Bass Amp (not in LE) - Cubasis - 3.8

You can combine a choice of amplifiers and speaker cabinets with stomp box effects.

The input and output level meters on the far left and right show the audio signal level.

The main elements of the effect are displayed in a horizontally scroll-able chain:

• Pre-Effects

  Up to six common bass effects can be placed before the amplifier in the signal chain. Each effect features a stomp-box-style On/Off button and individual parameters.

  Tap the "+" button to add an effect, or an effect's name to select a different one or to remove it.

  To change the order of the effects in the chain, long-tap on an effect and drag it to another position.

• Amplifier and Cabinet

  Tapping it toggles the bottom panel where amplifier, cabinet and microphone parameters can be configured.

• Post-Effects

  Up to six common bass effects can be placed after the amplifier in the signal chain. Types and usage are identical to the Pre-Effects.

• Master EQ

  This is a three-band equalizer with a frequency and a gain control for each band. To activate/deactivate an equalizer band, tap the corresponding round yellow button.

  Note

  Master EQ functions only when a cabinet is selected.

• Tuner

  If enabled, the graphical display indicates the currently played pitch as a note. If the played note is flat, the bars left of the middle will light up. If the played note is sharp, the bars right of the middle will light up. If you play the correct pitch, the middle bar turns green.

  Tap the display to enlarge it and to reveal all Tuner controls. See the chapter Tuner for more details.

  Note

  If the Tuner is enabled, the amplifier and effects are disabled so that you hear the unprocessed tone of your instrument.

• Master Volume

  To change the volume of the output signal, use the volume control. Toggle the Master stomp box to mute/unmute the output.

Effects

Wah Wah

Pedal – Controls the filter frequency sweep.

Envelope Filter

Range – Determines the frequency range.

Q-Factor – Sets the intensity of the envelope filter effect.

Sensitivity – Determines how sensitive the effect reacts to the instrument level.

Attack – Determines how quickly an effect reacts to the input signal.

Mix – Sets the level balance between the dry signal and the wet signal.

Type – Sets the filter type.

Release – Determines how quickly the effect fades after the input signal stops.

Volume

Pedal – Controls the level of the signal passing through the effect.

Compressor

Intensity – Sets the amount by which an input signal is being compressed.

Compressor MB

Intensity Low – Sets the compressor effect in the low frequency band. Activate/deactivate auto makeup mode by tapping the Makeup Low switch.

Intensity High – Sets the compressor effect in the high frequency band. Activate/deactivate auto makeup mode by tapping the Makeup Low switch.

Crossover – Determines the crossover frequency between the low frequency band and the high frequency band.

Output – Sets the output level.

Limiter

Threshold – Determines the maximum output level. Signal levels above the set threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Maximizer

Amount – Determines the loudness of the signal.

Chorus

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo by enabling the SYNC button.

Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect.

Tone – Allows you to attenuate low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Phaser

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo by enabling the SYNC button.

Width – Determines the width of the modulation effect between higher and lower frequencies.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Flanger

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo by enabling the SYNC button.

Feedback – Determines the character of the flanger effect. Higher settings produce a more metallic sounding sweep.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

DI Driver

Level – Sets the output level.

Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive and Presence are not active.

Bass – Boosts or attenuates low frequencies.

Treble – Boosts or attenuates high frequencies.

Presence – Boosts or attenuates upper harmonics and attacks.

Drive – Sets gain and overdrive.

Enhancer

Level – Simulates the classic enhancer effect.

Blend – Allows you to attenuate low frequencies.

Octaver

Direct – Adjusts the level of the original signal. A value of 0 means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Tone – Changes the sound character of the generated signal.

Delay

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the project tempo by enabling the SYNC button.

Feedback – The higher this setting, the more delay repeats are created.

Mix – Sets the level balance between the dry signal and the wet signal.

Tape Ducking Delay

Delay – The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo by enabling the SYNC button.

Feedback – The higher this setting, the more delay repeats are created.

Duck – Works like an automatic mix parameter. If the level of the input signal is high, the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value). This way the delayed signal stays rather dry during loud or intensely played passages.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Overdrive

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more harmonics are added to the output signal of this effect.

Tone – Works as a filter effect on the added harmonics.

Level – Adjusts the output level.

Magneto II

Drive – Controls the amount of tape saturation.

LF and HF – These parameters set the frequency range of the spectrum band to which the tape effect is applied.

HF-Adjust – Sets the amount of high frequency content of the saturated signal.

Gate

Threshold – Determines the level at which the gate is activated. Signal levels above the set threshold open the gate and signal levels below the set threshold close the gate.

Release – Sets the time after which the gate closes.

Equalizer

Low – Sets the level of the low frequency portion of the incoming signal.

Mid – Sets the level of the middle frequency portion of the incoming signal.

High – Sets the level of the high frequency portion of the incoming signal.

Graphical EQ

Display – Consists of 8 sliders that set the level of each frequency band.

Reset Sliders – The button to the left of the output slider flattens all values to 0 dB.

Output Slider – Allows you to control the frequency response.

Reverb

Type – A convolution-based reverb effect. This parameter allows you to switch between the reverb types Studio, Hall, Plate, and Room.

Mix – Sets the level balance between the dry signal and the wet signal.

Amplifiers

The amplifiers are modeled on real-life amplifiers. Each amp features settings typical for guitar recording, such as gain, equalizers, and master volume.

To select an amplifier, tap it in the chain to bring up the bottom panel, tap TYPE, tap the left drop-down menu and select the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.

• ValveAmp300 – A famous tube amplifier from the 70s, useful for rock playing styles.

  Greyhound – An amplifier, well known for its typical growl, useful for several playing styles.

  GreenT – A classic amplifier from the 80s, useful for funk and rock playing styles.

  Paradise – An amplifier from the 90s, with a hifi-like clear tone, that makes it applicable for several styles.

  Tweed – A classic vintage amplifier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players.

  iTech – A modern amplifier, with a universal sound.

All amps provide the following sound-related parameters in the AMP section of the bottom panel, which have a significant impact on their overall character and sound:

Gain

Sets the amount of boost for the amp.

Bass

Allows you to raise or lower the low frequency part of the signal.

Shape 1

Adds a predefined tone shaping to the low-mid frequency part of the signal.

Lo Mid

Allows you to raise or lower the lower mid frequency part of the signal. The corresponding Freq control sets the frequency.

Hi Mid

Allows you to raise or lower the upper mid frequency part of the signal. The corresponding Freq control sets the frequency.

Shape 2

Adds a predefined tone shaping to the mid-high frequency part of the signal.

Treble

Allows you to raise or lower the high frequency part of the signal.

Master

Sets the output level for the amp.

The different amps keep their settings if you switch models.

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets.

To select a cabinet, tap it in the chain to bring up the bottom panel, tap TYPE, tap the right drop-down menu and select the model that you want to use. Select No Cabinet if you only want to use the amps and effects.

If you enable the Link button in the center, the plug-in automatically selects the cabinet corresponding to the selected amp model.

The following cabinets are available:

4x10"

10" speakers provide a punchy clear sound that is suitable for “Slap” bass and regular playing styles.

10" speakers have a cleaner sound and more punch than 15" speakers.

8x10"

Compared to 4x10", double the amount of speakers.

4x12"

12" speakers provide a mellow and full sound, making them a good choice between 10" and 15" speakers.

1x15"

15" speakers provide more low frequencies compared to the other cabinets. They are suitable for rock and vintage oriented styles.

Microphones

To bring up the Microphones page, tap the amplifier in the chain to bring up the bottom panel, then tap MIC.

Blend

Determines the ratio between line and mic.

Mic 1 and 2

These drop-down menus allow you to select the types of the two microphones (see below for a list possible types).

Mix

You can crossfade between the two microphone types, or select one by turning the dial all the way to the left or right.

Mic Position

These microphone positions result from two different angles (center and edge) and three different distances from the speaker.

The following microphone types are available:

57

Dynamic microphone with cardioid pickup pattern.

121

Ribbon microphone with figure-8 pattern.

409

Dynamic microphone with supercardioid pickup pattern.

421

Dynamic microphone with cardioid polar pattern.

545

Dynamic microphone with cardioid pattern that minimizes feedback.

5

Dynamic microphone with cardioid pickup pattern.

30

Reference and measurement microphone with omni directional polar pattern.

87

Condenser microphone with omni directional pattern.