the two channels, that will also help create a bigger stereo image. Details are in the post. Thanks for stopping by.

It has more controls than most of the popular fuzz pedals out there. Your email address will not be published.

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To recap, we published several tutorials for your six string pleasure. You can learn about different Amp Designer models, their tone and sonic character, and the musical styles they have traditionally been associated with.

The Tweed models are based on American combos from the s and early s that helped define the sounds of blues, rock, and country music. They have warm, complex, clean sounds that progress smoothly through gentle distortion to raucous overdrive as you increase the gain. Even after half a century, Tweeds can still sound contemporary. Many modern boutique amplifiers are based on Tweed-style circuitry. For extra definition, set the Treble and Presence controls to a value around 7.

It is more open and transparent-sounding than the Small Tweed Combo, but it can deliver crunchy sounds. It is quite punchy-sounding and can deliver the clean and crunch tones that Tweed combos are known for. Tip: Tweed combos are responsive to playing dynamics. Adjust the knobs to create a distorted sound, then reduce the level of your guitar volume knob to create a cleaner tone.

Turn up your guitar volume knob when soloing. These tend to be loud and clean with a tight low-end and restrained distortion. Great for lush, reverb-saturated chords or strident solos. It can be crunchy when overdriven, but most players favor it for clean tones. It excels at clean tones with a minimal overdrive.

This model is favored by blues and rock players. Tip: Although these amps tend toward a clean and tight sound, you can use a Pedalboard distortion stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end definition.

See Logic Pro Pedalboard distortion pedals. At medium gain settings, these amps are suitable for thick chords and riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used. Captures the sound of a late s watt amp famed for its powerful, smooth distortion. Notes retain clarity, even at maximum gain. After four decades this remains a definitive rock tone.

20 Best Free Amp Sims/Plugins For Guitarists [] – Killer Guitar Rigs

 
It is brighter than the Sunshine Stack head and has tonal qualities similar to the s British Combo. Perfect for chiming chords and crisp solos. One of the things we love about AmpliTube so much is the way you can customize your own package should decide to purchase the full version. These tend to be loud and clean with a tight low-end and restrained distortion. These help you switch between clean, crunchy, or distorted tones. The other pop-up menus enable you to independently choose the type of amplifier, cabinet, and microphone.