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Digidesign Eleven Rack
List Price: $1,295.00
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DIGIDESIGN ELEVEN RACK
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Eleven Rack is a revolutionary new guitar recording and effects processing system designed to eliminate the challenges guitarists have faced in the studio and on stage. Say goodbye to the lackluster guitar amp models of yesteryear: Eleven Rack utilizes a unique tone cloning design and one-of-a-kind, custom-designed True-Z input to re-create the experience of playing through a full guitar rig. By combining studio-standard Pro Tools software with a DSP-accelerated high-resolution interface, Eleven Rack puts professional recording into the hands of every guitar player. Whether you're tracking in the studio or playing on stage, Eleven Rack delivers fresh, mind-blowing, hyper-realistic guitar amp and effects tones that will inspire your best performances.
Eleven Rack in the Studio
Eleven Rack combines studio-standard Pro Tools software with a high-resolution, dual DSP-powered audio interface so you'll never have to worry about latency when recording with its built-in amp/effects tones nor will your computer have to carry the processing burden. Eleven Rack also takes re-amping to the next level by recording both dry and processed guitar signals simultaneously, allowing you to re-amplify later without patching a single cable. We even found a way to embed the Eleven Rack amp and effects settings into the audio tracks you record, enabling you to automatically recall those settings from your audio files on any Pro Tools system with Eleven Rack.
Eleven Rack On Stage
Eleven Rack also rocks onstage as a standalone amp tone and effects signal processor we pulled out all the stops to make sure it sounds and feels just like playing through the real deal. We also included a classic collection of effects, from must-have stompboxes to world-class rackmount studio processors. Eleven Rack has all the I/O flexibility you need to integrate it into your existing rig, and easily incorporate the tones you've recorded with into your live setup, closing the gap between studio and stage. Eleven Rack also offers incredibly powerful control options using affordable MIDI controllers and expression pedals, giving you full foot control over everything from vintage wah effects to tempo-driven delays and more.
Eleven Rack combines hyper-realistic guitar amp and effects tones with a dual-DSP-powered interface and studio-standard Pro Tools LE software to create the ultimate recording solution for guitar players.
Among guitar tonehounds, it's a well-known fact that input impedance, the electronic resistance found in the input circuit of the amp or effect you're plugged in to has a huge impact on your guitar tone. We realized that re-creating this electronic relationship was critical in nailing the sound and feel of our emulations. Others have tried to fake this with signal processing but we weren't satisfied with a one-size-fits-all-approach. Each guitar reacts uniquely with each amp or effect, so we had to come up with a true analog solution that allows your guitar to interact realistically with our amp and effect re-creations.
That's why we developed True-Z a unique analog input circuit that replicates the input impedance of classic stompbox pedals and guitar amps, resulting in amazingly realistic sounds. It's almost as if the True-Z input on Eleven Rack morphs into the 1/4" input jack of whatever classic stompbox or amplifier you are using. When you plug into Eleven Rack, you get the same response and same great tone as when plugging in to a vintage stompbox or guitar amp. You can also manually control the impedance of the True-Z input and set it to a value that suits your playing best.
Eleven Rack Hardware
Unique True-Z auto-impedance matching guitar input
Incredible emulations of classic guitar amp tones inspired by Fender, Vox, Marshall, Soldano, and Mesa/Boogie amps*
Refined collection of sought-after classic stompbox tones inspired by effects from MXR, Electro-Harmonix, Ibanez, ProCo, Univox, and more*
Powerful collection of studio-quality rackmount effects processors
Convolution-based cabinet emulations deliver unprecedented realism in cabinet tones
Convolution-based microphone emulations inspired by classic dynamic, condenser, and ribbon mic designs
Integrated FX loop switchable to incorporate existing mono or stereo rack and stompbox effects
Controllable via MIDI controllers and expression pedals
Tap-tempo control of time-based effects
High-speed USB 2.0 connection
Supports up to 8 simultaneous channels of high-resolution recording up to 24-bit/96 kHz
Stereo balanced XLR outputs and dedicated 1/4" outputs
XLR mic input with 48V phantom power and pad switch
2 x 1/4" line-level inputs
AES/EBU and S/PDIF digital I/O
Stereo 1/4" headphone jack
1 x 1 MIDI I/O
* Eleven Rack is not connected with, or approved or endorsed by, the owners of Electro-Harmonix, Fender, Ibanez, Marshall, Mesa/Boogie, MXR, ProCo, Soldano, Univox, and Vox names. These names are used solely to identify the guitar amplifiers and effects emulated by Eleven Rack.
Pro Tools LE Software
Award-winning Pro Tools LE 8 recording, editing, and mixing software, now optimized for guitar players
Powerful Eleven Rack control window for creating/editing Eleven Rack rig settings right from Pro Tools software
Records both dry and processed signals simultaneously, with recallable rig settings embedded into audio files
Includes over 70 professional effects, including reverb, delay, chorus, distortion, flanger, phaser, reverse, EQ, and compression
Powerful virtual instruments for creating backing tracks, including a drum machine, tonewheel organ, piano, synthesizer, and synth/sample workstation
Boom drum machine and sequencer
DB-33 tonewheel organ emulator with rotating speaker simulation
Mini Grand acoustic grand piano
Vacuum monophonic vacuum tube synthesizer
Xpand! 2 multitimbral synth and sample workstation
Structure Free sample player
FXpansion BFD Lite acoustic drum module
Effects, Sound-Processing, Utility Plug-ins
1-Band EQ III
4-Band EQ III
7-Band EQ III
AIR Dynamic Delay
AIR Filter Gate
AIR Frequency Shifter
AIR Nonlinear Reverb
AIR Spring Reverb
AIR Vintage Filter
BF Essential Clip Remover
BF Essential Correlation Meter
BF Essential Meter Bridge
BF Essential Noise Meter
Celemony Melodyne Essential
DC Offset Removal
Extra Long Delay II
Long Delay II
Medium Delay II
Short Delay II
Slap Delay II
Time Compression Expansion
Pro Tools LE System Requirements
Windows Vista (32-bit) with SP2
Windows XP (32-bit) with SP3*
1 GB RAM
USB 2.0 port
Mac OS X 10.5.5
G5 or Intel processor
1 GB RAM
USB 2.0 port
* Home and Professional Edition only. Windows Media Center Edition is not supported.
Up until now, amp modeling solutions haven't really delivered the full depth, dimension, and response of a mic'd up rig. We decided to take this challenge head on to ensure Eleven Rack truly re-creates the experience of playing through the most coveted guitar amps in the world. Check it out:
We spent years scouting a connoisseur's collection of vintage and modern amps and cabinets, paying special attention to choosing amps that represented the best of their generation and remained unmodified from their original design. We then painstakingly inspected every component, took detailed measurements, and captured every stage of the signal path, point to point.
We incorporated nuances like power amp sag, ghost notes, and cabinet resonance that other amp modeling developers overlooked, giving our clones the truly multi-dimensional tone and hyper-realistic response previously only achievable by mic'ing a real amp.
We set out to invent an input circuit that re-creates the electronic relationship between your guitar and an actual amp or effect. This can't be done digitally, so we developed a unique True-Z direct input that automatically adjusts the input impedance to match that of the particular amp/effects rig signal chain. Thanks to the True-Z input, plugging into Eleven Rack sounds and feels just like plugging into a real amp or effect.
Using convolution processing, we captured the exact sound of the cabinets and mics used to create the tone of a mic'd combo instead of using EQ filters to fake this sound the way other amp modeling solutions have done.
We enlisted guitar recording expert John Cuniberti (Platinum and Gold recording engineer/producer and inventor of the Reamp box) to ensure the micing techniques used during development were absolutely top notch.
We also emulated an assortment of vintage and classic effects processors from must-have stompbox effects to high-end studio processors culled from our coveted Pro Tools|HD TDM plug-ins used in pro studios around the world.
Guitar amp emulations based on*
59 Fender Bassman
59 Fender Tweed Deluxe
64 Fender Black Face Deluxe Reverb Normal Channel
64 Fender Black Face Deluxe Reverb Vibrato Channel
66 VOX AC30 Top Boost
67 Fender Black Face Twin Reverb
69 Marshall 1959 100 Watt Super Lead Plexiglas Head
82 Marshall JCM800 2203 100-Watt Head
85 Mesa/Boogie Mark IIc+ Drive Channel
89 Soldano SLO100 Super Lead Overdrive Head Clean Channel
89 Soldano SLO100 Super Lead Overdrive Head Crunch Channel
89 Soldano SLO100 Super Lead Overdrive Head Overdrive Channel
92 Mesa/Boogie Dual Rectifier Head Vintage Channel
92 Mesa/Boogie Dual Rectifier Head Modern Channel
Digidesign Custom Vintage Crunch
Digidesign Custom Modern Overdrive
Speaker cabinet emulations based on*
50 Fender Bassman 4x10 with Jensen P10Qs
59 Fender Tweed Deluxe 1x12 with Jensen P12Q
64 Fender Black Face Deluxe Reverb 1x12 with Jensen P12N
66 VOX AC30 2x12 with Celestion Alnico Blues
67 Fender Black Face Twin Reverb 2x12 with Jensen C12Ns
68 Marshall 1960A with Celestion G12H Greenbacks
06 Marshall 1960AV 4x12 with Celestion Vintage 30s
Microphone emulations based on*
Shure SM7 Dynamic Microphone
Shure SM57 Unidyne III Dynamic Microphone
Sennheiser MD 409 Dynamic Microphone
Sennheiser MD 421 Dynamic Microphone
Neumann U67 Condenser Microphone
Neumann U87 Condenser Microphone
AKG C 414 EB Condenser Microphone
Royer 121 Ribbon Microphone
Effects emulations based on*
Spring Reverb (based on the Fender Deluxe Reverb*)
Green JRC Overdrive (based on the Ibanez TS-808*)
Tri-Knob Fuzz (based on the Electro Harmonix Big Muff Pi*)
Black Op Distortion (based on the ProCo Rat*)
Shine Wah (based on the VOX V-846*)
C1 Chorus/Vibrato (based on the Boss CE-1*)
Orange Phaser (based on the MXR Phase 90*)
EP Tape Echo (based on the Maestro Echoplex EP-3*)
BBD Delay (based on the Electro Harmonix Deluxe Memory Man*)
Grey Compressor (based on the Ross Compressor*)
Vibe Phaser (based on the Univox Uni-Vibe*)
Black Wah (based on the Thomas Organ CB-95 Crybaby*)
Eleven SR (Stereo Reverb)
* Digidesign Eleven Rack is not connected with, or approved or endorsed by, the owners of the AKG, Boss, Celestion, Electro Harmonix, Fender, Ibanez, Jensen, Maestro, Marshall, Mesa/Boogie, MXR , Neumann, ProCo, Ross, Royer, Sennheiser, Shure, Soldano, Thomas Organ, Univox, and VOX names. These names are used solely to identify the guitar amplifiers, speaker cabinets, loudspeakers, effects, and microphones emulated by Eleven Rack.
We went to great lengths to obtain the world's most sought-after amps and effects in their original state to create the sounds in Eleven Rack. Here are all of the vintage and modern amplifiers and effects boxes that Eleven Rack emulates along with a bit of their history, where you may have heard their signature tones, and how our emulations compare to the originals.
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 Tops 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 emulation, the knobs range from 10 (instead of 12 on the original) to better match the other amps in Eleven Rack, and for consistency with automation and control surface controls. Our 59 Tweed Lux is also jumpedso 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender or Jensen names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
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 Digidesign's 59 Tweed Lux, the 59 Tweed Bass knobs range from 10 (instead of 1 12 on the original) to better match the other amp sounds in Eleven Rack, 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. Turning either the Instrument or Mic channel volume to zero will un-jump the channels.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender, Bassman, and Jensen names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack.
'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 goldto58 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 Rack, we've emulated both channels of this classic blackface-era amp. While both versions of our 64 Black Panel Lux emulation include Tremolo (which Fender mislabeled as Vibrato), Normal is a single gain version, while Vibrato adds the additional gain stage like the original.
*Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender, Telecaster and Deluxe Reverb names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
66 AC Hi Boost
Based on a 1966 VOX AC30 Top Boost*
Originally released in 1958, the VOX 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 emulation, 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the VOX, AC30, Stratocaster and Celestion names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
'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 Santanas 1970 Abraxas record that he used his 61 Gibson SG and Fender Twin Reverb to track his classic instrumental ballad Samba Pa
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 emulation, 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall, Fender and Twin Reverb names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
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 emulation, 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender, Marshall and Celestion names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall and JCM800 names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
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 curve to maintain a tight bass sound, while getting rid of any unnecessary midrange boominess.
We've based our emulation on the Lead channel with the Fat, Bright, and Gain Boost options on. We even re-created the classic V EQ curve!
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender, Mesa/Boogie and Mark IIc+ names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
Based on a 1992 Mesa/Boogie Dual Rectifier Head,
Channel 3: Modern High Gain*
92 Treadplate Vintage
Based on a 1992 Mesa/Boogie Dual
Rectifier 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 emulated 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 emulated the Orange channel with 6L6s, a tube rectifier, and the Spongy power setting for a more fluid lead tone.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Mesa/Boogie and Dual Rectifier names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
'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 emulated three different channels. Clean and Crunch both have the Bright/Normal switch of a stock SLO-100. For Drive, we emulated 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall, Soldano and SLO-100 names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.
DC Modern Overdrive
Digidesign 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall or Fender names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack.
DC Vintage Crunch
Digidesign Custom Vintage Crunch
For our DC Vintage Crunch emulation, 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender name. This name is used solely to identify the classic amplifiers emulated by Eleven Rack.
Eleven Rack: Effects
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, thanks in part to being a favorite of guitar legend Stevie Ray Vaughan. Vaughan used an original Tube Screamer to overdrive the front end of his tube amps; he would even sometimes chain two TS-808's together to obtain super-saturated distorted tones.
The original TS-808 pedal, the most sought-after version of the Tube Screamer pedals — was produced between 1979 and 1982, and features three simple controls: overdrive, tone and level. The overdrive knob controls the level of distortion, the tone knob adjusts the amount of treble, and the level knob controls the overall volume output. Although the TS-808 can be used with a solid-state amp to mimic the tone of an overdriven tube amp, the best tones are achieved when using the pedal to drive the power section of a tube amp beyond the point of break-up.
Like many pedal manufacturers of the early 1980s, Ibanez utilized several different chips based on cost and availability at the time of production. To create our Green JRC Overdrive effect, we scoured the 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 even 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Ibanez name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Tri Knob Fuzz
Based on the Electro-Harmonix Big Muff Pi*
In the late 1960s, 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, popularized by players like Jimi Hendrix and Keith Richards , the company had found a niche market selling small fuzzboxes and booster circuits to guitarists. After being inspired by time spent in the studio discussing tone with Hendrix, Matthews designed the pedal that would launch Electro-Harmonix into history and become one of the best-selling distortion effects of all time: the Big Muff Pi.
Released in 1971, the affordable Big Muff Pi was one of the first fuzzboxes to generate almost over-the-top levels of saturated distortion The pedal became Electro-Harmonix's first runaway hit, and, to this date, has found its way into the rigs of countless guitarists, including Carlos Santana, Kurt Cobain, Billy Corgan, Jack White, and many others.
Since the early 1970s, Electro-Harmonix has produced several versions of the Big Muff Pi, which featured three simple controls arranged in a triangle pattern: Volume, Sustain and Tone. Due to inconsistencies in the components used to build Big Muff Pi, it's difficult to find two vintage units that sound exactly the same. To create our Tri Knob Fuzz effect, we compared several different units and chose one that had the most burly tone, avoiding those that sounded more shrill or thin. Just like the Big Muff Pi, our Tri Knob Fuzz effect utilizes a straight-forward three-knob configuration.
When you plug into Eleven Rack, the auto-impedance matching 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 of the original.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Electro-Harmonix name. This name is used solely to identify the classic effects emulated by Eleven Rack.
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. The CE-1 incorporated several unique design elements that later became standard-issue among modulation effects boxes. Virtually every chorus pedal released since then owes its heritage to the venerable CE-1 Chorus Ensemble.
The CE-1 pedal lineage can be traced back to the Roland JC-120 Jazz Chorus, which utilized twin 60-watt amplifiers along with an analog effects section to produce exceptional chorus and vibrato effects. Roland decided to make the JC-120 effects circuit available in pedal form, so guitarists could enjoy the chorus and vibrato without having to purchase a new amp. The result was the Boss CE-1 Chorus Ensemble, which delivered an unmistakable new 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. Unlike models by other manufacturers, we felt it was important to capture both the chorus and vibrato modes. Going beyond emulating the original sound, we also enable synchronizing the modulation rate to an adjustable tempo setting.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Boss name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Based on the Ross Compressor*
During the mid- to late-1970s, Kustom Electronics produced a line of guitar effects pedals under the Ross brand. Unfortunately, sales were rather sluggish, and the Ross family of pedals disappeared by the 1980s. In recent years however, guitarists have re-discovered the Ross lineup, and in particular, the grey-colored Ross Compressor. The pedal has been adopted by several high-profile artists, including Trey Anastiano (Phish).
From a schematics standpoint, the Ross Compressor and the MXR Dynacomp are surprisingly similar. However, the Ross compressor adds several small capacitors that result in improved stability and slightly warmer tone.
For the Eleven Rack Grey Compressor effect, we faithfully emulated a completely stock original circuit. The sustain knob controls the amount of compression, and 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Ross name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Based on the MXR Phase 90*
Ever since its debut in 1974, the MXR Phase 90 has been arguably the most popular phase-shift pedal on the market. Adding to its popularity is the fact that guitar legend Eddie Van Halen has used it extensively throughout his career. The pedal has also been used by countless other guitarists including Andy Summers (The Police), Steve Vai, Matt Bellamy (Muse), and Tom Morello (Rage Against the Machine).
The original script logoPhase 90 is the most sought-after by collectors. It produces a warm, thick phase effect that’s mixed with the original signal to create a distinctive sound. Van Halen used the Phase 90 at multiple places in his signal chain to conjure up different sounds. Sometimes the pedal was placed in line before a Marshall amp head, and other times between the Marshall amp dummy load and a separate power amp.
We faithfully emulated the original, script logoMXR 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 MXR Phase 90, our Orange Phaser effect 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 different places in your signal chain. When combined with the other effect emulations in Eleven Rack, the tonal possibilities are virtually endless.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the MXR name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Based on the Univox Uni-Vibe*
Listen to the classic Hendrix recordings Machine Gun and Star Spangled Banner' and you'll immediately notice the thick, swirly sound of the Univox Uni-Vibe. Released in the mid-1960s, the Uni-Vibe was originally designed to mimic the sound of a rotating speaker cabinet. Truthfully, the pedal didn't quite nail the Leslie cabinet sound — but it did deliver a distinctive phase-shift effect that became a favorite of guitar legends Jimi Hendrix, Robin Trower, and David Gilmour.
From a technology standpoint, the Uni-Vibe was one of the most unique effects ever produced. It utilized a flashing lamp and photo resistors to generate the effect speed, and LFO to create the sweeping effect. The flashing lamp actually served two purposes: it determined the speed while giving the guitarist a visual indication of how fast the effect was running.
For our Vibe Phaser effect, we added a tempo-lock function, which lets you synchronize the speed to the tempo of your Pro Tools session. We also emulated both the chorus and vibrato modes so you can switch between the two. While there is some debate over where Hendrix placed the Univibe in his signal chain, Eleven Rack gives you the flexibility to try several different configurations, and find the tone that works best for you.
The original Uni-Vibe didn't have a dial to control the rate. You had to connect a separate wah-style footpedal, which increased speed as you pushed it down. Our Vibe Phaser emulation allows you to control speed via the Eleven Rack control panel, or connect an expression pedal to adjust speed on the fly.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Univox name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Based on the Electro-Harmonix Deluxe Memory Man*
Released in 1976, the Electro-Harmonix Memory Man provided guitarists with an affordable pedal that could produce echo/delay effects without requiring tape or other complex moving parts. Guitarists like U2's The Edge and Eric Johnson made extensive use of the pedal's analog delay and colorful chorus/vibrato effects. During the last decade, original units have become highly sought-after by vintage effects collectors.
Electro-Harmonix continued to revamp the pedal over the years, culminating in the 5-knob Deluxe Memory Man version. In addition to classic analog-style echo, the Deluxe Memory Man could produce eerie and unusual pitch-shift effects if the user changed delay time while playing, or Radiohead-style flying saucer effects by increasing the delay feedback and warping the delay time while the pedal self-oscillated.
Our BBD Delay effect is named after the bucket-brigade delay technology used in the Deluxe Memory Man. In the original model, audio was passed through a series of charge packets to create the delay kind of like buckets of water being passed down the line to put out a fire. We emulated virtually every aspect of the original pedal, adding a switchable noise control to enhance the realism. BBD Delay features all the controls present on the original: Input controls faithfully distorts the input signal, Mix blends between the dry and processed signals, Feedback controls the number of delay repeats, Delay syncs the pedal to tempo using rhythmic subdivisions, and Chorus/Vibrato controls LFO depth. We also added the ability to switch off the noise typically found in analog delay devices: For pristine delay tones, set the control to OFF; For realistic behavior of Feedback control, leave the noise set to ON and hear how it contributes to driving the effect to self oscillation. Our BBD Delay also offers an expanded delay function that provides 1.6 seconds of delay time — well beyond the capability of the original analog technology.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Electro-Harmonix name. This name is used solely to identify the classic effects emulated by Eleven Rack.
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. You can insert the effect before your amplifier, just like using a footpedal. You can also place Roto Speaker after your amp, and turn off cabinet simulation in Eleven Rack, resulting in a faithful rotary speaker cabinet emulation.
Since a real rotary speaker utilizes two horns that spin around in opposite directions, we gave our Roto Speaker effect a balance control, which allows you to control the level balance between the upper and lower rotors. The preset function allows you to switch between different virtual rotary speaker cabinet models.
To design our custom Eleven Rack Flanger effect, we listened to a variety of vintage and modern flange pedals; the Flanger is our customized design of this effect. The flanger effect was originally created by depressing the flange of tape reels; this was later re-created with modulated analog delay circuits in pedals. We studied the classic flanger models from manufacturers like MXR, Electro Harmonix, and A/DA, and finally came up with our own customized design that works great in front of, or after, the amp in the signal chain without the noise or limited frequency response of typical flanger pedals.
While volume pedals aren't technically effects, guitarists have relied on them for decades to create reverse-attack and pedal steel-type sounds. Our Eleven Rack Volume Pedal is totally transparent, delivering everything you need in a volume device, but without the signal degradation and noise inherent in vintage models. You can position Volume Pedal almost anywhere in the signal chain. Simply connect an expression pedal to Eleven Rack and you'll have full foot control over the volume of your guitar — great for both studio and stage applications.
The Eleven Rack Graphic EQ gives you full control over 5 bands of EQ 100 Hz, 370 Hz, 800 Hz, 2 kHz, and 3.25 kHz ideal for cutting out troublesome frequencies or dialing-in just the right tone. We designed the Graphic EQ from the ground up specifically for guitar players. Positioned in front of the amp, the Graphic EQ is a flexible and transparent tone shaper with none of the noise typically found in pedal units. In fact, our design team consulted with many of the first-call pro engineers to learn what their favorite frequency bands for tweaking their legendary great guitar tones. The Graphic EQ also works well positioned after the amplifier in the signal chain. Our Graphic EQ effect also works great as a tone shaper or signal booster for guitars and microphones.
Eleven SR (Stereo Reverb)
Based on the Digidesign Reverb One Plug-in
Eleven Rack features the most pristine, high-quality stereo reverb ever available in a rack-mount 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 television 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.
Based on Blackface-era Fender Spring Reverb Units*
According to author Tom Hughes book Analog Man's Guide to Vintage Effects, the idea for the Fender spring reverb can be attributed fittingly to surf guitar legend Dick Dale. In 1960, Dale asked Leo Fender to build a compact reverb unit that he could run his voice through. Fender responded by licensing Hammond Organ’s state-of-the-art analog reverb technology, and the rest is history. Nearly every guitar amplifier produced since then has included some time of reverb, making it the most popular built-in amp effect.
To create our Spring Reverb effect, we analyzed the actual reverb units from several classic blackface-era Fender amps, including the 67 Twin Reverb and 64 Deluxe Reverb. Our Eleven Rack Spring Reverb emulates both the electronic circuits and spring tanks of the original models, resulting in a completely convincing emulation of the Fender reverb tone. In addition to the mix control present on the original amps, we added extra controls that were not included: Decay and Tone. 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.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender name. This name is used solely to identify the classic effects emulated by Eleven Rack.
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 executives at Vox immediately saw the commercial potential of the wah-wah pedal — but originally wanted to market the device to brass and woodwind players. In the late 1960s, the Vox V846 wah-wah pedal with a shiny chrome treadle was introduced, which utilized a frequency response designed specifically for guitar players.
Eric Clapton was perhaps the first artist to popularize the wah-wah pedal, using on tracks likeTales of Brave Ulysses and White Room. According to legend, Jimi Hendrix purchased his first wah after seeing Frank Zappa use one and the rest is history. The classic Hendrix recordings Voodoo Child (Slight Return), and Burning of the Midnight Lamp are excellent examples of the wah-wah in action.
We emulated our Eleven Rack Shine Wah after a completely stock, vintage Vox V846. Our emulation gives you the flexibility to place the effect in your signal chain after the amplifier — a setup that would be quite difficult using the original V846. The Shine Wah effect can be controlled via expression pedal, MIDI CC data, or even Pro Tools automation.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Vox name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Based on the Thomas Organ CB-95 Crybaby*
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 name the Crybaby. It was a fitting moniker that accurately described the pedal's unique sound.
To create our Eleven Rack Black Wah effect, we emulated an original Thomas Organ CB-95 Crybaby pedal. Eleven Rack's unique auto-impedance matching True-Z input is an especially important part of re-creating this particular wah tone.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Thomas Organ name. This name is used solely to identify the classic effects emulated by Eleven Rack.
EP Tape Echo
Based on the Maestro Echoplex EP-3*
The Maestro Echoplex was one of the earliest analog delay devices, and helped to bring about the popular delay sound of the late-1950s and 1960s. The Echoplex utilized a loop of magnet tape and a mechanically adjustable record head to create its legendary delay effect. By physically adjusting the position of the playback head, you could speed up or slow down delay time.
Originally released in 1959, the Echoplex went through several incarnations during its lifetime. In the early 1970s, Maestro released the Echoplex EP-3, which made use of solid-state transistorized technology instead of vacuum tubes. It also offered a sound on sound” feature that allowed players to loop almost three minutes of audio, and record more parts each time around. The EP-3 model's popularity can be attributed to its use by artists like Eddie Van Halen, Eric Johnson, and Jimmy Page.
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, even using tape cartridges provided by Mike Battle, the late inventor of the Echoplex. Our EP Tape Echo effect features all of the controls present on the original, with one significant improvement: While the original model offered a maximum of 600 milliseconds of delay, our Tape Echo effect has an expanded delay mode which provides an unreal 2.4 seconds of delay time.
Instead of capturing one dimension of the tape echo sound, we sought to provide control over all the electro-mechanical behavior that gives this device such a wide range in tone. In order to get everything from a simple Memphis style tape slap to three dimensional sustaining ambiences, we modeled everything in an Echoplex. Use the Head Tilt control to simulate the head alignment (or mis-alignment!) to the tape. Tape Hiss is even defeatable if you want pristine tones the original box wasn't capable of producing. Turn the noise on if you want the most realistic interaction of the feedback and mix controls. Adjust the WOW control and hear the sound flutter and warble. The Eleven Rack EP Tape Echo emulates the original Echoplex down to the smallest details, including providing access to the potentiometer to control the record level a control that was somewhat hidden on the original unit.
* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Maestro name. This name is used solely to identify the classic effects emulated by Eleven Rack.
Eleven Rack is based on the same technology as our critically-acclaimed Eleven plug-in for Pro Tools software. Check out the buzz on the Eleven tone.
It's really got the bite and the attack that's missing from most plug-ins, and it's as responsive to my playing as a real tube amp.
(guitarist; Red Hot Chili Peppers, Jane's Addiction, The Panic Channel)
I've seen the potential for years with small preamps and amp emulation plug-ins, but Eleven is the first plug-in that can honestly replace the guitar amp.
(producer, engineer, songwriter; Motley Crue, Meatloaf, Scorpions)
I love Eleven. It sounds great, it sounds real, and it's easy to dial in good tones.”
I think Eleven is a fantastic plug-in. It just makes the guitar sound bigger!
(producer; Foo Fighters, Pixies)
Eleven sounds like other amp modelers on steroids! I am so impressed!
(producer; David Bowie, T. Rex, Morrissey)
If you blindfolded me, I’d tell you it was amped for sure.
(producer; Silversun Pickups, Darker My Love)
The sounds in Eleven are incredible; I'm using it on almost every recording.
Eleven has the best AC30 model I’ve ever heard.
(guitarist, Counting Crows)
This plug-in is metal!
(guitarist; creator of Dethklok/Metalocalypse)
“Eleven rocks…Every model has a large helping of the sonic depth and complexity found in a high-quality amp.”
“Digidesign’s attention to detail in the development of Eleven pays off in the plug-in’s highly flexible amp modeling environment, which reacts in much the same way as the real thing behaves.”
Eleven is impressive for the accuracy of its modeling To my ears the amp models sound more accurate than most, with plenty of character and good touch responsiveness -
Sound on Sound
“Digidesign went to extreme lengths to achieve accuracy in their modeling… Anyone who knows Vintage amps will tell you that no two old amps sound exactly alike, so the real question is do the Eleven models sound good—and the answer is yes.”
Eleven Rack User Guide v8.0.1 (PDF)
Eleven Rack Quick Setup (PDF)
Eleven Rack Intro to Pro Tools v8.0.1 (PDF)
Eleven Rack Brochure (PDF)
Eleven Rack Firmware Update v1.0.1 (Mac)
Eleven Rack Firmware Update v1.0.1 (Windows)
Eleven Rack Firmware Update v1.0.1 Read Me (PDF)
Eleven Rack Update for Pro Tools 8.0.1 (Mac)
Eleven Rack Update for Pro Tools 8.0.1 (Windows)
Eleven Rack Update for Pro Tools 8.0.1 Release Notes (PDF)
Eleven Rack User Guide (Japanese PDF)
Intro to Pro Tools (Japanese PDF)
Eleven Rack Brochure (Japanese PDF)
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