Eleven Rack 

~ using the 11R for recording & clean tones ~

This article examines using the Eleven Rack mainly for Recording, with some focus on Clean Tones. Hopefully, this article will bridge the information gap between the guitarist and the recording artist.

There are already many excellent articles and tutorials on using the Eleven Rack for Live, covering Distorted tones, especially for Lead guitar. The factory presets are very good examples.

Clean Tones imply clarity and transparency; nakedness, if you like; which is also useful for Rhythm Guitar. You can't hide behind a wall of fuzz playing only 3 strings. This is mostly what-you-play-is-what-you-get but, with "loudness control" put together with "effects", even strictly rhythm can be made to cry or sing. 

Overview

Eleven Rack is:-


These two functions work independently. The Main Output will play back both the Rig Out and the DAW Output at the same time.

 

Eleven Rack by Digidesign/ Avid

In Eleven Rack, we create "Rigs" which are a chain of devices; combinations of gear, pedals, amps & cabs within the Effects (FX) Processor.  This  includes emulation of Amplifier heads and loudspeaker Cabinets.

Ins & Outs

Eleven Rack (11R) has several Inputs and Outputs. 

For monitoring audio, I shall assume you will be listening to the Main Output; which is the same as the (Head) Phones Output.

How the chart works - The square boxes are like multiple choice; you can only tick one choice for the Rig In or Outputs to Amp (1 & 2) or USB.

Common Configurations

Guitar Analog Recording

Guitar In  - - -<- - - GuitarMain Output  - - - ->- Mixing DeskOutput to Amp 2(R) ->- Mic'd Up Amp

Guitar DAW Recording

Guitar In  - - -<- - - GuitarUSB  - - - - - -<- ->- Computer DAWMain Output  - - - ->- Headphones

Guitar Live/ Stage Setting

Guitar In  - - -<- - - GuitarMain Output  - - - ->- PA MixerOutput to Amp 1(L) ->- OnStage Amp Output to Amp 2(R) ->- Mic'd Up Amp

Microphone DAW Recording

Mic In - - - - -<- - - MicrophoneUSB  - - - - - -<- ->- Computer DAWMain Output  - - - ->- Headphones

Audio Recording

Eleven Rack is connected to your Computer Digital Audio Workstation (DAW) by the USB2.0 cable. In your DAW software, audio setting should be something like: Edit> Preferences> ASIO Avid Eleven Rack ASIO (64 bit).


In your DAW, if you arm a track for recording, you can choose from a number of Eleven Rack's digital interface Sources:-


Most DAW software will allow you to arm multiple tracks for recording. In this manner, you can record the dry guitar and wet guitar on separate tracks at the same time; plus you can also record your vocals at Mic-In and synths at Line-In as well.

This example using Reason Studios as DAW software.

Recording Options

Dry Signal Recording

The Eleven Rack was designed so that you would use a DAW (like ProTools) to record the guitar Dry (unprocessed); but on playback, the dry signal would be Re-Amped; ie routed back into the Eleven Rack to be processed through a Rig. In this way, only the dry guitar "performance" is recorded. This method of recording the dry performance is very popular because the music producer can keep changing the rig tones and does not have to commit to any rig processing until the final mix-down.


Wet Signal Recording

On the other hand, self-recorded artists usually have a fairly clear idea of the sound they want to achieve and like to record the Wet (processed) signal. The logic here is that the guitar sound treatment is part of an overall sound design; no different from the drums (which have their own drum EQ, reverb and compressors) or the bass (which have their own synth engines, frequency crossovers and compressors).


We have options for recording; where Option 0 = dry, 1 = moist, 2 = damp, 3 = wet. You get the idea!.

 [0] dry   : unprocessed [1] moist : with compression [2] damp  : with compression & mild effects [3] wet   : rig with full effects
Option 3 is the same as Option 2 except the effects Mix knobs are turned up. Here, I'd like to point out that Option 3 Rig might need to be subdued/ tamed because, at mix-down, all the recorded tracks would additionally use the Aux Sends (for reverbs, delays, modulated FX) plus (master) compressor [just as for the drums and bass]. Just a friendly reminder!
I highly recommend that you get the 11R Editor as this will make things 20 times faster. 
-:-
Please check on the known issues of installing the Editor software and if it will work on your system. There have been a few horror stories about the Editor's installation software.

Recording Levels

Dry Record : bypassing Rig

Here we bypass the Rig to record directly from source. On your DAW track input, select "Guitar In". 


You will need to check your recording level. Playing your guitar with the hardest/ loudest strumming should be -6dB ~ -3dB level. Although most modern DAWs will have some extra headroom, try not to hit 0dB (Usually a red LED will light up to indicate clipping).

Eleven Rack does not have a "Output Boost" knob for the dry signal to the DAW.  Also, there's no convenient way to listen to the dry "Guitar In" signal. The dry record levels are low but we're expected to "normalise" them later.

Using Guitar In is too quiet for me. I need to hear what I'm recording and I like to see a healthy signal. So I recommend using a boost Rig.


Dry Record : using Rig (for boost only)

Here we create a "dry boost Rig" which bypasses all the devices except only to boost the signal.

Using a Rig is easy and Dyn III is transparent (no added colour).  For DAW recording, it's useful to have a separate control at the input level (see Gain Staging).

DAW recording input levels. Using input as Guitar In, playing the guitar as hard as I can, I only get -12dB level with humbuckers.
ProTools Plug-In Guide's recommended recording levels:-
  • Single Coil PickUps range -8dB ~ -4dB
  • Humbucker PickUps range -4dB ~ 0dB

-:-
Dry Rig with a Dyn III Compressor : Ratio at 1:1 is off ; Output boost = +9dB

Rigs -&- Devices

A Rig is chain of Devices. We can broadly classify these devices as "loudness control" and "effects". 

Loudness Control:-


These devices can add to the overall loudness. EQ adjusts the timbre. Clipping changes the tone/ timbre. 


Devices available:-
  • DIST ▪ BlackOp Dist ▪ DC Dist ▪ Green JRC Overdrive ▪ Tri-Knob Fuzz ▪ White Boost.
  • AMP/ CAB : 33 Amps / 15 Cabinets / 10 Microphones - see separate list below.
  • COMP ▪ Dyn III Comp ▪ Gray Comp.
  • EQ ▪ Graphic EQ ▪ Parametric EQ.

Effects:-


These devices are time-based effects and create a sense of movement and depth. Basically, effects are added to the sound signal. The Mix controls the strength of the effect: Normal effect, Mix = 40-50% / Mild effect, Mix = 20-30%.


Devices available:-
  • MOD ▪ C1 Chorus/ Vibrato ▪ Flanger ▪ Multi-Chorus ▪ Orange Phaser ▪ Roto Speaker ▪ Vibe Phaser.
  • DELAY ▪ BBD Delay ▪ Dyn Delay ▪ Tape Echo.
  • REVERB ▪ Blackpanel Spring Reverb ▪ 11-SR Stereo Reverb
BlackOp Distortion : for loudness, it has Distortion and Volume controls.
DC Vintage Clean Amp : for loudness, it has Gain, Master and Output controls. 
Dyn III Compressor : for loudness, it has Gain.
Parametric EQ : for loudness, it has an Out control.

Digging in the Riggin'

Using the computer Editor is the fastest way to make patches/ Rigs. However, it's also good to know the front panel method of editing. Pressing SW1 will cycle through different display Modes:-

Simple ->- Details ->- Outputs ->- Default


Pressing Edit/Back opens the front editor; the Scroll knob moves the cursor and the Front Big knobs change the parameters. Scroll knob basically shows:-

Input > {Rig Chain} > Output > Others 
Eleven Rack's Edit pages & parameterspg.1 : INPUT - Volume - Wah -pg.2 : Dist - Amp - Cab - FX Loop - FX1 -pg.3 : FX2 - Mod - Dly - Rev - OUTPUT -pg.4 : DISPLAY - TEMPO - PEDAL - METERS
Editor for Eleven Rack

Signal-Chain

There are many ways to combine a Rig signal-chain. The devices flow from left to right (unlike on pedal boards). For recording of clean tones, I would use a Rig signal-chain something like one of these:-

[1] : VOL - WAH  -  DIST - AMP - Loop - FX-1 - FX-2 - MOD - DELAY - REVERB[2] : VOL - WAH - FX-1 - DIST - AMP - Loop  -  FX-2 - MOD - REVERB - DELAY


FX-1 & FX-2 can select from COMP, EQ or MOD devices only. For recording clean tones, I would mostly use Dyn III Compressor for both FX-1 & FX-2.


 If we rank the effects from most subtle to most obvious, it would be [1] Chorus, [2] Reverb, [3] Delay. This is an indication of how much of these effects we should mix in.

Some Devices In-Depth

Included in Eleven Rack are several devices from ProTools' plug-ins. Some of them are ideal for studio recording use:- 


Parametric EQ ▪ Dyn III Compressor ▪ Multi-Chorus ▪ Dyn Delay ▪ 11SR Stereo Reverb


The Amps/ Cabs list is further below.

Parametric EQ


Parametric EQ is good but I'm going to ignore it (for now). This is because I am assuming that:-(a) we would instead use the Amp's EQ for natural sounding clean tones, (b) the DAW software / mixer desk will always have a superior set of EQ tools to use, and(c) critical EQ would be decided on later, during Mix-down.As such, I would only use Parametric EQ if needed as an effect. 
White Boost distortion

Dyn III Compressor

Dyn III Compressor is taken from ProTools' plug-in Dynamics III. For more on this effect, please refer to my article Audio Compression (recommended).


For recording purposes, the guitars need to stand out equivalently like the other tracks. The dynamics need to be more controlled so we tend to use much higher compression ratios than for live use. In live use, high ratio compression can cause feedback problems.


Typical compression ratios are 4:1 for general compression and 10:1 for limiting. 


Attack time affects the character a lot: 5ms is smooth; 10ms is a click; 20ms is a "pick"; 40ms is a pluck; 80ms is a twang... or something like that.  


Setting Threshold is important. If your playing/ strumming loudness is 1 = soft, 3 = mid, 5 = loud; then you want the Threshold to start to compress between 3 & 4. 

Dyn III set for medium Compression, Ratio = 4:1
Dyn III set for Limiting, Ratio = 10:1
-:-
Dyn III doesn't have a LED light to show us when the compressor kicks in. Setting the Threshold by ear means clicking the compressor on/ off (to compare) while still playing the guitar.

Multi-Chorus

Multi-Chorus is from ProTools plug-in AIR Multi-Chorus. For more on this effect, please refer my article on Flanger & Chorus. The article has the delay times for quite a few well known chorus & flanger devices.


Low Cut  sets the Frequency for removing low frequencies. It is useful for removing Sub-bass frequencies. Adjusting Low Cut also alters the "character" of the effect.


Frequency guide for using Low Cut.Tuning Frequencies in Hz (appx)Guitar   E   A   D   G   B   e        82.4 110 147 196 247 330Bass     b    E    A    D    G        30.9 41.2 55.0 73.4 98.0
Example: To have a modulated delay range of 5ms ~ 8ms, just set PreDelay = 5ms and Depth = 3ms.

Eleven SR (Stereo Reverb)

A little bit of reverb add so much character to a sound. Eleven Stereo Reverb has a large selection of room materials and sizes as well as plate reverbs.

Eleven Stereo Reverb.

Dyn Delay

Dyn Delay is from ProTools plug-in AIR Dynamic Delay. 

Dyn Delay also provides filters for Low Cut (HPF) and High Cut (LPF) to "mould" the Delay signal's timbre.

Dyn Delay has an "Envelope Follower" which uses the loudness of your signal output (how loudly you're playing) to control the Fbk & Mix settings. This is like touch/ velocity control. A positive value accentuates the effect; a negative value decreases the effect.Fbk  - Feedback is altered by your playing loudness. Mix  - Mix is altered by your playing loudness. Rate - Rate determines how quickly the Feedback and Mix parameters respond to your playing loudness.

Amps  & Cabs

Below is the list of Amplifiers in Eleven Rack... so just scroll down to get an idea of the range.


Emulation   ELEVEN RACK Amplifier Equaliser TremoloCustom JCM800-style     DC Modern Overdrive G   -   M B   M   P   T  \b tS tDCustom US late-80's tube Super OvrDrv DC Modern SOD ² G   -   M B   M   P   T  \b tS tDCustom 1980's Marshall® JCM800 DC Modern 800 ² G   -   M B   M   P   T  \b tS tDCustom 1960's Fender® DC Modern Clean ² G   -   M B   M   P   T  \b tS tDCustom Fender-style Deluxe DC Vintage Crunch G   -   M B   M   P   T  \b tS tDCustom Marshall-&-VOX-style DC Vintage OD ² G   -   M B   M   P   T  \b tS tDCustom VOX® 1966 AC30 tube DC Vintage Clean ² G   -   M B   M   P   T  \b tS tDCustom Ampeg® 1969 SVT   DC Bass ² G   -   M B   M   P   T  \b tS tDSoldano® 1989 SLO-100 Super Ld Ovrdrv SL-101 Crunch P   -   M B   M   P   T  \b -  -Soldano® 1989 SLO-100 Super Ld Ovrdrv SL-102 Clean P   -   M B   M   P   T  \b -  -Soldano® 1989 SLO-100 Super Ld Ovrdrv SL-100 Drive P   -   M B   M   P   T  \m -  -Fender® 1967 Twin Reverb® Black Duo -   -   V B   M   -   T  \b tS tIFender® 1964 Vibroverb Black Vib -   -   V B   M   -   T  \b tS tIFender® 1965 Super Reverb Black SR ² -   -   V B   M   -   T  \b tS tIMesa/Boogie® 1985 Mark IIc+ Lead M-2 V   D   M B   M   -   T  \b -  -Mesa/Boogie® 1992 Dual Rectifier® ch.3 Treadplate Modern G   -   M B   M   P   T  - -  -Mesa/Boogie® 1992 Dual Rectifier® ch.2 Treadplate Vintage G   -   M B   M   P   T  - -  -Bogner® Ecstasy 101B ch.Lead RB-01b Red ² V   G   B B   M   P   T  - -  -Bogner® Ecstasy 101B ch.Rhythm RB-01b Blue ² V   G   B B   M   P   T  - -  -Bogner® Ecstasy 101B ch.Clean RB-01b Green ² V   G   B B   M   P   T  - -  -Marshall® 1982 JCM800 2203 100W Lead 800 P   -   M B   M   P   T  - -  -Marshall® 1965 JTM45 J45 ² H   -   N B   M   P   T  - -  -Marshall® 1967 Super Lead "Plexi" Plexiglas Vari ² H   -   N B   M   P   T  - -  -Marshall® 1968 Super Lead 50w Plexiglas - 50w ² H   -   N B   M   P   T  - -  -Marshall® 1959 100W Super Lead Plexiglas - 100W H   -   N B   M   P   T  - -  -Fender® 1959 Bassman® Tweed Bass Bg  -   N B   M   P   T  - -  -Matchless® 1993 D/C-30 MS-30 ² V   -   M B   C   -   T  - -  -VOX® 1966 AC30 AC Hi Boost Bl  -   M B   C   -   T  - tS tDFender® 1964 Deluxe Reverb® vib. ch. Black Panel Lux Vibrato -   -   V B   -   -   T  - tS tIFender® 1964 Deluxe Reverb® norm. ch. Black Panel Lux Normal -   -   V B   -   -   T  - tS tIFender® 1965 Champ Black Mini -   -   V B   -   -   T  - tS tIFender® 1959 Deluxe Tweed Lux Mic -  Ins - Tone  -   -  - -  -Ampeg® 1969 SVT Blue Line Bass ² -   -   V uL B M F T uH \b -  -

Legend of abbreviations for Knobs and Switches [² = from firmware version 2].

Amplifier : G= Gain, M= Mstr., P= Pre., V= Vol., D= Drive, H= HiGain, N= Norm., Bg= Bright, Bl= Bril., Mic= Mic.Vol., Ins= Inst.Vol.Equaliser :  B= Bass, M= Mid., P= Pres., T= Treble, C= (Mid) Cut,\b= Bright (switch), \m= Mod., uL= UltraLow, F= Freq., uH= UltraHigh.Tremolo :  tS= Speed, tD= Depth, tI= Intensity.
Available cabinets include the following:• 1x8 Custom• 1x12 Black Panel Lux• 1x12 Tweed Lux• 1x15 Open Back (Ampeg Reverberocket 1x15 w. Jensen C15N)• 2x12 AC Blue• 2x12 Black Panel Duo• 2x12 B30 (Bogner 2x12 with Celestion Vintage 30)• 2x12 Silver Cone (Roland JC-120 2x12)• 4x10 Tweed Bass• 4x10 Black SR (Fender Super Reverb 4x10 w. CTS Alnico)• 4x12 Classic 30• 4x12 65W (Marshall 4x12 w. Celestion G12-65)• 4x12 Green 20W (Marshall 4x12 w. Celestion Heritage G12M)• 4x12 Green 25W• 8x10 ³ Blue Line (Ampeg SVT 8x10)
Available Mic Types for the Cabinets include the following:• Dynamic 7• Dynamic 57• Dynamic 421• Condenser 67• Condenser 414• Ribbon 121• Dynamic 409 (not for 8x10 ³)• Condenser 87 (not for 8x10 ³)• Dynamic 20 (only for 8x10 ³ )• Dynamic 12 (only for 8x10 ³)

An amplifier also acts as a compressor of sorts. Also Eleven Rack uses its True-Z input to emulate the amp's impedance load so the dynamic response is like the real amp. Since it feels like a real amp, you should be inspired to play better too. 


When getting familiar with an amp, it's useful to figure out its "neutral setting" as a reference: With the amp's knobs at "neutral", the timbre/ tone should sound about the same as when bypassing the amp. 


All amps are different. The range of Amps within Eleven Rack is quite large. Some amps are easier for clean sounds than others. Increasing the Gain causes overdrive on some Amps; but not on others. Some Amps have Mid EQ knobs which can't boost and only cut. It'll take a while to figure out which ones are your favourites. 


As a bonus, some of 11R's Amps also have Tremolo (which is sometimes labelled as Vibrato) [Pls refer to list for full specs].


Neutral settings for Amps
Black Mini : neutral - Vol= 5, Treb= 5, Bass= 5. 
DC Modern Clean : neutral
DC Vintage Clean : neutral
'59 Tweed Bass : neutral
'66 AC Hi Boost : neutral

Distortion

Sometimes you need a bit of grit which the Amp doesn't have: That's when you use Distortion. 


Eleven rack has so many Amps with so much range of gain overdrive that devices like Distortion are really overshadowed: But they still have their uses. 


In general, I twiddle with the Amps first; get that done; and then look at using Distortion (if needed). 

BlackOp : neutral

Tips & Tricks

Display & Meters

Certain choices can only be made using the front panel and these are not visible in the Editor software. These settings can be saved as part of the Rig. Of interest are Display and Meters. To access them, press Edit/Back and use the Scroll knob to go to page 4. 


Display let's you select which Device will appear on the 11R front panel and its settings/ controls can be adjusted using the knobs. The default device is Amp, which typically is suitable. See the earlier example of "Dry Record : using Rig" which displays FX2 using Dyn III Compressor so we could control the Gain knob from the front panel.


Meters let's you see the Signal level at different inputs & outputs. This is useful for finding the source of problems like crackling or hiss or hum. The Meters show the signal strengths of Left & Right separately.




Press Edit/Back to open the front editor and use the Scroll knob to move to page 4.pg.4 : DISPLAY - TEMPO - PEDAL - METERS
DISPLAYCONTROLS = Amp - FX Loop - Vol. Ped. - Wah Ped. - Modulation - Reverb - Delay - Dist'n - FX 1 - FX 2
METERSI/O = Gtr(L) + Mic(R) - Line In - FXLoop Rtn - Digital In - Main Out - Headphones - Output to Amp - FXLoop Send - Digital Out - USB MainOut - USB Re-Amp - USB Digital Out - Rig Out.

Gain Staging & Rig Balancing

Gain Staging - This is a process to optimise the signal level at every stage in the audio chain. A low signal can be noisy while a high signal can distort. For the Eleven Rack, the process is mainly done by ear but is fairly simple: -


Do this for every device in the rig chain which has a Loudness control. Basically, this applies to DIST, AMP, COMP & EQ.


You are adjusting the output level of a device to match the input. By ear, this only needs to be a rough approximation. However, be aware of the urge to increase the output just because "louder sounds better" psychologically. Keep it simple.

Rig Balancing - This is where we adjust the output signal level of every Rig to make them all approximately the same loudness. Basically we want to switch between Rigs without any obvious differences in signal level. 


Rig Balancing is available from -24dB to 0dB. In the Editor software, use the field labelled as VOLUME (in Rig Settings, displayed near the top between TRUE-Z and TEMPO). For the front panel, press SW1 to move to the Outputs mode (displays Output Volume), then adjust the Rig Vol knob.


Assuming every Rig has been gain-staged fairly well, then rig balancing will only need mild signal reduction. The rig balancing process generally involves finding the quietest sounding Rigs and then adjusting the volume levels of the other Rigs to match. However, it might be prudent to review the gain staging of the quiet Rigs to bring them up to the average volume Rigs.

Designed for 0dB - The Eleven Rack has multiple Inputs and Outputs with a guitar signal processor built in between. From the front panel, press SW1 to move to the Outputs mode to adjust the Output Volumes. All output levels are "optimally maxed" to be at 0dB. So outputs: TO AMP 1 and  TO AMP 2 should be 0dB if feasible. With gain staging, all the volume levels at the outputs should be correct at about 0dB (what it was designed to be).

Notwithstanding all that, Eleven Rack has a generous amount of headroom for going beyond the designed output. This headroom cushion was provided for the "These knobs go up to eleven" mindset. In general, I do not recommend pushing the 11R that much beyond the 0dB as designed. Overdriving the 11R causes overheating and can shorten the life of the unit.

The 11R's temperature is a simple test to check if your Output levels are okay. As long as the 11R is not overheating, it's fine. Running only USB to computer and no other output connections, the 11R should be cold/ room temperature. With Main Outputs and both Outputs to Amp connected, it's okay if the 11R becomes mildly warm. It should not be running hot. Perhaps there's another device beneath it that is hot.

For gain staging AMPs in the Editor software, use the overall Output knob in the top right-hand corner of the AMP device.
For gain staging AMPs on the front panel, press SW1 to move to the Outputs mode, then adjust the Amp Out knob.

An alternative approach is to treat the DIST + AMP as one "device block". This is usually where you want to boost the DIST output going into the AMP's pre-amp gain. In this situation, you will match the loudness of both devices ON compared to both devices OFF. As a "device block", the gain stage control is the AMP's overall Output Knob.

 

Equivalent parametersFront Panel ≡  EditorOutputs Mode   TO AMP 1  ≡ [1]  TO AMP 2  ≡ [2]  AMP OUT   ≡ OUTPUT knob  RIG VOL   ≡ VOLUME field 
In Editor software...Both [1] & [2]  are in Rig Settings on the top row, on the right (just below EXP. PEDAL).VOLUME field is in Rig Settings on the top row, in the middle (for rig balancing).OUTPUT knob is on the AMP device, top right (for gain staging).

Resources & Links

Avid (Digidesign) Eleven Rack


♦ DRIVER : If you are using a Digital Audio Workstation (DAW) in Windows 7 or above, I recommend that you install the 1.1.11 Driver as this version has ASIO support. The file is labelled as "Install Avid Eleven Rack 1.1.11.exe". Alternatively, you can use the latest driver version together with ASIO4all (Universal Windows ASIO Driver).


♦ EDITOR : To install the Editor in Windows 8 & above, you need to download the latest iLok/ Pace Licence Manager [also]. This was the embedded anti-piracy software used by ProTools during Windows 7.

You will need 11R Driver, 11R Editor, latest iLok Manager; and the process is something like this:-

▪ Install 11R Driver {for your computer to recognise 11R device}

▪ Install 11R Editor {contains old Pace Manager}

  ▫ Select "NO". Do NOT install Pace/iLok manager

  ▫ Select "NO". Do NOT ReStart, when prompted

▪ Install iLok Manager {replaces old Pace Manager}

▪ ReStart computer

▪ Install 11R Editor again {as a precaution}

▪ ReStart computer

▪ Plug-In 11R


♦ FILE LIST : For installing the EDITOR with the latest iLok/Pace, I have compiled the list of files to download here. Please also search the internet for the latest information on this. 

Eleven Rack Driver : 

Eleven Rack Editor : 

iLok/Pace Licence Manager : 


In Reason Studios, clicking Edit\ Preferences\ Audio shows the ASIO option installed by the version 1.1.11 driver.

End of Article

Bonus Section

Avid Knowledge Base


AIR Creative Collection - User Guide


Avid Audio Plug-Ins - Guide


Notes:

> macOS 10.15 (Catalina) is NOW supported> Pro Tools 8.0.1 or higher required to use Eleven Rack with Pro Tools> Pro Tools 8.0.5, 8.1.1, 9.0.2 (or higher) required to use Pro Tools with Eleven Rack Expansion Pack> USB 3.0 Ports not supported with Windows 7 (more info)

Windows Releases

version  :  release date  :  link> info
1.1.12  :  April 22, 2021  :  download> Supports Windows 10 20H2> Supports Pro Tools 2021.3 or higher
1.1.11  :  May 12, 2016  :  download> Fixed: Blue screen after Eleven Rack has been uplugged from power supply> Supports Windows 7, 8, 8.1 & Windows 10> Supports Pro Tools 12.0 or higher> Find out about Eleven Rack Editor
1.1.10  :  May 4, 2015  :  download> Supports Windows 7, 8, 8.1> Supports Pro Tools 11.3 - 11.3.2, 12.0 - 12.3> Added support for Application Manager
1.1.9  :  Dec 16, 2014  :  download> Fixed: The "Updates" button in Eleven Rack control panel referred to outdated page> Supports Windows 7, Windows 8, Windows 8.1> Supports Pro Tools 11.3, 11.3.1, 12.0
1.1.7  :  Apr 3, 2014  :  download> Fixed: Blue Screen first time launching some apps with Eleven Rack connected on Windows 8.1> Fixed: Blue Screen after installing Eleven Rack driver v1.1.6 over previous versions on Windows> Support for Pro Tools 10.3 - Pro Tools 11Windows 7, 8, 8.1
1.1.6  :  Jun 20, 2013  :  download> Fixed: Hardware latency values are now reported with greater accuracy, allowing host applications to perform the best possible hardware latency compensation, > Improved performance, Improved multi-client support, Miscellaneous bug fixes> Added Windows 8 support> Support for Pro Tools 10.3 - Pro Tools 11
1.0.11  :  Sep 16, 2011  :  download> Windows XP and Windows 7
Note: Installing the Drivers will allow you to change the Clock Source and Sample Rate outside of Pro Tools.  This is useful if the Eleven Rack is not your main Pro Tools interface but is connected to another interface via S/PDIF or AES/EBU. 

Mac Releases

version  :  release date  :  link> info
1.2.14  :  April 22, 2021  :  download> Supports macOS Catalina (10.15.7) and Mojave (10.14.6)> Tested with Avid-qualified Apple computers> Minimum qualified Pro Tools version: 2021.3> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools
1.2.13  :   March 14, 2018  :  download> Supports macOS Mojave (10.14.4) and macOS High Sierra 10.13.6> Also supports Mac OS X 10.8.5, 10.9.5, 10.10-10.10.5, 10.11.1-10.11.6, and 10.12.6> Tested with Avid-qualified Apple computers> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools> Find out about Eleven Rack Editor
1.2.12  :  October 26, 2016  :  download> Supports macOS 10.12.6 (Sierra)> Also supports Mac OS X 10.8.5, 10.9.5, 10.10-10.10.5, 10.11.1-10.11.6> Tested with Avid-qualified Apple computers> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools> Find out about Eleven Rack Editor
1.2.9  :  May 12, 2016  :  download> Fixed: AAE error -6101 while record and playback on low buffer sizes> Supports Mac OS X 10.8.5, 10.9.5, 10.10-10.10.5, 10.11.1-10.11.6> Tested with Avid-qualified Apple computers> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools> Find out about Eleven Rack Editor> Core 2 Duo Mac users read this
1.2.8  :  Jan 14, 2016  :  download> Supports Mac OS X 10.8.5, 10.9.5, 10.10-10.10.5, 10.11.1-10.11.6> Known issue: AAE error -6101 at lowest buffer setting on some older Macs> Known issue: Sample dropouts when recording via S/PDIF @ 96KHz with HW Buffer <1024 on some older Macs> Tested with Avid-qualified Apple computers> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools> Core 2 Duo Mac users read this
1.2.5  :  May 4, 2015  :  download> Supports Mac OS X 10.8.5, 10.9.5, 10.10-10.10.5> Added support for Avid Application Manager> Tested with Avid-qualified Apple computers> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools> Core 2 Duo Mac users read this
1.2.2  :  Dec 16, 2014  :  download> Supports Mac OS X 10.8.5, 10.9.5, 10.10-10.10.2> Check the Pro Tools Operating System Compatibility Chart to see qualified OS versions for Pro Tools> Tested with Avid-qualified Apple computers> Core 2 Duo Mac users read this
1.2.1  :  Oct 10, 2014  :  download> Fixed: Unplugging the Eleven Rack while streaming audio from iTunes could disable all  USB ports until restarting the computer> Mac OS X 10.9-10.9.4 Mavericks support only> Mac OS X 10.9 requires Pro Tools 11.0.3 or higher> Mac OS X 10.9.1 requires Pro Tools 11.1.2 or higher> Mac OS X 10.9.4 requires Pro Tools 11.2.1 or higher> Tested with Avid-qualified Apple computers
1.2   :  Nov 12, 2013  :   download> Mac OS X 10.9 - 10.9.4 Mavericks support only> Mac OS X 10.9 requires Pro Tools 11.0.3 or higher> Mac OS X 10.9.1 requires Pro Tools 11.1.2 or higher> Mac OS X 10.9.4 requires Pro Tools 11.2.1 or higher> Tested with Avid-qualified Apple computers
1.1.1  :  Sep 25, 2012  :  download> Support for Pro Tools 10.3 - Pro Tools 11> Added Mac OS X 10.8 Mountain Lion support
1.05  :  Oct 11, 2011  :  download> For Mac OS X 10.6 and 10.7
1.0.1(9.0)  :  Mar 12, 2011  :  download>For Mac OS X 10.5 Intel/PowerPC
About Eleven Rack Editor
Eleven Rack Editor provides the same functionality as the Eleven Rack Window (found in Pro Tools versions 8.0.1-10.3.x), but functions as a standalone application. This allows for graphical editing of Eleven Rack's settings without launching Pro Tools. Also, since Pro Tools 11 and higher does not provide a Guitar window, you can use Eleven Rack Editor instead.
This article includes important Eleven Rack Editor troubleshooting and compatibility information, along with documentation and a download link for the application.
For additional information, please see the Eleven Rack Editor FAQ. 
Compatibility
To use Eleven Rack Editor, you must have an Eleven Rack with version 2.0 firmware.
  • To check the firmware version on your unit, hold the EDIT/BACK button on the front panel until the options menu appears. Then, use the scroll wheel to scroll down the list, and select Firmware Version with the SW 1 button.
  • If the firmware version is older than version 2.0, you will need to purchase and install the Eleven Rack Expansion Pack, available here.
  • Windows 8 users will require a second host system to update the Eleven Rack firmware. For more details please see this article.
  • If your Eleven Rack has older firmware, Eleven Rack Editor may still function somewhat, but the on-screen controls will not correctly correspond with parameters and presets.
Eleven Rack Editor is compatible with the following operating systems:
  • Mac OS X 10.8-10.8.5 and 10.9-10.9.1 (OS 10.7.5 and earlier are not compatible)
  • Windows 7 SP1 and Windows 8/8.1 (64-bit only)
USB 3.0 Notes
  • Do not attempt to use Eleven Rack (or any Avid USB audio interfaces) with USB 3.0 ports on Windows 7 systems, as this is unsupported, and will probably result in frequent blue screens.
  • Windows 8 supports USB 3.0 for use with audio interfaces, but a blue screen will occur if an interface connected to a USB 3.0 port is disconnected.
  • Connection to USB 3.0 ports is supported on Mac systems.
Driver Download
To use Eleven Rack Editor, you must first install the latest Eleven Rack driver for your Operating System. Driver downloads for both Mac OS X and Windows are available here:

Read Me Download
Please read the Read Me for important information regarding Eleven Rack Editor:
User Guide Download
The Eleven Rack User Guide has been updated with information and instructions pertaining to the Eleven Rack Editor.
Application Download
Eleven Rack Editor is available for download here:
Installation Instructions - Mac
  1. Download Eleven Rack Editor from the above link
  2. Double-click "Eleven_Rack_Editor_1.0.0_Mac.dmg" to open the disk image
  3. Drag Eleven Rack Editor to your Applications folder, or to the provided Applications folder shortcut
  4. iLok License Manager is required and should be installed automatically.  If needed, it can be downloaded here


Installation Instructions - Windows
  1. Download Eleven Rack Editor from the above link.
  2. Double-click Eleven_Rack_Editor_1.0.0_Win.
  3. Double-click ElevenRackEditorSetup.exe.
  4. Follow the on-screen instructions.
  5. iLok License Manager is required and should be installed automatically.  If needed, it can be downloaded here
Troubleshooting
If Eleven Rack Editor opens as a blank window, the window disappears or can't be maximized:
  • Delete the Eleven Rack Editor Preferences as instructed here.

If a message saying Eleven Rack Editor cannot be located appears at launch:
  • Be sure Eleven Rack is connected and powered on, and the correct driver is installed for your operating system.
  • Be sure the firmware of your unit is compatible with Eleven Rack Editor.  
  • Uninstall and reinstall the driver.
  • Try a different USB cable, and all available USB ports on the computer.

Eleven Rack Editor does not allow for bypass of Tremolo/Vibrato.
  • Bypassing Tremolo/Vibrato must be done via front panel of Eleven Rack, on the Amp page.
  • If you are not hearing the Vibrato/Tremolo on the selected amp, please check that it is not bypassed via front panel of Eleven Rack.

(pg.25)

Chapter 14: AIR Multi-Chorus

 

AIR Multi-Chorus is an AAX plug-in that lets you apply a thick, complex Chorus effect to an audio signal. 

{Multi-Chorus plug-in window} 

AIR Multi-Chorus Controls 

The Multi-Chorus plug-in provides a variety of controls for adjusting plug-in parameters.

Rate - The Rate control sets the rate for the oscillation of the LFO in Hertz. 

Depth - The Depth control sets the depth of LFO modulation of the audio signal in milliseconds.

Voices - The Voices control sets the number of layered chorus effects that are applied to the audio signal. The more Voices that are used, the thicker the effect. 

Mix - The Mix control lets you adjust the Mix between the "wet" (processed) and "dry" (unprocessed) signal. 0% is all dry, and 100% is all wet, while 50% is an equal mix of both. 


Multi-Chorus Chorus Section Controls 

The Chorus section provides control over the low-frequency content and stereo width of the MultiChorus effect.

Low Cut - The Low Cut control lets you adjust the Low Cut frequency for the Chorus, to limit the Chorus effects to higher frequencies. 

Width - The Width control lets you widen or narrow the effect's stereo field. 


Multi-Chorus Mod Section Controls 

The Mod section controls let you set the Pre-Delay amount, and the waveform of the LFO.

Pre-Delay - Sets the Pre-Delay in milliseconds. 

Waveform - Selects either a Sine wave or a Triangle wave for the LFO 

(pg.9-11)

Chapter 5: AIR Dynamic Delay 


AIR Dynamic Delay is an AAX plug-in. Use the Dynamic Delay Plug-In for a delay line that can synchronize to the Pro Tools session tempo and be modulated by an Envelope follower. 

{Dynamic Delay plug-in window} 

AIR Dynamic Delay Controls 

The Dynamic Delay plug-in provides a variety of controls for adjusting plug-in parameters. 


Sync - When Sync is enabled, the delay time synchronizes to the Pro Tools session tempo. When Sync is disabled, you can set the delay time in milliseconds independently of the Pro Tools session tempo. The Sync button is lit when it is enabled. 


Delay - When Sync is enabled, the Delay control lets you select a rhythmic subdivision or multiple of the beat (based on the Pro Tools session tempo) for the delay time. 

Select from the following rhythmic values: 

• 16 (sixteenth note) • 8T (eighth-note triplet) • 16D (dotted sixteenth note) 

• 8 (eighth note) • 4T (quarter-note triplet) • 8D (dotted eighth note) 

• 4 (quarter note) • 2T (half-note triplet) • 4D (dotted quarter note) 

• 2 (half note) • 1T (whole-note triplet) • 3/4 (dotted half note) 

• 4/4 (whole note) • 5/4 (five tied quarter notes) • 6/4 (dotted whole note) 

• 7/4 (seven tied quarter notes) • 8/4 (double whole note) 


When Sync is disabled, the Time control lets you set the delay time in milliseconds and seconds (1 ms to 4.00 seconds). 


Feedback - The Feedback control lets you adjust the amount of delay feedback. At 0% the delayed signal repeats only once. As you increase the feedback, the number of times the delay repeats increases. At 100%, the delay doesn't repeat indefinitely, but it does last a very long time! Note that each Delay mode produces a different feedback pattern, especially when the L/R Ratio control is not centred. 

Mix - The Mix control lets you balance the amount of dry signal with the amount of wet (delayed) signal. At 50%, there are equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet. 


Dynamic Delay Delay Section 

The delay section of the Dynamic Delay plug-in provides L/R Ratio and Stereo Width controls. 

L/R Ratio - The Left/Right Ratio control lets you set the ratio of left to right delay times. Move the control all the way to the left (50:100) and the left channel delay time is half the right channel delay time. Move the control all the way to the right (100:50) the right channel delay time is half the left channel delay time. 

Stereo Width - The Stereo Width control lets you adjust the width of the delay effect in the stereo field. 


Dynamic Delay EQ Section 

The EQ section of the Dynamic Delay plug-in provides low and high cut filters. 

Low Cut - The Low Cut control lets you adjust the frequency for the Low Cut filter. For less bass, raise the frequency. 

High Cut - The High Cut control lets you adjust the frequency for the High Cut filter. For less treble, lower the frequency. 


Dynamic Delay Env Mod (Envelope Modulation) Section 

The Dynamic Delay plug-in provides an Envelope follower that can control various parameters in real time. 

Rate - Adjust the Rate control to determine how quickly the Feedback and Mix parameters respond to input from the Envelope follower. 

Fbk - Adjust the Feedback control to determine how much the Envelope follower affects the Feedback amount. 

Mix - Adjust the Mix control to determine how much the Envelope follower affects the wet/dry mix. 

• At 0%, the Envelope follower has no effect on the given parameter. 

• At +100%, the parameter's value is increased in direct proportion to the incoming signal's amplitude envelope. 

• At –100%, the parameter's value is decreased in direct proportion to the incoming signal's amplitude envelope. 


Dynamic Delay Feedback Modes 

Select one of the following options for the Feedback Mode: 

Mono - Sums the incoming stereo signal to mono, then offers separate left and right delay output taps from that signal. 

Stereo - Processes the left and right channels of the incoming stereo signal independently and outputs the processed signal on the corresponding left and right channels. 

Cross - Processes the left and right channels of the incoming stereo signal independently, and feeds the each side's delayed signal back to the opposite channel. 

Chapter 13: Dynamics III Compressor/Limiter III  (pg.66-69)


The Compressor/Limiter plug-in applies either compression or limiting to audio material, depending on the ratio of compression used.

About Compression

Compression reduces the dynamic range of signals that exceed a chosen threshold by a specific amount. The Threshold control sets the level that the signal must exceed to trigger compression. The Attack control sets how quickly the compressor responds to the “front” of an audio signal once it crosses the selected threshold. The Release control sets the amount of time that it takes for the compressor’s

gain to return to its original level after the input signal drops below the selected threshold.

To use compression most effectively, the attack time should be set so that signals exceed the threshold level long enough to cause an increase in the average level. This helps ensure that gain reduction does not decrease the overall volume too drastically, or eliminate desired attack transients in the program material.

Of course, compression has many creative uses that break these rules.

About Limiting

Limiting prevents signal peaks from ever exceeding a chosen threshold, and is generally used to prevent short-term peaks from reaching their full amplitude.

Used judiciously, limiting produces higher average levels, while avoiding overload (clipping or distortion), by limiting only some short-term transients in the source audio. To prevent the ear from hearing the gain changes, extremely short attack

and release times can be used.

Limiting is used to remove only occasional peaks because gain reduction on successive peaks would be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited. 

Limiting generally begins with the ratio set at 10:1 and higher. Large ratios effectively limit the dynamic range of the signal to a specific value by setting an absolute ceiling for the dynamic range.

Compressor/Limiter III Threshold Control

The Threshold (Thresh) control sets the level that an input signal must exceed to trigger compression or limiting. Signals that exceed this level will be compressed. Signals that are below it will be unaffected.

This control has an approximate range of –60 dB to 0 dB, with a setting of 0 dB equivalent to no compression or limiting. The default value for the

Threshold control is –24 dB.

An orange arrow on the Input meter indicates the current threshold, and can also be dragged up or down to adjust the threshold setting.

Compressor/Limiter III Ratio Control

The Ratio control sets the compression ratio, or the amount of compression applied as the input signal exceeds the threshold. For example, a 2:1 compression ratio means that an input level that is 2 dB above the threshold will be attenuated, resulting in an output level that is 1 dB over the threshold.

This control ranges from 1:1 (no compression) to 100:1 (hard limiting).

Compressor/Limiter III Attack Control

The Attack control sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold.

The smaller the value, the faster the attack. The faster the attack, the more rapidly the Compressor/ Limiter applies attenuation to the signal. If you use fast attack times, you should generally use a proportionally longer release time, particularly with material that contains many peaks in close proximity.

This control ranges from 10 s (fastest attack time) to 300 ms (slowest attack time).

Compressor/Limiter III Release Control

The Release control sets the length of time it takes for the Compressor/Limiter to be fully deactivated after the input signal drops below the threshold.

Release times should be set long enough that if signal levels repeatedly rise above the threshold, the gain reduction “recovers” smoothly. If the release time is too short, the gain can rapidly fluctuate as the compressor repeatedly tries to recover from the gain reduction. If the release time is too long, a loud section of the audio material could cause gain reduction that continues through soft sections of program material without recovering.

This control ranges from 5 ms (fastest release time) to 4 seconds (slowest release time).

Compressor/Limiter III Knee Control

The Knee control sets the rate at which the compressor reaches full compression once the threshold has been exceeded.

As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression:

• With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.

• With soft-knee compression, gentle compression begins and increases gradually as the input signal approaches the threshold, and reaches full compression after exceeding the threshold. This creates smoother compression.

For example, a Knee setting of 10 dB would be the gain range over which the ratio gradually increased to the set ratio amount.

The Gain Reduction meter displays light orange while gain reduction has not exceeded the knee setting, and switches to dark orange when gain reduction

reaches the full ratio.

This control ranges from 0 db (hardest response) to 30 db (softest response).

Compressor/Limiter III Gain Control

The Gain control lets you boost overall output gain to compensate for heavily compressed or limited signals.

This control ranges from 0 dB (no gain boost) to +40 dB (loudest gain boost), with the default value at 0 dB.

Chapter 14: Eleven Effects Gray Compressor (pg.79)


Gray Compressor

Inspired by a well-loved ’70s solid-state compressor pedal, Gray Compressor can add singing sustain to leads or lend power and girth to chunky rhythm guitar parts.

Gray Compressor is available as a Mono (or Multi-Mono) plug-in only.

Sustain

The Sustain control lets you adjust the threshold, and thus, the amount of compression, in the Compressor effect.

Level

The Level control sets the overall output volume of the effect.

Chapter 5: Eleven Effects Graphic EQ (pg.29)


Graphic EQ

Graphic EQ is useful for simple frequency sculpting. Use Graphic EQ before other effects, such as Distortion, to shape the sonic results of additional  processing.

Graphic EQ is available as a Mono or Stereo plug-in.

Frequency Band Gain

Graphic EQ provides gain controls for five frequency bands: 100 Hz, 370 Hz, 800 Hz, 2 kHz, and 3.25 kHz.

The 370 Hz, 800 Hz, and 2 kHz bands can be boosted by up to 18 dB and attenuated down by as much as –18 dB.

The 100 Hz and 3.25 kHz bands can be boosted by up to 12 dB and attenuated down by as much as –12 dB.

Output Gain

The Output gain control lets you boost the plug-in output by as much as +6 dB or attenuate the output by as much as – 20 dB.

Chapter 32: Eleven Effects Reverb Plug-ins (pg.178-179)


Black (Panel) Spring (Reverb)

Black Spring was inspired by a classic outboard tube-driven spring reverb. It can add a “surfy” twang and dark, warm ambiance to the audio signal.

Black Spring is available as a Mono or Stereo plug-in.

On/Bypass - The On/Bypass toggle lets you bypass the Spring Reverb effect.

Mix - The Mix knob controls the blend between dry and reverbed signal.

Decay - The Decay knob controls the length of the reverb’s decay.

Tone - The Tone knob applies a high-cut EQ, making the reverb tone darker.


(Eleven SR) Studio Reverb

A smooth, clean digital reverb, Studio Reverb is based on the popular Reverb One Pro Tools plug-in from Avid.

Studio Reverb is available as a Mono, Mono to Stereo, or Stereo plug-in.

On - The On button lets you toggle the Studio Reverb effect on or off (bypassed).

Type - The Type selector lets you choose from a variety of different reverb types.

Decay - The Decay control lets you set the decay time for the selected reverb (from 0.0 to 10.0 seconds).

Pre-Delay - The Pre-Delay control lets you set 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.

Tone - The Tone knob applies a high-cut EQ, making the reverb tone darker.

Mix - The Mix knob controls the blend between dry and reverbed signal.

Chapter 41: Eleven Effects Modulation Plug-Ins (pg.241-245)


Black/Shiny Wah

Black/Shiny Wah is a standard wah pedal effect, offering a sweepable resonant filter that lets you add animation and special timbral effects to the guitar signal. It also offers a Shine option with a vintage-style modeled filter circuit and sweep response.

Black/Shiny Wah is available as a Mono (or Multi-Mono) plug-in only.

Black/Shine - The Black/Shine switch lets you toggle between the Black Wah effect and the Shine Wah effect.

Pedal Control - Click and drag up or down on the virtual pedal control to engage the Wah effect. The control is often best used with plug-in automation.


C1 Chorus/Vibrato

Based on a heavyweight late-70s analog chorus/vibrato pedal, C1 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.

C1 Chorus/Vibrato is available as a Mono, Mono to Stereo, or Stereo plug-in.

Chorus - When the Chorus/Vibrato switch is set to Chorus, the Chorus knob sets the intensity and speed of the Chorus effect.

Sync - The Sync control lets you synchronize the speed of the Chorus effect to the Pro Tools session tempo. Simply select the rhythmic value from the Sync selector.

Set it to Sync Off to control the Chorus setting manually.

Depth - When the Chorus/Vibrato switch is set to Vibrato., the Depth knob setting determines the amount of the Vibrato effect.

Rate - When the Chorus/Vibrato switch is set to On, the Rate knob controls the Vibrato rate.

Chorus/Vibrato - The Chorus/Vibrato button toggles the effect between Chorus and Vibrato. The Chorus LED or the Vibrato LED lights to show which effect is selected.


Flanger

Flanger effects originated with the act of pressing on the flanges of tape reels. Flangers became ubiquitous with the advent of effects pedals. The Flanger effect can be coaxed into bell-like resonant sweeps, or add a silky, shimmering sheen to your sound. This effect works well when positioned before or after an amplifier modeler in the signal chain.

Flanger is available as a Mono or Stereo plug-in.

Pre-Delay - The Pre-Delay knob sets the amount of pre-delay, which changes the phase relationship between the dry signal and the delayed signal, with timbral results.

Depth - The Depth knob sets the amount of delay. The higher the setting, the more “jet-engine” artifacts will be introduced.

Rate - The Rate knob lets you manually set the modulation rate for the flanger effect.

Sync - The Sync control lets you synchronize the modulation rate to the Pro Tools session tempo. Simply select the rhythmic value from the Sync selector. Set it to Sync Off to control the Chorus setting manually.

Feedback - The Feedback knob sets the amount of signal fed back into the modulated delay. Higher settings introduce more ringing, whistling artifacts.


Orange Phaser

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.

Orange Phaser is available as a Mono or Stereo plug-in.

Rate - The Rate knob controls the rate of modulation for the phaser effect.

Sync - The Sync selector lets you synchronize the modulation rate to the session tempo by the specified rhythmic subdivision.


Roto Speaker

Inspired by the rotating speaker cabinets that made classic tonewheel organs roar, Roto Speaker offers added motion and vintage grit.

Roto Speaker is available as a Mono, Mono to Stereo, or Stereo plug-in.

Speed - The Speed lever sets the speed of the rotating speaker effect in three increments: Slow, Fast, and Brake.

Balance - The Balance knob sets the blend between the upper and lower rotors of the rotating speaker.

Type - The Type selector lets you choose between various types of rotary speakers.


Vibe Phaser

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.

Vibe Phaser is available as a Mono or Stereo plugin.

On/Bypass - The On/Bypass toggle lets you bypass the Vibe Phaser effect.

Rate - The Rate slider lets you set the modulation rate for the phaser effect.

Sync - The Sync selector lets you synchronize the modulation rate to the session tempo by the specified rhythmic subdivision.

Volume - The Volume knob lets you set the signal volume passing through the effect.

Chorus/Vibrato - The Chorus/Vibrato switch toggles the dry signal on (Chorus) and off (Vibrato).

Depth - The Depth knob setting determines the amount of the effect.

Power - The Power button for Vibe Phaser functions exactly the same as the On/Bypass toggle.

Chapter 52: Eleven Effects Harmonic Plugins (pg.335-338)


Black Op Distortion

Inspired by an 80s-era op-amp-based distortion pedal, Black Op Distortion offers massive crunch and power. Its hard-clipping drive can squeeze aggressive

rhythm and lead tones out of soft-sounding vintage amps, and create surprisingly hard-edged tones when paired with more modern amps.

Black Op Distortion is available as a Mono (or Multi-Mono) plug-in only.

Distortion - The Distortion knobs control the clipping level.

Cut - The Cut knob adjusts the cutoff frequency for the filter.

Volume - The Volume knob controls final output volume.


DC Distortion

This distortion effect offers a range of overdriven tones, aided by its built-in Bass and Treble EQ, which help shape the response of the clipping circuit.

DC Distortion is available as a Mono (or Multi-Mono) plug-in only.

Distortion - The Distortion knob controls clipping level.

Treble - The Treble knob adds treble frequencies to the boosted signal.

Bass - The Bass knob adds bass frequencies to the boosted signal.

Volume - The Volume knob controls final output volume.


Green JRC Overdrive

Green JRC Overdrive was inspired by a low-gain 70s overdrive pedal, loved by blues and blues-rock 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 to supply some dirty

glow of its own.

Green JRC Overdrive is available as a Mono (or Multi-Mono) plug-in only.

Overdrive - The Overdrive knob determines the amount of overdrive applied to the signal.

Tone - The Tone knob lets you change the tonal balance of the effect.

Level - The Level knob sets the overall output volume of the effect.


Tri-Knob Fuzz

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 could have anticipated.

Tri-Knob Fuzz is available as a Mono (or Multi-Mono) plug-in only.

Volume - The Volume knob sets the overall output volume of the effect.

Sustain - The Sustain knob sets the gain of the fuzz circuit.

Tone - The Tone knob sets the tonal balance of the effect, from deep and full of sub-bass to high and shrill.


White Boost

This booster effect, based on a well-loved clean booster pedal with 20 dB of gain boost and a builtin EQ, is useful for driving the preamp section of any amp model into a gentle (or not so gentle) overdrive. The Bass and Treble controls boost and

cut frequencies as normal, but in this usage, they help shape the overdrive response as well.

White Boost is available as a Mono (or Multi-Mono) plug-in only.

Gain - The Gain knob controls the amount of boost added to the signal.

Volume - The Volume knob controls final output volume

Treble - The Treble knob boosts (turn to the right) or attenuates (turn to the left) treble frequencies to the boosted signal.

Bass - The Bass knob boosts (turn to the right) or attenuates (turn to the left) bass frequencies to the boosted signal.

From AVID Audio Plug-Ins Guide on ELEVEN guitar amplifier

Chapter 50: Eleven (pg.282-284)


Eleven is a guitar amplifier plug-in that is available in DSP, Native, and AudioSuite formats. Eleven gives you stunning guitar amplifier, cabinet, and microphone models of the “best of the best” vintage and contemporary gear.

Eleven Free is a free version of Eleven that comes with every Pro Tools system, with a reduced feature set.

Eleven Free comes in Native and AudioSuite formats only.


Eleven Free Plug-In Features

• Two custom amp models from Avid

• Two speaker cabinet models

• Amps and cabinets can be mixed and matched

• Noise Gate to control any unwanted noise

• Settings files (presets) to store and recall factory and custom tones

• Support of any compatible work surface or MIDI controller. MIDI Learn provides effortless mapping to any continuous controller (CC)–capable MIDI device

• Support for sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz

• Support for mono or multi-mono operation, in up to 8 channel (7.1) format


Eleven Plug-In Features

• Classic amp models that faithfully recreate the sound and dynamic response of the original amps

• Highly accurate speaker cabinet models with variable speaker breakup (cone distortion)

• Selectable mics, with on- and off-axis options

• Amps, cabs, and mics can be mixed and matched into nearly limitless combinations

• Amps and cabs can be bypassed separately

• All controls can be automated

• Noise Gate to control any unwanted noise

• Settings files (presets) to store and recall factory and custom tones

• Support of any compatible Ethernet or MIDI controller. MIDI Learn provides effortless mapping to any continuous controller (CC)–capable MIDI device

• Support for sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz

• Support for mono or multi-mono operation, in up to 8 channel (7.1) format


Eleven Input Calibration and QuickStart

This section shows you how to get connected, calibrated, and cranking through Eleven as quickly as possible.

Before You Begin with Eleven

Eleven was designed to model the essential aspects of each amplifier including characteristics of the input stage. Providing an appropriate level of signal delivers the most accurate response from the plug-in.

• If you are working with pre-recorded guitar tracks, see “Using Eleven with Pre-Recorded Tracks” on page 287.

• If you are working with a live guitar signal, follow the steps on the next few pages for optimal input level calibration. Input calibration takes only a couple of minutes, and helps ensure the best results with Eleven, its amps, and its factory presets.

Chapter 51: Eleven MK II (pg.308-310)


Avid Eleven MK II is a guitar amplifier plug-in that is available in DSP, Native, and AudioSuite formats. Eleven MK II gives you stunning guitar amplifier, cabinet, and microphone models of the “best of the best” vintage and contemporary gear. Additionally, Eleven MK II Cab is a speaker cabinet modeling plug-in that

makes it easy to blend cabinets with Eleven MK II amp modeling.


Eleven MK II Plug-In Features

• Classic amp models that faithfully recreate the sound and dynamic response of the original amps

• Highly accurate speaker cabinet models with variable speaker breakup (cone distortion)

• Selectable mics, with on- and off-axis options

• Amps, cabs, and mics can be mixed and matched into nearly limitless combinations

• Amps and cabs can be bypassed separately

• All controls (except Link) can be automated

• Noise Gate to control any unwanted noise

• Settings files (presets) to store and recall factory and custom tones

• Support of any compatible Ethernet or MIDI controller. MIDI Learn provides effortless mapping to any

continuous controller (CC)–capable MIDI device

• Support for sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz

• Support for mono or multi-mono operation, in up to 8 channel (7.1) format

• For general information on using plug-ins with Pro Tools, see the Pro Tools Reference Guide.

• Eleven MK II Cab Plug-In Features

• Highly accurate speaker cabinet models with variable speaker breakup (cone distortion)

• Selectable mics, with on- and off-axis options

• All controls can be automated

• Settings files (presets) to store and recall factory and custom tones

• Support of any compatible Ethernet or MIDI controller. MIDI Learn provides effortless mapping to any continuous controller (CC)–capable MIDI device

• Support for sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz

• Support for mono or multi-mono operation, in up to 8 channel (7.1) format


Eleven MK II Cab Plug-In

The Eleven MK II Cab plug-in provides all of the features of the Cabinet section of the Eleven MK II plug-in. Use the Eleven MK II Cab plug-in on mono Auxiliary Input (or audio) tracks fed by the Auxiliary Output

Send of an instance of the Eleven MK II plug-in on a mono audio (or Auxiliary Input) track for blending different

speaker cabinets from a single amp source.


Eleven MK II Input Calibration and QuickStart

This section shows you how to get connected, calibrated, and cranking through Eleven MK II as quickly as possible.

Before You Begin with Eleven MK II

Eleven MK II was designed to model the essential aspects of each amplifier including characteristics of the input stage. Providing an appropriate level of signal delivers the most accurate response from the plug-in.

• If you are working with pre-recorded guitar tracks, see “Using Eleven MK II with Pre-Recorded Tracks” on page 313.

• If you are working with a live guitar signal, follow the steps on the next few pages for optimal input level calibration. Input calibration takes only a couple of minutes, and helps ensure the best results with Eleven MK II, its amps, and its factory presets.

(pg.287-289)

Set Up Eleven

Use Eleven’s Input LED to make final gain adjustments and complete the input calibration process.

To calibrate your input signal to the Eleven plug-in:

1 Open the Eleven plug-in window by clicking its insert slot. Leave it at its default settings. 

2 Strum as hard as you can a few more times and watch Eleven’s Input LED to see where your level registers. The Input LED lights green, yellow, orange, or red to indicate the following level ranges:

Green (Off to –8) Indicates signal is present, but too low.

Yellow (–8 to –4) Indicates the best level for low output sources, such as single coil pickups.

Orange (–4 to 0) Indicates the best level for higher output sources, such as humbucker pickups.

Red (0 and above) Indicates that you have clipped the plug-in input. Click the Input LED to clear the clip indicator.

3 Leaving the Input control on the plug-in at its default setting of 0 (12:00 position), set the signal level going to the plug-in by adjusting the input gain control on your hardware until Eleven’s Input LED shows yellow or orange.

4 After calibrating, strum as you normally would and/or back down your guitar volume from the maximum setting used for input calibration. Don’t worry about the Input LED showing yellow

or orange when playing normally. As long as the plug-in isn’t indicating clipping, your gain staging should be established.

5 Adjust the Output knob in Eleven’s Master section to raise or lower the plug-in output signal.


Using Eleven with Pre-Recorded Tracks

If the pre-recorded tracks were not calibrated with the Eleven plug-in using the method previously described, you can use the Input control in Eleven to adjust the signal level feeding the input stage of the amp model.

Use your ears as a guide and adjust to taste. Since the Input LED measures the signal level entering the plug-in and precedes the input control, you will not see any changes to the Input LED as you make adjustments.


Getting Started Playing Music with Eleven

To get started playing music with Eleven:

1 Make sure you already calibrated your input signal as explained in the previous sections of this chapter.

2 Click the plug-in Librarian menu and choose a factory preset, then play guitar. Take your time to explore — the Presets let you hear all of Eleven’s different amps and combos.

3 Pick any amp and cabinet from the available types (see “Pairing Amps and Cabinets” on page 295.)

4 Refer to “Using Eleven” on page 288 for details on Eleven’s main controls, and for suggested track setups for recording and mixing.


Using Eleven

The following sections introduce you to the main sections and controls in Eleven and show you how to use them. You’ll also find suggested track setups and signal routing tips to help you get the most out of Eleven.

Inserting Eleven on Tracks

Eleven can be inserted on Pro Tools audio, Auxiliary Input, Master Fader, or Instrument tracks.

To insert Eleven on a track:

- Click an Insert selector on the track and choose Eleven or Eleven LE.

Channel Formats

Eleven is available as a mono or multi-mono plugin only. For use in stereo or greater formats choose the multi-mono version.

Sample Rates

Eleven supports 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz sample rates.

Category and Manufacturer

When Pro Tools plug-ins are organized by Category or Manufacturer, Eleven is listed as follows:

Category Harmonic

Manufacturer Avid


Adjusting Eleven Controls

This section tells you how to adjust controls using your mouse, a Pro Tools controller, or with a MIDI device.

Navigating the Amp, Cab, and Mic Type Selectors

You can click on the name of the current Amp Type, Cab Type, or Mic Type to display their popup menus and select an item.

You can also click the Previous/Next arrows to step through Amp, Cabinet, and Mic choices one at a time.

(pg.313-315)

Set Up Eleven MK II

Use Eleven MK II’s Input LED to make final gain adjustments and complete the input calibration process.

To calibrate your input signal to the Eleven MK II plug-in:

1 Open the Eleven MK II plug-in window by clicking its insert slot. Leave it at its default settings.

2 Strum as hard as you can a few more times and watch Eleven MK II’s Input LED to see where your level registers. The Input LED lights green, yellow, orange, or red to indicate the following level ranges:

Green (Off to –8) Indicates signal is present, but too low.

Yellow (–8 to –4) Indicates the best level for low output sources, such as single coil pickups.

Orange (–4 to 0) Indicates the best level for higher output sources, such as humbucker pickups.

Red (0 and above) Indicates that you have clipped the plug-in input. Click the Input LED to clear the clip indicator.

3 Leaving the Input control on the plug-in at its default setting of 0 (12:00 position), set the signal level going to the plug-in by adjusting the input gain control on your hardware until Eleven MK II’s Input LED shows yellow or orange.

4 After calibrating, strum as you normally would and/or back down your guitar volume from the maximum setting used for input calibration. Don’t worry about the Input LED showing yellow

or orange when playing normally. As long as the plug-in isn’t indicating clipping, your gain staging should be established.

5 Adjust the Output knob in Eleven MK II’s Master section to raise or lower the plug-in output signal.


Using Eleven MK II with Pre-Recorded Tracks

If the pre-recorded tracks were not calibrated with the Eleven MK II plug-in using the method previously described, you can use the Input control in Eleven MK II to adjust the signal level feeding the

input stage of the amp model.

Use your ears as a guide and adjust to taste. Since the Input LED measures the signal level entering the plug-in and precedes the input control, you will not see any changes to the Input LED as you make adjustments.


Getting Started Playing Music with Eleven MK II

To get started playing music with Eleven MK II:

1 Make sure you already calibrated your input signal as explained in the previous sections of this chapter.

2 Click the plug-in Librarian menu and choose a factory preset, then play guitar. Take your time to explore — the Presets let you hear all of Eleven MK II’s different amps and combos.

3 Pick any amp and cabinet from the available types (see “Pairing Amps and Cabinets” on page 322.)

4 Refer to “Using Eleven MK II” on page 314 for details on Eleven MK II’s main controls, and for suggested track setups for recording and mixing.


Using Eleven MK II

The following sections introduce you to the main sections and controls in Eleven MK II and show you how to use them. You’ll also find suggested track setups and signal routing tips to help you get

the most out of Eleven MK II.

Inserting Eleven MK II on Tracks

Eleven MK II can be inserted on Pro Tools audio, Auxiliary Input, Master Fader, or Instrument tracks.

To insert Eleven MK II on a track:

- Click an Insert selector on the track and choose Eleven MK II.

Channel Formats

Eleven MK II is available as a mono or multi-mono plug-in only. For use in stereo or greater formats choose the multi-mono version.

Sample Rates

Eleven MK II supports 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz sample rates.

Category and Manufacturer 

When Pro Tools plug-ins are organized by Category or Manufacturer, Eleven MK II is listed as follows:

Category Harmonic

Manufacturer Avid


Adjusting Eleven MK II Controls

This section tells you how to adjust controls using your mouse, a Pro Tools controller, or with a MIDI device.

Navigating the Amp, Cab, and Mic Type Selectors

You can click on the name of the current Amp Type, Cab Type, or Mic Type to display their popup menus and select an item.

You can also click the Previous/Next arrows to step through Amp, Cabinet, and Mic choices one at a time.

(pg.291-297)

Master Section

The Master section includes plug-in I/O (input/output) and noise gate controls, the Amp Type selector and the Cab Type selector.

The Master section doesn’t change when you switch amps. Master section settings are stored and recalled with plug-in presets.

Input LED

The Input LED shows green, yellow, orange, or red to indicate whether you are under- or over-driving the plug-in. The Input LED is before the Input section of the Master section. To learn more about the Input LED within the Eleven signal chain, see “Eleven Signal Flow Notes” on page 307.

Input

The Input knob provides input trim/boost, for tone and distortion control. The Input range is –18 dB to +18 dB.

The Input knob provides a great way to increase or decrease gain with amp models that don't have a separate preamp control. It also provides a way to trim or boost the level of pre-recorded tracks you

want to treat with Eleven

The setting of the Input knob is saved and restored with Settings files (presets).

Output

The Output control sets the output gain after processing, letting you make up gain or prevent clipping on the channel where the plug-in is being used. Output range is –60 dB to +18 dB.

Amp Type

Amp Type selects which amplifier model to use (see “Amp Types” on page 292).

Cab Type

This selector lets you select which speaker cabinet model to use (see “Eleven Cabinet Types” on page 295).

Gate

Noise Gate Threshold

The Noise Gate Threshold control sets the level at which the Noise Gate opens or closes. At minimum Threshold setting, the Noise Gate has no effect. At higher Threshold settings, only louder signals will

open the Gate and pass sound. Threshold range is from Off (–90 dB) to –20 dB.

Noise Gate Release

The Noise Gate Release control sets the length of time the Noise Gate remains open and passing audio. Adjust the Release to find the best setting for the current task (not too fast to avoid cutting off notes, and not too slow to avoid unwanted noise). Release range is from 10 ms to 3000 ms.

Using the Noise Gate

You can use the Noise Gate to silence unwanted signal noise or hum, or just for an effect.

To use the Noise Gate to clean up unwanted, low level noise:

1 Connect and calibrate your guitar as explained in “Connect your Guitar and Configure Source Input” on page 285.

2 For the next steps, hold your guitar but don’t play it (and be sure to leave its volume up). You should hear only the noise that we’ll soon get rid of.

3 To make it easier to hear the effect, begin by setting the Release to its middle (12 o’clock) position.

4 Now raise the Threshold control to its highest setting, fully clockwise, so that the Gate fully closes (you shouldn’t hear anything coming through Eleven).

5 Slowly lower the Threshold control until the Gate opens again to find the cutoff (or, threshold) of the noise.

6 Raise the Threshold control again slightly, increasing it only enough to once again silence the noise (hold Command (Mac) or Ctrl (Win) while adjusting to be able to fine-tune the setting in tenths of a dB). Now you’re in the ballpark.

7 If you lowered the Release setting as suggested in step 3, make sure to return it to its maximum setting (fully clockwise) before continuing.

(pg.317-325)

Master Section

The Master section includes plug-in I/O (input/output) and noise gate controls, the Amp Type selector and the Cab Type selector.

The Master section doesn’t change when you switch amps. Master section settings are stored and recalled with plug-in presets.

Input LED

The Input LED shows green, yellow, orange, or red to indicate whether you are under- or over-driving the plug-in. The Input LED is before the Input section of the Master section. To learn more about the Input LED within the Eleven MK II signal chain, see “Eleven MK II Signal Flow Notes” on page 334.

Input

The Input knob provides input trim/boost, for tone and distortion control. The Input range is –18 dB to +18 dB.

The Input knob provides a great way to increase or decrease gain with amp models that don't have a separate preamp control. It also provides a way to trim or boost the level of pre-recorded tracks you

want to treat with Eleven MK II.

The setting of the Input knob is saved and restored with Settings files (presets).

Output

The Output control sets the output gain after processing, letting you make up gain or prevent clipping on the channel where the plug-in is being used. Output range is –60 dB to +18 dB.

Amp Type

Amp Type selects which amplifier model to use (see “Amp Types” on page 319).

Link

The Link button links the Cab type to follow the selected Amp type. When enabled, the Link button turns orange and the Cab type follows changes to the Amp type. If the Cab type is changed, the Amp

type does not change, but if the Cab type doesn’t match the Amp type, the Link button turns blue.

Cab Type

This selector lets you select which speaker cabinet model to use (see “Eleven MK II Cabinet Types” on page 322).

Gate

Noise Gate Threshold

The Noise Gate Threshold control sets the level at which the Noise Gate opens or closes. At minimum Threshold setting, the Noise Gate has no effect. At higher Threshold settings, only louder signals will

open the Gate and pass sound. Threshold range is from Off (–90 dB) to –20 dB.

Noise Gate Release

The Noise Gate Release control sets the length of time the Noise Gate remains open and passing audio. Adjust the Release to find the best setting for the current task (not too fast to avoid cutting off notes, and not too slow to avoid unwanted noise). Release range is from 10 ms to 3000 ms.

Using the Noise Gate

You can use the Noise Gate to silence unwanted signal noise or hum, or just for an effect.

To use the Noise Gate to clean up unwanted, low level noise:

1 Connect and calibrate your guitar as explained in “Connect your Guitar and Configure Source Input” on page 311.

2 For the next steps, hold your guitar but don’t play it (and be sure to leave its volume up). You should hear only the noise that we’ll soon get rid of.

3 To make it easier to hear the effect, begin by setting the Release to its middle (12 o’clock) position. 

4 Now raise the Threshold control to its highest setting, fully clockwise, so that the Gate fully closes (you shouldn’t hear anything coming through Eleven MK II).

5 Slowly lower the Threshold control until the Gate opens again to find the cutoff (or, threshold) of the noise.

6 Raise the Threshold control again slightly, increasing it only enough to once again silence the noise (hold Command (Mac) or Control (Win) while adjusting to be able to fine-tune the setting

in tenths of a dB). Now you’re in the ballpark.

7 If you lowered the Release setting as suggested in step 3, make sure to return it to its maximum setting (fully clockwise) before continuing.

Amp Types

The Amp Type selector lets you choose an amp.

Available Amp Types in Eleven include the following:

• ’59 Tweed Lux *

• ’59 Tweed Bass *

• ’64 Black Panel Lux Vibrato *

• ’64 Black Panel Lux Normal *

• ’66 AC Hi Boost *

• ’67 Black Panel Duo *

• ’69 Plexiglas – 100W *

• ’82 Lead 800 – 100W *

• ’85 M-2 Lead *

• ’89 SL-100 Drive *

• ’89 SL-100 Crunch *

• ’89 SL-100 Clean *

• ’92 Treadplate Modern *

• ’92 Treadplate Vintage *

• DC Modern Overdrive

• DC Vintage Crunch

Amp Types

The Amp Type selector lets you choose an amp.

Available Amp Types in Eleven MK II include the following:

• ‘59 Tweed Lux

• ‘59 Tweed Bass

• ‘64 Black Panel Lux Vibrato

• ‘64 Black Panel Lux Normal

• ‘64 Black Vib

• ‘64 Black SR (based on the 1965 Fender Super Reverb combo amp)

• ‘64 Black Mini

• ‘64 J45 (based on the 1965 Marshall JTM45 head)

• ‘66 AC Hi Boost

• ‘67 Black Panel Duo

• ‘67 Plexiglas Vari (based on the 1967 Marshall Super Lead “Plexi” head with Variac modification)

• ‘68 Plexiglas - 50W (based on the 1968 Marshall Super Lead 50W head)

• ‘69 Plexiglas - 100W

• ‘69 Blue Line Bass (based on the 1969 Ampeg SVT head)

• ‘82 Lead 800 - 100W

• ‘85 M-2 Lead

• ‘89 SL-100 Drive

• ‘89 SL-100 Crunch

• ‘89 SL-100 Clean

• ‘92 Treadplate Modern

• ‘92 Treadplate Vintage

• ‘93 MS-30 (based on the 1993 Matchless D/C-30 combo amp)

• ‘97 RB-01b Red (based on the Bogner Ecstasy 101B head)

• ‘97 RB-01b Blue (based on the Bogner Ecstasy 101B head)

• ‘97 RB-01b Green (based on the Bogner Ecstasy 101B head)

• DC Modern Overdrive

• DC Modern SOD

• DC Modern 800

• DC Modern Clean

• DC Vintage Crunch

• DC Vintage OD

• DC Vintage Clean

• DC Bass

Eleven Amp Controls

Each Eleven amp provides a set of controls similar to (and in some cases identical to) those on the actual amp it models. The following sections give a general overview of amp controls.

Amp Bypass

The Amp Bypass switch (or lamp) lets you bypass just the amp model, leaving the cab and mic settings in effect. The default setting is On. When set to Bypass, only the amp is bypassed; Master section,

cabinet and microphone settings remain active.

Bright

The Bright switch provides extra high frequency response to the input signal, and alters the timbre of the distortion. On some amp models, the effect is most apparent at lower volume settings.

Gain 1

Gain 1 determines the overall gain amount and sensitivity of the amp. When Gain 1 is low it allows for cleaner, brighter sounds with enhanced dynamic response. When set high, the entire personality of the amp changes, becoming fatter and overdriven. Gain 1 responds differently with each amp model and is designed to have a musical response that closely matches that of its original amp, at all settings. The default setting is 5.0. Gain 1 range is from 0 to 10.

Gain 2

Gain 2 is a second Gain knob used with some amp models that determines the amount of overdrive in the pre-amp stage. Gain 2 (also known as “Presence” on some amps) allows for more harmonic

subtleties in character of the amp tone. The default is 5.0. Gain 2 range is from 0 to 10.

Parallel or Series - The Gain 2 control on the Tweed Lux, AC Hi Boost and Plexiglass is in parallel (“jumped”) with the Gain 1 control. The M-2 Lead is in series, meaning the signal goes in and out of Gain 1, then into Gain 2.

Tone

Tone controls let you shape the highs, mids and lows of the amp sound. Electric guitar pickups tend to have a strong low-mid emphasis and little high frequency response, often producing a mid-range heavy sound that requires some treble boost. The response and interaction of the tone controls are unique to each amp.

Bass

The Bass control determines the amount of low end in the amp tone. The response of this control in some models is linked to the setting of the Treble control. The default setting is 5.0. Bass range is from 0 to 10.

Middle

The Middle control determines the mid-range strength in lower gain sounds. With high gain amp models, the Middle control has a more dramatic effect and can noticeably shape the sound of the amp at both the minimum and extreme settings. The default setting is 5.0. The Middle range is from 0 to 10.

Treble

In most amp models, the Treble control is the strongest of the three tone controls. Its setting determines the blend and strength of the Bass and Middle controls. When Treble is set to higher values, it becomes the dominant tone control, minimizing the effect of Bass and Middle controls. When Treble is set to lower values, the Bass and Middle have more effect, making for a darker amp tone. The default

setting is 5.0. The Treble range is from 0 to 10.

Presence

The Presence control provides a small amount of boost at frequencies above the treble control. Presence is applied at the end of each amp model preamp stage, acting as a global brightness control that is independent of other tone controls. The default setting is 3.0. The Presence range is from 0 to 10.

Master

The Master control sets the output volume of the pre-amp, acting as a gain control for the power amplifier. In a standard master-volume guitar amp, as the Master volume is increased more power tube distortion is produced. The default setting is 5.0. Master range is from 0 to 10.

Tremolo

Tremolo is achieved through the use of amplitude modulation, multiplying the amplitude of the preamp output by a waveform of lower frequency. Tremolo is not available on all amps.

Tremolo Speed  - The Speed control sets the rate of the Tremolo effect. The Tremolo Speed LED pulses at the rate of Tremolo Speed. The default setting is 5.0.

Tremolo Depth - The Depth controls the amount of the Tremolo effect. The default setting for this control is 0.0, which is equivalent to off. Some amp models call the Tremolo Depth control Intensity

Eleven MK II Amp Controls

Each Eleven MK II amp provides a set of controls similar to (and in some cases identical to) those on the actual amp it models. The following sections give a general overview of amp controls.

Amp Bypass

The Amp Bypass switch (or lamp) lets you bypass just the amp model, leaving the cab and mic settings in effect. The default setting is On. When set to Bypass, only the amp is bypassed; Master section,

cabinet and microphone settings remain active.

Bright

The Bright switch provides extra high frequency response to the input signal, and alters the timbre of the distortion. On some amp models, the effect is most apparent at lower volume settings.

Gain 1

Gain 1 determines the overall gain amount and sensitivity of the amp. When Gain 1 is low it allows for cleaner, brighter sounds with enhanced dynamic response. When set high, the entire personality of the amp changes, becoming fatter and overdriven. Gain 1 responds differently with each amp model and is designed to have a musical response that closely matches that of its original amp, at all settings. The default setting is 5.0. Gain 1 range is from 0 to 10.

Gain 2

Gain 2 is a second Gain knob used with some amp models that determines the amount of overdrive in the pre-amp stage. Gain 2 (also known as “Presence” on some amps) allows for more harmonic

subtleties in character of the amp tone. The default is 5.0. Gain 2 range is from 0 to 10.

Parallel or Series - The Gain 2 control on the Tweed Lux, AC Hi Boost and Plexiglass is in parallel (“jumped”) with the Gain 1 control. The M-2 Lead is in series, meaning the signal goes in and out of Gain 1, then into Gain 2.

Tone

Tone controls let you shape the highs, mids and lows of the amp sound. Electric guitar pickups tend to have a strong low-mid emphasis and little high frequency response, often producing a mid-range heavy sound that requires some treble boost. The response and interaction of the tone controls are unique to each amp.

Bass

The Bass control determines the amount of low end in the amp tone. The response of this control in some models is linked to the setting of the Treble control. The default setting is 5.0. Bass range is from 0 to 10.

Middle

The Middle control determines the mid-range strength in lower gain sounds. With high gain amp models, the Middle control has a more dramatic effect and can noticeably shape the sound of the amp at both the minimum and extreme settings. The default setting is 5.0. The Middle range is from 0 to 10.

Treble

In most amp models, the Treble control is the strongest of the three tone controls. Its setting determines the blend and strength of the Bass and Middle controls. When Treble is set to higher values, it becomes the dominant tone control, minimizing the effect of Bass and Middle controls. When Treble is set to lower values, the Bass and Middle have more effect, making for a darker amp tone. The default

setting is 5.0. The Treble range is from 0 to 10.

Presence

The Presence control provides a small amount of boost at frequencies above the treble control. Presence is applied at the end of each amp model preamp stage, acting as a global brightness control that is independent of other tone controls. The default setting is 3.0. The Presence range is from 0 to 10.

Master

The Master control sets the output volume of the pre-amp, acting as a gain control for the power amplifier. In a standard master-volume guitar amp, as the Master volume is increased more power tube distortion is produced. The default setting is 5.0. Master range is from 0 to 10.

Tremolo

Tremolo is achieved through the use of amplitude modulation, multiplying the amplitude of the preamp output by a waveform of lower frequency. Tremolo is not available on all amps.

Tremolo Speed - The Speed control sets the rate of the Tremolo effect. The Tremolo Speed LED pulses at the rate of Tremolo Speed. The default setting is 5.0.

Tremolo Depth - The Depth controls the amount of the Tremolo effect. The default setting for this control is 0.0, which is equivalent to off. Some amp models call the Tremolo Depth control Intensity.

Eleven Cabinet Types

The Cab Type selector lets you pick a cabinet to use with the current amp. The selected cabinet and its controls are displayed directly below the amp controls.

Available cabinets include the following:

• 1x12 Black Panel Lux *

• 1x12 Tweed Lux *

• 2x12 AC Blue *

• 2x12 Black Panel Duo *

• 4x10 Tweed Bass *

• 4x12 Classic 30

• 4x12 Green 25W

* These models only appear in the full version of Eleven.

Cabinets are listed by their number and diameter of their speakers. For example, “1x12” means a cabinet has a single 12-inch speaker.

Eleven MK II Cabinet Types

The Cab Type selector lets you pick a cabinet to use with the current amp. The selected cabinet and its controls are displayed directly below the amp controls.

Available cabinets include the following:

• 1x8 Custom

• 1x12 Black Panel Lux

• 1x12 Tweed Lux

• 1x15 Open Back (based on an Ampeg Reverberocket 1x15 with Jensen C15N speaker)

• 2x12 AC Blue

• 2x12 Black Panel Duo

• 2x12 B30 (based on a Bogner 2x12 with Celestion Vintage 30 speakers)

• 2x12 Silver Cone (based on a Roland JC-120 2x12)

• 4x10 Tweed Bass

• 4x10 Black SR (based on a Fender Super Reverb 4x10 with CTS Alnico speakers)

• 4x12 Classic 30

• 4x12 65W (based on a Marshall 4x12 with original issue Celestion G12-65 speakers)

• 4x12 Green 20W (based on a Marshall 4x12 with Celestion Heritage G12M speakers)

• 4x12 Green 25W

• 8x10 Blue Line (based on an Ampeg SVT 8x10 with “towel bar”)

Cabinets are listed by their number and diameter of their speakers. For example, “1x12” means a cabinet has a single 12-inch speaker.

Pairing Amps and Cabinets

Eleven lets you combine amps and cabinets in traditional pairings (such as the combo amps through their default cabinets) and non-traditional match ups.

Some of the amps modeled in Eleven are “combo” amps. Combo amps have both their amp and speaker housed in the same physical box, meaning there is one and only one cabinet associated with the signature sound of a combo amp. The Tweed Lux and AC Hi Boost are both examples of combo amps.

Other amps are amps-only (heads), and were designed to be run through a speaker cabinet. Many amp/cab pairings have become standards.

Using Settings for Realistic and Classic Pairings

You can use Eleven’s factory Settings files (presets) for combo amps and classic combinations. Settings files store and recall all controls, (including Amp and Cabinet Type).

For combo amps and default combinations:

- Choose a factory Settings file for that amp from Eleven’s Settings menu.

Using the Amp Type and Cabinet Type Selectors for Unlinked Pairing

You can use the Amp Type and Cabinet Type selectors to try your own, unique combinations.

If you want to combine amps and cabs (unlinked):

- Click and choose from the Amp Type and Cabinet Type selectors to create new pairings. 

Eleven Cabinet Controls

All cabinets provide Bypass, Speaker Breakup, Mic Type, and Position controls.

Cabinet Bypass

The Bypass switch in the Cabinet section lets you bypass cabinet and microphone processing. When in the Bypass position, no cabinet or microphone processing is applied to the signal. When in the On position, cabinet and microphone settings are applied.

Speaker Breakup

(Full version, HDX Only)

The Speaker Breakup slider lets you specify how much distortion is produced by the current speaker model. Increasing the Speaker Breakup setting adds distortion that is a combination of cone breakup and other types of speaker distortion (emulated by the speaker cabinet model). Range is from 1 to 10.

Below certain frequencies, the speaker cone vibrates as one piece. Above those frequencies (typically between 1 kHz and 4 kHz), the cone vibrates in sections. By the time a wave travels from the apex at the voice coil out to the edge of the speaker cone, a new wave has started at the voice coil. The result is comb filtering and other anomalies that contribute to the texture of the overall sound.

Pairing Amps and Cabinets

Eleven MK II lets you combine amps and cabinets in traditional pairings (such as the combo amps through their default cabinets) and non-traditional match ups.

Some of the amps modeled in Eleven MK II are “combo” amps. Combo amps have both their amp and speaker housed in the same physical box, meaning there is one and only one cabinet associated with the signature sound of a combo amp. The Tweed Lux and AC Hi Boost are both examples of combo amps.

Other amps are amps-only (heads), and were designed to be run through a speaker cabinet. Many amp/cab pairings have become standards.

Using Settings for Realistic and Classic Pairings

You can use Eleven MK II’s factory Settings files (presets) for combo amps and classic combinations. Enable the Link button to ensure that classic cabs follow classic amp settings. Settings files store and recall all controls, (including Amp and Cabinet Type).

For combo amps and default combinations:

- Choose a factory Settings file for that amp from Eleven MK II’s Settings menu.

Using the Amp Type and Cabinet Type Selectors for Unlinked Pairing You can use the Amp Type and Cabinet Type selectors to try your own, unique combinations.

If you want to combine amps and cabs (unlinked):

- Click and choose from the Amp Type and Cabinet Type selectors to create new pairings.

Eleven MK II Cabinet Controls

All cabinets in Eleven MK II and Eleven MK II Cab provide Bypass, Speaker Breakup, Mic Type, and Position controls.

Cabinet Bypass

The Bypass switch in the Cabinet section lets you bypass cabinet and microphone processing. When in the Bypass position, no cabinet or microphone processing is applied to the signal. When in the On position, cabinet and microphone settings are applied.

Speaker Breakup

The Speaker Breakup slider lets you specify how much distortion is produced by the current speaker model. Increasing the Speaker Breakup setting adds distortion that is a combination of cone breakup and other types of speaker distortion (emulated by the speaker cabinet model). Range is from 1 to 10.

Below certain frequencies, the speaker cone vibrates as one piece. Above those frequencies (typically between 1 kHz and 4 kHz), the cone vibrates in sections. By the time a wave travels from the apex at the voice coil out to the edge of the speaker cone, a new wave has started at the voice coil. The result is comb filtering and other anomalies that contribute to the texture of the overall sound.


Mic Type

The Mic Type selector lets you choose the microphone to use with the selected cabinet.

Available Mic Types include the following:

• Dynamic 7

• Dynamic 57

• Dynamic 409

• Dynamic 421

• Condenser 67

• Condenser 87

• Condenser 414

• Ribbon 121

Mic Axis

When capturing the sound of a speaker cabinet in a studio, sound engineers select different microphones and arrange them in different placements to get a particular sound. For example, a mic can be pointed straight at a speaker or angled slightly offcenter, in order to emphasize (or de-emphasize) certain frequencies that the mic picks up.

On-axis, for most microphones, is a line in the same direction as the long dimension of the microphone and will produce a noticeable difference in coloration when compared to the same microphone in

the off-axis position.

In Eleven, the Axis switch lets you toggle between on- and off-axis setting of the currently selected microphone model. The default position for Mic position is On Axis.

About Mic Placement

All Eleven cabinets and mics were close mic’d (whether on- or off-axis). This provides the purest tones possible, of any room tone or ambience specific to the Eleven recording environment.


Mic Type

The Mic Type selector lets you choose the microphone to use with the selected cabinet.

Available Mic Types include the following:

• Dynamic 7

• Dynamic 12 (only with 8x10 Bass Cab replacing Condenser 87)

• Dynamic 20 (only available with 8x10 Bass Cab replacing Dynamic 409)

• Dynamic 57

• Dynamic 409 (not available with 8x10 Bass Cab)

• Dynamic 421

• Condenser 67

• Condenser 87 (not available with 8x10 Bass Cab)

• Condenser 414

• Ribbon 121

Mic Axis

When capturing the sound of a speaker cabinet in a studio, sound engineers select different microphones and arrange them in different placements to get a particular sound. For example, a mic can be pointed straight at a speaker or angled slightly offcenter, in order to emphasize (or de-emphasize) certain frequencies that the mic picks up.

On-axis, for most microphones, is a line in the same direction as the long dimension of the microphone and will produce a noticeable difference in coloration when compared to the same microphone in

the off-axis position.

In Eleven MK II, the Axis switch lets you toggle between on- and off-axis setting of the currently selected microphone model. The default position for Mic position is On Axis.

About Mic Placement

All Eleven MK II cabinets and mics were close mic’d (whether on- or off-axis). This provides the purest tones possible, of any room tone or ambience specific to the Eleven MK II recording environment.

(pg.297-300)

Tracks and Signal Routing for Guitar

The way you set up Pro Tools tracks and signal routing can vary depending on what you want to do while recording and mixing with Eleven. This section gives you a few specific examples of some of

the many different ways you can choose to work:

• “Recording Dry: Monitor Through Eleven” on page 297.

• “Recording Wet: Record Eleven-Processed Track to Disk” on page 298.

• “Recording Dry and Eleven Simultaneously” on page 299.

• “Processing Pre-Recorded Tracks Through Eleven” on page 300

• “Blending Eleven Cabinets and Amps” on page 301.


Recording Dry: Monitor Through Eleven

This workflow lets you record dry (clean) while the recorded signal is processed through Eleven, letting you hear it but without committing the track to that tone forever.

The flexibility to audition and compare different settings and combinations of amps, cabinets and microphones is a very creative and powerful tool for mixing and arranging.

To record dry and monitor through Eleven:

1 Choose Track > New and configure the New Track to create one mono Audio Track.

2 Set the track input to the audio interface input your guitar is plugged in to (such as In 1 (Mono)).

3 Insert Eleven on the track (see “Inserting Eleven on Tracks” on page 288).

4 Choose a Settings file (preset), or adjust Eleven’s parameters to get your tone (see “Eleven Settings (Presets)” on page 290).

5 Record enable the track, or enable TrackInput monitoring (Pro Tools Ultimate only) and check your levels.

6 When you’re ready, arm the Pro Tools Transport and press Record to record your part.

The audio that is recorded is the dry (unprocessed) signal only, while playback of the recording is processed through Eleven and any other plug-ins inserted on the track.


Recording Wet: Record Eleven- Processed Track to Disk

In this workflow, the audio output of Eleven is recorded to disk while tracking. Usually, no additional dry track is recorded.

This method commits your track to the original Eleven tone used while tracking. It requires two tracks (an Auxiliary Input and an audio track), but after tracking, the plug-in can be deactivated or removed to up processing resources.

To record guitar with Eleven while playing:

1 Choose Track > New.

2 Configure a new track by doing the following:

• Create one mono Auxiliary Input track.

• Click the Add Row button (+).

• Create one mono audio track.

• Click Create.

3 In the Mix (or Edit) window, configure the Aux Input by doing the following:

• Click the Input selector and choose your guitar input (the audio interface input your guitar is plugged in to).

• Click the Output selector and choose Bus 1.

• Click the Insert selector and select Eleven.

4 Configure the audio track by doing the following:

• Click the Input selector and choose Bus 1.

• Record enable the audio track.

5 Make sure you are not overloading your input signal by checking levels in all tracks and Eleven's Input LED.

6 When you’re ready, arm Pro Tools and begin recording.

The output from Eleven is recorded to disk. If you need to conserve DSP or Native processing resources, you can remove or deactivate Eleven after recording.


Recording Dry and Eleven Simultaneously

You can record a dry, unprocessed track and an Eleven-processed track simultaneously.

This method gets the best of both worlds by tracking dry (to experiment with tones later) and at the same time recording the tone used on the original tracking session. It requires two audio track, as follows:

To record guitar dry and with Eleven live:

1 Choose Track > New.

2 Configure the New Tracks dialog to create two mono audio tracks, then click Create.

3 In the Mix (or Edit) window, configure the first (left-most) new audio track by doing the following:

• Click the Input selector and choose your guitar input (the audio interface input your guitar is plugged in to).

• Click the Output selector and choose Bus 1.

• Click the Insert selector and select Eleven.

• Record enable the audio track.

4 Configure the second audio track by doing the following:

• Click the Input selector and choose Bus 1.

• Record enable the audio track.

5 Make sure you are not overloading your input signal by checking levels in all tracks and Eleven's Input LED.

6 When you’re ready, arm Pro Tools and begin recording.

The dry guitar is recorded to the first audio track, processed through Eleven, then bussed to the second audio track and recorded to disk.


Processing Pre-Recorded Tracks Through Eleven

You can process pre-recorded guitar tracks, or almost any material, through Eleven.

To listen to pre-recorded tracks through Eleven (without re-recording):

1 Import and place your audio in a Pro Tools audio track.

2 Assign the audio track Output to Bus 1 (or Bus 1-2 if working with stereo material).

3 Create an Aux Input track, and configure it by doing the following:

• Click its track Input selector and choose Bus 1 (or Bus 1-2).

• Click the Insert selector and select Eleven.

4 Begin playback and watch Eleven’s Input LED to check your level. Make sure you’re not clipping Eleven’s input.

5 While listening, adjust Eleven’s Input knob to increase or decrease input level.

6 After setting your gain structure, do any of the following:

• Try different Settings files (presets) to get your basic amp/cab/mic combination.

• Adjust amp controls.

• Try different cabinets and varying amounts of Speaker Breakup.

• Try different mics and positions to hear how they affect the track.

7 Apply other plug-ins, or bus the Aux Input to another track for additional processing.

To process and re-record tracks through Eleven:

1 Import and place your audio in a Pro Tools audio track.

2 Configure the source audio track by doing the following:

• Assign the audio track Output a bus (such as Bus 1 if mono, or Bus 1-2 if stereo).

• Click the Insert selector and select Eleven.

3 Choose Track > New and create one mono audio track.

4 Configure the new audio track by doing the following:

• Click its track Input selector and choose the Bus 1 (or Bus 1-2).

• Click the Insert selector and select Eleven.

5 Record enable the new audio track (or enable TrackInput monitoring if using Pro Tools Ultimate).

6 Begin playback and start listening.

7 While listening, adjust Eleven’s Input knob to increase or decrease input level.

8 When everything sounds and looks good, locate to where you want to begin recording (or make a time selection), arm the Pro Tools Transport and press Play to start recording.

(pg.325-328)

Tracks and Signal Routing for Guitar

The way you set up Pro Tools tracks and signal routing can vary depending on what you want to do while recording and mixing with Eleven MK II. This section gives you a few specific examples of

some of the many different ways you can choose to work:

• “Recording Dry: Monitor Through Eleven MK II” on page 325.

• “Recording Wet: Record Eleven MK II–Processed Track to Disk” on page 326.

• “Recording Dry and Eleven MK II Simultaneously” on page 327.

• “Processing Pre-Recorded Tracks Through Eleven MK II” on page 327

• “Blending Eleven MK II Cabinets and Amps” on page 328.


Recording Dry: Monitor Through Eleven MK II

This workflow lets you record dry (clean) while the recorded signal is processed through Eleven MK II, letting you hear it but without committing the track to that tone forever.

The flexibility to audition and compare different settings and combinations of amps, cabinets and microphones is a very creative and powerful tool for mixing and arranging.

To record dry and monitor through Eleven MK II:

1 Choose Track > New and configure the New Track to create one mono Audio Track.

2 Set the track input to the audio interface input your guitar is plugged in to (such as In 1 (Mono)).

3 Insert Eleven MK II on the track (see “Inserting Eleven MK II on Tracks” on page 314).

4 Choose a Settings file (preset), or adjust Eleven MK II’s parameters to get your tone (see “Eleven MK II Settings (Presets)” on page 316).

5 Record enable the track, or enable TrackInput monitoring (Pro Tools Ultimate only) and check your levels.

6 When you’re ready, arm the Pro Tools Transport and press Record to record your part.

The audio that is recorded is the dry (unprocessed) signal only, while playback of the recording is processed through Eleven MK II and any other plugins inserted on the track.


Recording Wet: Record Eleven MK II–Processed Track to Disk

In this workflow, the audio output of Eleven MK II is recorded to disk while tracking. Usually, no additional dry track is recorded.

This method commits your track to the original Eleven MK II tone used while tracking. It requires two tracks (an Auxiliary Input and an audio track), but after tracking, the plug-in can be deactivated or

removed to up processing resources.

To record guitar with Eleven MK II while playing:

1 Choose Track > New.

2 Configure a new track by doing the following:

• Create one mono Auxiliary Input track.

• Click the Add Row button (+).

• Create one mono audio track.

• Click Create.

3 In the Mix (or Edit) window, configure the Aux Input by doing the following:

• Click the Input selector and choose your guitar input (the audio interface input your guitar is plugged in to).

• Click the Output selector and choose Bus 1.

• Click the Insert selector and select Eleven MK II.

4 Configure the audio track by doing the following:

• Click the Input selector and choose Bus 1.

• Record enable the audio track.

5 Make sure you are not overloading your input signal by checking levels in all tracks and Eleven MK II's Input LED.

6 When you’re ready, arm Pro Tools and begin recording.

The output from Eleven MK II is recorded to disk. If you need to conserve DSP or Native processing resources, you can remove or deactivate Eleven MK II after recording.


Recording Dry and Eleven MK II Simultaneously

You can record a dry, unprocessed track and an Eleven MK II-processed track simultaneously.

This method gets the best of both worlds by tracking dry (to experiment with tones later) and at the same time recording the tone used on the original tracking session. It requires two audio track, as follows:

To record guitar dry and with Eleven MK II live:

1 Choose Track > New.

2 Configure the New Tracks dialog to create two mono audio tracks, then click Create.

3 In the Mix (or Edit) window, configure the first (left-most) new audio track by doing the following:

• Click the Input selector and choose your guitar input (the audio interface input your guitar is plugged in to).

• Click the Output selector and choose Bus 1.

• Click the Insert selector and select Eleven MK II.

• Record enable the audio track.

4 Configure the second audio track by doing the following:

• Click the Input selector and choose Bus 1.

• Record enable the audio track.

5 Make sure you are not overloading your input signal by checking levels in all tracks and Eleven MK II's Input LED.

6 When you’re ready, arm Pro Tools and begin recording.

The dry guitar is recorded to the first audio track, processed through Eleven MK II, then bussed to the second audio track and recorded to disk.


Processing Pre-Recorded Tracks Through Eleven MK II

You can process pre-recorded guitar tracks, or almost any material, through Eleven MK II.

To listen to pre-recorded tracks through Eleven MK II (without re-recording):

1 Import and place your audio in a Pro Tools audio track.

2 Assign the audio track Output to Bus 1 (or Bus 1-2 if working with stereo material).

3 Create an Aux Input track, and configure it by doing the following:

• Click its track Input selector and choose Bus 1 (or Bus 1-2).

• Click the Insert selector and select Eleven MK II.

4 Begin playback and watch Eleven MK II’s Input LED to check your level. Make sure you’re not clipping Eleven MK II’s input.

5 While listening, adjust Eleven MK II’s Input knob to increase or decrease input level.

6 After setting your gain structure, do any of the following:

• Try different Settings files (presets) to get your basic amp/cab/mic combination.

• Adjust amp controls.

• Try different cabinets and varying amounts of Speaker Breakup.

• Try different mics and positions to hear how they affect the track.

7 Apply other plug-ins, or bus the Aux Input to another track for additional processing.

To process and re-record tracks through Eleven MK II:

1 Import and place your audio in a Pro Tools audio track.

2 Configure the source audio track by doing the following:

• Assign the audio track Output a bus (such as Bus 1 if mono, or Bus 1-2 if stereo).

• Click the Insert selector and select Eleven MK II.

3 Choose Track > New and create one mono audio track.

4 Configure the new audio track by doing the following:

• Click its track Input selector and choose the Bus 1 (or Bus 1-2).

• Click the Insert selector and select Eleven MK II.

5 Record enable the new audio track (or enable TrackInput monitoring if using Pro Tools Ultimate).

6 Begin playback and start listening.

7 While listening, adjust Eleven MK II’s Input knob to increase or decrease input level.

8 When everything sounds and looks good, locate to where you want to begin recording (or make a time selection), arm the Pro Tools Transport and press Play to start recording.


(pg.301-304)

Blending Eleven Cabinets and Amps

You can use Eleven for multi-cabinet and multiamp setups so you can blend their signals together. This classic technique lets you get tones that no single combo, cabinet, or amp could produce. Unlike working with real amps, this is simple to achieve with Pro Tools track, signal routing, and plug-in features.

Blending Eleven Cabinets

In this example you’ll see how to take the output of one Eleven amp and send it to multiple cabinets so you can blend different cabinets, multi-mic one cabinet, or both.

To blend multiple cabinets:

1 Choose Tracks > New.

2 Configure a new track by doing the following:

• Create one mono Audio Track.

• Click the Add Row button.

• Create three mono Aux Inputs.

• Click Create.

3 In the Mix or Edit window, configure the audio track by doing the following:

• Click the audio track Input selector and choose your guitar input (the audio interface input your guitar is plugged in to).

• Click the Output selector and choose Bus 1.

• Click the Insert selector and select Eleven.

4 Select all three Aux Input tracks by Shift-clicking their Track Name displays (make sure your audio track isn’t still selected). This lets you

work with the three Aux tracks “as one” in the next few steps.

5 Hold Option+Shift (Mac) or Alt+Shift (Windows) while doing each of the following:

• Choose Bus 1 from the Input selector of any of the three selected Aux Inputs.

• Click the Insert selector of any of the three and select Eleven.

• Click the next available Insert selector on any of three selected Aux Inputs and select the TimeAdjuster (short) plug-in.

6 Open the Eleven plug-in on the audio track and click the Cabinet Bypass to bypass Cabinet and microphone processing.

7 Open one of the Eleven plug-ins on any of the three selected Aux Input tracks and Opt+Shift+click (Mac) or Alt+Shift+click (Windows) the Amp Bypass switch.

8 Solo the first Aux Input track.

9 Click to open the Eleven plug-in window on the first Aux Input, and do any of the following:

• Choose a cabinet.

• Choose a mic and its position.

• Adjust Speaker Breakup.

10 When you’re done, close the plug-in window and then unsolo the track.

11 Solo the next Aux Input track, and repeat to configure its cabinet and mic settings.

12 Repeat for other Aux Input tracks to configure their cabinet and mic settings.

13 When you have set your cabinet tones, make sure to unsolo all the Aux Inputs and begin playing so you can hear the combined tone of all three cabinet channels.

14 Do the following to continue:

• Balance the tracks using the volume faders on the Aux Input tracks.

• Try different pan positions for each Aux Input track.

• Evaluate the phase relationships of the combined signals and adjust accordingly (see “Phase Considerations with Blending in Eleven” on

page 304).


If You Plan on Blending Cabinets

The Eleven plug-in emulates the variation in cabinet response that is unique to each amp/cab combination. In the physical world, these variations are the result of the distinct loads put out by each amp, and the way the cabinet handles (responds to) that particular type of signal. Though subtle, the effect of this is a unique cabinet resonance.

In each Eleven plug-in you insert on a track, the currently selected Amp Type has a similar effect on the sound of its current cabinet, even when the amp section itself is bypassed.

This does not mean that the (bypassed) amp settings affect the cabinet tone, only the chosen amp type. This could bring just the right amount of extra low, low-mid, or mid-range response to the cabinet.


How Do I Use This?

Here are a few suggested ways you can pair Eleven’s amps and cabinets:

- To accurately capture the sound of one amp split to and driving multiple cabinets, make sure the same Amp Type is selected in all the Eleven plugins (all the cabinets as well as the active amp).

- For maximum variety, mix and match bypassed amps with active cabinets.

- For realism with the combo amps (such as the Tweed Lux and AC Hi Boost), make sure to use their default cabinets.


Blending Eleven Amps

You can easily set up tracks and Eleven for multiamp setups.

To blend multiple amps:

1 Set up tracks and signal routing as explained in the previous workflow (see “To blend multiple cabinets:” on page 301).

2 Remove (or simply bypass) the Eleven plug-in on the source input/track.

3 Solo the first Aux Input track.

4 Click to open the Eleven plug-in window on the soloed Aux Input, and do any of the following:

• Make sure the amp and cabinet are active (not bypassed).

• Choose a preset (Settings file).

• Pair any amp with any cabinet.

• Choose a mic and its position.

• Adjust Speaker Breakup.

5 Solo the next Aux Input track, and repeat to configure its settings for a different tone.

6 Repeat for other Aux Input tracks to configure their settings.

7 When you have set your tones, make sure to unsolo all the Aux Inputs.

8 Continue playing so you can hear the combined tone of all the amps.

9 Do the following to continue:

• Balance the tracks using the volume faders on the Aux Input tracks.

• Try different pan positions for each Auxiliary Input track.

10 Evaluate the phase relationships of the combined signals and adjust accordingly (see “Phase Considerations with Blending in Eleven” on page 304).


(pg.328-331)

Blending Eleven MK II Cabinets and Amps

You can use Eleven MK II for multi-cabinet and multi-amp setups so you can blend their signals together. This classic technique lets you get tones that no single combo, cabinet, or amp could produce. Unlike working with real amps, this is simple to achieve with Pro Tools track, signal routing, and plug-in features.

Blending Cabinets with Eleven MK II and Eleven MK II Cab Plug-ins

You can use multiple tracks to blend cabinet models with the Eleven MK II and Eleven MK II Cab plug-ins.

To blend cabinets with a single instance of Eleven MK II and one or more instances of Eleven MK II Cab:

1 Insert Eleven MK II on a mono audio (or Auxiliary Input) track. Route your guitar signal to this track.

2 Create a new mono Auxiliary Input (or audio) track and insert Eleven MK II Cab on that track.

3 For the new track input, select Plug-in > Eleven MK II Cab > Pre-speaker out.

4 Repeat steps 2 and 3 to add more cabinet models for blending.

5 Adjust the settings for Eleven MK II and each instance of Eleven MK II Cab as desired.

6 Play your guitar (or play back pre-recorded audio) and adjust the volume fader on each track to blend cabinet models as desired.


If You Plan on Blending Cabinets

The Eleven MK II plug-in emulates the variation in cabinet response that is unique to each amp/cab combination. In the physical world, these variations are the result of the distinct loads put out by each amp, and the way the cabinet handles (responds to) that particular type of signal. Though subtle, the effect of this is a unique cabinet resonance.

In each Eleven MK II plug-in you insert on a track, the currently selected Amp Type has a similar effect on the sound of its current cabinet, even when the amp section itself is bypassed.

This does not mean that the (bypassed) amp settings affect the cabinet tone, only the chosen amp type. This could bring just the right amount of extra low, low-mid, or mid-range response to the cabinet.


How Do I Use This?

Here are a few suggested ways you can pair Eleven MK II’s amps and cabinets:

- To accurately capture the sound of one amp split to and driving multiple cabinets, make sure the same Amp Type is selected in all the Eleven MK II plug-ins (all the cabinets as well as the active amp).

- For maximum variety, mix and match bypassed amps with active cabinets.

- For realism with the combo amps (such as the Tweed Lux and AC Hi Boost), make sure to use their default cabinets.


Blending Eleven MK II Amps

You can easily set up tracks and Eleven MK II for multi-amp setups.

To blend multiple amps:

1 Set up tracks and signal routing as explained in the previous workflow (see “Blending Cabinets with Eleven MK II and Eleven MK II Cab Plugins” on page 328).

2 Remove (or simply bypass) the Eleven MK II plug-in on the source input/track.

3 Solo the first Aux Input track.

4 Click to open the Eleven MK II plug-in window on the soloed Aux Input, and do any of the following:

• Make sure the amp and cabinet are active (not bypassed).

• Choose a preset (Settings file).

• Pair any amp with any cabinet.

• Choose a mic and its position.

• Adjust Speaker Breakup.

5 Solo the next Aux Input track, and repeat to configure its settings for a different tone.

6 Repeat for other Aux Input tracks to configure their settings.

7 When you have set your tones, make sure to unsolo all the Aux Inputs.

8 Continue playing so you can hear the combined tone of all the amps.

9 Do the following to continue:

• Balance the tracks using the volume faders on the Aux Input tracks.

• Try different pan positions for each Auxiliary Input track.

10 Evaluate the phase relationships of the combined signals and adjust accordingly (see “Phase Considerations with Blending in Eleven MK II” on page 331).


(pg.305-307)

Eleven Tips and Suggestions

This section leaves you with some tips and suggestions for other ways you can integrate Eleven into your sessions.

Changing Settings Versus Switching Amps

Many guitarists use different tones to maximize the contrast between sections of a song (intro, verse, chorus, or bridge). Some examples include:

• Soft (or clean) tone for the verse, kick in the distortion for the chorus.

• Using tremolo during the intro and the bridge.

• Doubling the rhythm track halfway through the verse to build momentum.

Pro Tools automaton is the key to these and other techniques:

- For simple, single amp contrasts such as soft/loud, choose an amp and automate its gain, drive, volume or other parameter to achieve the desired tone change. This uses the least amount of processing resources of the examples provided here.

- To switch amps, automate the Amp Type selector and any other controls (you cannot automate the selection of Pro Tools plug-in Settings files). Depending on the amount of overlap or crossfading you want between tones, you might be better off using the next, multi-Eleven workflow.

- For maximum flexibility, control and variety, use a dry track bussed to multiple Aux Inputs, each with a different Eleven tone (see “Blending Eleven Amps” on page 303 for instructions). Configure one for tone A, configure the next Eleven (on the next Aux Input) for tone B (which could be a completely different amp and sound) and so on. Then use Pro Tools track Volume (fader) automation to fade the different Eleven tracks in and out at the right times. This gives the greatest amount of control over the transition between amps and tones, while also letting you stack and layer amps.

Managing Eleven Plug-In Resources

If system resources need to be conserved or minimized, you can “bus record” with effects to commit Eleven tones to disk. See “Recording Wet: Record Eleven-Processed Track to Disk” on page 298. 

Or, use the AudioSuite version to print Eleven tracks to disk. AudioSuite is especially useful when you’re processing loops or other shorter-form guitar material.

Beyond Eleven: Some Suggested Effects

If you’re new to guitar or new to Pro Tools, you might want to know about a few simple effects you can add to your Eleven guitar tracks using nothing more than a few of the plug-ins included with Pro Tools.

Bussing and Submixing

Not so much a plug-in or effect as a standard operating procedure, multiple guitar tracks are often submixed to stereo Aux Input for centralized level control of those tracks. This is especially useful for

applying compression or limiting, creating stem mixes, and many other practical uses. See your Pro Tools Reference Guide for mixing and submixing setups and suggestions, and try them out while exploring some of the following effects suggestions.

Dynamics

Compression, limiting, expansion and gating are all useful effects for guitar. Different results can be achieved using each of the different types of dynamics processing, in combination with signal routing for individual (discrete) versus submix (shared resource) processing. Here are a few examples:

- If all you seek is the taming of occasional dynamic aberrations within a track (meaning, you just need to clamp a couple “overs”), try putting a limiter on the individual track (after Eleven).

- To “glue” multiple rhythm tracks or tones together, bus them to a stereo Aux Input and apply heavy compression or limiting to that Aux Input. Experiment with different dynamics plug-ins such as Dyn 3 or any of Avid’s classic compressor processors to find one that works best for the material. Don’t be afraid to use extreme compression ratios to achieve this effect.

EQ

Simple EQ processing can be used to soften “hot spots” in the playing range of some guitars. Using any of the included EQ plug-ins, you can also try applying drastic shelving or band-limiting as a special effect, or automate a filter sweep to simulate a wah-style effect.

Echo and Delay

To add echo to the guitar track, bus an Eleven track to an Aux Input and put a Delay plug-in on the Aux. Try other delay plug-ins to unlock the secrets of multi-tap, ping-pong, and other specialized applications.


Eleven Signal Flow Notes

The following figure shows the signal flow through Eleven from its input source to its output destination.

Plug-Ins are Pre-Fader

Keep in mind that inserts (plug-ins) in Pro Tools are post-disk/live input but pre-fader. The track fader does not affect the signal into any plug-ins inserted on that same track. This is the same for all Pro Tools inserts, not just Eleven.

Input LED before the Input Knob

The Input LED is before the Input section of the Master section, which is prior to the first input stage of each amp. This lets you determine whether you’re clipping a signal before it enters the Eleven signal chain. The Input LEDs will light red when the signal has clipped the input. (If this occurs, insert the Trim plug-in before Eleven and use its (Trim) gain control to attenuate the signal.)

Input Knob and Amp Gain

Eleven actually gives you two separate input gain stages to the plug in:

- The Input knob in the Master section, which affects the signal level before entering the amplifier model.

- The gain knob(s) on each amplifier, which control the main input stage of that particular amplifier model.

This makes the Input knob useful for increasing or decreasing gain on amps that don’t have a separate preamp.

Noise Gate After the Input Knob

The Noise Gate is keyed (triggered) from the input signal. The gate is applied to the output of the amp; when open, it lets sound pass from the amp to the cabinet module, and when closed, it silences amp output to the speaker cabinet.

(pg.332-334)

Eleven MK II Tips and Suggestions

This section leaves you with some tips and suggestions for other ways you can integrate Eleven MK II into your sessions.

Changing Settings Versus Switching Amps

Many guitarists use different tones to maximize the contrast between sections of a song (intro, verse, chorus, or bridge). Some examples include:

• Soft (or clean) tone for the verse, kick in the distortion for the chorus.

• Using tremolo during the intro and the bridge.

• Doubling the rhythm track halfway through the verse to build momentum.

Pro Tools automaton is the key to these and other techniques:

- For simple, single amp contrasts such as soft/loud, choose an amp and automate its gain, drive, volume or other parameter to achieve the desired tone change. This uses the least amount of processing resources of the examples provided here.

- To switch amps, automate the Amp Type selector and any other controls (you cannot automate the selection of Pro Tools plug-in Settings files). Depending on the amount of overlap or crossfading you want between tones, you might be better off using the next, multi-Eleven MK II workflow.

- For maximum flexibility, control and variety, use a dry track bussed to multiple Aux Inputs, each with a different Eleven MK II tone (see “Blending Eleven MK II Amps” on page 330 for instructions). Configure one for tone A, configure the next Eleven MK II (on the next Aux Input) for tone B (which could be a completely different amp and sound) and so on. Then use Pro Tools track Volume (fader) automation to fade the different Eleven MK II tracks in and out at the right times. This gives the greatest amount of control over the transition between amps and tones, while also letting you stack and layer amps.

Managing Eleven MK II Plug-In Resources

If system resources need to be conserved or minimized, you can “bus record” with effects to commit Eleven MK II tones to disk. See “Recording Wet: Record Eleven MK II–Processed Track to Disk” on page 326. 

Or, use the AudioSuite version to print Eleven MK II tracks to disk. AudioSuite is especially useful when you’re processing loops or other shorter-form guitar material.

Beyond Eleven MK II: Some Suggested Effects

If you’re new to guitar or new to Pro Tools, you might want to know about a few simple effects you can add to your Eleven MK II guitar tracks using nothing more than a few of the plug-ins included with Pro Tools.

Bussing and Submixing

Not so much a plug-in or effect as a standard operating procedure, multiple guitar tracks are often submixed to stereo Aux Input for centralized level control of those tracks. This is especially useful for applying compression or limiting, creating stem mixes, and many other practical uses. See your Pro Tools Reference Guide for mixing and submixing setups and suggestions, and try them out while exploring some of the following effects suggestions.

Dynamics

Compression, limiting, expansion and gating are all useful effects for guitar. Different results can be achieved using each of the different types of dynamics

processing, in combination with signal routing for individual (discrete) versus submix (shared resource) processing. Here are a few examples:

- If all you seek is the taming of occasional dynamic aberrations within a track (meaning, you just need to clamp a couple “overs”), try putting a limiter on the individual track (after Eleven MK II).

- To “glue” multiple rhythm tracks or tones together, bus them to a stereo Aux Input and apply heavy compression or limiting to that Aux Input. Experiment with different dynamics plug-ins such as Dyn 3 or any of Avid’s classic compressor processors to find one that works best for the material. Don’t be afraid to use extreme compression ratios to achieve this effect.

EQ

Simple EQ processing can be used to soften “hot spots” in the playing range of some guitars. Using any of the included EQ plug-ins, you can also try applying drastic shelving or band-limiting as a special effect, or automate a filter sweep to simulate a wah-style effect.

Echo and Delay

To add echo to the guitar track, bus an Eleven MK II track to an Aux Input and put a Delay plug-in on the Aux. Try other delay plug-ins to unlock the secrets of multi-tap, ping-pong, and other specialized applications.


Eleven MK II Signal Flow Notes

The following figure shows the signal flow through Eleven MK II from its input source to its output destination.

Plug-Ins are Pre-Fader

Keep in mind that inserts (plug-ins) in Pro Tools are post-disk/live input but pre-fader. The track fader does not affect the signal into any plug-ins inserted on that same track. This is the same for all Pro Tools inserts, not just Eleven MK II.

Input LED before the Input Knob

The Input LED is before the Input section of the Master section, which is prior to the first input stage of each amp. This lets you determine whether you’re clipping a signal before it enters the Eleven MK II signal chain. The Input LEDs will light red when the signal has clipped the input. (If this occurs, insert the Trim plug-in before Eleven MK II and use its (Trim) gain control to attenuate the signal.)

Input Knob and Amp Gain

Eleven MK II actually gives you two separate input gain stages to the plug in:

- The Input knob in the Master section, which affects the signal level before entering the amplifier model.

- The gain knob(s) on each amplifier, which control the main input stage of that particular amplifier model.

This makes the Input knob useful for increasing or decreasing gain on amps that don’t have a separate preamp.

Noise Gate After the Input Knob

The Noise Gate is keyed (triggered) from the input signal. The gate is applied to the output of the amp; when open, it lets sound pass from the amp to the cabinet module, and when closed, it silences amp output to the speaker cabinet.


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