11.0

Effects and effect plug-ins 135
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the "Loudness" function by cutting the (lower) mids and lifting the
deep bass and highs. It's sort of like "instant slap")
Next, the signal passes through the compressor stage (Comp). This
is a simple but extremely musical, optical design: The bass triggers a
light source that is couple with a photo resistor which dampens the
signal. This may already be familiar to you from the most famous
studio compressor for bassists, i.e. Urei LA2A, which functions
according to the same principle.
After any possible compression, Drive provides the option to take the
bass sound to the next level. Saturating the signal takes place
depending on the frequency: In spite of a level of distortion, the
basses remain relatively clean and contoured.
The equalization stage offers 4 frequency ranges, whereby the two
mid bands are variable. The final master volume controller specifies
the volume of the final stage. As with the guitar amp, the end tubes
are also engaged in this case as much as remains sensible.
Cabinet simulation
For the cabinet simulation, playback of guitar sounds is simulated via
speaker cabinets and pick-up from the boxes via 2 microphones.
The selection list features multiple speakers, housing types, and
microphones. Two separate microphones are included with a
modeled recording space. Analogously to a real situation, you may
position a virtual microphone stand in a space to achieve interesting
mixing ratios and stereo effects.
It's up to your creativity whether you would like model the cabinets
on realistic role models (e.g. 12" vintage speakers in a 4 x 12
housing) or place a 10-inch design in a 15-inch box. You may also
specify how strongly the speakers may/should or how penetrating the
housing portion affects the overall sound. The dampening
characteristics of the loudspeaker cabinet may also be adjusted.
In terms of microphones, the parameters room size and dampening
may be set via the simulated recording space. Model a silent
chamber or put the sound "on stage".