Amplitube 3.2.0 Ipad Manual(1) 3e6d3l

AmpliTube for iPad Manual

Introduction Thank you for purchasing AmpliTube for iPad. This manual will cover all the product features in detail. Please read it carefully to get maximum results. You can also have a quick tour by tapping the Help (?) button on the top-left of AmpliTube interface and immediately start rockin'.

AmpliTube® and iRig™ are trademarks or ed trademarks property of IK

Multimedia. All other product names and trademarks are property of their respective owners, which are in no way associated or d with IK Multimedia. Product names are used solely for the purpose of identifying the specific products that were studied during IK Multimedia's sound model development and for describing certain types of tones produced with IK Multimedia's digital modeling technology. Use of these names do not imply any cooperation or endorsement.

iRig Connections The iRig interface adapter is the easiest way to get your guitar/bass signal into your mobile device. You can also use the iRig with line level signal sources such as synthesizers, keyboards or mixers. Plus you can connect a microphone by adding a suitable Mic Preamp. The iRig is the ideal companion not only for the AmpliTube for iPad apps, but also works with any other recording, processing or tuning app. Read the instructions below carefully to correctly set up and operate AmpliTube iRig.

Quick Start

[fig 1.1] 1. AmpliTube FREE or Full app from the iTunes App Store. 2. Plug the iRig into the headphone jack of your iPad. 3. Choose how to listen to AmpliTube (Headphones or Speakers) in the message that pops up. 4. Plug your guitar or bass into the iRig's 1/4" jack. 5. Plug your headphones or external speakers into the iRig headphone mini-jack. DO NOT put your headphones on yet (see below on using iRig with headphones). Now you are ready to launch your AmpliTube app and start rocking!

Using iRig with headphones Choose Headphones after connecting your iRig to properly set AmpliTube for usage with headphones or earbuds. Follow carefully the instructions below in order to avoid s that may damage your hearing. IMPORTANT: DO NOT put your headphones on before taking the following steps: 1. Plug your iRig to your iPad.

2. Plug your headphones or earbuds into iRig. 3. Launch AmpliTube. 4. Lower the volume of your device by using the side volume buttons. 5. Put your headphones on. NEVER turn the "NO " option OFF in the AmpliTube app SETUP page when using headphones or earbuds to avoid possible . If you are listening to AmpliTube using earphones that include a microphone, please lower the volume to avoid possible . NEVER plug or unplug your headphones when AmpliTube is open and running. WARNING: Permanent hearing loss may occur if earbuds or headphones are used at high volume. You can adapt over time to a higher volume of sound, which may sound normal but can be damaging to your hearing. Set your device volume to a safe level before that happens. If you experience ringing in your ears, reduce the volume or discontinue use of earbuds or headphones with your device.

Using iRig with mixers, speakers or amplifiers Choose Speakers from the message that pops up after connecting your iRig to set AmpliTube for listening with mixers, speakers or amplifiers. iRig allows you to play without amps and cabinets, but if you prefer using the real ones you can do that easily as well: plug the iRig output directly into your amplifier input and by the AmpliTube amp+cab module. Now you can use your iPad as your effects pedalboard! IMPORTANT: To avoid ALWAYS use 1/8" stereo jack to 2 x RCA or 2 x 1/4"

MONO jack cables to connect to amplifiers, powered speakers or mixers. NEVER use STEREO headphone 1/8" to 1/4" adapters or splitters.

[fig 1.2]

Setup The SETUP section helps you to optimize AmpliTube settings in order to achieve the best sound possible. You can access the section by tapping on the SETUP button in the Global MENU. (To access the Global Menu tap the MENU button on the AmpliTube bottom bar).

[fig 2.1]

Active Input and Level At the top of the Setup you will find the indication of the currently active input (Built-in microphone or Headset microphone). The in/out level meters and controls are immediately below. To properly set your instrument input level increase the gain up to the point where the red LED starts blinking, then lower it a little bit to avoid clipping. The lower part of this section helps to check and trim the output level. To return to the default settings just double-tap on the faders.

Input Channel If you are using a multichannel interface, select the first or second input channel.

If you are using a multichannel interface, select the first or second input channel.

Built-in MIC This button lets you enable or disable the built-in Mic monitoring.

Latency Latency is a slight delay introduced by the processing. Set this to ULTRA-LOW if you experience too much delay between what you play and what you hear. Switch back to LOW if you hear clicks or pops while playing.

No Enable "No " to avoid "Larsen" effects (high pitched constant notes) when you're using headphones with high gain amplifiers or FX. Set this option to ON or OFF to permanently enable or disable it (consider that turning "No " ON when listening from the device built-in speaker will mute the sound).

Choosing AUTO the No option will be automatically turned ON when you connect headphones or the iRig, and turned OFF when listening from the device built-in speaker.

Important Notice: "No " is the default setting when using headphones. It is strongly recommended keeping it on when using headphones or earbuds; turning it off may result in a loud sound.

Recorder PreRoll To enhance and accommodate your way to record enable preroll to add 2 measures before recording start.

Retain Settings Enable this option to maintain last custom setting on each module. In case "Retain Settings" is OFF switching to another model within the same slot will reset the parameters of the previously selected model to the default values.

Auto Sleep Enable "Auto Sleep" to reduce battery consumption during long playing sessions. The device display will turn off after the "Auto-Lock" time has ed (set the "Auto-Lock" time in the General settings of your iPad). Disable "Auto Sleep" if you hear clicks and pops while playing.

Background Audio Enable this option if you want to hear AmpliTube's sound also when the app is running in

background.

MIDI Receive Channel Set the channel for AmpliTube to respond to incoming MIDI data via a hardware MIDI interface such as iRig MIDI.

Preset Up/Down and Tuner Set the MIDI Continuous Controllers to globally control Preset switching and Tuner on/off.

FTP Settings Tap the SETTINGS button to enter your FTP data.

SoundCloud Settings Tap the SETTINGS button to enter your SoundCloud data.

Tools Tuner The Tuner is at the top of the Tools section. It has a Tune display that shows the note name detected and a Tuning Bar to tune your instrument accurately.

To start tuning your guitar/bass, activate the Tuner by tapping on ON. Play one string at a time. The LED indicator shows the correct tuning in the center position.

Tap Mute to silence the guitar signal while tuning (a very useful feature for live performance). AmpliTube has also a mini Tuner Display in the bottom bar of its interface, which continues to

be visible even after exiting the Tools section, allowing you to quick check your tuning. Tapping directly on the mini Tuner display will turn ON/OFF your tuner.

[fig 3.1]

Metronome In the Tools section you will also find a Metronome. Tap the ON button to enable/disable the

Metronome. The current BPM (Beats per minute) is displayed in the field on the top-right of the

Metronome section. The Metronome LED bar allows you to change the metronome's tempo. Touch and drag to change the BPM value. Dragging the LED bar to the right will increase the value and vice versa. You can also set your tempo by TAPPING. To do that, touch the TAP button at least 4 times in sync with the material you try to match the tempo with.

If you need to fine adjust the tempo tap on the BPM value and a Scroll Wheel will appear, allowing you to increase/decrease the BPM by tenth.

Audio Demo The Audio Demo allows you to experiment with AmpliTube sounds when there is no guitar connected by playing pre-recorded audio demo files included in the app. Choose one of the 8 audio demo files by tapping on the Demo button on the right, and play it by tapping Play. When the Demo button is set on Auto, all the 8 audio demos will be played in sequence.

FX You can add up to four stompboxes in front of your amp. Just tap on the FX buttons on the top of the interface to display the FX menus and select the one you need. When you insert an effect for the first time, it will be disabled. To activate it simply tap the stompbox by switch. Now you are ready for tweaking! By tapping on each knob its current value will be displayed in the mini Tuner display that is located between the PRESET and TOOLS buttons on the bottom of the interface. To change any of the effect parameter touch the parameter knob and drag up/down. To return to the default settings just double-tap on the knobs. Let's see all the available effects!

Delay A model of a modern digital delay stomp box that allows up to one second of delay. Use this effect to add space and repetitions to your parts.

[fig 4.1] DELAY: changes the length of the delay between each echo, from 1 ms to 1000 ms. : changes the amount of time that the echo repeats, from 0 to 10.

LEVEL: sets the level of the effected (or wet) sound, from 0 to 10. BPM SYNC: allows the effect to synchronize to the BPM tempo set in the Tools section.

Reverb

A reverb pedal that adds space and shine to your parts with adjustable color and time.

[fig 4.2] SWELL: sets the length of the reverb, from 0 to 10.

TONE: sets the reverb coloration from dark to light, from 0 to 10.

LEVEL: adjusts the amount of wet sound with the dry sound, from 0 to 10.

Fuzz A model of a classic Fuzz box from the 60s, typically used on lead guitar, this effect has remained a popular distortion effect throughout the years.

[fig 4.3] VOLUME: sets the output volume of the stomp effect, from 0 to 10.

DRIVE: sets the fuzz sound by increasing or decreasing the amount of distortion, from 0 to 10.

Distortion A model of a classic distortion stomp box from the 80s, with "Character" control added to make it more versatile. Use this stomp box with a Clean or Crunch amplifier to create lead sounds for solos or powerful rhythm parts.

[fig 4.4] TONE: controls the timbre of the distortion pedal

CHARACTER: sets the type of distortion. GAIN: sets the amount of signal sent to the effect, therefore the distortion. Useful when creating heavily distorted sounds, from 0 to 10.

LEVEL: sets the output level of the pedal, from 0 to 10.

Overdrive A model of a classic overdrive Stomp box. Especially useful to add more drive and sustain to your solos or rhythms parts when using a clean or moderate gain lead amplifier.

[fig 4.5] LEVEL: controls the Overdrive pedal output level. It does not alter the timbre of the distortion,

unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume. DRIVE: controls the amount of overdrive the pedal gives. TONE: controls the timbre of the overdrive pedal.

Compressor A model of a classic analog compressor that can beautifully sustain your sound making it bigger and punchy.

[fig 4.6] OUTPUT: sets the output level for the effect, from 0 to 10.

SENSITIVITY: sets the sensitivity of the compression, from 0 to 10.

Limiter A digital limiter that will make your tone louder keeping it as clean as possible.

[fig 4.7] LIMIT: adjusts the pre-level of the limiting stage. This is the level of the signal injected into the limiter (from -15dB to 15dB) and will deter-mine the quantity of saturation applied to the audio. OUT: sets the output level of the limiter, form -15dB to 0dB.

Parametric EQ A model of an analog one-band parametric EQ that you can use to adjust your tone with great precision.

[fig 4.8] GAIN: adjusts the boost or cut of the parametric EQ, from -15 dB to +15 dB.

FREQ: changes the center frequency of the bass parametric EQ, from 20 Hz to 20 kHz. Q: sets the bandwidth of the bass parametric EQ, from 0.1 (very wide) to 8.0 (very narrow). OUT LEVEL: sets the output level of the effect, from -15 dB to +15 dB.

Six Band Graphic Equalizer A model of a six band graphic equalizer useful to shape your tone with nice visual .

[fig 4.9]

100, 300, 800, 1.6k, 3.2k, 6.4kHz: Each band has +/- 15 dB boost. Double tap on the stomp to reset all the sliders. Create the EQ curve drawing it with your finger on the sliders. GAIN: sets the output level of the pedal, from -15 to +15.

Wah Based on a classic Wah unit from the 60s. Move its pedal to create a funky and catchy sweep effect used on countless hits since 40 years. Very useful on rock solos to add expression to the notes and bends.

[fig 4.10] OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto. The auto function allows it to be used easily without an external controller. TILT: choose Tilt to control the Wah with the accelerometer! When your device is positioned horizontally the Wah will reach its maximum value. WAH: this directly controls the Wah effect, from 0 to 10.

Envelope Filter This is the signature funk sound. Effective on both guitar and bass it applies a timbre filtering on your parts that automatically follows what you're playing. The filter moves higher when you play hard, to emphasize your rhythm parts.

[fig 4.11] CUTOFF: sets the cutoff frequency of the filter, from 100 Hz to 3,500 Hz. RES: sets the resonance of the filter, from 0 to 10.

DEPTH: changes the amount of effect that the envelope has on the filter, from 0 to 10.

Chorus Based on a typical digital chorus with great control and flexibility. Use this stomp box with clean amplifiers to add shimmer and moving modulation to arpeggios or chords. Use it on crunch amplifiers to add color to a distorted rhythm part.

[fig 4.12]

RATE: sets the rate of the chorus effect, from 0 to 10. DEPTH: sets the intensity of the chorus effect, from 0 to 10.

LEVEL: sets the input level of the stomp effect, ranges from 0 to 10.

Flanger Based on a digital flanger stomp box. This effect generates jet-like modulation effects. Use with clean amps to reproduce a slow modulation to move your parts, increase the control to get more jet-like effect. Use with lead amplifiers to get that 80s hard rock tone!

[fig 4.13] RATE: sets the rate of the Flanger effect, from 0 to 10.

DEPTH: sets the intensity of the Flanger, from 0 to 10. : sets a delay for the Flanger to take effect, from 0 to 10.

LEVEL: sets the input level of the stomp box, ranges from 0 to 10. BPM SYNC: allows the effect to synchronize to the BPM tempo set in the Tools section.

Phazer A model of a classic Phaser stomp box. This unit adds a shimmer to your solos and generate a smooth, watery modulation effect while playing chords and muted strumming. Use it with lead amplifiers to instantly get vintage hard rock!

[fig 4.14] SPEED: controls the phase LFO rate.

BPM SYNC: allows the effect to synchronize to the BPM tempo set in the Tools section.

Octave Especially useful on bass, this stomp synthesizes an additional note that is one octave lower with respect to what you're playing. Add it to your bass parts to make them sound more synth-like.

[fig 4.15] OCTAVE: sets the output level of the octave effect, from 0 to 10.

DIRECT: sets the output level of the direct signal, from 0 to 10.

Noise Filter This Stomp allows you to reduce any unwanted background noise that is coming from the input or from the instrument. Extremely useful on high gain rock and metal sounds where the input noise can become too high in certain cases. Use it by inserting it in the first position of your stompboxes chain. Avoid positioning it after distortion effects.

[fig 4.16] DEPTH: sets the amount of noise that is removed. Increase it to cut more noise, decrease it to have a gentler intervention.

T-Rex® Møller The T-Rex Møller is a unique overdrive pedal that creates a wide variety overdriven tones with flexible tonal control along with a separate transparent 0-20 db adjustable and switchable clean boost and a special option to mix overdriven and clean signals. The Møller was developed in 2003 for a well known Danish guitarist named Knud Møller who wanted a tube screamer but with an added clean boost. T-Rex made the custom pedal based on the Alberta and subsequently named the Møller pedal after the guitarist.

[fig 4.17] Controls: TONE: changes the color of the overdrive. LEVEL: adjusts the output volume.

GAIN: controls the amount of overdrive. BOOST (knob): cleanly boosts the output of the pedal from 1 to 20 dB independent of the overdrive circuit. Used for increasing your volume for soloing. MIX: mixes the balance between the overdriven signal and clean signal. ON/OFF: optimizes for humbucker or single coil pickups. VOICE: changes the color of the overdrive. BOOST (switch): turns the clean boost on and off.

Metal Distortion This effect is modeled after a classic from the ‘80s. It delivers deep, distorted crunch perfect for heavy metal and hard rock. Long discontinued, this is a rare vintage find that delivers deep, dark crunch from the ‘70s, ‘80s, and beyond.

[fig 4.18] Controls: LEVEL: controls the distortion pedal output level. It does not alter the timbre of the distortion,

unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume. DIST: controls the amount of distortion the pedal gives. COLOR L: controls the amount of bass tones on the sound. COLOR H: controls the amount of high tones on the sound.

BigPig This effect is modeled after an iconic distortion pedal that has stood the test of time. Capable of tones from smooth sustain & compression to heavy buzz-saw distortion, this pedal is perfect for all different styles of metal.

[fig 4.19] Controls: VOLUME: controls the Distortion pedal output level. It does not alter the timbre of the distortion, unless another distorting device follow, like another distortion pedal or an amplifier at high gain or volume. SUSTAIN: controls the amount of distortion the pedal gives. TONE: controls the timbre of the distortion pedal.

Fuzz Age This effect is modeled after a classic germanium transistor fuzz stomp effect. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years.

[fig 4.20] Controls: VOL: sets the output volume of the stomp effect, from –inf. to 0.0 dB. FUZZ: sets the fuzz level of the effect, from 0 to 10.

Octa-V This effect was first used on “Purple Haze” and “Fire.” It is a fuzz box with frequency-doubling circuitry that produces a second note an octave above the fundamental note.

[fig 4.21]

Controls: VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB. DRIVE: sets the amount of distortion the unit will produce, from 0 to 10. The higher octave can be more distinct for medium positions of this control.

Uni-V This effect is based on an original optical phaser/chorus. This was a chorus/rotating-speaker simulator that was introduced in 1969 and used predominantly in live performances. This created a swirling effect quite similar to the most famous rotary speaker cabinet but with the addition of speed control. This effect was employed on tracks such as “Hey Baby (The Land of the New Rising Sun),” “Earth Blues,” and “Machine Gun”.

[fig 4.22] Controls: VOLUME: sets the output volume of the stomp effect, from –inf to 0.0 dB.

INTENSITY: sets the depth of the modulation, from 0 to 10. The sound is affected even when the Intensity knob is set to zero. RATE: sets the rate of the Chorus/Vibrato effect from 0 to 10. The LFO rate is going from approx 1 Hz to approx 8 Hz.

CHORUS/VIBRATO SWITCH: selects the Chorus of Vibrato effect. Default: Chorus.

Wah 46 This effect is based on the most famous Wah-Wah model used by Jimi Hendrix, which became his signature sound in masterpiece tunes like “Voodoo Child.” The original model is considered to be one of the best sounding Wah-Wahs of all time.

[fig 4.23] Controls: OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto. The auto function allows it to be used easily without an external controller. TILT: choose Tilt to control the Wah with the accelerometer! When your device is positioned horizontally the Wah will reach its maximum value.

WAH: this directly controls the Wah effect, from 0 to 10.

Gate Based on MXR® Smart Gate®

The gate stomp box used by Slash. It gates out noise slowly when notes are being held and quickly when they are stopped short. Three filter cut-off points are available: Hiss, Mid, or Full Band.

[fig 4.24] LEVEL: varies the sensitivity of the gate's threshold, allowing it to be adjustable to any input source. from 0 to 10.

Three filter cut-off points are available: Hiss, Mid, or Full Band: HISS: The Hiss noise band cut works well with instruments and input sources that have high frequency boost. MID: The Mid noise band cut is effective on instruments with high gain midrange frequency boost.

FULL: The Full Band noise cut is most effective in quieting input sources with low-end hum and buzz problems.

Booster Based on MXR® CAE MC401Boost/Line Driver

The booster stomp box used by Slash. It boosts your signal up to 20 dB. It's perfect for solos, punchy rhythm parts or to drive effects harder for more dynamics and sensitivity.

[fig 4.25] dB: boosts the signal from 0 to 20 dB.

OctoBlue Based on MXR® Blue Box™ Octave Fuzz

The Fuzz/Octave stomp box used by Slash. Adds fuzz to your signal and then duplicates it two octaves down. This is one of the most evil and vicious pedals!

[fig 4.26] OUTPUT: sets the output volume of the stomp effect, from 0 to 10.

BLEND: adjusts ratio of fuzzed signal with Octaved signal, from 0 to 10.

WahDist Based on Dunlop Slash Signature Wah SW95. The wah pedal with integrated distortion used by Slash. One of the most classic wahs combined with powerful high gain distortion. Very useful on rock solos to add expression and bending.

[fig 4.27] OFF/ON/AUTO: sets the mode of the Wah effect, Off, On, or Auto. The auto function allows it to be used easily without an external controller.

TILT: choose Tilt to control the Wah with the accelerometer! When your device is positioned horizontally the Wah will reach its maximum value. WAH: this directly controls the Wah effect, from 0 to 10. ON DIST: enables the distortion.

GAIN: adjusts the input gain. Use this setting to drive the preamp stage, from 1 to 10. VOLUME: adjusts the output level, from 1 to 10.

X-Chorus X-Chorus Based on MXR® M134 The chorus stomp box used by Slash offering great control and flexibility. Used in one of the most famous song in the history of Rock: Paradise City. Use this stomp box with Clean/Crunch settings to add shimmer and moving modulation to arpeggios or chords.

[fig 4.28] INTENSITY: sets overall chorus effect, from 0 to 10. WIDTH: sets the amplitude of the modulation from light to deep, from 0 to 10.

RATE: sets the speed of the modulation from slow shimmering to watery, from 0 to 10. BASS: adjusts the bass frequencies of the chorus voice , from 0 to 10.

TREBLE: adjusts the high frequencies of the chorus voice, from 0 to 10.

/Delay Based on BOSS® DD-3 The digital delay stomp box used by Slash. Based on one of the most famous modern digital delays. Use this effect to add space and repetitions to your parts.

[fig 4.29] LEVEL: sets the level of the effected (or wet) sound, from 0 to 10.

DELAY: changes the length of the delay between each echo, from 1ms to 800ms. : changes the amount of time that the echo repeats, from 0 to 10.

BPM SYNC: allows the effect to synchronize to the BPM tempo set in the Recorder Section.

Tape Echo A classic tape echo simulation, as seen in the Fender® Cyber-Twin®. The warmth and wobble of magnetic tape lent a wonderful ambience to the echo effects used on recordings of the last 50 years.

[fig 4.30] ECHO LEVEL: controls the amount of the echo effect, from 0 to 10. TIME: controls the length of the echo effect, from 1ms to 1000ms. When BPM Sync is turned on, time is displayed from a 1/32 to 1/2d ratio.

: controls the amount of repeats of the echo effect, from 0 to 10.

WOW & FLUTTER: controls the amount of pitch drift/variation of the echo effect, to emulate tape playback, from 0 to 10. BRIGHTNESS: controls the amount of high-end of the treble, from 0 to 10. WOW & FLUTTER: syncs the effect to the Metronome’s BPM.

Fender® Overdrive Add more drive and sustain to your solos or rhythm parts when using a clean or moderate gain lead amplifier.

[fig 4.31] TONE: controls the timbre of the overdrive pedal.

DIST: controls the amount of overdrive the pedal gives.

LEVEL: controls the Overdrive pedal output level. It does not alter the timbre of the distortion,

unless another distorting device follows, like another distortion pedal or an amplifier at high gain or volume.

Blender™ A unique germanium fuzz/distortion pedal. With a tone unlike any distortion pedal on the market, the Blender™ is capable of a harsh fuzz effect, great as a tool for Psychedelic and Alternative Rock.

[fig 4.32] VOLUME: controls the overall output volume of the effect.

SUSTAIN: adds sustain and distortion to the input signal, from 0 to 10. TONE: shifts the tonal balance from low to high frequencies, from 0 (low) to 10 (high). BLEND: controls the mix of the original to the effected signal, from 0 to 10. TONE BOOST: adds range to the tone control.

Compressor Now get the Fender® Cyber-Twin® inspired compressor in a stomp box. Increase your signal gain before it hits other effects and amplifier, or use it elsewhere in your pedalboard chain to create dramatic "attack" effects.

[fig 4.33] TYPE: sets the overall level of compression, from "Low" to "Even Higher".

Phaser A Classic analog Phase shift effect as heard on countless recordings since the 1970s. The rate control knob alternately illuminates blue and red at the same rate as the phase shifting.

[fig 4.34] RATE KNOB: controls the rate at which the phase shift occurs. The rate control knob alternately illuminates blue and red at the same rate as the phase shifting.

INTENSITY: this knob adjusts the intensity of the phasing effect.

FREQUENCY: this knob adjusts what frequencies are affected by the phasing action.

Pitch Fix Pitch Fix is powerful pitch correction effect with a straightforward and easy-to-use interface. You can save time in the by fixing intonation errors on the fly. Experimenting with creative and radical combinations of its settings can create amazing results. Pitch Fix quantizes (tunes) the pitch of the incoming signal. Use this effect to make your singing more in tune or as a hard – quantized pitch effect for modern pop productions. You can select the musical key in which to more accurately correct the pitch for a specific song, or you can select “Chromatic” to correct the pitch in a more general way with all 12 notes as an available option. If you are not sure of the key of your song, choose the Chromatic option.

[fig 4.35] Correction Strip: the correction is displayed from the note detected to show the amount of correction / quantization applied by the effect. MODE: Soft: Slow retune. This setting makes the correction slowly which makes it less noticeable. Retune speed is 0.8 seconds. Medium: Classic Retune. This setting is the best compromise between pitch correction and natural sound. Retune speed is 150 milliseconds. Hard: Typical retune "effect". This setting produce the typical hard pitch correction FX used on many modern R&B vocals.

Retunes speed is 10 milliseconds.

SCALE:Choose from Chromatic, Major, Minor, Dorian, Phrygian, Lydian or Mixolydian scales. KEY:Select the key from C, C#, D, D#, E, F, F#, G, G#, A, A#, B.

Note that songs are generally performed in a specific “key” and use a particular “scale”. In order for the Pitch Fix effect to correct your tuning in the best possible way, always be sure to set the SCALE and KEY parameters to match the scale and key of the song you are singing. Please see the section entitled “About Musical Scales and Keys” at the end of the Favorites and Presets chapter of this manual for more information on the musical theory behind the SCALE and KEY parameters.

Choir The Choir effect can generate up to three distinct harmonization voices to enrich and expand your vocal presence. Use it to create basic harmonies, enchanting choirs or incredible sci-fi effects. The harmonizer has 3 separate intervals for pitch shifting or doubling.

[fig 4.36] SELECT: chooses the intervals of harmonization to add using the up / down arrows. Select voice 1, 2 or 3 and then tap the arrows to move the shift interval up or down for each voice. You may also choose unison (“Uni”) for a “doubling” effect effect to create the sound of two voices singing the same note together. The intervals are expressed as degrees of harmonization from the source note you sing and will be matched to the scale you choose. For example, 3rdˆ means that the Choir effect will generate a 3rd above the input signal. 4thˇ means that the Choir effect will generate a 4th below the input signal. So with the above settings, if the KEY is set to C and the SCALE is set to Major, if you sing a C note, the Choir effect will generate an E above your note

and a G below it. If you sing an A note, the Choir effect will generate a C above your note and an E below it. If you sing a D note, the Choir effect will generate an F note above your note and an A below it. Please see the section entitled “About Music Keys and Scales” at the end of the Favorites and Presets chapter of this manual for more information. VOLUME: controls the volume of the individual voices (1, 2 or 3) of the harmonizer. PAN: controls the panning of the individual voices of the harmonizer. DRY / WET: adjusts the mix of the unprocessed and processed signal

SCALE: controls the type of scale for the overall effect so that the intervals generated in the SELECT parameter match the key of the song you are performing. Choose from Chromatic, Major, Minor, Dorian, Phrygian, Lydian or Mixolydian scales. KEY: controls the key for overall effect. Select the key from C, C#, D, D#, E, F, F#, G, G#, A, A#, B.

Note that songs are generally performed in a specific “key” and use a particular “scale”. In order for the Pitch Fix effect to correct your tuning in the best possible way, always be sure to set the SCALE and KEY parameters to match the scale and key of the song you are singing. Please see the section entitled “About Musical Scales and Keys” at the end of the Favorites and Presets chapter of this manual for more information on the musical theory behind the SCALE and KEY parameters.

Double The Double adds the effect of two voices singing together from a single source. This effect lets you quickly recreate studio doubled sounds during a single live performance. You can thicken your voice, make it more intimate or create detuned effects by adjusting the various controls.

[fig 4.37]

MODE: Group: Activates all the three interval voices at the same time Lower: Adds an octave down interval Unison: Adds an interval detuned by - 0.5 cents Higher:Adds an octave up interval VOLUME: level of the doubled signal PAN: adjusts spatial position of the doubled signal

DRY / WET: adjusts the mix of unprocessed and processed signal DELAY: delays the doubled signal from 0ms to 50ms

Morph The Morph effect independently changes the format and / or the pitch of the incoming signal using an X-Y axis. Formant shifting changes the tonal quality of the voice from subtle deepening to radical gender bending without changing the pitch. Pitch shifting changes the actual pitch of incoming signal to allow you to extend your range higher or lower. Morph is an inspiring tool that gives you the opportunity to explore unique vocal sounds. Modify your voice in a subtle, realistic way or take it beyond the limits of the reality.

[fig 4.38] TARGET CIRCLE: touch and drag to adjust both the format and pitch X: select X to adjust only the formant with the blue slider on the right Y: select Y to adjust only the pitch with the blue slider on the right

De-Esser

The De-Esser effect removes sibilance from vocals by employing a narrow band compressor tuned to specific frequencies in which sibilance appears. You can remove unwanted sibilance from your voice to add extra polish to your performances and recordings. The De-Esser can also be used to reduce string noise from an acoustic guitar, breath noise from flutes or to 'smooth' a mix.

[fig 4.39] DE-ESSING STRIP: displays the amount of attenuation of sibilant frequencies

MODE: a continuous controller from 0% Soft (-5dB Threshold), to 50% Medium (-22dB Threshold), to 100% Hard (-50dB Threshold). TYPE: toggles the center frequency of the effect between Male (5 kHz) and Female (7 KHz) OUTPUT: boosts the signal to compensate for volume loss from the de-essing effect

Wharmonator Based on DigiTech Whammy™ note: This model is available for iRig HD s only This effect is modeled after one of the most extreme effects of all time. From classic shred to the most aggressive modern metal, this effect is an essential part of any extreme guitar rig.

[fig 4.40] BEND - HARM: sets the Wharmonator operating mode.Bend mode only gives the pitched signal, useful to create great bending effects. Harm mode mode gives both original and pitched signal mixed together, useful to create harmonies. HARM knob: sets the harmonic interval range you can span with the action of the pedal. BEND knob: sets the bending range you can span with the action of the pedal. MAIN PEDAL: this directly controls the Wah effect, from 0 to 10.

OFF/ON/TILT: sets the mode of the Wah effect, Off, On, or Tilt. Choose Tilt to control the Wharmonator with the accelerometer! When your device is positioned horizontally the Wharmonator will reach its maximum value.

X-Flanger Based on MXR® Flanger 117 note: This model is available for iRig HD s only This effect is modeled after one of the best and most musical modulation effects ever. A classic association with an iconic ‘80s guitarist made prices erupts and flooded the market with reissues. Still, no flanger is more recognizable, making this perfect for hard-rock and metal tone.

[fig 4.41] MANUAL: sets the timbre of the flanging effect.

WIDTH: sets the amount of modulation the LFO will apply to the flanging effect. If Width is zero, you’ll get a “static” flanging effect.

SPEED: controls the amount of high tones on the sound. REGEN: sets the amount of the internal flanger effect will have

Amp To change your amp tap on the AMP button on the bottom-left of the interface and choose the

one you need in the menu that appears. Choose your cabinet by tapping on the CAB button, right next to the AMP button. You can insert the Cabinets also by tapping on the cab picture icon. Tapping on the microphone picture will change the mic model. Tap on the amp ON/OFF switch to turn off the whole amp section (amp+cab+mic). To change any of the amp parameter touch the parameter knob and drag up/down. To return to the default settings just double-tap on the knobs. And now let's have a quick tour of all the models in the AMP section.

Clean Amp: Clean Based on Fender® blackface Deluxe Reverb® This classic American amp has been used on countless recordings due to its pure tone, great Reverb and Tremolo, and amazing versatility.

[fig 5.1] Volume: adjusts the output level of the power amp, from 0 to 10.

Bass: adjusts the bass frequencies of the amp's EQ stage, from 0 to 10.

MID: adjusts the mid frequencies of the amp's EQ stage, from 0 to 10. TREBLE: adjusts the high frequencies of the amp's EQ stage, from 0 to 10. PRESENCE: boosts the high frequencies of the EQ stage, from 0 to 10. REVERB: controls the amount of Reverb, from 0 to 10.

RATE: controls the speed of the Tremolo effect, from 0 to 10. DEPTH: adjusts the depth of the Tremolo effect, from 0 to 10. Cab: 1x12"

Based on Fender® blackface Deluxe Reverb® Cabinet

Crunch Amp: Crunch Based on Vox® AC30™ This legendary British amp from the 60's can go from clean to crunchy, and has been at the foundation of modern rock.

[fig 5.2] VOLUME: adjusts the output level of the power amp stage, from 0 to 10.

BASS: boosts and cuts the bass frequencies of the amp's EQ stage, from 0 to 10. TREBLE: boosts and cuts the high frequencies of the amp's EQ stage, from 0 to 10.

TONE: sets the overall brightness of the amp. When set to Max the amp is bright, when set to Min the amp is mellower.

REVERB: sets the level of reverb added to the guitar amp sound, from 0 to 10. Cab: 2x12" Based on Vox® AC30™ Cabinet

Lead Amp: Lead Based on Marshall® JCM800 This classic British guitar amp is the go to amp for a variety of rock and heavy rock guitar sounds.

[fig 5.3] GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. BASS: boosts and cuts the bass frequencies of the amp's EQ stage, from 0 to 10. MID: boosts and cuts the mid frequencies of the amp's EQ stage, from 0 to 10.

TREBLE: boosts and cuts the high frequencies of the amp's EQ stage, from 0 to 10. PRESENCE: boosts the high frequencies of the EQ stage, from 0 to 10. REVERB: sets the level of reverb added to the guitar amp sound, from 0 to 10. VOLUME: adjusts the output level of the power amp stage, from 0 to 10. Cab: 4x12"A Based on Marshall® 4x12" Cabinet with "Greenback" speakers

Metal Amp: Metal Based on Mesa/Boogie® Triple Rectifier® (Lead Channel) An amp that can deliver from hard, driven rock tones to high-gain thrash, and aggressive metal styles. This is the signature tone for modern nu metal and crossover styles.

[fig 5.4] GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10.

BASS: boosts and cuts the bass frequencies of the amp's EQ stage, from 0 to 10.

MID: boosts and cuts the mid frequencies of the amp's EQ stage, from 0 to 10. TREBLE: boosts and cuts the high frequencies of the amp's EQ stage, from 0 to 10. PRESENCE: boosts the high frequencies of the EQ stage, from 0 to 10.

REVERB: sets the level of reverb added to the guitar amp sound, from 0 to 10. VOLUME: adjusts the output level of the power amp stage, from 0 to 10. Cab: 4x12"B Based on Mesa/Boogie® 4x12" Rectifier® Cabinet

Bass Amp: Bass Based on Ampeg® SVT classic bass head This is the bass head that is a trademark for the rock bass sound.

[fig 5.5] GAIN: controls the gain of the head preamp, from 0 to 10. BASS: boosts and cuts the low frequencies of the amp's EQ stage, from 0 to 10. MID: boosts and cuts middle frequencies of the amp's EQ stage, from 0 to 10. FREQUENCY: selects the center frequency for the Midrange control.

TREBLE: boosts and cuts high frequencies of the amp's EQ stage, from 0 to 10. VOLUME: controls the volume of the power amp stage, from 0 to 10. Cab: 1x15" Based on Ampeg B15R™ 1x15" Cabinet

Soldano SLO-100 Officially Certified Soldano SLO-100 Model The Soldano SLO-100 (Super Lead Overdrive) is true icon of high-gain tube distortion tone. The design has remained constant for over 20 years, and it is a hallmark of quality and design. It is often regarded as the finest guitar amp in the world. With the SLO-100 you have separate preamp

and master volume controls along with three bands of equalization and a presence control. The SLO-100 uses the finest military grade components and custom designed transformers to put the industry’s finest high-gain guitar tone right in your hands.

[fig 5.6] Controls: NORMAL PREAMP: adjusts the input gain of the Normal channel preamp stage from 1 to 11.

OVERDRIVE PREAMP: adjusts the input gain of the Overdrive channel preamp stage from 1 to 10. BASS: boosts and cuts the bass frequencies of the amp’s EQ stage from 1 to 11.

MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage from 1 to 11.

TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage from 1 to 11. NORMAL MASTER: adjusts the final output level of the Normal channel to the power amp stage from 1 to 11.

OVERDRIVE MASTER: adjusts the final output level of the Overdrive channel to the power amp stage from 1 to 11. PRESENCE: boosts high frequencies for both preamp channels.

BRIGHT-NORMAL: the Bright Switch offers sparkling highs to the Normal channel adding to its versatility. CRUNCH-CLEAN: when set to clean, the gain is cut, providing full, clean, undistorted warmth, which is incredibly responsive and alive. When switched to crunch, the Normal channel responds with higher gain and a tough, metal edged crunch. DRIVE-NORMAL: switches between the overdrive and normal channels. Cab: 4x12"B

Based on Mesa/Boogie® 4x12” Rectifier® Cabinet

AMPEG B-15R Officially Certified Ampeg® B-15R® Portaflex “Flip Top” Model This is the 1960’s classic bass amplifier, enhanced and improved for the actual musical scenario. This all-tube model limited production features the Ampeg “classic” tube preamp combined with a selectable tube 60W/100W power amplifier. This option gives you the most sought-after vintage

bass sound ever. In addition, if you want to get that unmistakable 60s tone; match it with the 1x15”B cabinet.

[fig 5.7] Controls: GAIN: controls the gain of the B-15R preamp from 1 to 10. BASS: boost and cuts the low frequencies of the amp’s EQ stage from 1 to 10. MID: boost and cuts the mid frequencies of the amp’s EQ stage from 1 to 10.

FREQUENCY: selects the frequency band controlled by MID knob. Intervention centerfrequencies are: 200, 400, 900, 1.5k or 2.5kHz. TREBLE: boost and cuts the high frequencies of the amp’s EQ stage from 1 to 10. MASTER: controls the volume of the power amp stage.

ULTRA HI/LO: these two switches control the timbre shaping of the B-15R preamp. 60W / 100W SWITCH: sets the power of the power amp stage. The virtual tubes visually represent the master value.

Cab: 1x15”B Officially Certified Ampeg® B-15R® Portaflex “Flip Top” Cab Model

JH Gold This amp is modeled on the Classic British 100 watt amp Jimi Hendrix is generally associated with. Jimi Hendrix often used multiple amp heads (up to 6) looping them together to get more power.

[fig 5.8] Controls: NORMAL / HIGH TREBLE SWITCH: Selects NORMAL or HIGH TREBLE Channel. PRESENCE: boost the high frequencies of the EQ stage, from 0 to 10. BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 0 to 10.

MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 0 to 10.

TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 0 to 10.

LOUDNESS 1 - HIGH TREBLE: adjusts the input gain of the HIGH TREBLE Channel. Use this setting to drive the preamp stage, from 0 to 10. LOUDNESS 2 - NORMAL: adjusts the input gain of the NORMAL Channel. Use this setting to drive the preamp stage, from 1 to 10.

JH Dual Jimi Hendrix acquired this 100 watt amp in 1968 and used it in 1968-1969 with the Experience tour, together with an assortment of other amps. The amp sported a built-in spring reverb unit and tremolo.

[fig 5.9] Controls: BRIGHT SWITCH: Enables the BRIGHT Channel.

VOLUME: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10.

TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10.

REVERB: sets the level of spring reverb added to the guitar amp sound, from 1 to 10. SPEED: sets the speed of the Tremolo effect.

INTENSITY: sets the intensity of the Tremolo effect.

JCM Slash Officially Certified Slash-Marshall® JCM SLASH 2555SL

The Marshall JCM Slash was designed to the specs of Slash's original 1987 Marshall Silver Jubilee 2555 amplifier. It was the first amplifier built by Marshall as a signature model.

[fig 5.10] GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10.

BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 0 to 10. MID: boosts and cuts the mid frequencies of the amp’s EQ stage, from 0 to 10..

TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 0 to 10. PRESENCE: boosts the high frequencies of the EQ stage, from 0 to 10.

LEAD MASTER: adjusts the output level of the Lead Channel, from 0 to 10.

MASTER: adjusts the overall output level of the power amp stage, from 0 to 10. LEAD CH, SWITCH: enables the Lead Channel. Cab: 4x12"S Based on Marshall 1960BV 4x12" with Vintage 30 drivers.

AFD 100 Officially Certified Slash-Marshall® AFD100

The most aggressive amp head used by Slash. A dual mode amplifier that revisits the legendary tones of one of the most important rock albums of the last three decades: "Appetite for Destruction".

[fig 5.11] GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 0 to 10.

MID: boosts and cuts the mid frequencies of the amp’s EQ stage, from 0 to 10. TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 0 to 10. PRESENCE: boosts the high frequencies of the EQ stage, from 0 to 10.

MASTER: adjusts the overall output level of the power amp stage, from 0 to 10. LEAD CH, SWITCH: enables the Lead Channel. Cab: 4x12"S Based on Marshall 1960BV 4x12" with Vintage 30 drivers.

’65 Twin Amp: ’65 Twin Based on Fender® ’65 Twin Reverb® One of the most distinctive amps of all time. It delivers a shimmering, pure clean tone that is perfect for any style of music, yet it will bark when turned up to arena volume.

[fig 5.12] BRIGHT: provides a high-frequency presence boost.

VOLUME: adjusts the output level of the power amp, from 1 to 10.

TREBLE: adjusts the high frequencies of the amp’s EQ stage, from 1 to 10.

MIDDLE: adjusts the mid frequencies of the amp’s EQ stage, from 1 to 10. BASS: adjusts the bass frequencies of the amp’s EQ stage, from 1 to 10. REVERB: controls the amount of Reverb, from 1 to 10.

SPEED: controls the speed of the Vibrato effect, from 1 to 10. INTENSITY: controls the intensity of the Vibrato effect, from 1 to 10. Cab: 2x12"A Based on Fender® ’65 Twin Reverb® Cabinet

’59 Bassman Amp: ’59 Bassman Based on Fender™ ’59 Bassman® Originally conceived in the 1950s to amplify the newly invented Fender™ Precision Bass® guitar, it was quickly adopted by guitarists who found that it was able to provide shimmering clean tones and a cranked up "“crunch" tone that lent itself perfectly to Rock and Roll.

[fig 5.13] PRESENCE: boosts the high frequencies of the EQ stage, from 1 to 12. MIDDLE: adjusts the mid frequencies of the amp’s EQ stage, from 1 to 12. BASS: adjusts the bass frequencies of the amp’s EQ stage, from 1 to 12.

TREBLE: adjusts the high frequencies of the amp’s EQ stage, from 1 to 12.

VOLUME: adjusts the output level of the Bassman®’s power amp stage, from 1 to 12. Cab: 4x10" Based on Fender™ ’59 Bassman® Cabinet

Super-Sonic Amp: Super-Sonic Based on Fender™ Super-Sonic™ A marriage of classic Fender™ tone and modern versatility, perfect for everything from vintage clean tones to 70’s-style Classic Rock crunch to modern Metal and Punk.

[fig 5.14] GAIN 1: adjusts the input gain of the first set of preamp stages, from 0 to 10.

GAIN 2: adjusts the input gain of the second set of preamp stages, from 0 to 10. TREBLE: adjusts the high frequencies of the amp’s EQ stage, from 0 to 10. BASS: adjusts the bass frequencies of the amp’s EQ stage, from 0 to 10.

MIDDLE: adjusts the mid frequencies of the amp’s EQ stage, from 0 to 10. VOLUME: adjusts the output level of the power amp stage, from 0 to 10. REVERB: controls the amount of Reverb, from 0 to 10. Cab: 2x12"B Based on Fender™ Super-Sonic™ Cabinet

Deluxe Reverb Amp: Deluxe Reverb Based on Fender™ ’65 Deluxe Reverb® A true classic that delivers classic Country and Rock tones, from Nashville to Liverpool. The Deluxe Reverb® has a bright, punchy attack that is perfect for finger-picking, Garage-Rock...just about anything.

[fig 5.15] VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

TREBLE: adjusts the high frequencies of the amp’s EQ stage, from 1 to 10.

BASS: adjusts the bass frequencies of the amp’s EQ stage, from 1 to 10. REVERB: controls the amount of Reverb, from 1 to 10.

SPEED: controls the speed of the Vibrato effect, from 1 to 10.

INTENSITY: controls the intensity of the Vibrato effect, from 1 to 10. Cab: 1x12" A Based on Fender™ Deluxe Reverb® Cabinet

Pro Junior Amp: Pro Junior Based on Fender™ Pro Junior™ The Pro Junior™, with its single volume and tone controls, is a unique marriage of classic Fender™ tone at low volumes and angry bite when cranked. This amp is excellent at achieving touch-sensitive overdriven studio tones.

[fig 5.16] TONE: shifts the tonal balance from low to high frequencies, from 1 (low) to 12 (high). VOLUME: adjusts the output level of the Pro Junior’s power amp stage, from 1 to 12. Cab: 1x10" Based on Fender™ Pro Junior™ Cabinet

Metal 150 based on: Peavey® 5150™ head note: This model is available for iRig HD s only Engineered to the exacting demands of some of the greatest guitarists of all time, this amp quickly became a favorite of tone purists and gain heads alike. Capable of some of the cleanest – or the heaviest – tones of all time.

[fig 5.17] GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10.

MIDDLE: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10.

TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. BOTTOM: use this knob to enhance the speaker bottom end resonance. VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

Metal W Based on Randall® Warhead 300™ note: This model is available for iRig HD s only Designed by some of the hardest rockers of the ‘90s, this amp was built for pure metal mayhem. There may be no heavier, more aggressive amp in the world.

[fig 5.18] GAIN: adjusts the input gain of the preamp stage. Use this setting to drive the preamp stage, from 1 to 10. BASS: boosts and cuts the bass frequencies of the amp’s EQ stage, from 1 to 10.

MID-LEVEL: boosts and cuts the mid frequencies of the amp’s EQ stage, from 1 to 10. MID-FREQ.: selects the center frequency for the mid range control.

MID-FREQ.: selects the center frequency for the mid range control.

TREBLE: boosts and cuts the high frequencies of the amp’s EQ stage, from 1 to 10. VOLUME: adjusts the output level of the power amp stage, from 1 to 10.

GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -15 to +15dB.

Dynamic Mic Based on Shure® SM57™ dynamic microphone

[fig 6 Mic-1]

Condenser Mic Based on Neumann® U-87™ condenser microphone

[fig 6 Mic-2]

Loop Drummer Loop Drummer's tempo and transport are directly controlled by the recorder in AmpliTube, allowing the customizable, high-quality drum tracks to play along with your project in perfect sync. Loop Drummer can be expanded with additional high-quality drum loops, organized by style, groove and pattern. These loops cover all the main musical styles, and are available as in-app purchases.

Browse patterns Browse and set the style by tapping the arrows.

[fig 6.1] Browse and set a groove by tapping the arrows.

[fig 6.2] Preview a pattern by tapping on a section of the ring.

[fig 6.3]

The drum in the center shows the current selected pattern or the active beat in the sequence.

[fig 6.4] The Preview button lets you preview the selected pattern.

[fig 6.5] The Remix button lets you generate a drum sequence based on the current musical style.

[fig 6.6] The List button lets you switch from Ring View to Classic List View.

[fig 6.7] The BPM button lets you set the tempo by tapping, or tapping and holding to enter a new tempo value.

[fig 6.8]

Sequencing patterns Tap and drag patterns from the ring to the sequence row to start creating the drum track.

[fig 6.9] Slide on the row to navigate the sequence, and tap on a pattern to trigger it.

[fig 6.10]

To remove a pattern from the sequence, drag the pattern out of the row.

[fig 6.11] To duplicate / repeat a pattern, double tap on it. To move a pattern, tap-hold it, and when it becomes transparent, you can drag it to another position in the sequence.

[fig 6.12] Use the Play button to initiate playback of the sequence and check song position.

[fig 6.13] Use the Cymbal button to set a crash to hit on the first beat of the selected pattern. To identify it, a cymbal icon will show on the pattern slot.

[fig 6.14] To set a loop, tap on the loop button and tap on the Play button to set the whole sequence as a loop. To set a custom loop, tap on loop button and set a pattern by tapping it as a loop start point, and tap on another pattern to set the loop end point. A red selection on the timeline will highlight the loop length.

[fig 6.15]

Mix The Loop Drummer module had its own audio channel, which is routed to the master section.

[fig 6.16] Activating the Mix Mode, it's possible to set the level of the drum track by sliding along the ring.

[fig 6.17] The Volume button allows switching the above-mentioned control from Volume to Reverb in order to set the amount of drum signal sent to the reverb effect available in the master section.

[fig 6.18] The Solo button allows you to listen to the drum track by itself.

[fig 6.19] The Mute button allows you to mute the drum track.

[fig 6.20] The Export button allows you to copy the drum track to the iOS clipboard in order to copy it to the Recorder or to another iOS music app that s clipboard copy and paste. It also allows you to export audio file to the filesharing app folder, in order to retrieve the audio files from a desktop computer.

[fig 6.21]

Recording and Mastering

[fig 7.1] The 8-track recorder gives you the chance to lay down your musical ideas into 8-track recordings. Recording sessions can be organized and saved into Projects that can be recalled at will. You can record instruments through the iRig interface or vocals through the built-in mic or combined headset, then mix it all and master the final result. The punch-in recording function will let you make corrections to part of your recordings. With bouncing you will be able to free tracks and record more parts. But let's see every feature in detail. Note: AmpliTube by default allows you to record on one track and does not include the

mastering section. Most of the features included in this chapter will be available after purchasing the Recorder from the ADD GEAR section.

Creating a new project Tap on the NEW PROJECT button to create a new project. A window will appear to let you choose a name for your project.

[fig 7.2] The chosen project name will be shown on the paper tape that is stuck on the recorder. If you want to change the name of the project just tap on the paper tape and the rename window will appear. Recording a track in AmpliTube is very easy. 1. Arm the track by clicking on the arm button near the track number (a red light will start blinking) 2. Click on the record button at the bottom of the interface. You will notice that the recording process has begun as the recorder will start running and the Arm button will turn its light status from blinking to static. 3. Stop the recorder by clicking on the green play button. Repeat the process for every track that you want to record. Just tap and hold for at least 3 seconds the arm button to clear a single track. All new audio material added to the project will be automatically saved by AmpliTube, in order to avoid accidental loss of recording material. Tap on the Play button to listen to your recorded material. You can also scroll within your recording by sliding on the Recording Position progress bar. The Recording Position display shows the current position within your recording. Tap the Back button once to move the cassette back to the last point where you started playing

from, tap it twice to start from the beginning of the recording. This function is very useful anytime you want to relisten to a specific section of your recording or replace a part using punch-in.

Punch-in Recording Make small corrections to your tracks with punch-in recording. Slide on the progress bar to choose where you will begin to listen to your recorded material. Tap on play to listen to your recording and when you reach the point that you want to record again tap the rec button; from now on the recorder will write everything coming from the input; by tapping on the rec button again the recording process will stop and you will hear the previously recorded material.

BPM and Metronome

[fig 7.3] The metronome lets you set the tempo (BPM, or "Beats Per Minute") for your song and record while monitoring the metronome click. To set the tempo, tap the BPM button at the preferred speed or press and hold to enter the value. The metronome can be set to work only visually (no audio click) by pressing and holding the metronome button.

Loop

[fig 7.4] To repeat part of your song, set Start and End points for the loop. Tap the LOOP button to open the loop window, then tap the IN button to set the start position and OUT to set the end point of your loop. Tap stylized loop button to enable or disable the loop. Note that when looping is enabled, all recording functions are disabled.

Copy / Paste

[fig 7.5] To copy a single AmpliTube Recorder track to another track - or to another iOS audio application - select your source track by tapping the track arm button, then tap the EDIT button on the transport bar, and then tap the COPY button. To paste audio content copied from an AmpliTube Recorder track - or from another iOS audio application - to another one of your Recorder tracks, select the destination track by tapping the track arm button, then tap EDIT button on the transport bar, and then tap the PASTE button.

Bouncing When all the tracks are full and you need to record more instruments, you can free some space by using the Bounce function to combine several tracks together onto a single track. Tap the EDIT button on the transport bar, then tap the Bounce button, and then all 8 tracks will be merged and put on the first track. You now have seven more empty tracks to record instruments in. Important: that the bounce will apply all the effects and mixer settings to the merged track, but not the EQ and Compressor settings in the MASTER section.

[fig 7.6]

Mixing Since we just mentioned the mixer settings, let's see how the mixer controls work. The lower part of the interface is dedicated to the mixer controls. On the top of the mixer, you have the Track Arm, Mute and Solo buttons. The Mute button mutes the track, while the Solo button lets you listen just to that single track. Tap the Track Arm button to activate the track input monitoring, and the button will start blinking. While recording, the red light of the Track Arm button will change its status from blinking to solid. Hold the track arm button for more than 3 seconds to delete the audio content of the track. The mixer has different sections that can be accessed by sliding through the different pages:

Page 1 - MAIN (VOLUME/PAN/FX) The MAIN page shows the Volume and Pan knob controls of the tracks to set the volume of each track and change its position in the stereo field. There is also an FX button to enable or disable the entire real-time effects chain (FXs, AMP, CAB). Above each track is a VU-Meter showing the tracks' volume level. Double-tapping the knobs will restore the knobs to their default position.

[fig 7.7]

Page 2 - SEND 1/2 Tap the SEND 1/2 button to open the Sends page with the levels of the two multi-effect sends. The knobs let you dial in the amount of the track signal that will be processed by the multi-effects in the Master section.

[fig 7.8]

Page 3 - MASTER FX

[fig 7.9] Tap the MAST FX button to open the Master section of AmpliTube, the final stage where all your recordings will be processed before exporting. Here you can make the final adjustments to your multitrack recording by adding effects and making small adjustments of the global tone and the dynamic range. In the iPad version, we added more effects and controls to the Master section. You now have two multi-effect processors where you can choose among three different types of reverbs, two choruses and three delays. In the multi-effect section you have: - an INPUT control to set the amount of signal received by the effect - a MIX control to balance between the dry and wet sound - an OUTPUT control to set the output level after the effect processing - an EFFECT SELECTOR to choose the effect you prefer - an ADJUST knob to change the settings of each single effect The EQ and COMP sections have also been enhanced to give you have more control over the shape of the final master sound. Tapping the big rectangular buttons lets you enable and disable any of the four processors.

The Project List Tap the Projects List button on the lower-left part of the interface to show the complete list of your recording sessions.

[fig 7.10] Tap on the LOAD button to recall a project and reload all its tracks.

The Play button will allow you to pre-listen to the content of the project. Copy the entire mix audio to a single track or to another iOS audio application. You can also export your recording via File Sharing, E-mail, add it to the AmpliTube SONG section, via FTP or share and using SoundCloud.

[fig 7.11] The DELETE and CLONE buttons let you erase or duplicate your projects.

Exporting your Recordings Once your project is ready, you can export your recording in 5 different ways: a) Using File Sharing as a WAV file. b) Via E-mail as m4a file. c) Add it to the Song section of AmpliTube. d) to your FTP repository. e) to your SoundCloud . a) File Sharing File Sharing allows you to transfer your recording directly to iTunes in your computer. After tapping on File Sharing your recording will be put in a file sharing folder on your mobile device and you will be asked to connect to iTunes.

[fig 7.12] Connect your device to your computer using the 30-pin to USB Apple cable and open iTunes. Wait until your device is detected, then click on its icon. Now go to the top of iTunes window and click on Apps; you will see two main tables: Sync Apps and File Sharing. Choose the AmpliTube App under File Sharing; the exported recording will appear in the right window called 'AmpliTube Documents' (see below).

[fig 7.13] From there you can select your recording and click 'Save to...' to put it anywhere on your computer, or drag it wherever you prefer. b) E-mail You can also send your recording via e-mail. Just tap on E-mail in the export method selection pop-up menu and a new e-mail message will be created, like the one below.

[fig 7.14] Insert the recipient in the 'To:' field and tap the 'Send' button to complete the e-mail recording transfer. c) Song Tap on Song to transfer your recording to the SONG section of AmpliTube (see chapter 'Songs' in this manual), and use it as backing track with the SPEEDTRAINER. Your recording will be processed and the message below will appear, informing that your mix is now included in your SONG section.

[fig 7.15] If you now tap on SONG in the bottom stripe of the AmpliTube interface, you will see your mix added to your current songs list.

[fig 7.16] d) FTP

[fig 7.17] Choose the FTP option to export your currently selected Project mix via FTP (File Transfer Protocol). To , you need to set your FTP information in the Setup Menu. To your Project mix to SoundCloud, tap FTP , and then wait for the to complete.

e) SoundCloud

[fig 7.18] SoundCloud is an online audio distribution platform which allows musicians to collaborate and distribute their music. Visit www.soundcloud.com for more information. To , you need to set your SoundCloud information in the Setup Menu.

To your Project mix to SoundCloud, tap SoundCloud, and then wait for the to complete.

AmpliTube STUDIO The STUDIO editing suite turns AmpliTube in a full-fledged Digital Audio Workstation.

[fig 8.1] The Studio is accessed by touching the STUDIO button in the bottom control bar, and provides access to a slew of editing tools to help you achieve audio perfection. When first opened, the Studio view is split into two regions on the screen: the Channel Strip on the left, and the Waveform Display Timeline Grid on the right. From this view, you have access to all of the signal chain, effects, recording and mixing functions, plus a waveform editor.

Track Controls The Channel Strip on the left houses the controls you need to adjust and tweak the sound on a selected individual track. You can touch any waveform or empty space display on the right to access the individual controls for that track on the left. The number in the upper left hand corner indicates which track is currently selected.

[fig 8.2] You can adjust how much of the track’s signal goes to the master effects section via the SEND 1 and SEND 2 knobs, and you can access the master effects section by touching the MASTER button for additional fine tuning. Just below the MASTER button is the track’s 3-band EQ section, which allows you to fine tune the EQ on each individual track, just like on a professional studio mixing console. Just to the right is another track control strip that gives you the main track controls: a level meter and peak light, a quick access button (FX EDIT) to access the AmpliTube rig related to the selected track, a pan control for placing the track in the stereo field, and a console-style fader for fine tuning the volume level of the track. The main individual track controls include solo, mute, and record-enable functions, and the ability to activate the AmpliTube signal chain with the FX button.

[fig 8.3]

Transport and Global Controls

You can record audio material directly to a track in the Studio view using the PLAY, RECORD, REWIND and metronome controls at the bottom of the screen. The metronome lets you set the tempo in BPM (Beats Per Minute) for your song, and record while monitoring the metronome click. To set the tempo, tap the BPM button at the preferred speed or press and hold to enter the value. The metronome can be set to work only visually (no audio click) by pressing and holding the metronome button.

[fig 8.4] Other controls include a GRID button that turns grid-snapping on and off, plus UNDO and REDO commands. When you enable grid-snapping, the playhead and any editing will snap to the Grid. The Grid thickness follows the Zoom status of the project. You can zoom in and out by pinching in or out with two fingers on the Waveform display.

[fig 8.5]

The Waveform Display Section At the core of the Studio module is the waveform display section, which is where most of your audio editing will be done.

[fig 8.6] From this section, you can select audio material by touching on the waveform display, then perform multiple types of edits ― cut, copy, copy track, paste, delete, delete the track, normalize the volume or split at the playhead. Plus, audio can be moved ahead in the timeline or repositioned simply by touching and holding on the waveform, then dragging around on the screen.

[fig 8.7] Access to the editing commands is provided by first tapping the waveform you want to edit to select it, then tapping it again to access the menu. These functions provide all the basic tools you need for working with audio regions. Cut: Tap CUT, and the clip will be deleted and loaded in your clipboard, to be pasted in another Track and/or position Copy

Tap COPY, and the clip will be copied in your clipboard, to be pasted in another Track and/or position Copy Track

Tap COPY TRACK, and all the audio material in the track will be copied in your clipboard, to be pasted in another track Delete

Tap DELETE, and the selected clip will be deleted Delete Track

Tap DELETE TRACK, and the audio material in the track will be deleted Normalize

Tap NORMALIZE, and the selected clip will be normalized Split

Set the playhead in the desidered split position, then tap SPLIT to split the selected clip. Paste

Set the playhead in the desidered position, tap on an empty space in the target track and Tap PASTE. The audio material in your clipboard will be pasted from the playhead position. Delete Track Tap DELETE TRACK to delete all the clips in the selected track

Fade & Crop Creating a fade is as simple as selecting the region you want to fade, then dragging the triangle in the top-left corner of the clip to the right to create a fade-in. The farther from the beginning of the region you drag the triangle, the longer the fade-in becomes. Creating a fade-out is done the same way, only go to the upper-right corner of the audio region and drag the triangle to the left.

[fig 8.8] Cropping an audio region is done in a similar fashion: grab the triangle at the bottom of the region (either left or right, depending upon where you want it cropped) and move it either direction for cropping.

Loop Drummer Track Just south of the Navigation bar is the Loop Drummer Track. If you’ve programmed a drum track using the built-in Loop Drummer feature, it shows up in this track. You can edit your drum

sequence here by touching and dragging the drum parts around. You can also add more drum parts to the sequence by touching the DRUMS button in the bottom navigation bar, then touching and dragging out the drum section you want to the desired position in the track. Touch and drag out a part from the Track to delete it. A double-tap on a drum part will duplicate it to the right of the original, making it easy to add an awesome, professionally recorded rhythm track.

[fig 8.9]

Getting Around Navigation in Studio is done with multi-touch and simple finger gestures. You can zoom in and out on a Region by pinching in or out with two fingers on the screen. To get more screen real estate, you can hide the Track control section by swiping to the left on the black handle.

[fig 8.10] At the top of the screen, the Time Bar is divided into bars, beats and divisions so you have a reference point in the composition. As you zoom in (by pinching out with two fingers), you’ll notice more gridlines showing up. These are handy for precisely aligning audio material to the right beat. The play-head counter can show a Measures or Time display. Just tap on it to switch between the two modes.

[fig 8.11] Punch In/Out Drag your finger from right to left in the navigation bar and you create a red Punch In-Out section in the bar. Adjust the start and end points with the triangle handles, then activate the punch in-out region with a double-tap. You can de-activate it by double-tapping again. Loop You can define loop start and end points by dragging with your finger from left to right. You’ll notice a green area shows up when you do this. Drag the left triangle to the beginning of your desired loop, and the right triangle to the end. Once defined, double tap on the green area to activate it, then hit PLAY on the transport to begin playback of the loop. You can de-activate the loop region by double-tapping again.

[fig 8.12]

Songs Songs importing is now available via File Transfer, Wi-Fi or from your iPod music library. You can hear the sound of your guitar or bass processed with FXs and amps together with the songs, allowing you to practice, learn or just have fun! You can play and pause your song, change the song speed and also loop the entire song or just a section of it.

[fig 9.1]

How to import your song Check first that the audio file that you are importing is in one of the following formats: wav, aiff, m4a, mp3 (44.1 kHz, 16 bit). Then import your song tapping on the ADD SONG button and choosing one of the available options.

[fig 9.2] Below the three different methods at your disposal: Wi-Fi import 1. After tapping on Wi-Fi follow the instructions on the screen to create a connection between your iPad and your computer. You'll see on your browser the Song Transfer page (fig. 8.4)

[fig 9.3]

[fig 9.4] 2. Browse your computer to choose the song to add, then tap on START TRANSFER. A

progress bar will appear in the 'Ready to add SONGS' window to show you the state of the song transfer process (fig. 8.5)

[fig 9.5] 3. Tap on DONE, back in the Songs List page (fig. 8.3).

Important!: Tap on "Done" only after the transfer process has been completed. File Sharing import 1. Tap on File Sharing in the import method selection pop-up menu.

2. The instructions included in the will help you connecting your device to iTunes. Tap on Done when the device is connected and you have finished reading all the instructions.

[fig 9.6] 3. Now go to the App section of iTunes (the same we described in the Recorder chapter) and drag the file you want to import in the AmpliTube Documents window. After some seconds your device will start syncing and your song will appear in the songs list.

[fig 9.7] Connect your device directly to iTunes and drag your audio files in the AmpliTube Documents window to avoid tapping on ADD SONG. iPod library import

(iOS 4.2.1 or later is required) 1. Tap on iPod Library to access your song collection within your iPad. 2. A window like the one below will appear. Browse the library using the buttons on the bottom and tap on '+' to add the songs to AmpliTube's song list.

[fig 9.8] 3. Tap on Done when you have finished selecting all the songs you want to import. The extracting process will start.

[fig 9.9] All the songs you have selected will appear in the AmpliTube songs list.

Playing your songs Tap on PLAY to play/pause your song (note that AmpliTube will need to expand your songs the first time you play them; see fig. 8.10).

[fig 9.10] You can also loop the entire song by tapping on LOOP or just a section of it by choosing the start and end of the loop with the A and B buttons. The slider under the PLAY button allows you to

choose the starting point, while the VOLUME one is the volume control of your imported songs. A display on the right of the play button will always show you your position in the song.

There is no limit on the number of songs that you can import. If you want to erase a song, just

select it on the list and tap on the DELETE button at the bottom of the interface. AmpliTube includes also a SPEEDTRAINER and NO VOICE features. Move the SPEEDTRAINER slider to change the speed of a song without affecting its pitch. Slow down or speed up your songs for learning purposes or just for fun. NO VOICE allows you to remove the existing vocal and sing along with the track yourself instead! Just tap the NO VOICE button to activate the Voice Cancel function. The TO REC button at the bottom of the lets you copy the currently selected song to one track of the recorder, so you can record new parts on it. The figure below shows the track selection menu that lets you choose where to put your song. A message will appear to inform you that AmpliTube has finished copying the song to the recorder.

[fig 9.11]

Creating a direct wireless connection between your iPad and your computer If you experience problems creating the network between your iPad and your computer, this can be due to a firewall that is stopping the connection request to your iPad from the computer. If your computer has a net adapter you can overcome this problem by establishing a direct connection. To connect your iPad directly to your computer follow these steps:

MAC:

1) Turn your AirPort On 2) Choose 'Create Network' from the 'Network Preferences' drop down menu and give a name to the network you've just created 3) Tap the Settings button on your iPad, then on 'Wi-Fi' and choose your new Network PC: 1) Check that you have a Wi-Fi adapter and that it is enabled

2) Create a new an 'ad-hoc' Network and give it a name (the 'ad hoc' connection can also be called 'computer-to-computer') 3) Tap the Settings button on your iPad, then on 'Wi-Fi' and choose your new Network

MIDI MIDI control lets you assign AmpliTube parameters to MIDI controllers so you can remotely control any Stomps or Amps with any kind of hardware or software that generates MIDI Continuous Controllers. Also, MIDI Program Changes are directly assigned to the FAVORITES presets from 1 to 128. AmpliTube for iPad responds to MIDI Continuous Controller and Program Changes messages only. MIDI Note Numbers, Aftertouch, Pitch Bend and other types of messages are not recognized or ed. In order to receive MIDI Continuous Controller or Program Change messages, you need a 30-Pin MIDI interface plugged to your device such as iRig MIDI.

Assing a parameter

[fig 10.1] To assign a Continuous Controller to an AmpliTube parameter, tap and hold the knob or switch on an Amp or a Stomp. A message will then tell you that the application is waiting for a valid MIDI Continuous Controller message from your attached MIDI Device. Move the controller on your MIDI device. The message will be dismissed, and the selected parameter will turn yellow to indicate that it is now set to receive MIDI Continuous Controller messages.

Midi Assign

[fig 10.2] To view all the parameters that are assigned to a MIDI Continuous Controllers, tap the MIDI button on the bottom bar. The MIDI ASSIGN will appear and allow you to select a parameter, then edit the Continuous Controller assignment or delete unused or wrong

assignments. To save the current assignments, just save your current preset or assign it to a favorite.

Favorites

[fig 10.3] Favorites are directly connected to MIDI Program Change numbers from 1 to 128. For example, if you send MIDI Program Change 9 from your MIDI Controller, the 9th Favorite will load). A Favorite is loaded only if it contains a preset.

Global Assignments

[fig 10.4] A few global commands - valid for all presets - can be assigned to MIDI Continuous Controllers in the Setup : Preset UP Preset DOWN Tuner

You can also set the Global MIDI Receive Channel in the Setup to determine on which channel AmpliTube will respond to incoming MIDI commands.

Add Gear Tapping on the STORE button in the Global Menu, takes you to the AmpliTube Store.

[fig 11.1] Scroll through the list to read the name, description and price of the available models.

[fig 11.2] When you find a model that you like just tap on it and a will appear to confirm the purchase. Insert your iTunes Store , confirm, and the selected model will be immediately part of your rig! After your purchase the new model will disappear from the ADD GEAR section and appear in the FX or Amp section.

Preset AmpliTube has a powerful memory system that enables you to store your chain settings in two ways: as a FAVORITE or as a PRESET. Both the Favorites and the Presets store the entire chain.

Favorites and Presets store the identical information; The only difference is how you access them. FAVORITES are accessed by the four Favorite buttons at the bottom of the app, A, B, C and D. To load a Favorite, simply press the A, B, C or D button. To save a Favorite, simply hold the Favorite location of your choice (A, B, C or D) for a few seconds until the location flashes to indicate that your Favorite has been saved. There are 128 Favorites splits in 32 scrollable banks. You can even save your Presets as Favorites for faster access. Simply load the Preset of your choice, then hold your desired Favorite button to save it to that location. Note that the Favorite locations (A, B, C and D) will appear in yellow if data is stored there. They will appear in white if the location is empty.

[fig 12.1] PRESETS are accessed by tapping the PRESETS button at the bottom left of the app. Presets are organized into CATEGORIES. Think of Categories as folders that contain collections of Presets. Tap the PRESETS button to display the Categories window containing the list of

Categories. If there are more than 6 Categories, you can scroll through the list by simply dragging the window up and down.

[fig 12.2] To add a new Category, tap the + button in the upper right part of the app, and a dialog box will appear where you can name your new Category. Let's say you want to create a new Category for to contain several Lead Amp Presets set to different lead tone sounds. Tap the + button, then enter the name of the Category. In this case, let's call the Category "Lead".

[fig 12.3] Press Done once you have typed in the name, and the new Category will then appear in the Category list.

[fig 12.4] To delete a Category, tap the EDIT button in the upper right part of the app, and a red DEL button will appear to the right of each Category. Press the DEL button next to the Category you want to delete to remove the Category.

[fig 12.5] To rename a Category, tap the EDIT button in the upper right of the app, then tap the name of the Category you want to rename. A window will appear allowing you to rename the Category. Type the new name, then press Done when you are finished, and your new name will be saved.

[fig 12.6] To open a Category to get to the Presets inside, simply tap the Category name, and the Presets will appear. Think of this as opening a folder. As with Categories, if there are more than 6 Presets in a Category, you can scroll up and down through list by dragging the window.

[fig 12.7] You can rename and delete Presets by pressing the EDIT button in the upper right part of the app in the same way that you edit Categories. Similarly, you can add new Presets in the same way by pressing the + button in the upper right part of the app.

UltraTuner UltraTuner™ Tap the UltraTuner button inside the Tool section to buy or access UltraTuner™.

[fig 13.1] UltraTuner™ utilizes a highly responsive patented tuner engine that makes it the most accurate

instrument tuner and calibration tool available and is precise to a 1/100th of a cent — far beyond human perception of pitch. This fast response makes tuning a mechanical instrument like guitar or bass a breeze. UltraTuner’s precision also makes it the perfect app tuner for calibrating electronic instruments like vintage synths. It can also be a useful tool for luthiers and guitar techs, helping them to perfectly set up an instrument. UltraTuner™ offers two basic modes of operation: Stage and Studio.

Stage Mode

[fig 13.2] When in Stage mode, UltraTuner™ offers a unique, simple interface that’s very easy to see in low-light conditions. It features a graduated flat and sharp display to indicate degrees from pitch. The letter in the center shows the detected note. When the note is in tune the central, large LED turns green. UltraTuner™ utilizes the entire device screen for tuning, so it is easily visible from a distance on stage. Tap MUTE to silence the guitar or bass signal while tuning (a very useful feature for live performance).

Studio Mode

[fig 13.3] To access the Studio mode tap the the STUDIO button in the UltraTuner™ bottom bar.

[fig 13.4] In studio mode, UltraTuner™ provides a wave visualization that gives qualitative of the pitch deviation as a simple right/left motion of the real waveform of your instrument. A flat note will move the waveform to the left, while a sharp note will move it to the right. A dead-center-pitched note is represented by a still waveform. Additionally, by simply tapping on the main studio display, it’s possible to switch to the pitch-tracking visualisation.

[fig 13.5] The pitch-tracking visualisation allows players to monitor pitch over time. This is especially useful in the studio for monitoring pitch of non-chromatic instruments like vocals, violin and brass etc., on recordings over time, and very useful for vocal and instrument pitch training. The engine of UltraTuner™ allows it to detect the “beating effect,” which often happens on guitars with single-coil pickups. Such pickups have a strong magnetic pull that interferes with the string vibration, generating a parasitic frequency that mixes with the string’s natural frequency and creates a warbling effect, also known as "stratitis" among guitar techs. If you are going to tune a stringed instrument like a guitar, we strongly recommend you exclusively play the string to be tuned and stop all the others, because they too can introduce beating effects.

Settings To access the Settings tap the the SETTINGS button in the UltraTuner™ bottom bar.

[fig 13.6] Settings page:

[fig 13.7]

Sensitivity

[fig 13.8] If you are going to tune acoustic instruments through the built-in microphone of your device, you will probably need to set a proper input sensitivity. Check the incoming amount of signal and increase or decrease sensitivity in order to keep the signal peaks around the yellow LED area.

"A" Calibration

[fig 13.9] The reference note A4 is traditionally set to 440 Hz, but is possible to set it to any other frequency. Just tap on the value to edit it.

Temperament type

[fig 13.10] Western fretted instruments like guitar and bass usually follow Equal temperament. Other instruments require different temperaments. UltraTuner™ offers the following types: Equal Pythagorean Just Major 1/4 Comma Mean Tone Kirnberger III Werckmeister III Young Kellner

Temperament root key

[fig 13.11] In equal temperament no root key is necessary. For any other temperament (“Just Major” is shown here) you should choose a root key. Tap on the Root Key value to edit it.

Transposition

[fig 13.12] Transposition offsets the detected note by a given amount of semitones.

Audiobus AmpliTube is Audiobus compatible. Audiobus is a an app (developed by A Tasty Pixel in cooperation with Audanika) that allows to connect the audio of up to 3 apps, opening up countless new sonic possibilities. Audiobus lets send audio out of one app, filter it through the next one in the chain, and receive it in the third. The possible combinations are endless. AmpliTube is a an excellent choice for any of the three slots in the Audiobus chain, thanks to its versatile feature set that includes amp-and-effects modeling, an integrated drum module and a multitrack recorder.

[fig 14.1]

[fig 14.2]

[fig 14.3] There are currently over 60 apps ing Audiobus from music app manufacturers like Korg®, Steinberg®, Moog®, Propellerhead® and many others, covering the widest range of music applications: from synths and instruments to multitrack recorders and studios, from real time effects to loopers and much more. For a complete list please visit http://audiob.us/apps To enable this feature and have AmpliTube work with other compatible Audiobus apps, you must install the Audiobus app (which must be purchased separately on the App Store™) on you iPhone, iPad, or iPod touch.

Tap on the button in the global Menu to AmpliTube and unlock the free FX. A Registration pop-up message will appear. Choose 'Existing ' if you have already an IK Multimedia ; choose 'Create new ' if you have never ed an IK Multimedia product.

Note: This does not refer to your iTunes .

[fig 15.1]

Existing Insert your name and of your Area on IK Multimedia's site, and tap on . This will unlock the free FX included in your AmpliTube app.

If you have lost your tap on ' ?', submit your e-mail address, and a new will be sent to your e-mail .

[fig 15.2]

Create new If you don't have a Area tap on Create new to create a new one. You can access the New page from the initial Registration pop-up message or from the Existing page.

After entering the New page, fill in your details (First name, Last name, E-mail, Country and Phone) and tap on to create your IK Multimedia . If you need further explanations about the registration process just tap on the '?' button.

[fig 15.3]