Eleven Rack User Guide

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Guide Part Number 9320-65265-00 REV A 01/14

Part I Playing Guitar through Eleven Rack

Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Quick Start Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Conventions Used in This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter 2. Hardware Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Eleven Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Eleven Rack Back Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 3. Exploring Rigs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Rig Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Rig Select Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Rig Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Selecting Rigs Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Whats In A Rig? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Rig View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Signal Chain Devices and Utility Settings in Rig View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Rig Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Saving Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

ContentsThe Amps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

DC Custom Amps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

General Amp Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

The Speaker Cabinets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Contents iii

Speaker Breakup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

The Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

ivThe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

General Effects Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Dont Forget to Save! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Chapter 4. Eleven Rack Live Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Basic Live Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using an Amp Onstage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Effects and Foot Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

External Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Display Mode and Visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Part II Using Pro Tools with Eleven Rack

Chapter 5. Installing Drivers and Software for Eleven Rack . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Installing Drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Installing Eleven Rack Editor Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Chapter 6. Eleven Rack Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Using Eleven Rack as Your Pro Tools Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Listening to Your Sound from Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Analog Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Digital Audio Input and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using Eleven Rack with an Existing Pro Tools System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Chapter 7. Using Eleven Rack with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Pro Tools Interface Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

External Processor Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

The Eleven Rack Control Window and Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Accessing Eleven Rack Editor or the Eleven Rack Control Window . . . . . . . . . . . . . . . . . . . 69

Eleven Rack Controls in the Pro Tools Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Rig View Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Master Control Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Guitar Recording with Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Recording Wet and Dry Signals when Using Eleven Rack as an External Processor. . . . . . . 78

Embedding Rig Settings in Audio Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Re-Amping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Controlling Eleven Rack Parameters with MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Eleven Rack User Guide

Chapter 8. User Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Exploring the User Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

User Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Appendix A. Eleven Rack MIDI Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

General/Frequently Used Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Amplifier Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Utility Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Miscellaneous MIDI Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Appendix B. Compliance Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Environmental Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Safety Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Contents v

vi Eleven Rack User Guide

Part I: Playing Guitar through Eleven Rack

Phones output (front panel)Chapter 1: Introduction

Quick Start Instructions

Youve Got Eleven Rack, Youve Got Your Guitar. Whats Next?Eleven Rack is a high-quality audio and MIDI in-terface, with classic guitar amp and effects pro-cessing built right in. This means that Eleven Rackis useful when recording, gigging, and practicing.

At home or in the studio, you can plug guitars, mi-crophones, and other instruments into ElevenRack, and record directly into a Pro Tools sessionon your computer. You can use the amp and effectsmodeling capabilities of Eleven Rack to processsignals as you record them, or to process previ-ously recorded audio.

When away from the computer, you can useEleven Rack as a standalone guitar processor,sending classic guitar tones straight to a venuesPA system, to a guitar amp, or both. You can alsosimply plug in a pair of headphones and practiceby yourself.

Youre probably excited to start playing with yournew Eleven Rack right away, so lets get started!To play guitar with Eleven Rack:

1 Connect outputs from Eleven Rack to yourmonitors or headphones:

If youre connecting to self-powered studiomonitors, a stereo power amp and speakers,or mixer inputs, use the Main outputs.

If youre using a pair of headphones, connectthem to the Phones output.

Eleven Rack Main outputs (back panel)

The Main outputs are line-level, rather thanmic-level outputs. When connecting to amixer or other device with microphone pre-amps, it is best to use the devices line-levelinputs, if provided. If only inputs with pre-amps are available, adjust the preamp gainon each channel to avoid clipping.Chapter 1: Introduction 3

42 Connect your guitar to the Guitar Input on thefront panel of Eleven Rack.

3 Connect the power cable.

4 Make sure any connected amplifiers or poweredmonitors are turned off or muted.

5 Set the Eleven Rack Power switch to On. TheEleven Rack logo appears, and the Eleven Rackbegins its warm-up process.

6 When the name of the first preset sound (or Rig)is displayed, turn your amp or powered speakersback on.

7 Try playing your guitar. Make sure the guitarsvolume is turned up. Hows it sound?You maywant to adjust the output volume of ElevenRack by turning the Volume knob on the frontpanel.

Guitar input (front panel)

Volume knob (front panel)

If you arent getting sound when you playyour guitar, make sure that the Rig InputUser Option is set to Guitar. For more infor-mation, see Rig Input on page 15.Eleven Rack User Guide8 You can browse through Eleven Racks variousRigs by turning the Scroll wheel.

9 Try adjusting the lit Control Knobs to changethe featured amp or effects settings.You can seewhat kind of control each knob is assigned to onthe display. In the following example, the left-most knob controls Gain, the second knob con-trols Bass, and so on.

10 Press some of the Effects Bypass buttons (suchas Dist, Mod, or Delay) to toggle the various ef-fects on and off.

Scroll wheel (front panel)

Control knobs and displayed knob assignments

Effects Bypass buttons

System Requirements and CompatibilityTo use Eleven Rack as a standalone preamp andprocessor for a Guitar or other instrument, youneed:

A guitar, bass, or other electric instrument

One or more of the following, for monitoring:

A guitar amplifier

A set of speakers, with an amplifier

A set of headphones

Cables to connect your chosen devices

To use Eleven Rack with Pro Tools, you need:

One of the following:

A qualified Mac or Windows computerrunning a compatible version of Pro Toolssoftware (when using Eleven Rack as aPro Tools interface)

A qualified Mac or Windows computer run-ning a compatible version of Pro Toolssoftware, with an Avid-qualified interface(when using Eleven Rack as an external ef-fects processor).

Included USB and power cables for use withEleven Rack

Internet access for registration purposes

Avid can only assure compatibility and providesupport for hardware and software it has tested andapproved.

For complete system requirements and a list ofqualified computers, operating systems, harddrives, and third-party devices, visit:

www.avid.com/compatibilityRegistrationReview the enclosed Registration InformationCard and follow the instructions on it to quicklyregister your purchase online. By registering, youbecome eligible to receive the following:

Information regarding technical support

Software update and upgrade notices

Limited warranty on hardware

Warranty

Your warranty can be found on the Registration In-formation Card.Chapter 1: Introduction 5

6Conventions Used in This GuidePro Tools guides use the following conventions to indicate menu choices and key commands::

The names of Commands, Options, and Settingsthat appear on-screen are in a different font.

The following symbols are used to highlight im-portant information:

Convention Action

File > Save Choose Save from theFile menu

Control+N Hold down the Control keyand press the N key

Control-click Hold down the Control keyand click the mousebutton

Right-click Click with the right mousebutton

User Tips are helpful hints for getting themost from your Pro Tools system.

Important Notices include information thatcould affect your data or the performance ofyour system.

Shortcuts show you useful keyboard ormouseshortcuts.

Cross References point to related sections inthis guide and other related guides.Eleven Rack User GuideAbout www.avid.comThe Avid website (www.avid.com) is your bestonline source for information to help you get themost out of your Pro Tools system. The followingare just a few of the services and features available.

Product Registration Register your purchaseonline.

Support and Downloads Contact Avid CustomerSuccess (technical support); download softwareupdates and the latest online manuals; browse theCompatibility documents for system requirements;search the online Knowledge Base or join theworldwide Pro Tools community on the User Con-ference.

Training and Education Study on your own usingcourses available online or find out how you canlearn in a classroom setting at a certified Pro Toolstraining center.

Products and Developers Learn about Avidproducts; download demo software or learn aboutour Development Partners and their plug-ins, ap-plications, and hardware.

News and Events Get the latest news fromAvid orsign up for a Pro Tools demo.

are turned off or muted, and take off anyheadphones.

trol on page 90.

sure any powered monitors or amplifiers For more information, see Volume Con-Power SwitchUse the heavy-duty Power switch to turn ElevenRack on and off. Eleven Rack will take a few sec-onds to warm up. When the Rig name appears onthe display, youre ready to rock.

Volume KnobTurning the Volume knob simultaneously adjuststhe output level of the Main outputs and the Head-phone output.

Figure 1. Eleven Rack front panel

Control knobsTap Tempo

and Tuner buttonPhonesoutput

Guitarinput

OutputTo Amp1 (L)

Display

Before you power on Eleven Rack, makeThe Volume knob can also be set to controlother output volume settings in Eleven Rack.Chapter 2: Hardware O

Eleven Rack Front Panel

ScrPowerswitch

Volumeknob

Edit/Backand Savebuttons

SW1 and SW2buttons whverview

oll Effects Control Mic input and controlseel buttonsChapter 2: Hardware Overview 7

8Edit/Back and Save ButtonsUse the Edit/Back button to enter Rig View, whichgives you access to the inner workings of the cur-rent Rig (preset). When in Rig View or any othernon-default view, you can Press Edit/Back to stepbackwards to the previous view. When youre sat-isfied with the changes youve made, press theSave button to save your settings.

User Options Mode

Hold the Edit/Back button to enter User Optionsmode, where many settings that change the behav-ior and configuration of Eleven Rack can be found.

SW1 and SW2 ButtonsUse the SW1 and SW2 buttons to toggle variousswitched behaviors on and off, and to navigatethrough editing views in Eleven Rack. The part ofthe display next to the SW1 and SW2 buttonsshows the current function of the buttons.

When one of the SW buttons is actively usable inthe current screen, it will be lit.

Scroll WheelUse the Scroll wheel to browse through Rigs, nav-igate through sections in Rig View, and manipu-late applicable parameters throughout ElevenRack.

For more information on Rig View, see RigView on page 19

For information on User Options mode, seeChapter 8, User Options.Eleven Rack User GuideEffects Control ButtonsUse the Effects Control buttons to toggle effects onand off by type. Press and hold any of the effectsbuttons to access the controls for that effect. Press-ing the FX1 and FX2 buttons simultaneously tog-gles the Wah effect on and off.

Tap Tempo/Tuner ButtonTap the Tap Tempo/Tuner button at quarter-noteintervals to set the current Rigs FX tempo. Time-based effects (such as Delay and Tremolo) can beset to synchronize with the new tempo.

Most Rigs are not set up to sync to Rig or Sessiontempo by default. You may need to turn on theSync parameter in the effect you want to sync.

If you want to save the new tempo setting with thecurrent Rig, press the Save button.

To access the built-in guitar tuner, hold the TapTempo/Tuner button down for one second. Thedisplay shows the Tuner view.

The guitar signal can be muted by pressing SW1.The reference pitch can be adjusted by turning thelit Control knob. The default reference pitch is A-440 Hz. This pitch is the standard reference pitchthat most tuners are calibrated to.

When youre finished tuning, press any button toreturn to the previous screen.

For more information on syncing effects, seeSync on page 46.

Tuner view

Mic Input and ControlsUse the Mic input to record and/or process mic-level signals. Controls for preamp gain, phantompower, and pad are provided.

48V (Phantom Power)

Use this switch for microphones that require phan-tom power.

Most condenser microphones (such as an AKGC3000) do require phantom power to operate. Dy-namicmicrophones (such as a Shure SM57) do notrequire phantom power, but are not harmed by it.

If you are not sure about the phantom power re-quirements for your microphone, consult your mi-crophones documentation or contact the manufac-turer.

When using Eleven Rack as a standalone pre-amp and processor, its important to note thatonly one input type can run through the Rig atone time. The Rig Input User Option settingmust be set to the correct input type, or no au-dio will pass to the outputs. For more info onselecting the input that feeds the rig, see RigInput on page 85.

When using Eleven Rack as an audio inter-face with Pro Tools, all inputs are usable si-multaneously (though the Rig is still limitedto processing one input type at a time).

Although phantom power is safe for most mi-crophones, it is possible to damage some rib-bon mics with it. Always turn off phantompower and wait at least ten seconds beforeconnecting or disconnecting a ribbon micro-phone.DisplayThe Display is an LCD screen used to show Rigs,settings, and data (such as firmware version). Italso works in tandem with the front panel Controlknobs and buttons, displaying the controllable pa-rameters and their settings.

Control KnobsUse the Control knobs to access amp and effectscontrols, as well as other Eleven Rack settings.The controls are pre-assigned, depending on thecurrent mode. The knobs light up in different col-ors, depending on their state:

Amber The current knob is assigned to an amp,cab, or FX loop parameter.

Green The current knob is assigned to an effectsparameter.

Red The current knob is positioned differentlythan the assigned controls saved position in thecurrent Rig. You can match the knob position tothe saved parameter by turning the knob until itlights Amber or Green again. If you want to saveyour new settings to the current preset or a newpreset, press the Save button.

When a Control knob isnt active in the currentscreen, it is not lit.

For more information on the interactionbetween the display and the physical con-trols on Eleven Rack, see Chapter 3, Ex-ploring Rigs.

The above only applies when you are stillviewing the page youre adjusting. For exam-ple, if you adjust Amp Gain, then scroll toDistortion, then back to Amp, the Gain con-trol will not show as red. Keep an eye on theSave light to be sure.Chapter 2: Hardware Overview 9

10Phones OutputThe Phones output is a 1/4-inch TRS jack thatdrives a pair of headphones with the same signalthat is being sent out of theMain outputs of ElevenRack. This can be either the output signal of thecurrent Rig when using Eleven Rack as a stand-alone device, or the output signal of Pro Tools orother applications when using Eleven Rack as anaudio interface.

The headphone output level is adjusted in tandemwith the Main volume when you turn the Volumeknob on the front panel of Eleven Rack or adjustthe Main volume from within Pro Tools. If youwant the headphone volume to differ from that go-ing to your speakers, you can adjust the Head-phone Offset setting in User Options mode.

Output To Amp 1 (L)The Output To Amp 1 (L) is one of two outputsspecifically designed for connecting to the input ofa guitar amplifier or effects unit. It is an instru-ment-level output. Since most amplifier inputjacks are located on the amps front panel, we putone of these jacks on the front panel of ElevenRack for easy patching.

The Output to Amp 2 jack, which outputs the rightchannel signal, is located on the back of ElevenRack. It can be used independently of Output 1, oralong with it for stereo amplifier configurations.

The Output to Amp jacks can output a live guitarsignal in real time as you play, or a pre-recordedsignal from Pro Tools, for re-amping purposes.

You can select from specific points in the signalchain to feed each Output To Amp jack. This letsyou choose the type of processing you want on theoutput signal.

For more information on Headphone Offset,see Headphone Volume on page 89.Eleven Rack User GuideGuitar Input with True-ZThe Guitar input is a 1/4-inch TS, instrument-levelinput. Designed for electric guitars, the jack alsoworks well with bass guitars, acoustic guitars withpickups, and even vintage electric pianos.

ElevenRack features a special variable-impedancecircuit called True-Z,which automatically changesthe input impedance of the Eleven Rack guitar in-put depending on which amp or effects model isfirst in the chain of the current Rig.

True-Z alters the frequency response of your guitarsignal by loading your pickups in the samemanneras plugging into a real amp or effect. This setting isbest used with instruments that have passive pick-ups.

When using an instrument with active (battery-powered) pickups, we recommend setting theTrue-Z setting to 1 M . This feature can be man-ually controlled and saved as part of a Rig setting.

Most recent keyboards have line-leveloutputs and should be connected to the Lineinputs on the back panel of Eleven Rack.

When using Eleven Rack as a standalone pre-amp and processor, its important to note thatonly one input type can run through the Rig atone time. The Rig Input User Option settingmust be set to the correct input type, or no au-dio will pass to the outputs. For more info,see Rig Input on page 85.

When using Eleven Rack as an audio inter-face with Pro Tools, all inputs are usable si-multaneously (though the Rig is still limitedto processing one input type at a time).

switched off unless it is really needed.into the guitar signal.

The Level switch lets you adjust the signal level tobe suitable for either a line-level effects processor(Rack FX) or a guitar-level effects processors(Stompbox FX).

The Gnd Lift switch is useful for suppressing humin some situations, but should usually be left

When sending and receiving mono signals,use the Left/Mono input and output. You canset the FX Loop to mono in this case, by visit-ing User Options > FX Loop. For more infor-mation, see FX Loop on page 87.

When using the Main outputs to feed a livesound console, alert the sound engineer thatthe signal youre sending is line-level, ratherthan mic-level.

Use caution when connecting the Main Out-puts to devices (such as mixers), which pro-vide 48V phantom power over theconnection. Make sure 48V phantom poweris disabled on these devices before connect-ing your Eleven Rack.Eleven Rack Back PanelFigure 2 identifies each port on the back panel of the

FX Loop Sends and ReturnsThe FX Loop Sends and Returns are a pair of 1/4-inch TRS inputs and outputs, which can be used toinsert a mono or stereo external effects processor

Figure 2. Eleven Rack back panel

FX LoopMain outputSends and Returns

Output To

MIDI I/OLine input

Amp 2 (R)Eleven Rack.

Main OutputsThe Main output section includes a stereo, XLR,line-level analog output pair. Connect these to stu-dio monitors, a power amp, mixer, or PA system.

AES/EBUAC power input

USB portS/PDIFExp. Pedal/

digital I/O

digital I/OFootswitchinputChapter 2: Hardware Overview 11

12Output To Amp 2 (R)The Output To Amp 2 (R) is one of two outputsspecifically designed for connecting to the input ofa guitar amplifier or effects unit. Like Output toAmp 1 (L), it is an instrument-level output. It canbe used independently of Output 1 (located on thefront panel), or along with it for stereo amplifierconfigurations.

The Output to Amp jacks can output a live guitarsignal in real time as you play, or a pre-recordedsignal from Pro Tools, for re-amping purposes.

You can select from specific points in the signalchain to feed each Output To Amp jack. This letsyou choose the amount of processing you want onthe output signal.

Digital Inputs and OutputsEleven Rack can support AES/EBU and S/PDIFdigital formats, but not both at once. For informa-tion on switching between digital formats, seeDigital Clock/Input on page 87.

AES/EBU

The AES/EBU In and Out ports are balanced three-conductor XLR connectors that carry up to 2 chan-nels of 24-bit, 96 kHz audio.

TheAES/EBU format is used inmany professionaldigital converters, recorders, and signal proces-sors.

S/PDIF

The S/PDIF In and Out ports are unbalanced two-conductor phono (RCA) connectors that can carryup to 24-bit, 96 kHz audio.Eleven Rack User GuideThe Sony/Philips Digital Interface Format(S/PDIF) is used in many professional and con-sumer CD recorders and DAT recorders. To avoidRF interference, use 75-ohm coaxial cable forS/PDIF transfers and keep the cable length to amaximum of 10 meters.

AC Power InputThe AC power input accepts a standard IEC powercable (included with Eleven Rack). The powersupply in Eleven Rack is universal, so whereveryou go, all you need is a standard IEC power cablewith the correct plug for your region.

Line InputsThe Line inputs accept one stereo or two monoline-level analog signals. The Level switch letsyou select between +4 dBu (for professional gear)or 10 dBV (for consumer gear).

MIDI I/OThe MIDI In and MIDI Out ports are standard5-pin MIDI ports, each providing 16 channels ofMIDI input or output. These ports can interfacewith a variety of MIDI devices.

When Eleven Rack is used as a standalone proces-sor, the MIDI jacks are used to communicate withMIDI foot controllers, sending and receiving pro-gram changes and continuous controller data.

When Eleven Rack is used with Pro Tools, you canconnect a MIDI keyboard or controller and sendMIDI data to Eleven Rack to control virtual instru-ments in your Pro Tools session. You can also sendMIDI data from Pro Tools to your MIDI-equippedgear.

Exp Pedal/Ext Footswitch InputThe Exp Pedal/Ext Footswitch input supports anexpression pedal or a momentary footswitch (sin-gle or dual). You can control sweepable parame-ters (such as Wah, Volume and Multi FX) with anexpression pedal, or switchable settings (such asRig switching, amp channel switching, and effectson/off) with a footswitch.

USB PortThe USB port lets you connect Eleven Rack toyour computer for use with Pro Tools software, an-other Pro Tools system, or for maintenance taskslike updating firmware.

Avid recommends using the includedUSB cable toconnect Eleven Rack. If the included cable isntavailable, use a high-quality USB cable, five me-ters (16 feet) or shorter.Chapter 2: Hardware Overview 13

14 Eleven Rack User Guide

separate channels for recording.The Rig Input setting is then used to choose whichinput channel is processed by the Rig. That inputsdry signal is still available for recording sepa-Chapter 3: Exploring Ri

OverviewEleven Rack is a powerful guitar signal processorthat delivers tones from a wide variety of amplifi-ers, speaker cabinets, microphones, and effectsunits. The combination of all of this gear and theircontrol settings make up a Rig.

Eleven Rack comes loaded with over 100 Rigs thatshowcase the range of tones our amps and effectscan achieve. The built-in Rigs are a good place tostart, but the power of Eleven Rack really comesinto play when you create your own.

You can audition, manage, edit and create Rigsfrom the front panel of Eleven Rack. When usingEleven Rack with Pro Tools 8.0.1 to 10.x, thebuilt-in Eleven Rack Control window offers an-other convenient way to do this work. WithPro Tools 11.x and higher you can use the stand-alone Eleven Rack Editor application.

For details on working with Rigs fromwithin Pro Tools or with the standaloneEleven Rack Editor, see The ElevenRack Control Window and Editor onpage 68.gs

Rig InputThe Amp/Effects processor inside Eleven Rackcan process one input signal at a time. To hear youraudio when using Eleven Rack as a standalone sig-nal processor, you must set the Rig Input User Op-tion to the input you plan to use (such as Guitar,Mic, or Line).

To set the Rig Input User Option to match yourinput type:

1 Hold the Edit/Back button for one second to en-ter User Options Mode.

2 Scroll to Rig Input using the Scroll wheel.

3 Press SW1 to enter the Rig Input User Option.

4 Use the illuminated Control knob to set theinput to the type you want to run through thecurrent Rig.

5 Press the Edit/Back button twice to return toyour previous view.

Rig Input and Pro Tools

When using Eleven Rack as an audio interfacewith Pro Tools, all of the inputs on Eleven Rack,as well as the output of the Rig, are available asChapter 3: Exploring Rigs 15

rately.

16Rig Select ModeWhen you turn on Eleven Rack, its already in RigSelect mode. In this mode, you can turn the Scrollwheel to find and select a Rig.

Rig Select Display ModesThe Rig Select page can be viewed four differentways. To cycle through the display modes, pressthe SW1 button.

Default Mode

This mode shows the Rig number and name, andprovides a set of amp or effects controls that youcan change without entering Rig View.

Simple Mode

This mode shows the Rig number and name in thelargest typeface possible. Its perfect for seeingfrom across a dark stage.

For more information about Rig View, seeRig View on page 19.Eleven Rack User GuideDetails Mode

This mode lists the amp, cabinet, and effects mod-els that are used in the current Rig, plus their on/offstatus.

Outputs Mode

This mode offers fast access to the output settingsfor the current Rig. It provides four lit controlknobs. These are labeled TO AMP 1 (Output ToAmp 1 volume), TO AMP 2 (Output To Amp 2 vol-ume), AMP OUT (amp output volume), and RIGVOL (Rig output volume).

Rig Organization

Eleven Rack has storage for 208 Rigs. Half ofthese are user-editable Rigs, and the other half arefactory preset Rigs. You can also save and store anunlimited number of your favorite Rigs as plug-insettings files on your computer.

The 208 Rigs in Eleven Rack are arranged into twosets of 26 banks, each containing four Rigs. Eachbank is marked with a letter from A to Z, and a nu-meral from 1 to 4. Banks with uppercase letters areuser banks, and those with lowercase letters arefactory banks. For example, the third preset in userbank D is referred to as D3.

User Rigs and Factory RigsBy default, all 104 user Rigs are copies of the 104factory Rigs. This gives you a place to start whenyou set out to make your own Rigs. As you scrollthrough, notice that when you get past the end ofthe uppercase (user) Rigs, youll then begin to seethe lowercase (preset) Rigs.

The user Rigs are yours to edit, change, copy, andmangle as you see fit. The preset Rigs will alwaysstay the same. If you make changes to a preset Rigand want to save it, you can save it as a new UserRig.

Rig name

Rig Bank

Rig numberSelecting Rigs LiveWhen using Eleven Rack in live performance situ-ations, we recommend using a footswitch acces-sory or a dedicated MIDI foot controller to switchfrom Rig to Rig. This lets you switch Rigs morequickly and conveniently.

For info on using a footswitch accessory, seeExternal Pedals on page 88. For info onusing a MIDI controller, see Appendix A,Eleven Rack MIDI Controls.Chapter 3: Exploring Rigs 17

18tortion) and DLY (for delay).

sented by a variety of icons, such as DIST (for dis-Eleven Rack User GuideEffects Lets you choose and manipulate an exten-sive set of guitar effects, including Distortion,Modulation (such as Chorus and Flanger), and Re-verb. In the Eleven Rack Rig, Effects are repre-Whats In A Rig?

Each Rig in Eleven Rack contains the followingdevices for processing your guitar signal from in-put to output. Each device has settings you cancontrol. Also, some devices can be moved to dif-ferent points in the signal chain.

Signal Chain DevicesEach Rig contains a group of devices that make upthe processing signal chain. You can sculpt, ma-nipulate, and optimize the sound youre runningthrough the Rig by adjusting settings in the follow-ing devices.

Input Lets you manipulate the True-Z input im-pedance circuitry. In the Eleven Rack Rig, this de-vice is represented by the INPUT icon.

Amplifier Lets you select and tweak the amp ofyour choice. In the Eleven Rack Rig, this device isrepresented by the AMP icon.

Speaker Cabinet and Microphone Lets youchoose cabinet and microphone models to suit thedesired tone, and add realistic speaker breakup ef-fects to your signal. In the Eleven Rack Rig, thisdevice is represented by the CAB icon.

Figure 3. Example of a common Eleven Rack Rig signal

For more information on changing the orderof devices, see Signal Routing on page 22.Output Lets you change the Rig volume and ToAmp output volume, and switch the Rig output be-tween mono and stereo. In the Eleven Rack Rig,this device is represented by the OUTPUT icon.

Utility SettingsEach Rig also contains the following Utility set-tings, which can be found to the right of the Outputdevice in Rig View:

Display Lets you set the device whose controls aredisplayed in Rig Select view (such as Amp, Mod,or FX1). In the Eleven Rack Rig, this device is rep-resented by the DISPLY icon.

Tempo Lets you set the Rig tempo. In theEleven Rack Rig, this device is represented by theTEMPO icon.

Pedal Lets you configure an external footswitchor expression pedal accessory. In the Eleven RackRig, this device is represented by the PEDAL icon.

Meter Lets you meter the signal level at variouspoints inside the Rig and at the inputs and outputs(analog, digital, and USB) of Eleven Rack. Thisdevice is represented by the METERS icon.

chain

Rig ViewRig View lets you access every aspect of the cur-rent Rig, from the amp, cabinet, and microphonetype, all the way to choosing effects, and changingtheir order in the signal chain.

You can switch to Rig View from Rig Select Viewby pressing the Edit/Back button on the front panelof Eleven Rack.

Once youve entered Rig View, youll see a selec-tion of icons, each representing a different deviceor utility setting within the current Rig. Turn theScroll wheel to select the element you want to ac-cess.

As you scroll through the list, certain functions areassigned to the lit Control Knobs, (such as choos-ing the type of amp or effect you want to use).

When youre finished editing, press the Edit/Backbutton again to get back to the main Rig Selectmode.

Rig View

If you make changes you want to save, besure to use the Save button before switchingto a different Rig. For details, see SavingYour Work on page 23.Page IndicatorIn Eleven Racks editing screens, a Page indicatorappears on the display if there is more than onepage of controls. The Page indicator shows thenumber of pages, as well as the name of the pageyoure viewing. Turn the Scroll wheel to switchbetween pages.

Signal Chain Devices and Utility Settings in Rig ViewThis section describes the functions of the signalchain devices and utility settings pages found inRig View.

If the device or setting you select in Rig View hasadditional controls, pressing SW1 (labeledCONTROLS) takes you to a special page of addi-tional controls for that device. When youre fin-ished, press Edit/Back to go back to Rig View.

InputTurn the lit Control knob to manipulate the True-Zimpedance circuitry in Eleven Rack. When set toAuto, the input impedance is determined by thefirst active effect or amp in the signal chain. Youcan also choose a specific load value to best matchyour pickups.

Page indicator, showing page two of four

For more details on accessing additionalcontrols, see Rig Edit Mode on page 22.Chapter 3: Exploring Rigs 19

20Amplifier, Cabinet, and Microphone

AMP

Turn the lit Control knob to select the type of sim-ulated amp you want to use. Press CONTROLS toaccess additional amp settings.

CAB

By default, when Cab is selected in Rig View, youcan access the following controls:

CAB and MIC Turn the lit Control knobs to selectthe type of cabinet and microphone you want touse.

ON AXIS/OFF AXIS Press SW2 to toggle themicrophone position on or off-axis.

CONTROLS Press SW1 to reach two additionalpages of Cab controls. You can then scroll betweencontrol pages with the Scroll wheel.

The two control pages let you access the followingadditional controls:

BYPASS (Page One) Press SW1 to bypass the cur-rent cabinet and microphone model.

SPEAKER BREAKUP (Page Two) Turn the litControl knob to dial in the appropriate amount ofthe Speaker Breakup simulation.

When playing Eleven Rack through a guitaramp, you may want to bypass the Cab andMicsimulations. With some amplifiers, the addi-tional tone shaping of the Eleven Rack Caband Mic processing may cause the tone tosound fuzzy or muddy.Eleven Rack User GuideEffects

VOL

Press CONTROLS to access a Control page whereyou can adjust the position and minimum volumeof the Volume pedal, using the lit Control knobs.

WAH

Turn the lit Control knob to select the type of Wahpedal you want to use. PressCONTROLS to accessa Control page, where you can adjust the positionof the Wah pedal.

DIST

Turn the lit Control knob to select the type of Dis-tortion effect you want to use. PressCONTROLS to access additional settings for thechosen Distortion effect.

MOD

Turn the lit Control knob to select the type of Mod-ulation effect you want to use. Press CONTROLSto access additional settings for the chosen Modu-lation effect.

FX1 and FX2

The FX1 and FX2 pages let you choose two addi-tional effects not found in the other categories(such as compressor or graphic EQ) as well as a va-riety of modulation effects, using the lit Controlknob. Press CONTROLS to access additional set-tings for the chosen effect.

REV

Turn the lit Control knob to select the type of Re-verb effect you want to use. Press CONTROLS toaccess additional settings for the chosen Reverb ef-fect.

DLY

Turn the lit Control knob to select the type of De-lay effect you want to use. Press CONTROLS toaccess additional settings for the chosen Delay ef-fect.

FX LOOP

Press CONTROLS to access a Control page whereyou can adjust the gain and blend settings of theFX Loop, using the lit Control knobs.

Output

RIG VOL

This volume setting is a tonally transparent volumecontrol, intended for making fine adjustments tothe relative volume levels of different Rigs.

TO AMP 1 and TO AMP 2

These volume settings let you optimize signal levelfor the amp(s) or external processors you are send-ing signal to.

MONO/STEREO Press SW1 to toggle betweenmono or stereo or mono output.

Utility Settings

DISPLAY

Turn the lit Control knob to specify what controlsare displayed in the Default view of Rig Selectmode.

Effects and the FX Loop can be moved todifferent locations in the signal chain of theRig. For that reason, when an effect or theFX Loop is selected in Rig View, SW2 is la-beled MOVE. For more details, see SignalRouting on page 22.TEMPO

Turn the lit Control knob to set the Rig tempo. Anyamp or effects settings that have a control set tosync to a specific subdivision of Rig tempo willlock to this tempo.

Press MIDI to toggle sync of Rig tempo to incom-ing MIDI clock (from the MIDI input of ElevenRack) on or off.

Press FINE to toggle fine tempo editingmode on oroff. In this mode, turn the Scroll wheel to adjust theRig tempo in tenths of a BPM, rather than thecoarse adjustments that are made with the Controlknob. Press FINE again to return to the normalmode.

PEDAL

Turn the lit Control knob to choose the parametercontrolled by an external expression pedal, if at-tached. The following choices are available:

Wah Lets you control the sweep of the Waheffect.

Volume Pedal Lets you control the sweep of theVolume Pedal effect.

Rig Volume Lets you control the overall Rigvolume.

Multi FX Lets you control up to four different ampand/or effects parameters at once. Press SW1 foroptions. There are four pages of options, each oneaddressing one parameter that is to be controlled.

On each page, set the device you want to controland the parameter you want to sweep. The Toe andHeel settings govern the range of the control that isable to be swept.

If you set the Heel number higher than theToe number, the control can be swept inreverse.Chapter 3: Exploring Rigs 21

22None No parameter will be affected when thepedal is moved.

METER

Turn the lit Control knob to choose which signalthe meter shows. You can meter various pointswithin the Rig, or the input or output level of any ofthe analog, digital, or USB (Pro Tools) I/Os onEleven Rack. This function is useful for trouble-shooting purposes (such as finding clipping in thesignal chain, or identifying a badguitar cable).

Signal RoutingThe position of many of the devices in the signalchain can be changed. The order that devices areplugged into each other can make a large differ-ence in the sound you get.

Most effects can be moved anywhere before or af-ter the amp and cabinet models. The FX Loop canbe moved to one of four places:

The beginning of the chain

Immediately before the amp and cab

Immediately after the amp and cab

Immediately before the final output

To move an effect:

1 Turn the Scroll wheel to select the effect youwant to move.

1 Press SW2 to enter Move mode.

2 Turn the Scroll wheel to move the effect to a dif-ferent position in the signal chain.

3 Press SW2 again to keep the change, or SW1 tocancel the move.

For information on toggling Eleven Rack be-tween expression pedal and footswitch con-trol, see External Pedals on page 88.Eleven Rack User GuideRig Edit ModeWhen there are additional controls available forthe device or utility setting youve selected, press-ing SW1 (labeled CONTROLS) takes you to a spe-cial editing screen for that device, called Rig EditMode.

The Control knobs that are assigned to controls inthe current device light amber if youre editingAmp, Cab, or FX Loop settings, or green if youreediting an effect. The display shows what parame-ter each knob is assigned to, and the current settingof each parameter.

When you turn a knob away from its saved setting,it lights red, to show you that the setting haschanged. If youwant to return a control to its savedsetting, turn the knob until it goes back to amber orgreen.

SW1 and SW2 are assigned to various functions,(such as BYPASS), which toggles the current ele-ment on and off, and other switched behaviors,such as BRIGHT (bright switch).

Control page for Green JRC OD effect

Individual effects may be toggled on and offat any time by pressing the corresponding Ef-fects Control button on the front panelof Eleven Rack. The Wah effect can betoggled on and off by pressing FX1 and FX2simultaneously.

If there is more than one page of controls availablefor the current device or utility setting, a Page in-dicator is displayed. Turn the scroll wheel toswitch between pages. You can also use the Scrollwheel to scroll quickly through all of the devices inthe current Rig.

When youre finished editing, press Edit/Back togo back to Rig View. Dont forget to save yourwork!

Saving Your WorkWhen youre done editing the current Rig, youmay want to save its settings, or save the new set-tings to a different user Rig without affecting thecurrent Rig.

Keep in mind that if you switch to another Rig be-fore saving, the edits youve made will be lost.

To save the new settings to the current Rig:

1 Press the Save button. The display shows theSave View.

2 Press Save again to save the updated settings tothe current Rig.

Save pageTo create a new Rig with the new settings:

1 Press the Save button. The display shows theSave View.

2 Turn the scroll wheel to select a preset Rig thatyou dont mind overwriting.

3 Choose a name for your new Rig, using the litControl knobs and SW switches:

The first lit knob moves the cursor from leftto right.

The second knob lets you choose an upper-case letter fromA-Z.

The third knob lets you choose an lowercaseletter from a-z.

The fourth knob lets you choose a number orsymbol.

SW1 lets you insert a space.

SW2 lets you delete an unwanted character.

4 Press Save again to save the new Rig.Chapter 3: Exploring Rigs 23

24The AmpsThis section takes you through all of the emulatedamplifiers available in Eleven Rack, and toucheson any special features and controls each amp of-fers.

59 Tweed Lux

Based on a classic late-50s tube combo amp with asingle 12-inch speaker and a pair of 6V6 tubes de-livering 15 watts, the 59 Tweed Lux model is thepicture of vintage simplicity. With just a simpletreble-cutting tone control, the Tweed Lux deliverscrunchy clean sounds when used with single-coilpickups, and fat leads when driven with humbuck-ing pickups.

The inputs on this model are jumped so you canfeed both the Instrument andMic inputs in parallel.

59 Tweed Bass

Based on a late-50s low-wattage tube bass comboamp, the 59 Tweed Bass model has a tight bass re-sponse and a warm, twang-friendly high-end.Along with controls for Bass, Middle (midrange),and Treble, a negative feedback Presence controllets you tweak high-endfrequency response.Eleven Rack User GuideJust like the Tweed Lux, the Tweed Bass is alsojumped, so you can feed both the Bright andNormal inputs in parallel.

64 Black Panel Lux Vibrato and Normal

The amp we based the 64 Black Panel Lux Vi-brato and Normal models on is regarded by someas the ultimate small club amp. A 60s tube combowith a single 12-inch ceramic-magnet speaker anda pair of 6V6s putting out just over 20 watts, thisamp has long been a standard in the studio as wellas onstage.

At low volumes its crisp, clean high-end has beenfavored by country rockers, but push the amp past7 with a humbucking pickup, and youve got anamazingly dynamic lead tone. For Eleven, wevemodeled both channels of this classic blackface-era amp.

The LuxVibratomodel has two gain stages and thetremolo effect is toggled using SW2. Lux Normalhas a single gain stage and tremolo is always on,unless the Intensity control is rolled all the way off.

64 Black Vib

Produced for a short time in the mid-60s, the ampwe based the 64 Black Vib model on is anotherone of the all-time great US-made smaller clubamps. With an easy-to-overdrive but still not over-loud 40-watt 6L6GC-based power section and asingle 15-inch speaker in an open-back cabinet,this amp strikes a great compromise between thecrunch of the smaller models in the line and thehall-filling clean tones of the larger models.

We added a midrange control for further tonal ver-satility. Set it to ~7 tomatch the flat response of theoriginal amp.

65 Black SR

This amp model is based on a US-made 60s-era40-watt combo amp, with four 10-inch speakers inan open-back configuration. This amp offered bothtremolo and spring reverb effects. Known forchiming clean tones at comparatively high vol-umes, this amp is a favorite of country pickers,blues players, and other aficionados of high-vol-ume clean tones.

Toggle the Bright switch on and off with the SW2button.65 Black Mini

The 65 Black Mini amp model is based on aUS-made 60s era 6-watt tube combo amp, with asingle eight-inch speaker in an open-backconfiguration.

Though small both in stature and volume, this ampoffers sweet gently driven tones and straight-aheadspank in droves. Its ability to produce classic tubeamp sounds at low volumes has made this amp astudio standard for decades.

Toggle the Bright switch on and off with the SW2button.

65 J45

This amp model is based on a British-made 60sera 45-watt tube head, the very first amp made bythis company. It was known for its then-fresh takeon a classic US-made bass amp (which was usedprimarily by guitarists). It features two bridged in-put channels, each with its own volume setting.

Those two channels, which can be blended to-gether using the Volume1 and Volume 2 controls,have different tonalities. Channel 1 has a fairly flattonal response, while Channel 2 is somewhatdarker-sounding.Chapter 3: Exploring Rigs 25

2666 AC Hi Boost

Originally released in 1958, the British amp webased our 66 AC Hi Boost model upon wentthrough a few design changes that would eventu-ally define the sound of British pop/rock in the60s.

First available as a modification mounted in theback of the amp, the Top Boost circuit added anextra tube and controls for Treble and Bass. It be-came so popular that it eventually became a part ofthe standard componentry of the amp.

The glassy high-end and chime of the ACHi Boostlends a classic propulsion to rhythm guitar parts,and at higher gain settings, singing lead tones are asnap to achieve.

For our model, weve jumped the Normal andBrilliant channels. The Cut (presence) control isactive on both channels. However, just like theoriginal, the Treble and Bass controls are only partof the Brilliant channel, and have no effect on theNormal channel.

Go to the second Control page and press SW2 totoggle the tremolo on and off.Eleven Rack User Guide67 Black Panel Duo

Without a doubt, the blackface-era amp we basedour 67 Black Panel Duomodel upon is consideredone of the greatest combo amps ever made. Withtwo 12-inch ceramic-magnet speakers and a quar-tet of 6L6 tubes pushing 80 watts, no concert stagehas been complete without one since it was intro-duced in the late 60s.

One of themain reasons for the amps popularity isthat it can maintain classic vintage clean soundseven at high volume levels. Another special BlackDuo feature is the inclusion of a Bright switch.

For ourmodel, just like the original, as you turn theVolume knob up, the Bright switch has less of aneffect. Dial the Volume knob around 3 or 4 withthe Bright switch on, and youll get that ultra-cleansnap that its famous for.

On the first Control page, SW2 is set to toggle theBright switch on and off. On the second page, SW2toggles vibrato on and off.

67 Plexiglas Vari

This amp model is based on a British-made, 1967-vintage 100-watt tube head, similar to the 1969-vintage amp we used as the basis for our 69 Plexi-glas 100w model. This new model simulates thatamp having its voltage reduced by a variable trans-former called a Variac. The voltage reductionchanges the amps tone and sustain characteristicsdramatically, producing the much-loved Browntone some famous users of this amp were knownfor.

The amps two channels, which can be blended to-gether using the Volume1 and Volume 2 controls,have different tonalities. Channel one has a fairlyflat tonal response, while Channel two is some-what darker-sounding.

68 Plexiglas 50wThis amp model is based on a British-made, 60sera 50-watt tube head, the lower-wattage versionof the amp that was the basis for our Plexiglasmodel. This amp was designed with a lower powertube plate voltage, and thus is known to break up atlower levels than its 100-watt counterpart.

For our model, weve based it on the legendary 50-watt 1968 version. Weve also jumped bothchannels, for further gain.69 Plexiglas 100wBased on one of the most highly sought-after high-volume amplifiers of the late 1960s, our69 Plexiglas model delivers no-nonsense Britishcrunch. The original amp's dual 4x12 cabinets and100-watt head offered unprecedented volume andpower for the time, helping to usher in the era ofthe Guitar God.

For our model, weve based it on the legendary100-watt 1968/69 version. Weve also jumpedboth channels, for further gain.

69 Blue Line Bass

This amp model is based on a US-made, late-60s300-watt tube bass head. This amp originally soldwith a pair of 8x10 speaker cabinets, and wasknown for its massive volume and wide range ofusable tones.

The U-Lo and U-Hi controls add low or high har-monics to the signal. On the original amp, thesecontrols were on-off switches. Here, the U-Lo andU-Hi controls are continuouslyvariable.

The Mid Freq control, which selects the center fre-quency affected by the Mid control, was a three-way switch on the original amp. Here, the fre-quency setting is continuously variable.Chapter 3: Exploring Rigs 27

2882 Lead 800

Based on the early-80s descendant of the amp webased our Plexiglas model upon, the 82 Lead 800adds a higher-gain cascaded preamp design and amaster volume control. Unlike the high-volumeheads of the 60s, which needed to be on 10 toachieve an overdrive sound, this amp could con-jure up real distortion at any volume level, and thatmade it very popular in the burgeoning 80s heavymetal scene.

85 M-2 Lead

Based on a classic mid-80s high-end tube comboamp, the 85 M-2 Lead model delivers hot-rodded overdrive and searing solo tones. With afull complement of tone controls and independentinput volume, overdrive and master volume con-trols, the gain structure can be tweaked to yourheart's content.

TheM-2 Lead emulation is based on the lead chan-nel with the fat, bright, and gain boost options on.Eleven Rack User Guide89 SL100 Drive, Crunch, and Clean

Our 89 SL100 model is based on a late-80s high-gain 100-watt tube head, which was popular for itssinging sustain and clear articulation. The Brightswitch on the Clean and Crunch models boosts thehigh-end for lead lines and cutting tones.

For the Drive model, we simulated a bright switchmodification that was popular for this amp. Set toNormal, the amp is stock. With Bright engaged,the treble boost that would normally happen atlower gain settings is removed, which leads to arounder, thicker sound. The Bright switch circuithas progressively less effect as the gain is raised,and no effect when the preamp is set to 10.

Toggle the Bright switch on and off with the SW2button.

92 Treadplate Modern and Vintage

Released in 1989, the amp that inspired our 92Treadplate Modern and Vintage models seemedcooler than a high-performance racecar. Withmore tone-tweaking options and distortion thanany amp before it, the amp became the industrystandard for players looking to achieve a massivesound.

With the ability to run on either 6L6 or EL34 tubes,this amp offered a choice between either tube orsilicon diode rectifier circuits. On top of that, anAC power selection switch offered a Bold or aSpongy option, which would drop the voltage likea Variac for a more brown sound.

For our Treadplate, we modeled two differentchannels and selected the appropriate rectifier andAC power switch setting. For Treadplate M (forModern), we set it on the Red channel using 6L6s,a silicon rectifier, and the Bold power setting for atight, aggressive tone. For Treadplate V (for Vin-tage), we modeled the orange channel with 6L6s, atube rectifier, and the spongy power setting for amore fluid lead tone.93 MS-30

The MS-30 amp model is based on a US-made,early-90s boutique combo amp, the first design byits manufacturer. Featuring a 30-watt EL84-basedpower section and two twelve-inch speakers in anopen-back configuration, it excels at a range ofsounds, from squeaky-clean all the way to beauti-fully-overdrive high-gain tones.

Known for finely-tuned, interactive tone controls,and a fresh take on classic Class-A amp topolo-gies, this amp claims a long list ofcelebrity fans.

97 RB-01b Red, Blue, and Green

These amp models are based on the three distinctchannels in aUS-made, late-90s 100-watt boutiquetube head.

At a time when racked-up multi-preamp/externalpower amp setups seemed de rigueur for variety-hungry guitarists, this ampwas designed to cover ahuge range of vintage amp tones without the tonaland ergonomic issues of modular amp setups. Tothat end, it came with three separate, distinct pre-amp circuits, one for each channel.

The Red channel excels at high-gain lead tones,while the Blue is suited to chunky rhythm playing,and the Green focuses on clean tones.Chapter 3: Exploring Rigs 29

30The Boost control simulates the Boost and Struc-ture switches on the original amp. Setting Boost to10 simulates both Boost and Structure switches on.A setting of 5 simulates Boost on/Structure off. Asetting of 0 simulates both switches off.

Toggle the Bright switch on and off with the SW2button.

DC Custom AmpsThis section describes the DCCustom ampmodelsthat come with Eleven Rack. These include TheDC Modern Overdrive (and its offshoot models,the DC Modern SOD, Modern 800, and ModernClean), the DC Vintage Crunch (and its offshootmodels, the DC Vintage OD and Vintage Clean),and the DC Bass model.

Rather than base these models on specific amps,we blended the characteristics and features ofmany of our favorite amps to create some absolutemonsters.

DC Custom SW1 and SW2 Switch Functions

On the first Control page, SW2 is set to toggle theBright switch on and off. On the second page, SW2toggles vibrato on and off.Eleven Rack User GuideDC Modern Overdrive

TheModernmodel augments amodified high-gainBritish amp flavor with a Bright switch and classicAmerican-style Tremolo.

DC Modern SODThis amp is loosely based on a US-made, late-80s100-watt tube head. It features a tight, extendedlow-end and high-gain capability, perfect for play-ers of extended-range guitars.

DC Modern 800This amp model is a variant of our Lead 800model, itself based on a British-made, 80s-erahigh-gain tube head. A couple of simple compo-nent swaps change the tone significantly, and theadded Bright switch provides additional tonalrange.

DC Modern CleanThis amp is loosely based on US-made, 60s-era85-watt tube combo amp. It has been tweaked toprovide shimmering clean tones.

DC Vintage Crunch

The Vintage model combines tonal attributes of50s and 60s-era American tube amps, with addedgain potential and a Bright switch.

DC Vintage ODThis amp is loosely based on a combination of twoBritish-made tube amps. It takes the preamp sec-tion from our Plexiglas model and marries it to thepower section of our AC Top Boost model, withfurther tonal enhancements.

DC Vintage CleanThis amp is loosely based on the same British-made tube amp we used as the basis for our ACTop Boost model. It has been further refined to of-fer a range of tones from very clean (cleaner thanthe original amp) to a slight amount of breakup.

DC BassThis bass amp is based on the same US-made 300-watt bass head we used as the basis for the BlueLine Bass model. It is designed with a scoopedlower-midrange response, adding the capabilityfor bigger lows with a tighter response than theoriginal amp. It also, unconventionally for a bassamp, offers a tremolo circuit.

Eleven Rack is not affiliated with, spon-sored, or endorsed by the makers of theamplifiers that it emulates.General Amp ControlsThe Amp controls can be accessed by selecting theAMP device in Rig View and pressingCONTROLS. There are two pages of controls forevery amp. These controls are configured andnamed to closely match the amps we modeled forEleven Rack.

When you view the Amp controls, a Page indicatoris displayed to show you which page of controlsyoure viewing. Turn the Scroll wheel to switchpages.

Tremolo Controls

Some amps, (such as the 64 Black Panel Lux Vi-brato, 66 AC Hi Boost, and DC Modern Over-drive), feature authentic Tremolo circuits. Thesecontrols include:

Speed Lets you set the speed of the Tremoloeffects amplitude modulation.

Sync When set to a rhythmic value, the SYNCcontrol sets the Tremolos speed to cycle at the se-lected rhythmic interval, in sync with the Rigtempo. When set to OFF, the speed is notsynchronized and can be manually set with theSPEED control.

Depth Sets the amount of amplitude modulation.

Amp Control page

When using Eleven Rack with Pro Tools, youcan choose to sync tremolo and othereffects to either the Rig tempo or the tempo ofthe Pro Tools session. For more details, seeRig Tempo on page 72.Chapter 3: Exploring Rigs 31

32Noise Gate Controls

Each of the amps in Eleven Rack has a Noise Gate,which can be used to suppress noise coming fromthe instrument before the signal reaches the ampmodel. Noise can be especially problematic whenboosted heavily at high-gain settings. Its controlsare:

Noise Gate Lets you set the threshold of the NoiseGate. Adjust this control until you find a good bal-ance between effective gating and cutting off thesignal prematurely on sustained notes.

Rel Sets the release time for the envelope that runsthe Noise Gate. A longer release time can soundmore natural, while a shorter release can help torein in a really noisy signal.

TheNoiseGate remains usable evenwhen theamp model has been bypassed.Eleven Rack User GuideAmp Output

The amp models in Eleven Rack are so faithful tothe classics theyre based on that the output levelcan increase significantly as the preamp, volumeormaster controls are cranked. Also, from one ampto the next, output levels will vary depending ontheir design.

The OUTPUT control lets you compensate forthose differences with no coloration added to thetone youre getting.

Bypass

The Bypass control toggles the amp simulation onand off, leaving any effects in the Rig unchanged.

The amp output volume can also be accessedin Rig View, by selecting AMP and manipu-lating the Amp Out Vol Control knob.

The Speaker CabinetsThis section describes all of the emulated speakercabinets available in Eleven Rack.

1x8 Custom

This cabinet model is based on a small speakercabinet with a single 8-inch ceramic-magnetspeaker in an open-back configuration. It soundsespecially great with the 65 Black Mini ampmodel.

1x12 Black Lux

This cab model is based on the original speakerand cabinet that match the Lux Vibrato and LuxNormal amp models. With a single 12-inch ce-ramic speaker in an open back cabinet, it offers abright, warm, dynamic sound.

1x12 Tweed Lux

This cab model is based on the original speakerand cabinet that match the Tweed Lux ampmodel.With a single 12-inch alnico speaker in an open-back cabinet, it offers mellow, sweet warm toneswith a hint of vintage grit.

1x15 Open Back

This cabinet model is based on the speaker cabinetof a classic US-made combo amp. It features a sin-gle 15-inch alnico-magnet speaker in an open-backconfiguration. Pairs well with the 64 Black Vibamp model.

The Cab page in Rig View2x12 AC Blue

This cab model is based on the original speakersand cabinet that match the AC Hi Boost ampmodel. With two British ceramic 12-inch speakersin an open-back cabinet, it offers chimey, mid-fo-cused tones.

2x12 Black Duo

This cab model is based on the original speakersand cabinet that match the Black Duo amp model.With two ceramic 12-inch speakers in an open-back cabinet, it offers bright, full-range tones.

2x12 B30

This cabinet model is based on a US-madeboutique 2x12 cabinet. It features two 30-watt12-inch ceramic-magnet speakers in an open-backconfiguration.

A strong contender for any high-gain amp, thiscabinet pairs especially well with the 97 RB01bamp model.

2x12 Silver Cone

This cabinet model is based on the speaker cabinetof a classic Japanese solid state combo amp. It fea-tures 12-inch ceramic-magnet speakers in an open-back configuration. It excels at sparkling cleantones, and pairs especially well with the DC Mod-ern Clean amp model.

4x10 Tweed Bass

This cab model is based on the original speakersand cabinet thatmatch the TweedBass ampmodel.With four alnico 10-inch speakers in an open-backcabinet, it offers warm, bright, tones with tightbass.Chapter 3: Exploring Rigs 33

344x10 Black SR

This cabinet model is based on the speaker cabinetof a classic US-made tube combo amp. It featuresfour 10-inch alnico-magnet speakers in an open-back configuration.

4x12 Classic 30

This cab model is based on a classic 1960s 4x12British closed-back cabinet. The classic 30 wattspeakers we modeled for this unit give it a widefrequency response and major power.

4x12 65W

This cabinet model is based on a classic British-made 4x12 cabinet. It features four 65-watt 12-inch ceramic-magnet speakers in a closed-backconfiguration. This cabinet is strongest for Metaland Hard Rock tones.

4x12 Green 25W

This cab model is based on a classic 1960s 4x12British closed-back cabinet. The vintage 25 wattspeakers we modeled for this unit give it a smooth,thick tone, perfect for soulful leads.

4x12 Green 20W

This cabinet model is based on a classic British-made 4x12 cabinet. It features four 20-watt 12-inch ceramic-magnet speakers in a closed-backconfiguration. It pairs very well with the J45 ampmodel, providing perfect tones for electric bluesand classic rock.

8x10 Blue Line

This cabinet model is based on a classic US-made8x10 bass cabinet. It features eight 10-inch ce-ramic-magnet speakers in a chambered, closed-back configuration. It works well with the69 Blue Line Bass and DC Bass amp models.Eleven Rack User GuideSpeaker BreakupAlso worth mentioning is the new inclusion ofSpeaker Breakup emulation (first offered in theplug-in version of Eleven Rack). This function canbe reached using the front panel controls by select-ing the Cab block in Rig View, pressing SW1 toaccess Cab controls, and scrolling one step to theright with the Scroll wheel. The illuminated con-trol knob then works as the Speaker Breakup con-trol.

The Speaker Breakup setting lets you specify howmuch distortion is produced by the current speakermodel. Increasing the Speaker Breakup controladds distortion that is a combinationof cone breakup and other types of speakerdistortion.

Speaker Breakup control

Sonic Effects of Speaker Breakup

The range of the control is 0 to 10.We recommendstarting with a setting between 4 and 6. Around 1-2, the algorithm adds a relatively subtle smooth-ing of the high-end. By about 3, natural speakercompression of the high-end kicks in fully,which results in a somewhat darker sound.

Above 8, the speaker breakup modeling starts tobecome more extreme than what occurs in an ac-tual guitar speaker. These higher settings tend towork better with darker-sounding cabs. As a gen-eral rule, high gain amps work better with lowerbreakup settings, while low-to-medium-gain ampsoften work well with higher breakup settings.

Below certain frequencies, the speaker cone vi-brates as one unit. Above those frequencies (typi-cally between 1 kHz and 4 kHz), the cone vibratesin sections. By the time a wave travels from theapex at the voice coil out to the edge of the speakercone, a new wave has started at the voice coil. Theresult is comb filtering and other anomalies thatcontribute to the texture of the overall sound.

Speaker Breakup with External Amps and Cabinets

We found that the Speaker Breakup emulation inEleven Rack can be useful even when using an ex-ternal amp and cabinet, with the internal Cab sim-ulation off.

Actual speaker breakup usually requires playingthrough an amp at high volume. However, dialinga bit of the Eleven Rack Speaker Breakup simula-tion can help simulate those tones at lower vol-umes.The MicrophonesThis section describes all of the emulated micro-phones available in Eleven Rack.

Dyn 7

Based on a large-diaphragm American dynamicmicrophone, the Dyn 7 model has a smooth, pow-erful tone quality.

Dyn 57

Based on a midsize-diaphragm Americandynamic mic, the Dyn 57 model has a classicaggressive tone with a bright edge andpronounced mids.

Dyn 409

Based on a midsize-diaphragm Germandynamic mic, the Dyn 409 offers a detailedmid-range and a focused, tight pickup pattern.

Dyn 421

Based on a large-diaphragmGerman dynamicmic,the Dyn 421 model offers deep bass, solid mids,and smooth treble.

Cond 67

Based on a classic German tube condenser mic, theCond 67 model offers a warm, crisp sound.

Cond 87

Based on a solid-state German condenser mic, theCond 87 model lacks the fuzzy tube warmth ofCond 67, but retains a high level of treble detailand nuanced midrange.Chapter 3: Exploring Rigs 35

36Ribbon 121

Based on amodern ribbonmicrophone, the Ribbon121 model offers rounded, sweet highs and mids,and solid, deep lows.

Bass Cabinet Microphones

The following twomics are specifically for micingbass cabinets, so they work exclusively with the8x10 Blue Line cabinet model.

Dyn 12

This mic model is based on a classic Austrianlarge-diaphragm dynamic bass drum microphone.It offers a rounded, extended sub-bass response,and a pronounced peak around 3k, which empha-sizes attack and string noise.

Dyn 20

This mic model is based on a classic US-madelarge-diaphragm dynamic mic. It is known for alack of bass-exaggerating proximity effect, and asmooth, near-linear frequency response.

Eleven Rack is not affiliated with, sponsored,or endorsed by the makers of the speakercabinets or microphones that are emulated inthis product.Eleven Rack User GuideThe EffectsThis section takes you through the effects availablein Eleven Rack.

Volume Pedal

The Volume Pedal is a sweepable volume control.You can use it to fade notes or chords in and out, orto vary the volume of your signal in real time, fortimbral or rhythmic effects.

The Volume Pedal is most useful when controlledwith an expression pedal or MIDI foot controller.

For more information about using externalfoot controllers, see External Foot Control-lers on page 52.

Wah Effects

Black Wah

BlackWah is a standard wah pedal effect, offeringa sweepable resonant filter that lets you add anima-tion and special timbral effects to theguitar signal.

Like the Volume Pedal, wah effects (such as BlackWah) are particularly useful when controlled withan expression pedal or MIDI foot controller.

Shine Wah

Shine Wah works and sounds similar to BlackWah, but with a vintage-style filter circuit andsweep response.Distortion Effects

Tri-Knob Fuzz

The pedal that inspired Tri-Knob Fuzz was a tran-sistor-based unit, originally popular with lead gui-tarists searching for ever-higher gain in the 70s. Itshone again in the 90s grunge rock scene, proba-bly pushed further into woolly grind than its mak-ers could have anticipated.

Volume Sets the overall output volume of theeffect.

Sustain Sets the gain of the fuzz circuit.

Tone Changes the tonal balance of the effect, fromdeep and full of sub-bass to high and shrill.

BlackOp Distortion

Inspired by an 80s-era op-amp-based distortionpedal, BlackOp Distortion offers massive crunchand power. Its hard-clipping drive can squeeze ag-gressive rhythm and lead tones out of soft-sound-ing vintage amps, and create surprisingly hard-edged tones when paired with moremodern amps.Chapter 3: Exploring Rigs 37

38Green JRC Overdrive

Green JRC Overdrive was inspired by a low-gain70s overdrive pedal, loved by blues and blues-rockplayers the world over for its sweet, singing sting.It can be used to simply drive an amps input sec-tion into gentle clipping, or supply some dirty glowof its own.

White Boost

This booster effect, based on a well-loved cleanbooster pedal with 20 dB of gain boost and a built-in EQ, is useful for driving the preampsection of any amp model into a gentle (or not sogentle) overdrive. The EQ controls boost and cutfrequencies as normal, but in this usage, they helpshape the overdrive response as well.

Gain Controls the amount of boost added to thesignal.

Treble Adds treble to the boosted signal.

Bass Adds bass to the boosted signal.

Volume Controls final output volume.Eleven Rack User GuideDC Distortion

This distortion effect, a custommodel built just forEleven Rack, offers a range of overdriven tones,aided by its built-in Bass and Treble EQ, whichhelp shape the response of the clipping circuit.

Distortion Controls clipping level.

Treble Adds treble to the boosted signal.

Bass Adds bass to the boosted signal.

Volume Controls final output volume.

Modulation Effects

Flanger

Originating from the act of pressing on the flangesof tape reels, and becoming even more popularwith the advent of analog pedals, the Flanger effectcan be coaxed into bell-like resonant sweeps, oradd a silky, shimmering sheen. This effect workswell when positioned before or after the amplifierin the signal chain.

Pre-Dl Sets the amount of pre-delay, whichchanges the phase relationship between the drysignal and the delayed signal, with timbral results.

Depth Sets the amount of delay. The higher thesetting, the more jet-engine artifacts will be in-troduced.

Fdback Sets the amount of signal fed back into themodulated delay. Higher settings introduce moreringing, whistling artifacts.C1 Chorus/Vibrato

Based on a heavyweight late-70s analog chorus/vi-brato pedal, C1 Chorus/Vibrato offers warm, liq-uid modulation effects. In Chorus mode, the signalis routed through amodulated short delay, which ismixed with the dry signal, creating a washy, dou-bled sound.

In Vibrato mode, the dry signal is absent and thereis more control over the depth of pitch modulation,allowing for everything from an understated wob-ble to wacky, synth-like pitch modulation.

Chorus Sets the intensity and speed of the Choruseffect, only when the Chorus/Vibrato switch is setto Chorus.

Depth Sets the depth of the Vibrato effect, onlywhen the Chorus/Vibrato switch is set to Vibrato.

Rate Controls the Vibrato rate, only when the Cho-rus/Vibrato switch is set to on.

Chorus/Vibrato Toggles the effect betweenChorus and Vibrato.

When set to CHORUS, the Vibratos Rate andDepth controls are inactive. Conversely,when set to VIBRATO, the Chorus controlwill not function.Chapter 3: Exploring Rigs 39

40Multi-Chorus

This modulation effect is based on the Air Multi-Chorus plug-in that comes with Avids Pro Toolsrecording software. It offers the ability to stackmultiple layers of chorusing, for thick, swirlingsound.

Rate Controls the rate of the internal modulatingLFO.

Sync Controls synchronization of the internal LFOto Rig or Pro Tools Session tempo. Ranges fromOFF (no sync, set rate with Rate control) to a vari-ety of rhythmic note values.

Depth Controls the amount of delay time modula-tion caused by the internal LFO.

Pre-Delay Sets the amount of time between an in-coming transient signal and the start of modula-tion.

Mix Sets the wet/dry balance of the effect.

Tri/Sine Switch Sets the waveform of the internalLFO to either a triangle or sine wave.

Voices Sets the number of layered chorus voices inthe effect.

Width Controls the stereo width of the effect.Eleven Rack User GuideVibe Phaser

The psychedelic-era phaser that inspired ourVibe Phaser effect was traditionally paired with anexpression pedal that could be used to vary the rateof pitch modulation over time. Like the C1, youcan choose to run it as a Chorus, with the modu-lated and dry signals mixed together, or in Vibratomode, which leaves the pitch-modulated signalalone, with rippling, disorienting effects.

Chorus/Vibrato Toggles the dry signal on (Cho-rus) and off (Vibrato).

Orange Phaser

Dont let that single knob fool you. Inspired by aubiquitous 70s analog phaser pedal, Orange Phaseroffers a deep, warm phasing effect that rangesfrom a slow harmonic sweep to out-of-controlwobbles.

Speed Controls the Phaser effects rate ofmodulation.

Sync Synchronizes the modulation rate to the Rigtempo by a specific rhythmic subdivision.

Roto Speaker

Inspired by the rotating speaker cabinets that madeclassic tonewheel organs roar, Roto Speaker offersadded motion and vintage grit.

Speed Sets the speed of the rotating speaker effectin three increments: Slow, Fast, and Brake.

Balance Sets the blend between the upper andlower rotors of the rotating speaker.

Type Chooses between various types of rotaryspeakers.Reverb Effects

Blackpanel Spring Reverb

Blackpanel Spring Reverb was inspired by aclassic outboard tube-driven spring reverb. It canadd a surfy twang and dark, warm ambience toyour signal.

Mix Controls the blend between dry and reverbedsignal.

Decay Controls the length of the reverbs decay.

Tone Applies a high-cut EQ, making the reverbtone darker.

Eleven SR (Stereo Reverb)

A smooth, clean digital reverb, Eleven SR is basedon the popular Reverb One Pro Tools plug-in fromAvid.

Pre-Dly Sets the amount of pre-delay, whichchanges the time relationship between the dry sig-nal and the reverbed signal. As this setting isturned higher, the apparent size of the synthesizedreverb room grows larger.

Type Selects from a variety of different reverbtypes.Chapter 3: Exploring Rigs 41

42Delay Effects

Tape Echo

Inspired by the ultimate vintage solid state tapeecho unit, Tape Echo supplies supple, crunchyechoes, and can, with a flick of the wrist, can bepushed into swells of wild self-oscillation, each re-peat more murky, dusty, and gritty than the next. Aclassic.

Rec Lev Controls the signal level running to thetape circuitry. Higher settings create a moredistorted tone color.

Head Simulates the alignment (or misalignment)of the tape head with the tape, which affects thetone of the delay.

Wow Controls the amount of wow and flutter in thetape mechanism. Lower settings minimize fluctua-tions of pitch and tone color, and higher settingsaccentuate it.

Hiss For some serious authenticity in your tapeecho tone, this switch Toggles modeled analogtape hiss in or out of the signal.With high feedbacksettings, the tape hiss can push the echo into self-oscillating mayhem.Eleven Rack User GuideBBD Delay

When bucket brigade analog delays arrived inthe mid-70s, their relatively small size and solid-state reliability made them a godsend to tape loop-addled guitarists. It went on to become a classic ofits own, with a smooth, round delay sound and aChorus-Vibrato mode that let it double as a modu-lation effect.

Input Sets the input level to the delay effect.Cranked up, it can push the signal into useful dis-tortion.

Mod Switches the modulation effect betweenVibrato (only the delayed signal is passed) andChorus (both the dry and delayed signal arepassed.)

Depth Controls the level of modulation of the de-layed signal.

Noise Toggles modeled analog hiss in or out of thesignal.

When Hiss or Noise is turned on in one of thedelay effects and the feedback level is suffi-ciently high, the delay will self-oscillate andmake sound on its own, even whenbypassed. If this effect is not desired, turndown the feedback control.

Dyn Delay

This stereo delay effect is based on the AirDynamic Delay plug-in that comes with AvidsPro Tools recording software. A powerful effect,Dyn delay can be synchronized to Rig or Sessiontempo, and offers an envelope follower, that letsyou modulate various parameters, based on theamplitude envelope of incoming signal. Thiseffect includes the following controls:

Delay Sets the length of the delay, in milliseconds.

Sync Controls synchronization of the delay timeto Rig or Session tempo. Ranges from OFF (nosync, set delay time with the Delay control) to a va-riety of rhythmic note values.

Feedback Sets the amount of delay feedback.Ranges from just one repeat, to a long-lasting cas-cade of repeats.

Mix Sets the wet/dry balance of the effect.

Fine Toggles finer control of delay time in or out.Toggled by SW2 in page one of the controls.Mode Switches between the following four feed-back routing options:

Mono: Sums the incoming stereo signal tomono, then offers separate left and right delayoutput taps from that signal.

Stereo: Processes the left and right channelsof the incoming stereo signal independentlyand outputs the processed signal on the corre-sponding left and right channels.

Cross: Processes the left and right channels ofthe incoming stereo signal independently,and feeds the each sides delayed signal ba