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EZmix 2 — List: $179.99 Street: $149.99

Metal Amps EZmix Pack Solo Tone Signal Chain

  • Ibanez JEM7VWH
  • D’Addario EXL120 Nickel Wound, Super Light, 9-42
  • Dunlop Manufacturing Tortex 1mm Blue
  • Fishman Asterope Pro Studio AST-P15-SSG
  • Millennia Music & Media Systems HV-37
  • Avid Digi 003
  • Toontrack EZmix 2
  • Toontrack Metal Amps EZmix Pack
  • Toontrack EZ Drummer

Metal Amps EZmix Pack Heavy Bass Tone Signal Chain

  • Ibanez SR1205E
  • Dunlop Manufacturing Tortex 1mm Blue
  • Fishman Asterope Pro Studio AST-P15-SSG
  • Avid Digi 003
  • Toontrack EZmix 2
  • Toontrack Metal Amps EZmix Pack
  • Toontrack EZ Drummer

Metal Amps EZmix Pack Solo Tone

  • Ibanez JEM7VWH
  • D’Addario EXL120 Nickel Wound, Super Light, 9-42
  • Dunlop Manufacturing Tortex 1mm Blue
  • Fishman Asterope Pro Studio AST-P15-SSG
  • Millennia Music & Media Systems HV-37
  • Avid Digi 003
  • Toontrack EZmix 2
  • Toontrack Metal Amps EZmix Pack
  • Toontrack EZ Drummer

Following the success of Toontrack’s EZmix, the new and completely overhauled EZmix 2 continues to build on the same fundamental idea: having pro-designed effect chains for instruments and channels found in every recording session combined in one powerful mixing tool. With the vast collection of ready-made presets, mixing music is not only easy and incredibly fast – you end up with results second to none.

All the previous functionality and content from EZmix is still intact and working in EZmix 2. The major difference however, is that the new and revamped version comes with settings based on high-tech mastering effects, new reverb algorithms, guitar/bass amp and cab simulation, a completely revised interface and a large core content boost. Essentially, EZmix 2 is a mixing engineer, mastering suite and guitar/bass amp all rolled up into one package.
Start mixing – it’s EZ!

Effects
EZmix 2 is a powerful package that combines a multitude of quality studio effects with the know-how of professional engineers. As soon as you select one of EZmix’s pre-designed settings, a complex chain of effect units instantly loads seamlessly in the background. See Details for in-depth information.
The professional touch
Making professional mixes has never been easier! Having a vast array of available effects to choose from, the signal-chain settings in EZmix 2 and all EZmix Packs were carefully crafted by seasoned mixing engineers. Lend some pro secrets and platinum record magic to your music by letting seasoned veterans do the tweaking for you!
Guitar/bass amp and speaker simulation
EZmix 2 has a large amount of ready-made settings based on some of the most classic vintage and contemporary guitar and bass amps, speakers and stomp boxes. Whether you are working stand-alone or in a host; plug your instrument straight into your sound card and select a preset!
Low CPU usage
Combing several plugins on multiple channels can slow down even the fastest computer. With EZmix 2 you only use ONE instance on each channel instead of MANY and end up reducing your CPU usage to a minimum. With EZmix 2 you can make flawless mixes on low resource systems or in mobile situations!

EZmix 2 - product details

If you insert EZmix 2 on your channel and choose a setting from the browser, a more or less complex signal chain of different effect units will open up in the background of EZmix 2. All the work of combining, routing and tweaking the individual effects has already been done for you by experienced mixing engineers. With only ONE mouse click you immediately get the perfect sound for your audio channel, subgroup, AUX or even master fader.

For example: by simply choosing the setting “Ambient Vocal”...

…the following chain of effect units automatically opens up and works on your sound:

EZMIX 2 EFFECTS

EQs – tweaking the frequency distribution of the audio signal

• Parametric EQ: This is a dedicated 5-band equalizer with full-parametric bell-filters that allows for a very flexible and exact tone shaping of the signal.

• LPF (Low Pass Filter): A low pass filter passes the lower frequencies of an audio-signal and attenuates the frequencies that reside above a certain cutoff frequency. The slope of the high frequency roll off determines how radically these frequencies get attenuated by the filter.

• HPF (High Pass Filter): A high pass filter passes the higher frequencies of an audio signal and attenuates the frequencies that reside below a certain cutoff frequency. The slope of the low frequency roll off determines how radically these frequencies get attenuated by the filter.


Dynamics – tweaking the dynamic distribution of the audio signal

• Compressor: A compressor helps to reduce the dynamic range of an audio-signal. This is the range between the highest peaks and the lowest levels present in a signal. The compressor reduces higher signal peaks that go above a given threshold by a certain ratio. A ratio of 2:1 means that every 2dB that go into the compressor and exceed the threshold will be passed through to the output with only 1dB. A compressed audio signal is much more present, powerful and can be placed more easily in the overall mix.

• Limiter: A limiter is a unit similar to a compressor, it also reduces the dynamic range of an audio signal but does that in a much more radical way. Limiters usually have fixed ratios settings of at least 10:1 or much higher, so if the incoming audio signal exceeds the threshold it's output level practically can't go reach above this barrier.

• Gate and Frequency Gate: A gate only passes audio signals to the output that exceeds a certain adjustable threshold. Lower level signals automatically get cut off. This unit can help to eliminate unwanted low-level noise from an audio signal. In combination with a HPF or LPF, this effectively keeps all unwanted signal out of the mix.


Advanced Dynamics

• Transient Shaper: The very first initial impulses of an audio signal are called transients. They're extremely important in shaping and defining the character, impact and color of a signal. This effect unit helps to exaggerate or attenuate the transient (attack) and/or the tail (sustain) of any audio signal.

• De-Esser: This effect is a compressor unit that only reacts on a rather narrow pre-filtered part of the frequency range of the audio signal. Traditionally used to eliminate the high-frequency S-sibilants, the compression only effects the relevant frequencies that are isolated by a very narrow Notch EQ-filter. In an alternative setting, these frequencies can also act as trigger for a compression of the whole high-frequency range of the audio signal.

• Multi Band Compressor: This special type of compressor offers individual compression settings of threshold; attack and release time and makeup gain in up to four isolated adjustable frequency bands. This allows a compression that is very flexible and that can be perfectly customized for the actual audio signal and its dynamics in the various frequency ranges. For example, a tight compression of the low end gives control over the energetic bass and low mid frequencies, whereas in most cases a lighter compression of the higher frequency range is needed. Multiband dynamics are the perfect compression tool for controlling and shaping signals on submix-channels and master faders.

• Mastering Limiter: This type of limiter is special because it is generally used as the last unit of the signal-chain on a master fader. Its purpose is to set and control the maximum output level of the mix and to prevent any signal to pass through this upper level barrier. To realize this, the limiter circuit utilizes a dedicated look-ahead functionality that helps to detect any high level peaks that need to be attenuated as fast as possible. This mastering limiter module offers very fast attack and release times, a soft knee option and a very transparent sound shaping during compression.


Advanced EQs

• Filter: This is a creative filter that can be modulated by many different sources, a technique that can produce very complex sounds. Possible modulation sources are an LFO (free running or synched to the host's tempo), an envelope follower or a programmed sequence (free running or synched). The parameters of the various filter types LPF, HPF, BPF, Band Reject offer a wide range of possible sound manipulations.

• Aural Exciter: This sound module is very special and produces subtle effects that greatly help to shape individual sounds in the mix. It generates synthetic harmonics on the transients and adds more details to any kind of signal.


Distortion and Saturation

• Distortion: If you distort an audio-signal this adds special overtones to the audio resulting in an "overdrive" effect sound that's generally associated with amplifiers, effects pedals and also clipped audio. The effect can add richness, warm and round tone and fullness of the overall sound. In extreme settings distortion can sound "thin" or "buzzy".

• Special Distortion: Big Muff Pi. – Pure Metal distortion.

• Tape Simulator: This module simulates the various effects of an analogue tape recorder including bias, tape speed, wow and flutter. Tape simulation helps to produce a rich and full sound and the gentle saturation effect works as subtle compression and can help to glue signals together with a very characteristic warm edge.


Guitar Amps, Cabinets and Effects

• Amplifiers: Emulations of different amplifier models are used to create the classic and complex distortion and guitar amp settings in EZmix 2. The settings feature emulated sounds of some of the most famous and frequently used amps in vintage and modern recording.

• Cabinets: The sounds of the various amplifier models are combined with impulse responses (IRs) of different cabinets to simulate the exact sound of an amp cabinet combination. Lots of IRs exclusively recorded by Toontrack are provided and completed by an 8x10" and a 1x15" bass cabinet.

• Overloud: This is a very special tone enhancer processor that adds warmth and vibrancy to the tone by applying a combination of compression, EQ and harmonic generation.

• Bitcrusher: This unit reduces the bit resolution of any audio-signal and simulates a lower sampling rate. The characteristic effect results in a harsh distorted type of sound.

• Wah-Wah: This is a very special type of guitar filter that produces characteristic vowel-shaped sounds. Normally it is controlled by an external device, by an envelope follower or a dynamic LPF.

• Vibrato: This module simulates a classic guitar effect that produces a vibrato tone of the audio signal.

• Tremolo: A similar effect to the vibrato but with its own characteristic sound. It emulates the circuitry of a classic rock amplifier and can also be used as a VCA based circuit for more general sound effects.

• Rotary Speaker: The rotary speaker effect is based on the circuit simulation of the Leslie tube amplifier and on the impulse responses recorded from a set of Leslie 122 speakers.

• Octaver: This effect is an emulation of one of the most classic octave pedals and adds another higher or lower octave to the audio signal.


Modulation Effects and Stereo Field Manipulation

• Chorus: This module simulates the ensemble effect of multiple identical instruments playing the same part with slight variations in tempo, sound and pitch. It results in a shimmering, widening and thickening of the audio signal.

• Flanger: A flanger produces a constantly shifting and phasing tone of the original audio signal by splitting it up into two signals and dynamically delaying one against the other. Because of its warm and analogue sound, flanging is a very much-appreciated sound by guitarists and bass players. The EZmix 2 flanger is an emulation of a classic pedal frequently used on recordings.

• Phaser: Modelled after one of the most famous and versatile phaser effects. The effect is similar to flanging but with a slightly more technical and phasing tone. Often used on lead or melody guitars as well as keyboards.

• Stereo Enhancer: A very complex module that generates stereo widening effects. With this tool one can fully control the stereo position and width of a stereo track without adding artificial stereophony. The dedicated shuffle control creates an increased stereophony in the bass frequencies in order to add space to a mix. The shuffling technique is largely used in broadcast and cinema applications.


Reverbs and Delays

• Reverbs: The various EZmix 2 settings benefit from various state-of-the-art reverberation algorithms for room, plate and spring reverb programs. They all utilize the professional algorithms of Overload’s "Breverb" and "SpringAge" plugins.

• Hall Reverb: Produces the sound of a "hall" type acoustic space – large, long and rich.

• Inverse Reverb: This effect results in a reverse characteristic than a classic reverb. Its sustain grows and fades into the following sound as opposed to gradually fade out and disapear.

• Tape Delay: This characteristic type of delay produces an echo-type effect. Typically a tape delay results in echoes that get increasingly more distorted with each echo-repetition.

• Filter Delay: Another type of specialized echo-effect, where the frequency of the echo-repetitions can be adjusted. This allows the echoes to react to different frequencies from the original signal.


PRESETS

Name Instrument Type
12Bit Delay Aux Any Aux
12Bit Room Aux Any Aux
Ambient Booth Any Aux
Modulated Echo Any Aux
Plate Reverb Aux Any Aux
Spring Reverb Aux Any Aux
12Bit Delay Any Insert
12Bit Reverb with Filter Delay1 Any Insert
12Bit Room Any Insert
1kHz Ctrl Any Insert
40Hz Ctrl Any Insert
8Bit Reverb with Filter Delay1 Any Insert
Ambient Reverb Any Insert
BitCrush Reverb Any Insert
BitCrush Reverb2 Any Insert
BitCrush1 Any Insert
BitCrush2 Any Insert
Bright Long Verb Any Insert
Bright Medium Verb Any Insert
Bright Reverb Any Insert
Bright Spring Reverb Any Insert
Compressor1 Any Insert
Compressor2 Any Insert
Dark Plate Reverb Any Insert
Dark Spring Reverb Any Insert
Delay - 16th Notes Any Insert
Delay - 8th Note Filter Any Insert
Delay - All Notation2 Any Insert
Delay - BitCrush Tape Delay Any Insert
Delay - Comped 8th Notes Any Insert
Delay - Filtered Any Insert
Delay - Notation Changing Any Insert
Delay - Tape Delay Any Insert
Delay - Tape1 Any Insert
Distorted Delay Any Insert
Distorted Reverbed Delay Any Insert
Distorted Reverbed Delay 4th notes Any Insert
Distortion - Basic Any Insert
Distortion - Crushed Any Insert
Distortion - Delayed Tape Any Insert
Distortion - Old Cassette Any Insert
Distortion - Radio Any Insert
Distortion - Tape Any Insert
Fast Compressor Any Insert
Fast Hard Compressor Any Insert
Fat Muff Any Insert
Flanger Any Insert
Gate3 Any Insert
Hall Reverb1 Any Insert
Hall Reverb2 Any Insert
Hard Compressor1 Any Insert
Hard Compressor2 Any Insert
Hard Compressor3 Any Insert
High Freq Gain Any Insert
High Shelf EQ Any Insert
Hollow Verb Any Insert
HPF 12dB Oct Any Insert
HPF 18dB Oct Any Insert
HPF 24dB Oct Any Insert
Intermediate Compressor1 Any Insert
Intermediate Compressor2 Any Insert
Intermediate Compressor3 Any Insert
Inverse Reverb1 Any Insert
Low Cut Any Insert
Low Shelf EQ Any Insert
Lows and Highs Any Insert
LPF 12dB Oct Any Insert
LPF 18dB Oct Any Insert
LPF 24dB Oct Any Insert
LPF-HPF Tape 1kHz Any Insert
Mellow Verb Any Insert
Mid Freq EQ Any Insert
Mod Delay Any Insert
Phaser Any Insert
Reverb - Cave Any Insert
Reverb - Medium Dark Any Insert
Reverb - Reversed1 Any Insert
Reverb - Reversed2 Any Insert
Reverb - Short to Medium Any Insert
Reverb - Small Any Insert
Reverb Reversed Any Insert
Reverb Small with Tape Delay Any Insert
Rich Plate Reverb Any Insert
Short Hall Reverb Any Insert
Slap Delay1 Any Insert
Slap Delay2 Any Insert
Slow Compressor Any Insert
Slow Hard Compressor Any Insert
Small Dark Hall Any Insert
Small Hall Reverb Any Insert
Stereo Control Any Insert
Tape Delay 16th 16T 16D Any Insert
Tape Delay 4th 4T 4D Any Insert
Tape Delay 8th 8T 8D Any Insert
Tape Delay Industry Any Insert
Tape Delay LPF Any Insert
Tape Delay Time Signs Any Insert
Transient Any Insert
Tremolo Any Insert
Very Stereo Wet Chorus Any Insert
Vibrato Any Insert
Warm Concrete Hall Any Insert
Wet and Dry Chorus Any Insert
Wet Chorus Any Insert
Wet Chorus2 Any Insert
Master Limiter Any Master
Master Limiter Stereo Enhancer Any Master
Master1 Any Master
Master2 Any Master
Maxi Any Master
Metal Master Bus Any Master
Multiband Master Any Master
Parallel Overdrive Any Master
Soft Pop Master Any Master
Vintage Master Any Master
Ambient Bass Bass Amplifier
Bass Clean Bass Amplifier
Bass Overdrive 8x10 Bass Amplifier
Californian 1x15 Bass Bass Amplifier
Classic 8x10 Bass Bass Amplifier
Classic Metal Bass Bass Amplifier
Distorted Bass Bass Amplifier
Driven Bass Bass Amplifier
Evil Bass Bass Amplifier
Plucked Bass Combo Bass Amplifier
Smooth Metal Bass Bass Amplifier
Bass Bass Insert
Bass with Limiter Bass Insert
Bass2 Bass Insert
Bass3 Bass Insert
Bass4 Bass Insert
Chorus Bass Bass Insert
Choir Air Choir Group Bus
Choirs with Delay Choir Group Bus
Choirs Choir Insert
Congas Congas Insert
Congas Punch Congas Insert
Cowbell Cowbell Insert
Overhead Cymbals Insert
Overhead - Basic1 Cymbals Insert
Overhead - Basic2 Cymbals Insert
Overhead - Basic3 Cymbals Insert
Overhead - Basic4 Cymbals Insert
Overhead - Basic5 Cymbals Insert
Overhead - Basic6 Cymbals Insert
Overhead - Cymbals Cymbals Insert
Overhead Mellow Cymbals Insert
Overhead with Plate Cymbals Insert
Ride Cymbals Insert
Analogue Fat Phase Loop Drums Group Bus
Bass Amp Drum Loop Drums Group Bus
Broken Bass Drum Drums Group Bus
Creative Filter Drums Group Bus
Creative Filter Frequency Sweep Drums Group Bus
Creative Filter x2 Drums Group Bus
Distorted Delay Drums Drums Group Bus
Distorted Drums Drums Group Bus
Distorted Filter Drums Drums Group Bus
Drum Bus Drums Group Bus
Drum Bus2 Drums Group Bus
Drum Phase Drums Group Bus
Drum Room Drums Group Bus
Drum Room2 Drums Group Bus
Fluttered Tape Drums Group Bus
Jazz Drum Loop Drums Group Bus
KickSnareTom Mix1 Drums Group Bus
KickSnareTom Mix2 Drums Group Bus
Metal Drum Bus Drums Group Bus
Multiband Exciter Drums Group Bus
Parallel Drums Drums Group Bus
Small Guitar Amp Drumloop Drums Group Bus
Tape Simulator Drums Group Bus
Tape Simulator2 Drums Group Bus
Thin Drum Loop Drums Group Bus
BitCrush Chorus Delay Drums Insert
Chorused Reverb Loop Drums Insert
Drum Loop Drums Insert
Drum Loop2 Drums Insert
Mono Room Drums Insert
Room Drums Insert
Room - Basic1 Drums Insert
Room - Basic2 Drums Insert
Room - Basic3 Drums Insert
Room - Gated Drums Insert
Room - Smaller Drums Insert
Stereo Room Drums Insert
Acoustic Guitar Guitar Acoustic Insert
Acoustic Guitar with Reverb Guitar Acoustic Insert
Acoustic Guitar2 Guitar Acoustic Insert
51-Carve Guitar Electric Amplifier
51-DVM Guitar Electric Amplifier
51-VH Guitar Electric Amplifier
Class A Combo OD Guitar Electric Amplifier
Clean 212 Reverb Guitar Electric Amplifier
Clean Class A Combo Guitar Electric Amplifier
Dog Drive Guitar Electric Amplifier
Flying Puppets Guitar Electric Amplifier
Fuzz Drive Stack Guitar Electric Amplifier
FuzzOctav Guitar Electric Amplifier
Guitar Amp Rock Guitar Electric Amplifier
Heavy Gitz Guitar Electric Amplifier
Jazz Guitar Chorus1 Guitar Electric Amplifier
Jazz Guitar Chorus2 Guitar Electric Amplifier
Jazz Guitar Chorus3 Guitar Electric Amplifier
Lead Guitar Guitar Electric Amplifier
MarsJC9-DVM Guitar Electric Amplifier
Old-School Fuzz Stack Guitar Electric Amplifier
Pedal Steel Guitar Electric Amplifier
Recto-Bogie Guitar Electric Amplifier
Recto-L6th Guitar Electric Amplifier
Recto-Mars Guitar Electric Amplifier
Rotary Guitar Guitar Electric Amplifier
Rotary Guitar2 Guitar Electric Amplifier
Stereo Tap Guitar Guitar Electric Amplifier
Tremolo Spring Verb Guitar Electric Amplifier
UK Guitar Stack Guitar Electric Amplifier
US 2x12 Ambient Tremolo Guitar Electric Amplifier
US 2x12 Reverb Combo Guitar Electric Amplifier
US Combo Overdrive Guitar Electric Amplifier
Voice-Mars Guitar Electric Amplifier
Wah Wah Madness Guitar Electric Amplifier
Guitar Bus Guitar Electric Group Bus
Ambient Guitar Electric Insert
AutoWah Guitar Electric Insert
Chorus Guitar Guitar Electric Insert
Chorus Guitar2 Guitar Electric Insert
Guitar Guitar Electric Insert
Guitar Solo Guitar Electric Insert
Guitar with Delay Guitar Electric Insert
Guitar with Reverb Guitar Electric Insert
Guitar with Reverb2 Guitar Electric Insert
Guitar with Slap Delay Guitar Electric Insert
Guitar with Spring Reverb Guitar Electric Insert
Guitar2 Guitar Electric Insert
Guitar3 Guitar Electric Insert
Melody Ambient Guitar Electric Insert
Handclap Handclap Insert
Hats Hi-Hat Insert
Hats - Basic1 Hi-Hat Insert
Hats - Basic2 Hi-Hat Insert
Hats - Basic3 Hi-Hat Insert
Hats - Basic4 Hi-Hat Insert
Tape Drive Hats Hi-Hat Insert
Enhanced Metal Kick Kick Insert
Firm Kick Kick Insert
Gate1 Kick Insert
Kick Kick Insert
Kick - Basic1 Kick Insert
Kick - Basic2 Kick Insert
Kick - Basic3 Kick Insert
Kick - Basic4 Kick Insert
Kick - Metal1 Kick Insert
Kick - Metal2 Kick Insert
Kick - Metal3 Kick Insert
Kick-Out Mid Punch Kick Insert
Kick2 Kick Insert
KickOut-LPF Kick Insert
Sub Kick Kick Insert
Sub Kick2 Kick Insert
Sub Kick3 Kick Insert
Sub Kick4 Kick Insert
Sub Kick5 Kick Insert
Warm Kick1 Kick Insert
Warm Kick2 Kick Insert
Warm Kick3 Kick Insert
Clean Rotary Spring Organ Amplifier
Rotary Overdrive Organ Amplifier
Organ with Reverb Organ Insert
Organ1 Organ Insert
Organ2 Organ Insert
Dull Piano Piano Insert
Piano Piano Insert
Piano Ambient Filter Piano Insert
Piano Ambient Filter2 Piano Insert
Piano2 Piano Insert
Shaker with Plate Shaker Insert
Fast Release Gate Snare Insert
Long Release Gate Snare Insert
Medium Release Gate Snare Insert
Metal Snare BTM Snare Insert
Metal Snare Top Snare Insert
Snare Snare Insert
Snare - Fat Snare Insert
Snare - Fat2 Snare Insert
Snare - Gate with Reverb Snare Insert
Snare - Gated Snare Insert
Snare2 Snare Insert
Snare3 Snare Insert
SnareBottom1 Snare Insert
SnareBottom2 Snare Insert
SnareBottom3 Snare Insert
Keyboard Strings Strings Insert
Mellow Strings Strings Insert
Stereo Strings Strings Insert
Tambourine Tambourine Insert
Metal Floor Toms Tom Insert
Metal Toms Tom Insert
Tom Mellow Tom Insert
Tom Mellow with Gate Tom Insert
Tom2 Mellow Tom Insert
Tom2 Mellow with Gate Tom Insert
Toms - Gate & Eq Tom Insert
Toms1 Tom Insert
Toms2 Tom Insert
Toms3 Tom Insert
Toms4 Tom Insert
Toms5 Tom Insert
Toms6 Tom Insert
Toms7 Tom Insert
Toms8 Tom Insert
Distorted Vox Vocals Amplifier
Vocal Devil's Tongue Vocals Aux
Vocal Effect Vocals Aux
Vocal Bus Vocals Group Bus
90s Vocals Vocals Insert
Ambient Vocal Vocals Insert
Clear Up Vocals Vocals Insert
De-Esser Vocals Insert
Distorted Vocals Vocals Insert
Exciter & Plate Vocals Insert
Female Air Vocals Vocals Insert
Female Air Vocals with Echo Vocals Insert
Gate2 Vocals Insert
Hard Metal Vocals Vocals Insert
Imaginary Vocal Vocals Insert
In Your Face Vox Vocals Insert
Indie Vocals Vocals Insert
Lean Metal Vocals Vocals Insert
LoFi Distorted Vox Vocals Insert
LoFi Vocals Vocals Insert
Mighty Vocals Vocals Insert
Phone with Reverb Vocals Insert
Phone with Slap Delay Vocals Insert
Pop Parallel Vox Vocals Insert
Rock Parallel Vox Vocals Insert
Soft Song Vocals Vocals Insert
Space Vocals Vocals Insert
Vocal Compressor-Exciter Vocals Insert
Vocal Compressor-Slapback DLY Vocals Insert
Vocal Doubler Vocals Insert
Vocal Stereo Enhancer Vocals Insert
Vocal Stressor Vocals Insert
Vocal with Slap Delay Vocals Insert
Vocal with Slap Delay2 Vocals Insert
Vocal1 Vocals Insert
Vocal2 Vocals Insert
Vocal3 Vocals Insert
Vocal4 Vocals Insert
Vox with 12Bit Room Vocals Insert
Wide Vocals Vocals Insert
Wide Vocals2 Vocals Insert
Wide Vocals3 Vocals Insert

Starting with the Ultimate Speaker Demo, an ever-increasing number of the GearTunes audio  clips are being tracked using the Radial JCR Reamp. The Reamp was invented by my good friend and colleague John Cuniberti who engineered/co-produced many of Joe Satriani's most infamous recordings.

For GearTunes, reamping allows me to record a track where the guitar "hears" the amp in the room, but initially only the guitar or guitar and effects signal is recorded. This allows me to spend additional time perfecting amp tones and mic placement once I have the performance I'm looking for. One of the byproducts of this process is the creation of GearTunes DI Clips which enable you to play select guitars and effects through your amp by using your mobile device or computer as a reamp device.

For GearTunes DI Clips - and Gear Tune DI Clips ONLY (always found under the DI clips tab for gear that has one), you can play our guitar and effects through your amp. Simply use an unbalanced cable that terminates with an 1/8th inch jack on one end and a 1/4 inch jack on the other. Connect the 1/8th jack to the output of your mobile device or computer and the 1/4 inch jack into the front of your amp. Start off with your amp volume at zero and your mobile device (or computer) volume all the way up to ensure you hit the front end of the amp with enough signal, and then gradually increase the volume of the clean channel on your amp until you reach a level that is not capable of causing damage to your ears or equipment. GearTunes accepts no liability for the use, abuse or misuse of these clips, and playing them into your amp is done exclusively at your own risk.

I am tremendously excited about being able to share GearTunes DI Clips with you as you journey on your quest to find right gear for the music you play! Cheers ~ Doug:)

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