MARSHALL USER MANUAL Supporting VST/VST3/AU/AAX Rev. May 26, 2020 Softube User Manual © 2007-2020. Amp Room is a registered trademark of Softube AB, Sweden. Softube is a registered trademark of Softube AB, Sweden. All visual and aural references to the Valley People Dyna-mite, Trident A-Range, Tonelux and Tilt are trademarks being made with written permission from PMI Audio. The Tonelux and Tilt logo, the Valley People, Dyna-mite and associated logos, and the Trident, A-Range and Triangle logo are trademarks of PMI Audio Group, used under license. Tube-Tech is a registered trademark of Lydkraft ApS, Denmark. EMI and Abbey Road are trademarks of EMI (IP) Limited. REDD, RS127 and RS135 are trademarks of EMI (IP) Limited. SSL and Solid State Logic are registered trademarks, SL 4000 is a trademark of Red Lion 49 Ltd. Mutator and Mutronics are trademarks of Mutronics Group Ltd. All specifications subject to change without notice. All Rights Reserved. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorse- ment nor a recommendation. Softube assumes no responsibility with regard to the performance or use of these products. Softube products are protected by patents SE526523 and SE525332, and related patents/patent ap- plications, including WO06054943, US11/667360, US20040258250, EP1492081, EP1815459, and JP2004183976. Your rights to the software are governed by the accompanying software license agreement (End User License Agreement). Disclaimer Every effort has been made to ensure that the information in this manual is accurate. However, there are a chance that we have made mistakes, and we hope that you understand that we are only humans. Please let us know about the mistake, and we’ll fix it in the mix (or in the next version of this manual).
Support On the Softube website (www.softube.com) you will find answers to common questions (FAQ) and other topics that might interest you. Support questions can be posted at http://www.softube.com, where we will help you as fast as we can! Web: www.softube.com E-mail: [email protected] Phone: +46 13 21 1623 (9 am – 5 pm CET) MARSHALL USER’S GUIDE | iii
Contents
1 Preset Collection 4 6 Marshall JMP 2203 33 Preset Collection...... 8 Amplifier Parameters...... 35 User Interface ...... 11 Channel Strip Parameters...... 37
2 User Interface 15 7 Marshall Plexi Super Lead 1959 39 Menu Row...... 15 The amplifier ...... 40 Meters ...... 17 The speaker cabinet ...... 41 Mono and Stereo Operation...... 17 The microphones...... 41 Presets ...... 17 The Amplifier panel controls...... 42 Key Commands ...... 17 The Input configurations ...... 42 The Channel Strip panel...... 43 3 Kerry King Marshall Signature Amp 18 Cabinet and microphones ...... 44 Credits ...... 45 The amplifier ...... 19 The speaker cabinets...... 20 8 Marshall Silver Jubilee 2555 46 The microphones...... 20 The amplifier panel controls...... 21 Amplifier Parameters...... 48 The Beast section ...... 22 Channel Strip Parameters...... 48 The Kerry King Cabs panels ...... 23 Cabinet and Microphones...... 49 Credits ...... 24 9 SOFTUBE AB’S END USER LICENSE AGREEMENT (“EULA”).FOR PLUG- 4 Marshall Legends 25 INS AND OTHER SOFTWARE PRODUCTS (ver 2019-06) li Marshall Plexi Super Lead 1959 ...... 26 Marshall Bluesbreaker 1962...... 26 Marshall Silver Jubilee 2555...... 26 Marshall JMP 2203...... 27 Credits ...... 27
5 Marshall Bluesbreaker 1962 28 Amplifier Parameters...... 30 Channel Strip Parameters...... 31 Cabinet and Microphones...... 32 4 |
Preset Collection
The Preset Collection is a tool to organize your presets in logic, simple, advanced or mysteri- 1ous (?) ways (it’s up to you!), or just a simple mechanism to save your favorite sounds and easily browse through artist's presets. You can either use the simplified version in the menu bar of each Softube plug-in, or you can press the open window icon to open the full Preset Collection. MARSHALL USER’S GUIDE | 5
Browsing presets Searching for Presets
Use the ◀▶ buttons in the menu row at the top of the If you want to find a specific preset and have a lot of plug-in to step through presets. Click ▼ to open a menu presets, there are many smart ways to search for preset, to select presets. By default, presets are sorted by “collec- and all of them require that you open the Preset Collec- tion”, usually by artist or theme. tion by clicking the button. Saving Presets Search by tag All presets have a number of tags associated with them, Press “Add Preset…” in the dropdown menu to save in general they describe the function (“distortion”, the current settings as a new preset. Type the name of “eq”, “compression”), the use case (“female vo- the preset and press enter. If you’ve made changes to cals”, “bass”) and the character (“creamy”, “dark”), a current preset and wish to overwrite that preset, just etc. In plug-ins that use modules, such as Modular, the press “Save”. Press “Save as…” if you want to save it tags also include which modules are used by the preset with a new name. (for example “Saturation Knob”) Factory Open Preset Collection in a Preset Prev/Next Current Open Menu separate window . Presets are by default Preset Preset organized by collection
Browse presets directly from the menu bar at the top of the plug-in. 6 | PRESET COLLECTION
Two tags (“Female Vocals” and “Joe Chiccarelli”) has been selected to show all Joe’s presets suitable for female vocals.
Search box A search in the Search box will search through all metadata (name, tags, description, etc). If you want to narrow your search, you can specify what you want to search for by using a qualifier, such as “name:” or “description:”. Possible search qualifiers arename, desc, description, tag, tags, and collec- tion. Search in the menu bar When you have selected a subset of presets, for example by searching for “vocals” or using a tag, the search results are available directly from the plug-in’s menu bar. That means that you can easily step through the presets using the ◀▶ buttons. Open the menu to see the search criteria or clear the search. MARSHALL USER’S GUIDE | 7
Plug-in Settings vs . “Metadata”
A Softube preset consists of two parts: the plug-in’s set- tings and the description of it, what we call “metadata”. Metadata is everything that’s not the included in the plug-in’s settings, for example preset name, description, color, rating, tags. When you make a new preset by clicking “Add new preset…” the only metadata that you save is the preset name. You need to open Preset Collection to add other metadata, such as a description and tags. If you instead use “Save as…” when you save a preset, the metadata Type “name:” before the search criteria to limit the search to the name of the (for example tags) in the currently selected preset will be preset. carried over to the new preset. Whenever you change the settings in the plug-in, the preset name will be marked with an asterisk * to indicate the current settings are different from the current preset. It also indicates that the preset has changes that aren’t saved. You need to click “Save” or “Save as” to save those changes.
Asterisk (*) indicate that the settings of the plug-in is different from the saved preset.
When you make changes to the metadata, you don’t have to save these . All metadata changes are saved immediately in the preset database .
The menu shows the current search criteria, currently selected tags, and options to clear the filter and search criteria.
*) An asterisk looks like this: * *) ibid. 8 | PRESET COLLECTION
Preset Collection Click to open the Preset Collection. Here you can organize, colorize, tag, add icons and images and sort your presets.
Add or save Set display Search field presets options Menu
Tags pane Info pane
Preset pane
Group edit Category Name Preset Description Collection name Factory preset Color indicator MARSHALL USER’S GUIDE | 9
Workflow
For a plug-in with hundreds of presets, the easiest way to start is to type something in the search field, such as “bass”, or select an appropriate tag.
Info pane Type in the search field to find presets.
Use the keyboard up/down arrows to step through presets, and if you find something you like (or dis- like), change the rating of that preset so that you can easily find it later.
Click on the stars in the Info pane to change the rating. It is also possible to right-click the preset and change rating from the context menu. 10 | PRESET COLLECTION
Philosophy ple, reset their color, and use your own color scheme. All The main ideas behind Preset Collection are fields, exceptCollection , are possible to change. 1. A preset name doesn’t give enough information about how to use a preset. Sometimes you need Customizing the Preset Collection more info, for example what to listen for, how to tweak it, in which context etc. You can decide yourself how much or how little info you want to show in the Preset Collection, and these settings 2. Everyone wants to organize their presets in different are stored globally. ways. 3. Tags are a simple way to create “folder like” struc- tures, but without being limited by placing the preset in a single folder. A tag can be a use case, a project name, or just about anything! With the preset’s description you’ll be able to add info, for instance how many dBs of gain reduction you need for the drum bus to really glue together, and with names, tags, ratings, categories, and colors you can organize those presets any way you want. The tags become power- ful if you want to organize presets after projects you’re working on. Tag each preset you make/use with the project name, and you’ll have an extra dimension to use when you browse presets. Don't be afraid to add or change metadata in the factory pre- sets . (And it's always possible to restore the original metadata later if you want to!) The minimal view of Preset Collection, only preset names and search field are visible.
Organizing presets Showing/hiding info panes All factory presets come with tags and color, but you can Click on or to show and hide the Tags and Info remove those colors and tags and organize them in other pane, respectively. ways. You can mark your favorite presets with a high rating, a specific tag (“kick ass presets!”, "great for accor- Showing/hiding columns dion"), a color, or a category, to make them easier to find Click on the menu () next to the columns header to later. You can select several presets at once to, for exam- turn on/off columns in the preset pane. MARSHALL USER’S GUIDE | 11
Resizing tags pane or window You can easily resize the Preset Collection window or the size of the Tags pane by clicking the edge and drag it. User Interface
⌕ Search Row Searches in name, description, tags, etc. To specify a particular field to search in, use one of these qualifiers: name, desc, description, tag, tags, and collection, for example Select which columns are visible from the menu. “collection:chiccarelli”
Sorting Add Preset Create a new, empty, preset from the current plug-in settings. Use the up/down arrows (▲▼) next the the column header to change preset sorting. Save Preset Overwrite the selected preset with Tile view/List view the current plug-in settings . Only possible with user presets. If the Click on Tile View to show current preset is a factory preset, presets as tiles, or List View to use “SAVE AS” instead. get back to the default mode.
Save As Save the current plug-in settings, together with the selected presets meta data (tags, description, etc) under a new name.
Tags Show/hide the TAGS pane.
Info Show/hide the INFO pane.
Tile view, List view Switch between a list of presets (LIST VIEW) or tiled images (TILE The Tile View. VIEW) 12 | PRESET COLLECTION
export a batch of presets, or change tags, description or other meta data Menu Opens the menu with some addi- in several presets at once. tional options. See below for Menu options. Preferences Opens additional preferences, Menu Options listed below. Preferences Add Preset Add a new preset.
Warn When… Turn warnings on/off when for Save Overwrite the selected preset with example deleting or overwriting the current plug-in settings. presets.
Save As Copy the selected preset to a new Show Images In Info preset with the current plug-in's Panel Turn off to hide the image in the settings. INFO PANEL.
Show/Hide Tags Show/hide the Tags pane. Group presets by col- lection/group presets Show/Hide Info Show/hide the INFO pane. by category Change how presets are grouped in the presets menu in the plug-in menu bar. Show Tile View Show the TILE view instead of LIST view. Pro tip: select “Group Presets By Category” to get a flat list for all Import Preset(s) Import presets from file, for uncategorized presets in the menu bar . instance if you downloaded a “.softubebundle” file from www. softube.com
Export Selected User Preset(s) Exports the currently selected presets to a “.softubebundle” file, so that you can send them to a friend.
Enter Group Edit Mode Let’s you select several presets at once, which is useful if you want to MARSHALL USER’S GUIDE | 13
Tags pane To sort presets in the LIST VIEW, click on ▲▼ for a column to sort down or up for that column. In the TILE VIEW, open the “SORT BY…” drop down to select sort- ing. Context Menu (Right Click on a Preset) Right-click on a preset to bring up a context menu with the following options:
Use the Tags pane to filter presets by tag. Save Save preset TheTAGS PANE lets you filter presets by selecting one or several tags. Select for example the tag “MALE VOCALS” Save As… Save as a preset with a new name. if you want to find all presets suitable for male vocals. You can select several tags at once. Revert Changes Revert all changes made to the You can add tags to a preset by clicking “ADD TAG ” preset. in the INFO PANE, and subsequently remove tags by clicking on the on the tag. Rename… Rename the current preset Presets pane Export… Export the current preset
Delete Delete the current preset
Restore Factory Metadata If metadata edits, for example color, tags or ratings were made to a factory preset, you can revert them here.
The Presets pane shows all presets in the current search or filter. Category Sets the category of a preset. By default, no categories have been set. ThePRESETS pane contains all presets in the current search. You can sort presets, select a preset, or edit a pre- set from the presets pane. The PRESETS pane can either Rating Sets/changes the rating (0-5 stars) be visualized as a list, or as a “TILE VIEW” with images of a preset. for each preset. Color Sets/changes the color of the Tip: Double click on the preset name to change it . preset. 14 | PRESET COLLECTION
Info pane Change Image The image needs to be in PNG format, and will be con- verted to black-and-white on import. Group Edit Mode
It’s easy to edit several presets at once, for instance if you want to change rating or add a tag to multiple presets. Enter the Group Edit mode by selecting several pre- sets in the check box on the left. Once in Group Edit mode, you can use Shift + click to select a range of presets.
Select several presets by clicking the check box to the left.
In Group Edit mode it is possible to edit several pre- sets at the same time: • Change rating, color, and category • Append text to the name or description • Add tags, or remove tags common for all selected presets
The Info pane contains all metadata for the currently selected preset and lets you edit these fields.
In the INFO pane you can edit the metadata of the selected preset. You can change image, name, rating, description, category, tags and color. Whenever it is possible to change a field, a pen icon will appear. All changes made to the description of the plug-in are saved immediately. | 15
User Interface 2 Softube Marshall plug-ins are “what you see is what you get” prod- ucts. You should be able to intuitively learn the products within minutes, so that you can work fast and efficient with them. There are a couple of things that remain the same for all of our plug-ins, such as the menu row. These will be explained in this chapter. For detailed information of a particular plug-in, please see its chapter.
Menu Row
At the top left of the plug-in interface you will find control buttons and areas for Preset Collection which were described in detail in the previous chapter.
Directly to the right of the Preset Collection icon you will find the value display:
Value Display Displays the numeric parameter value when either the mouse cursor is hovering over a knob, fader etc. or when the user is actively changing its setting. 16 | USER INTERFACE
Settings (cog wheel icon) Changes global options for all Some Settings options will also necessitate a restart of instances of that plug-in. your DAW.
To the right of the Settings icon is the Softube logo. Clicking this will show you what version of the plug-in Clicking Settings opens up the Settings menu. you are running (and some of that good ol’ legal stuff).
In the Settings window you can change settings that will affect all instances of that particular plug-in and in some cases affects all Softube plugins on your computer. The different options vary between Windows and Mac, and also different formats and plug-ins. The most common options are: • Use OpenGL graphics: Disabling OpenGL will force the computer processor to draw all graph- ics without the help of the graphics card. This will On the far right of the plug-in bypass any compatibility issues the graphics card interface is the clickable area the might have, but can cause low overall performance will slide out the cab section of and jerky graphics movements. Therefore, only dis- the plug-in. able OpenGL if there are instability issues or graphic glitches. • Show Value Display: Enables the parameter and value display at the top of the plug-in.
Note: Enabling or disabling ”Use OpenGL graphics” affects all Softube plug-ins . MARSHALL USER’S GUIDE | 17
Meters Each channel has a peak level meter that displays the A common way of using Marshall amps is to keep the level of the audio coming out from that channel. This volume knobs (Input Gain, Volume, Loudness, etc) at meter is before Pan and Main Out Volume. Audio around 12 o’clock and changing the gain with the vol- levels exceeding 0 dBFS are indicated by red LEDs in ume control of the guitar. the meter, but please note that this doesn’t necessar- ily indicate clipping, since levels can be affected by the Main Out Volume and Pan as well. There is no internal Key Commands clipping in the plug-in, so whether the signal clips at 0 dBFS depends on the DAW. All numbers and labels in the plug-in are clickable. This allows you to easily select a setting by clicking on the wanted value. Hovering above a label will turn the Mono and Stereo Operation mouse pointer into a pointing hand. The Marshall plug-ins are preferably run in mono-to- Mouse stereo or stereo mode. The amplifier will always be in mono, but the cabinets can be panned separately. Up/Down or Mouse Wheel Change a parameter, such as a Presets knob or a switch. Keyboard Presets included in the Marshall plugins are created by different world renown producers such asTony Platt (AC/DC, Motörhead, Iron Maiden), Terry Date Fine Adjust ⌘ (Mac) or ctrl (Win) while (Slayer, Slipknot, Soundgarden, Pantera, Deftones) and, changing the parameter value. as is the case with the Marshall Legends plugins, also Marshall’s product expert Chris George. These presets Reset to Default provide an excellent way of exploring the tones of these alt, while clicking on the knob or Marshall amplifiers. A difficulty with plug-in presets is fader. that it’s impossible to know what input gain the user has into the plug-in, so a “clean” preset might sound very Solo Several Mics shift, while clicking on a Solo distorted in your setup, or maybe the crunchy presets button are just too clean. A humbucker might distort the amp, while a weak single-coil pick-up barely bothers the amp. If that is the case, adjust either the volume control of your guitar or guitar interface, or the volume controls (Volume I, Volume II, Input Gain, Loudness I or Loudness II) in the plug-in to get the desired sound. 18 |
Kerry King Marshall 3 Signature Amp Kerry King has used Marshall amplifiers throughout his hugely successful career. – My sound has always been more about punch than distortion. It’s also creating a tonality that makes a riff sound great, so every single note and chord gets its point across without being disguised by too much gain. This amp does that in brutal fashion! The Marshall 2203KK Kerry King Signature Series amplifier is based on the original Marshall JCM800 2203 amplifier – “The Beast” – that Kerry King used in conjunc- tion with a graphic EQ throughout his early career to boost the signal even further. The 2203KK delivers the ferocity and tone that Kerry King’s sound demands. In this plugin, Softube has carefully modeled the 2203KK amp for you. MARSHALL USER’S GUIDE | 19
The amplifier
In Kerry King’s own words: – I have this one JCM800 amp that I call “The Beast”, because it annihilates all others. It’s as if Satan reached up, touched that head himself and conspired with Jim to create something miles ahead of the rest! It’s the “Golden Child” when it comes to my sound, and it’s been my main live and recording head for pretty much my entire career. – So when it was time to work on this project, I gave Jim’s R&D gurus “The Beast” plus my main graphic EQ. They did a shitload of measurements and copied both exactly – putting my unique EQ curve on a single control called “Assault” and building in an incredibly effective noise gate. As opposed to the JCM800 2203’s four EL34 power tubes, “The Beast” has four KT88s for added warmth and girth plus making it a very loud amplifier! 20 | KERRY KING MARSHALL SIGNATURE AMP
The speaker cabinets
Kerry King’s choice of speaker is the Marshall Mode Four MF400B model, of which he uses several, both in a studio setting and as a live rig. The Marshall Mode Fours are equipped with Celestion G12K-100 speak- ers, giving the cabinets loads of low end to handle Kerry King’s intense rhythm style playing. Two Mode Four cabinets were carefully mic’ed and produced by world-renowned producer Terry Date and recorded at the famous Henson Studios in Los Angeles, California. The signal measurements of the provided five different setups where then carefully analyzed and recorded by Softube’s Kim Larsson and Patrik Jensen. By doing so, we have been able to carefully recreate Kerry King’s sound through the production genius of Terry Date and the exquisite recording facilities of the Henson Studio.
The microphones
Different microphones do different jobs, and in this plugin we’re taken advice from the experts. Producer/engineer Terry Date has recorded Kerry King and oceans of other metal and rock acts. In the speaker section you will find five of his ready-produced setups for capturing Kerry King’s sound. FOH (PA) engineer Chris Paccou has done numerous live gigs with Kerry King, and his ready-produced live setup can be found under the second tab of the cabinet section. MARSHALL USER’S GUIDE | 21
The amplifier panel controls The Cabs On switch The knobs
Where the Standby switch is usually located, there is now a switch that allows you to bypass the cab section of the plugin. This will result in only hearing the direct sound of the Kerry King Signature amplifier. This setting is useful when combining this amp with other cabinet/ microphone models. These include the Softube Bass Amp Room (includ- ing 8x10), Metal Amp Room and Vintage Amp Room (including Half Stack). Presence This control operates in the power In all these plugins, the amplifier section can be by- section and adds high frequen- passed. This would be the recommended setting, when cies to your sound by altering combining the Kerry King Signature with the cabinets the amount of negative feedback. in either of those plugins. Turning this control clockwise adds more bite to your sound, mak- ing it crisper and more cutting.
Bass This adjusts the bottom end. Turning it clockwise increases the amount of low frequencies in the sound.
Middle This control adjusts the level of those all-important mid-range frequencies. Turning it clockwise increases the mids and fattens your sound, giving it more punch. Turn- ing it counterclockwise reduces the mids, producing a more 'scooped' tone.
Treble Here you can adjust the top-end. Turning it clockwise increases the amount of high frequencies present in the sound, giving your guitar tone a brighter edge. 22 | KERRY KING MARSHALL SIGNATURE AMP
Please note: This is a modeled amplifier plugin, i .e . the controls Gate Threshold Here you control the 2203KK and knobs behave as they do on the physical amp . They are internal expander circuitry. This not independent of each other, so consequently, altering one circuitry replaces Kerry King’s control can change the way the others behave . For this reason, noise gate with an ultra-fast studio experimentation is recommended . quality noise reducer unit. Instead of abruptly cutting the sound once the threshold is reached like a noise Master Volume This controls the overall output gate, the expander progressively level of your 2203KK. Turning it attenuates the signal following its clockwise increases the volume. dynamics. TheThreshold control has a Pre-Amp Volume Turning this control clockwise program dependent decay ratio overdrives the pre-amp valves and allowing very slow decay times for creates a harmonically rich distor- slowly moving guitar signals thus tion. maintaining the natural sustain and very fast decays for staccato rhythms and short pauses. Adjust the Threshold knob to The Beast section control the point where the noise reduction begins to work. Make sure that when adjusting the Threshold knob, you are not pick- ing up hum from your equipment, as it may result in a setting higher than needed. A setting to the right has almost no effect at all and turning the knob counterclockwise makes the Gate more effective. ”The Beast” switch This switch engages the Kerry King Signature tone. It engages the Assault Intensity This circuitry replaces the old Assault and Gate circuits. Its LED graphic equalizer with an electronic will light in red when the expander circuit tuned for Kerry’s preferred circuitry is in noise reduction mode frequency response together with (gate closed) and green when the user adjustable gain. Adjust the expander is open, letting the signal Intensity knob for the desired pass without any attenuation. amount of gain boost. MARSHALL USER’S GUIDE | 23
Tip: Some guitar players, like Kerry King, adjust the Threshold Kerry King Live knob to silence the amplifier with the guitar volume on full whilst others prefer to silence the amplifier with the guitar vol- This is the way FOH engineer Chris Paccou mics up ume turned down . Feel free to experiment with both settings . and produces Kerry King’s cabinets live. The impulses were recorded at Hovet in Stockholm, Sweden on De- cember 5th 2018. Chris Paccou used his selection of Heil PR 40 and Heil The Kerry King Cabs panels PR 30B dynamic mics on these cabs Clicking on the Kerry King Cabs sticker on the right side opens up a set of panels. Here you can tweak the microphone setup to your heart’s content – mic selec- tion, level, panning, and more. Terry Date setups
Renowned engineer/producer Terry Date has analyzed and recorded impulses from two selected Marshall cabinets recorded with a bunch of fine microphones. The location was the legendary Henson Recording Studios in Hollywood, Los Angeles. For this job, he chose a combination of Shure SM57, beyerdynamic M88, AKG D19 (all dynamics), and a Neumann U87 condenser microphone. The 5 tabs give you different combinations of these mics, each excellent in their own ways. Custom
The third tab in the Cabs section is called Custom. Here you can tweak your own sound from the variety of Terry Date’s ready-produced mic setups. A total of 7 micro- phones can be mixed any way you want, as they have one mixer channel each. ThePan slider lets you position a mic in the stereo panorama and the Volume slider sets the volume. A convenient On switch makes it easy to try out differ- ent mic combinations and the Phase invert switch adds further variations to the sound. 24 | KERRY KING MARSHALL SIGNATURE AMP
A word of warning: When using two or more microphones and pressing the Phase switch on one channel, please make sure you test the sound in mono . Two similar signals will often cancel each other out, if the phase is reversed on one channel . The result will be a thinner sound at a considerably lower volume .
Credits
Patrik Jensen – project management. Kim Larsson and Mattias Olsson – DSP modeling. Patrik Holmström and Pelle Serander – framework programming. Kerry King – sound specifications.Terry Date – studio sound design and presets. Chris Paccou – live sound design and presets. Niklas Odelholm – general graphic design. Ulf Ekelöf – graphic design amplifier. Andreas Pettersson – graphic design cabs. Nis Wegmann – additional graphic design. Emanuel Enbäre – quality assurance. Sven Bornemark – manual copywriter. | 25
Marshall Legends
4It’s impossible to exaggerate the iconic status of the four guitar amplifiers that are modeled in the Softube Marshall Legends series.They do not only represent milestones in the history of Marshall, they represent milestones in the very history of rock ’n roll—from Jimi Hendrix’ ear splitting solos at the Woodstock performance, the warm crunchy tones of Eric Clapton when he played with John Mayall and the Blues Breakers to the fat and smooth distortion from late 1980’s players such as Slash, John Frusciante of Red Hot Chili Peppers and many others. These sounds and tones are all available here, but there is also much, much more to be found. This is not least thanks to the long list of presets made by recording engineer Tony Platt (AC/DC, Iron Maiden, Motorhead) who also had a large part in developing these models. 26 | MARSHALL LEGENDS
Marshall Plexi Super Lead 1959 Jimi Hendrix, Pete Townshend, Angus Young, Eddie Van Halen, Yngwie Malmsteen—the list of Plexi users is a veritable who’s who of rock n’ roll history. Forget all stereotypes about British reserved manners and stiff upper lips. The Plexi is brash, rude and gives you the instantly recognizable sound of rock n’ roll rebellion.
Marshall Bluesbreaker 1962 Marshall’s first ever combo amp was nicknamed the Bluesbreaker after Eric Clapton had used it exclusively on the classic self-titled record by John Mayall and the Blues Breakers. The Bluesbreaker’s amp section is warm and crunchy, and the use of alnico speakers in an open back cabinet adds an unusually chimey and three-di- mensional sound for a Marshall—which has contributed to its status as a genuine workhorse far outside of the blues genre.
Marshall Silver Jubilee 2555 The Silver Jubilee series hit like a bomb in 1987, and tapped perfectly into the rock sound of that era. Un- surprisingly, guitarists such as Slash and John Frusci- ante took the amps to their hearts. The three different channels, flexible EQ and the ability to switch the power amp between pentode/triode operation made it a ver- satile amp that could go from vibrant cleans to soaring leads by the push of a button. MARSHALL USER’S GUIDE | 27
Marshall JMP 2203 The Marshall JMP 2203 first saw light in 1975 and put a new creature in the hands of the proto-NWOBHM bands ever searching for that harder edge-sound. Later on, this amp became the legendary JCM800 but still holds its own when it comes to great rock tones. Artists known to use the JMP 2203 are Randy Rhoads, Zakk Wylde and more or less all of the early UK heavy metal bands.
Credits Patrik Jensen – project management. Niklas Odelholm – product design, cabinet modeling, graphic design, presets. Arvid Rosén – amp modeling. Oscar Öberg - power amp modeling. Tony Platt – sound design and presets. Chris George – Marshall expert, sound design and presets. Kim Larsson and Mattias Olsson – ad- ditional DSP modeling. Patrik Holmström, Torsten Gatu and Pelle Serander – framework programming. Henrik Andersson Vogel – manual. Paul Shyrinskykh and Emanuel Enbäre – quality assurance. 28 |
Marshall Bluesbreaker 1962
5Eric Clapton’s performance and sound on the John Mayall & The Blues Breakers self-titled album from 1966 was so seminal that the 30 Watt 2x12 Marshall amplifier combo he used on the record was soon nicknamed “Bluesbreaker” after the band. This Softube plug- in model is based on Marshall’s own specimen of a Series 1 Bluesbreaker model 1962 amp, kept in pristine shape by Marshall since 1965. In the making of this plug-in, Softube worked closely with Marshall’s product experts as well as legendary engineer Tony Platt (AC/DC, Iron Maiden, Motorhead and many more) to ensure that the Bluesbreaker was captured in the best possible manner. MARSHALL USER’S GUIDE | 29
About the amp
Guitarist lore will have it that the idea for the Blues- on top of Celestion’s sticker. The fact that the Blues- breaker actually came from Eric Clapton himself, as breaker had an open back cabinet with alnico speak- he wanted an amplifier that could fit in the trunk of ers set it very much apart from most other Marshall his car. This myth has since been rebutted, and a much cabinets, which are usually closed designs equipped with more likely reason for the Bluesbreaker to be conceived ceramic speakers. was that Jim Marshall simply wanted an amp that could compete with the very popular Vox AC30, which was Patching also a combo amplifier with a 2x12 speaker configura- tion. The Bluesbreaker has two channels, with ahigh and low input each. A lot of sonic variation can be obtained The Bluesbreaker’s amplifier section is identical to the from connecting these channels with a patch cord, standalone JTM45 Tremolo amplifier head, which was which is faithfully modeled in this plug-in. Jim Marshall’s first amplifier model ever (yes, in spite of its product name, the JTM45 was a 30 watt amp). This was built into a Baltic birch cabinet with two 12 1. 6. inch Celestion T652 15 ohm speakers, although there On/Off and Standby Middle were specimens equipped with the 8 ohm version of that 2. Tremolo Speed 7. Treble speaker instead, the T650. This goes for the particular 3. 8. unit used for this plug-in. The T650 speaker was Celes- Tremolo Intensity Loudness I High Treble tion’s stock version of the blue alnico speaker T530, 4. Presence 9. Loudness II Normal known for its use in Vox amplifiers where it contributed 5. 10. substantially to the sound. The T650/T652s were silver Bass Patch Switching sprayed, and Marshall put their own gold colored sticker
1 2 3 4 5 6 7 8 9 10 30 | MARSHALL BLUESBREAKER 1962
Amplifier Parameters ing one of the four inputs selects it as the main input from the guitar The functionality of the front panel controls corresponds (black cable). Clicking the selected exactly to that of the real amplifier. guitar input again rotates between the available patching patters (with the short black/white fabric-cov- ered patch cable). On/Off and Standby Turns the amplifier on or off Patch Switching Tremolo Speed Sets the speed of the built-in By patching the inputs you will get different input gain tremolo and different tonality from the amp.INPUT II is dark sounding, and by combining it with INPUT I you can Tremolo Intensity Sets the intensity (depth) of the work the Volume knobs almost like an EQ. built-in tremolo. Please note that The most common way of patching is going intoInput the Tremolo is only active for Input I at the top, and patching from the low Input I to the 2. top Input II, but feel free to experiment! Click on the inputs to switch settings, see “Patch Presence Increases the amount of pres- Switching” on page for more info. ence—a treble boost accomplished by reducing the amount of high frequencies being subjected to Input Channels negative feedback in the power amp section. Input I (top) Bright, high gain. 1 MOhm input impedance Bass, Middle and Treble Tone controls that determine the Input I (bottom) Bright, low gain. About 100 kOhm frequency content from the ampli- input impedance fier.
Loudness 1/High Input II (top) Dark, high gain. 1 MOhm input impedance Treble Sets the volume of Channel 1.
Input II (bottom) Dark, low gain. About 100 kOhm Loudness 2/Normal Sets the volume of Channel 2, the input impedance only channel that has Tremolo
Patch switching Provides different combinations of Note that clicking any parameter name on the front panel resets high and low inputs for Channel 2 the corresponding knob to its default position . and Channel 2 separately. Click- MARSHALL USER’S GUIDE | 31
Channel Strip Parameters The channel strip can be opened by clicking the right hand wood panel with the greenChannel Strip sticker. Clicking this again closes the channel strip.
Main Out Level VU and clip meters Indicates the plug-in’s Main Out level. The red LED markedOL indicates that the channel is overloading and that the Main Out Volume knob should be turned down.
Main Out Volume Sets the overall output level of the plug-in without affecting the sound.
1 2 3 4
1. Presence 2. Main Out VU Left 3. Clip Meter 4. Main Out VU Right 5. Cabinet Microphone Select 6. 5 Pan 7. In 8. Channel Fader 6
7
8 32 | MARSHALL BLUESBREAKER 1962
Cabinet Microphone FET Microphones Select Set which set of microphones you Selects the microphone set with FET condenser mi- want to use, with Valve, FET or crophones in the near field. As indicated by the tape Dynamic mics up close. See next markings above each channel, these are Neumann section for a description of the U87s, with SE Electronics Voodoo VR2 and Tel- mics and position. efunken ELA M 251 for the room.
In Activates/deactivates each micro- Dynamic Microphones phone channel. Selects the microphone set with dynamic microphones in the near field. As indicated by the tape markings Pan Places the microphone channel in above each channel, these are Shure SM57 and Sen- the desired position in the stereo nheiser M380, with Coles 4038 and Telefunken panorama. ELA M 251 for the room.
Channel fader Adjusts the volume of the respec- Off (No Cabinet or Microphone) tive microphone channel. Sets the cabinet and microphone emulation in bypass, so that only the direct sound from the Bluesbreaker’s amp section is heard. This is usually not regarded as a Cabinet and Microphones very pleasant sound, but the setting is useful for com- bining the amplifier with other cabinet/microphone The Bluesbreaker was recorded through the original models, such as the ones available in Softube Vintage speakers, Celestion T650, branded with the original Amp Room, Bass Amp Room, Metal Amp Room, Half Marshall block-logo, through a variety of microphones Stack or Bass Amp Room 8x10. In all these plug-ins, at the legendary Strongroom recording facility in Lon- the amplifier section can be bypassed. This would be the don, UK. The labelValve , FET and DYnamic refers to recommended setting, when combining the Marshall the type of microphones used near-field. Bluesbreaker amp section with the cabinet in either of those plug-ins. Valve Microphones
Selects the microphone set with valve (tube) condenser microphones in the near field. As indicated by the tape markings above each channel, these are Neumann U67s, while Coles 4038 and Telefunken ELA M 251 are used for the room. | 33
Marshall JMP 2203 6 When Marshall JMP 2203 was introduced in 1975, it didn’t only take over the Plexi’s place as the mainstay of the Marshall range. It became the amp that all other rock guitar amps were gauged against. From 1981, the amp was cosmetically redesigned and named JCM800 2203—probably a more widespread name than the JMP 2203—but the circuit remained identical under the hood. 34 | MARSHALL JMP 2203
Rock and Metal Marshall’s Reference JMP 2203
The 2203 became very popular among rock and metal Just as with the UAD plug-ins Marshall Plexi Super players, and there was hardly a band in those scenes Lead 1959, Bluesbreaker 1962 and Silver Jubilee from the mid-70s to the late 80s that didn’t use the 2555, the amplifier that was used in the creation of the 2203. AC/DC first used the amp on the classicLet Marshall JMP 2203 plug-in came from Marshall’s own There Be Rock album and bands like Iron Maiden, Judas “museum”—a collection of reference amplifiers which is Priest, Motley Crue, Slayer and Anthrax were other not open to the public. This particular amp was built in well-known 2203 users. But the 2203 also reached play- 1977, and it’s the one Marshall themselves use to define ers outside of the heavy rock scene, such as Jeff Beck the true 2203 sound. and indie rock icons My Bloody Valentine. AC/DC Producer Included Let There Be Rocker Switches To make sure the plug-in made justice to the 2203, The idea for the 2203, and its 50 watt sibling 2204, Softube collaborated with iconic rock producer Tony mainly came out of the demand for an amp with a Platt (who among other great rock records engineered master volume. A master volume made it possible to AC/DC’s Highway to Hell and Back in Black) and get a distorted sound without the ear-splitting sound Marshall’s product expert Chris George. Together, pressure levels from a non-master volume amp. But the they selected the cabinet to be used, a 1960B equipped master volume wasn’t only practical in live situations, with Celestion GT12-75 elements. The recordings for it expanded the sonic options largely. By keeping the the cabinet model were made in Strongroom studios, preamp gain down and get most of the distortion from London, where Tony hand picked the microphones used the power amp, you’d get a more 1960’s Marshall sound. But turning the master volume down and the preamp volume up gave an edgier and more present distortion— and of course any desired balance between the extremes 1. On/Off and Standby 5. Treble was possible. A new exterior design was employed which 2. 6. clearly marks the Marshall 1970’s: The bigger Marshall Presence Master Volume logo, the white piping details and the rocker switches 3. Bass 7. Pre-Amp Volume which replaced the previous toggle switches. 4. Middle 8. Input Select
1 2 3 4 5 6 7 8 MARSHALL USER’S GUIDE | 35
Amplifier Parameters and placed them where he felt they captured the true The functionality of the front panel controls corresponds JMP 2203 sound. Later in the process, Tony and Chris exactly to that of the real amplifier. scrutinized and approved the amplifier model Softube made, and designed most of the included presets. Power Set to On (red light shining) for power in spades. Bypasses the The Mixer Panel plug-in when set to off.
To add sonic options and a fast workflow, Softube added Standby a mixer panel to the plug-in. Here, the user can pair Doubles the Power switch. any two microphones, set their relative volume levels and pan them as desired. Softube also added a flexible Presence Increases the amount of pres- and nice sounding equalizer section, three bands with ence—a treble boost accomplished a sweepable Mid. This adds enormously to the plug- by reducing the amount of high ins use, as the player can taylor the sound without ever frequencies being subjected to leaving the plug-in window. Softube also added a gate, negative feedback in the power which can be turned up for those tight and choppy amp section. metal riffs, but also set looser to just get rid of handling noises from the guitar in between takes. Bass, Middle and Treble Tone controls that determine the frequency content from the ampli- fier.
Master Volume Controls the output level of the amplifier’s power amp section. Turn this up for the fat power amp crunch sound.
Preamp Volume Controls the gain level of the am- plifier’s preamp section. Turn this up for the more aggressive preamp crunch sound.
High Sensitivity Input Gives you a bright and distorted sound. Click the input to connect the guitar cable to this input.
Low Sensitivity Input Gives you a dark and not very distorted sound. Click the input to connect the guitar cable to this input. 36 | MARSHALL JMP 2203
1. Mic 1 Select 7. Mid Freq 2. Mic 2 Select 8. Low Gain 3. Gate LED 9. Master Out Clip LED 4. Input Gate 10. Master Out 5. High Gain 11. Pan 1, In 1, Level 1 6. Mid Gain 12. Pan 2, In 2, Level 2
1 2
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9
10
11 12 MARSHALL USER’S GUIDE | 37
Channel Strip Parameters
The channel strip is located to the right of the amplifier Mid Freq Sets the operating frequency of the head. Open it by clicking the aluminum side with the Mid band. white Channel Strip sticker. It can be closed again by clicking the same aluminum side, or dragging the entire panel to the right. Clip Indicator Lights up when the output is too loud.
Master Out Mic Select Turns up or down the overall Selects which microphone is in use output level. for each of the two channels. All of the microphones were placed close to the 1960B cabinet with four G12-75 speakers, with the excep- tion of 251, which was used as a room mic. Off (No Cabinet or Microphone) Sets the cabinet and microphone emulation in bypass, Pan Selects the channel’s position in so that only the direct sound from the Marshall JMP the stereo panorama amplifier head is heard. This is usually not regarded as a very pleasant sound, but the setting is useful for combining the amplifier with other cabinet/microphone In Activates/deactivates the corre- models, such as the ones available in Softube Vintage sponding channel Amp Room, Bass Amp Room, Metal Amp Room, Half Stack or Bass Amp Room 8x10. In all these plug-ins, Volume Fader Sets the volume level of the chan- the amplifier section can be bypassed. This would be the nel recommended setting, when combining the Marshall JMP head with the cabinet in either of those plug-ins. The channel strip can be opened by clicking the right Input Gate Shuts off the sound when guitar hand wood panel with the green Channel Strip is not played. Lower settings lets sticker. Clicking this again closes the channel strip. through more low level sounds, while higher settings makes the gate more discriminating. Mono and Stereo Operation The Marshall JMP 2203 is preferably run in mono-to- High, Mid and Low stereo or stereo mode. The amplifier will always be in Gain Sets the boost or cut values of each mono, but the microphones can be panned separately. of the three EQ bands. 38 | MARSHALL JMP 2203
Presets Hints on Using Multiple Microphones
The included presets were created byTony Platt and Using multiple microphones to capture a single sound Chris George, and provides an excellent way of explor- source, such as this guitar amplifier, can give interesting ing the tones of this amplifier. If you’re using the 2203 results but requires some special attention. A phenom- in the Unison slot with an Apollo interface, the input enon called phase distortion may occur, which can gain will automatically correspond to that of the actual result in a hollow and metallic sound which may not be amplifier. If you’re not, you may experience that a preset desired. Using multiple microphones and panning them which is supposed to be clean is rather distorted—in this away from each other, to the left and right in the stereo case, turn down the gain of the guitar input or the re- image, yields a wide and embracing sound, but may corded guitar part that you’re re-amping with the 2203. cause problems if the recording is summed to mono. The safest way to obtain a good result is to base the sound All presets were made in mono, but intended use is to pan the setting on a single close microphone for a strong, present two mics differentely and according to taste! and focused image. With this in place, you can experi- ment further by carefully adding in the other micro- phone channels. | 39
Marshall Plexi Super Lead 1959
7It is impossible to exaggerate the iconic status of the Marshall Plexi Super Lead 1959 amplifier. Jimi Hendrix, Pete Townshend, Eric Clapton, Angus Young, Eddie Van Halen, Yngwie Malmsteen – the list of Plexi users is a veritable who’s who of rock 'n' roll history. Forget all stereotypes about British reserved manners and stiff upper lips. The Plexi is brash, rude, and gives you the instantly recognizable sound of rock 'n' roll rebellion. This plugin is a “what you see is what you get” product. You should be able to intuitively learn to use it within minutes, so that you can work fast and efficiently with it. 40 | MARSHALL PLEXI SUPER LEAD 1959
The amplifier
Softube has worked closely with Marshall’s product The particular amplifier that Softube modeled is not experts and legendary recording engineer Tony just any Marshall Plexi. In the making of this plugin, Platt – who engineered AC/DC’s Highway to Hell Softube worked closely with Marshall’s product and Back in Black – to ensure that the Plexi was expert Chris George, who lent us this amp from captured in the best possible manner. The result is Marshall’s own reference collection. this plugin that allow computer-based musicians to This very amp, built in 1967 and kept in pristine enjoy a legendary Marshall stack without getting shape (at least on the inside) by Marshall’s techni- evicted. cal staff, is Marshall’s own reference to how a Plexi should sound. MARSHALL USER’S GUIDE | 41
The speaker cabinet
The goal for this plugin was to capture how the Plexi sounded when it was new back in 1967 – to get the sound Jim Marshall himself intended. To capture the typical late sixties tone, Tony and Chris – after much testing at Marshall headquarters – chose to use a straight 1960BHW 4x12 inch speaker cabinet, loaded with Celestion G12H-30’s. These are relatively low wattage speakers, similar to those used at the time, which will saturate more easily compared to modern constructions. This adds a lot of character to the end result. The particular speakers in this cabinet were not from the sixties. Speakers that have spent nearly 50 years repro- ducing the sound of 100 watt guitar amplifiers, will have deteriorated and give a much different sound compared to what was intended. The speakers used had however been well broken in to reach their full potential and liveliness.
The microphones
Tony chose to make three different setups with three microphones in each – two close mics and one room mic. Clicking on the Channel Strip sticker on the right side, gives you access the control panel. Here you can select between the three sets of microphones and adjust their individual levels and panning. The settings are named FET, Valve and Dynamic to indicate what microphone types were used. 42 | MARSHALL PLEXI SUPER LEAD 1959
The Amplifier panel controls The Input configurations The knobs The inputs
Presence Increases the amount of pres- ence – a treble boost accomplished by reducing the amount of high frequencies being subjected to negative feedback in the power amp section. The two Input I sockets provide a bright sound, and the Input II sockets have a darker sound. Bass, Middle, The lower two sockets have a lower gain (–6 decibel) and Treble These tone controls determine the than the upper inputs. frequency content from the ampli- fier. Patch switching Volume I Controls the volume of the brighter sounding Input I.
Volume II Controls the volume of the darker sounding Input II.
Please note: Clicking above the tone and volume controls resets the corresponding knob to its 12 o’clock position .
There are numerous combinations of the high and low gain inputs for Input I and Input II. You can access those variations by clicking on the input sockets. MARSHALL USER’S GUIDE | 43
Clicking one of the four inputs selects it as the main Equaliser and Volume Main Out input from the guitar (black cable). Clicking the selected guitar input again rotates between the available patch- ing patterns (with the short black/white fabric-covered patch cable). By patching the inputs, you will get different input gain and different tonality from the amp.Input II is very dark sounding, and by combining it with Input I you can work the Volume knobs almost like an EQ. The most common way of patching is going intoInput I at the top, and patching from the low Input I to the top Input II, but feel free to experiment!
The Channel Strip panel
Clicking on the Channel Strip sticker on the right side Low Neutral/bypass in the 12 o’clock takes you to a set of controls. Here you can fine-tune setting. Turning clockwise boosts microphone selection, level, panning, and more. the low end with a shelving filter. Turning counterclockwise cuts the low end with a low cut (high pass) filter.
High Neutral/bypass in the 12 o’clock position. Turning the knob clockwise boosts the treble with a shelving filter. Turning it counter- clockwise cuts the treble, also with a shelving filter.
Volume Adjusts the output v entire plug-in. Cabinet Microphone Select Cabinet and microphones Here you can select which set of microphones to use. The 16 ohm Marshall 1960 BHW cabinet was recorded See description in the next section. with a legendary range of microphones, all carefully selected to give a wide variety of tones, and carefully positioned to sound fantastic when used in combination with each other. Valve microphones
A thick and solid sound, with a slightly rounded top.
Mic 1 Neumann U 67 (cardioid, –10 dB pad activated)
Mic 2 Neumann U 67 (cardioid, –10 dB Microphone mixer pad activated) Room mic Solo Press this button to listen to only AKG C12 one microphone. Hold down Shift to select several mics. FET microphones Pan Places the microphone channel in the desired position in the stereo A slightly more open sound with lots of ambience from panorama. the room mic. Mic 1 Channel faders Adjust the volume of the respective Josephson E22 microphone channels. Mic 2 Neumann U 87 (cardioid, –10dB pad activated)
Room mic Coles 4038 MARSHALL USER’S GUIDE | 45
Dynamic microphones Credits
Typical dynamic sound with a solid low mid-range from Patrik Jensen – project management. Henrik the 57 and aggressive top from the 609. Andersson Vogel – project management, manual and marketing. Niklas Odelholm – product design, cabinet Mic 1 Shure SM57 modeling, graphic design, presets. Arvid Rosén – amp modeling. Oscar Öberg – power amp modeling. Kim Mic 2 Larsson and Mattias Olsson – additional DSP mod- Sennheiser E609 eling. Tony Platt – sound design and presets. Chris George – Marshall expert, sound design and presets. Room mic Neumann U 87 (omni) Patrik Holmström and Torsten Gatu – framework programming. Pelle Serander – framework. Ulf Ekelöf – 3D graphics. Erik Hampusgård – configurations and building. Paul Shyrinskykh and Emanuel Enbäre Off (no cabinet or microphone) – quality assurance. Sven Bornemark – manual copy- writer. In this position, the cabinet and microphone emula- tions are bypassed, so that only the direct sound from the Marshall Plexi amplifier head is heard. This setting is useful when combining this amp with other cabinet/ microphone models. These include the Softube Bass Amp Room (includ- ing 8x10), Metal Amp Room and Vintage Amp Room (including Half Stack). In all these plugins, the amplifier section can be by- passed. This would be the recommended setting, when combining the Marshall Plexi Super Lead 1959 with the cabinets in either of those plugins. 46 |
Marshall Silver Jubilee 2555
8The very limited Silver Jubilee series came out in 1987 to celebrate Jim Marshall’s 25 years as a guitar amp manufacturer and 50 years of working in the music business. The unique sound and striking appearance of the Silver Jubilee 2555 made it a big hit among guitar- ists such as Slash (Guns n’ Roses), John Frusciante (Red Hot Chili Peppers) and Alex Lifeson (Rush), and since it was only produced for a limited time, it quickly became a rare collector’s piece. This plug-in model is based on Marshall’s own golden unit Silver Jubilee 2555, which Marshall have kept to themselves at their headquar-ters ever since its release. Softube worked closely with Marshall’s product experts and leg-endary engineer Tony Platt (AC/ DC, Iron Maiden, Motorhead and many more) to ensure that the Silver Jubilee was captured in the best possible manner. MARSHALL USER’S GUIDE | 47
Born To Rock Eight Microphones
The Silver Jubilee was based on the Marshall JCM800 Tony chose to make two microphone sets—Condensor amplifier, but had an innovative and unusual preamp and Dynamic—with two close mics and two room mics section which offered higher gain and a somewhat in each. The user can open the plug-in’s side panel where darker and smoother sound compared to the JCM800. an easy to use channel strip appears. Here, the micro- The preamp circuit had three gain modes: Clean, phone channels can be individually panned, bypassed Rhythm Clip and Lead. The EQ section also set the or have their respective levels set. The second room mic Silver Jubilee apart from other Marshall amps with its received some special attention, as Softube implemented much wider range of tonal variety, and it was the first the studio trick of adding a Delay time to the mic. This Marshall amplifier where the power amp tubes could was upon Tony’s request, it was a trick that was widely be switched from their normal pentode operation mode used in the late 80’s studio work to add size to the sound into triode mode. With the power amp tubes working of guitar solos and melody lines. Furthermore, a Noise as triodes, the power amp’s output was cut in half, and Gate was added to clean up any guitar noise and get the power amp distortion was silkier and less aggressive. tighter takes when record All of these features have been accurately modeled by Softube in the Marshall Silver Jubilee 2555 plug-in. Cabinet
Just as with Marshall Plexi Super Lead 1959 and 1. On/Off 6. Treble Marshall Bluesbreaker 1962 plug-ins, Softube worked 2. 7. with legendary engineer Tony Platt and Marshall’s own Output Low/High Output Master product expert Chris George with the creation of the 3. Presence 8. Channel Lead/Normal Marshall Silver Jubilee 2555 plug-in. The cabinet 4. 9. choice was the obvious: the 2551AV, which was also Bass Rhythm Clip Clean/Clip part of the Silver Jubilee series. It was clad in grey tolex, 5. Middle 10. Input Gain just like the amplifier head, and it was equipped with four 12 inch Marshall Vintage 30 speakers, made by Celestion. Actually, it was the first Marshall cabinet ever to use these speakers.
1 2 3 4 5 6 7 8 9 10 48 | MARSHALL SILVER JUBILEE 2555
Amplifier Parameters
The front panel controls correspond exactly to those Rhythm Clip Click to activate/deactivate the of the real amplifier, with the exception of the channel Rhythm Clip circuit. LED switches, which on the original consists of push/ pull potentiometers. Input Gain Controls the level fed from the guitar input to the preamp section. On/Off Bypass the amplifier. Note that clicking any parameter name on the front panel resets Output the corresponding knob to its 12 o’clock position . Low/High Switches the power amp output from pentode (High) to triode (Low) operation. The Low setting reduces the amplifier’s output Channel Strip Parameters power and gives a slightly smooth- er and darker sound. The channel strip can be opened by clicking the right hand aluminum side with the white Channel Strip sticker. Clicking this again closes the channel strip. Presence Increases the amount of pres- ence—a treble boost accomplished by reducing the amount of high Input Gate Shuts off the input when the signal frequencies being subjected to level is below the set threshold negative feedback in the power level, reducing unwanted noise and amp section. giving a cleaner and tighter record- ing. The LED next to the knob Bass, Middle and indicates when the gate is closed not letting any sound through. Treble Tone controls that determine the Adjust the Input Gate knob to suit frequency content from the ampli- your playing style and your guitar’s fier. output. If the gate accidentally cuts of notes you intended to be heard, Output Master Controls the overall power amp lower the Input Gate knob. If it volume. lets through everything you wish, in addition to unwanted noise from Channel your guitar, raise the Input Gate knob. The Input Gate is entirely Lead/Normal Click to activate/deactivate the bypassed when set to Off. Lead channel.
Master Out Sets the overall output level of Lead Master Controls the level of the Lead the plug-in without affecting the channel. sound. MARSHALL USER’S GUIDE | 49
Cabinet and Microphones
Mic Select Select which set of microphones The 16 ohms2551AV cabinet was recorded with a to use, see description in the next legendary range of microphones, all carefully selected section. Con refers to condeser to give a wide variety of tones, and carefully positioned mics in the near field position, and to sound fantastic when used in combination with each Dyn refers to the dynamic mics in other. near field. Condenser Microphones In Activates/deactivates each micro- Selects the microphone set with condenser microphones phone channel. in the near field. As indicated by the tape markings above each channel, these are Neumann U67, Neu- Pan Places the microphone channel in mann U87, Coles 4038 and SE Electronics RNR- the desired position in the stereo 1. panorama. Dynamic Microphones Channel Faders Adjusts the volume of the respec- Selects the microphone set with dynamic microphones tive microphone channel. in the near field. As indicated by the tape markings above each channel, these are Shure SM 7B, Shure Room Mic Delay A delay line has been added to SM57, Neumann U87, Telefunken ELA M 251. Room Mic 2, so that the sound from this microphone can be de- Off (Bypass Cabinet and Microphones) layed more than it was in real life. TheRoom Mic Delay fader sets Sets the cabinet and microphone emulation in bypass, the time of this delay. so that only the direct sound from the Marshall Silver Jubilee amplifier head is heard. Feedback A feedback loop has been added Settings the cabinet to OFF is usually not regarded as a to the delay line, which sends the very pleasant sound, but the setting is useful for com- signal from this microphone back bining the amplifier with other cabinet/microphone through the Silver Jubilee cabinet models, such as the ones available in the Amp Room where it’s picked up again by the products. In all these plug-ins the amplifier section can microphone, etc. The Feedback be bypassed. This would be the recommended setting knob sets the volume in this feed- when combining the Marshall Silver Jubilee head with back loop. the cabinet in either of those plug-ins. 50 | MARSHALL SILVER JUBILEE 2555
1 2 3 4
1. Input Gate 2. Master Out 3. Feedback 4. Room Mic Delay 5. Mic Select 6. Pan 5 7. In 8. Channel Faders 6 9. Click to show or hide the mixer
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SOFTUBE AB’S END USER also remember that you may have, as set out specifi- cally in the Terms, a limited right to cancellation and/or LICENSE AGREEMENT withdrawal of your purchase of the Product. (“EULA”) .FOR PLUG-INS Moreover, as is set out in certain provisions of this EULA and the Terms, if you are a consumer (or an indi- AND OTHER SOFTWARE vidual with corresponding rights) under applicable and 9 statutory law such rules may entitle you to other and/ PRODUCTS or additional rights, which then in relevant parts have precedence before the relevant part of the EULA and/or (ver 2019-06) the Terms. We have highlighted certain such provisions in this EULA for your convenience. When does the EULA become binding for you? 1 . Applicability of the EULA, the Terms However, upon the earliest of your (i) ACCEPTANCE OF THIS EULA, (ii) DOWNLOAD AND/OR FOL- and Softube’s privacy policy LOWING THE INSTALLATION OF THE PROD- UCT AND/OR (iii) USE OF THE PRODUCT, you Some definitions of importance for the EULA agree to be bound by the terms and conditions of this This End User License Agreement (“EULA”) is a EULA together with the applicable conditions of the contract between you (“you”, your”, “yours” and similar) Terms. either as an individual or representing a legal entity, and What to do if you do not accept the EULA? Softube AB (“Softube”, “we”, our”, “ours”), a Swedish If you do not accept the terms and conditions set forth company, governing your use of one or more accom- in this EULA, do not install the Product and/or delete panying Softube products such as our Plug-ins and/or the Product from your equipment (as the case may be) other software products (“the Product” or “the Products”, and any copies thereof and notify us. We will thereafter as applicable). assist you in the necessary aspects. In addition to the terms and conditions of this EULA, How do we handle your personal data? also our General Terms and Conditions of Purchase All or most of our interaction with you will require our together with price information and other commercial processing of certain of your personal data. Softube is information on www.softube.com and/or Softube’s dis- committed to ensure that all such use is made in ac- tributor’s website where the Product license is purchased cordance with applicable privacy rules (including the (“the Terms”) apply for your purchase of our Product. European Union’s General data protection regulation, In case of contradictions between the Terms and the “GDPR”). Our processing of your personal data is EULA, the provisions of the Terms shall have prec- therefore comprehensively set out in Softube’s privacy edence. policy, https://www.softube.com/buy.php?id=privacy_ Right to withdrawal and your possible statutory rights policy with certain additional information in the Terms. To avoid any misunderstandings with regard to the If you have any questions about our processing of your contents and importance of this EULA, Softube advises personal data or your rights connected hereto, you can you to carefully read and consider the provisions of this always contact us. Our contact details are set out in the EULA before installation and use of the Product. Please, Privacy Policy and on our website. lii |
2 . Our license options and license key individual components of a Bundle are not to be sold/li- censed separately, except and only to the extent that such procedures for the Products dispositions are explicitly allowed due to the Terms, the applicable Product manual or Product instructions for Softube’s various license options the individual Products (but then for another price than Softube applies different licensing models, which enti- follows from the Bundle). The set-ups, pricing mecha- tles you to use the Product. The license models which nisms and possibilities to transfer individual Products currently are applied by us or may be applied by us in of the Bundles may thus vary due to the set-up of and the future in relation to licensing of the Products are the specific terms applicable for the relevant Bundle. following: Products labelled as Not for Resale (“NFR”) • A right to use the Product on a perpetual basis Such of our Products which are marked, labeled or (“Perpetual License”); otherwise provided to you as NFR shall only be used for demonstration, testing and evaluation purposes. NFR • A right to use the Product for a time restricted pe- Products may not be used for any commercial purposes, riod (“Time restricted License); and must not be sublicensed, resold or transferred. NFR • A right to use the Product which requires regular Products are subject to specific exceptions with regard payment of license fees from you to Softube (“Sub- to right of new versions and cannot be purchased with scription License”); or exchanged for vouchers or coupons. Furthermore, as an owner of a NFR Product, you are not entitled to any • A right to use the Product, where your total license vouchers that may follow with the standard version of fee is divided into monthly instalments due to a pay- the Product. ment plan (“Rent-to-Own License”); Softube’s use of license key and license key procedures • A temporary usage right for your test, trial and Our Products may not be used without use of a cor- evaluation of the relevant Product (“Evaluation responding Product license key. You may purchase and/ License”); or obtain a Product license key from Softube subject to • Licenses not for resale, as described below (“NFR”); conditions applied by Softube, from time to time, under and/or the Terms. • Combinations of the above license models (“Com- Please note that you are responsible for the Product bined License”). license key received and Softube will not replace any lost Product license keys. In this EULA the above Perpetual License, Time restricted License, Subscription License, Rent-to-Own You acknowledge and accept that Softube may store License, Evaluation License, NFR and/or Combined certain information relating to the Product license keys License are jointly referred to as (“License Models”). that you have purchased in relation to the Product in Please observe that Softube does apply differing terms order for us to i.e. provide you the ability to re-download and conditions for different parts of the License Models. such products in the future. Softube’s processing of your personal data in that regard is governed by Softube’s Product Bundles privacy policy as set out in the Terms and the documents The License Models are normally applied only in rela- referenced therein. tion to individual Products, but may also apply in rela- tion to different Product bundles (“Bundles”) consisting The Product is developed and designed for use upon of hardware and software or only software bundles. a computer or other hardware equipment with certain Bundles are only sold/licensed as a package and the hardware and software and other technical requirements MARSHALL USER’S GUIDE | liii
applicable for such equipment, as set out in our specific to you, subject to the agreed the License Model applied, Product documentation for each of Softube’s Products and thus not sold. and the relevant version of the same. For avoidance of doubt, it is also agreed that no right, title or interest in or to any trademark, service mark, 3 . Price and payment of the Products logo, domain or trade name of Softube, its licensors or in relation to the Products is granted to you or other end- All details in relation the prices for the Products in dif- users of the Product. ferent License Models are set out in the Terms and upon our website. Please be advised that prices may vary and from time to time and can also be subject to campaign 5 . Grant of license to you from Softube offers and similar. You are as from the effective date of this EULA under If and to the extent a Product in whole or in part is pay- the Terms and the provisions of this EULA granted able through use of a voucher, coupon or other similar a non-exclusive, transferable, time-restricted (if ap- restricted offer is also set out in the Terms, our website plicable to the specific Product) and revocable right to and/or other promotional material. use the Product subject to the agreed License Model. Unless otherwise set out in the Terms or a specific end- The license may thus be perpetual or subject to certain user offer, all Products are to be paid either through a limitations in time or otherwise, and may also only be full pre-payment or subject to a payment plan e.g. for a possible to use together with certain equipment. Subscription License, Rent-to-Own License or other The license applies for all versions of the Product (i.e. Time restricted License and similar. such as patches, updates, upgrades etc.), which you may All our other payment conditions and available and receive from us during the term of the agreed License accepted payment means, as available from time to time, Model. The availability of such later versions of the are set out in the Terms and on our website. Product, if any, is subject to our sole and exclusive dis- cretion as applied from time to time. 4 . Intellectual property rights in relation Unless you change (subject to possibility under the Terms) and/or agree to change the applicable License to the Products Model for your Product with us, as applicable, the origi- nally agreed License Model shall continue to apply for Softube and/or its licensors own all copyright and you until expiry or termination of the same, as the case other intellectual property rights in and to the Products may be. (including any images, photographs, graphics, anima- tions, video, audio, music, and text incorporated into the 6 . Termination of a Product license and Product), accompanying printed or digital materials, and any copies you are permitted to make under the provi- effects of a termination sions of this EULA or applicable statutory rights, are owned by Softube or its licensors. Our Products are also You may at any time and for any reason terminate the protected by copyright laws and international copyright Product license granted to you with immediate effect, treaties, as well as other intellectual property laws and subject however to certain provisions and limitations treaties. Any and all intellectual and other property in relation to Time restricted Licenses, Subscription rights to and in the Products vest in and shall remain Licenses, Rent-to-Own Licenses and Combination vested in Softube or its licensors. The Product is licensed Licenses in accordance with the Terms. If we have liv |
agreed to provide you with either of a Time restricted dispositions are explicitly allowed due to the Terms, the License, Subscription License, Rent-to-Own License or applicable Product manual or Product instructions. Combination License, you can normally not prematurely You may neither alter nor modify the Product and may terminate such a license prior to the first expiry date. We not analyze, reverse engineer, decompile or disassemble will however not refund any amounts paid to us if you the Product or any part of the Product, incorporate the prematurely terminate any license granted to you, unless Product into any other application Product, or print such termination is due to a material breach against the out the Product, except and only to the extent that such provisions herein or the Terms from us. activity is expressly permitted by applicable law, not- In relation to a possible Evaluation License, the Evalu- withstanding this limitation. ation license granted to you will continue until it is terminated by us or you or on the date when it expires 8 . Limited warranty for the Product automatically (as the case may be). Softube may however terminate the relevant Product Warranty for media upon which the Product is delivered, if license with immediate effect if you breach the provi- applicable sions of this EULA or the Terms and/or fail to make the In addition to what is set out in the Terms, we warrant agreed payments under the Terms. In case of a violation the media on which the Product is recorded (to the of our and our licensors’, if any, intellectual property extent the Product is delivered upon such media, other- rights to the Product or other material breach of this wise not) to be free from defects in design, material and EULA or the Terms, such termination may follow workmanship under normal use for a period of ninety immediately upon detection of such violation/breach. (90) days from the date of purchase (as evidenced by a Upon termination of the relevant Product license, you copy of the receipt). must delete the Product from your equipment and any Unless otherwise set forth in this EULA together with copies thereof. the Terms and/or following from mandatory and appli- cable consumer legislation, Softube’s entire liability and 7 . Agreed limitations in your right to use your exclusive remedy in case of warranty breaches is an obligation to replace he media not meeting the Softube’s the Product limited warranty and which is returned to Softube or an authorized representative of Softube with a copy of the You may use the Product for only as many simultaneous receipt. Softube will have no responsibility to replace any users, servers or other limiting parameters as are set out media damaged by accident, abuse or misapplication. in the Product (by means of technical limitations), ap- plicable Product manual or Products instructions, as set Other defects in relation to the Product out in the Terms, the EULA or otherwise. Without prejudice to the foregoing and such statutory rights available for you as a consumer (or an individual You may not copy or reproduce the Product, except with corresponding rights) under applicable law, our to the extent otherwise set out in applicable statutory responsibility and liability with regard to possible defects provisions. You as an end-user may neither transfer, sell, in the Products shall be limited to faults arising during distribute, lend, rent, lease nor in other way, directly the above ninety (90) day period and entailing that the or indirectly, dispose of the Product or any deriva- Products do not conform to the relevant specification tive work of the Product (including its accompanying when used on advised equipment and in accordance information), except and only to the extent that such with the documentation and other instructions, gener- MARSHALL USER’S GUIDE | lv
ally or specifically issued/published from time to time by are a consumer (or an individual with corresponding us. Softube may in its own discretion decide how such rights) under applicable law. If and to the extent this possible defects shall be handled, i.e. through rectifica- EULA and/or applicable parts of the Terms limit, re- tion, circumvention, issue of a Product update/upgrade, strict or contradict any such rights, your statutory rights replacement of the Product or through any other appro- shall remain unaffected in case of such contradictions priate means. We shall not have any liability to remedy with the EULA and/or the Terms. defects in the Product where such defect results from All our Products, are provided to you strictly on an any default, non-compliance or non-agreed use of the “AS IS”-basis without warranty of any kind, except as Product by you. Subject to the foregoing, all conditions, expressly set out herein. warranties, terms and undertakings, express or implied, statutory or otherwise, in respect of the Products are ALL EXPRESSED OR IMPLIED REPRESENTA- hereby excluded. Softube’s entire liability in case of a TIONS AND WARRANTIES, INCLUDING ANY defect during the warranty period, which we are unable IMPLIED WARRANTY OF MERCHANTABIL- to rectify, shall be (in our reasonable discretion) either ITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT, ARE HEREBY (a) your right to return the Product (and deletion EXCLUDED. SOFTUBE DOES NOT WAR- of the relevant Product license key as per our RANT THAT THE FUNCTIONS CONTAINED instructions) and our following repayment of IN THE PRODUCT WILL MEET YOUR RE- Product price paid by you; QUIREMENTS, OR THAT THE OPERATION
OF THE PRODUCT WILL BE INTERRUPTED or OR ERROR-FREE, OR THAT DEFECTS IN THE PRODUCT WILL BE CORRECTED. FURTHER- (b) our rectification or replacement of the Product MORE, SOFTUBE DOES NOT WARRANT OR (as to ensure that it meets the applicable specifi- MAKE ANY REPRESENTATIONS REGARDING cation) that does not meet our limited warranty. THE USE OR THE RESULTS OF THE USE OF THE PRODUCT OR RELATED DOCUMENTA- This limited warranty is not valid if the alleged defect of TIONS IN TERMS OF THEIR CORRECTNESS, the Product has resulted from accident, abuse, or misuse. ACCURACY, RELIABILITY OR OTHERWISE. A possible replacement Product will be warranted for NOR ORAL OR WRITTEN INFORMATION OR the remainder of the original warranty period or thirty ADVICE GIVEN BY SOFTUBE OR AN AU- (30) days from your receipt thereof, whichever is longer. THORIZED REPRESENTATIVE OF SOFTUBE Softube disclaims all other warranties, either express or SHALL CREATE A WARRANTY OR IN ANY implied, including but not limited to implied warranties WAY INCREASE THE SCOPE OF THIS WAR- of merchantability and fitness for a particular purpose, RANTY. SOME STATES DO NOT ALLOW THE with respect to the Product and the accompanying EXCLUSION OF IMPLIED WARRANTY, SO materials. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. 9 . “AS IS” and LIMITATION OF LIABILITY NEITHER SOFTUBE NOR ITS LICENSORS SHALL BE LIABLE FOR ANY DAMAGES SUF- This EULA, including this section 9 and applicable FERED BY YOU OR ANY THIRD PARTY AS A parts of the Terms, is not intended to constitute any RESULT OF USE OR INABILITY TO USE THE restriction or limitation of your rights, to the extent you lvi |
PRODUCT. IN NO EVENT WILL SOFTUBE 11 .Version(s) of the EULA NOR ITS LICENSORS’ BE LIABLE FOR ANY LOST REVENUE, PROFIT OR ANTICIPATED Both technology development as well as our in-licensing SAVINGS, DATA, OR FOR DIRECT, INDIRECT, of third party technology and intellectual property SPECIAL, CONSEQUENTIAL, INCIDENTAL rights, if any, may and will result in Softube amending OR PUNITIVE DAMAGES, HOWEVER CAUSED and adjusting the EULA from time to time. The EULA AND REGARDLESS OF THE THEORY OF LI- governing your purchase of the product shall however ABILITY, ARISING OUT OF YOUR OR ANY remain the version that originally applied in connection THIRD PARTY’S USE OF OR INABILITY TO with the original purchase of the Product. However, if USE PRODUCT, EVEN IF THAT PARTY HAS and to the extent you purchase a new version and/or BEEN ADVISED OF THE POSSIBILITY OF additional features to a Product, and in connection with SUCH DAMAGES. IN ANY CASE SOFTUBE’S such purchase accept the applicability of a new EULA, AND ITS SOFTUBES’ ENTIRE LIABILITY UN- that new version of the EULA shall apply. DER ANY THEORY OF LIABILITY SHALL BE LIMITED TO THE AMOUNT ACTUALLY PAID 12 . Questions, comments or remarks in BY YOU TO SOFTUBE FOR THE PRODUCT (INCLUDING THE RELEVANT LICENCE KEY) relation to the Products, this EULA or the UNDER THE APPLICABLE LICENSE MODEL. Terms
10 . Third party beneficiaries If and to the extent you have questions, comments or Except as provided in this section 10, nothing contained remarks in relation to us, the Products or the EULA/the in this EULA is intended or shall be construed to confer Terms, please contact us, as to enable us to answer your upon any person (other than the parties hereto) any questions, solve the Product issue and to improve our rights, benefits or remedies of any kind or to create any services to you as an end-user. The easiest way of getting obligations or liabilities of a party to any such party. into contact with us is via e-mail [email protected] or such other communication means as is set out on our You however acknowledge and agree that Softube’s website. licensors, subject to the existence of relevant provisions in the agreement and/or understanding between us and 13 . Applicable law and dispute resolution relevant third party licensor, if any, are third-party ben- eficiaries of this EULA with respect to the provisions of If you are a consumer (or an individual with correspond- this EULA that create rights of or obligations to such ing rights) under applicable and statutory law, we will third party licensor and/or Softube, as the case may be submit us to the choice of law and competent venues and that, upon your acceptance of the terms and condi- for dispute resolution, as set forth under such applicable tions of this EULA, also such third party licensor will statutory rules. Otherwise (i.e. primarily for other end- have the right to enforce the provisions of this EULA users than consumers), with regard to applicable law, against you in its capacity as a third party beneficiary to venue, and procedure for dispute resolution, the corre- this EULA. sponding provisions of the Terms shall apply for possible disputes between us and you. MARSHALL USER’S GUIDE | lvii
ACKNOWLEDGEMENTS AND LICENSES SHALL THE COPYRIGHT OWNER OR CON- TRIBUTORS BE LIABLE FOR ANY DIRECT, IN- Third Party Legal Notices DIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, One or more of Softube’s products may include software OR CONSEQUENTIAL DAMAGES (INCLUD- licensed under terms that require Softube to display the ING, BUT NOT LIMITED TO, PROCUREMENT following notices: OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS -- INTERRUPTION) HOWEVER CAUSED AND Nigel Stewart, Milan Ikits, Marcelo E. Magallon and ON ANY THEORY OF LIABILITY, WHETHER Lev Povalahev IN CONTRACT, STRICT LIABILITY, OR TORT The OpenGL Extension Wrangler Library (INCLUDING NEGLIGENCE OR OTHERWISE) Copyright (C) 2008-2016, Nigel Stewart ARISING IN ANY WAY OUT OF THE USE OF
OTHERWISE, ARISING FROM, OUT OF OR sublicense, and/or sell copies of the Software, and to IN CONNECTION WITH THE SOFTWARE permit persons to whom the Software is furnished to do OR THE USE OR OTHER DEALINGS IN THE so, subject to the following conditions: SOFTWARE. The above copyright notice and this permission notice shall be included in all copies or substantial portions of -- the Software. The Khronos Group Inc. THE SOFTWARE IS PROVIDED “AS IS”, WITH- Copyright (c) 2007 The Khronos Group Inc.Permission OUT WARRANTY OF ANY KIND, EXPRESS OR is hereby granted, free of charge, to any person obtaining IMPLIED, INCLUDING BUT NOT LIMITED TO a copy of this software and/or associated documentation THE WARRANTIES OF MERCHANTABILITY, files (the “Materials”), to deal in the Materials without FITNESS FOR A PARTICULAR PURPOSE AND restriction, including without limitation the rights to NONINFRINGEMENT. IN NO EVENT SHALL use, copy, modify, merge, publish, distribute, subli- THE AUTHORS OR COPYRIGHT HOLDERS cense, and/or sell copies of the Materials, and to permit BE LIABLE FOR ANY CLAIM, DAMAGES OR persons to whom the Materials are furnished to do so, OTHER LIABILITY, WHETHER IN AN AC- subject to the following conditions: TION OF CONTRACT, TORT OR OTHERWISE, The above copyright notice and this permission notice ARISING FROM, OUT OF OR IN CONNEC- shall be included in all copies or substantial portions of TION WITH THE SOFTWARE OR THE USE OR the Materials. OTHER DEALINGS IN THE SOFTWARE. THE MATERIALS ARE PROVIDED “AS IS”, -- WITHOUT WARRANTY OF ANY KIND, EX- PRESS OR IMPLIED, INCLUDING BUT NOT [email protected] LIMITED TO THE WARRANTIES OF MER- easywsclient CHANTABILITY, FITNESS FOR A PARTICU- Copyright (c) 2012, 2013
BE LIABLE FOR ANY CLAIM, DAMAGES OR person obtaining a copy of this software and associated OTHER LIABILITY, WHETHER IN AN AC- documentation files (the “Software”), to deal in the Soft- TION OF CONTRACT, TORT OR OTHERWISE, ware without restriction, including without limitation ARISING FROM, OUT OF OR IN CONNEC- the rights to use, copy, modify, merge, publish, distribute, TION WITH THE SOFTWARE OR THE USE OR sublicense, and/or sell copies of the Software, and to OTHER DEALINGS IN THE SOFTWARE. permit persons to whom the Software is furnished to do so, subject to the following conditions: -- The above copyright notice and this permission notice The FontStruction “Graph 35+ pix” shall be included in all copies or substantial portions of (http://fontstruct.com/fontstructions/show/664062) by the Software. “30100flo” is licensed under a Creative Commons At- THE SOFTWARE IS PROVIDED “AS IS”, WITH- tribution Share Alike license (http://creativecommons. OUT WARRANTY OF ANY KIND, EXPRESS OR org/licenses/by-sa/3.0/). The font file in this archive was IMPLIED, INCLUDING BUT NOT LIMITED TO created using Fontstruct the free, online font-building THE WARRANTIES OF MERCHANTABILITY, tool. FITNESS FOR A PARTICULAR PURPOSE AND This font was created by “30100flo”. NONINFRINGEMENT. IN NO EVENT SHALL This font has a homepage where this archive and other THE AUTHORS OR COPYRIGHT HOLDERS versions may be found: BE LIABLE FOR ANY CLAIM, DAMAGES OR http://fontstruct.com/fontstructions/show/664062 OTHER LIABILITY, WHETHER IN AN AC- Try Fontstruct at http://fontstruct.com TION OF CONTRACT, TORT OR OTHERWISE, It’s easy and it’s fun. ARISING FROM, OUT OF OR IN CONNEC- NOTE FOR FLASH USERS: Fontstruct fonts TION WITH THE SOFTWARE OR THE USE OR (fontstructions) are optimized for Flash. If the font in OTHER DEALINGS IN THE SOFTWARE. this archive is a pixel font, it is best displayed at a font- -- size of 8. Fontstruct is sponsored by FontShop.Visit them at Christian Robertson http://fontshop.com Roboto typeface FontShop is the original independent font retailer. Copyright (c) 2015 Christian Robertson We’ve been around since the dawn of digital type. Licensed under the Apache License, Version 2.0 (the Whether you need the right font or need to create the “License”); you may not use this file except in compli- right font from scratch, let our 22 years of experience ance with the License. You may obtain a copy of the Li- work for you. Fontstruct is copyright ©2012-2013 Rob cense at http://www.apache.org/licenses/LICENSE-2.0. Meek Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on -- an “AS IS” BASIS, WITHOUT WARRANTIES OR Mutable Instruments CONDITIONS OF ANY KIND, either express or im- Mutable Instruments Braids plied. See the License for the specific language govern- Mutable Instruments Clouds ing permissions and limitations under the License. Mutable Instruments Rings -- Copyright (c) 2018 Mutable Instruments Permission is hereby granted, free of charge, to any Softube AB, S:t Larsgatan 9D, 582 24 Linköping, Sweden. www.softube.com