Logic pro x guitar amp designer free.Amp Designer models in Logic Pro

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

This means that the signal chain is bare minimum, and the sounds are made to fit into the mix effortlessly. S-Gear is another high-quality suit of amp sims, effects, and speaker cabinets. Like many of the others, it can run as a standalone app or as a plugin in any DAW.

The SuperModels amp sim plugins also come with additional features not found in the real thing, such as a tone-shaper replicating an overdrive boost, a digital tuner, and an intelligent noise gate. It features two channels, the first of which can run clean to overdriven and crunchy, while the second is designed for blistering high-gain tones.

It, too, includes different amp and effects emulations, and contains a wide variety of presets for getting to your desired tone with ease. These are but a few of the best amp sims available today. December 27, Leave a Reply Cancel reply Your email address will not be published. Latest Posts. Mixing a clean DI’ed sound with an amp emulation sometimes gets you a sweeter clean sound than using an amp emulation on its own.

If you don’t want the two sounds panned hard left and right, you can use another instance of Logic’s Direction Mixer plug-in, after the Amp Designer, to narrow the stereo field or even collapse it to mono. Try using different delay settings for the left and right channels, to give you a wider guitar sound.

For those big rock solos, delay often works better than reverb, and if you put a Dual Mono version of Logic’s Tape Delay after the amplifier, you can then use the Deviation control to the right of the delay knob to shift the delay time slightly away from the tempo-locked value.

I also tend to set the LFO modulation to be slightly different on the two sides too. This could go anywhere after the amp plug-in, though I generally put it directly after the amp.

Set each channel to percent wet, select the Timing mode as Pitch Tracking for one side and Manual for the other, then set the Manual channel’s Delay slider to around 15ms.

This spreads both the pitch and timing of the two amplifiers very slightly, producing a decent double-tracked sound. The Rotor Cabinet plug-in is great for adding a bit of warmth to your sound when set to its ‘Brake’ mode. Another useful trick that you can use if the finished guitar sound still comes across as too hard or edgy is to insert Logic’s Rotary Speaker plug-in, but set the speed control to its Brake position so there’s no modulation.

This adds a lovely warm character to the sound. You can experiment further by changing the rotary speaker type in the box just above and to the left of the picture of the speaker. They all sounds very different, though I usually find that one of the the first three sounds best.

If you’re an old hippy like me, turn the speaker motor back on and enjoy the swirls. I’m sure there are lots of other strategies that can be employed to create usable guitar tones — after all, every guitarist has their own ideal sound in their head, which is what makes the electric guitar a truly unique instrument.

The ones described here work for me most of the time and when I come up with a chain of plug-ins that gives me a useful sound, I save it as a channel preset so I can call it up again when needed. If you were disillusioned by the presets, give these simple techniques a try as I’m sure you’ll come up with something useful. Buy PDF version. Previous article Next article.

New forum posts Re: Anyone ever used a Nail Bar? Active topics Anyone ever used a Nail Bar? 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.

Using mid—boost EQ in this way helps sharpen up the amp sound without making it ‘fizzy’. Some users suggest feeding two chains of amps and effects from buses, but to play without annoying latency, it is necessary to engage Logic’s Low Latency button, and this disables bus sends as well as plug-ins that cause long delays when active.

After recording, click off the Low Latency button and all your tardy plug-ins and buses come back to life.

 
 

 

Free Guitar Amp VST Plugins – Bedroom Producers Blog.

 

Sculpture Sculpture is a unique physical modeling instrument that produces tones no other synthesizer can. Effects Use plug-ins to help you perfect or manipulate the color and personality of your tracks. Remix FX Bring DJ-style effects and transitions to your tracks with a collection of stutters, echoes, filters, vinyl scratches and stops, reverse playback sounds, bit crushes, and gating effects.

ChromaVerb ChromaVerb is a high-end reverb plug-in that uses unique modeling to reproduce both natural and otherworldly acoustic spaces. Night Lights Night Lights. Almost Time Almost Time. Endless Highways Endless Highways. Vintage EQ Collection The Vintage EQ collection brings authentic re-creations of three of the most revered analog hardware EQs, with support for mono and stereo and control over analog saturation and heat. Vintage Graphic EQ. Vintage Tube EQ. Vintage Console EQ.

Step FX Add rhythmic movement to any track by arranging filters, effects, and independent step sequencers to create and control a wide range of treatments over time. Autonomous Flight Autonomous Flight. Transformation Transformation. Random Voltage Random Voltage. Backyard Party Backyard Party.

Compressor The powerful Compressor features a fully scalable interface inspired by the look and feel of legendary studio favorites. Phat FX Add punch and presence to your bass, drums, synths, and guitar with this powerful multi-effect plug-in. Counterculture Counterculture. Binary Star Binary Star.

Mixtape Mixtape. Channel EQ Versatile, scalable multiband EQ includes eight bands: highpass, lowpass, low and high shelving filters, and four flexible parametric filters.

Piano Piano. Synth Riff Synth Riff. Ringshifter Ringshifter combines a ring modulator with a frequency shifter effect in a clear, compact interface. Dubstep Dubstep. Ringshifter Guitar Ringshifter Guitar. Tech House Tech House. Amp Designer Re-create legendary sounds and craft your own unique tones by mixing and matching 25 amp heads, five EQs, 10 reverbs, 25 speaker cabinets, and seven mics that you can position freely around the speaker cone.

Stadium Stack Stadium Stack. British Stack British Stack. Pawnshop Combo Pawnshop Combo. Studio Combo Studio Combo. Tube Burner Tube Burner. Octave Dr. Wham Wham. Bass Amp Designer Lay down an amazing bass track with dead-on models of three vintage and modern bass amps and cabinets. Classic Amp Classic Amp. Modern Amp Modern Amp. Sound Library 70GB of content provides a massive, rich sonic palette to help you realize your creative vision.

Deep Chords Deep Chords. Basic Pattern Basic Pattern. Short Plucky Short Plucky. Analog Lead Analog Lead. Modern Synths The library is filled with modern synth sounds created with powerful instrument plug-ins like Alchemy and Sculpture.

Parallel Universe Parallel Universe. Dark Currents Dark Currents. Gospel Organ Gospel Organ. Acoustic Instruments The library offers a wide selection of pristine, dynamic-sampled acoustic Patches, including pop and classical pianos, fretted instruments, world instruments, and sounds from every section of the orchestra.

Harp Harp. Woodwinds Woodwinds. Cinematic Add texture and color to your tracks with a wealth of ever-evolving and richly layered Patches.

Another Day Another Day. Transformative Effect Transformative Effect. Electro House Electro House. Chillwave Chillwave.

Hip Hop Hip Hop. Sound Packs Add more to your music compositions with an ever-expanding variety of themed sound packs containing loops, presets, patches, Drum Machine Designer kits, and Live Loops grids. Skyline Heat Skyline Heat. Prismatica Prismatica.

Transition Effects Transition Effects. Ultimate s New Ultimate s. Backlight Bounce New Backlight Bounce. New Producer Packs Ignite your creativity with a massive collection of instruments, loops, and samples — with newly added sounds created by some of the biggest producers in the world. Take a Daytrip Take a Daytrip. 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. Unique tones can be coaxed from a British head by running it at lower voltages than its designers intended. These heads can also sound good through small cabinets, or at clean, low-gain settings. The British Combos capture the brash, treble-rich sound associated with s British rock and pop. The sonic signature of these amps is characterized by their high-end response, yet they are rarely harsh-sounding due to a mellow distortion and smooth compression.

The tone is thicker, with stronger lows and milder highs than the other British Combos. Tip: You can often use higher Treble and Presence knob settings with the British Combos than with other amp types. If the British Blues Combo is too clean for your needs, combine it with the Pedalboard Hi Drive stompbox for an aggressive blues tone, or the Candy Fuzz stompbox for a heavy rock tone. The late s amplifier heads and combos that inspired the Sunshine models are loud and aggressive, with full mid frequencies.

The Stadium amps are famed for their ability to play at extremely high levels without dissolving into an indistinct distortion. They retain crisp treble and superb note definition, even at maximum gain settings. It is a good choice for powerful pop-rock chords. If the tone is too dark, use a high Treble knob setting to open up the sound.

It is brighter than the Sunshine Stack head and has tonal qualities similar to the s British Combo. A good choice if you need power and clarity. Tip: The Stadium amps can be slow to distort, so most famous users have paired them with aggressive fuzz pedals.

The Metal Stack models are inspired by the powerful, high gain amplifier heads favored by modern hard rock and metal musicians. Their signature tones range from heavy distortion to extremely heavy distortion. These models are ideal if you want powerful lows, harsh highs, and long sustain in your guitar tones.

A powerful high-gain amp that is ideal for heavy rock and metal. Use the Mids knob to set the right amount of scoop or boost. Although a powerful, high-gain amp, this model offers a smooth transition between gain settings and natural compression. That may not be entirely fair, as with a little perseverance, it is possible to coax some extremely usable sounds out of it.

In order to achieve a stereo signal chain for a mono guitar input, you’ll need to use a stereo channel with the Direction Mixer plug-in inserted first in the signal path. As a rule, amp modelling works well enough for clean sounds and also for heavily distorted, edgy rock sounds — it’s when you want something that falls in-between the two that you have to work a little harder. 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.