USER MANUAL - Atomic Amps
USER MANUAL
V 1.0
T a b le o f c o ntents
INTRODUCTION . . .. . . .. . . .. . . .. . . .. . . .. . . 4
CONNECTION DIAGRAM. . . . . . . . . . . . . . . . . . 5
CONNECTORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
EFFECTS & SIGNAL CHAIN. . . . . . . . . . . . . . . . 8
PRE EFFECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
AMPS. . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . 10
FX-LOOP. . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . . 11
POST EFFECTS. . .. . . .. . . .. . . .. . . .. . . .. . . .. 12
CABINET MODELING. . . . . . . . . . . . . . . . . . . . . . 12-13
SELECTING PRESETS. . .. . . .. . . .. . . .. . . .. . 13
QUICK EDIT - TWEAK KNOBS . . .. . . .. . . .. 13
DEEP EDIT - PRESET PARAMETERS . . .. 14
MENU DIAGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . 15
SAVING PRESETS. . .. . . .. . . .. . . .. . . .. . . .. . 16
DEFAULT PRESET ON POWER-UP . . .. . . 17
DISCARD EDIT? CONFIRM. . .. . . .. . . .. . . .. 17
PARAMETER SETTINGS. . .. . . .. . . .. . . .. . . 18-31
GLOBAL SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . 33-36
FOOTSWITCHES . . .. . . .. . . .. . . .. . . .. . . .. . . 36
FOOTSWITCH MODES . . .. . . .. . . .. . . .. . . .. 36-37
PROGRAMMING FOOTSWITCHES. . . . . . . . 37-38
TUNER. . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . 38
CLIP WARNING. . .. . . .. . . .. . . .. . . .. . . .. . . .. 38
EXPRESSION PEDALS . . .. . . .. . . .. . . .. . . .. 39-41
MIDI. . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. 42-43
3
Introduction
Thank you for purchasing AmpliFire, a world-class amp tone and multi-effects pedal.
A powerful and portable device, it is small enough to fit in the front pocket of a
gig bag yet potent enough to please even the most discriminating tube amp
and effects aficionados.
We designed Amplifire as an instrument that we, as guitar players, wanted for
ourselves. This meant it had to sound/feel authentic and amazing while being
easy to use, transport and be road rugged.
Amplifire is equally capable of being a complete rig replacement or part of a
larger pedal board and/or outboard processing rig.
Here are some highlights:
• All new, state-of-the-art amp modeling based on Studio Devil’s highly
acclaimed and patented technology
• Blazing dual-DSP powered hardware allowing for complex and
detailed algorithms
• Stereo 1024 point cabinet impulses with ability to upload 3rd party IRs
• Robust effects selection including drive, modulation, delay, reverb, compression,
eq, gate, etc.
• Dedicated, physical amp control knobs for intuitive tone adjustments
• Pristine studio quality audio quality and ultra low noise floor
• Versatile i/o options including ¼” Hi Z input with proprietary processing, separate
stereo ¼” and XLR outputs and user programmable effects loop
• 3 fully configurable and rugged foot switches
• Robust external control of presets parameters via midi and foot switch jacks
• Easy to use as a pedal or desktop device
• PC/Mac editor
• 128 programmable presets
• Field upgradeable firmware
• And much more!
Enjoy!
4
CONNECTION DIAGRAM
FROM OTHER
MIDI CONTROLLERS
TO OTHER
MIDI EFFECTS PROCESSORS
FULL RANGE
LOUDSPEAKER
SYSTEM / P.A.
MP3/MEDIA PLAYER
EFFECTS PEDAL CHAIN
MIDI FOOT
CONTROLLER
EFFECTS PROCESSOR
AUX OUTPUTS
ampli
EFFECTS LOOP
MIDI
fire
SEND
RETURNS
MIDI IN
HEADPHONES
MIDI OUT
MIXING CONSOLE
GAIN
MASTER
PRESENCE
BASS
MIDS
TREBLE
PRESET
LEVEL
(PUSH TO EDIT)
SAVE
VALUE
MAIN
OUTS
IN
R
L
POWERED AMPS
COMPUTER RECORDING INTERFACE
OTHER EFFECTS PEDALS
( WAH, OVERDRIVE, ETC. )
5
INSTRUMENT
( GUITAR OR BASS )
CONNECTORS
1.DATA
ENTRY ENCODER – used to
1
select and edit user presets. Turn to
select a preset or change a parameter
value. Push (click) to select menus for
editing presets.
2.BACK
BUTTON – used to decrease
2
preset or to go to previous item in
edit menus.
3
3.SAVE BUTTON WITH LED – used to
save presets. Press once to select
destination and new preset name.
Press again to commit the save. Press
and HOLD for TUNER function. Built-in
LED blinks when a preset has been
edited but not saved as a warning to
save your edits.
4
4.NEXT
BUTTON – used to increase
preset or to go to next item in edit
menus.
5
5.LCD SCREEN – displays currently
active preset or edited data name and
value.
6
6.GAIN
KNOB – adjusts the gain control
of the preamp of the virtual guitar
amplifier model.
7
7.MASTER
KNOB – adjusts the master
volume control of the virtual guitar
amplifier model.
8
8.PRESENCE
KNOB – adjusts the
presence control of the simulated
power amp section of the virtual guitar
amplifier model.
9
9.BASS
KNOB – adjusts the bass
equalization control of the tone stack
in the virtual guitar amplifier model.
10
10.MIDS
KNOB – adjusts the mids
equalization control of the tone stack
in the virtual guitar amplifier model.
11
11.TREBLE
KNOB – adjusts the treble
equalization control of the tone stack
in the virtual guitar amplifier model.
12
12.LEVEL
KNOB – sets the output
level of all outputs simultaneously
(MAIN outputs, AUX outputs, and
HEADPHONES level). This is like an
analog output level control.
13
13.FOOTSWITCH
– fully programmable
footswitch for changing presets,
enabling individual effects, or selecting
tap tempo.
14.DUAL-COLOR
LED – indicates the
14
state of the programmable footswitch.
In preset mode, lights up in RED or
AMBER to indicate preset A or preset
B. In effect enable mode, lights up RED
when effect is active. Blinks at repeat
rate for TAP TEMPO function.
15.GUITAR
INPUT – Hi-Z input for
15
connecting an electric guitar with a
1/4” phone jack.
16.MAIN
OUTPUTS – TRS balanced
16
(or unbalanced) 1/4” output jacks
for connecting to amplifiers, mixers,
computer interfaces, or input channels
of other audio devices.
17.HEADPHONE
JACK – 1/8” mini jack for
17
connecting to headphones. Remember
to use caution with headphones.
Excessive loudness is harmful to your
hearing and health.
18.FX
LOOP SEND JACK – 1/4” mono
18
output jack for connecting to the input
of an external effects unit.
19.FX
LOOP RETURN / AUX IN JACKS
19
– stereo 1/4” jacks for connecting
to either the outputs of an external
effects unit or to an auxiliary music
player. In FX LOOP mode, these act as
a switchable external effect between
the amp modeling and the stereo post
effects section. In AUX IN mode, these
act as an auxiliary audio input which
can be mixed with your processed
guitar output (for playing along with
backing tracks, etc.).
20.
20 MIDI OUT JACK – 5-pin DIN connector
for connecting to the MIDI input of
an external effects processor. Allows
synchronizing program changes to an
external processor which may be used
in the effects loop. Also performs an
optional MIDI THRU function to merge
incoming MIDI data from the
MIDI IN jack.
22.
21 MIDI IN JACK – 5-pin DIN connector
for connecting to the MIDI output of
a MIDI controller or MIDI footswitch.
Allows for changing presets via
program changes and enabling
individual effects via continuous
controllers.
6
CONNECTORS
CONTINUED...
EFFECTS LOOP / AUX INPUT
MIDI
AUX OUTPUT
22 AUX OUTPUT
XLR
JACKS –
24.USB
24 IN
CONNECTOR
– for
LEFT
RIGHT
OUT
RETURN / AUX IN
SEND
RIGHT
LEFT
(MONO)
Balanced XLR output jacks for
connecting to a host PC. Allows
connecting to external mixer
easier editing of presets and
9V (1A)
or professional direct recording
uploading custom user cabinet
equipment.
impulse data and firmware via
host editing software.
23
23.DC
POWER JACK – for connecting
to a 9 or 12 volt power supply
(DC or AC, either polarity), 1A
minimum. Accepts a standard
2.1mm coaxial plug (either
polarity).
ampli
fire
PRESET
(PUSH TO EDIT)
5
1
GAIN
MASTER
PRESENCE
6
7
8
LEVEL
BASS
MIDS
TREBLE
12
9
10
11
SAVE
VALUE
2
3
4
15
17
16
IN
R
L
14
14
14
13
13
13
EFFECTS LOOP / AUX INPUT
SEND
RETURN / AUX IN
LEFT (MONO)
RIGHT
OUT
MIDI
IN
AUX OUTPUT
LEFT
RIGHT
9V (1A)
18
19
20
21
7
22
23
24
EFFECTS AND SIGNAL CHAIN
Amplifire consists of a world-class amp modeling engine and studio quality effects
developed by Studio Devil. They are arranged into the following signal chain groups:
PRE-EFFECTS
AMP MODEL
FX LOOP
POST-EFFECTS
CABINET MODEL
Amplifire is capable of running all of these effects:
NOISE GATE
COMPRESSOR
PRE-FILTER
WAH
VOLUME
DISTORTION / OVERDRIVE/ FUZZ
PARAMETRIC EQ / PROGRAMMABLE FILTER
GRAPHIC EQ
TREMOLO / PANNER
CHORUS
FLANGER
PHASER
ECHO MODELER / PINGPONG DELAY
REVERB
You can choose to place most of these effects into either the PRE-EFFECTS
SECTION, or the POST-EFFECTS section, to allow versatility in pre or post
processing of your amplifier tone.
Think of the PRE-EFFECTS section like the pedals that run into your amp, and the
POST-EFFECTS section as any stereo studio effects you would place onto your
amp after it is mic’d up (either on a live mixing board, or in a recording studio).
All signals before the FX LOOP are mono, and all signals after the FX LOOP are
stereo. So, any stereo effects assigned to the PRE-EFFECTS section will operate in
MONO mode.
8
PRE-EFFECTS
The PRE-EFFECTS section allows you to apply any standard MONO effects
processing that would occur BEFORE the guitar amp, such as pedals or other effects
that would be inserted before going into the input of your amp.
The PRE-EFFECTS include:
GATE
VOLUME
WAH
COMP BOOST
EQ EFFECT ECHO
• The GATE effect provides a programmable NOISE GATE. The NOISE GATE has
global parameter settings, so that you don’t need to change all your presets if
you change your guitar. NOISE GATE enable is programmed per preset, so that
you can shut it off for particular presets, and leave it on for others. These options
can be set in the GATE effect menu.
• The VOLUME effect models a VOLUME pedal control. The VOLUME options can
be set in the VOLUME effect menu. It can be repositioned to three locations:
the PRE-EFFECTS section (as shown), just after the AMP modeling section (just
before the LOOP SEND), or POST-EFFECTS section for maximum flexibility.
• The WAH effect models a WAH-WAH effects pedal. The WAH-WAH is fully
customizable and the options are set in the WAH-WAH effect menu.
• The COMP effect models a compressor module for controlling the dynamics of
your guitar input. The COMPRESSOR options can be set in the COMPRESSOR
effect menu.
• The BOOST effect models classic stomp box distortion effects and can be
repositioned to different locations in the PRE-EFFECTs chain. It is typically
placed before the MODULATION and EQ, but it can be repositioned between
MODULATION AND EQ or after MODULATION and EQ. These options can be set
in the BOOST effect menu.
• The EQ block is made up of the GRAPHIC EQ and three (3) PARAMETRIC EQ
effect modules, each of which can be set to the PRE-EFFECTS section or POSTEFFECTS section. These options can be set in the GRAPHICEQ, PARAMETRIC 1,
PARAMETRIC 2, and PARAMETRIC 3 effect menus.
• The EFFECT block can be assigned to either the PRE-EFFECTS section or POSTEFFECTS section. You can choose from world-class classic CHORUS, FLANGER,
PHASER, or TREMOLO effects. These options can be set in the EFFECT menu.
• The ECHO effect can be assigned to either the PRE-EFFECTS section or POSTEFFECTS section to get the different effects of feeding an echo into an amp or
processing echoes after the amp tone. These options can be set in the ECHO
effect menu.
9
AMPS
At the heart of AmpliFire is Studio Devil’s patented, world-class amp modeling.
It convincingly captures the sound, feel and nuances of the great guitar amps
of all-time.
From the start, AmpliFire provides you with 10 amps that cover nearly all the sonic
territory from Jazz to Djent. They are:
US Clean: Based on the 2 speaker combo that set the standard for clean, loud,
guitar amps spanning a wide variety of styles.
D Luxe: Based on a medium powered, American, single 12” workhorse classic
known for its sna ppy and crystalline tones and coveted by country, blues and rock
players.
‘59 B Man: Based on the amp that inspired many of the amps that would follow
it, this legend started as a bass amp and is known for its diverse tones and touch
sensitive dynamics.
Top Boost: Based on a British classic, this “Class A” 2x12 is known best for its
chime, jangle and it’s beautiful, unique voicing whether played clean, dirty or in
between.
Plexi: Based on the British amp with a reputation for being the definitive Rock tone
machine, this amp can be sweet, crunchy or mean with its mid focused punchy
sound.
Brit 800: Based on the early 80s British 100w head that helped define the Heavy
Metal sound, this beast can blow the roof off but cleans up surprisingly well. Put
an overdrive pedal in front of it and you’ve got “the sound”.
Hot Brit: An Amplifire original model, this amp is inspired by the great British rock
amps but has a tighter low end and more gain on tap so a drive pedal in front as
necessary (unless you want over the top).
Recto: Based on the amp that defined much of the 90s’ heavy sounds, this amp
has tons of gain and compression on tap, sounds great with scooped mids and has
a powerful bottom end.
5051: Based on the original signature amp of one of the most influential guitarists
of all time, this amp is a gain machine that has become a Metal standard with its
focused bottom end and touch sensitive response.
Kornfield: Based on a very popular boutique model, this amp puts its own
aggressive but responsive and nuanced spin on the Brit sound.
This, however, is not where it ends. AmpliFire is a user upgradable platform and
we’ll be issuing free firmware upgrades to add new amps. We’re looking forward to
hearing what our customers would like to see come next. Check back often as there’s
a good chance that this list is already no longer up-to-date.
10
EFFECTS LOOP (FX-LOOP)
The EFFECTS LOOP allows you to place an external effect or processor or pedal into
the Amplifire signal routing chain.
The EFFECTS LOOP is positioned between the AMP MODEL and the POST-EFFECTS
section. The EFFECTS LOOP has a MONO SEND and a STEREO RETURN. All
processing before the EFFECTS LOOP is MONO. All processing after the EFFECTS
LOOP is STEREO.
Connect the MONO SEND to your external effect processor input, and connect the
outputs of your external effect processor to the Amplifire STEREO RETURN jacks. If
your external effect processor has a MONO output only, you may connect it to either
of the STEREO RETURN jacks. (When only one return jack is connected, Amplifire
will automatically split the return signal into dual-MONO mode from either
return jack.)
The EFFECTS LOOP is switchable so you can switch the inserted effect on or off.
You can do this by assigning the EFFECTS LOOP control to a FOOTSWITCH (see
FOOTSWITCH section below). You can also program each preset to have the EFFECTS
LOOP on or off, so that some presets could use the loop effect while others don’t.
If you connect nothing to the EFFECTS LOOP STEREO RETURN jacks, the EFFECTS
LOOP is always off. In this configuration, you may use the SEND jack as an alternate
amp modeling direct MONO output.
The EFFECTS LOOP can be configured as MUTE SEND or MUTE RETURN (spillover).
In MUTE SEND mode, turning off the effects loop only mutes the loop send, allowing
any remaining delay or reverb tails in the loop to properly decay (spillover). In MUTE
RETURN mode, the effects loop acts like a traditional loop, immediately muting the
returns and cutting off the loop right away.
The EFFECTS LOOP can be configured as an AUX INPUT mode (see GLOBAL
SETTINGS sections below). This mode allows you to connect a music player or
backing tracks which are mixed (unaffected) with your main outputs.
If you have the AUX INPUT mode selected, then Amplifire will disable the EFFECTS
LOOP, routing the output of the AMP MODEL effects block directly to the POSTEFFECTS section. Amplifire will also mix the RETURN JACKS with the MAIN and AUX
outputs, to allow full-range blending of the aux input with your playing.
The EFFECTS LOOP can also be configured as EXPRESSION PEDAL mode, allowing
you to use expression pedals (with a special adapter cable, available separately) to
control effect parameters in real-time. (See EXPRESSION PEDALS section.)
11
POST-EFFECTS
The POST-EFFECTS section allows you to apply any standard STEREO effects
processing that would occur AFTER the guitar amp, such as studio processing or
other effects that would be applied after your amp.
The POST-EFFECTS include:
EQ
EFFECT ECHO REVERB
VOLUME
• The EQ section is made up of the GRAPHIC EQ and three (3) PARAMETRIC EQ
effect modules, each of which can be set to the PRE-EFFECTS section or POSTEFFECTS section. In the POST-EFFECTS section, these effects operate in stereo.
These options can be set in the GRAPHICEQ, PARAMETRIC 1, PARAMETRIC 2,
and PARAMETRIC 3 effect menus.
• The EFFECT block can be assigned to either the PRE-EFFECTS section or POSTEFFECTS section. You can choose from world-class classic CHORUS, FLANGER,
PHASER, or TREMOLO effects. In the POST-EFFECTS section, these effects
operate in stereo. These options can be set in the EFFECT menu.
• The ECHO effect can be assigned to either the PRE-EFFECTS section or POSTEFFECTS section to get the different effects of feeding an echo into an amp or
processing echoes after the amp tone. In the POST-EFFECTS section, this effect
operates in stereo. These options can be set in the ECHO effect menu.
• The REVERB effect is the last effect in the POST-EFFECTS section to apply
simulated room acoustics and reverberation to the final tone. This effect is
stereo. These options can be set in the REVERB effect menu.
• The VOLUME effect models a VOLUME pedal control. The VOLUME options can
be set in the VOLUME effect menu. It can be repositioned to three locations:
the PRE-EFFECTS section, just after the AMP modeling section (just before the
LOOP SEND), or POST-EFFECTS section (as shown) for maximum flexibility.
CABINET MODELING
The CABINET section is where Amplifire applies Impulse Response (IR) modeling
technology and filtering to simulate the sound of microphones and guitar loudspeaker
cabinets. Each of the amp models in Amplifire contain a built-in IR cabinet. Amplifire
also supports user customizable IR cabinets which you can upload to Amplifire via
USB.
• The CABINET modeler can be configured to use any cabinet from the list of amp
models, or any one of the user-defined cabinets.
• The CABINET modeler lets you tweak the cab models with filters specially
designed for adjusting microphone and loudspeaker cabinet tones.
• The CABINET modeler can be enabled or disabled on either set of outputs
independently (MAIN / AUX), allowing you to use full range systems AND other
real guitar cabinets simultaneously.
• The CABINET modeler is always enabled on the headphones output (although
you can choose to disable the cabinet modeling on all outputs for three separate
full range outputs).
12
CABINET MODELING
MATCHED CABINETS
CONTINUED...
Each amp model in Amplifire has its own built in cabinet IR model. These cabinets
are “matched” to the amp model, meaning that they model the type of cabinet that
is typically used with that particular type of amp model. Without any programming
or cabinet selection, you get the “right” sound by default by leaving the MATCHED
cabinet option set. This way, when you change an AMP MODEL, you automatically
get the typical cabinet for that amp.
Amplifire allows you customize your tone and swap out these “matched” cabinet
models for those that are from the other amp models. To hear what an amplifier
sounds like with another amp’s cabinet, just select another cabinet from the list in the
CABINET menu.
SELECTING A CABINET
To EDIT THE CABINET OPTIONS from the preset display, click the ENCODER twice:
the first time takes you to the AMP MODEL menu, the second time takes you to the
CABINET menu. Then, turn the encoder to select a new CABINET model or mode.
Press the NEXT and BACK buttons to cycle through some of the other CABINET
modeling options, including filter tweaks.
USER CUSTOM CABINET IRS
Amplifire also supports custom USER CABINETS that you can upload to Amplifire via
USB. To use one of these custom cabinets, just select one of the user cabinet slots
from the end of the list in the CABINET menu. For more information, see the USB
section below.
SELECTING PRESETS
Amplifire stores 128 user programs called presets. You can select the active preset
from this set with the ENCODER knob or the NEXT and BACK buttons. To advance to
the next preset, press NEXT. To backtrack to the previous preset, press BACK. Press
and hold NEXT or BACK to advance quickly through the presets. You can also turn
the ENCODER knob clockwise to go forward or counter-clockwise to go backward.
Amplifire automatically loads the preset as soon as you select it.
QUICK EDIT - TWEAK KNOBS
Amplifire includes six (6) quick tweak knobs to make adjustments just like on a real
amplifier without having to enter edit menus or programming. These six knobs allow
you to adjust GAIN (tube preamp gain), MASTER (tube power amp master volume),
PRESENCE (tube power amp presence control), BASS, MIDS, and TREBLE (tube
preamp tone stack controls).
Just grab and turn one of the knobs to instantly adjust the tone. The display will show
the value while you’re turning the knob to let you know where it is. It also shows you
how it compares to the original preset value using left and right arrows in the display.
The arrows show you which direction to turn to match the knob with the original
preset value. When both arrows are displayed, the knob matches the original preset
value.
Once you edit the preset, the SAVE LED starts blinking, warning you to remember to
save your changes if you want to (see SAVING PRESETS below).
13
DEEP EDIT – PRESET PARAMETERS
Amplifire has many effects modules, and each effects module has several
parameters. Deep editing allows you to customize each of these parameters to
create your own tone and effects setup. Here’s how it works:
• To ENTER EDIT MODE, push down on the ENCODER knob. This takes you to the
first effect menu, AMP MODEL.
• To CHANGE THE PARAMETER VALUE, turn the ENCODER knob right or left to
increase or decrease your selection.
• To ADVANCE TO THE NEXT PARAMETER within an effect menu, press the NEXT
button. This takes you to the next parameter within that same effect.
• To BACK UP TO THE PREVIOUS EFFECT PARAMETER, press the BACK button.
This takes you to the previous parameter within that same effect.
• T
o ADVANCE TO THE NEXT EFFECT MENU, press down on the ENCODER knob
again. This takes you to the next effect menu.
• To EXIT EDIT MODE, press and hold down either the ENCODER knob or the
BACK button for one second. This will return to the preset display.
The effects MENUS are organized as depicted in the diagram below. Press the
ENCODER knob to go down to the next effect menu, and press the NEXT and BACK
buttons to move right or left across each effect menu’s parameters. At any location,
turn the ENCODER to change the value.
Some tricks about the EDIT MODE:
• WRAP-AROUND: If you are currently at the last parameter item in the
same effect, pressing NEXT will wrap-around and take you to the first
item of the next effect menu.
• FAST BACK: If you are currently at the first parameter of an effect,
pressing BACK will take you back to the first parameter of the previous
effect menu! This is to provide a FAST BACK option for when you want to
quickly advance from a menu far down the list to one closer to the top.
• FAST OPTIONS MENU: The last menu is the OPTIONS menu, which sets
some global parameters. To get there quickly, press and hold the NEXT
button for one second. This takes you to the last menu immediately
without having to press the ENCODER knob several times.
14
PRESET
DISPLAY
PRESS AND HOLD BACK BUTTON
PUSH
ENCODER
AMP MENU
AMP
MODEL
AMP
ENABLE
PUSH
ENCODER
CAB MENU
CAB
MODEL
CAB
ENABLE
15
PUSH
ENCODER
BOOST MENU
PUSH
ENCODER
BOOST
MODEL
PUSH
ENCODER
BOOST
ENABLE
PUSH
ENCODER
PUSH
ENCODER
AMP
GAIN
MORE AMP OPTIONS
PUSH
ENCODER
CAB
GAIN
PUSH
ENCODER
MORE CAB OPTIONS
PUSH
ENCODER
BOOST
GAIN
LAST
AMP
OPTION
LAST
CAB
OPTION
PUSH
ENCODER
MORE BOOST OPTIONS
PUSH
ENCODER
LAST
BOOST
OPTION
PUSH
ENCODER
MORE MENUS
GLOBAL MENU
MAIN
LEVEL
AUX
LEVEL
PRESS AND HOLD NEXT BUTTON
PHONES
LEVEL
MORE GLOBAL OPTIONS
LAST
GLOBAL
OPTION
SAVING PRESETS
Saving a preset requires pressing the SAVE button TWICE.
The first press lets you choose the destination preset and edit the preset name. The
second press commits your changes to preset memory.
After you press the SAVE button the first time, the destination preset, the preset
name, and a cursor appear in the display window. The NEXT and BACK buttons
move the cursor in the display to allow you to select either the destination preset or
individual characters in the preset name. Turning the ENCODER knob then allows you
to change the value of the element at the cursor position.
Once you have selected the destination preset and name, press the SAVE button
again to save your changes.
• To SAVE YOUR CHANGES TO THE SAME PRESET, without making any changes
to the name, simply press the SAVE button twice, and wait for Amplifire to finish
saving your preset.
• To SAVE YOUR CHANGES TO A DIFFERENT PRESET LOCATION with the same
name, press the SAVE button once, then turn the ENCODER knob to select the
destination preset, and then press the SAVE button a second time to commit the
save. Amplifire will overwrite your changes to the selected destination preset.
• To COPY A PRESET TO A DIFFERENT LOCATION, press the SAVE button once,
then turn the ENCODER knob to select the destination preset, and then press
the SAVE button again to commit the save. Amplifire will copy the active preset
to the selected destination preset.
• T
o CHANGE A PRESET NAME, first press the SAVE button once. Then, using
the NEXT and BACK buttons, move the cursor across the preset name to the
location of the character you wish to change. While over this character, turn
the ENCODER knob to scroll through the available characters. When you have
selected the appropriate character, continue to use the NEXT and BACK buttons
to move to the next character, and so on, until you have completed editing the
name. Finally, press the SAVE button again to commit the changes. Amplifire will
overwrite your changes to the selected destination preset with the new name.
• T
o CANCEL SAVE, simply press either the BACK or ENCODER knob. This returns
you to the preset display.
16
DEFAULT PRESET ON POWER-UP
You can choose the preset which Amplifire will load when it first powers up. Initially,
this is set to preset 0, but it can be programmed to be any of the 128 presets in
Amplifire:
• To SET THE DEFAULT POWER UP PRESET, simply select the preset you want by
turning the ENCODER knob (or by pressing the NEXT and BACK buttons). Once
you have selected the desired preset, press the SAVE button TWICE to save the
UNCHANGED PRESET into the SAME PRESET LOCATION. This redundant SAVE
operation instructs Amplifire to make it the default preset on power up. The next
time you turn on Amplifire, it will load your selected preset.
DISCARD EDIT? CONFIRM
If you try to change presets with the ENCODER or NEXT / BACK buttons while the
preset has been changed (edited), Amplifire will warn you and ask you to confirm your
decision.
The display window will show a message asking if you want to DISCARD EDIT? Press
the NEXT button to confirm and discard all of your changes. Press the BACK button to
CANCEL return to the edited preset for either more editing or to save.
WARNING: Amplifire will not warn you if you try to make a program change via a
footswitch or MIDI program change. If you are in a performance, and use either a
footswitch or external MIDI device to instruct Amplifire to change presets, it will
discard any edits and immediately switch to the selected preset. This is to make
sure that accidental edits caused by turning the KNOB accidentally don’t interfere
with live performance switching. If you make intentional edits, make sure to SAVE
before hitting any footswitches or external MIDI program changes!
17
PARAMETER SETTINGS
AMP
MODEL: Selects the amplifier model from the list of available amp models. Choose
NONE to bypass the amp model.
ENABLE: enables or disables the amp modeling effect. Choose ACTIVE to enable the
amp modeling or BYPASSED to disable the amp modeling.
GAIN: sets the gain control knob of the amplifier from 0.0 (minimum) to 10.0
(maximum).
BASS: sets the bass control knob of the amplifier tone stack from 0.0 (minimum) to
10.0 (maximum).
MIDS: sets the mids control knob of the amplifier tone stack from 0.0 (minimum) to
10.0 (maximum).
TREBLE: sets the treble control knob of the amplifier tone stack from 0.0 (minimum)
to 10.0 (maximum).
PRESENCE: sets the presence control knob of the power amplifier from 0.0
(minimum) to 10.0 (maximum).
MASTER: sets the master volume control knob of the power amplifier from 0.0
(minimum) to 10.0 (maximum).
LEVEL: adjusts the final output level of the amp model in dB. This control helps to
match the level of your preset with other presets.
DAMPING: adjusts the damping factor of the power amp model from 0% to 100%. Set
at 100% for normal power amp operation or adjust down less damping, more bass
resonance, and more presence.
SAG: adjusts the power supply sag effect from 0% to 100%. Set to 0% to disable the
effect, or gradually add sag to add more effect.
POWERAMP ENABLE: separately enable the power amp section of the amp model.
This is a GLOBAL parameter. When using your pedal with a real tube power amp, you
can optionally turn off the simulated tube power amp by selecting DISABLED here.
Most times you will just want to leave this parameter ENABLED.
18
PARAMETER SETTINGS
CONTINUED...
CABINET
MODEL: Selects the cabinet model and/or cabinet emulation mode. Select NONE
to disable everything: no cabinet model, no ROLLOFF, PEAK Q, BOTTOM, and AIR
adjustment filters (for use with real guitar cabinets). Select FILTER ONLY to disable
the cabinet model only and run the cabinet ROLLOFF, PEAK Q, BOTTOM, and AIR
adjustment filters ONLY. Select MATCHED to automatically select the built-in cabinet
model for each amp model (and filters). Select an amp model name to choose a
specific matched cabinet from the list of available amp models (mix and match cabs
for other amps). Or, select one of the USER CABS slots to select one of the user
custom impulse response models. In all modes except NONE, the ROLLOFF, PEAK Q,
BOTTOM, and AIR adjustment filters are active.
ENABLE: Choose the outputs to have cabinet modeling.
This is a GLOBAL parameter. Choose:
NONE: no cabinet modeling (using guitar cabs on either sets of outputs).
MAINS ONLY: cabinet modeling on the main ¼” outputs only (no cabinet modeling
on the aux XLR outputs)
AUX ONLY: cabinet modeling on the aux XLR outputs only (no cabinet modeling on
the main ¼” outputs)
BOTH OUTPUTS: all outputs have cabinet modeling.
ROLLOFF: Adjusts a high frequency rolloff filter corner frequency to help tame cabinet
impulses that have too much high end. Value is in Hertz (Hz). Adjust down to cut off
more highs or adjust up for less rolloff.
PEAK Q: Adjust the peaking of the rolloff filter. The peak is a bump in the frequency
response just before rolloff. A lower value of PEAK Q means less peak. Smooth (no
peak) values are between 0.5 and 1.0. High peaking values are between 1.0 and 5.0.
BOTTOM: Adjust the bottom end shelf of the cabinet model. Value is in dB. Use
this to reduce cabinet models with too much low end woof or increase to warm up
cabinets that sound too thin.
AIR: Adjust the upper top end frequencies of the cabinet model. Value is in dB. Use to
add more sparkle and brilliance to cabinet models that sound too dull or dark.
LEVEL: Adjust the output level of the cabinet model in dB. Some impulses have a
different perceived loudness than others. Use this parameter to help balance the level
of a cabinet model with you amp model.
19
PARAMETER SETTINGS
CONTINUED...
BOOST
ENABLE: Turns the BOOST effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
MODE: Select from the following BOOST modes:
OVERDRIVE: models a classic overdrive pedal similar to the Boss SD-1
DISTORTION: models a typical distortion pedal similar to a Boss DS-1
FUZZ: models a fuzz-type distortion pedal similar to a Fuzz-Face
INSERT: Select from the following INSERT positions in the signal chain:
BOOST>FX>EQ: places the BOOST pedal before the modulation effect and pre-eq
effects in the PRE EFFECTS section.
FX>BOOST>EQ: places the BOOST pedal between the modulation effect and pre-eq
effects in the PRE EFFECTS section.
FX>EQ>BOOST: places the BOOST pedal after the modulation effect and pre-eq
effects in the PRE EFFECTS section.
DRIVE: Adjusts the drive of the boost effect from 0% to 100%.
TONE: Adjusts the variable tone of the boost effect from 0% to 100%.
LEVEL: Adjusts the output level of the boost effect in dB to match the bypassed level
or to just provide additional boost or cut.
EFFECT
ENABLE: Turns the modulation EFFECT effect on or off. Select ACTIVE to turn it on.
Select BYPASSED to turn it off.
MODE: Choose from one of the following modulation EFFECT modes:
NONE: no modulation effect will be used.
TREMOLO: a tremolo effect (varies the amplitude of your signal with
a sweeping LFO).
CHORUS: a chorus effect (varies the pitch of your signal with a sweeping LFO).
FLANGER: a flanger effect (varies a comb filter type effect with a sweeping LFO).
PHASER: a phaser effect (varies a series of notch filters with a sweeping LFO).
INSERT: positions the modulation effect. Choose PRE to position the effect in the
PRE-EFFECTS section (mono, before the amp model). Choose POST to position the
effect in the POST-EFFECTS section (stereo, after the amp model).
SPEED: Adjusts the speed of the LFO sweep in Hertz (Hz). Increase for a faster sweep
or reduce for a slower sweep.
20
PARAMETER SETTINGS - EFFECT CONTINUED...
SWEEP: Adjusts the amount of the effect sweep from 0% to 100%.
TWEAK “A”: Adjusts a special parameter which depends on the selected effect:
TREMOLO: controls the WIDTH parameter of the tremolo from 0% (no panning) to
100% (full panning). Only has an effect in POST (stereo) mode. In PRE (mono) mode,
it has no effect.
CHORUS: controls a HIGHPASS / LOW-CUT FILTER feeding the CHORUS effect.
Adjusts the rolloff frequency from 0% (~30Hz) to 100% (~3kHz).
FLANGER: controls the REGENERATION of the FLANGER effect from 0% to 100%.
Increasing this control produces a more intense flanger effect.
PHASER: controls the REGENERATION of the PHASER effect from 0% to 100%.
Increasing this control produces a more intense phaser effect.
TWEAK “B”: Adjusts a special parameter which depends on the selected effect:
TREMOLO: controls the WAVE SHAPE of the LFO of the tremolo effect. Selection
starts at 0% for sine wave, blends into a triangle wave at 50%, and blends into a
square wave at 100%.
CHORUS: controls the DELAY TIME feeding the CHORUS effect
from 0% (~0.5ms) to 100% (~5ms).
FLANGER: controls the fixed MANUAL delay time for the FLANGER effect
from 0% (~0.2ms) to 100% (~5ms).
PHASER: controls the notch filters BASE FREQUENCY
from 0% (~150Hz) to 100% (~600Hz).
LEVEL: Adjusts the output level of the modulation EFFECT in dB to match the
bypassed level or to just provide additional boost or cut.
WET MIX: Controls the balance of dry signal blended with wet (effected) signal. For
most applications you should leave this at 50% (a 50-50 mix of dry and effected
signal). For more dry mix, reduce towards 0%. For more effect signal in the mix,
increase towards 100%.
ECHO
ENABLE: Turns the ECHO effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
MODE: Select from the following ECHO modes / styles:
NONE: selects no ECHO model effect. Forces the ECHO effect off even if the
ENABLE is ACTIVE.
DIGITAL: models a digital delay pedal with a full range echo repeat.
ANALOG: models an analog-delay type pedal with a very warm echo repeat.
TAPE ECHO: models a delay pedal based on audio tape, having echo repeats with a
mid-range peak.
21
PARAMETER SETTINGS - ECHO CONTINUED...
DARK TAPE: models a delay pedal similar to the TAPE ECHO mode but with a darker
rolloff on the echo repeats.
SOFT DIGITAL: models a delay pedal similar to the DIGITAL mode but with a gentle
rolloff of the highs on the echo repeats.
INSERT: positions the ECHO effect. Choose PRE to position the effect in the PREEFFECTS section (mono, before the amp model). Choose POST to position the effect
in the POST-EFFECTS section (stereo, after the amp model).
LEVEL: Controls the level in dB of the ECHO effect only. Adjust to blend the right
amount of reverb with your dry (unaffected) signal.
TIME: Sets the time interval between echo repeats (in milliseconds).
REPEATS: Sets the amount of feedback which controls the duration of the repeats
from 0% (single repeat / slap back) to 100% (almost infinite repeats).
PING PONG: activates PING-PONG mode. Choose ENABLED to turn on the pingpong delay mode which makes the repeats alternately bounce between left and right
channels. Choose DISABLED for a standard echo effect without ping-pong echoes.
This option only works in the POST (stereo) position. In the PRE (mono) position, the
PING PONG effect is not noticeable.
TAILS: activates TAILS (repeat tails). Choose ENABLED to have your echo repeats
continue to ring out and delay even after the ECHO effect is turned off. This allows
you to hear a smooth transition from ACTIVE to BYPASSED. Choose DISABLED to
force the echo effect and its repeat echoes to both mute immediately after turning
the ECHO effect to BYPASSED.
SPILLOVER: Controls if the echo effect continues to decay after changing presets
(spilling over into the next preset). This parameter is per preset and controls if the
delay spills over when ENTERING (switching to) that preset. Setting this parameter to
ENABLED means that any remaining echo from the previous preset will continue to
spillover when you switch to THIS preset. Setting this parameter to DISABLED means
that when entering THIS preset, any remaining echoes will be reset. If the ECHO
effect is set differently in the switched preset from the previous preset, the echoes
will change to the sound indicated by the new preset. If you want the echo speed and
character to sound identical between two (or more) presets, make sure to set the
ECHO parameters the same in all of them.
WIDTH: Controls the stereo width of the delay. Works in conjunction with the PINGPONG mode and only used when the ECHO effect is set in the POST (stereo) position.
Adjust from 0% (full summed to mono) to 100% (true stereo).
FLUTTER: Controls the variation in delay time (FLUTTER) to simulate subtle changes
in speed control in old analog tape echo effects, creating a natural CHORUS-like
effect. Adjust from 0% (no flutter) to 100% (maximum speed variation and flutter).
FLUTTER SPEED: Control the FLUTTER variation speed in Hertz (Hz). Adjusts the
frequency of the flutter speed variation, which has an effect similar to a CHORUS LFO
speed. Only noticeable when FLUTTER control is set above 0%
22
PARAMETER SETTINGS CONTINUED...
GRIT: Controls the amount of distortion in the echo repeats. Some old echo effects
can be overdriven into distortion, only noticeable on the repeats. This adjusts the
amount of distortion from 0% (no distortion) to 100% (lots of distortion).
DRY LEVEL: Allows you to change the dry (unaffected) signal level when the ECHO
effect is enabled. Usually, the dry signal is mixed equally (0dB) with the ECHO
effect. In cases where you want the dry signal much lower than the ECHO effect (to
accentuate the echoes), or want to increase the output level, you can adjust it here.
DUCKING: Controls the DUCKING effect of the ECHO modeler. The DUCKING effect
lowers the volume of the ECHO effect when it detects that you are playing, and will
swell it back up to normal volume when you stop playing. This allows you to hear a
nice echo effect at the tail end of your phrasing without it cluttering up the notes as
you play them. Set the amount of DUCKING ATTENUATION (in dB) here. This effect is
also controlled by the THRESHOLD and RELEASE parameters (see below).
THRESHOLD: Controls the THRESHOLD of the DUCKING effect. Sets the level
which the input to the ECHO needs to reach in order to activate the DUCKING
ATTENUATION. As soon as your input reaches this threshold, the echoes will be
reduced in volume by the amount of dB specified in the DUCKING parameter.
RELEASE: Controls the amount of time that the DUCKING effect will restore the echo
levels to normal (0dB of attenuation) after the input to the ECHO falls below the
THRESHOLD. Once your playing stops (or falls below the THRESHOLD parameter),
the DUCKING effect begins to increase the volume of the ECHO effect. The RELEASE
time controls how fast (or slow) this release occurs.
REVERB
ENABLE: Turns the REVERB effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
TYPE: Select from the following REVERB modes / styles:
SMALL: simulates the reverb of a small room.
MEDIUM: simulates the reverb of a medium-sized club or small hall.
LARGE: simulates the reverb of a large sized venue or large concert hall.
SPRING: simulates the reverb of a spring reverb tank.
LEVEL: Controls the level in dB of the reverb effect only. Adjust to blend the right
amount of reverb with your dry (unaffected) signal.
DECAY: Controls the decay time (size) of the reverb from 0% (minimum size) to 100%
(maximum size).
LOW-FREQUENCY DAMPING: Controls the amount of dampening of low-frequency
(bass) in the simulated room acoustics from 0% (most amount of bass) to 100% (least
amount of bass).
HIGH-FREQUENCY DAMPING: Controls the amount of dampening of high-frequency
(treble) in the simulated room acoustics from 0% (least amount of treble) to 100% (full
amount of treble).
23
PARAMETER SETTINGS - REVERB CONTINUED...
DIFFUSION: Controls the amount of stereo diffusion of the reverb from 0% to 100%.
WIDTH: Controls the amount of stereo separation of the reverb from 0% (fully
summed to mono) to 100% (full stereo panning).
PREDELAY: Controls the amount of PREDELAY feeding into the reverb unit. Used to
simulate very large spaces where the first echo splash from the reverb occurs only
after a predelay time. Adjust from 0 to 100 milliseconds.
GATE
ENABLE: Turns the noise GATE effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
THRESHOLD: Adjusts the threshold (in dB) of the noise GATE, which is the minimum
level of the input signal that will open the GATE.
ATTACK: Adjusts the attack time (in milliseconds) of the noise GATE. This controls
how much time it takes for the GATE to open once the input signal has risen above
the THRESHOLD.
RELEASE: Adjusts the release time (in milliseconds) of the noise GATE. This controls
how much time it takes for the GATE to close after the input signal has fallen below
the THRESHOLD.
SLOPE: Controls the smoothness of the GATE as it opens or closes. Adjust from 0%
(smoothest) to 100% (quickest) slope.
SPILLOVER: Controls if the reverb effect continues to decay after changing presets
(spilling over into the next preset). This parameter is per preset and controls if
the reverb tail spills over when ENTERING (switching to) that preset. Setting this
parameter to ENABLED means that any remaining reverb from the previous preset
will continue to spillover when you switch to THIS preset. Setting this parameter
to DISABLED means that when entering THIS preset, any remaining reverb will be
reset. If the REVERB effect is set differently in the switched preset from the previous
preset, the reverb will change to the sound indicated by the new preset. If you want
the reverb character to sound identical between two (or more) presets, make sure to
set the REVERB parameters the same in all of them.
DRY LEVEL: Allows you to change the dry (unaffected) signal level when the REVERB
effect is enabled. Usually, the dry signal is mixed equally (0dB) with the REVERB
effect. In cases where you want the dry signal much lower than the REVERB effect
(to accentuate the reverb), or want to increase the output level, you can adjust it here.
DUCKING: Controls the DUCKING effect of the REVERB modeler. The DUCKING effect
lowers the volume of the REVERB effect when it detects that you are playing, and
will swell it back up to normal volume when you stop playing. This allows you to hear
a nice reverb at the tail end of your phrasing without it cluttering up the notes as you
play them. Set the amount of DUCKING ATTENUATION (in dB) here. This effect is also
controlled by the THRESHOLD and RELEASE parameters (see below).
THRESHOLD: Controls the THRESHOLD of the DUCKING effect. Sets the level
which the input to the REVERB needs to reach in order to activate the DUCKING
ATTENUATION. As soon as your input reaches this threshold, the reverb will be
reduced in volume by the amount of dB specified in the DUCKING parameter.
24
PARAMETER SETTINGS - GATE CONTINUED...
RELEASE: Controls the amount of time that the DUCKING effect will restore the
reverb levels to normal (0dB of attenuation) after the input to the REVERB falls
below the THRESHOLD. Once your playing stops (or falls below the THRESHOLD
parameter), the DUCKING effect begins to increase the volume of the REVERB effect.
The RELEASE time controls how fast (or slow) this release occurs.
COMPRESSOR
ENABLE: Turns the COMPRESSOR effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
DRIVE: Controls the amount of drive into the compressor pedal effect. Adjust from 0%
(minimum compression) to 100% (maximum compression).
ATTACK: Adjusts the attack time (in milliseconds) of the COMPRESSOR. This controls
the time for the COMPRESSOR to increase compression as the input signal rises.
RELEASE: Adjusts the release time (in milliseconds) of the COMPRESSOR. This
controls the time for the COMPRESSOR to decrease compression as the input signal
decays.
LEVEL: Adjusts the output level of the COMPRESSOR effect in dB to match the
bypassed level or to just provide additional boost or cut.
LOOP
ENABLE: Turns the external effects LOOP on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off. In AUX INPUT mode, the loop ENABLE serves no function.
(see loop MODES below)
MODE: Choose from the following modes:
MUTE SEND: In MUTE SEND mode, the LOOP bypass/active state controls the
mute on the send jack only and the return jacks are always active. This allows any
effect tails (like in delays and reverbs) to continue to ring out and decay even after
the loop is BYPASSED.
MUTE RETURN: In MUTE RETURN mode, the LOOP bypass/active state controls
the mute on both the send and the return. This immediately mutes any external
effects connected to the LOOP once it is BYPASSED.
AUX INPUT: In AUX INPUT mode, the LOOP acts like an auxiliary input for
connection with external music players. The input will mix with the guitar processed
input without any POST effects. In this mode, the send jack remains active and can
be used as an additional guitar send.
EXPRESSION: in EXPRESSION mode, the effects loop is disabled and may be used
with a special adapter cable (available through Atomic Amps) to accommodate
two standard expression pedals (for controlling effect parameters with pedals in
real-time). For expression pedals to work, the LOOP must be put into EXPRESSION
mode.
See the EXPRESSION PEDALS section for more detail on how to use EXPRESSION
PEDALS with AmpliFire.
25
PARAMETER SETTINGS - LOOP CONTINUED...
SEND LEVEL: Adjusts the relative output of the SEND jack in dB to help match with
external effects processor inputs.
RETURN LEVEL: Adjusts the relative input gain of the RETURN jacks to help match
with external effects processor output levels.
PEDAL A: Displays the position of expression pedal “A” in percent (%). The full
heel position (minimum position) should display as near 0%. The full toe position
(maximum position) should display as near 100%. If you do not get a good range with
your pedal, you may calibrate it by pressing SAVE while on the PEDAL A display. This
starts the PEDAL A calibration function. (See the EXPRESSION PEDALS section for
more details).
PEDAL B: Displays the position of expression pedal “B” in percent (%). The full
heel position (minimum position) should display as near 0%. The full toe position
(maximum position) should display as near 100%. If you do not get a good range with
your pedal, you may calibrate it by pressing SAVE while on the PEDAL B display. This
starts the PEDAL B calibration function. (See the EXPRESSION PEDALS section for
more details).
PARAM A: Selects the parameter for expression pedal “A” to control. You may
choose from any non-global, non-menu type parameters (normal continuous
parameters) within your preset.
MIN A: Sets the minimum value of the selected PARAM A. This represents the value
of the parameter when EXPRESSION PEDAL A is in the heel (minimum) position.
MAX A: Sets the maximum value of the selected PARAM A. This represents the
value of the parameter when EXPRESSION PEDAL A is in the toe (maximum)
position.
PARAM B: Selects the parameter for expression pedal “B” to control. You may
choose from any non-global, non-menu type parameters (normal continuous
parameters) within your preset.
MIN B: Sets the minimum value of the selected PARAM B. This represents the value
of the parameter when EXPRESSION PEDAL B is in the heel (minimum) position.
MAX B: Sets the maximum value of the selected PARAM B. This represents the
value of the parameter when EXPRESSION PEDAL B is in the toe (maximum)
position.
26
PARAMETER SETTINGS CONTINUED...
WAH WAH
ENABLE: Turns the WAH-WAH effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
PEDAL: Sets the position of the WAH-WAH pedal from 0% (down or heel position)
to 100% (up or toe position). This can be set to a fixed position for a “cocked-WAH”
sound, or assigned to an EXPRESSION PEDAL or MIDI for continuous control (see
EXPRESSION PEDAL and MIDI sections).
FREQUENCY MIN: Sets the minimum frequency of the WAH-WAH filter effect
sweep. This is the resonant frequency of the filter when the PEDAL parameter is in
the minimum 0% (heel) position.
FREQUENCY MAX: Sets the maximum frequency of the WAH-WAH filter effect
sweep. This is the resonant frequency of the filter when the PEDAL parameter is in
the maximum 100% (toe) position.
TYPE: Choose the type of filter for the WAH effect. Some WAH-WAHs use a
BANDPASS type, but some use a high-peaking LOWPASS type. Each has its own
character:
LOWPASS: selects a variable low-pass filter. The WAH pedal controls the rolloff
frequency. This mode preserves the low end of your guitar even when the pedal it
put into the higher positions.
BANDPASS: selects a variable band-pass filter. The WAH pedal controls the center
frequency. This mode is more nasal and characteristic of WAH-WAHs. It reduces
the low end of your guitar when the pedal it put into the higher positions
Q: Adjusts the “Q” or peaking of the filter. Increase this value for a thinner, nore nasal,
and crisper WAH sound. Lower this value for a more subtle and rounder WAH sound.
LEVEL: Sets the output LEVEL of the WAH when the effect is enabled. This allows you
to automatically add clean boost to your WAH when it is enabled! Adjust the amount
of boost in dB.
27
PARAMETER SETTINGS - WAH WAH CONTINUED...
AUTO-OFF: Enables the AUTO-OFF feature of the WAH effect. Most real WAHs have
an on/off switch. Most expression pedals don’t. To solve this issue, we created an
AUTO-OFF feature which can bypass your WAH effect automatically when the pedal
is parked or inactive for a period of time. NOTE: the AUTO-OFF feature only functions
if the WAH is ENABLED. When the WAH is BYPASSED, the AUTO-OFF feature has no
effect (the WAH remains bypassed).
DISABLED: turns off the AUTO-OFF feature, and your WAH is only controlled by the
ENABLE parameter.
INACTIVITY: selects INACTIVITY AUTO-OFF mode. In this mode, the WAH will
automatically turn off when the WAH PEDAL parameter is not changed more
than the THRESHOLD amount during an interval of time specified by the TIMER
parameter. (see THRESHOLD and TIMER parameters below).
PARKED: selects PARKED AUTO-OFF mode. In this mode, the WAH will
automatically turn off when the WAH PEDAL parameter is kept below the
THRESHOLD amount during an interval of time specified by the TIMER parameter.
(see THRESHOLD and TIMER parameters below).
TIMER: Sets the AUTO-OFF timeout time (in seconds). When the AUTO-OFF feature
is enabled, this parameter sets the amount of time for the WAH to automatically shut
off when the PEDAL is either inactive or parked.
THRESHOLD: Sets the AUTO-OFF threshold for inactivity or parked position. If the
PEDAL changes less than this amount then it is INACTIVE. If the PEDAL remains
below this amount then it is PARKED.
VOLUME
ENABLE: Turns the VOLUME effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
INSERT: Positions the VOLUME effect into one of three positions, each with a subtly
different control of your sound:
PRE: In the PRE position, the VOLUME effect is placed in the beginning of your
PRE-EFFECTS section (at the input, just after the GATE). This allows you to mimic
the effect of rolling off your guitar volume knob with you foot. It is the same as if
you had a volume pedal as your first pedal in your effects chain.
AMP: In the AMP position, the VOLUME effect is placed right after your AMP
model, just before the effects LOOP SEND. This allows you to control the volume
of your tone as it is sent to your FX LOOP and POST EFFECTS, allowing tails in your
POST EFFECTS (and FX LOOP effects) to ring out even after turning your VOLUME
effect down.
POST: In the POST position, the VOLUME effect is placed at the end of your POSTEFFECTS section. This allows you to control the volume of everything, like a master
volume control similar to the output LEVEL knob.
PEDAL: Sets the position of the VOLUME pedal from 0% (down or heel position) to
100% (up or toe position). This can be set to a fixed position for a set VOLUME, or
assigned to an EXPRESSION PEDAL or MIDI for continuous control (see EXPRESSION
PEDAL and MIDI sections).
28
PARAMETER SETTINGS CONTINUED...
GRAPHIC EQ
ENABLE: Turns the GRAPHIC EQ effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
INSERT: positions the GRAPHIC EQ effect. Choose PRE to position the effect in the
PRE-EFFECTS section (mono, before the amp model). Choose POST to position the
effect in the POST-EFFECTS section (stereo, after the amp model).
LEVEL: Adjusts the output level of the GRAPHIC EQ effect in dB to match the
bypassed level or to just provide additional overall boost or cut to the effect.
80, 160, 320, 640, 1.2K, 2.6K, 5.1K, LEVEL: Adjusts the amount of boost or cut for
each of the equalizer bands of the GRAPHIC EQ effect in dB.
PRE EQ
ENABLE: Turns the PRE EQ filter effect on or off. Select ACTIVE to turn it on. Select
BYPASSED to turn it off.
TYPE: Selects the type of filter. Choose from the following:
NONE: Disables the filter even when it is ACTIVE.
GAIN ONLY: Applies only gain (across all frequencies). In this mode, only the LEVEL
parameter has effect.
LOWPASS 1: Applies a first-order low pass filter which passes bass (lows) and
rolls off treble (highs). This filter begins to roll off (cut) high frequencies above the
value set in the FREQUENCY parameter. It passes all low frequencies below the
FREQUENCY parameter at the level set with the LEVEL parameter. This filter is not
affected by the Q control.
HIGHPASS 1: Applies a first-order high pass filter which passes treble (highs) and
rolls off bass (lows). This filter begins to roll off (cut) low frequencies below the
value set in the FREQUENCY parameter. It passes all high frequencies above the
FREQUENCY parameter at the level set with the LEVEL parameter. This filter is not
affected by the Q control.
LOW SHELF 1: Applies a first-order low shelf filter which changes the level of the
bass (lows) and leaves treble (highs) unaffected. This filter boosts (or cuts) low
frequencies below the value set in the FREQUENCY parameter by the amount
set with the LEVEL parameter. It leaves high frequencies above the FREQUENCY
parameter unaffected. This filter is not affected by the Q control.
HIGH SHELF 1: Applies a first-order high shelf filter which changes the level of the
treble (highs) and leaves bass (lows) unaffected. This filter boosts (or cuts) high
frequencies above the value set in the FREQUENCY parameter by the amount
set with the LEVEL parameter. It leaves low frequencies below the FREQUENCY
parameter unaffected. This filter is not affected by the Q control..
29
PARAMETER SETTINGS - PRE EQ - TYPE CONTINUED...
LOWPASS 2: Applies a second-order low pass filter which passes bass (lows) and
rolls off treble (highs). This filter begins to roll off (cut) high frequencies above the
value set in the FREQUENCY parameter. It passes all low frequencies below the
FREQUENCY parameter at the level set with the LEVEL parameter. This mode is
similar to LOWPASS 1, but has a faster roll off and it is affected by the Q control.
The Q control affects peaking before rolloff. Increase the Q to increase the peak
that occurs just before rolloff. Reduce the Q to flatten the peak for a smoother
rolloff.
HIGHPASS 2: Applies a second-order high pass filter which passes treble (highs)
and rolls off bass (lows). This filter begins to roll off (cut) low frequencies below the
value set in the FREQUENCY parameter. It passes all high frequencies above the
FREQUENCY parameter at the level set with the LEVEL parameter. This mode is
similar to HIGHPASS 1, but has a faster roll off and it is affected by the Q control.
The Q control affects peaking before rolloff. Increase the Q to increase the peak
that occurs just before rolloff. Reduce the Q to flatten the peak for a smoother
rolloff.
LOW SHELF 2: Applies a second-order low shelf filter which changes the level
of the bass (lows) and leaves treble (highs) unaffected. This filter boosts (or cuts)
low frequencies below the value set in the FREQUENCY parameter by the amount
set with the LEVEL parameter. It leaves high frequencies above the FREQUENCY
parameter unaffected. This mode is similar to LOW SHELF 1, but has a sharper
transition from lows to highs and it is affected by the Q control. The Q control
affects peaking just around the transition between lows and highs. Increase the Q
to increase the peak that occurs at the transition. Reduce the Q to flatten the peaks
for a smoother transition.
HIGH SHELF 2: Applies a second-order high shelf filter which changes the level
of the treble (highs) and leaves bass (lows) unaffected. This filter boosts (or cuts)
high frequencies above the value set in the FREQUENCY parameter by the amount
set with the LEVEL parameter. It leaves low frequencies below the FREQUENCY
parameter unaffected. This mode is similar to HIGH SHELF 1, but has a sharper
transition from highs to lows and it is affected by the Q control. The Q control
affects peaking just around the transition between highs and lows. Increase the Q
to increase the peak that occurs at the transition. Reduce the Q to flatten the peaks
for a smoother transition.
BANDPASS: Applies a bandpass filter which allows only frequencies in a narrow
band to pass and cuts all other frequencies outside this band. The center frequency
of the band is determined by the FREQUENCY parameter and its level is controlled
by the LEVEL parameter. The width of the band (amount of frequencies near the
center frequency) is determined by the Q control. Increase the Q control for a
NARROWER band, decrease the Q control for a WIDER band.
NOTCH: Applies a notch filter which cuts frequencies within a narrow band and
lets all other frequencies outside this band pass at the level set by the LEVEL
parameter. The center frequency of the band is determined by the FREQUENCY.
The width of the band (amount of frequencies near the center frequency) is
determined by the Q control. Increase the Q control for a NARROWER band,
decrease the Q control for a WIDER band.
30
PARAMETER SETTINGS - PRE EQ - TYPE CONTINUED...
PEAKING: Applies a peaking filter which boosts or cuts the level of frequencies
within a narrow band and leaves all other frequencies outside this band unaffected.
The level of the peak is set by the LEVEL parameter. The center frequency of the
peak is determined by the FREQUENCY parameter. The width of the peak (amount
of frequencies near the center frequency) is determined by the Q control. Increase
the Q control for a NARROWER peak, decrease the Q control for a WIDER peak.
LEVEL: Adjusts the output LEVEL (in dB) of the filter, typically the level of the pass
band of frequencies for the filter (see filter types above for more detail).
FREQUENCY: Adjusts the corner frequency of the filter. This can be either the cutoff,
transition, or center frequency depending on the type of filter (see filter types above
for more detail).
Q: Adjusts the Q of the filter which controls the amount of peaking. This parameter
has no effect on GAIN ONLY and first order filters (which do not have a Q control).
Increase the Q for sharper peaks / narrower bands. Decrease the Q for smoother
transitions / wider bands.
LOW-CUT: Adjusts the roll off frequency of a special low-cut filter, designed to allow
customizing your tone by feeding less lows into the front end input of the guitar
amp model. This parameter can be used to “mod” the amp models for a tighter and
punchier tone.
PARAMETRIC 1, 2, AND 3
ENABLE: Turns the PARAMETRIC (1, 2, or 3) filter effect on or off. Select ACTIVE to
turn it on. Select BYPASSED to turn it off.
TYPE: Selects the type of filter. Choose from GAIN ONLY, LOWPASS 1, HIGHPASS 1,
LOW SHELF 1, HIGH SHELF 1, LOWPASS 2, HIGHPASS 2, LOW SHELF 2, HIGH SHELF
2, BANDPASS, NOTCH, or PEAKING. (see the PRE EQ section above for a detailed
description of these filter modes).
INSERT: positions the PARAMETRIC (1, 2, or 3) effect. Choose PRE to position the
effect in the PRE-EFFECTS section (mono, before the amp model). Choose POST to
position the effect in the POST-EFFECTS section (stereo, after the amp model).
LEVEL: Adjusts the output LEVEL (in dB) of the filter, typically the level of the pass
band of frequencies for the filter (see filter types above for more detail).
FREQUENCY: Adjusts the corner frequency of the filter. This can be either the cutoff,
transition, or center frequency depending on the type of filter (see filter types above
for more detail).
Q: Adjusts the Q of the filter which controls the amount of peaking. This parameter
has no effect on GAIN ONLY and first order filters (which do not have a Q control).
Increase the Q for sharper peaks / narrower bands. Decrease the Q for smoother
transitions / wider bands.
31
FOOTSWITCH 1, 2, AND 3
MODE: Select the mode of operation for the footswitch. Choose from the following
options:
A<->B: toggles between two presets, preset “A” and preset “B”. Press once for
preset “A”. Press again for preset “B”. Press again returns to preset “A”, and so on.
Press and hold for two seconds to BYPASS the unit. Each footswitch has two
presets, “A” and “B” which can be assigned to any of the 128 presets (see PRESET
“A” and PRESET “B” sections below).
A/B<->BYPASS: toggles between a preset and BYPASS. Press once for preset
“A”. Press again for bypass. Press again returns to preset “A”, and so on. Press and
hold for two seconds to toggle between preset “A” and preset “B”. Each footswitch
has two presets, “A” and “B” which can be assigned to any of the 128 presets (see
PRESET “A” and PRESET “B” sections below).
LOOP CONTROL: toggles the external effects loop on and off.
ALL BYPASS: toggles the unit from ACTIVE to BYPASS, bypassing all effects and
amp modeling.
EFFECT: toggles the modulation EFFECT between ACTIVE and BYPASSED.
ECHO: toggles the ECHO effect between ACTIVE and BYPASSED.
REVERB: toggles the REVERB effect between ACTIVE and BYPASSED.
NOISE GATE: toggles the NOISE GATE effect between ACTIVE and BYPASSED.
WAH: toggles the WAH-WAH effect between ACTIVE and BYPASSED.
VOLUME: toggles the VOLUME effect between ACTIVE and BYPASSED.
GRAPHIC EQ: toggles the GRAPHIC EQ effect between ACTIVE and BYPASSED.
PRE FILTER: toggles the PRE FILTER effect between ACTIVE and BYPASSED.
PARAMETRIC (1, 2, AND 3): toggles the PARAMETRIC (1, 2, AND 3) effect between
ACTIVE and BYPASSED..
AMP BYPASS: toggles the amp modeling on and off.
COMPRESSOR: toggles the COMPRESSOR effect between ACTIVE and BYPASSED.
TAP TEMPO: allows you to set the ECHO delay time by tapping the tempo with
your foot.
PRESET “A”: Select one of the 128 presets for use as preset “A” in A<->B or A/B<>BYPASS modes (allows you to toggle between two presets).
PRESET “B”: Select one of the 128 presets for use as preset “B” in A<->B or A/B<>BYPASS modes (allows you to toggle between two presets).
32
GLOBAL SETTINGS
Some of Amplifire’s parameters are GLOBAL, meaning that they have only one value
and do not change with each preset. These GLOBAL parameters are either system
options or effect parameters that are best set once from one location and that apply
to all presets universally.
When you change a GLOBAL SETTING, the SAVE LED will NOT blink, since it does not
require you to save the preset. All GLOBAL SETTINGS are saved automatically when
you return to the preset display.
Some globals settings are scattered among the effects menus (if they apply to a
specific effect), but most are located in the last menu (the OPTIONS menu).
The table below lists the GLOBAL SETTINGS and their functions:
CABINET ENABLE: Chooses which set of outputs have cabinet modeling. In some
cases you may want to send a signal without cabinet modeling to a real guitar
cabinet (such as a stage amp), and another signal with cabinet modeling to a full
range system (such as a PA system). This option lets you choose cabinet modeling
on BOTH MAIN and AUX outputs, MAIN outputs only, AUX outputs only, or NONE
(no cabinet modeling on either set of outputs). NOTE: Cabinet modeling is ALWAYS
present on the HEADPHONES output.
NOISE GATE THRESHOLD: Adjusts the threshold of the noise gate, which is the
input signal that will open the gate. Any signals below this level will allow the gate
to close.
NOISE GATE ATTACK:Sets the attack time of the noise gate to control the speed of
the opening of the gate.
NOISE GATE RELEASE: Sets the release time of the noise gate to control the speed
of the closing of the gate.
NOISE GATE SLOPE: Sets the slope of the noise gate release curves, which controls
how smoothly or abruptly the noise gate closes and opens.
LOOP MODE: Selects the mode of the EFFECTS LOOP. Choices are MUTE SEND,
MUTE RETURN, and AUX INPUT.
In MUTE SEND mode, switching the effects loop on and off only mutes the send,
allowing the return to continue to spill over into the post processing effects chain.
This is useful for allowing external delays and reverbs to continue to spillover into
Amplifire’s return jacks.
In MUTE RETURN mode, switching the effects loop on and off will immediately
mute the return jacks and any sound coming back from them. This is a typical
effects loop operation.
In AUX INPUT mode, the return jacks are rerouted to the end of Amplifire’s
processing chain, and mixed with the output. The aux input bypasses the cabinet
modeling for full range blending of the return jack inputs with the outputs. This
allows mixing external music players with the amp modeling output for playing
over backing tracks, computer, and other music sources.
In EXPRESSION mode, the effects loop is configured as EXPRESSION PEDAL
mode, allowing you to use expression pedals (with a special adapter cable,
available separately) to control effect parameters in real-time. (See EXPRESSION
PEDALS section.)
33
GLOBAL SETTINGS
CONTINUED...
SEND LEVELSets the output level of the SEND jack. This is a relative level in dB for
a full scale digital output.
RETURN LEVEL: Sets the input level of the RETURN jacks. This is a relative level in
dB for a full scale digital input.
MAIN LEVEL: Sets the output level of the MAIN output jacks. This is a relative level
in dB for a full scale digital output.
AUX LEVEL: Sets the output level of the AUX output jacks. This is a relative level in
dB for a full scale digital output.
HEADPHONES LEVEL: Sets the output level of the HEADPHONES jack. This is a
relative level in dB for a full scale digital output.
FOOTSWITCH 1 MODE: Sets the mode of Footswitch #1 (left footswitch). This
option can assign one of the following modes to the footswitch:
FOOTSWITCH 1 PRESET A: Each footswitch can be put into a preset select mode
to choose one of two presets, preset A (red) or preset B (amber). This setting
selects the number of the preset that is loaded when preset A (red) is switched in
by the footswitch.
FOOTSWITCH 1 PRESET B: Each footswitch can be put into a preset select mode
to choose one of two presets, preset A (red) or preset B (amber). This setting
selects the number of the preset that is loaded when preset B (amber) is switched
in by the footswitch.
FOOTSWITCH 2 MODE: Sets the mode of Footswitch #2 (center footswitch). See
the description for FOOTSWITCH 1 MODE above for details.
FOOTSWITCH 2 PRESET A: Sets the preset number for preset A of footswitch #2.
See the description for FOOTSWITCH 1 PRESET A above for details.
FOOTSWITCH 2 PRESET B: Sets the preset number for preset B of footswitch #2.
See the description for FOOTSWITCH 1 PRESET B above for details.
FOOTSWITCH 3 MODE: Sets the mode of Footswitch #3 (right footswitch). See the
description for FOOTSWITCH 1 MODE above for details.
FOOTSWITCH 3 PRESET A: Sets the preset number for preset A of footswitch #3.
See the description for FOOTSWITCH 1 PRESET A above for details.
FOOTSWITCH 3 PRESET B: Sets the preset number for preset B of footswitch #3.
See the description for FOOTSWITCH 1 PRESET B above for details.
MIDI IN CHANNEL: Sets the input MIDI channel from 1 through 16, OMNI, or
NONE. (see MIDI section below for a complete description)
MIDI OUT CHANNEL: Sets the output MIDI channel from 1 through 16, OMNI, or
NONE. (see MIDI section below for a complete description)
MIDI THRU: Sets the MIDI through function on or off.
34
GLOBAL SETTINGS
CONTINUED...
CONTRAST: Adjusts the LCD display window contrast to help optimize visibility of
the display. Values are from 1 to 10.
MAIN OUTPUT MODE: Sets the MONO/STEREO operation of the MAIN outputs.
Choices are:
STEREO MODE: left and right outputs are a true stereo signal pair.
DUAL MONO LEFT: this is a dual mono mode, where the left stereo output is
copied to both the left and right outputs.
DUAL MONO RIGHT: this is a dual mono mode, where the right stereo output is
copied to both the left and right outputs.
DUAL SUMMED: this is a dual mono mode, where the sum of the right and left
stereo outputs is copied to both the left and right outputs.
AUX OUTPUT MODE: Sets the MONO/STEREO operation of the AUX outputs. See
the MAIN OUTPUT MODE global setting above for a complete description.
POWER AMP ENABLE: Globally enables or disables the power amplifier section of
the amp modeling effect. This is useful when you are running Amplifire into a real
tube power amp, and you want to avoid having the power amp modeling on top of
the effects of a real tube power amp.
TAP TEMPO MODE: Selects the tap tempo period. Normally, the ECHO repeat rate
will be set to the period between taps of the tap tempo switch. Alternatively, you
may choose one of the following modes:
NORMAL: the repeat rate equals the interval between taps on the footswitch
EIGHTHS: the repeat rate is twice as fast as the interval between taps on the
footswitch (as if quarter notes are tapped into the footswitch, and eighth notes
are produced in the repeat rate).
TRIPLETS: the repeat rate is three times as fast as the interval between taps
on the footswitch (as if quarter notes are tapped into the footswitch, and triplet
notes are produced in the repeat rate).
16THS: the repeat rate is four times as fast as the interval between taps on the
footswitch (as if quarter notes are tapped into the footswitch, and sixteenth
notes are produced in the repeat rate).
DOTTED 8THS: the repeat rate is one and a half times as fast as the interval
between taps on the footswitch (as if quarter notes are tapped into the
footswitch, and dotted eighth notes are produced in the repeat rate).
TUNER SILENT: Enables or disabled silent tuning. When enabled, the guitar input
is silenced (muted) whenever AmpliFire is in TUNER mode. When disabled, tuner
operation does not affect the signal path.
35
GLOBAL SETTINGS
CONTINUED...
PRESET INDEXING: Selects the numbering of the presets:
0-127: Presets are numbered starting from 0 and running up to 127.
1-128: Same presets are numbered starting from 1 and running up to 128.
WAH AUTO-OFF MODE: Sets the auto-off feature of the WAH-WAH effect. See
the WAH effect parameters for a complete description.
WAH AUTO-OFF TIMER: Sets the auto-off timer of the WAH-WAH effect. See the
WAH effect parameters for a complete description.
WAH AUTO-OFF THRESHOLD: Sets the auto-off threshold of the WAH-WAH
effect. See the WAH effect parameters for a complete description.
FOOTSWITCHES
Amplifire features three (3) fully programmable footswitches. Each footswitch can be
independently programmed to allow one of the following functions:
• Provide instant access to presets
• Control an individual effect enable/bypass
• Tap tempo function.
When programmed to allow instant access to presets, the footswitch toggles
between two programmable presets, preset A and preset B. Each footswitch has its
own pair of preset A and preset B, so you can assign up to six (6) different presets to
the three (3) footswitches.
When programmed to control an individual effect enable/bypass, the footswitch
toggles the effect on and off, just like if it were a real effect pedal.
When programmed for tap tempo, the footswitch allows you to tap in the ECHO
modeler delay time with your foot.
FOOTSWITCH MODES
The following are the FOOTSWITCH modes that Amplifire supports:
A/B OR BYPASS: Toggles between two different presets, preset A and preset B.
The LED toggles between two colors, red and amber, to indicate which of the two
presets is currently loaded. In this mode, you can press and hold the footswitch to
switch the unit into bypass.
A OR B / BYPASS: Toggles between active and bypass. When active, the LED is
lit and is red if preset A is loaded or amber if preset B is loaded. In this mode, you
can press and hold the footswitch to toggle the active state between preset A and
preset B.
LOOP CONTROL: Toggles the state of the effects loop, either on or off.
36
FOOTSWITCH MODES
CONTINUED...
BYPASS: Acts like a master bypass, toggling all effects processing on and off.
BOOST: Switches the BOOST modeler effect. Acts like an overdrive pedal on/off switch.
EFFECT: Switches the MODULATION effect. Acts like an effect pedal on/off switch.
ECHO: Switches the ECHO/DELAY MODELER effect.
Acts like an effect pedal on/off switch.
REVERB: Switches the REVERB effect. Acts like an effect pedal on/off switch.
GATE: Switches the NOISE GATE effect. Acts like an effect pedal on/off switch.
WAH: Switches the WAH-WAH effect. Acts like an effect pedal on/off.
VOLUME: Switches the VOLUME effect. Acts like an effect pedal on/off.
GRAPHIC EQ: Switches the GRAPHIC EQ effect.
Acts like an effect pedal on/off switch.
PARAMETRIC 1: Switches the PARAMETRIC 1 effect.
Acts like an effect pedal on/off switch.
PARAMETRIC 2: Switches the PARAMETRIC 2 effect.
Acts like an effect pedal on/off switch.
PARAMETRIC 3: Switches the PARAMETRIC 3 effect.
Acts like an effect pedal on/off switch.
AMP: Switches the AMP modeling effects. Acts like an effect pedal on/off switch.
COMPRESSOR: Switches the COMPRESSOR effect.
Acts like an effect pedal on/off switch.
TAP TEMPO: Allows the footswitch to act as a tap tempo function, which sets the
delay time of the ECHO effect to the period between taps of the footswitch. In this
mode, the footswitch LED blinks red at a rate that represents the delay time of the
ECHO effect.
PROGRAMMING FOOTSWITCHES
Footswitch modes are selected on the FOOTSWITCH menu. The FOOTSWITCH menu
appears second to last in the menu list, just before the GLOBAL settings page. To
CHANGE THE FOOTSWITCH MODES, press the ENCODER knob to enter edit mode.
Then, tap the ENCODER knob several times to drill down the effect menus until the
FOOTSWITCH 1 mode selection appears in the LCD display window. You are now in
the FOOTSWITCH menu. Press the NEXT and BACK buttons to cycles through the
options for the footswitches, and turn the ENCODER knob to change the values.
37
PROGRAMMING FOOTSWITCHES CONTINUED...
The FOOTSWITCH menu options are as follows:
FOOTSWITCH #1 MODE
FOOTSWITCH #1 PRESET A
FOOTSWITCH #1 PRESET B
FOOTSWITCH #2 MODE
FOOTSWITCH #2 PRESET A
FOOTSWITCH #2 PRESET B
FOOTSWITCH #3 MODE
FOOTSWITCH #3 PRESET A
FOOTSWITCH #3 PRESET B
These settings are global, so they will automatically get saved once you return to the
preset display.
TUNER
Amplifire features a built-in tuner to assist in tuning up your guitar.
• To ACTIVATE THE TUNER, press and hold the SAVE button for one second.
• To EXIT TUNER MODE, press any button.
While in TUNER MODE, play your guitar into it and Amplifire will display the closest
note and arrows indicating your tuning in the LCD display window. Adjust the tuning
of your guitar until both arrows point to the center note, and your guitar string is in
tune.
CLIP WARNING
Amplifire features a digital clip warning system to alert you whenever your output
signal is driven above the maximum digital levels.
If your signal clips one of the three (3) sets of outputs (MAIN, AUX, or HEADPHONES),
Amplifire will display a CLIP WARNING in the display windows for 2 seconds. The
CLIP WARNING will also indicate which output pairs clipped. For example, if you see
Main+Aux+HP in the CLIP WARNING message, then you are experiencing digital clips
on all three sets of outputs.
The CLIP WARNING will remain displayed for as long as digital clips continue to occur.
The CLIP WARNING will automatically disappear after two seconds of no digital
clipping.
To help control digital clips, you can do one of the following:
• Reduce the LEVEL knob to lower levels.
• Reduce an effect LEVEL within your preset which may be causing excessive
output.
• Adjust the EQ settings of your preset to lower excessive bass or treble
frequencies.
• Set the individual MAIN OUTPUT, AUX OUTPUT, or HEADPHONE OUTPUT global
settings to help reduce the output level of each set of outputs.
38
EXPRESSION PEDALS
SPECIAL CABLING
AmpliFire supports up to two standard expression pedals to allow real-time control
of parameters using foot pedals. To enable this feature, you will need a special
adapter cable to connect your expression pedals to AmpliFire.
This adapter is available through Atomic Amps, or you can build your own with
standard ¼” adapters. Alternatively, you might want to assemble your own.
The connections you need are:
•Connect the SEND JACK (TIP) to both RINGS of the EXPRESSION PEDALS. (If
using only one expression pedal, then connect the SEND JACK (TIP) to the RING
of the single EXPRESSION PEDAL only).
•Connect the TIP of EXPRESSION PEDAL “A” to the RIGHT RETURN JACK (TIP).
•Connect the TIP of EXPRESSION PEDAL “B” to the LEFT RETURN JACK (TIP).
(only if using a second expression pedal)
• ALL SLEEVES CONNECTED TO EACH OTHER (for shielding).
With these connections, you can adapt expression pedals for use with AmpliFire’s
FX LOOP.
ENABLING EXPRESSION PEDAL MODE
Once your expression pedals are connected to AmpliFire with the special cabling,
you must set the EFFECTS LOOP to EXPRESSION mode.
Go to the EFFECTS LOOP menu and choose EXPRESSION mode from the choices.
TESTING AND CALIBRATING EXPRESSION PEDALS
Once your expression pedals are connected and EXPRESSION mode is enabled, you
can test and calibrate your expression pedals.
To TEST your expression pedals:
Go to the PEDAL A (or PEDAL B) parameter items of the EFFECT LOOP
menu. These parameters display the current position of the expression
pedal. The reading should change smoothly from 0% to 100% as you move
the corresponding expression pedal from the minimum (heel) position to the
maximum (toe) position.
If you do not get good results (or no changes at all), you may need to check your
cabling adapter, make sure you are in EXPRESSION mode, or CABIBRATE your
pedals.
39
EXPRESSION PEDALS
CONTINUED...
To CALIBRATE your expression pedals:
1. Press the SAVE button while AmpliFire is displaying the PEDAL A (or PEDAL B)
parameter. Pressing SAVE while TESTING your expression pedal will start the
CALIBRATE process.
2. AmpliFire will ask for the “Heel Position”. Move your expression pedal to the
minimum position (fully down / heel position). Leave it there for a few seconds
and then press the SAVE button again.
3. AmpliFire will then ask for the “Toe Position”. Move your expression pedal to
the maximum position (fully up / toe position). Leave it there for a few seconds
and then press the SAVE button to complete the CALIBRATE process.
Optionally, you can repeat the process starting on the PEDAL B test parameter
menu to CALIBRATE the second expression pedal.
If at any point in the CALIBRATE process you wish to ABORT the calibration
operation, press the ENCODER or BACK or NEXT buttons. This will abandon the
calibration, restore the calibration setting to the previous state, and return to the
PEDAL A (or PEDAL B) TEST display.
ASSIGNING EXPRESSION PEDALS
Once the expression pedals are connected, calibrated, and working smoothly, you
can assign them to parameters for continuous control.
When an expression pedal is assigned to a parameter, it does not corrupt the value
of the parameter in the preset (this is to preserve your settings when you choose
to use your presets without expression pedals in the future). The expression pedal
simply overrides the preset value with the value generated by the expression
control.
To ASSIGN A PARAMETER to an expression pedal control, go to the LOOP PARAM
A (or LOOP PARAM B) parameter item in the LOOP menu and select one of the
numerous parameters available for continuous control. To start, you may want to
assign PARAM A to WAH PEDAL and PARAM B to VOLUME PEDAL. These are the
most common parameters used with expression pedals.
After assigning a parameter to an expression pedal, you may want to adjust the
minimum and maximum values of that parameter that the expression pedal will
sweep between.
40
EXPRESSION PEDALS
CONTINUED...
ADJUSTING THE EXPRESSION PEDAL SWEEP
Once an expression pedal is assigned to a parameter, you may want to control the
extremes of values between which the expression pedal will sweep. This is done
by adjusting the LOOP MIN A and LOOP MAX A (or LOOP MIN B and LOOP MAX B)
parameters in the LOOP menu.
To adjust the value of the parameter that represents the minimum position of the
expression pedal, adjust the LOOP MIN A (or LOOP MIN B for expression “B”) to the
desired minimum parameter value.
To adjust the value of the parameter that represents the maximum position of the
expression pedal, adjust the LOOP MAX A (or LOOP MAX B for expression “B”) to
the desired maximum parameter value.
With the MIN and MAX values set, the assigned parameter will sweep between
the MIN value and the MAX value as the expression pedal is moved between its
minimum (heel) position and its maximum (toe) position.
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MIDI
Amplifire reponds to and transmits MIDI messages to support program changes and
MIDI continuous control changes.
MIDI communicates messages over one of sixteen (16) channels. Amplifire can be
programmed to send or receive these messages on any one, all, or none of these
channels. These are selected by the MIDI options in the GLOBAL SETTINGS menu.
The MIDI IN CHANNEL global setting selects which MIDI channel Amplifire will react
to.
• Set the MIDI IN CHANNEL to the desired MIDI channel and Amplifire will react
to program changes or control changes it receives on the MIDI IN jack on that
channel ONLY.
• Set the MIDI IN CHANNEL to OMNI, and Amplifire will react to any program
changes or control changes it receives on the MIDI IN jack.
• Set the MIDI IN CHANNEL to NONE, and Amplifire will ignore all program
changes and control changes it receives on the MIDI IN jack.
The MIDI OUT CHANNEL global setting selects which MIDI channel Amplifire will
transmit program changes on.
• Set the MIDI OUT CHANNEL to the desired MIDI channel and Amplifire will send
program changes to the MIDI OUT jack on that channel ONLY.
• Set the MIDI OUT CHANNEL to OMNI, and Amplifire will send program changes
on the MIDI OUT jack on all channels.
• Set the MIDI OUT CHANNEL to NONE, and Amplifire will not send any MIDI
program changes to the MIDI OUT jack.
The MIDI THRU global setting allows Amplifire to relay MIDI messages it receives
on the MIDI IN jack to the MIDI OUT jack. This is useful for MIDI setups where
Amplifire is part of a chain of MIDI equipment in which only some of the messages
are intended for Amplifire, and others are intended for other equipment on the same
chain.
• Turn the MIDI THRU global setting to ON to let Amplifire merge incoming
messages on the MIDI IN jack with outgoing messages to the MIDI OUT jack.
• Turn the MIDI THRU global setting to OFF and Amplifire will only send its own
program changes to the MIDI OUT jack.
MIDI PROGRAM CHANGES are mapped one-to-one, meaning that Amplifire will
switch to the same preset as the incoming MIDI program change message. Likewise,
if you change presets in Amplifire using the ENCODER or FOOTSWITCH, Amplifire will
transmit the same preset number in the outgoing MIDI program change.
MIDI CONTROL CHANGES are MIDI messages that contain a control number (CC#)
and a data value. Several MIDI CC Control Number is assigned to particular parameter
controls in Amplifire to allow external control of effects and functions.
DATA VALUES between 0 and 63 are interpreted as OFF, and DATA VALUES between
64 and 127 are interpreted as ON.
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MIDI
CONTINUED...
The MIDI CC# control numbers supported by Amplifire are listed below:
MIDI CC#
FUNCTION
80
BYPASS Amplifire
81
EFFECT LOOP enable
82
BOOST enable
83
EFFECT enable
84
ECHO enable
85
REVERB enable
86
NOISE GATE enable
87
GRAPHIC EQ enable
88
PARAMETRIC #1 enable
89
PARAMETRIC #2 enable
90
PARAMETRIC #3 enable
12
PREFILTER enable
13
FOOTSWITCH #1 press
14
FOOTSWITCH #2 press
15
FOOTSWITCH #3 press
16
AMP MODEL enable
17
COMPRESSOR enable
18
TAPTEMPO press
19
WAH enable
20
VOLUME enable
21
WAH PEDAL
22
VOLUME PEDAL
For TAP TEMPO and FOOTSWITCH continuous controls, the DATA VALUE is
ignored and any message is interpreted as a “press” of that function.
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