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Bass Amp Room
Introduction
WHEN WE DESIGNED BASS AMP ROOM we had
two goals in mind. The first goal was to give the user
the best possible sound quality and state- of- the- art
physical modeling. The other, equally important goal
was to give the user a plug in that was intuitive and
allowed for a really fast work flow. Time is money,
but cutting down on time shouldn’t have to mean
that you need to accept poor results. At least not
with Bass Amp Room. And having an amp model
that behaves just like the real thing will definitely
speed up the work process, since you probably
already know how to use it.
In short, you need the same
skills to master this software
as you need when dealing with
the real studio set up. You can
get back to doing what you do
best, because music production
should be about using your ears,
not your computer skills.
WE HAVE IMAGINED TWO
TYPES OF USERS. The first
wants the best possible amp
modeling and is willing to
spend time tweaking the sound
of each bass track. By working
the mics, amp and D.I. tone
controls, and, perhaps most
importantly, the blend between
the D.I. and amp, this user gets
full control over the sound without ever losing it’s
authenticity.
The second user is one who, just like the previous
user, wants the best possible amp modeling, but rec-
ognizes the fact that he/she cannot spend too much
time tweaking it. That is why we have, for example,
only a single tone control knob on the D.I. and a
one- knob limiter. Don’t be fooled by the simplicity,
however; you still have the ability to create a unique
signature sound. The strength lies in the very easy
individual blocks (the amp, the D.I., the cabs and
mics) and the ability to mix and match between
them.