Vintage TDM/RTAS User manual

Table of Contents
Contact Details..................................................................................3
Installation and Authorization.........................................................4
System Requirements......................................................................5
Introduction.......................................................................................6
User Interface....................................................................................8
Platform Specific Issues................................................................12
White Amp.......................................................................................13
Brown Amp......................................................................................15
Green Amp.......................................................................................18
Pitfalls and Common Mistakes......................................................21
Buying Recommendations............................................................23
2

Contact Details
If you would like to get in touch with Softube, please e-mail [email protected].
Alternatively, you could use the phone or send an old-fashioned mail (do you remember
envelopes, stamps and paper?) to:
Softube AB
S:t Larsgatan 10c
SE-582 24 Linköping
Sweden
Web: www.softube.com
E-mail: [email protected]
Phone: [phone] (9 am – 5 pm CET)
Support
On the Softube website (www.softube.com) you will find answers to common questions
(FAQ) and other topics that might interest you.
Support questions can be posted at http://www.softube.com, where we will help you as fast
as we can!
©2007 SOFTUBE AB, SWEDEN. ALL PRODUCT AND COMPANY NAMES ARE TRADEMARKS OF
THEIR RESPECTIVE OWNERS. AMP ROOM IS A REGISTERED TRADEMARK OF SOFTUBE AB,
SWEDEN. SOFTUBE IS A REGISTERED TRADEMARK OF SOFTUBE AB, SWEDEN. ALL
SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE. ALL RIGHTS RESERVED.
3

Installation and Authorization
1. Go to http://www.softube.com/register to transfer the license to your iLok
account. You will need the serial number found in the box, your iLok.com
User ID, and your iLok USB dongle. Follow the instructions on the web page.
2. Make sure that you have the latest iLok drivers installed. They can be found at
http://www.ilok.com.
3. Log on to http://www.ilok.com and transfer the newly received license to your
physical iLok dongle.
4. Install the software from the CD, or download the latest version from
http://www.softube.com/installers.
Sometimes the CD contains installers for all Softube products, but you will only be able to
run those that you have acquired licenses for. In some cases, extra demo licenses are
included when you buy a Softube product.
4

System Requirements
All versions
•Mac OS 10.4 (or higher) on a G4 or Intel CPU (or higher)
•Windows XP (or higher) on a PIII CPU (or higher)
•iLok USB key and the latest iLok drivers (download them from http://www.ilok.com)
Pro Tools HD Accel Version (TDM) specific requirements
•Pro Tools | HD Accel with Pro Tools 7.0 or higher
•System must meet requirements for Pro Tools HD from Digidesign
Vintage Amp Room uses less than 62% of an Accel processor.
PowerCore version (VST/AU) specific requirements
•Any VST or AudioUnits compatible host application
•PowerCore software 2.2 (or higher) and compatible hardware
•Vintage Amp Room PowerCore is compatible with PowerCore PCI mkII, Express,
Unplugged, Compact and FireWire. Vintage Amp Room PowerCore is not compatible
with PowerCore Element and PCI.
•System must meet requirements of the host application and PowerCore software
Vintage Amp Room uses less than 76% of a PowerCore processor.
Native version (VST/AU/RTAS) specific requirements
•512 MB RAM
•Any VST, AudioUnits or RTAS compatible host application
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Introduction
Straightforward and simple, Vintage Amp Room emulates three great guitar amps in a
complete studio set-up with speaker cabinets and fully flexible microphone positioning. It's
easy to use for live performances and recordings, as well as for re-amping and last-minute
tweaking.
Amp Room has none of the added gadgets or weird-sounding presets sometimes found in
simulation software. Focusing on quality and accuracy, it simulates three amps, with
sounds that are timeless and authentically raw. The goal is not to give you a pre-produced,
ultimate guitar sound, but to provide you with the ultimate tool to create your own. Because
after all, only you know exactly what sound you want.
Product Philosophy
Everything about this product is authentic. The raw and dynamic sound is an absolute
replica of what you would get if you had these amps set up in a real studio. What you see
on the screen are photo-realistic 3D-renderings of the complete set-ups, and you get to
move an actual mic around when deciding which position is best, from near field off-axis to
far field and back, continuously, without preset positions.
The idea is that using Amp Room should be like working directly with these amplifiers set
up in a real studio, with a microphone in front of the cabinet, connected to your DAW. And
we kept it simple. Amp Room has no knobs with dubious or unintuitive functionality, and no
added gadgets or ridiculously fake-sounding effects.
The sound of the amps has not been tampered with, because we don't give you a pre-
produced, ultimate guitar sound. We simply provide you with the tools: three great, classic
amplifiers, in digital form. Then it's up to you to add compressors, EQ's, reverb, or any
other effects, to get the sound you want.
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In short, you need the same skills to master this software as you need when dealing with a
real studio set-up. You can get back to doing what you do best, because music production
is about using your ears, not your computer skills.
Supernormalize
The “supernormalize” feature (from the beginning the internal name of a slightly magic
component of our model building toolbox), makes sure that the output signal from Amp
Room always has a reasonable volume. From a user perspective, this means that the Amp
Room never clips the signal (unwanted digital distortion). Also, the output volume is
normalized, so even with low settings on the Volume knob in Amp Room, the output
volume will be within a reasonable level and ready for digital recordings. Compare this to
the real amp, which easily can have a dynamic range of 100 dB.
From a technical perspective, this means that the signal path within Amp Room always has
the highest dynamic range possible, and you won't lose any bits on the way.
Patents
This Softube product is protected by patent SE525332 and pending patents
US2004-0258250, EP1492081 and JP2004-183976.
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User Interface
Simplicity has been the goal when we developed this product; the amps and mics should
work just as they do in the real studio. Unfortunately, moving a mouse cursor on a 17” LCD
screen isn't exactly like grabbing the real mic stand in a cozy studio. Nevertheless, we have
tried to imitate that feeling
as far as it is possible, and if
you have experience of
working in real studios, you
will notice that Amp Room
handles and sounds the way
you expect it to do.
Panel View (Top Area)
In the Panel View you can
alter the settings of the amp
by clicking the knob and
dragging the mouse up and
down. Switches will be
switched either by clicking
on them, or by click-and-
dragging the mouse up and
down.
You can fine-adjust any
setting by pressing the
Apple-key (the Control-key in Windows) while adjusting the knob.
Knobs and switches can also be reset to their default value by clicking on the knob while
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Figure 1: Two main views of the graphical user
interface

pressing the Alt-key.
Room View (Bottom Area)
In the Room View you can do two things, select one of the other amps or change the mic
position.
Mic Position
When the mouse is located over the mic stand, the
mouse pointer changes to an “up-down”-arrow. Click-
and-drag the mouse up or down to change the
position of the mic stand. The microphone moves
along a predetermined path (see Figure 2), so you
only need to move the mouse up or down, just as if
you were changing a knob.
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Figure 2: The mic
moves along this path,
from a close off-axis
position (a) with some
treble roll-off, to the
close on-axis position
(b) with the most un-
colored sound, and
finally the distant far-
field position (c), with
lots of room ambiance.
Figure 3: Click-and-drag up or down
to change microphone position.

Amp Selection
You can change amp by
clicking on the back
ground and dragging
the mouse to the left or
right. The mouse pointer
becomes a “left-right”-
arrow when you are
pointing at the back
ground to indicate that it
is possible to change
amplifier.
Clicking on the background while holding the Shift-key toggles between the
amplifiers without any animations.
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Figure 4: Click on the background and drag left or right to
change amplifier.

Controls Summary
Mouse
•Up/Down: To change a parameter such as a knob or the
position of the mic stand (Figure 5).
•Left/Right: To change amplifier (Figure 6).
•Click: To toggle switches or activate the “About”-box.
•Mouse wheel: Use the mouse wheel to change knob para
meters and mic stand position.
Keyboard Commands for Mac OS X
Use these key commands while changing a parameter.
•Fine Adjust: Apple
•Reset to Default: Alt
•Toggle Amplifier: Shift (while clicking on the background)
Pro Tools only:
•Automation Control Window: Control+Apple+Alt+click
Keyboard Commands for Windows
Use these key commands while changing a parameter.
•Fine Adjust: Control
•Reset to Default: Alt
•Toggle Amplifier: Shift (while clicking on the background)
Pro Tools only:
•Automation Control Window: Control+Windows+Alt+click
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Figure 5:
Up/Down
cursor –
changes knobs,
switches and
microphone
position.
Figure 6:
Left/Right
cursor –
changes
amplifier.

Platform Specific Issues
TDM/RTAS on Pro Tools HD
There are some specific issues to consider when using an RTAS plug-in in recording mode
on a Pro Tools|HD system. First of all, an audio buffer latency is introduced in the RTAS
version, but not in the TDM version. So for the best live guitar experience, it is preferred to
use the TDM version with zero latency instead of RTAS.
Secondly, all RTAS plug-ins are automatically bypassed in recording mode, unless an TDM
plug-in is inserted on the insert slot before the RTAS plug-in.
Enabling Vintage Amp Room RTAS in recording mode (Pro Tools 7 or higher):
•Insert a TDM plug-in (such as the “Trim” plug-in) on your track
•Insert Vintage Amp Room RTAS on an insert slot after the TDM plug-in
Please see your Pro Tools reference guide for more info.
Output Volumes on Different Platforms
The VST/AU versions of Vintage Amp Room has a theoretical maximum output volume of
+3dB. The TDM/RTAS version, due to the fixed-point format of Pro Tools|HD, is limited to a
maximum output of 0dB.
Format Maximum output level
VST/AU Native +3 dB
TDM/RTAS 0 dB
VST/AU PowerCore +3 dB
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White Amp
White is based on an all-round great amp, a classic that set the industry standard for
classic, distorted rock'n'roll sounds. The genius is
its simplicity. It's stripped down to the bare
essentials – all tubes, only one channel, and no
reverb or any other built-in effects.
Sound-wise, it goes from mad screaming preamp
shred, to warm, speakers-about-to-break power
amp distortion. Perfect when you need a charact
eristically distorted edge and a powerful roar.
First Usage
Set all parameters in the middle (12 o'clock).
Turn down the Master Volume a little bit (to 10
o'clock) and play your guitar while changing the Pre Amp Volume. The sound goes from
almost Hi-Fi clean on low Pre Amp Volume settings, to a crunchy distortion (Pre Amp
Volume in the middle), and finally to a high-gain setting with Pre Amp Volume on max. If
you want an even meaner distortion, turn down the Middle and turn up the Master
Volume.
Tip: The sound will change quite dramatically when you start moving the mic
away from the cabinet, since certain frequencies will cancel each other out
due to interference between the four speaker drivers.
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Knobs
The functionality of the knobs on the front panel of the plug-in correspond exactly to the
front panel of the real amplifier.
Presence: The presence is used to control the feedback loop and thus the amount of treble
in the power amp. Turn it up to get a high frequency boost.
Bass, Middle, and Treble: These knobs are the tone control of the amplifier. This circuit is
located after the preamp distortion and is used to shape the sound of the preamp distortion.
Master Volume: This knob controls the amount of power amplifier distortion. The power
amp distortion is usually a little bit dirtier than the preamp distortion and gives a crunchier
sound that sounds amazing for chords. Set the Pre Amp Volume to a low setting and turn
up the Master Volume to the max to get that typical power amp distortion.
Pre Amp Volume: This knob controls the amount of preamplifier distortion, but since a high
output from the preamplifier also makes the power stage distort, this also affects the power
amplifier distortion. The preamp distortion is typically much “tighter” than the crunchy power
amp distortion. To get a tight preamp distortion, you'll have to turn down the Master
Volume while maxing the Pre Amp Volume.
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Figure 7: White amp panel view.

Brown Amp
Amp Room Brown is based on one of the most versatile classic amplifiers in music history.
It's been used in all kinds of genres, and with all kind
of instruments, thanks to a sound that is clean, crisp
and clear, but also warm, thick and punchy.
Brown can produce anything from the clearest
country-style sound for steel-guitars to a dirty, bluesy
guitar sound. It works for both funky rhythms and
mellow electric piano chords. It's got a notoriously
warm sound with a massive bass and a shimmering
treble. Versatility embodied, it can do more or less
whatever you want it to do. Except high gain heavy
metal. And baking pizzas.
First Usage
Set all knobs in the middle (at 12 o'clock). Set the
microphone in a far field position (click the mic and
drag the mouse downwards). Turn on the Vibrato and Bright switches. You should hear a
bluesy sound with lots of room ambiance and a nice transition between distortion and a
clean sound. Change the Volume to get more or less distortion and move the microphone
closer to the cabinet to get a “tighter” sound with more bass frequencies.
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Knobs
The functionality of the knobs on the front panel of the plug-in corresponds to the front
panel of the real amplifier, except the spring reverb, which hasn't been included in this plug-
in. We have also added a “Vibrato” switch, which on the real amplifier is a foot switch.
There is also a difference when all the tone controls are set at 0, see “Treble, Middle, and
Bass” below.
Volume: This amplifier doesn't have a Master Volume control, so the Volume knob
controls both the preamplifier and power amplifier distortion.
Bright: Turn on this switch to get a high frequency boost. Works only at low to moderate
Volume settings.
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Figure 8: Brown amp panel view.

Treble, Middle, and Bass: These knobs are the tone control of the amplifier, but they also
control the amount of distortion. If you, for example, have too much distortion in the bass
frequencies, try turning down the Bass knob. (Electrically speaking, the tone controls are
located before the preamp distortion.)
The tone controls behave exactly like the real thing, except when all the controls are set
fully counter clock-wise. On the real amp, the amplifier would have become silent, as if you
turned down the volume. A lot of reasons*made us exclude this feature, so now when you
turn the Treble, Middle and Bass knobs fully counter clock-wise, that actually corresponds
to the knobs being set to a little bit over nothing on the real amp.
Vibrato, Speed and Intensity: Turn on the vibrato (which is in fact a tremolo) by turning on
the Vibrato switch. Use Speed to control the speed of the tremolo, and Intensity to control
the amount of the tremolo effect.
*The reasons are mathematical. Physical modeling is a pretty tricky thing, and one of the
most difficult parts is when a circuit becomes almost bypassed by a short circuit, and this is what
happens when you turn down the EQ knobs to zero on the real amp. In the computer world, this
will lead to numbers that are smaller than what the computer can represent, and this leads to filter
instability. So we decided to let the EQ knobs be almost zero instead of completely zero in order to
avoid these problems. Of course we could have worked around this, but we saw no point in
interfering with an otherwise good simulation, and besides, is that really a very useful feature?
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Green Amp
Green is packed with character and produces a pleasant guitar sound with warm yet
intense poweramp distortion. Its edginess makes it shine
through in mixes, without drowning out other instruments.
Green is based on a famous brit-pop amplifier from the
middle of the 60's. It has three different channels (“Vib-
Trem”, “Normal” and “Brilliant”) with two inputs each, and
normally a guitar player will connect the guitar to the
“Vib-Trem” input and patch the signal to the other two
channels. We have simulated the amplifier exactly this
way; the guitar connected to the “Vib-Trem” input and
patched to the other two channels.
To complicate things further, this amp doesn't have a
normal tone stack (EQ) but a single tone control which attenuates high frequencies when
turned clock-wise (different to what one would expect of a tone control). The previous
owner of the original amp was so kind as to carve out “HI” and “LO” in the metal panel so
that he would remember this. We have of course included this feature in Amp Room.
First Usage
Turn on the Vib-Trem effect (Vib-Trem Off-On) and select the tremolo effect (Vib-Trem
Switch pointing at “Trem”). Set the Vib-Trem Volume knob in the middle position and all
other knobs in the minimum position. Now adjust the Brilliant Volume to get a good
balance between the tremolo effect and a clean sound.
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Knobs
The functionality of the knobs on the front panel of the plug-in corresponds exactly to the
front panel of the real amplifier, except that we have added the foot switch as a “Vib-Trem
Off-On” switch.
Vib-Trem Off-On: Turn on the vibrato or tremolo effect by moving this switch clock-wise.
Vib-Trem Speed: Three way switch that sets the speed of the vibrato or tremolo effect.
Vib-Trem Switch: Select between a vibrato and a tremolo effect. Unlike the makers of the
Brown amp, the guys who built this amp actually knew the difference between a tremolo
effect (amplitude modulation of a signal) and a vibrato effect (frequency modulation of a
signal). Although this vibrato effect doesn't sound anything like a real-world vibrato (opera-
singer-style vibrato), it's a lovely effect that gives the sound that special touch.
Vib-Trem Volume: Volume control of the Vib-Trem channel. This channel is basically the
only one of the three channels that has any preamp distortion worth talking of.
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Figure 9: Green amp panel view.

Normal Volume: Volume control of the Normal channel. Except for the fuzz-like poweramp
distortion on higher volume settings, this channel is very clean and doesn't change the
guitar sound so much.
Brilliant Volume: Volume control of the Brilliant channel, which has a much brighter sound
than the Normal channel.
Tip: Use the Vib-Trem Volume to get the distortion you want, and then use
the Normal and Brilliant Volume as a bass and treble control. If you want a
more fuzz-like distortion, use only the Normal and Brillant channel.
Tone: The Tone knob cuts high frequencies when it's turned clock wise.
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