G-Root Guitar Amp Sim

The amp’s two front stages, split so BETWEEN GAIN + DRIVE is a real insert point: Gain trims into the voicing, Drive is the distortion amount. Pre-gain is generous so even a quiet DI saturates.

Model (Clean / Class A / British / Modern) sets the voicing; Clip (Soft / Tube / Hard / Fuzz) sets the distortion curve.

Bass / Mid / Treble / Presence, guitar-voiced and interactive. Each is also an amp STAGE, so there is an insert point on either side of it.

The power-amp stage — the last amp colour before the cab.

The cab button names the current cab — SYNTHETIC 4x12 or a loaded IR. LOAD IR loads your own cab impulse (.wav / .aif, zero latency, persists with the session); clicking the cab-name button reverts to the synthetic cab. Loaded IRs are level-normalised so any IR sits at a consistent loudness (no more very-quiet cabs). CAB MIX blends the cab against the un-cabbed amp.

The two header knobs are input / output trim, feeding and following the whole rack.

A labelled + sits before EVERY amp stage — PRE AMP, BETWEEN GAIN+DRIVE, BETWEEN DRIVE+BASS, BETWEEN BASS+MID, BETWEEN MID+TREBLE, BETWEEN TREBLE+PRES, BETWEEN PRES+POWER and POST AMP (before the cab). A pedal dropped there processes exactly at that spot.

Drag a pedal from AVAILABLE MODULES onto a point to place it; drag a placed pedal to another point to reroute; x removes it. Type is fixed by what you drag — no type or routing dropdowns.

Several pedals can share one insert point; they run top-to-bottom, and dropping a pedal above or below another sets that order — an EQ above a Distortion runs BEFORE it.

Each placed pedal has an ON / BYPASS toggle in the MODULE EDITOR. A steady-bypassed pedal is skipped (zero CPU, transparent); toggling crossfades ~8 ms so it never clicks, and every module is zero-latency so bypass never shifts timing.

Every pedal is SERIES (in the chain) or PARALLEL. A parallel pedal taps the signal where it sits, processes a private copy and mixes it back in later — the main chain carries straight on underneath, so it ADDS rather than replaces. REJOIN picks where the copy returns: PRE-CAB sends it through the speaker cab with everything else, POST-CAB rejoins after the cab so the branch is raw and un-cabbed. MIX sets how much of the branch you hear. The rack draws the branch as a white line running out of the pedal and back into the signal.

Every pedal has an OUT knob, -24 to +24 dB. It is applied after the pedal and before the parallel mix, so it sets a parallel branch’s level as well as a series one. Bypassing the pedal returns the trim to unity, so bypass stays properly transparent.

Three static peaking bands (low / mid / high), freq + gain each.

Drive · Tone · Level · Mode (Soft / Tube / Hard / Fuzz) — oversampled, zero latency.

Reverb (Mix · Decay · Size · Damping · Type Plate/Room/Hall · Predelay) and Delay (Time · Feedback · Mix · Tone) — the Wallace / Tackleberry cores as compact mono pedals.

Compressor (Threshold · Ratio · Attack · Release · Makeup), Limiter (Threshold · Release · Ceiling — instant, ceiling-clipped, no lookahead) and Gate (Threshold · Range · Attack · Release · Hold) — the Stig / Hodor / Zuul cores.

Freq · Threshold · Amount — Tyson’s subtractive band, one band.

A resonant sweep into fuzz: Pedal · Rate/Sens · Reso · Drive · Mode · Blend. Because there is no treadle under your foot, Mode picks how the sweep moves — Manual parks it (the cocked-wah sound), Auto opens it with your playing dynamics, LFO sweeps it continuously. Rate/Sens is the LFO speed in LFO and the sensitivity in Auto. Drive at 0 is clean.

Rate · Depth · Shape · Duty · Mode · Level. Shape morphs the wave continuously from a smooth sine to a hard square; Duty skews it, so short duty with a hard shape is a stutter and long duty is a swell. Mode: Amp (classic level chop), Harmonic (the brownface trick — the low and high halves move in opposite directions, so the tone rocks dark-to-bright rather than loud-to-quiet) and Bias (breathes and adds harmonics rather than chopping). Free-running in Hz — there is no host tempo sync yet.

Digital destruction: Fold · Crush · Rate · Tone · Mode · Blend. Mode picks the shaper — Fold (the signal reflects at the rails, adding a new harmonic series per fold), Wrap (jumps hard to the opposite rail — the nastiest), Rectify (octave-up fizz) and Sine (rich but rounder). Crush drops the bit depth from 16 to 1; Rate decimates the sample rate down to 500 Hz. It is deliberately not anti-aliased — the inharmonic ring is the effect.