When it comes to microphone placement, a classic setup involves a placed directly on-axis to capture the bright, aggressive attack, or blended with a ribbon or condenser microphone for additional low-end body and room ambience. AmpliTube 5's VIR technology allows you to experiment with hundreds of mic positions to find the perfect combination.
Good for the more mid-forward "British" crunch Synyster Gates often favors. Soldano SLO100 or Bogner Uberschall:
7.5 (Higher gain for compression and endless sustain). Bass: 5.0
(just enough to color the tone without adding unwanted fizzy distortion). (to retain bite). Level / Volume: (pushing a massive signal into the amp). 3. The Amplifiers: Mesa Boogie and Beyond amplitube 5 avenged sevenfold
A7X tracks are heavily multi-tracked and professionally mixed, meaning their raw guitars are highly carved. To emulate this within AmpliTube 5's Rack section:
Drive should be set to 0, Volume/Level set to maximum, and Tone dialed past the midpoint (around 6 or 7). This configuration acts as a high-pass filter, cutting flubby bass frequencies before they hit the preamp and boosting the mid-range for maximum articulation during fast alternate picking. 3. The VIR Cabinet Section (Air and Space)
: Use a "v-shape" or slightly "scooped" EQ for rhythm, but keep the Mids present enough to cut through. For lead work, boost the Highs and Gain to capture Synyster's sharp, articulate solo tone. When it comes to microphone placement, a classic
In AmpliTube 5, look for the Recto Red or Triple T models (based on Mesa/Boogie Rectifier series). These models deliver the signature scooped mid-range potential and aggressive, blooming low-end heard on albums like City of Evil and Avenged Sevenfold .
Marshall or Mesa 4x12 enclosures loaded with Celestion Vintage 30 speakers. Zacky Vengeance’s Core Rig
7.0 . Pushes the virtual power tubes into their sweet spot. 4. The VIR Cabinet Section (The Secret Weapon) Soldano SLO100 or Bogner Uberschall: 7
IK Multimedia released an for AmpliTube 5. It includes:
repeats) and a subtle to make the solos soar over the rhythm section. 6. Tuning to the Masters