A guitarist using software is not something you could have comfortably predicted, even a couple of years ago. As a rule the predominant guitar based creature likes to lump about big bits of gear, enjoys twiddling knobs and gets a kick from stamping on switches – and this they still do with abandon. While computers enabled the modelling of real amplifiers and created a new generation of guitar tone technology most manufacturers pumped the software back into hardware, completely underestimating the guitarist’s ability to evolve into a more virtual environment. IK Multimedia stood out from the crowd at a time when no one really considered the idea of a plug-in being something a guitarist would be interested in. Amplitube, IK’s original amp modelling and effects plug-in, was a resounding success. It had the look and feel of a Line6 Pod, the device it was hoping to surpass and surprised everyone with its authentic tone and ease of use. A few years later, drawing on the increasing reserves of computer power, and learning from the response of thousands of Amplitube users Amplitube 2 has arrived. Billed as “Superior modelling, Infinite tone” IK Multimedia believe they have raised “the standard to an unprecedented level of high-quality emulation and extreme flexibility, for crafting the ultimate guitar tone”. Let’s check it out.

Ironically, with the release of the Stomp I/O and now the StealthPedal IK seem intent on pushing the plug-in back into hardware - but then let's be honest, that's where the performing guitarist is most at home.

Installation

Amplitube 2 is compatible with three plug-in formats, VST, RTAS (Windows/Mac) and Audio Units (Mac only) and so comfortably covers all the current host recording programs such as Cubase, Sonar, Pro Tools and Logic. IK moved away from their “challenge/response” form of copy protection to a dongle based solution very similar to the one Steinberg uses for their products - but then they ditched that idea as too much like hard work and we're back to challenge/response again. Whatever you think of the usefulness and annoyance of copy protection it is here to stay and although dongles have drawbacks in being a bit breakable and relying on your computer having functional USB ports it does have the advantage of enabling you to run your software on whatever computer you want, provided you attach the dongle. However, IK give you a few no-questions-asked authorisations so you could have it on your main studio computer and your laptop so it's no big thing really.

First Impressions

Nice! Loads up quickly to reveal a sort of squat amplifier head, complete with chrome corners, realistically rendered knobs, an analogue VU meter and even a carry handle (?!). Looks dark and moody although the default tone is simple and clean, with a touch of spring reverb. As you play the needle of the VU flicks and there’s LED metering of input and output levels.

Before getting stuck into the different components that make up Amplitube 2 it seemed appropriate to try out a few presets to get an idea about what this plug-in is capable of…. Whoa, two hours just slipped by! I think the highest praise you can give a piece of guitar gear is that it makes you want to play, and this does just that – and I spent most of it in the first bank of presets thoroughly enjoying the mix of “signature” tones. My first stop is a crunchy Aerosmith, then Brian May, Carlos, Cream, Hendrix and many more through to Stevie Ray and Steve Vai all sounding so good that I can’t help but play all the cheesy riffs my fingers can remember. You can click through presets using the up/down arrows at the top of the interface, or you can click in the preset display window and select directly from a list of 400 presets. If I could get a criticism in nice and early it would be that although the preset management is far improved over the original Amplitube (and other IK products) it still has the ability to annoy. With so many presets I’d really like to know what bank I’m in but all that’s displayed is the preset name. When you click to bring up the list you have to rest the mouse of each bank to display the contents in turn to find the bank of the preset you are currently using. Saving presets, creating bank folders and grouping presets together is all very easy although presets are always listed in the order they were saved or alphabetically if grouped in the preset explorer window. I would like to be able to put a preset in a certain slot, next to what I need it to be next to in the order of my choosing.

Right, let’s get down to the details.

Amplitube 2 is split into five modules: Tuner; Stomp effects; Amps; Cabinets; Rack effects; with all but the tuner being available on two separate channels enabling the use of multiple amplifiers and effects for the hugest tones. The interface only shows one module at a time and is switchable with a click. Because of the graphical nature of the interface it would become very unwieldy to try to show everything on screen at once – anyone who has used Native Instruments Guitar Rig will know what I mean – and so switching between screens is a positive way to tackle the problem.

Tuner

Following the look of a rack mount tuner, such as the Korg DTR, the Amplitube 2 tuner is clear, precise and easy to read both close up and at a fair distance. It automatically detects the tuning displaying the nearest note, plus and minus 50 cents, and maintains the display even with a low input, so you’re not having to constantly re-pluck. The reference pitch can be adjusted from between 425Hz to 455Hz.

There are on/off and mute switches, handy for muting the guitar while you tune in a live performance situation. One really nice touch is that the tuner display is mirrored on the main Amp module page, much smaller, at the bottom, which means you don’t have to switch back to the full tuner module if you need to adjust or correct while playing with the amps.

Stomp Effects

As you would normally find in a guitarists signal chain, next it’s the stomp boxes. There’s no real practical reason why the effects are dressed up as stomp boxes but they do look nice and the familiarity of the controls is always a good thing. Everything you could want is here. Choose from a number of modulation effects, delays, filters like wah and envelope, pitch shifters, distortions including a fuzzface, dynamics and EQ. You’ve got six slots to fill with any combination of stomp boxes and another six if you are using the second channel. You can save your selections as separate presets for recall with any other amp combinations. This is really where the “Stomp I/O” interface controller comes into it’s own – using a mouse to turn stomp box effects on and off is really not what you want.

So how do they sound? Exactly as you’d expect. Many regular plug-ins, like a simple chorus for instance, suffer from having too many controls and parameters and it’s a struggle to find the same sort of sound you do going through a real guitar pedal, with Amplitube 2 it sounds exactly like you are going through a pedal – instantly satisfying. The Opto-Tremolo is gorgeous, so soft and warm, pumping the sound deliciously either locked to tempo or set by hand (as with any of the time based effects). The auto mode on the wah-wah is superb which is a great relief if you are without decent foot based MIDI control. The distortion section contains some of the best software models I’ve ever heard. The “Fuzz Age”, modelled on the germanium transistor based fuzzbox of the mid ‘60’s, is smile triggeringly dirty with the odd harmonics modulating the crunch in a very pleasing way. The background noise has also been kept well under control. The Overdrive and Overscream deliver with real bite while the “Crusher” does exactly what it says on the tin.

Amps

The Amp head is split into three sections: pre-amp model, EQ model and power amp model. You can mix and match as much as you like, using say a Marshall style pre-amp running through a Fender Style EQ and ending up powered by a Vox style power amp. Alternatively, click the “Match” switch and as you change the pre-amp so the other two models follow with the correct choices. The interface graphics change and vary in texture in colour depending on your choices, which definitely enhances the feel of the software. In addition you have an inbuilt spring reverb, which is a nice touch and sounds completely right.

The two American Tube Clean amps, based on the Fender SuperReverb and DeluxReverb respectively, are nicely warm and subtle and they make a remarkable difference to the sound that you only appreciate when you bypass the amp. These amps are perfect for use with the stomp boxes as the amp is adding minimal colouring but lots of warmth to the tone. With the first amp adjusting the input level and output of the power amp brings in some nice dirt and produces some respectable crunch when given a bit of oompf. If you click on the grill on the amp head it vanishes to reveal a bunch of valves that glow as you increase the level – it’s a bit silly really but we like it. The Modern Tube Lead amp, based upon the Mesaboogie Double Rectifier is pure Foo Fighters with its unmistakable deep rumble and sustain. Skipping through the less inspiring but solid Fender Bassman and Supro models we find ourselves at the ubiquitous Vox AC-30 or British Tube 30TB as IK call it. Although you have to drive it quite hard to get that kick back crunch, in fact add an overdrive pedal and you are straight into classic Brian May territory, the warmth and tone of this little old amp is really good. Ride the treble and cut a bit and that top end starts to bleed through. You’re also reminded how good that spring reverb really is. The British Tubes 1 & 2 are your classic Marshall JCM800 and 900. The 800 has the comforting warm wall of 80’s hair metal sound, the 900 is a nasty piece of work that wants to sustain and feedback forever. Next up is four models of IK’s own creation, not based on any particular piece of hardware but rather modelled to give the best sounding virtual tone creations they can. There’s a Modern hi-gain, and a solid state clean, fuzz and lead. They are all good solid tones although I’m not sure the solid state clean adds anything beyond the excellent Fender models. Bringing up the rear is the quirky THD BiValve which I confess to not being familiar with at all and a bass amp model – just in case, although IK has a dedicated bass amp modelling plug-in called the Ampeg SVX.

Cabinets

As if you weren’t overwhelmed with choice already we haven’t even begun to mess with the cabinets. Combining the 16 cabinets and 6 microphones with the 14 pre-amps, 14 EQ models, and 7 power amps it gives you a whopping 20,000 possible combinations. This really starts taking us in to the world of the guitar geek. You’ve got all the cabinets to match the amplifiers from Fender, Marshall, Vox, Mesa and THD, you’ve got 1x6, 1x8, 1x12, 2x12, 4x10, 4x12 and even a 1x15 bass cabinet. The six microphones give you a choice from the Shure SM57, Sennheiser MD421 and MD441, Neuman U87 and KM84 and the AKG C414. You can place the on or off axis, in a far or close mic’ed position and even mix in the ambient background reflections - if you like. If you’re keen on engineering the perfect guitar sound then this will be heaven. If like me you just want to plug in and go then this is probably the least interesting part of the whole plug-in – thank goodness for the “Match” switch. Moving on…

Rack Effects

With wide range of stomp box effects available it sort of begs the question as to why bother another load of rack effects later on in the signal chain? But then why not have it all – it is true to the signal chain of the technology minded guitarist and gives an opportunity to effect the signal post amp, as you would through a mixer, and offers stereo possibilities that you wouldn’t be able to put before the preamp. This turns up an issue in Cubase and Sonar – to make use of the stereo effects you have to be recording onto a track with a stereo output, which means a stereo track. Using a stereo track to record a guitar (which is mono) leaves you with a recorded track with the guitar on the one channel and nothing on the other which is a bit of a waste of hard disk space. Also if you bypass the effect at any time you guitar will only come out of one side – only with the effect inserted do you hear the guitar in stereo. Pro Tools, however, deals with this much better in providing a mono track that converts to a stereo output when you add the plug-in. These are just logistical annoyances and have more to do with the host software than Amplitube 2. Anyway, you get some nice stereo modulation, reverb and an excellent delay with different modes including left/right ping pong, left/centre/right and dual. The parametric EQ on the previous version of Amplitube was regarded very highly and again the EQ does not disappoint. All the effects have good, simple and well laid out controls and couldn’t be easier to use, so all in all a good useable selection of rack effects to round the plug-in off nicely.

Control

IK Multimedia have designed the ultimate hardware floorboard controller for use with Amplitube 2 called the Stomp I/O. It includes a bunch of footswitches for changing presets and turning stomp boxes on and off and includes an audio interface to get your guitar into the computer in the first place. Probably the most interesting feature is the control inputs that allow you to plug in other controllers and expression pedals to expand the foot based controlling possibilities. When it boils down to it all you really need is a wah pedal to move from mouse fiddling to real performance and IK have addressed this in the much cheaper (€199) and simpler StealthPedal. It's a USB audio interface built into a rugged metal wah pedal with room for adding a footswitch and expression pedal, headphones and two guitar inputs.

Using it without a dedicated controller this leaves us looking into the somewhat murky world of MIDI control. Cubase, for instance, has an excellent “Generic Remote” function that allows you to map any MIDI controller to any loaded plug-in parameter. One flaw in this is that when you click on assignment field you are presented with a list of all available parameters but it only allows ten characters for each name, something that IK haven’t quite grasped, so say you wanted to control the bypass on the Overscream stomp box you’re faced with choosing randomly from a list of four parameters all called simply “Overscream” and it’s listed twice, once for each stomp section. This isn’t IK’s fault as such but they could have thought about it a bit more. In Pro Tools there’s no ability to create a generic remote controller and so MIDI control, unless you have a Digi002, is pretty much non-existent. In Sonar the handy “Remote Control” option allows you to assign any MIDI controller to any parameter very simply and by “MIDI learn” where you move your control, click a button and your hardware is instantly controlling the software.

Conclusion

Having played with Amplitube 2 for a few days I can’t help but be impressed by how it wants to draw me in, how it makes me want to play and how much pleasure I get from playing with it. In terms of sound quality it simply excels, whether through headphones or studio monitors it sounds and feels authentic, crunchy, warm and dreamy in all the right places – it’s a wondrous thing of beauty. There’s nothing particularly new here, no attempt has been made to push back the boundaries of guitar tone technology, but instead you get all the amp sounds, effects and tones that you’ve ever wanted coupled with the ease of use of the original hardware. Comparisons, of course, will be drawn with Native Instruments Guitar Rig but where Native have gone for innovation I feel that IK have gone for authenticity and when it comes to tones that make you smile; Amplitube 2 gives you the Cheshire cat of tooth filled grins. Although the hectic nature of live performance may put some off using a computer on stage, for use in the studio, especially somewhere where you can’t mic up a real guitar amp, it’s an absolute winner.

http://www.amplitube.com