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User Manual
AMPEG® is a registered trademark of St. Louis Music, Inc. used under license.
SVX™ is a trademark of IK Multimedia Production.
All other trademarks property of their respective owners.
www.ampegsvx.com
PLEASE NOTE:
AMPEG® is a registered trademark of St. Louis Music, Inc. used under license.
SVX™ is a trademark of IK Multimedia Production. All other product names
and trademarks are the property of their respective owners, which are in
no way associated or affiliated 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 does not imply any co-operation or endorsement.
1
Ampeg SVX
®
2
Ampeg SVX
®
I Contents pag. 3
II Interface pag. 6
I - Contents 3
Ampeg SVX
®
4 I - Contents
Ampeg SVX
®
I - Contents 5
Ampeg SVX ®
6 II - Interface
Ampeg SVX ®
Direct/Amped Signal.
II - Interface 7
Ampeg SVX ®
License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
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The “IK Multimedia Product” is licensed, not sold. This EULA grants you the rights as specified here below. All other actions and means of usage are
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8 License Agreement
Ampeg SVX ®
and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media.
5) UPGRADES
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6) DUAL-MEDIA SOFTWARE
You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another
user, except as part of the permanent transfer (as provided above) of the “IK Multimedia Product”.
7) LIMITED WARRANTY
IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original purchase,
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To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, your
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whether made by a IK Multimedia dealer, distributor, agent or employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.
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11) GENERAL
This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contempora-
neous agreements or understandings, whether oral or written. All questions concerning this Agreement shall be directed to:
License Agreement 9
Ampeg SVX
®
TUNER Module
STOMP Module
AMP Module
CAB Module
10
Ampeg SVX ®
Main features:
· High-precision Tuner.
· Two parallel signal paths make it possible to have the direct bass
sound mixed with the processed amped signal for instant high-quality
studio sound.
1 - Ampeg SVX 11
Ampeg SVX
®
ability” and “musicality” qualities that only the real thing provides. DSM™
has been designed to improve this aspect.
DSM™ gives special and unique results when applied to circuit emulations
where the non-linearity is the main characteristic of the processor, such as
in distortion, fuzz, overdrive stomp boxes, tube bass amplifiers, power amps,
analog compressors and limiters. The DSM™ working principle is based on a
new approach never applied to DSP “analog modeling” until now.
Analog circuits, especially Tube and Class-A discrete ones, are not dynami-
cally-linear, but have been modeled this way by today’s technology. An ana-
log circuit’s character is never constantly shaped but varies depending on
lots of parameters, first and foremost the strength, frequency and harmonic
content of the incoming signal.
DSM™ takes the next step. It continuously adapts the “shape” of the analog
circuit instead of applying a static snapshot. By using more complex math-
ematical functions, a more articulated and musical response is possible,
making DSM™ ideal for modeling tube preamps and tube power amps.
MIXER OUTPUT
figure 1.1
12 1 - Ampeg SVX
Ampeg SVX ®
Launch Pro Tools and create your new session. If playing/recording bass,
create a mono audio track. Select Ampeg SVX Mono/Stereo among RTAS
plug-ins as the insert for that audio track. The Ampeg SVX interface will then
open. If you are using Pro Tools LE, when the track is place in record monitor
mode, you will be able to here the effect while recording.
Tip: If you are using Pro Tools TDM and recording a bass track while lis-
tening to Ampeg SVX, you should insert a TDM plug-in like Digidesign’s
“TRIM” before Ampeg SVX RTAS. This will let you hear Ampeg SVX RTAS
while recording on a TDM system, otherwise Pro Tools will bypass the RTAS
plug-in (Ampeg SVX in this case) as soon as the track will be REC enabled.
Launch Cubase™. Click on the audio or instrument track that you wish to add
Ampeg SVX to. In the inspector window on the left, click on the dark blue
bar that says “Inserts” or click on the “e” button beside the track name at the
top of the inspector.
Once the inserts are visible (under the insert menu on the Inspector, or
on the left side of the audio channel editor window) click on empty insert.
Select “Ampeg SVX”. At this point, if you play back audio, you should be able
to route sound through your Ampeg SVX plug-in.
Tip: In order to take advantage of the Ampeg SVX stereo ambience you
will need to insert SVX on a stereo track or bus.
Launch Logic™. Insert Ampeg SVX on the desired track from the mixer win-
dow. The Ampeg SVX edit window will automatically open.
Tip: In order to take advantage of the Ampeg SVX stereo ambience you
will need to insert SVX on a stereo track or bus or use a “Mono to stereo”
Ampeg SVX instance.
Launch Digital Performer (4.1 or newer) and create your new session. Go to
2 - Basic Operation 13
Ampeg SVX
®
the Mixer View. On your audio track, select Ampeg SVX in the insert. The
Ampeg SVX edit window will automatically open. You will now be able to
hear the plug-in on the audio you’re recording or playing back.
Tip: In order to take advantage of the Ampeg SVX stereo ambience you
will need to insert SVX on a stereo track or bus or use a “Mono to stereo”
Ampeg SVX instance.
Launch Sonar and create your new session. Open the CONSOLE (pressing
ALT+3) and locate the audio track you wish to add Ampeg SVX to. Right Click
the FX INSERT AREA (dark square in upper area of the AudioTrack) on the
mixer and choose “Ampeg SVX” from the AUDIO EFFECTS sub-menu. The
Ampeg SVX interface will then appear.
Launch Live and click on one of the audio or virtual instrument tracks in the
“Mixer Drop Area”. Notice in the “Track View” (bottom window), the text
“Drop Audio Effects” appears.
Now, in the “Browser Window” (window on the left hand side of the screen),
click the Plug-in Browser button (looks like an electric plug). Browse to
Ampeg SVX and click/drag it into the “Track View”. Once Ampeg SVX loads,
it will appear as a “Device” with an XY controller on it.
To view the Ampeg SVX interface click the “edit plug-in panel” (small
wrench) button at the top of the Device window.
The Ampeg SVX is set up as a traditional bass rig. This ensures predictable
results and real world flexibility. While it is simple to comprehend and navi-
gate, the user interface allows for sophisticated bass.
14 2 - Basic Operation
Ampeg SVX ®
between the different sections of the bass amp rig and provides easy
access to module specific controls and features.
figure 2.1
Flexible Routing: in Ampeg SVX, the amplifier signal coming from the miked
cabinet can be mixed with the direct signal via the Direct / Amp signals mix
knob (located on the bottom right side of the Input/Output Interface section).
This bass production technique is a real world trend commonly used in pro-
fessional recording studios by top producers. Now it is in your hands.
Presets: one of the easiest ways to get started with Ampeg SVX is to
audition the collection of included presets (figure 2.2). In order to
enhance and speed up your creative process, IK has included this col-
lection of presets with the powerful Ampeg SVX engine. These presets
have been skillfully programmed by the Ampeg SVX designers and by a
group of professional users that produce with Ampeg SVX on a regular
basis. A variety of music genres, playing techniques, and commonly
used signal chain configurations have been taken into consideration
when these presets were programmed.
PRESET MANAGER: loads and saves presets (figure 2.3). This section
allows you to select, save, and delete presets.
figure 2.3
figure 2.4
In fact, using the bypass and mute buttons you are able to control the
signal path of your bass rigs. As a visual reference, the bypass and mute
buttons will be highlighted when they are activated.
2 - Basic Operation 15
Ampeg SVX ®
figure 2.5
INPUT/OUTPUT INTERFACE: adjusts the input and output gains (figure 2.6).
Additionally, you are able to control the individual modules’ volume, scroll
through them, set the preferences, and display plug-in informations.
figure 2.6
2.4 Automation
Ampeg SVX can be automated from your host sequencer. All knobs and
onscreen controls can be accessed through the host application’s plug-in
automation controls. Use the host application to enable and automate the
parameters of Ampeg SVX.
Please note that all the available parameters in Ampeg SVX are listed in
automation parameters, not just the ones that are being currently used. For
example, if you want to automate the Overdrive “Texture” parameter, just
scroll the automation parameters up to “Overdrive: Texture” (figure 2.7).
This allows for changing presets to audition different sounds without loos-
ing the previous automation data for the “Overdrive” parameters (in case no
“Overdrive” has already been inserted in the presets you’re auditioning).
figure 2.7 For specific information regarding automation, please read your host
sequencer manual or visit its webpage.
16 2 - Basic Operation
Ampeg SVX ®
The Input/Output interface provides more than just volume controls and
input/output level meters (figure 3.1). It includes a Mini Tuner bar graph,
a Mini Tuner Note Indication, a current paramter value display and a phase
knob.
figure 3.1
To fully obtain high sound quality from Ampeg SVX, you need to correctly
connect the bass to your computer.
INPUTS TO USE:
Hi-Z inputs
Instrument inputs
The Microphone XLR input can ONLY be used if you are using an
active DI BOX between the bass 1/4” Plug and the Mic XLR input.
NOT TO USE:
Regular Line inputs.
NEVER connect your bass directly to line inputs
NEITHER -10dB nor +4dB inputs can be used for your bass
· Once you have successfully connected your bass to your computer, you will
need to setup the Input Gain on your audio interface.
Or
Increase the gain knob on your interface to make the Ampeg SVX’s Input
Lever meter reach almost full scale when played hard enough, then
slightly decrease the gain on your interface.
The meter next to the current parameter value display gives an accurate
representation of the input signal (figure 3.2).
figure 3.2
3 - Input/Output Interface 17
Ampeg SVX ®
If the output level needs to be adjusted, change the master trim (figure 3.3).
There is a meter to the right of the volume knob that shows the output level
figure 3.3 and an overload light to the far right of the meter. Use this meter to gauge
how the level should be adjusted. To reset the blue clipping indicator just
click on it (figure 3.4).
The volume control fine tunes the output level of the selected module (figure
3.5). Usually, this control should be kept at its default center position. This
control can be used, for example, to boost the signal at the input of the
figure 3.5 Amplifier. Also, this can be done by selecting the Stomp Module and increas-
ing the volume knob.
The Mix control (figure 3.6) balances the sound between direct and miked
amp, as done in professional recording environments, from “Direct” (0%) to
“Amp” (100%). The direct sound is post stomps.
figure 3.6
The Phase control (figure 3.7) adds a variable small delay to the Direct
sound. Adjusting this delay time when combining direct and amp sounds
will alter the time alignment between the two, allowing for a wider range of
figure 3.7 possible sounds. The delay range is from 0 to 20 ms.
3.5 Navigation
The navigation buttons scroll between the modules, simplifying their selec-
tion (figure 3.8-3.9).
figure 3.8 figure 3.9
3.6 Tune
TUNE provides a small representation of the TUNER module, making it easy
to tune up without having to change the module you are viewing (figure
3.10). It displays the note that you are actually playing and also a graphical
figure 3.10 representation of the fine tuning (measured in cents). When the OK light
illuminates, the tuning is correct.
The Preferences menu allows you to set the modeling resolution of the
Amplifiers power amp stages (figure 3.11). Enabling it will deliver the
figure 3.11
best modeling accuracy, disabling it will make the plug-in to use less CPU
resources, still sounding great.
18 3 - Input/Output Interface
Ampeg SVX ®
The info pages provide useful information about Ampeg SVX (figure 3.12).
For example, you will find the version number and a set of instructions
figure 3.12
about how to setup your audio path (figure 3.13).
figure 3.13
3 - Input/Output Interface 19
Ampeg SVX
®
20 3 - Input/Output Interface
Ampeg SVX ®
The Ampeg SVX module selector performs multiple functions (figure 4.1).
Not only does it shows the signal path through the Signal Chain Display, but
also it allows you to select the different modules via each of the individual
buttons (Tuner, Stomp, AMP and CAB) and mute or bypass them as desired.
figure 4.1
To select modules, click directly on the module button (figure 4.2). This
allows easy access to any module contained in your custom bass rig.
figure 4.2
4 - Module Selector 21
Ampeg SVX
®
22 4 - Module Selector
Ampeg SVX ®
This system allows you to create and save Ampeg SVX presets (figure 5.1).
This means that you can design your own bass rig selecting from one to
six stomp units, choosing an AMP, and matching them with your favorite
speaker and mic model. Then, you just need to save this new configuration
with a descriptive name that expresses your sonic personality.
figure 5.1
As with any of the drop down menus in Ampeg SVX, you can either click
on the preset selector and choose from the drop down menu or click the
up/down arrows and scroll through the presets.
PRESET FOLDER: opens the presets folder for immediate manual inter-
vention on location, grouping, naming, and backup of the preset files via
standard OS window (figure 5.2).
figure 5.2
SAVE: saves the current setup as a preset. In brief, it will save the
parameters for all the modules in Ampeg SVX (Tuner, Stomp, AMP and
CAB).
SAVE AS: functions like the save button but always prompts for a new
name in the save dialogue.
5 - Preset Manager 23
Ampeg SVX ®
figure 5.3
A pop up window will appear (figure 5.4).
At the top of this window, you can specify a folder where you would like
to save the preset or create a new folder to save in. In the middle field on
this pop up window, type the name of the preset. The bottom field makes
Ampeg SVX auto overwrite when you click Save. This option allows you to
save quicker, but if you are not careful, you could unintentionally overwrite
a preset that you wanted to keep.
Click the SAVE button in the pop up window (figure 5.5). Your Preset is now
saved. It will now appear in the Preset Selector.
figure 5.4
figure 5.5
24 5 - Preset Manager
Ampeg SVX ®
With Ampeg SVX you can select one of the four Amp models and match it
with one of the six Cabinet models. This way you can instantly have, for
example, a classic sound by selecting the B-15R amp with its B-15R cabinet
or mixing different models in the combination you prefer.
Let’s start by loading a preset clicking on the presets selector (figure 6.1).
We will modify and customize the setup in the next paragraphs.
figure 6.1
Now, let’s change the amp. Click on the “AMP” module button (located below
the Ampeg SVX signal path display) (figure 6.2) and select another ampli-
fier, for example “SVT-4PRO”.
figure 6.2
At this time, let’s choose the speaker cabinet that we are going to use. If you
set the MATCH switch ON, this will select the default speaker cabinet that
is associated with the Amplifier you selected, in this case the SVT-410H.
Now, you can experiment with a different cabinet just selecting one from
the “Speaker Model” selector (figure 6.3). Next, you have the possibility to
aurally test several microphones. In the Mic Model window, select “Dynamic
figure 6.3 20”. You can also move the microphone to 4 different positions by using the
“Off/On Axis” and “Far/Near” buttons. Additionally, you are able to increase
or decrease the room ambience via the ambience slider. All the parameters
values are visualized through the current parameter value display (located
figure 6.4 on the Input/Output interface at the bottom of the screen (figure 6.4-6.5).
figure 6.5
6 - Getting Started 25
Ampeg SVX ®
figure 6.6
Under the first effect slot (of a total of 6 slots), click on “Analog Chorus”. This
will load a classic analog chorus effect (figure 6.7).
Then, on the next effect slot click on “Ampeg SCP-OD Overdrive”. This will
load a distinctive overdrive effect. After that, you are still able to add 4 more
virtual stomps in order to get your signature sound.
The next thing that we need to do after the creative process is to save our
preset. To do this, locate the preset manager window to the top left of the
interface. Notice that there are 4 buttons underneath the preset selector.
Choose Save or Save as (check Chapter 5.3), give a name to the preset, and
then save it. If you now click on the preset selector window, our newly cre-
ated preset will appear in the drop down menu.
figure 6.7
26 6 - Getting Started
Ampeg SVX ®
figure 7.1
To access the tuner, click the TUNER button on the module selector. This
tuner is a fully automatic chromatic tuner, meaning that there is no need to
manually select the note you are going to tune. The tuner will automatically
detect and show which note you’re playing. On the left there is an On/Off
button for the tuner (figure 7.2). Setting the switch to the ON position will
figure 7.2
turn it on.
There is a mute control as well (figure 7.3). This makes it possible to silence
the bass signal while tuning, a very useful feature for live performance.
These bypass and mute controls are the same controls that appear on the
top right side of the Ampeg SVX interface (figure 7.4).
figure 7.3
Under the On/Off and mute switches, TUNE displays the tuning reference
being used. The default and most common tuning reference is 440 Hz, how-
ever, this can be adjusted (from a 425 to 455 Hz range) by clicking on the
display (figure 7.5).
figure 7.4
After the cursor appears, use backspace and cursor buttons to move and edit
the value by entering numbers.
The right side of the tuner displays the detected note value and the fine tun-
figure 7.5
ing in cents (figure 7.6). This is also visible on the bottom of the Ampeg SVX
interface with the fine tuning shown graphically (figure 7.7).
The main feature in the tuner is obviously the graphical tuner interface (fig-
ure 7.8). Based on a high end rackmount tuner, Ampeg SVX’s tuner allows
for precise and easy tuning.
figure 7.6
7 - TUNER Module 27
Ampeg SVX
®
28 7 - TUNER Module
Ampeg SVX ®
8.1 Controls
To change the stomp effects configuration, click the STOMP button on the
module selector (figure 8.2). The flexible options of the stomp module
allows you to freely configure six stomp pedal effects at a time, emulate
several classic bass tones, and create your own stomp configurations.
figure 8.2
The six stomp effect slots are displayed in the module interface as empty
spaces on a wooden pedal board (figure 8.3).
figure 8.3
8 - STOMP Module 29
Ampeg SVX
®
You can select different stomp effects by either clicking on one of the six
displays under the pedal board or using the up and down arrows to scroll
through the different effects (figure 8.4). Like a hardware bass rig, each
stomp effect’s controls are displayed on the stomp box (figure 8.5). When
you adjust, for example, the output or the sensitivity controls of the com-
pressor stomp box, that control’s value is displayed in a window at the bot-
tom of the screen (figure 8.6). This feature helps to visualize, compare, and
analyze each particular setting.
30 8 - STOMP Module
Ampeg SVX ®
8.2 Effects
This virtual stomp effect emulates the Ampeg SCP-OD Overdrive pedal
(figure 8.7). It recreates the original distortion circuit, adding upper octave
harmonic content to the direct signal and creating as a result a unique
overdrive effect.
Controls:
Texture: controls the upper octave harmonic content (or type of distor-
tion), from 0 to 10.
Balance: controls the mix between the direct and overdriven signal,
figure 8.7 from 0 to 10.
On/Off: turns the Stomp effect On or Off.
This stomp effect is modeled after the Ampeg SPC-OCT Octaver pedal (figure
8.8). Moving the octave knob will double your direct signal one octave below
the direct signal. In this way you can make your melodic lines richer and
fuller, expanding the frequency range.
Controls:
Direct: sets the output level of the direct signal, from 0 to 10.
Octave: sets the output level of the sub-octave, from 0 to 10.
On/Off: turns the Stomp effect On or Off.
figure 8.8
8.2.3 Analog Chorus
Controls:
Level: sets the input level. Range is from –15dB to +15 dB.
Chorus: sets the intensity (or depth) of the Chorus effect, from 0 to 10.
Vibrato Rate (“vib rate”): sets the rate of the Vibrato effect, from 0 to 10.
Vibrato Depth(“vib depth”): sets the intensity of the Vibrato effect, from
0 to 10.
Vibrato/Chorus switch (“vib”/“ch”): enables Vibrato or Chorus modes.
When Vibrato mode is enabled the corresponding LED will light up.
figure 8.9 On/Off: turns the Stomp effect On or Off.
8 - STOMP Module 31
Ampeg SVX ®
This model is based on a classic analog delay with modulation stomp pedal
(figure 8.10).
Controls:
Delay: changes the length of the delay between each echo, from 25ms
to 500ms.
Feedback (“f-back”): changes the amount of time that the echo repeats,
from 0% to 100%.
Blend: mixes the amount of the dry signal with the delayed sound, from
0% to 100%.
Chorus/Vibrato (“chrs/vib”): sets the amount of Chorus/Vibrato effect
added to the processed signal, from 0% to 100%.
figure 8.10 Vibrato/Chorus switch: enables Vibrato or Chorus modes.
On/Off: Turns the Stomp effect On or Off.
BPM Sync ON/OFF: allows the effect to be synchronized to the host
BPM.
This effect is modeled after the classic Wah pedal used by many of the top
players from the 60’s and 70’s (figure 8.11). In addition to the Wah effect,
there is a new exciting feature called “auto”. This option will produce the
Wah effect automatically, meaning that there is no need for the manual
intervention on the pedal position.
Controls:
Off/On/Auto switch: sets the mode of the Wah effect, OFF, ON, or
figure 8.11 AUTO.
Pedal Position: controls the Wah effect from 0 to 100%.
8.2.6 Compressor
Controls:
Output: sets the output level for the effect, from –inf to 0.00 dB.
Sensitivity: sets the sensitivity of the compression, from 0 to 10.
On/Off: sets the mode of the virtual pedal.
figure 8.12
32 8 - STOMP Module
Ampeg SVX ®
This stomp is a highly developed filter effect (figure 8.13). Essentially, it uses
the envelope of the incoming signal to control a synthesizer style filter. The
sound palette’s range of this virtual unit is wide and rich. You can enhance
your bass tone adding from simple auto Wah effects to extreme filtering
effects.
Controls:
Controls:
Minimum (“min’): sets the minimum volume when the pedal is fully
down. The range goes from 0 to 10.
Pedal Position: controls the volume effect from 0 to 100%.
figure 8.14
8 - STOMP Module 33
Ampeg SVX
®
34 8 - STOMP Module
Ampeg SVX ®
9.1.1 BA-500
The BA-500 (figure 9.1) is a high quality solid-state bass amp, with a sonic
fingerprint that will deliver a big and detailed sound in any musical situa-
tion. Thanks to its powerful preamp sound shaping controls, this amp model
will be great on all musical genres and styles. Its natural cabinet match is
the BA-500 cabinet, but you can get interesting sounds experimenting with
all the included cabs options.
figure 9.1
Controls:
9 - AMP Module 35
Ampeg SVX
®
TREBLE: boost and cuts the high frequencies of the amp’s EQ stage, from
1 to 10.
MASTER: controls the volume of the DSP power amp stage, from 1 to 10.
LIMIT: enables the limiter in the power amp and is linked with the right
side yellow light. This limiter acts only when the master level is very high
and the power amp is pushed at its limit.
EQ ON: turns on the graphic EQ when pressed.
EQ ON LED: turns on when the graphic EQ is enabled.
GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -10
to +10 dB.
POWER SWITCH: turns On or Off the amplifier and it is linked to the
Bypass button in the Amp module.
POWER LED: turns on when the Power switch is on “1”.
This is the 1960’s classic bass amplifier, enhanced and improved for the
actual musical scenario (figure 9.2). 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 B-15R cabinet.
figure 9.2
Controls:
ULTRA HI/LO: these two switches control the timbre shaping of the B-
15R preamp.
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 a frequency band, from 1 to 5 positions. Intervention
36 9 - AMP Module
Ampeg SVX ®
9.1.3 SVT-Classic
This is the authentic and classic Ampeg tube sound (figure 9.3). This all-
tube bass head delivers a warm, harmonically rich and punchy sound that
is a trademark for the rock bass sound, both live and in the studio. The
SVT-Classic is the amp that created the rock bass sound. Its natural speaker
match is the SVT-810E or the SVT-410H.
figure 9.3
Controls:
GAIN: controls the gain of the SVT head preamp, from 0.0 to 10.0.
ULTRA HI/LO: these two switches control the timbre shaping of the SVT
Classic preamp.
BASS: boost and cuts the low frequencies of the amp’s EQ stage, from 0
to 10.
MIDRANGE: boost and cuts middle frequencies of the amp’s EQ stage,
from 0 to 10.
FREQUENCY: selects the center frequency for the Midrange control, from
1 to 5 positions. The numbers correspond to the following center frequen-
9 - AMP Module 37
Ampeg SVX
®
cies as indicated:
1=220Hz
2=450Hz
3=800Hz
4=1.6kHz
5=3kHz
TREBLE: boost and cuts high frequencies of the amp’s EQ stage, from 0
to 10.
MASTER: controls the volume of the DSP power amp stage, from 0 to 10.
STANDBY/POWER: is linked to the Amp Module Bypass button on the top
frame. When bypassed the Amp section is not affecting the sound.
POWER SWITCH: Turns On or Off the amplifier and it is linked to the Amp
Module Mute button. When it’s on “1” the mute is Off, and the Amp emits
sound.
9.1.4 SVT-4PRO
This is a real all-round high end bass amplifier (figure 9.4). It combines a
fully featured tube preamp that can really cover any sound need with a tight
solid state power amplifier. The SVT-4PRO sound spectrum is wide and rich.
You can get from extremely neutral and transparent sounds to powerful
unique tones. Experiment with the SVT-4PRO settings and create your own
custom sounds.
figure 9.4
Controls:
MUTE: cuts the signal at the Amp input and it is linked with the Amp
Module “Mute” button.
-15dB: reduces the gain of the preamp.
GAIN: controls the gain of the STV-4 preamp, from 1 to 10.
PEAK LED: when the preamp is nearing its clipping level this led turns
38 9 - AMP Module
Ampeg SVX ®
on.
COMPRESSION: sets the SVT preamp internal compressor’s compression
level, from 0 to 10. At 0 there will be no compression at all.
ULTRA HI/LO: these two switches control the timbre shaping of the
SVT-4 preamp.
BASS: boost and cuts the low frequencies of the amp’s EQ stage, from
0 to 10.
MIDRANGE: boost and cuts the mid frequencies of the amp’s EQ stage,
from 0 to 10.
FREQUENCY: selects the center frequency for the Midrange control,
from 1 to 5 positions. The numbers correspond to the following center
frequencies as indicated:
1=220Hz
2=450Hz
3=800Hz
4=1.6kHz
5=3kHz
TREBLE: boost and cuts the high frequencies of the amp’s EQ stage,
from 0 to 10.
LIMIT DEFEAT: disables the limiter of the Power amp section.
LIMIT LED: turns on when the power amp Limiter starts limiting.
BRIGHT: when enabled adds a more lively top end response to the input
signal.
MASTER: controls the volume of the power amp stage.
GRAPHIC EQ SLIDERS: sets the gain for each graphic EQ band from -12
to +12dB.
GRAPHIC EQ LEVEL SLIDER: sets the gain for the graphic EQ stage from
-12 to +12dB.
POWER LED: turns on when the power switch is in its upper position,
and the Amp is ON.
ACTIVE LED: (in the graphic EQ section). Normally, this LED is on.
Clicking on it will disable/enable the Graphic EQ section and turns
Off/On the LED.
POWER SWITCH: linked to the Amp module Bypass button.
9 - AMP Module 39
Ampeg SVX
®
40 9 - AMP Module
Ampeg SVX ®
Most high quality bass amplifiers (and cabinets) are equipped with a high frequen-
cy driver in addition to the other full range regular speakers. In fact, Ampeg speak-
ers have various types of high frequency drivers (tweeters). For that reason, Ampeg
figure 10.2 SVX implemented an innovative system to capture and emulate the complete two
way speaker system. Through this option, you are able to adjust the level of the
tweeter exactly as you would on the real cabinet. To open up the Cabinet module,
click the CAB button on the module selector. There are two models in the CAB mod-
ule: the SPEAKER MODEL (figure 10.2) and the MIC MODEL (figure 10.3).
figure 10.3
MATCH: when this option is set to ON, the speaker model will automati-
cally match the Amplifier model selected in the Amp Page. However, the
microphone settings won’t be affected by the Match setting.
The matching table is this:
AMP CAB
BA-500 BA-500
B-15R B-15R
STV-Classic SVT-810E
STV-4PRO SVT-410H
10 - CAB Module 41
Ampeg SVX
®
High Level Control: pressing this button will show you the back of the
cabinet so you are able to adjust the level of the high frequency driver.
Moving the “Level Control” big knob sets the level of the Tweeter from
–inf (Tweeter OFF) to 0 dB. In order to return to the regular Cab front
view, click the back of the speaker in any position (except on the High
Control).
Ampeg SVX offers you 6 different speaker models. All the cabinet models
feature different sized speakers (including 10”, 12” and 15”), and multiple
speakers configurations (2, 4, and 8 respectively). Please check the following
speaker models alternatives:
figure 10.4
BA-500
figure 10.5
B-15R
42 10 - CAB Module
Ampeg SVX
®
figure 10.6
BXT-410H
figure 10.7
PB-212H
figure 10.8
SVT-410H
10 - CAB Module 43
Ampeg SVX
®
figure 10.9
SVT-810E
The MIC MODEL features 6 microphone models and offers you 3 powerful
controls: On/Off Axis, Near/Far, and Ambience. Ampeg SVX helps you to
reach your personal and unique bass tone through the flexibility and func-
tionality of its controls. Basically, you are able to recreate and adapt several
real world music production techniques via the experimentation of the On/
Off Axis, Near/Far, and ambience controls. Here, a brief explanation:
AMBIENCE: adjusts the amount of room ambience that is mixed with the
microphone signal.
44 10 - CAB Module
Ampeg SVX ®
Clean sounds can be more present and detailed if miked ON-AXIS, CLOSE.
If you feel the sound to be too big for the mix try moving the mic FAR from
the cab.
figure 10.10 If you think the sound it too bright open the “High Level Control” and turn
down the High Level knob, or try moving the microphone Off Axis.
10.4.1 Dynamic 20
figure 10.11 This mic model (figure 10.10) recreates a smooth reaction across a wide
spectrum of frequencies, especially attractive in the low area. This means
that the Dynamic 20 is a great selection for acoustic and electric bass.
10.4.2 Dynamic 57
This is a model of the popular small diaphragm dynamic mic (figure 10.11).
figure 10.12
Its bright, edgy sound has made it a widely used guitar and bass amp mic.
Probably the second most popular dynamic mic to use on guitar amps, this model
(figure 10.12) provides an equally pleasing sound, but is a warmer than the 57.
10.4.5 Condenser 87
figure 10.14
This is a model of one of the most popular large diaphragm mics ever (figure
10.14). It can be found in any large recording studios mic locker. Because
of its excellent frequency response curve, the 87 has become the mic to go
when needing a clean, flattering sound.
figure 10.15 The Condenser 414 (figure 10.15) is modeled after another highly regarded
10 - CAB Module 45
Ampeg SVX
®
46 10 - CAB Module
Ampeg SVX ®
AMPEG® is a registered trademark of St. Louis Music, Inc. used under license.
SVX™ is a trademark of IK Multimedia Production. All other product names
and trademarks are the property of their respective owners, which are in no
way associated or affiliated 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 does not imply any co-operation or endorsement.
Ampeg SVX Standalone version can be used to play and practice live using
your computer as the next generation modeling effect processor. It allows
you to run the program without the need of a host sequencer application.
Once your hardware is properly set-up you can launch Ampeg SVX.
To launch Ampeg SVX Standalone go to:
figure 12.1
12 - Standalone Mode 49
Ampeg SVX
®
- In Outputs, select your audio interface output driver. In short, the Input
and Output driver should be the same.
- Below the Outputs menu, select your desired output channels. For
example, (Channel 1, Output 1), (Channel 2, Output 2).
- Sample Rate: choose your desired sample rate. (Ampeg SVX will sup-
port sample frequencies up to 96KHz).
- Buffer Size: adjusting the buffer settings will change the audio signal
latency. In fact, the amount of latency depends on several factors such
as computer speed, sound card performance. Decreasing the buffer size
value, will reduce the amount of signal delay. So the idea is to get the
latency as low as possible without getting any audio artifacts. As start-
ing point, a 256 buffer size value should work fine. However, consider-
ing that each set-up reacts in a different way, please experiment with
your settings until you get the best result.
- Clicking on Panel you will have access to the Control Panel provided by
the audio interface you are using.
figure 12.2
50 12 - Standalone Mode
Ampeg SVX ®
- Your Channel selection has to match with your audio interface input
number (in which your guitar is plugged into). For example, if the guitar
is plugged into the first audio interface input, you should select Channel
1, if the guitar is plugged into the second audio interface input, you
should select Channel 2, and so on.
- The Output audio driver will typically be the same as the Input audio
driver. Please select the output for Ampeg SVX under left and right
channel. Next, select a low Buffer Size value, and a Sampling Frequency
(remember that this will be limited by your audio interface/soundcard
capabilities).
- Sample Rate: choose your desired sample rate. (Ampeg SVX will sup-
port sample frequencies up to 96KHz).
- Buffer Size: adjusting the buffer settings will change the audio signal
latency. In fact, the amount of latency depends on several factors such
as computer speed, sound card performance. Decreasing the buffer size
value, will reduce the amount of signal delay. So the idea is to get the
latency as low as possible without getting any audio artifacts. As start-
ing point, a 256 buffer size value should work fine. However, consider-
ing that each set-up reacts in a different way, please experiment with
your settings until you get the best result.
12.3 SpeedTrainer™
figure 12.3
The SpeedTrainer Controls (figure 12.4) include OPEN AUDIO button (figure
12.5) to open an audio file, file PLAY and PAUSE buttons and buttons for
setting a loop point within the audio file.
figure 12.4 Audio files can also be simply dragged from the system on the SpeedTrainer
waveform display to open them.
When you open or drag an audio file on the SpeedTrainer you will see its
waveform progressively displayed. The SpeedTrainer will be in Loading
figure 12.5 status, till the entire file is displayed in the Waveform display.
12 - Standalone Mode 51
Ampeg SVX ®
When the SpeedTrainer displays the Ready status you are ready to play
your file.
figure 12.6
A/B repeat (figure 12.6).
- Pressing Clear erases the A/B points and disables the loop playback
(the A and B highlighted buttons goes off) (figure 12.10).
figure 12.10
After you set the A (Loop Start Marker) and B (Loop End Marker), you are
able to make small adjustments by holding the mouse on top of the marker
sign, and then dragging them horizontally (figure 12.11).
figure 12.11
If you click on or drag the A or B markers, their position will be shown in the
Time Display (figure 12.12), located below the filename (figure 12.13).
figure 12.12
12.5 Waveform Display
figure 12.13 The audio file peak waveform is displayed as an average of the L&R chan-
nels. This means that you will see it as only one waveform, even if your
audio file is stereo (figure 12.14).
figure 12.14
52 12 - Standalone Mode
Ampeg SVX ®
The Horizontal Scroll Bar will allow you to move the file into the display.
While dragging the Horizontal Scroll Bar (to the right or left), the waveform
will follow your movements, without having to release the mouse click to
update the waveform visualization (figure 12.17).
figure 12.16
For example, you can extract the audio from your guitar CD method, open
a file and change the tempo of a particular exercise. In this way, you can
figure 12.18 measure your progress, speeding up the track gradually, according to your
actual technical skills.
The Pitch adjustable range goes from –12 semitones (one octave down) to +12
semitones (one octave up), and its Default position is 0, at center (figure 12.19).
In this way, you are able to practice your favorite artist’s songs in several
figure 12.19 keys, increasing your transposition skills and improving you musicianship
capabilities.
NOTE: Pitch and Tempo changes will not alter your stored A/B loop points.
The Peak Meter shows the audio file playback instantaneous peak level
(figure 12.22).
figure 12.22
12 - Standalone Mode 53
Ampeg SVX ®
12.9 Metronome
You can turn on the Metronome by clicking on the On button, and then
modify its Tempo (via its Tempo knob) and its volume (through its Volume
knob) (figure 12.23).
figure 12.23 Tempo values are measured in beats per minute (BPM), and its range goes
from 30 to 220 BPM. Tempo values are shown in the Metronome display.
However, the volume values are expressed in % (from 0 to 100%) in the
Selected Parameter display.
figure 12.24
1. Typing the BPM value in the Tempo box and then clicking Ok.
2. Clicking the Tap button (at least 5 times) with a steady pulse. The
recognized BPM value will be displayed in the Ampeg SVX bottom area,
between Ready and CPU Load. Also, if you want to use your computer
keyboard, go to the main Ampeg SVX window and enter your tempo
tapping the UPPERCASE T key (press Shift + T).
TIP: as a learning tool, you can use Ampeg SVX Metronome to increase your
technical skills. For example, you can create a weekly routine and design a
Progress Record.
54 12 - Standalone Mode
Ampeg SVX ®
For instance:
In this case, you can compare your weekly progress and redesign your study
plan based on your auto-evaluation.
In standalone mode the CPU load is displayed at the bottom of the interface
(figure 12.25). Please refere to chapter 4.7 (Preferences) on tips to manage
the CPU load.
figure 12.25
12 - Standalone Mode 55
Ampeg SVX
®
56 12 - Standalone Mode
Ampeg SVX ®
Chapter 13 Troubleshooting
figure 13.1
13 - Troubleshooting 57
Ampeg SVX
®
Suggestions:
During the Product Registration process I received this message: The serial
number is already registered...
Remember that you are able to register your product only once. So, if
you are trying to get a new authorization code, please read the related
FAQ.
figure 13.2
58 13 - Troubleshooting
Ampeg SVX ®
Where can I find my Serial Number, Digital ID and the Authorization Code
of a registered IK Product?
Then, click on Request a new authorization code and insert your Digital
ID.
In order to get your Digital ID, open your host sequencer and launch
your IK product.
- When the Product Authorization Wizard starts, insert your Serial
Number in and click Next.
- Choose Request a New Authorization Code and then click Next.
- Select Connect Using another Computer, then Next. The current Digital
ID will appear.
- Now, copy the Digital ID, go back to the User Area and paste it into the
proper empty box.
- After that, just click on Get New Authorization Code. The new
Authorization Code will be sent to your registered email address.
Usually, this happens because the Digital ID was not submitted dur-
ing the registration process. In order to get a new Authorization Code,
please read the How can I get a new Authorization Code? FAQ.
13 - Troubleshooting 59
Ampeg SVX
®
I need to log in into the User Area but I forgot my User name and Password.
What should I do?
Please go to the User Area and enter your registered email address (in
the proper empty box). You will receive an email with the necessary
information to Log in.
60 13 - Troubleshooting
Ampeg SVX ®
Chapter 14 Support
For any question you may have please refer to the FAQ at:
http://www.ampegsvx.com/FAQ.php
where you’ll find answers to the most common questions.
Together with your authorization code you will also have received a user id
and password to access your personal user area on the web. The personal
user area is an advanced online service provided to you by IK Multimedia. It
allows you to download patches and updates or to generate new authoriza-
tion codes in the event that you accidentally lose the previous ones.
14 - Support 61
Ampeg SVX
®
62 14 - Support
AMPEG® is a registered trademark of St. Louis Music, Inc. used under license.
SVX™ is a trademark of IK Multimedia Production.
All other trademarks property of their respective owners.
www.ampegsvx.com
in cooperation with
PN: MNU-AM-0003
User Manual