AXE I/O Solo

AXE I/O SOLO comes with the following free bonus content

Mac/PC free content

• AmpliTube 5
  Guitar amp & FX modeling software. Includes 177 iconic gear models.
  Available for registered users of AXE I/O Solo + AmpliTube 5 Bundle, Z-TONE Buffer Boost + AmpliTube 5 Bundle, Z-TONE DI + AmpliTube 5 Bundle.
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• AmpliTube 5 SE
  Guitar amp & FX modeling software with 77 essential gear models.
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• AmpliTube 4 Deluxe
  Hyper realistic guitar amp and FX software with over 140 pieces of gear.
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  AmpliTube 4 Deluxe gives you all the hyperrealistic tone and flexibility of AmpliTube 4 plus a ton of extra gear not found in the standard version for a grand total of 140 pieces of gear that includes amplifiers, cabinets, stompboxes, speakers, microphones, rack effects and more. And you get all this in addition to revolutionary features like AmpliTube 4's hyperrealistic cab room, dual 3D mic positioning, individual speaker selection, 8-track recorder, looper and UltraTuner.

  AmpliTube 4 Deluxe includes all the gear models available inside AmpliTube 4 plus an additional 101 pieces of gear for a total of over 140 models.

  Included gear models:

  33 Stompbox models including: Acoustic Sim, Chorus, Flanger, Opto Tremolo, Delay, Wah Pedal, Diode Overdrive, Compressor, Graphic EQ and more

  25 Amplifiers including: American Tube Clean 1, British Tube Lead 1, Solid State Bass Preamp, Jazz Amp 120 plus 5 all new classic British amps and more

  29 Cabinets including: 4x12 Brit 8000, 4x12 Brit 9000, 4x12 Red Pig, 4x12 Brit Silver, 4x10 Open Vintage, 2x12 Closed Vintage, 4x12 Closed Vintage 1 and more

  29 Vintage and modern individual speaker models

  12 Microphones including: Double Dynamic 57, Dynamic 57, Condenser 414, Condenser 87 and more

  15 Rack effects units including: Digital Delay, Parametric EQ, Rotary Speaker and more

  2 Tuners: UltraTuner plus a fully chromatic rack tuner

  8-track recorder and DAW

  4-track Looper

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• Black 76 Limiting Amplifier
  FET Compressor/Limiter for T-RackS.
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  The Black 76 Limiting Amplifier is modeled after what is probably the most used, most known, most wanted, and most universally recognized compressor / limiter in the audio industry. There are probably no professionally created records without tracks using this unit. It’s a true legend and a piece of history. The engineers that made this FET based compressor reached a level of cleverness and magic that only true visionary geniuses can achieve. While there are many revisions of this hardware, we modeled the LN version, revision E, because it's the one that has the most sonically recognized and wanted character thanks to its input transformer and class A output stage.

  This compressor can be used on literally everything: drums, drum sub-mixes, vocals, bass, guitars, piano, choirs, brass, strings, etc. It adds its sonic footprint to the sound that for many reasons simply makes music sound better. Vocals, for example, will gain presence, consistency, clarity and punch in a way simply not obtainable with other units. Drums will gain power and density with total control over the level of "snap", and guitars will get a magic midrange zone that makes them truly sing. The Black 76 is a must for mixing, but thanks to the perfectly stereo linked version we provide with MS option, it can also be effectively used for mastering if used with care!

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• White 2A Leveling Amplifier
  Tube Opto Compressor/Limiter for T-RackS.
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  The White 2A Leveling Amplifier is based on a legendary vintage unit that is entirely tube-based. It’s a totally different device in terms of construction where all the compression magic happens inside an optically coupled element formed by a fluorescent panel and some photocells: the famed T4A element. There is no electronic circuitry involved with the compression itself. It's just a tube amp with photo-resistors, lighted by a fluorescent panel driven by the output signal. At the time of this invention, there were not many ways of making an audio compressor: only variable-mu and optical. Optical was the simplest one, and if proper elements for both the light emitting panel and the photocells were matched, magic happened.

  Originally intended for use in broadcasting, it immediately became a truly signature unit for music recording and mixing. It’s a must-have for both tracking and mixing vocals, but it’s also tremendously effective on electric bass, upright bass, piano, winds and many other tracks where you need a gentle compression with great warmth and consistency. This is one of the few units in the audio industry that nobody will allow to be substituted with anything else.

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• Vintage Tube Compressor/Limiter Model 670
  Vari-MU Compressor/Limiter for T-RackS.
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• EQP-1A Vintage Tube Program Equalizer
  Classic Analog Tube-Based EQ for T-RackS.
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• White Channel
  Modern Channel Strip for T-RackS.
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  The White Channel is the modern counterpart to our acclaimed British Channel, and is a dead-on recreation of a contemporary, high-resolution large-format analog console's channel strip.

  The facilities of this plug-in are quite the same as in the British Channel, but the circuit design of the original hardware was conceived with a more modern approach to high bandwidth and signal to noise ratio.

  We paid special attention to have these features closely matched in our model.

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• Mic Room
  Microphone Modeling Module for T-RackS.
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  Mic Room is a microphone-modeling tool for T-RackS that puts a world-class collection of over 20 classic and contemporary microphones at your fingertips. It gives you the power to process and "re-mike" your physical microphones to sound and perform like some of the most coveted mic models of all time.

  With dynamic, condenser and ribbon microphone models to choose from (plus other unconventional and highly creative models), it offers an inspiring and essential array of tone sculpting tools that are conveniently ready for use as a T-RackS module in your DAW of choice.

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• Tape Echo
  Vintage Tape Delay for T-RackS.
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  The Tape Echo is a faithful recreation of the highly sought after Echoplex EP3 tape delay. The original unit made its appearance in 1969 and was immediately adopted by musicians and guitar players as the standard for delay effects.

  The principle behind it is a that of a traditional analog recording machine, where incoming signal is printed by a tape head onto magnetic 1/4” tape. A second tape head placed afterwards plays back the recorded signal creating the delay effect. Varying the distance between the two heads determines the delay time.

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• De-Esser
  Multi-Band De-Esser for T-RackS.
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  De-essing is also known as "frequency dependent compression," but whatever you call it, the idea is to control excessive sibilance (exaggerated “s” sounds), which can be particularly problematic on vocal tracks. The multiband capability is a feature that puts the De-Esser ahead of the competition making it precise and versatile on top of good sounding..

  When set as 2 band mode the De-Esser works in a broader fashion, effectively reducing the high end content of the area set by the frequency selector. Switching to 3 bands mode allows more precision and control, particularly useful in situations like vocal tracks where sibilance is in a narrow range, and where there is the need to leave the higher part “air” untouched. The dedicated control set also allows you to precisely tailor the operating mode, and audition the de-essing action or the part of the audio spectrum the processor is working on.

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• CSR Room Reverb
  Acoustic Room Reverb for T-RackS.
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  The CSR Room reverb was designed to reproduce the kind of reverberation generated by medium to small acoustical spaces. It is particularly useful to �dress� a dry, close-mike recorded source in a natural ambience that won't make it sound like an artificial reverb, but as it was actually recorded in a real room. This is far from easy as even though the reverberation doesn't have a long decay the presence and importance of the early reflections make it really tricky to reproduce convincingly.

  In a mix situation the CSR Room reverb will make tracks fit better because of the natural �air� surrounding them or, when driven harder, place them on a different sonic plane, making them literally jump out of the mix.

  Tweakable to the minimum detail it can be an invaluable tool on a tonal palette to shape mixes that will sound 3D, articulate and real, where every track fits into its own place and space.

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• One
  All-in one Mastering Processor for T-RackS.
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  The One processor was designed as an "all-in-one" solution for easily crafting final masters or shaping the sound of single tracks as well as mix subgroups with astounding simplicity and mind-blowing effectiveness.

  It includes an EQ, compressor, harmonic exciter, low-end enhancer and limiter that will let anyone achieve professional quality results quickly and easily.

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• Ableton® Live 10 Lite™
  Digital Audio Workstation application.
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