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Vandal is a unique virtual guitar and bass amplifier for Windows and Mac OS X that avoids working with simple impulse responses. Every individual step - each tube, every amplifier stage, even the speaker coils - is virtualized.

Guitar Amp & Effects Simulator [Mac & PC]

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.

'Oh great,” thought I, as I opened the large envelope on my desk. 'Just what the world needs. Another software guitar-amp simulator.”

It's a crowded market all right. 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. So can Magix's Vandal really offer anything new or different?

Magix certainly think it can. 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. Magix claim that Vandal, unlike rival products, really captures the responsiveness and interactive qualities of a real valve amp. 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.

V Is For Vandal

Vandal is available as a plug‑in for Mac OS and Windows, in VST and Audio Units formats. 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. Mine isn't, and it took a couple of emails to Magix's tech support to obtain a valid authorisation code.

Most amp simulators have smart‑looking user interfaces, and Vandal is no exception. It follows the well‑established paradigm whereby signal flows, conceptually, from the top downwards. 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 then meets the amp, cabinet and room/miking sections, before emerging via up to two post‑amplifier 'rack' effects. 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.

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'. Kodak aio home center download mac. 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. 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 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. Most significant of these are the two unassuming dials in the Voicing section, which radically change the sound of the amp, and seem to do much of the work when it comes to moving from the middly bark of a tweed Fender to the scooped bite of a modern high‑gain amp.

Clicking the spanner icon to the right of the amplifier section reveals some additional controls, which turn out to be fairly important. You can choose between three different virtual preamp circuits, with the characteristics of a typical Fender, Marshall or modern high‑gain amp respectively, and you can also choose to run the power amp section in Class‑A or Class‑AB mode. There's also a Sag control that emulates the response of a valve rectifier in Class‑AB mode. Whichever preamp circuit is selected, you have the option of three different input channels: Clean, Crunch and Lead.

Vandal Vst Crack Software

All in all, then, Vandal's amplifier model is rather well thought‑out, presenting a huge range of sonic possibility in a compact interface that is easy to navigate and doesn't overwhelm you with controls.

The amp section is, as you'd expect, hard‑wired into the next part, which models speakers, cabinets, and microphone placements around them. In the main, things are fairly conventional here: you can use one or two microphones, from a variety of familiar types, in a range of typical positions. You can also choose from a small range of well‑known speaker models and cabinet sizes. However, one feature I haven't encountered before in an amp simulator is that Magix model the speaker and the cabinet independently. The additional controls revealed by this section's spanner icon thus include a dial that sets the balance between sound coming from the speaker itself, and that coming from the resonating cabinet. You can also adjust the amount of speaker distortion and the damping of the cabinet. Between them, these three controls exert an enormous influence on the sound, especially in the bass-amp model.

Pedal Pushing

Vandal's range of virtual stomp-boxes is not as extensive as you'll find in some other products, but they cover most bases, and sound pretty good. There are, for instance, four distortion/overdrive pedals, ranging from the rather lovely Tubescreameresque 'Crema' to the more brutal 'Hellfire' and 'Fuzz'. The combined phaser and tremolo pedal does a good job and, as you'd expect, there are both analogue‑style and digital delays, plus separate compressors and chorus pedals optimised for bass and guitar, and volume and wah pedals that can be controlled over MIDI. The most individual effect is 'Funk Frog', a kind of auto‑filter which is capable of some endearing results. There's no reverb pedal, so if you want a spring reverb, you're dependent on the one built into the amp section, which sounds pretty good, but offers no control other than level. Nor will you find any truly outré effects such as ring modulators, choppers or bit‑crushers among the stomp-box smorgasbord, but of course you can always put additional plug‑ins in series with Vandal.

The provision of only four stomp-box 'slots' might seem a little limited compared to some of the competition, but as far as I'm concerned it's plenty. More of an annoyance is that there's no way to drag and drop effects from one slot to another, so if you decide that you'd like to hear how your flanger sounds before your overdrive, you'll have to load both in anew. It's a rare stumbling-block in an otherwise slick user interface.

In general, though, Magix make it easy to compare and switch between different settings. Each global preset consists of four 'scenes', which represent snapshots of the entire plug‑in, and you can easily switch between these over MIDI. You could, for insta