Plug 'n Play 'n Record
The AMP+ SERIES are unlike any other devices and represent the cutting edge of
our new pioneering design technology in allowing you to "experience the difference" when hearing and
recording guitar tones that have made rock and roll history.
You can now Plug 'n Play 'n Record your choice of classic British or American flavoured guitar tones or SVT inspired Bass tones into any Recording Device, DAW or Sound System at home, studio or at a live gig with the minimum amount of fuss and equipment.
They are actually amplifiers in the own right that share the same structure, multi stage architecture and equalization as their tube counterparts.
They operate and feel just like a tube amplifier with controls all having similar function and feel. The input gain is the same as regards to distortion and the guitar behaves just as you would expect. Having real control knobs makes dialling in your sound fast and simple just treat the AMP+ as an amplifier.
Your effects pedal train can be connected into the AMP+ just as normal with no unexpected interface problems.
They are 100% Solid State with a completely DISCRETE ANALOGUE SIGNAL PATH that has ZERO LATENCY and a better DYNAMIC RANGE than that of a CD resulting in a noise free output that follows every subtlety and nuance of your playing style perfectly.
There is no question that the OUTPUT DYNAMICS are more detailed and exhibit more PRESENCE than obtained from the traditional setup of a microphone in front of a speaker or by using a plugin with your DAW.
The OUTPUT SECTION distorts in a similar manner to classic output tubes and exhibits the compression and harmonics that people love. The AMP+ is more detailed in this respect as it does not have any amplifier lag, phase smear or microphonics that a tube amp has when cranked. You can now experience the full detail of your guitar at any operating level.
The OUTPUT TUBE COMPRESSION is there as well adding to the natural playing experience and you now also have a very effective PEAK LIMITER controlling final output level.
This DYNAMIC SOUND with the full presence and detail that you have not experienced before will be a surprise and require a new evaluation of your previous guitar tones. It will inspire you to play better than ever. The added detail also enables you to better place the track in the MIX as it can now be heard with more clarity. Having the luxury of always creating full range HD AUDIO makes further manipulation easy and successful. Post Production - Speaker Simulation - EQ - Delay or other effects can be applied to this full range sound to obtain the best possible results.
TOTAL ISOLATION is obtained with the AMP+ and multiple tracking of instruments is easy in any Location Enviroment. The ability to record these professional quality tones anywhere will change the way songs can be recorded or created. There is no need in most cases to re-record a great idea or feel if it has been captured using an AMP+ and recorded onto a digital recording device. A minimum amount of equipment is needed and it is a great advantage of having a small compact unit that interfaces with any Recording Device, DAW or Sound System be it a home, studio, backstage or live at a gig.
LIVE PERFORMANCE You can use the AMP+ as an addition to your backline amplifier or replace it altogether and feed to the front of house and stage and side fill monitors. In our road tests we have found when using it live the guitarist not only enjoys the increased dynamics and detail but a great sound on the PA System. In addition the on stage volume can be reduced and a repeatable consistent tone created without the wild variable of mic'ing an amp onstage.
SETUP SPEED AND REPEATABILITY It is as easy as plugging into any amplifier and adjusting the controls. The Peak Limiting making recording level adjustment a one step process. Consistent sound equals better performance not to mention not having to lug around heavy amps.
COST SAVINGS Eliminating excess tour gear is becoming the norm as airline fees have risen and it costs a lot to achieve the same sound as the AMP+ using traditional setups with an amplifier and microphone.
DOWNLOAD PDF AMP+ INFORMATION
DOWNLOAD PDF GUITAR GEEK AMP+ REVIEW
Input Level: Nominal -20dB to +2dB Unbalanced
Output Level: +4dbu or 3.5V peak Unbalanced
Output Impedance: 50ohms
Load Impedance: 10K or greater
Dynamic Range: 96dB
Size: 100mm width x 120mm depth x 50mm height
Power Requirements: +48V DC at 60mA regulated
Universal World AC / DC Switching Adaptor Supplied
Please read following topics to help you better understand the pro and cons regarding your particular application and situation and see where the AMP+ might help. Although the concept or direct recording is not new the AMP+ brings a new level of performance that must be heard.
Traditional Recording Studio Setup
The fantastic results and great albums that have been recorded traditionally speak for themselves. They required advanced studio acoustics and technical resources not to mention money for anybody to compete on the same playing field as these albums recorded in professional large room studios. These large room studios are closing at an alarming rate due falling sales and competition from home style recording techniques.
A large room is always needed to successfully record string or brass sections, orchestra or choir.
Home Style Recording Studios
When the same recording techniques for full size studios are applied to a much smaller room many limitations immediately become apparent.
Isolation and Crosstalk
Size matters and the room size will limit the acoustic isolation between amplifiers, drums, vocal or any other sound source. It doesn't matter what acoustic traps or baffles you employ it all comes down to how loud the various amps and instruments are and how many people are playing at the same time.
This can be minimised to some degree by close mic'ing but then it doesn't sound the same as placing the microphones at their optimum position. Drums are a prime example of needing overhead mic'ing techniques. You also have the problem of floor vibration with snare drums resonating from the Bass or Guitar amps. All in all it is fair to say that each microphone's output is far from ideal.
Isolation Recording Rooms
You will need at least one room isolated from the control room for vocals or drums etc. You will need two if you are to obtain decent isolation from drums and an amplifier when two people want to track together or a large enough room to accomplish multiple tracking.
Tracking in the Control Room
This is the center where it all takes place and to judge how the recording is progressing whilst listening on monitor speakers. It is arguably the most important room and certainly where the most time is spent by the artists. It is increasingly becoming where the tracks are musically created. Creating a perfect listening environment here is the goal. Being able to track in the control room and overdub your part is probably the most convenient and fastest way forward. So it follows that direct recording into a DAW or other recording devices is becoming a popular method in today's music production.
Direct Recording Methods
A variety of direct methods are in use today and here is a brief description of them.
Traditional- Direct Injection with a DI Box
This device has a high impedance input that converts to a low impedance microphone output. Its purpose is to provide a signal straight from its source into the microphone input of a recording console. It can also be used from a speaker load simulator or other device but normally is used straight from an instrument.
Digital Plugin Software
There are so many interesting amp-like gadgets in the form of stand alone digital modellers and in the box amp plugins available. These incredible tools have allowed guitarists access to a stash of pedals and amplifiers - albeit virtual ones. While advances in technology have been nothing short of sonically astounding most of these digital simulations almost always require a combination of real guitar tracks, DI signals, outboard compressors, or tons of EQ tweaks to make them sound believable. What seems to be missing on modelled tracks are dynamics, presence and punch - plain and simple. Trying to obtain that in - your - face - right - at - the - edge - of - the - speaker - sound falls short. It is difficult and challenging to find a perfect place in the mix for modelled tracks. This is a fact of life with digital modelling and has been a subject of concern and discussion since the beginning of digital synthesisers.
This is a problem as it is something you will always find (and certainly experience) in digital modellers and plugins. The latency or lag translates into a loss of feeling and a somewhat distant and not pure playing experience which can make tracks not feel quite locked in or in the pocket as regard to timing.
The plugin has to be supported by the correct software and also have a suitable hosting computer to run it.
The whole hosting system needs to be transported for you to obtain your sound and is best suited for fixed situations.
Set Up Time
Scrolling through loads of menus and options detracts and destroys creativity when a great sound is needed immediately. Simplicity, speed and repeatability are very important for the musician not to loose the feeling of the moment during the creative process. Confidence must never be destroyed or compromised by technical issues.
Interface Problems with other Pedals
Almost all pedals are designed and voiced using a guitar amplifier and work at their best when they are plugged into the type of Gain Structure and Equalization found on them. The AMP+ series has the same characteristics as the tube counterpart so they do sound very similar. This is not true when it comes down to digital plugins as the internal structure is very different. Problems can be experienced in interfacing your pedal with them.
The following audio clips used an indentical basic setup to show the capabilities and quality that can be obtained by using the AMP+.|
The guitar was plugged straight into the Super 57 or M59 AMP+ and then routed into a Focusrite Saffire 6 USB Interface.
Digital Recording was at 44.1Khz 16bit and then converted to mp3. Some of the clips have a dry section 1st and then with added post production reverb to show what a typical studio track might sound like.