One such iconic solid-state amplifier was the Marshall Lead 12. However, that’s not to say that with the right engineering solid-state amps can’t sound fantastic, and in fact there were some that stamped their mark on the guitar scene very firmly in the 1980s and 1990s. These humble, little practice amps were typically inexpensive, and not particularly great. When starting out, most guitarists (ourselves included) begin their journey with a little solid-state (as opposed to vacuum tube) practice amp of some description (whilst daydreaming about Fender Deluxe Reverbs and Marshall JCM2000s). Our fifth and final amp selection is motivated by a little nostalgia and sentimentality for the simple and inexpensive solid-state practice amps we used to play on as kids. the amp’s saturation - not the pre-amp or post-amp audio signal).įor example, if you want your distortion to sparkle a little more, you can dial that brightness in on the Emphasis EQ, without having to modify the overall Lo, Mid, Hi EQ (which is a tool more designed for tonal broad-strokes). The 3-band parametric Emphasis EQ (with HPF and LPF) is not a normal equaliser, but rather it’s tied to only the distortion simulation itself (i.e. Perhaps what impresses us most about this plugin is what sits atop of the amp section. Voxengo have even integrated their OldSchoolVerb into the signal chain and it’s very complimentary present, yet soft and unintrusive. It also has some nice touches, such as a noise gate and the ability to mix between the source input and Lo, Mid, Hi EQ. It incorporates the usual things you’d expect, such as a Lo, Mid, Hi EQ, several amp models, cabinet impulse response support (with many pre-loaded). Voxengo Boogexīest guitar VSTs 2023: guitar plugins and software to supercharge your guitar recordings It’s a subtle change in tone, but nevertheless provides us with two different distortion palettes. The Mode allows you to switch between the original amp’s design and a common modification that people do to their 5E1s, to alter the characteristic of the distortion. For a better understanding of this feature and a full breakdown of how the 5E1 works, there’s a fantastic piece about it on AmpBooks. This is a very inventive feature that exploits the architecture of the 5E1 (and also says a lot about how well-researched and knowledgeable the coders at Shattered Glass Audio are). Hence, reducing the circuit feedback lowers the threshold for when distortion will occur. The reason this is called “feedback” is due to the amp’s design utilising negative feedback within its circuitry (output transformer fed back into cathode resistor at stage 2) to increase the headroom (raising the threshold of when distortion occurs). This is done by lowering the Feedback dial (which at max, is mimicking the original 5E1 amp design). There’s also an option to lower the headroom, thus inducing distortion at a lower volume level. The lead absolutely wails, more so than Blue Cat's Free Amp, but much like Blue Cat, the distortion is warm and rewarding, never harsh or brittle. The Rhythm channel however is very driven and arguably a little too hot for your average rhythm guitar part (but nothing that can’t be rectified by easing off the gain a few degrees). I struggled to get any saturation even with the gain fully cranked (but that’s no bad thing). Tonally, however, it’s a very different animal to the Blue Cat. Also like Blue Cat's Free Amp, you can load in speaker cabinet impulse responses. In many respects it’s structurally very similar to Blue Cat's Free Amp, with Gain, 3-Way EQ, Presence and Volume dials, as well as three operating modes: Clean, Rhythm and Lead. Despite being a much simplified version of its feature-laden big brother, what it does, it does so brilliantly. Amplifikation Lite by Kuassa is a streamlined version of the otherwise priced Amplifikation.
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