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The amp section thus has most of the controls you'd expect to find on a well‑endowed guitar amp - preamp gain and master volume, a tone stack with passive bass, mid and treble controls, and built‑in reverb - but these are joined by some less familiar ones.
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Fortunately, you can save presets for the amp and speaker section independently of the global presets, so in practice it's easy to instantly call up a Vox or Fender patch as a starting point for further tweakery.
The idea here is that there is only one guitar-amp model and one bass-amp model, but both are hugely flexible, so getting that Bassman or AC30 sound is just a matter of setting up the controls appropriately. Where Vandal differs from most amp simulators is that you don't choose from a range of authentic‑looking virtual amps with names like 'Fendah Baseman' and 'Vocks AC31'. Everything fits neatly into one large window, with no scrolling or multiple pages, though some more advanced controls are hidden unless you hit the adjacent spanner icons. It then meets the amp, cabinet and room/miking sections, before emerging via up to two post‑amplifier 'rack' effects. Your guitar input is first trimmed in level and, if you wish, gated, before passing through a tuner and a virtual pedalboard, where up to four stomp-boxes can be placed in series. It follows the well‑established paradigm whereby signal flows, conceptually, from the top downwards. Most amp simulators have smart‑looking user interfaces, and Vandal is no exception. Mine isn't, and it took a couple of emails to Magix's tech support to obtain a valid authorisation code. It's authorised using a kind of challenge‑and‑response system that probably works very well if your studio computer is connected to the Internet.
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Vandal is available as a plug‑in for Mac OS and Windows, in VST and Audio Units formats. They also say that this goal cannot be realised using convolution: instead, every aspect of the amplifier and cabinet needs to be modelled algorithmically, in order to reproduce the dynamic qualities of the real thing.
Magix claim that Vandal, unlike rival products, really captures the responsiveness and interactive qualities of a real valve amp. A common complaint is that amp simulators fail to capture the all‑important 'feel' of a true valve amplifier, the sense of reaction and interaction that helps to bond player, instrument and amplifier into a single unit. So can Magix's Vandal really offer anything new or different?
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Anyone who owns a guitar and a Mac or PC already has the pick of innumerable packages from Line 6, Native Instruments, Waves, IK Multimedia, McDSP, Avid, Softube, Peavey, Studio Devil and many more. "Oh great,” thought I, as I opened the large envelope on my desk.
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There's no shortage of software guitar-amp simulators around, but Magix claim that their new Vandal has what it takes to stand out from the crowd.