Get the ultra-realistic sound and feel of playing through dozens of the world’s greatest guitar and bass rigs—without the expense or hassle. Capture performances using the same professional audio recording software used to create your favorite albums. Then take your tones from the studio to the stage, using Eleven Rack as your standalone amp modeler and signal processor. No matter how you use it, you’ll always have the right tone at your fingertips when you need it.
Stop struggling with trying to get the sound you’re after. With Pro Tools + Eleven Rack, you get great tone and versatility, and a tightly integrated, fully tricked-out hardware/software audio recording solution that keeps up with your creativity. Have access to dozens of the most coveted rigs and stompbox effects for a fraction of the price of a single vintage amp.
Have everything you need to compose, record, sequence, edit, and mix your own music using the same software used in countless recording and post-production studios worldwide. With its dual high-resolution DSP power, Eleven Rack—coupled with Pro Tools software—enables you to create big, complex mixes, without placing a burden on your computer. Even if you’re the stompbox king or queen, you won’t have to worry about distracting latency while recording. In addition to your guitar, you can connect a mic and other gear for recording. Create and polish mixes with over 70 included virtual instruments, studio effects, and sound processing plug-ins. Re-amplify your tone at whim—without re-patching a single cable. And take your sessions to any other Pro Tools studio with an Eleven Rack, and get full recall of all your same settings instantly.
Pro Tools software
- Compose, record, edit, and mix using industry-standard tools
- Build big productions with up to 96 simultaneous stereo audio tracks
- Create and edit rig settings right from within Pro Tools
- Record dry and processed signals simultaneously for easy re-amping
- Never worry about saving presets, as all rig settings are embedded into recorded tracks
- Polish mixes with 70 sound processing, effects, and utility plug-ins included
- Compose music with the included virtual instruments and MIDI and notation tools
- Work with coveted pro features—Automatic Delay Compensation, multitrack Beat Detective, DigiBase Pro, and more
- Adjust pitch and time on the fly with Elastic Pitch and Elastic Time
- Collaborate with others easily with built-in OMF/AAF/MXF file interchange
- Use Pro Tools software with Eleven Rack or standalone
Eleven Rack hardware
- Get incredible emulations of classic amp tones inspired by Fender®, VOX®, Marshall®, Soldano, and Mesa/Boogie®*
- Enhance your tone with classic stompbox effects inspired by MXR®, Electro-Harmonix®, Ibanez®, Pro Co, Univox®, and more*
- Gain realistic response and tone with the unique True-Z impedance-matching guitar input
- Customize your sound with convolution-based cabinet and microphone emulations
- Get the performance you need through powerful onboard DSP acceleration
- Record up to eight simultaneous channels of 24-bit/96 kHz audio—with near-zero latency
- Stay in tune with the built-in guitar tuner
- Customize time-based effects through tap-tempo control
- Have the connections you need to rig up your gear for recording:
- One XLR mic input with 48V phantom power
- Two 1/4" line-level inputs
- Balanced stereo XLR outputs and dedicated 1/4" outputs (for amp connection)
- Two 1/4" FX sends and returns
- AES/EBU and S/PDIF digital I/O
- 1x1 MIDI I/O
- Stereo 1/4" headphone jack
- Pedal/footswitch input
- Get high-speed USB 2.0 connectivity with your Mac or PC
- Take your sound from the studio to the stage with full standalone functionality
Eleven Rack Expansion Pack
- Expand your tonal versatility with guitar amp tones inspired by Bogner®, Celestion®, Fender, Marshall, Matchless®, Roland®, and more*
- Re-create the legendary thunderous bass tones inspired by the Ampeg® SVT*
- Enhance vocal and mic’d instrument performances with studio-grade processing and tools
- Add life to your tone with dynamic stereo delay, multi-chorus, and other effects
- Bring more authenticity and character to your rig with full speaker breakup emulation
Eleven Rack Amps
’59 Tweed Lux—based on a 1959 Fender® Deluxe*
Fender’s “Tweed” Deluxe became a recording studio favorite for everyone from ZZ Top’s Billy Gibbons to jazz/fusion legend Larry Carlton. With just a simple tone control, ’50s-era Deluxe amps deliver crunchy clean sounds when used with single-coil pickups, and fat leads when driven with humbuckers. For our emulation, the knobs range from 0–10 (instead of 1–12 on the original) to better match the other amps in Eleven Rack, and for consistency with automation and control surface controls. Our ’59 Tweed Lux is also “jumped,” so you can feed both the Instrument and Mic inputs in parallel; turn either the Instrument or Mic channel volume to zero to un-jump the channels.
’59 Tweed Bass—based on a 1959 Fender Bassman®*
Although the ’59 Bassman was originally designed with bass guitar in mind, it became the holy grail of tone for nearly all of the pioneering country, rock, and blues guitarists of the ’50s and ’60s. And its layout and circuit design became the blueprint for many others to follow. Our ’59 Tweed Bass’ knobs range from 0–10 (instead of 1–12 on the original) to better match the other amp sounds in Eleven Rack, and for consistency with automation and control surface controls. The Tweed Bass is also “jumped,” so you can feed both the Bright and Normal inputs; turn either the Instrument or Mic channel volume to zero to un-jump the channels.
’64 Black Panel Lux Vibrato / ’64 Black Panel Lux Normal—based on a 1964 Fender Deluxe Reverb®, Vibrato channel and Normal channel*
With a single 12-inch Oxford speaker and a pair of 6V6s putting out just over 20 watts, Fender’s Deluxe Reverb became the ultimate small club amp, and has been used to record countless #1 hits in Nashville. At low volumes, it achieves a crisp, clean high-end with single-coil pickups. But push the amp past 7 with a humbucking pickup, and you’ve got an amazingly dynamic lead. For Eleven Rack, we’ve emulated both channels of this classic blackface-era amp. While both versions of our ’64 Black Panel Lux emulation include Tremolo (which Fender mislabeled as Vibrato), Normal is a single gain version, while Vibrato adds the additional gain stage like the original.
’66 AC Hi Boost—based on a 1966 VOX® AC30 Top Boost*
Originally released in 1958, the VOX AC30 went through a few design changes that would eventually define the sound of British pop/rock in the ’60s. While the Beatles are forever linked to the AC30 Top Boost, many other great bands built their sound with it, including Tom Petty and The Heartbreakers, REM, Radiohead, and U2. Tracks such as U2’s “Pride (In The Name of Love)” showcase the amp’s distinctive high-end chime and glassiness. For our emulation, we “jumped” the Normal and Brilliant channels. Tremolo and Cut (presence) are active on both channels. However, like the original, the Treble and Bass controls are only part of the Brilliant channel, and have no effect on the Normal channel.
'67 Black Duo—based on a 1967 Fender Twin Reverb®*
Without a doubt, Fender’s blackface-era Twin Reverb is considered one of the greatest combo amps ever made. With two 12-inch Jensen speakers and a quartet of 6L6 tubes pushing 80 watts, no concert stage was complete without one. One of the main reasons for the amp’s popularity is that it can maintain the classic Fender clean sound even at high volume levels. Another special feature is the inclusion of a Bright switch. For our emulation, just like the original, as you turn the Volume knob up, the Bright switch has less of an effect. Dial the Volume knob around 3 or 4 with the Bright switch on, and you’ll get that ultra-clean snap that it’s famous for.
’69 Plexiglas – 100W—based on a 1969 Marshall® 1959 100-Watt Super Lead head*
Music shop owner and drum teacher Jim Marshall and the shop’s amp repairman, Ken Bran, thought they could build the same kind of amps as Fender, but use domestic parts to keep costs low. Within two years, Marshall amps were gaining favor among a new crop of local guitar players, including Eric Clapton and a volume-hungry Pete Townsend who asked Jim to make a 100-watt head and 8x12 cabinet. The Who’s roadies protested, and the cabinet was split in half. Now with two 4x12 cabinets loaded with “greenback” Celestions, and a 100-watt head, the Marshall stack was born. For our emulation, we based it on the legendary 100-watt 1968/69 version, which also has the “lay down” transformers favored by Eddie Van Halen. We also “jumped” both channels like Eric Johnson’s setup.
’82 Lead 800 – 100W—based on a 1982 Marshall JCM800 2203 100-Watt head*
Named after the license plate on his car (Jim Charles Marshall’s initials and a plate number), the JCM800 delivered massive distorted rhythm sounds thanks to its cascaded preamp design, a quartet of EL34 tubes, and the addition of a master volume. Unlike the Marshall heads of the ’60s, which needed to be on 10 to achieve an overdrive sound, a JCM800 could conjure up real distortion at any volume level, dominating the ’80s rock and metal scene. In later years, Jane’s Addiction’s Dave Navarro and Rage Against The Machine’s Tom Morello used JCM800 series amps to redefine the sound of metal-inspired rock. Our emulation captures the unmistakable growl of this highly respected vintage amp.
’85 M-2 Lead—based on a 1985 Mesa/Boogie® Mark IIc+, Drive channel*
Amp repairman Randall Smith originally started Mesa Engineering so he could buy supplies for his other job, rebuilding Mercedes engines. After hot-rodding a small Fender Princeton amp into a 50-watt monster, local guitarist Carlos Santana heard it, exclaiming, “Man, this thing really boogies!” and the Mesa/Boogie amplifier was born. The Mark IIc+ is one of the most desirable amps Mesa/Boogie ever made and can be heard on everything from the progressive rock solos of Dream Theater’s John Petrucci to the super chunky rhythm sounds of Metallica’s James Hetfield, who set the EQ in a “V” curve to maintain a tight bass sound. We based our emulation on the Lead channel, with the Fat, Bright, and Gain Boost options on—and we even re-created the classic “V” EQ curve!
’89 SL-100 Drive / ’89 SL-100 Crunch / ’89 SL-100 Clean—based on a 1989 Soldano SLO-100 Super Lead Overdrive head; Overdrive channel, Crunch channel, and Clean channel*
After gaining a reputation for making high-gain mods to old Marshall heads, Michael Soldano created his own SLO-100 100-watt amp, known for its singing sustain and clear articulation. For our ’89 SL-100, we emulated three different channels. Clean and Crunch both have the Bright/Normal switch of a stock SLO-100. For Drive, we emulated Warren Haynes’ (The Allman Brothers) Soldano’s bright switch mod. Set to Normal, the amp is stock. With Mod engaged, the treble boost that would normally happen at lower gain settings is removed, leading to a rounder, thicker sound. The Mod circuit has progressively less effect as the gain is raised, and no effect when the preamp is set to 10.
’92 Treadplate Modern / ’92 Treadplate Vintage—based on a 1992 Mesa/Boogie Dual Rectifier® head; Channel 3: Modern High Gain and Channel 2: Vintage High Gain*
Released in 1989, Mesa/Boogie’s Dual Rectifier offered more tone-tweaking options and distortion than any Boogie before it. The amp became the industry standard for players looking to achieve a massive sound, gaining exposure at the end of the grunge period and finding its greatest fame in the “nu metal” scene. For our ’92 Treadplate, we emulated two different channels and selected the appropriate rectifier and AC power switch setting. For Treadplate Modern, we set it on the Red channel using 6L6s, a silicon rectifier, and the Bold power setting for a tight, aggressive tone. For Treadplate Vintage, we emulated the Orange channel with 6L6s, a tube rectifier, and the Spongy power setting for a more fluid lead tone.
DC Modern Overdrive—Avid custom amp
If you’re looking for a unique tone that blends the classic growl of a 100-watt Marshall with more low-end girth, give our DC Modern Overdrive a try. Based on the JCM800, we added loads of extra gain and a carefully tweaked tone stack for a little extra thump! Plus, there’s a Bright switch and a Fender*-style Tremolo. Use a humbucker in the bridge position and you’ll have a tone that can shred with the best of them.
DC Vintage Crunch—Avid custom amp
For our DC Vintage Crunch emulation, we blended the two most popular versions of the Fender Deluxe* into one killer amp. Based on the tweed-era Deluxe, we added more gain and a Bright switch. To make it even more versatile, we added the blackface-era tone stack and tremolo. Using single-coil pickups, you can achieve glassy clean sounds and punchy leads with ease.
Eleven Rack Expansion Pack amps
’64 Black Vib—based on the 1964 Fender Vibroverb* combo amp
Produced for a short time in the mid-’60s, the Fender Vibroverb amp was one of the all-time great US-made smaller club amps. With an easy-to-overdrive but still not over-loud 40-watt 6L6GC-based power section and a single 15-inch speaker in an open-back cabinet, the amp strikes a great compromise between the crunch of smaller models in the line and the hall-filling clean tones of the larger models. Our amp offers a range of volume and tone controls, plus four Tremolo settings. We also added a midrange control (not found on the original) for more tonal versatility. Set it to ~7 to match the flat response of the original amp.
’65 Black Mini—based on the 1965 Fender Champ* combo amp
Outputting a mere 5 watts of power through a single 6-inch speaker when it first arrived in ’55, the Fender Champ boasted just one power tube. Though small in stature and volume, the amp offers sweet, gently driven tones and straight-ahead spank in droves. Its ability to produce classic tube amp sounds at low volumes made it a studio standard for decades. Our ‘65 Black Mini amp model is based on the ’60s-era 6-watt tube combo amp, with a single 8-inch speaker in an open-back configuration. Our version offers Volume, Treble, and Bass controls, and four Tremolo settings—Speed, Sync, Intensity, and Vibrato.
’65 Black SR—based on the 1965 Fender Super Reverb* combo amp
Known for its chiming clean tones at comparatively high volumes, the ’65 Fender Super Reverb “blackface” 40-watt combo amp featured an all-tube design, tremolo and spring reverb effects, and four 10-inch speakers in an open-back configuration. The amp became a legend among country pickers, blues players, and other guitarists who favored high-volume clean tones. Our version offers Volume, Treble, Mid, and Bass controls, along with a Bright switch (which can be toggled on and off using the SW2 button) and four Tremolo settings—Speed, Sync, Intensity, and Vibrato—to capture the full tone profile of the original.
’65 J45—based on the 1965 Marshall JTM45* head
Originally released in 1962, the JTM45 was the first guitar amp made by Marshall and was based on the Fender Bassman. Designed as a cheaper alternative to Fender amps, the JTM45 became known for its warm, clean Fender Tweed-like sound, giving way to a dirtier bluesy sound when cranked—unlike later Marshall amps, which are known for their signature “crunch.” Our model features two bridged input channels, each with its own volume setting, which can be blended together using the Volume 1 and Volume 2 controls. Both have different tonalities—Channel 1 offers a fairly flat tonal response, while Channel 2 is somewhat darker-sounding.
’67 Plexiglas Vari—based on the 1967 Marshall Super Lead "Plexi"* head with Variac modification
When guitarists want it loud, they turn to Marshall, and the Super Lead “Plexi” was among the loudest when it arrived. Known for its warm, bluesy tone, the amp is embraced by many revered blues and rock guitarists, including Pete Townsend, Eric Clapton, and Angus Young. Our amp model is based on the 1967 100-watt tube head, similar to the amp we used as the basis for our ’69 Plexiglas 100w model. This amp simulates that amp having its voltage reduced by a variable transformer called a Variac—a custom mod made famous by Eddie Van Halen, producing the much-loved “Brown” tone. The amp’s two channels, which can be blended together using the two volume controls, offer different tones—Channel 1 has a fairly flat tonal response, while Channel 2 is somewhat darker-sounding.
’68 Plexiglas 50w—based on the 1968 Marshall Super Lead 50w* head
In 1968, Marshall changed up the circuitry in its Super Lead Plexi series of amps, giving them more brightness, which brought out even more crunch. Our Plexiglas model is based on the legendary 1968 50-watt head, which was designed with a lower power tube plate voltage, and is known to break up at lower levels than its 100-watt counterpart. We also “jumped” both channels for even more gain.
’69 Blue Line Bass—based on the 1969 Ampeg SVT* head
When it comes to getting that big, ballsy, blow-’em-away tone, guitarists have their Marshalls. Bassists bow to the great Ampeg SVT bass amplifier. And now you can get that thunderous, sought-after sound of rock legends worldwide with our emulation of the vintage 300-watt 1969 Ampeg SVT bass amp head. Pair it with the 8x10 Blue Line speaker to re-create that massive legendary sound. On the original amp, the U-Lo and U-Hi controls are on-off switches. In our version, they’re continuously variable, so you can use them to add low or high harmonics to your tone. In addition, the Mid Frequency control setting is continuously variable, unlike the original’s set three-way switch.
’93 MS-30—based on the 1993 Matchless DC-30* combo amp
Known for its finely tuned, interactive tone controls and fresh take on classic “Class-A” amp topologies, the Matchless DC-30 amp claims a long list of celebrity fans with its range of sounds—from squeaky-clean all the way to beautifully overdriven high-gain tones. Our model is based on Matchless’ first design—a boutique combo amp that features a 30-watt EL84-based power section and two 12-inch speakers in an open-back configuration. Customize your sound using a range of controls, including Volume (controls preamp gain), Bass, Treble, Cut (reduces high treble frequencies), and Master (controls the master volume output).
’97 RB-01b Red, Blue, and Green—based on the Bogner Ecstasy 101B* head
With three distinct channels—Red (lead), Blue (rhythm), and Green (clean)—and a discrete preamp circuit for each channel, the 100-watt Bogner Ecstasy boutique amp enabled variety-hungry guitarists to achieve a huge range of vintage amp tones, without the tonal and ergonomic issues of modular amp setups. The Red channel excels at high-gain lead tones, the Blue is suited to chunky rhythm playing, and the Green focuses on clean tones. Our model offers a variety of volume, tone, gain, presence, and boost controls, plus a Bright switch.
DC Bass—Avid custom amp
For bassists, this amp is based on the same 300-watt ’69 Ampeg SVT* bass head we used as the basis for the Blue Line Bass model. We designed this custom bass amp with a scooped lower-midrange response, enabling you to achieve more thundering lows with a tighter response than the original amp. And—unconventionally for a bass amp—ours offers a tremolo circuit.
DC Modern 800—Avid custom amp
A variant of our Lead 800 model, DC Modern 800 is based on an ’80s-era Marshall JCM800* high-gain tube head. We made a couple of simple component swaps to change the tone significantly, and added a Bright switch to provide additional tonal range.
DC Modern Clean—Avid custom amp
This custom amp is loosely based on a 60s-era Fender* 85-watt tube combo amp. We tweaked our version to provide shimmering clean tones.
DC Modern SOD—Avid custom amp
This amp is loosely based on a US-made late-’80s 100-watt “super overdrive” tube head. It features a tight, extended low-end and high-gain capability—perfect for players of extended-range guitars.
DC Vintage Clean—Avid custom amp
This amp is loosely based on the same ’66 VOX AC30 Top Boost* tube amp we used as the basis for our AC Hi Boost model. We further refined it to offer a range of tones—from super clean (it’s actually cleaner than the original amp) to a slight amount of breakup.
DC Vintage OD—Avid custom amp
This unique “overdrive” amp is loosely based on a combination of Marshall* and VOX* tube amps. It takes the preamp section from our Plexiglas model and marries it to the power section of our AC Hi Boost model, with further tonal enhancements.
Eleven Rack effects, sound processors, and utilities
BBD Delay—based on the Electro-Harmonix Deluxe Memory Man*
Favored by guitarists such as U2’s The Edge and Eric Johnson, the original Electro-Harmonix Memory Man could produce analog delay and colorful chorus/vibrato effects without requiring tape. The 5-knob Deluxe Memory Man version does the same, but is also capable of producing eerie and unusual pitch-shift and flying saucer effects. Our BBD Delay effect, named after the bucket-brigade delay technology used in the Deluxe Memory Man, emulates virtually every aspect and all controls of the original, adding a switchable noise control to enhance the realism. For pristine delay tones, set the control to “OFF.” For realistic Feedback control behavior, leave the noise set to “ON.” BBD Delay also offers up to 1.6 seconds of delay time—well beyond the capability of the original.
Black Op Distortion—based on the Pro Co Rat*
During the mid-1970s, Pro Co Sound engineers Scott Burnham and Steve Kiraly repaired and hot-rodded existing overdrive and distortion pedals before deciding to design a superior model from scratch. Thus was born the Pro Co Rat, which became one of the most popular effects boxes ever. We based our Black Op Distortion effect on a stock second-edition Pro Co Rat pedal, and even powered the unit using old-school carbon zinc batteries during the measuring and analyzing process. The Black Op Distortion features three controls: Distortion controls the amount of overdrive in the op-amp, Filter attenuates the highs, and Volume controls the output gain. The Black Op Distortion works great as part of a cascading chain of gain. Set it to a moderate level and put it in front of a slightly distorted amp and listen for rich, distorted tones.
Black Wah—based on the Thomas Organ CB-95 Cry Baby*
The history of the wah-wah pedal is rather convoluted. The pedal was first introduced by VOX in 1966, but soon after, VOX’s former parent company, Thomas Organ, began releasing wah-wahs on its own. While VOX insisted on sticking to an alphanumeric naming scheme (hence the name V846), Thomas Organ decided to give the effect a snazzy new one—the Cry Baby—a fitting moniker that accurately described the pedal’s unique sound. To create our Black Wah effect, we emulated an original Thomas Organ CB-95 Cry Baby pedal. The True-Z input on Eleven Rack is an especially important part of re-creating this particular wah tone.
C1 Chorus/Vibrato—based on the Boss CE-1 Chorus Ensemble*
The Boss CE-1 Chorus Ensemble is a landmark in vintage effects history. It was the first chorus effect to be produced in pedal form, and was the first product to be released under the Boss name. Virtually every chorus pedal released since owes its heritage to this pedal, which delivers an unmistakable sound quickly made famous by guitarists like Andy Summers (The Police) and Jeff “Skunk” Baxter (The Doobie Brothers). We created our C1 Chorus/Vibrato effect by emulating a vintage Boss CE-1 unit, capturing both the chorus and vibrato modes, and enabling you to synchronize the modulation rate to an adjustable tempo setting.
Eleven SR (Stereo Reverb)—based on the Avid Reverb One plug-in
Eleven Rack features the most pristine, high-quality stereo reverb ever available in a rackmount guitar-recording device. We converted our acclaimed Reverb One TDM plug-in—which is used in countless professional studios to create award-winning albums, movies, and TV shows—to work in Eleven Rack. Our design team optimized the Reverb One technology for Eleven Rack, resulting in an incredible high-fidelity reverb effect. Up until now, you needed a Pro Tools|HD rig to enjoy the spacious tones of Reverb One—now you can experience the same great sounds right inside Eleven Rack.
EP Tape Echo—based on the Maestro Echoplex EP-3*
The Maestro Echoplex was one of the earliest analog delay devices, with the Echoplex EP-3 making use of solid-state “transistorized” technology instead of vacuum tubes. It also offered a “sound on sound” feature that allowed players to loop record almost three minutes of audio. For our EP Tape Echo effect, we obtained an original Echoplex EP-3 in pristine condition and painstakingly emulated virtually every aspect of the unit. It features all of the controls present on the original, with one significant improvement—while the original model offered a maximum 600 milliseconds of delay, our Tape Echo effect has an expanded delay mode that provides an unreal 2.4 seconds of delay time.
Flanger—Avid custom flange effect
The flanger effect was originally created by depressing the flange of tape reels. This effect was later re-created using modulated analog delay circuits in pedals. To design our custom Eleven Rack Flanger effect, we listened to a variety of vintage and modern flange pedals, including models from manufacturers MXR, Electro Harmonix, and A/DA, and finally came up with our own customized design. It works great in front of, or after, the amp in the signal chain—and you won’t get the noise or limited frequency response of typical flanger pedals.
Graphic EQ—Avid custom 5-band graphic EQ
The Eleven Rack Graphic EQ gives you full control over five bands of EQ—100 Hz, 370 Hz, 800 Hz, 2 kHz, and 3.25 kHz—ideal for cutting out troublesome frequencies or dialing-in just the right tone. We designed the Graphic EQ from the ground up, specifically for guitar players (though it works great on mics too), with help from first-call pro engineers who told us about their favorite frequency bands for tweaking those legendary guitar tones. Positioned in front of the amp, the Graphic EQ is a flexible and transparent tone shaper, with none of the noise typically found in pedal units. It also works well positioned after the amplifier in the signal chain.
Green JRC Overdrive—based on the Ibanez TS-808 Tube Screamer*
Considered by many to be the quintessential overdrive pedal, the Ibanez TS-808 Tube Screamer pedal has become one of the most highly sought-after classic effects. To create our version, we scoured vintage shops and found a completely stock TS-808 with the original JRC 4558D dual op-amp. When measuring and analyzing the unit (as we did with all the vintage pedals that operate on a 9V battery), we used old-school carbon zinc batteries to re-create the voltage discharge of the batteries commonly available when the pedal was introduced. The result is an amazingly realistic emulation of the original, providing a warm moderate overdrive to amps with clean settings, and pushing distorted amps to even higher levels of saturation by slamming the input of the amp with a high output setting on the pedal.
Gray Compressor—based on the Ross Compressor*
During the mid- to late-’70s, Kustom Electronics produced a line of guitar effects pedals under the Ross brand. Unfortunately, sales were sluggish, and the Ross family of pedals disappeared by the ’80s. In recent years, guitarists have re-discovered the lineup—in particular, the gray-colored Ross Compressor. From a schematics standpoint, the Ross Compressor and the MXR Dynacomp are surprisingly similar, though the Ross has a slightly warmer tone. For our version, we faithfully emulated a completely stock original circuit. The Sustain knob controls the amount of compression, while the Level knob controls the amount of post-compression gain. It’s a straightforward effect that sounds great for clean country lead guitar tones or for further overdriving distorted amps.
Orange Phaser—based on the MXR Phase 90*
Since its debut in 1974, the MXR Phase 90 has arguably been the most popular phase-shift pedal on the market, favored by countless guitarists, including Eddie Van Halen, Andy Summers (The Police), Steve Vai, Matt Bellamy (Muse), and Tom Morello (Rage Against the Machine). We faithfully emulated the original “script logo” MXR Phase 90, making some minor tweaks to ensure the effect sounds equally great at any point in your Eleven Rack signal chain. Like the original, ours features only a single speed control, yet you can dial in many interesting sounds. Turn down the speed for a lush, sweeping tone. Crank up the knob for a fast rotary speaker-like effect. Or experiment by inserting Orange Phaser into different places in your signal chain.
Roto Speaker—Avid custom rotary speaker effect
The Eleven Rack Roto Speaker effect emulates the unique spinning sound of a Leslie rotary speaker cabinet. There are several interesting ways you can use Roto Speaker, each providing a different type of sound. Insert it before your amp, just like using a foot pedal. Or place it after your amp and turn off cabinet simulation in Eleven Rack to get a faithful rotary speaker cabinet emulation. Since a real rotary speaker uses two horns that spin in opposite directions, we gave our Roto Speaker a balance control, enabling you to control the level between the upper and lower rotors.
Shine Wah—based on the VOX V846*
In 1966, VOX engineer Brad Plunkett accidentally discovered the wah-wah effect while experimenting with the tone circuit on a guitar amp. The VOX executives immediately saw the commercial potential of a wah-wah pedal, but originally wanted to market it to brass and woodwind players. In the late ’60s, the VOX V846 wah-wah pedal was introduced, designed specifically for guitar players. We emulated our Shine Wah after a completely stock, vintage VOX V846. Our version gives you the flexibility to place the effect in your signal chain after the amplifier—a setup that would be difficult using the original. You can control the effect with an expression pedal, MIDI CC data, or even Pro Tools automation.
Spring Reverb—based on blackface-era Fender Spring Reverb units*
According to author Tom Hughes’ book, “Analog Man’s Guide to Vintage Effects,” surf guitar legend Dick Dale asked Leo Fender to build a compact reverb unit that he could run his voice through. Fender responded by licensing Hammond Organ’s analog reverb technology, and the rest is history. Nearly every guitar amp produced since has included some time of reverb. To create our effect, we analyzed actual reverb units from several classic blackface-era Fender amps, resulting in a completely convincing emulation of the Fender reverb tone. In addition to the mix control on the original amps, we added extra Decay and Tone controls. Decay adjusts the length of the reverb tail, while Tone balances between treble and bass. To capture the original Fender reverb sound, set the Decay and Tone knobs to the middle position.
Tri Knob Fuzz—based on the Electro-Harmonix Big Muff Pi*
In the late ’60s, Electro-Harmonix was a small, relatively unknown boutique pedal manufacturer in New York City run by owner Mike Matthews. Thanks to the growing popularity of distorted guitar tones, the company found a niche market selling small fuzzboxes and booster circuits to guitarists. After being inspired by time spent in the studio discussing tone with Jimi Hendrix, Matthews designed the pedal that would launch Electro-Harmonix into history and become one of the best-selling distortion effects of all time: the Big Muff Pi. Just like the original, our Tri Knob Fuzz effect employs a straightforward three-knob configuration. When you plug into Eleven Rack, the True-Z input automatically sets the input impedance, which is notoriously low on this one, to the correct value, resulting in an extremely accurate emulation.
Tuner—Avid guitar tuner
Keep your guitar or bass in tune and explore alternative tunings with this handy guitar tuner. Whether you need to maintain perfect pitch on stage of while recording, this simple built-in tuner will help you quickly and effectively get the job done.
Vibe Phaser—based on the Univox Uni-Vibe*
Released in the mid-’60s, the Uni-Vibe was originally designed to mimic the sound of a rotating speaker cabinet. While it didn’t quite nail the Leslie cabinet sound, it did deliver a distinctive phase-shift, sweeping effect that became a favorite of guitar legends Jimi Hendrix, Robin Trower, and David Gilmour. For our effect, we added a tempo-lock function, which enables you to synchronize the speed to the tempo of your Pro Tools session. We also emulated the chorus and vibrato modes so you can switch between the two. While the original didn’t have a dial to control the rate, ours enables you to control the speed through the Eleven Rack control panel, or connect an expression pedal to adjust speed on the fly.
Volume Pedal—Avid custom volume pedal
While volume pedals aren’t technically effects, guitarists have relied on them for decades to create reverse-attack and pedal steel-type sounds. Our Volume Pedal is totally transparent, delivering everything you need in a volume device, but without the signal degradation and noise inherent in vintage models. You can position our Volume Pedal almost anywhere in the signal chain. Simply connect an expression pedal to Eleven Rack and you’ll have full, sweepable foot control over the volume of your guitar—great for both the studio and stage.
Eleven Rack Expansion Pack effects and sound processors
DC Distortion—Avid custom distortion effect
DC Distortion is a custom effect model built just for Eleven Rack, offering a range of overdriven tones, aided by its built-in Bass and Treble EQ controls, which help shape the response of the clipping circuit. The effect includes controls to adjust the amount of distortion (clipping level), boost treble and/or bass frequencies, and control the final output volume.
Dyn Delay—based on the Avid AIR Dynamic Delay plug-in
This stereo delay effect is based on the AIR Dynamic Delay plug-in that comes with Pro Tools software. A powerful effect, Dyn Delay can be synchronized to your Rig or Session tempo to create time-based delay effects, and offers an envelope follower that enables you to modulate various parameters, based on the amplitude envelope of the incoming signal. Our effect includes a variety of controls that enable you to set the delay length and feedback, sync the delay to a tempo, balance the wet/dry mix, shape the tone, and more.
Dyn III Compressor—based on the Avid Dynamics III Compressor plug-in
This effect is based on the Compressor plug-in from the Dynamics III plug-in set that comes with Pro Tools. With it, you can control the dynamics of your guitar signal, much like Gray Compressor. However, while Gray Compressor emulates a classic guitar-specific compressor pedal with a smooth liquid tone, Dyn III Compressor is more versatile, acting more like an outboard compressor you’d use in recording situations. The effect includes a number of controls that enable you to set the threshold, attack, and release, as well as the gain, compression ratio, and knee sharpness.
Multi-Chorus—based on the Avid AIR Multi-Chorus plug-in
This modulation effect is based on the AIR Multi-Chorus plug-in that comes with Pro Tools software. With it, you can stack multiple layers of chorusing to create a thick, swirling sound. The effect includes a number of controls to set the rate, width, depth, pre-delay, number of voices, and more, plus sync control to your Rig or Pro Tools Session tempo.
Para EQ—Avid custom parametric EQ
This EQ provides a high-quality, 4-band parametric equalizer, with adjustable gain, frequency, Q (bandwidth), and output for each band. With the Low and High bands, you can switch between four EQ types—Shelf, Peak, Low-Pass (high band), High-Pass (low band), and Notch. The EQ also includes a variety of controls, enabling you to set the frequency gain, center frequency, bandwidth, and volume output of each band.
White Boost—based on the Xotic RC Booster
The much-loved clean RC Booster pedal provides guitarists with 20 dB of gain boost, without coloring the tone, plus a built-in EQ to help shape it. It’s great for driving the preamp section of any amp model into a gentle (or not so gentle) overdrive. Our effect emulates that same crystal-clear boost and tonal shaping control. You can use the EQ controls to boost and cut frequencies as normal, which will help shape the overdrive response as well.
Eleven Rack speaker cabinets
- 4x12 Classic 30—based on an ’06 Marshall 1960AV 4x12” with Celestion Vintage 30s*
- 4x12 Green 25W—based on a ’68 Marshall 1960A with Celestion G12H “Greenbacks”*
- 4x10 Tweed Bass—based on a ’59 Fender Bassman 4x10” with Jensen P10Qs*
- 2x12 AC Blue—based on a ’66 VOX AC30 2x12” with Celestion Alnico Blues*
- 2x12 Black Duo—based on a ’67 Fender Black Face Twin Reverb 2x12” with Jensen C12Ns*
- 1x12 Black Lux—based on a ’64 Fender Black Face Deluxe Reverb 1x12” with Jensen P12N*
- 1x12 Tweed Lux—based on a ’59 Fender Tweed Deluxe 1x12” with Jensen P12Q*
Eleven Rack Expansion Pack speaker cabinets
- 8x10 Blue Line—based on an Ampeg SVT 8x10 with "towel bar"*
- 4x12 Green 20W—based on a Marshall 4x12 with Celestion Heritage G12M speakers*
- 4x12 65W—based on a Marshall 4x12 with original issue Celestion G12-65 speakers*
- 4x10 Black SR—based on a Fender Super Reverb 4x10 with CTS Alnico speakers*
- 2x12 B30—based on a Bogner 2x12 with Celestion Vintage 30 speakers*
- 2x12 Silver Cone—based on a Roland JC-120 2x12*
- 1x15 Open Back—based on an Ampeg Reverberocket 1x15 with Jensen C15N speaker*
- 1x8 Custom—based on a Fender Champ combo amp speaker*
Eleven Rack microphones
- Dyn 7—based on a Shure® SM7 dynamic microphone*
- Dyn 57—based on a Shure SM57 Unidyne III dynamic microphone*
- Dyn 409—based on a Sennheiser® MD 409 dynamic microphone*
- Dyn 421—based on a Sennheiser MD 421 dynamic microphone*
- Cond 67—based on a Neumann® U67 condenser microphone*
- Cond 87—based on a Neumann U87 condenser microphone*
- Ribbon 121—based on a Royer® 121 ribbon microphone*
Eleven Rack Expansion Pack microphones
- Dyn 12—based on an AKG® D112 large diaphragm dynamic microphone*
- Dyn 20—based on an Electro-Voice RE20 dynamic cardioid microphone*
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