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  • patrickt69
    Contributor - Level 2
    Mesa Boogie Triple Rectifier: Effects Loops

    Effects Loops and how to use them

    Well, here we are in the 'Loop' section. Now why on earth would I make a section in the Triple Recto amp section just to talk about the effects loop on the amp? There is a good reason or two because on the Triple Rectifier amp the loop is an assignable Parallel FX Loop with send and mix level controls. Mesa say that this loop (in the Dual Rec and the Triple Recto) is one of the most comprehensive loops in any amplifier. Hmmm sales patter I think. Why? they dumped this style on the Multi Watt Rectos that follow.

    You don't dump something that works well for most people right?

    In case you don't know, a parallel loop is not always what you might need on an amp and more often than not a serial loop is of more use overall. I guess you could argue with that statement, but mesa moved to serial on this amps replacement. One of the problems with a parallel loop is that (often) it does not completely turn off - what I mean is, with the parallel loop engaged, and the output level turned off and the return level turned completely off, the signal still gets through on some designs. I have also seen some series loops do this - with the output completely off there is still a signal that gets though. All you guys who want to use a TC G-System will have trouble if the signal is not completely dead when it is supposed to be and 100% when it is supposed to be. Anyway, back to the loops.

    Secondly, the parallel loop is always basically 'in' whereas a serial loop can often be completely switched out. A simpler way of thinking about it for a parallel loop is that the 'loop' runs out of the amp and back in while there remains a direct conection also between the preamp and power amp so that the parallel loop adds to the signal already there. Things like compression, wah or eq will be 'mixed' with your original signal having an effect of 'watering down' the effect on a parallel loop. Basically for these sort of effects it's not good.

    In the case of a serial loop there is only one route instead of two - the signal exits the preamp, goes through the effects and comes back in to the amp to the power amp - and that is the ONLY route there is. For delay and stuff like that it sounds great, but there is also a snag with serial loops and that is, when turned on the whole signal goes through your pedal. Many guys will say that the loop in a tube amp positively 'sucks' the tone right out of the amp and I would then say (based on the above) that parallel loops suck half the tone, while series therefore must suck all the tone! But that's just an analogy and personally I can hear a difference, but its not earth shatteringly different to my ears.

    My view, is that mesa boogie got some stick for this parallel loop choice, why else would you change it? everything else about the loop, the controls etc seem to be the same on the multiwatt replacement of this amp so I guess far more wanted a series loop.

    I would NOT bypass the loop on the dual and triple rectifier amps because if you do, then you will have no solo or master volume - this action disables the master volume and on a triple rectifier this is something you absolutely need. What you are left with when you bypass the loop (with the switch on the back of the amp) is that the CHANNEL master controls become the final output controls and this makes a massive difference to how you can drive the amp in the first place.

    I ALWAYS have the loop NOT bypassed and mine is always set to Foot Switch although you can use other settings if you want. Ill say this once more so it sinks in:


    Everything else is covered in the regular manual of the dual and triple recto, but because we are describing a triple rectifier I just wanted to go over the loop and why you leave it NOT bypassed. I sold my triple on ebay and the very next email I got from the guy was 'Hey this amp is way too loud even at the gig'. I suspected that he had turned off the loop as many guys do - and yes thats right - instant deafness!

    Always be careful when you are standing in front of a Mesa Boogie amp - they are typically loud and if you don't set things up right BEFORE you turn on the amp then you could get one very loud blast of sheer volume which could damage your hearing. Its all over the manuals. You CAN get the amp fixed but what value do you put on your hearing? When you are young its often said by older guys that they 'know it all'. I probably agree with that because when I was younger I knew it all too and was never convinced by those old fools; but I suppose as you get older you really do realise that those old dudes comments were built on years of experience.

    But seriously guys just be careful and enjoy these amps for a very long time to come because you can still hear them when you are old.

    Here's a little section from the Ultimate Metal Forum about loops:

    Originally Posted by Eventide
    In any of these scenarios, an FX loop might give an extra choice, particularly on more modern and better designed amps: SERIES or PARALLEL FX LOOP. The traditional FX LOOP is SERIAL, meaning that it is a real break between your combo's preamp and power amp! Consequences? Your preamped guitar signal will always go thru the digital converters of the connected FX processor and you'll need to use the processor FX balance (dry/wet mix) to set dry and wet (=FX) levels. The PARALLEL FX LOOP features a straight unbroken connection between the combo preamp and power amp, in parallel with a break between send/return , usually with a send level (to the FX inputs) and a mix level (an FX output level) or, more usually, this last level only. Consequences? Your preamped guitar signal goes straight to the power amp, untouched, unconverted into digital domain, staying as your main DRY signal...the real thing, dudes! Your FX processor output is managed in parallel to the dry sound, summed to it. The advantages are many: -signal levels are kept at their natural "levels" , without loosing that "in the face" energy you all desire! -tone know what that is, don't you? Better signal/noise ratio!

    The only trade-off in PARALLEL FX loops is that typical IN SERIES treatments/FX, like compression/EQ/wah, will be mixed with your dry signal...and this is not what you want when using these FX. Suggestion: use compression/wah/EQ between guitar and amp input, using other gear. Hope: someday a clever guitar amp company will build an amp with switchable and remotable series/parallel FX day! If your combo amp does not have an FX loop...well, it must be a dinosaur with classic tones you love too much to upgrade to new technology. In such case the best advice is to have highly qualified guitar amp tech service to modify your amp, adding an FX loop; this is what most pros do. In case you don't want... you can only use your guitar > Eventide > amp front guitar input configuration, all unbalanced, on -10dB. This is probably the worst possible setup you can use as technology has evolved and necessary adjustments are required to interface "the bold & the beautiful." A serious "con" of this setup is the limitation on using amp distortion: In fact if you are getting your favorite distorted tone from a 1959 Marshall Plexi (no FX Loop amp!) you'll be in trouble as your delays and reverbs will be destroyed, nuked by your amp disto_tones. In this case, distortion pedals should be used between guitar and the Eventide. There are many other possibilities that pros use....quite expensive though, like miking an old amp and processing it on the PA..or having the "dinosaur" modified with an added line output that usually feeds digital effects units, going to a stereo power amps w/2 cabinets, strictly dedicated to effects. This 3-amps setup is also called Left FX/Center Dry/Right FX setup.
    I hope this little section on loops helps; sometimes they can be a real problem depending on what you are doing and with a TC G-System they can be a complete nightmare partially due to the appalling manual from TC-Electronics for the G-System.
    1 1,901
  • ColinJoseph
    Contributor - Level 1
    Hi all,

    I'm trying to use my play acoustic as an audio source for a laptop camera running windows 10 to record video with good sound quality.

    I've set up the windows 10 drivers for the microphone to use the play acoustic in the sound tab. I've also got the USB out on the play acoustic set to maximum.

    The problem I'm having is that the recording level is so low with USB out on the play acoustic that it is almost non existent.

    The play acoustic seems fine as the headphone level is normal. (I assume you can use headphones and USB out at the same time?)

    I have a realtek chipset/soundcard in the laptop.

    Has anyone else had this low volume problem with windows 10?

    Does anyone know of a solution??

    I love the play acoustic, but this is very frustrating.

    Any help greatly appreciated.

    0 1,604
    • ColinJoseph
      pvautour I haven't tried using my Helicon as an audio Interface yet, but I can tell you that many of the interface manufacturers out there don't have their drivers sorted out yet for Windows 10.

      There are allot of angry posters out there on many of the Interface company forums to prove it.

      I had such a hard time trying to get it stable that I just downgraded to Windows 7 so I could get everything working again.

      Hopefully that is not the case here as well.


      • April 10, 2018
    • ColinJoseph
      TCH-Spencer Hey Colin,

      If possible, could you run another application parallel to whatever your camera is recording into? I'm thinking if your video recording software (whatever that may be) isn't getting a hot-enough level, maybe you could use an audio-centric program like Reaper to record audio alongside your video. With a DAW you'd be able to adjust gains easier and get your level up to snuff. Only issue would be syncing, maybe clap or snap at the start of your recordings. For context, I've been able to use our PlayAcoustic with Windows 10 as an audio device just fine, so I'm thinking there's something up with your software muffling the level down.
      • June 8, 2018
    • ColinJoseph

      I just bought a Play Acoustic, and I'm also running Windows 10, and I'm disappointed as well in the low audio level over USB.  I've adjusted my mic and guitar gains so they're almost on the verge of clipping, and set the output levels to max in the settings.  But when I try to record, even with a simple program like Audacity, my maximum recording level isn't even 1/4 of the max headroom in the sound graph, and it's very quiet when playing back.  I see enough people complaining about this issue that I personally believe TC Helicon should do a firmware update that gives a higher audio level over USB.  Before I send it back, I just wanted to see if anyone has discovered a fix for this issue yet or if a firmware fix is in the works and will be available soon?  If not, I'm sending it back for a refund before my 30 day return period expires.  As of right now, I get a much better sound using a generic USB mic and VST Host than I do with the play acoustic.  

      • March 25, 2019
    • ColinJoseph

      Hey @VPtech65,

      Just to confirm, by "set the output levels to max" you're referring to the "USB Out Level" parameter in the "Mix" menu?  You probably want that maxed out to "0 dB".  Another thing to check is if Windows is lowering the level, go into your "Playback Devices" menu in Windows (I'm also on Windows 10) and view the Properties of your PlayAcoustic - there's a "Levels" tab that you probably also want to max out.PA USB.PNG

      • March 25, 2019
    • ColinJoseph

      Yes, I have the usb output all the way up to 0 db in the settings, and I've also maxed out it's level in the control panel sound devices as you've shown.  And it's still quiet.  I'd like to get about another 50% more volume out of it. 

      • March 25, 2019
  • New
    Regular Contributor - Level 1


    I've been asked to do a virtual performance at a hospital. Never done this before and was hoping that someone who has, could kindly point out some do's and dont's. Especially someone who has used their play acoustic to do so. I'm pretty sure they will supply a windows laptop, and will be using webex. I'm guessing that webex is very similar to zoom.

    I've had the playacoustic hooked up to my own windows 10 pc and the first thing I noticed, was the very low output using the usb. With the usb level maxed out in the playacoustic, I can't see anyway to increase the level. The other obvious problem was when I routed the audio to the pc headphone out, the latency was terrible. I can of course use the playacoustic's headphone to monitor, but I'm guessing that I'm going to look like I'm terrible at miming. As bad as the dubbing on a Kung Fu movie. I'm guessing no, but is there a way to get the latency down?

    Thanks in advance.


    BTW. What on earth has happend to the TC Helicon user forum? This music tribe thing is a nightmare! I searched for play acoustic and only got 4 pages of posts that were of no use to me. What happend to all the posts? So much good information from users and TC hellicon staff seems to have gone. Haven't seen the term " user forum " once, and I'm not even sure this post is going to go to the right place. In the drop down menus you have to select before you can post,  there is no mention of TC Hellicon let alone the play series.

    0 74
  • AnthonyRitchie
    Contributor - Level 2

    I've been using TC products for live harmonies and looping for the past two years. I recently upgraded to the VoiceLive 3 with a Switch 6 and thought I'd share my pedal layout and button mapping to see if it's useful to anyone else.

    Left to right is the VoiceLive 3, Wah Pedal (to be replaced with an expression pedal later), boom mic stand, and the switch 6 to the right.

    Since 90% of the time I gig with a Taylor T5 acoustic, I rarely need any distortion pedal, so even on the guitar layer I map the lower right VL3 button to be harmony just like it is in the vocal layer. On the switch 6 on the right side of the boom, I also map the first S6 button to harmony so when I'm moving around the stage, the two closest inside buttons on either side of the mic is for harmony. When looping, I don't have to switch layers to turn harmonies on and off while recording a vocal loop.

    While mentioning looping, I've globally mapped the "step" button to take the unit into looper mode. Much more intuitive for me to have a dedicated button than to press and hold the vocal/guitar layer switch above it.

    The Switch 6 is mapped 1) Vocal Harmony, 2) Vocal Delay in unlatched mode (for dramatic repeats at the end of a chorus or song), 3) Tuner, 4) Guitar Octaver, 5) Guitar touch Wah and 6) Compressor/ Boost.

    Those above settings allow me to turn the VoiceLive 3 to Looper mode (step button) and then I'm able to layer in rhythm guitar, vocals, harmonies, or a "bass" line without switching layers, and then boost and solo over the whole thing.

    Eventually, if Looper function button re-mapping become available, I'd like to be able to map the third Switch 6 button to "Erase All".

    So I hope that helps some of you who've had issues switching in and out of the Looping mode while playing live and I look forward to hearing how other people are doing similar things.
    0 858
    • AnthonyRitchie
      FrankGenus My setup isn't all that different. VL3 to right of the mic stand, Switch-6 to the left. "Step" remapped to engage/disengage the looper. Switch-6 settings:

      1 - Choir (latched - haven't felt the need to use this yet, but it's there none the less)

      2 - Vocal Delay (momentary)

      3 - Harmony (momentary)

      4 - Doubling (mementary)

      5 - Guitar Delay (latched)

      6 - Guitar Drive/Boost (latched)

      • January 30, 2015
  • DavidKronus
    Contributor - Level 2

    Hey Guys,

    anybody noticed that the analog outputs of their VW+ are really noisy? Recently soundguys in my gigs were complaining about quite a lot of noise coming in to the mixer from me so I have done the research and found:

    1) There is a noise (like white noise) on both analog outputs, level around -90dB which doesn't seem much but it is annoying live when there is silence between songs, ruins the mood when it should be totally quiet. I'm using balanced connections to the mixer.

    2) It isn't caused by cables.

    3) No noise on digital out (that's why I hadn't noticed it before in my recordings)

    4) Output level (Knob 4) doesn't influence the noise

    5) Mic gain doesn't influence the noise.

    6) Switching to digital in when there is no digital in connection makes the noise stop (but obviously there is no sound)

    7) Switching off FX blocks has no influence on it.

    So it looks to me it must be an electrical problem (as the output level doesn't influence it, it's just a constant noise), it's definitely not related to actual signal processing as digital out is totally quiet. Anybody noticed similar problem or have a suggestion how to deal with it? My device warranty has expired so I guess there is no other option but to have it serviced but wanted to check here first. I've had my VW+ for around 4 years and never noticed this issue but it's possible it's been like this from the beginning. But it's true my rack fell over like a year ago so maybe that could have broken something inside.

    Thanks for your help!

    0 2,287
    • DavidKronus
      Hi David,

      Hmm, I'm not an expert with the VW since it was well before my time, but the manual says 90dB of SNR on the mic input. If you're hearing white noise at -90dB, I'd think that's just the noise floor of the product.

      Perhaps the gain staging isn't correct? With 90dB you should have lots of headroom without noise.

      Make sure your mic input is set as high as it can go without clipping the mic pre. Set your output level on the VW to maximum (not above 0dB though, if that's an option) and make sure FOH sets their input trim based on that signal. It's common for them to think "a mic should be X level" and ask you to turn down your master out instead of trimming their mic pre down instead.


      • May 19, 2015
    • DavidKronus
      Hi Craig,

      thanks a lot for your response. I agree it doesn't sound like a big deal when I say noise at -90dB but it's quite annoying when playing live and unusable for recording. Perhaps I don't read the meters correctly in my DAW so the number might not be that relevant, it's the noise itself and the fact that soundguys are pointing it out.

      SNR on mic input is one thing. I have the mic gain set as high as possible to not go into red on the loudest notes. And as I said there is no noise on digital out so it's not about the mic input at all (on the digital out there is freakingly little noise, really nothing!). Also output level (Knob 4) doesn't influence the noise level at all. So it's just the analog output stage itself which is adding a lot of (static) noise. That's why I think it's some electrical problem rather than signal processing problem.

      As I said I'm always using balanced output connections, will try unbalanced just to see if the makes any difference but I guess visiting service center is inevitable. I just hope the servicing guys in Prague are up to it!
      • May 19, 2015
    • DavidKronus
      Hi David,

      Yeah, if it's not there on the digital out, I'd guess that perhaps something has been damaged in the fall or just failed over time.

      Could you toss up a recording of the noise for me so I can play it for the dev's? They might have some insight after hearing it.


      • May 20, 2015
    • DavidKronus
      DavidKronus Hi Craig,

      ok, here is a sample:

      I use a recording where I just briefly interrupt the silence with "sss" which is being cut off by the input VW+ noise gate so that it's clear the noise is not coming from the input. You can compare NoiseSample (mono analog output) and Digital (SPDIF Out) and see the noise on the analog is way stronger (digital out is absolutely quiet as expected). I also included "maxed" versions (+40dB) of the samples where it is really apparent.

      You may argue that if I can increase the vol by 40dB and not clip the "useful" signal ("sss"-ing in this case) then the SNR is still very good but as the input gain could have been increased by 40dB but as I said I have the input gain maxed in order not to clip at any loud part and still soundguys notice the noise and describe the output as "really noisy".

      The noise is static - neither input gain nor output volume of VW+ (Knob 4) affect it.

      Thanks for any ideas.

      • May 26, 2015
    • DavidKronus

      I had our lead design engineer take a listen. He said that it sounds pretty normal, considering the 40dB boost to get that hiss on analog.

      The reason you don't hear the noise floor on the digital I/O is that we just send zero's when the gate is closed.

      If you turn the gate off, you'll hear the actual noise floor of the signal on the digital path.

      The only advice they gave is that you should always have your output level maxed to give you the best SNR, coupled with as hot an input signal as you can get before clip.

      The VW products are bout 10dB lower in headroom than our current generation. 92 ish dB is pretty good, but perhaps in the systems you're connected to things are more sensitive to that SNR.

      Sorry that I don't have any fixes for you on this one!


      • May 26, 2015
  • JamesCopple
    Contributor - Level 1
    Has anyone managed to make a decent sounding 12-string patch on the vl3x?
    0 2,051
    • JamesCopple
      JamesCopple Anyone? Bueler?
      • July 21, 2017
    • JamesCopple
      RubyTuesday I'd be interested in this too..
      • September 8, 2017
    • JamesCopple
      hooya I doubt you could get anything particularly effective. The pitch shifting effects on the VL3 for guitar are really pretty poor, and really only monophonic. You want a 12 string effect get a MicroPOG.
      • September 13, 2017
    • JamesCopple

      Trent Jacobs;131455 wrote:

      I doubt you could get anything particularly effective. The pitch shifting effects on the VL3 for guitar are really pretty poor, and really only monophonic. You want a 12 string effect get a MicroPOG.

      Hello Trent :

      I'm interested in those Pogs .

      ¿ Do you per chance know if Tonne Estas uses one ?

      It appears to be one but I'm not sure , I never owned or played one .

      EZ :

      • September 13, 2017
    • JamesCopple
      dsmmrm The digitech mozaic is pretty good. I have one and use it on both acoustic and electric. sounds from my Godin xtsa.
      • September 13, 2017
  • kkuehl
    Contributor - Level 2
    So I have been a happy G System user for several years. My rig hasn't moved in a very long time and over the weekend, I started getting almost no sound with the G System.
    I use the 4cm with Ebtech hum eliminator into an H&K Triamp MK II that has a serial/parallel loop with the loop set to serial. The loop level at 12 o clock, and the effects level set to -10db.

    I have the boost locked off
    I have the loop insert on
    I have the input gain at 8db
    Loop level 0db
    Loop Headroom 2db
    volume 0db
    volume postion output
    output level 0db
    Just like the paper (confirmed while writing this post).

    killdry = off

    I removed my expression pedal and volume pedal.

    I don't have any other ideas. Perhaps the unit has finally died. I was able to get some preamp effects to work, but anything that engages the FX loop of the amp while the g-system is plugged in doesn't work.

    I checked all of my cabling (and even rewired my entire rig, to ensure that a cable didn't fail).
    I also have went over all of Laird's paper and made sure that a setting didn't get forgotten somehow.
    I made sure that the

    I am at a loss as to what to check. I removed all other pieces of rack gear and the problem still existed.
    Right now, I have all of my other gear wired and functional (so I know the effects loop and the amp itself are still fine).

    If anyone has any ideas let me know. Can I send the unit somewhere to be repaired? Is it time to move on?

    Sad .....
    0 3,860
    • kkuehl
      elvis Try turning off the noise gate. I have had problems where it doesn't let signal through at times.

      I had my previous GS (first gen, quite old now) repaired at one time. There is one facility in the US and at the time it was a flat fee of $350 for whatever was wrong. It is still going strong (a friend bought it from me).
      • May 17, 2016
    • kkuehl
      lockbody Maybe the volume pedal went bad?

      I recently racked my GS brain, but I didn't plug the volume pedal back in and freaked out for about 10 minutes because there wasn't any sound coming out of the GS even though I was seeing the input meters move.
      • May 17, 2016
    • kkuehl
      kkuehl I took the noise gate out of the equation and disconnected the volume and expression pedals.
      • May 17, 2016
    • kkuehl
      UStoller @kkuehl

      Check the Output Level of the GSys.

      I experienced sometimes, when you had configured Expr/Vol-Pedals and they are not connected BEFORE you Power on the unit it in most of this cases sets the output-level to -100db, so nothing comes out!

      If it happenes set it to 0db again and it's ok. Also it can crash parameters of effects, because the expr.pedal is not there...

      Control that the amps loop is really set to serial. (Also maybe +4db is better, if there is no gate like the TC Sentry, or ND-2 in the loop)

      Is there a MIDI-Connection between the Amp and the G? If so check that there is not send a PC that switches off the Amps-Loop. I had a situation in the past with this issue and was going mad searching why no effects, only the things before the preamp was working.
      • May 17, 2016
    • kkuehl

      UStoller wrote:


      Check the Output Level of the GSys.

      I experienced sometimes, when you had configured Expr/Vol-Pedals and they are not connected BEFORE you Power on the unit it in most of this cases sets the output-level to -100db, so nothing comes out!

      This is what I was trying to convey. Thanks.
      • May 18, 2016
  • jrh_67
    Contributor - Level 1

    I currently have a hof reverb and a flashback x4 pedal I plan to run in a wet/dry/wet configuration and just have a quick question.
    I will be using a line out box that taps a line out from the speaker connection between my 5153 head and my speaker cabinet. I want to then run that line into the x4 and then the reverb in 100% wet. I will then run the signal in stereo to a solid state poweramp and out to two speakers in stereo.

    my question is do I need to set both pedals to killdry or just the last one in the chain which in this case will be the HOF Reverb?

    also if I run through a small mixer can I mix in a tiny bit of the dry sound also?

    Ive tested the system out with my Axe Fx II and it works great but this is my rig that will live at the rehearsal space and I don't want to have to tote it around..

    I have all of these devices already but was just looking for some advice before i started connecting everything...

    0 1,964
    • jrh_67
      FlyingsCool Hmmm. Ain't no quick question here . I think the best advice you'll get is to try out the various combinations you are thinking of and keep the one you like.

      The answer is really going to depend on what are you REALLY expecting?

      Ask yourself what "100% wet" really means. The HOF does not have a "Mix" function like many reverbs have. Signal comes in, signal with reverb comes out.

      If you kill the dry in the delay, then the HOF will only add reverb to the repeats. Some people may like that.

      If you kill the dry signal at the HOF, you will only get the reverb signal. I haven't tried it myself, so I'm having a tough time imagining that...

      BTW, you did not say in your set up statement if the line out was a parallel line, or if you were sending your whole signal through this loop. If it is not parallel, then you will not get ANY dry signal if you turn kill dry on at any point, unless your effects loop in your setup there has a mix function built in.

      Sorry if you already understood all this. Somebody please correct me if I'm wrong at any point here. Point is, your best bet is to try it out and see what you like.
      • July 8, 2015
    • jrh_67
      ASBM Hi people, I need to update the firmware of my Corona Chorus. My PC is not recognizing the usb cable. Is it possible to do it through my Ipad (model ipad 4th generation)? I havent seen any option for downloading the firmware file for ipad, only for computer (windows and Mac).

      • July 22, 2015
  • EnchiladaJones
    Contributor - Level 2
    And if so what do you see on the G System display while it updates?
    Also, in the updater, under select device, do you see and select the name of your midi interface as the in and out devices?

    0 1,733
    • EnchiladaJones
      Rob You should use the USB cable for the update. The USB connection acts as a midi connection.
      • June 27, 2012
    • EnchiladaJones

      [email protected] wrote:

      You should use the USB cable for the update. The USB connection acts as a midi connection.

      Thanks, I'd like to but it hasn't worked. I've tried three different Windows machines and one Mac. No joy.

      I was hoping someone could tell me if the 4.05 update can be uploaded via a computer USB midi interface using midi cables to the G System because the updater software does recognize my interface as a midi device but so far the update fails the same way it does when I try to use a straight USB connection to the G System.
      • June 27, 2012
  • cubano100pct
    Contributor - Level 2
    I would like to see an iPad app of all TC pedals, with Toneprint support. They already got a great start with iPhone Polytune app.

    This would be a great way to practice and tryout new settings with just my Guitar and iPad/iPhone.

    I currently use on my iPad/iPhone JamUp, BIAS, Tonestack, and AmpKit, GarageBand apps with my Peavey AmpKit Link HD interface.
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