Eleven Rack Amps - Guitar Master Class

ELEVEN RACK AMPS
'59 Tweed Lux
Based on a 1959 Fender® Deluxe
With a single 12-inch Jensen speaker and a pair of 6V6 tubes delivering 15 watts,
Fender’s “tweed” Deluxe became a recording studio favorite for everyone from ZZ Top’s
Billy Gibbons to jazz/fusion legend Larry Carlton. In fact, Carlton’s acclaimed solo on
Steely Dan’s “Kid Charlemagne” is a Gibson ES-335 (with the guitar’s tone control rolled
back) straight into a cranked Fender Deluxe.
With just a simple tone control, ’50s-era Deluxe amps deliver crunchy clean sounds when
used with single-coil pickups, and fat leads when driven with humbucking pickups. Even
with that dynamic range, its low wattage keeps it totally under control for recording. While
not exactly loud enough to cut a gig, Neil Young toured for decades with his beloved ’59
tweed Deluxe, but he had to drag around a personal PA system just so he could hear it
over the actual house monitors and PA.
For our model, the knobs range from 0–10 (instead of 1–12 on the original) to better match
the other amps in Eleven, and for consistency with automation and control surface
controls. Our ’59 Tweed Lux is also “jumped” so you can feed both the Instrument and Mic
inputs in parallel. Turning either the Instrument or Mic channel volume to zero will un-jump
the channels (though the patch cord will remain onscreen).
’59 Tweed Bass
Based on a 1959 Fender® Bassman®
Originally designed by Leo Fender in 1952 to go along with his new “electric” Precision
Bass, the world’s first bass amp, the Fender Bassman, supplied less than 40-watts
through a single 15-inch speaker. It was also covered in the same tweed suitcase cloth
used on the Fender Deluxe. Always willing to make a design better, Fender eventually felt
that using four 10-inch Jensen speakers had a tighter bass response while still keeping the
high-end intact. By 1959, the Bassman had closer to 50 watts of power, using two 5881
(military spec 6L6) power tubes, and four inputs (high and low for each channel). Along
with controls for Bass, Middle (midrange), and Treble, a negative feedback Presence
control also allowed for more tweaking of the high-end frequencies.
Even though the ’59 Bassman was originally designed with bass guitar in mind, it became
the holy grail of tone for nearly all of the pioneering country, rock, and blues guitarists of
the ’50s and ’60s. Even blues harmonica players consider the Fender Bassman the
industry standard when used with a “Green Bullet” microphone. It’s this classic amp’s
layout and circuit design that became the blueprint for many others to follow, including
amps made in a small shop in England owned by a drummer named Jim Marshall.
Just like Avid’s ’59 Tweed Lux, the ’59 Tweed Bass’ knobs range from 0–10 (instead of 1–
12 on the original) to better match the other amp models in Eleven, and for consistency
with automation and control surface controls. The Tweed Bass is also “jumped” so you can
feed both the Bright and Normal inputs. Though no patch cord is present on screen,
turning either the Instrument or Mic channel volume to zero will un-jump the channels.
'64 Black Panel Lux Vibrato
Based on a 1964 Fender® Deluxe Reverb®, Vibrato Channel
’64 Black Panel Lux Normal
Based on a 1964 Fender® Deluxe Reverb®, Normal Channel
For nearly the entire time Leo Fender was designing amps, he always made sure to have
a version of the Fender Deluxe. With a single 12-inch Oxford speaker and a pair of 6V6s
putting out just over 20 watts, Fender’s Deluxe Reverb became the ultimate small club
amp. In the studio, it’s been used to record countless #1 hits in Nashville thanks to “first
call” session players such as Brent Mason.
At low volumes its crisp, clean high-end has been favored by Fender Telecaster® country
rockers such as Pete Anderson (Dwight Yoakam). But push the amp past 7 with a
humbucking pickup, and you’ve got an amazingly dynamic lead tone that’s been used by
blues/jazz great Robben Ford and ’80s LA session king Steve Lukather. With his goldtop
’58 Les Paul, Lukather used his Fender Deluxe Reverb to cut the solo on Toto’s hit “Hold
The Line.”
Fender made both a Deluxe and a Deluxe Reverb at the same time. However, with its
bigger cabinet and extra gain stage (which was used to isolate the reverb tank from the
preamp), most players preferred the sound of the Deluxe Reverb. After Leo Fender sold
his company in 1965 to CBS, the black front panel was eventually phased out and
replaced by “silverface” panels. The more desirable early and mid ’60s Fender amplifiers
picked up the nickname “blackface” due to their black control panels.
For Eleven, we’ve modeled both channels of this classic blackface-era amp. While both
versions of our ’64 Black Panel Lux model include Tremolo (which Fender mislabeled as
Vibrato), Normal is a single gain version, while Vibrato adds the additional gain stage like
the original.
’66 AC Hi Boost
Based on a 1966 VOX® AC30 Top Boost
Originally released in 1958, Vox’s AC30 went through a few design changes that would
eventually define the sound of British pop/rock in the ’60s. First available by Vox as a
modification mounted in the rear of the amp, the “Top Boost” circuit added an extra tube
and controls for Treble and Bass. It became so popular that Vox eventually redesigned the
control panel and officially added the circuit to the AC30 in 1963. It’s this version of amp
with two 12-inch Celestions (also known as 15-watt Blue or Bulldog speakers due to their
color and labeling) and a quartet of EL84 tubes delivering 30 watts that helped change the
sound of popular music.
While the Beatles are forever linked to the AC30 Top Boost, many other great bands built
their sound with it, including Tom Petty and The Heartbreakers, REM, Radiohead, and U2.
Armed with a Stratocaster that fed into a digital delay, the Edge’s percussive rhythm on
tracks such as “Pride (In The Name of Love)” and “Where The Streets Have No Name”
showcase the amp’s distinctive high-end chime and glassiness. For lead work, Brian May’s
singing solo tones on such Queen classics as “Bohemian Rhapsody” and “Killer Queen”
have helped make the Vox AC30 one of the most sought-after amps of all time.
For our model, we’ve “jumped” the Normal and Brilliant channels. Tremolo and Cut
(presence) are active on both channels. However, just like the original, the Treble and
Bass controls are only part of the Brilliant channel, and have no effect on the Normal
channel.
'67 Black Duo
Based on a 1967 Fender® Twin Reverb®
Without a doubt, Fender’s blackface-era Twin Reverb is considered one of the greatest
combo amps ever made. With two 12-inch Jensen speakers and a quartet of 6L6 tubes
pushing 80 watts, no concert stage was complete without one. During the ’60s and ’70s,
nearly every pro guitar player in every genre of music used a Fender Twin Reverb, from
BB King and the Beatles (used on The White Album) to John Fogerty, David Gilmour, and
Carlos Santana. It was during the recording of Santana’s 1970 Abraxas record that he
used his ’61 Gibson SG and Fender Twin Reverb to track his classic instrumental ballad
“Samba Pa Ti."
One of the main reasons for the amp’s popularity is that it can maintain the classic Fender
clean sound even at high volume levels. For some players, such as Eric Johnson who
uses two amps in stereo, a Twin Reverb is the only amp that can really keep up with a
driven Marshall half stack. Another special feature of the blackface-era Twin Reverb is the
inclusion of a Bright switch. For our model, just like the original, as you turn the Volume
knob up, the Bright switch has less of an effect. Dial the Volume knob around 3 or 4 with
the Bright switch on, and you’ll get that ultra-clean snap that it’s famous for.
’69 Plexiglas – 100W
Based on a 1969 Marshall® 1959 100-Watt Super Lead Head
In 1963, Fender amps were expensive and hard to find in England. But there was one
small store named Marshall’s Music in a London suburb that stocked a few. The shop was
owned by drum teacher Jim Marshall, whose students included Mitch Mitchell (The Jimi
Hendrix Experience) and Keith Moon (The Who). The shop’s amp repairman, Ken Bran,
thought they could build the same kind of amps as Fender, but using domestic part
supplies. Within two years, Marshall needed a bigger factory, and his amps were gaining
favor among a new crop of local guitar players. A young Eric Clapton bought his first
Marshall combo for his new gig with John Mayall & the Bluesbreakers.
It was a volume-hungry Pete Townsend who eventually asked Jim to make a 100-watt
head and 8x12 cabinet. It didn’t take long before The Who’s roadies protested, and the
cabinet was split in half. Now with two 4x12 cabinets loaded with “greenback” Celestions,
and a 100-watt head, the Marshall stack was born and ready to usher in the era of the
Guitar God. When James Marshall Hendrix landed in England, he thought it was fate
having the same name as Marshall’s owner, and left the store with a brand new 100-watt
Super Lead stack.
This era of Marshall’s amps had a plastic gold front panel. By the end of 1969, they
switched to metal, thus making the “Plexi” heads highly collectable. Some of the greatest
rock riffs and solos got their tone from the Plexi, including “Sunshine of Your Love,”
“Voodoo Child,” “Cliffs of Dover,” and every single guitar sound on the first two Van Halen
records, including “Eruption.”
For our model, we’ve based it on the legendary 100-watt 1968/69 version, which also has
the “lay down” transformers favored by Eddie Van Halen. We’ve also “jumped” both
channels like Eric Johnson’s setup.
’82 Lead 800 – 100W
Based on a 1982 Marshall JCM800 2203 100-Watt Head
By 1982, Jim Charles Marshall finally ended a bad distribution deal, which kept the
company financially strapped for over a decade. He decided to trim the amp line down and
focus on his new flagship amp, the JCM800. Named after the license plate on his car
(which was just his initials and a plate number), the JCM800 delivered massive distorted
rhythm sounds thanks to its cascaded preamp design, a quartet of EL34 tubes, and the
addition of a master volume.
Unlike the Marshall heads of the ’60s, which needed to be on 10 to achieve an overdrive
sound, a JCM800 could conjure up real distortion at any volume level, and that made it
very popular in the burgeoning heavy metal scene. From Judas Priest to Iron Maiden and
Slayer, no metal band would go on onstage without a wall of JCM800 stacks. It absolutely
dominated the ’80s rock and metal scene. In later years, Jane’s Addiction’s Dave Navarro
and Rage Against The Machine’s Tom Morello used JCM800 series amps to redefine the
sound of metal-inspired rock.
’85 M-2 Lead
Based on a 1985 Mesa/Boogie® Mark IIc+, Drive Channel
Mesa Engineering was originally started by amp repairman Randall Smith so he could buy
supplies for his other job, rebuilding Mercedes engines. It was this “hot rod” mentality that
lead Smith to take a small Fender Princeton and turn it into a 50-watt monster, complete
with a JBL 12-inch speaker. In 1970, while repairing amps in his shop at Prune Music in
Berkeley, CA, Smith left what he thought of as a practical joke in the storefront. When local
guitar hotshot Carlos Santana heard it, he was blown away and said, “Man, this thing
really boogies!” At that moment, the Mesa/Boogie amplifier was born.
Over the years, Smith continued to improve his designs to include features such as
switchable channels, effects loops, a slave out, 5-band EQ, and a power tube mode called
Simul-Class. Different output power levels could be achieved by tweaking the Simul-Class
rear switches to run the amp in Class A with a pair of EL34s, or in conjunction with a pair of
Class A/B 6L6s. All of those features helped make the final design of the Mark IIc+ one of
the most desired amps Mesa/Boogie ever made.
The Mark IIc+ can be heard on everything from the progressive rock solos of Dream
Theater’s John Petrucci to the super chunky rhythm sounds of Metallica’s James Hetfield.
Used during the sessions for And Justice For All and Master of Puppets, Hetfield always
had the amp’s graphic EQ set up in a “V” curve to maintain a tight bass sound, while
getting rid of any unnecessary midrange boominess.
We’ve based our model on the Lead channel with the Fat, Bright, and Gain Boost options
on. We even modeled the classic “V” EQ curve!
'92 Treadplate Modern
Based on a 1992 Mesa/Boogie® Dual Rectifier® Head, Channel 3: Modern High Gain
’92 Treadplate Vintage
Based on a 1992 Mesa/Boogie® DualRectifier® Head, Channel 2: Vintage High Gain
Released in 1989, Mesa/Boogie’s Dual Rectifier seemed cooler than a high-performance
racecar. With more tone-tweaking options and distortion than any Boogie before it, the
amp became the industry standard for players looking to achieve a massive sound. It first
gained exposure at the end of the grunge period with bands like Alice in Chains and
Soundgarden. But the Dual Rectifier would find its greatest fame in the Nu Metal scene
with Korn, Limp Bizkit, and Linkin Park. The Dual Rectifier has also become a favorite of
bands such as Creed, and more recently the Foo Fighters.
With the ability to run on either 6L6 or EL34 tubes, the Dual Rectifier was named for its
ability to select between either tube or silicon diode rectifier circuits. On top of that, an AC
power selection switch offered a Bold or a Spongy option, which would drop the voltage
like a Variac for a more “brown” sound.
For our ’92 Treadplate, we modeled two different channels and selected the appropriate
rectifier and AC power switch setting. For Treadplate Modern, we set it on the Red channel
using 6L6s, a silicon rectifier, and the Bold power setting for a tight, aggressive tone. For
Treadplate Vintage, we modeled the Orange channel with 6L6s, a tube rectifier, and the
Spongy power setting for a more fluid lead tone.
'89 SL-100 Drive
Based on a 1989 Soldano SLO-100 Super Lead Overdrive Head, Overdrive Channel
’89 SL-100 Crunch
Based on a 1989 Soldano SLO-100 Super Lead Overdrive Head, Crunch Channel
’89 SL-100 Clean
Originally from Seattle, Michael Soldano moved to Los Angeles and officially founded
Soldano Custom Amplification in 1987 on April Fool’s Day. Soldano quickly got a reputation
for doing high-gain mods to old Marshall heads. His goal was to add lots of gain without
losing definition or clarity. This led to the creation of his own 100-watt amp called the Super
Lead Overdrive. Built like a tank, and sporting a chromed chassis and transformers, some
of the first SLO-100 heads were quickly purchased by Mark Knopfler, Steve Lukather, Lou
Reed, Steve Stevens, and Aerosmith’s Brad Whitford. Known for its singing sustain and
clear articulation, the SLO-100 also became Eric Clapton’s favorite stage and studio amp
through most of the ’90s.
For our ’89 SL-100, we modeled three different channels. Clean and Crunch both have the
Bright/Normal switch of a stock SLO-100. For Drive, we modeled Warren Haynes’ (The
Allman Brothers) Soldano’s bright switch mod. Set to Normal, the amp is stock. With Mod
engaged, the treble boost that would normally happen at lower gain settings is removed,
which leads to a rounder, thicker sound. The Mod circuit has progressively less effect as
the gain is raised, and no effect when the preamp is set to 10.
DC Modern Overdrive
Custom Modern Overdrive
If you’re looking for a unique tone that blends the classic growl of a 100-watt Marshall with
more low-end girth, give our DC Modern Overdrive a try. Based on the JCM800, we added
loads of extra gain and a carefully tweaked tone stack for a little extra thump! Plus, there’s
a Bright switch and a Fender*-style Tremolo. Use a humbucker in the bridge position and
you’ll have a tone that can shred with the best of them.
DC Vintage Crunch
Custom Vintage Crunch
For our DC Vintage Crunch model, we blended the two most popular versions of the
Fender Deluxe* into one killer amp. Based on the tweed-era Deluxe, we added more gain
and a Bright switch. To make it even more versatile, we added the blackface-era tone
stack and tremolo. Using single-coil pickups, you can achieve glassy clean sounds and
punchy leads with ease.
ELEVEN RACK EXPANSION PACK AMPS
’64 Black Vib—based on the 1964 Fender Vibroverb combo amp
Produced for a short time in the mid-’60s, the Fender Vibroverb amp was one of the alltime great US-made smaller club amps. With an easy-to-overdrive but still not over-loud
40-watt 6L6GC-based power section and a single 15-inch speaker in an open-back
cabinet, the amp strikes a great compromise between the crunch of smaller models in the
line and the hall-filling clean tones of the larger models. Our amp offers a range of volume
and tone controls, plus four Tremolo settings. We also added a midrange control (not
found on the original) for more tonal versatility. Set it to ~7 to match the flat response of the
original amp.
’65 Black Mini—based on the 1965 Fender Champ combo amp
Outputting a mere 5 watts of power through a single 6-inch speaker when it first arrived in
’55, the Fender Champ boasted just one power tube. Though small in stature and volume,
the amp offers sweet, gently driven tones and straight-ahead spank in droves. Its ability to
produce classic tube amp sounds at low volumes made it a studio standard for decades.
Our ‘65 Black Mini amp model is based on the ’60s-era 6-watt tube combo amp, with a
single 8-inch speaker in an open-back configuration. Our version offers Volume, Treble,
and Bass controls, and four Tremolo settings—Speed, Sync, Intensity, and Vibrato.
’65 Black SR—based on the 1965 Fender Super Reverb combo amp
Known for its chiming clean tones at comparatively high volumes, the ’65 Fender Super
Reverb "blackface" 40-watt combo amp featured an all-tube design, tremolo and spring
reverb effects, and four 10-inch speakers in an open-back configuration. The amp became
a legend among country pickers, blues players, and other guitarists who favored highvolume clean tones. Our version offers Volume, Treble, Mid, and Bass controls, along with
a Bright switch (which can be toggled on and off using the SW2 button) and four Tremolo
settings—Speed, Sync, Intensity, and Vibrato—to capture the full tone profile of the
original.
’65 J45—based on the 1965 Marshall JTM45 head
Originally released in 1962, the JTM45 was the first guitar amp made by Marshall and was
based on the Fender Bassman. Designed as a cheaper alternative to Fender amps, the
JTM45 became known for its warm, clean Fender Tweed-like sound, giving way to a dirtier
bluesy sound when cranked—unlike later Marshall amps, which are known for their
signature "crunch". !
’67 Plexiglas Vari—based on the 1967 Marshall Super Lead "Plexi" head with Variac
modification
When guitarists want it loud, they turn to Marshall, and the Super Lead "Plexi" was among
the loudest when it arrived. Known for its warm, bluesy tone, the amp is embraced by
many revered blues and rock guitarists, including Pete Townsend, Eric Clapton, and Angus
Young. Our amp model is based on the 1967 100-watt tube head, similar to the amp we
used as the basis for our ’69 Plexiglas 100w model. This amp simulates that amp having
its voltage reduced by a variable transformer called a Variac—a custom mod made famous
by Eddie Van Halen, producing the much-loved "Brown" tone. The amp’s two channels,
which can be blended together using the two volume controls, offer different tones—
Channel 1 has a fairly flat tonal response, while Channel 2 is somewhat darker-sounding.
’68 Plexiglas 50w—based on the 1968 Marshall Super Lead 50w head
In 1968, Marshall changed up the circuitry in its Super Lead Plexi series of amps, giving
them more brightness, which brought out even more crunch... Our Plexiglas model is
based on the legendary 1968 50-watt head, which was designed with a lower power tube
plate voltage, and is known to break up at lower levels than its 100-watt counterpart. We
also "jumped" both channels for even more gain.
’69 Blue Line Bass—based on the 1969 Ampeg SVT head
When it comes to getting that big, ballsy, blow-’em-away tone, guitarists have their
Marshalls. Bassists bow to the great Ampeg SVT bass amplifier. And now you can get that
thunderous, sought-after sound of rock legends worldwide with our emulation of the
vintage 300-watt 1969 Ampeg SVT bass amp head. Pair it with the 8x10 Blue Line speaker
to recreate that massive legendary sound. On the original amp, the U-Lo and U-Hi controls
are on-off switches. In our version, they’re continuously variable, so you can use them to
add low or high harmonics to your tone. In addition, the Mid Frequency control setting is
continuously variable, unlike the original’s set three-way switch.
’97 RB-01b Red, Blue, and Green—based on the Bogner Ecstasy 101B head
With three distinct channels—Red (lead), Blue (rhythm), and Green (clean)—and a
discrete preamp circuit for each channel, the 100-watt Bogner Ecstasy boutique amp
enabled variety-hungry guitarists to achieve a huge range of vintage amp tones, without
the tonal and ergonomic issues of modular amp setups. The Red channel excels at highgain lead tones, the Blue is suited to chunky rhythm playing, and the Green focuses on
clean tones. Our model offers a variety of volume, tone, gain, presence, and boost
controls, plus a Bright switch.
MS-30 - based on the 1993 Matchless D/C-30 combo amp
The MS-30 amp model is based on a US-made, early-90s boutique combo amp, the first
design by its manufacturer. Featuring a 30-watt EL84 - based power section and two
twelve-inch speakers in an open-back configuration, it excels at a range of sounds, from
squeaky-clean all the way to beautifully-overdrive high-gain tones.
Known for finely-tuned, interactive tone controls, and a fresh take on classic “Class-A” amp
topologies, this amp claims a long list of celebrity fans.
DC Modern 800—Avid custom amp
A variant of our Lead 800 model, DC Modern 800 is based on an ʼ80s-era Marshall
JCM800* high-gain tube head. We made a couple of simple component swaps to change
the tone significantly, and added a Bright switch to provide additional tonal range
DC Modern Clean—Avid custom amp
This custom amp is loosely based on a 60s-era Fender* 85-watt tube combo amp. We
tweaked our version to provide shimmering clean tones.
DC Modern SOD—Avid custom amp
This amp is loosely based on a US-made late-ʼ80s 100-watt "super overdrive" tube head. It
features a tight, extended low-end and high-gain capability—perfect for players of
extended-range guitars.
DC Vintage Clean—Avid custom amp
This amp is loosely based on the same ʼ66 VOX AC30 Top Boost* tube amp we used as
the basis for our AC Hi Boost model. We further refined it to offer a range of tones—from
super clean (it’s actually cleaner than the original amp) to a slight amount of breakup.
DC Vintage OD—Avid custom amp
This unique “overdrive” amp is loosely based on a combination of Marshall* and VOX*
tube amps. It takes the preamp section from our Plexiglas model and marries it to the
power section of our AC Hi Boost model, with further tonal enhancements.
DC Bass—Avid custom amp
For bassists, this amp is based on the same 300-watt ʼ69 Ampeg SVT* bass head we used
as the basis for the Blue Line Bass model. We designed this custom bass amp with a
scooped lower-midrange response, enabling you to achieve more thundering lows with a
tighter response than the original amp. And—unconventionally for a bass amp—ours offers
a tremolo circuit.
ELEVEN RACK CABS
4x12 Classic 30—based on an ’06 Marshall 1960AV 4x12” with Celestion Vintage 30s
4x12 Green 25W—based on a ’68 Marshall 1960A with Celestion G12H “Greenbacks”
4x10 Tweed Bass—based on a ’59 Fender Bassman 4x10” with Jensen P10Qs
2x12 AC Blue—based on a ’66 VOX AC30 2x12” with Celestion Alnico Blues
2x12 Black Duo—based on a ’67 Fender Black Face Twin Reverb 2x12” with Jensen
C12Ns
1x12 Black Lux—based on a ’64 Fender Black Face Deluxe Reverb 1x12” with Jensen
P12N
1x12 Tweed Lux—based on a ’59 Fender Tweed Deluxe 1x12” with Jensen P12Q
ELEVEN RACK EXPANSION PACK CABS
8x10 Blue Line—based on an Ampeg SVT 8x10 with "towel bar"
4x12 Green 20W—based on a Marshall 4x12 with Celestion Heritage G12M speakers
4x12 65W—based on a Marshall 4x12 with original issue Celestion G12-65 speakers
4x10 Black SR—based on a Fender Super Reverb 4x10 with CTS Alnico speakers
2x12 B30—based on a Bogner 2x12 with Celestion Vintage 30 speakers
2x12 Silver Cone—based on a Roland JC-120 2x12
1x15 Open Back—based on an Ampeg Reverberocket 1x15 with Jensen C15N speaker
1x8 Custom—based on a Fender Champ combo amp speaker
ELEVEN RACK EFFECTS
BBD Delay—based on the Electro - Harmonix Deluxe Memory Man
Favored by guitarists such as U2’s The Edge and Eric Johnson, the original ElectroHarmonix Memory Man could produce analog delay and colorful chorus/vibrato effects
without requiring tape. The 5-knob Deluxe Memory Man version does the same, but is also
capable of producing eerie and unusual pitch-shift and flying saucer effects. Our BBD
Delay effect, named after the bucket-brigade delay technology used in the Deluxe Memory
Man, emulates virtually every aspect and all controls of the original, adding a switchable
noise control to enhance the realism. For pristine delay tones, set the control to “OFF.” For
realistic Feedback control behavior, leave the noise set to "ON." BBD Delay also offers up
to 1.6 seconds of delay time—well beyond the capability of the original
When “bucket brigade” analog delays arrived in the mid-70s, their relatively small size and
solidstate reliability made them a godsend to tape loop-addled guitarists. It went on to
become a classic of its own, with a smooth, round delay sound and a Chorus-Vibrato
mode that let it double as a modulation effect.
Input
Sets the input level to the delay effect. Cranked up, it can push the signal into useful
distortion.
Mod
Switches the modulation effect between Vibrato (only the delayed signal is passed) and
Chorus (both the dry and delayed signal are passed.)
Depth
Controls the level of modulation of the delayed signal.
Noise
Toggles modeled analog hiss in or out of the signal.
*When Hiss or Noise is turned on in one of the delay effects and the feedback level is
sufficiently high, the delay will self-oscillate and make sound of its own, even when
bypassed. If this effect is not desired, turn down the feedback control.
Black Op Distortion—based on the Pro Co Rat
During the mid-1970s, Pro Co Sound engineers Scott Burnham and Steve Kiraly repaired
and hot-rodded existing overdrive and distortion pedals before deciding to design a
superior model from scratch. Thus was born the Pro Co Rat, which became one of the
most popular effects boxes ever.
We based our Black Op Distortion effect on a stock second edition Pro Co Rat pedal, and
even powered the unit using old-school carbon zinc batteries during the measuring and
analyzing process. The Black Op Distortion features three controls: Distortion controls the
amount of overdrive in the opamp, Filter attenuates the highs, and Volume controls the
output gain. The Black Op Distortion works great as part of a cascading chain of gain. Set
it to a moderate level and put it in front of a slightly distorted amp and listen for rich,
distorted tones.
Inspired by an 80s-era op-amp-based distortion pedal, BlackOp Distortion offers massive
crunch and power. Its hard-clipping drive can squeeze aggressive rhythm and lead tones
out of softsounding vintage amps, and create surprisingly hard-edged tones when paired
with more modern amps.
Black Wah—based on the Thomas Organ CB-95 Cry Baby
The history of the wah-wah pedal is rather convoluted. The pedal was first introduced by
VOX in 1966, but soon after, VOX’s former parent company, Thomas Organ, began
releasing wah-wahs on its own... While VOX insisted on sticking to an alphanumeric
naming scheme (hence the name V846), Thomas Organ decided to give the effect a
snazzy new one—the Cry Baby—a fitting moniker that accurately described the pedal’s
unique sound. To create our Black Wah effect, we emulated an original Thomas Organ
CB-95 Cry Baby pedal. The True-Z input on Eleven Rack is an especially important part of
re-creating this particular wah tone.
C1 Chorus/Vibrato—based on the Boss CE-1 Chorus Ensemble
The Boss CE-1 Chorus Ensemble is a landmark in vintage effects history. It was the first
chorus effect to be produced in pedal form, and was the first product to be released under
the Boss name. Virtually every chorus pedal released since owes its heritage to this pedal,
which delivers an unmistakable sound quickly made famous by guitarists like Andy
Summers (The Police) and Jeff “Skunk” Baxter (The Doobie Brothers). We created our C1
Chorus/Vibrato effect by emulating a vintage Boss CE-1 unit, capturing both the chorus
and vibrato modes, and enabling you to synchronize the modulation rate to an adjustable
tempo setting.
Based on a heavyweight late-70s analog chorus/ vibrato pedal, CI Chorus/Vibrato offers
warm, liquid modulation effects. In Chorus mode, the signal is routed through a modulated
short delay, which is mixed with the dry signal, creating a washy, doubled sound.
In Vibrato mode, the dry signal is absent and there is more control over the depth of pitch
modulation, allowing for everything from an understated “wobble” to wacky, synth-like pitch
modulation.
Chorus
Sets the intensity and speed of the Chorus effect, only when the Chorus/Vibrato switch
is set to Chorus.
Depth
Sets the depth of the Vibrato effect, only when the Chorus/Vibrato switch is set to Vibrato.
Rate
Controls the Vibrato rate, only when the Chorus/Vibrato switch is set to on.
Chorus/Vibrato
Toggles the effect between Chorus and Vibrato.
*When set to CHORUS, the Vibrato’s Rate and Depth controls are inactive. Inversely,
when set to VIBRATO, the Chorus control will not function.
Eleven SR (Stereo Reverb)—based on the Avid Reverb One plug-in
Eleven Rack features the most pristine, high-quality stereo reverb ever available in a
rackmount guitar-recording device. We converted our acclaimed Reverb One TDM plug-in
—which is used in countless professional studios to create award-winning albums, movies,
and TV shows—to work in Eleven Rack. Our design team optimized the Reverb One
technology for Eleven Rack, resulting in an incredible high-fidelity reverb effect. Up until
now, you needed a Pro Tools| HD rig to enjoy the spacious tones of Reverb One—now you
can experience the same great sounds right inside Eleven Rack.
A smooth, clean digital reverb, Eleven SR is based on the popular Reverb One Pro Tools
plug-in from Avid.
Pre-Dly
Sets the amount of pre-delay, which changes the time relationship between the dry signal
and the reverbed signal. As this setting is turned higher, the apparent size of the
synthesized reverb “room” grows larger.
Type
Selects from a variety of different reverb types.
EP Tape Echo—based on the Maestro Echoplex EP-3
The Maestro Echoplex was one of the earliest analog delay devices, with the Echoplex
EP-3 making use of solid-state "transistorized" technology instead of vacuum tubes. It also
offered a “sound on sound” feature that allowed players to loop record almost three
minutes of audio. For our EP Tape Echo effect, we obtained an original Echoplex EP-3 in
pristine condition and painstakingly emulated virtually every aspect of the unit. It features
all of the controls present on the original, with one significant improvement—while the
original model offered a maximum 600 milliseconds of delay, our Tape Echo effect has an
expanded delay mode that provides an unreal 2.4 seconds of delay time.
Inspired by the ultimate vintage solid state tape echo unit, Tape Echo supplies supple,
crunchy echoes, and can, with a flick of the wrist, can be pushed into swells of wild selfoscillation, each repeat more murky, dusty, and gritty than the next. A classic.
Rec Lev
Controls the signal level running to the tape circuitry. Higher settings create a more
distorted tone color.
Head
Simulates the alignment (or misalignment) of the tape head with the tape, which affects the
tone of the delay.
Wow
Controls the amount of wow and flutter in the tape mechanism. Lower settings minimize
fluctuations of pitch and tone color, and higher settings accentuate it.
Hiss
For some serious authenticity in your tape echo tone, this switch Toggles modeled analog
tape hiss in or out of the signal. With high feedback settings, the tape hiss can push the
echo into self-oscillating mayhem.
Flanger—Avid custom flange effect
The flanger effect was originally created by depressing the flange of tape reels. This effect
was later re-created using modulated analog delay circuits in pedals. To design our custom
Eleven Rack Flanger effect, we listened to a variety of vintage and modern flange pedals,
including models from manufacturers MXR, Electro Harmonix, and A/DA, and finally came
up with our own customized design. It works great in front of, or after, the amp in the signal
chain—and you won’t get the noise or limited frequency response of typical flanger pedals.
Originating from the act of pressing on the flanges of tape reels, and becoming even more
popular with the advent of analog pedals, the Flanger effect can be coaxed into bell-like
resonant sweeps, or add a silky, shimmering sheen. This effect works well when
positioned before or after the amplifier in the signal chain.
Pre-Dl
Sets the amount of pre-delay, which changes the phase relationship between the dry
signal and the delayed signal, with timbral results.
Depth
Sets the amount of delay. The higher the setting, the more “jet-engine” artifacts will be
introduced.
Fdback
Sets the amount of signal fed back into the modulated delay. Higher settings introduce
more ringing, whistling artifacts
Graphic EQ—Avid custom 5-band graphic EQ
The Eleven Rack Graphic EQ gives you full control over five bands of EQ—100 Hz, 370
Hz, 800 Hz, 2 kHz, and 3.25 kHz—ideal for cutting out troublesome frequencies or dialingin just the right tone. To design our custom Eleven Rack Flanger effect, we listened to a
variety of vintage and modern flange pedals, including models from manufacturers MXR,
Electro Harmonix, and A/DA, and finally came up with our own customized design. It works
great in front of, or after, the amp in the signal chain—and you won’t get the noise or
limited frequency response of typical flanger pedals.
Useful for simple frequency sculpting, a good Graphic EQ can find a place in almost any
pedalboard. Graphic EQ can wring a variety of tones out of other pedals (such as when
placed before Distortion effects). The EQ can also be used as a signal booster when
positioned in front of amps.
Green JRC Overdrive—based on the Ibanez TS-808 Tube Screamer
Considered by many to be the quintessential overdrive pedal, the Ibanez TS-808 Tube
Screamer pedal has become one of the most highly sought-after classic effects. To create
our version, we scoured vintage shops and found a completely stock TS-808 with the
original JRC 4558D dual op-amp... When measuring and analyzing the unit (as we did with
all the vintage pedals that operate on a 9V battery), we used old-school carbon zinc
batteries to re-create the voltage discharge of the batteries commonly available when the
pedal was introduced. The result is an amazingly realistic emulation of the original,
providing a warm moderate overdrive to amps with clean settings, and pushing distorted
amps to even higher levels of saturation by slamming the input of the amp with a high
output setting on the pedal.
Green JRC Overdrive was inspired by a low-gain 70s overdrive pedal, loved by blues and
bluesrock players the world over for its sweet, singing sting. It can be used to simply drive
an amp’s input section into gentle clipping, or supply some dirty glow of its own.
Gray Compressor—based on the Ross Compressor
During the mid- to late-’70s, Kustom Electronics produced a line of guitar effects pedals
under the Ross brand. Unfortunately, sales were sluggish, and the Ross family of pedals
disappeared by the ’80s. In recent years, guitarists have re-discovered the lineup—in
particular, the gray-colored Ross Compressor. From a schematics standpoint, the Ross
Compressor and the MXR Dynacomp are surprisingly similar, though the Ross has a
slightly warmer tone. For our version, we faithfully emulated a completely stock original
circuit. The Sustain knob controls the amount of compression, while the Level knob
controls the amount of post-compression gain. It’s a straightforward effect that sounds
great for clean country lead guitar tones or for further overdriving distorted amps.
Inspired by a well-loved solid-state 70s compressor pedal, Gray Comp can add singing
sustain to leads or lend power and girth to chunky rhythm guitar parts.
Sustain
Sets the threshold, and thus, the amount of compression, in the Compressor effect.
Level
Sets the overall output volume of the effect.
Orange Phaser—based on the MXR Phase 90
Since its debut in 1974, the MXR Phase 90 has arguably been the most popular phaseshift pedal on the market, favored by countless guitarists, including Eddie Van Halen, Andy
Summers (The Police), Steve Vai, Matt Bellamy (Muse), and Tom Morello (Rage Against
the Machine). We faithfully emulated the original "script logo" MXR Phase 90, making
some minor tweaks to ensure the effect sounds equally great at any point in your Eleven
Rack signal chain. Like the original, ours features only a single speed control, yet you can
dial in many interesting sounds. Turn down the speed for a lush, sweeping tone. Crank up
the knob for a fast rotary speaker-like effect. Or experiment by inserting Orange Phaser
into different places in your signal chain.
Don’t let that single knob fool you. Inspired by a ubiquitous 70s analog phaser pedal,
Orange Phaser offers a deep, warm phasing effect that ranges from a slow harmonic
sweep to out-of-control wobbles.
Speed
Controls the Phaser effect’s rate of modulation.
Sync
Synchronizes the modulation rate to the
Rig tempo by a specific rhythmic subdivision.
Roto Speaker—Avid custom rotary speaker effect
The Eleven Rack Roto Speaker effect emulates the unique spinning sound of a Leslie
rotary speaker cabinet. There are several interesting ways you can use Roto Speaker,
each providing a different type of sound. Insert it before your amp, just like using a foot
pedal. Or place it after your amp and turn off cabinet simulation in Eleven Rack to get a
faithful rotary speaker cabinet emulation. Since a real rotary speaker uses two horns that
spin in opposite directions, we gave our Roto Speaker a balance control, enabling you to
control the level between the upper and lower rotors.
Inspired by the rotating speaker cabinets that made classic tonewheel organs roar, Roto
Speaker offers added motion and vintage grit.
Speed
Sets the speed of the rotating speaker effect in three increments: Slow, Fast, and Brake.
Balance
Sets the blend between the upper and lower rotors of the rotating speaker.
Type
Chooses between various types of rotary speakers.
Shine Wah—based on the VOX V846
In 1966, VOX engineer Brad Plunkett accidentally discovered the wah-wah effect while
experimenting with the tone circuit on a guitar amp. The VOX executives immediately saw
the commercial potential of a wah-wah pedal, but originally wanted to market it to braIss
and woodwind players. In the late ’60s, the VOX V846 wah-wah pedal was introduced,
designed specifically for guitar players. We emulated our Shine Wah after a completely
stock, vintage VOX V846. Our version gives you the flexibility to place the effect in your
signal chain after the amplifier—a setup that would be difficult using the original. You can
control the effect with an expression pedal, MIDI CC data, or even Pro Tools automation.
Spring Reverb—based on blackface-era Fender Spring Reverb units
According to author Tom Hughes’ book, "Analog Man’s Guide to Vintage Effects," surf
guitar legend Dick Dale asked Leo Fender to build a compact reverb unit that he could run
his voice through. Fender responded by licensing Hammond Organ’s analog reverb
technology, and the rest is history. Nearly every guitar amp produced since has included
some time of reverb. To create our effect, we analyzed actual reverb units from several
classic blackface-era Fender amps, resulting in a completely convincing emulation of the
Fender reverb tone. In addition to the mix control on the original amps, we added extra
Decay and Tone controls. Decay adjusts the length of the reverb tail, while Tone balances
between treble and bass. To capture the original Fender reverb sound, set the Decay and
Tone knobs to the middle position.
Blackpanel Spring Reverb was inspired by a classic outboard tube-driven spring reverb. It
can add a surfy twang and dark, warm ambience to your signal.
Mix
Controls the blend between dry and reverbed signal.
Decay
Controls the length of the reverb’s decay.
Tone
Applies a high-cut EQ, making the reverb tone darker
Tri Knob Fuzz—based on the Electro-Harmonix Big Muff Pi
In the late ’60s, Electro-Harmonix was a small, relatively unknown boutique pedal
manufacturer in New York City run by owner Mike Matthews. Thanks to the growing
popularity of distorted guitar tones, the company found a niche market selling small
fuzzboxes and booster circuits to guitarists. After being inspired by time spent in the studio
discussing tone with Jimi Hendrix, Matthews designed the pedal that would launch ElectroHarmonix into history and become one of the best-selling distortion effects of all time: the
Big Muff Pi. Just like the original, our Tri Knob Fuzz effect employs a straightforward threeknob configuration. When you plug into Eleven Rack, the True-Z input automatically sets
the input impedance, which is notoriously low on this one, to the correct value, resulting in
an extremely accurate emulation.
The pedal that inspired Tri-Knob Fuzz was a transistor-based unit, originally popular with
lead guitarists searching for ever-higher gain in the 70s. It shone again in the 90s grunge
rock scene, probably pushed further into woolly grind than its makers would have ever
anticipated.
Volume
Sets the overall output volume of the effect.
Sustain
Sets the gain of the fuzz circuit.
Tone
Changes the tonal balance of the effect, from deep and full of sub-bass to high and shrill.
Vibe Phaser—based on the Univox Uni-Vibe
Released in the mid-’60s, the Uni-Vibe was originally designed to mimic the sound of a
rotating speaker cabinet. While it didn’t quite nail the Leslie cabinet sound, it did deliver a
distinctive phase-shift, sweeping effect that became a favorite of guitar legends Jimi
Hendrix, Robin Trower, and David Gilmour. For our effect, we added a tempo-lock function,
which enables you to synchronize the speed to the tempo of your Pro Tools session. We
also emulated the chorus and vibrato modes so you can switch between the two. While the
original didn’t have a dial to control the rate, ours enables you to control the speed through
the Eleven Rack control panel, or connect an expression pedal to adjust speed on the fly.
The psychedelic-era phaser that inspired our Vibe Phaser effect was traditionally paired
with an expression pedal that could be used to vary the rate of pitch modulation over time.
Like the C1, you can choose to run it as a Chorus, with the modulated and dry signals
mixed together, or in Vibrato mode, which leaves the pitch modulated signal alone, with
rippling, disorienting effects.
Chorus/Vibrato
Toggles the dry signal on (Chorus) and off (Vibrato).
ELEVEN RACK EXPANSION PACK EFFECTS
DC Distortion—Avid custom distortion effect
DC Distortion is a custom effect model built just for Eleven Rack, offering a range of
overdriven tones, aided by its built-in Bass and Treble EQ controls, which help shape the
response of the clipping circuit. The effect includes controls to adjust the amount of
distortion (clipping level), boost treble and/or bass frequencies, and control the final output
volume.
Dyn Delay—based on the Avid AIR Dynamic Delay plug-in
This stereo delay effect is based on the AIR Dynamic Delay plug-in that comes with Pro
Tools software. A powerful effect, Dyn Delay can be synchronized to your Rig or Session
tempo to create time-based delay effects, and offers an envelope follower that enables you
to modulate various parameters, based on the amplitude envelope of the incoming signal.
Our effect includes a variety of controls that enable you to set the delay length and
feedback, sync the delay to a tempo, balance the wet/dry mix, shape the tone, and more.
Delay ! - Sets the length of the delay, in milliseconds.
Sync! - Controls synchronization of the delay time to Rig or Session tempo. Ranges from
OFF (no sync, set delay time with the Delay control) to a variety of rhythmic note values.
Feedback - Sets the amount of delay feedback. Ranges from just one repeat, to a longlasting cascade of repeats.
Mix ! - Sets the wet/dry balance of the effect.
Fine ! - Toggles finer control of delay time in or out. Toggled by SW2 in page one of the
controls.
Dyn III Compressor—based on the Avid Dynamics III Compressor plug-in
This effect is based on the Compressor plug-in from the Dynamics III plug-in set that
comes with Pro Tools. With it, you can control the dynamics of your guitar signal, much like
Gray Compressor. However, while Gray Compressor emulates a classic guitar-specific
compressor pedal with a smooth liquid tone, Dyn III Compressor is more versatile, acting
more like an outboard compressor you’d use in recording situations. The effect includes a
number of controls that enable you to set the threshold, attack, and release, as well as the
gain, compression ratio, and knee sharpness.
Multi-Chorus—based on the Avid AIR Multi-Chorus plug-in
This modulation effect is based on the AIR Multi-Chorus plug-in that comes with Pro Tools
software. With it, you can stack multiple layers of chorusing to create a thick, swirling
sound. The effect includes a number of controls to set the rate, width, depth, pre-delay,
number of voices, and more, plus sync control to your Rig or Pro Tools Session tempo.
Rate
Controls the rate of the internal modulating LFO.
Sync
Controls synchronization of the internal LFO to Rig or Pro Tools Session tempo. Ranges
from OFF (no sync, set rate with Rate control) to a variety of rhythmic note values.
Depth
Controls the amount of delay time modulation caused by the internal LFO.
Pre-Delay
Sets the amount of time between an incoming transient signal and the start of modulation.
Mix
Sets the wet/dry balance of the effect. Tri/Sine Switch Sets the waveform of the internal
LFO to either a triangle or sine wave.
Voices
Sets the number of layered chorus voices in the effect.
Width
Controls the stereo width of the effect
Para EQ—Avid custom parametric EQ
This EQ provides a high-quality, 4-band parametric equalizer, with adjustable gain,
frequency, Q (bandwidth), and output for each band... With the Low and High bands, you
can switch between four EQ types—Shelf, Peak, Low-Pass (high band), High-Pass (low
band), and Notch. The EQ also includes a variety of controls, enabling you to set the
frequency gain, center frequency, bandwidth, and volume output of each band.
White Boost—based on the Xotic RC Booster
The much-loved clean RC Booster pedal provides guitarists with 20 dB of gain boost,
without coloring the tone, plus a built-in EQ to help shape it. It’s great for driving the
preamp section of any amp model into a gentle (or not so gentle) overdrive. Our effect
emulates that same crystal-clear boost and tonal shaping control. You can use the EQ
controls to boost and cut frequencies as normal, which will help shape the overdrive
response as well.