The WHO live at the Isle of Wight 1970 - Full concert (High quality).

The Who tinha que ser matéria obrigatória em todas as escolas. ;)




The Isle of Wight Festival is a music festival which takes place every year on the Isle of Wight in England. It was originally held from 1968 to 1970. These original events were promoted and organised by the Foulk brothers (Ron, Ray and Bill Foulk) under the banner of their company Fiery Creations Limited. The venues were Ford Farm (near Godshill), Wootton and Afton Down (near Freshwater) respectively. The 1969 event was notable for the appearance of Bob Dylan and the Band. This was Dylan's first paid performance since his motor cycle accident some three years earlier, and was held at a time when many still wondered if he would ever perform again. Followers from across the world trecked to the Isle of Wight for what seemed like a 'second coming'. Estimates of 150,000--250,000 attended. The 1969 festival opened on Friday 29 August—eleven days after the close of Woodstock. Dylan was living in Woodstock, New York, at the time and it was widely believed that he would perform there, after the event had been "put in his own backyard". As it happened, Dylan left for the Isle of Wight on 15 August—the day the Woodstock festival began.
The 1970 event was by far the largest and most famous of these early festivals; indeed it was said at the time to be one of the largest human gatherings in the world, with estimates of over 600,000, surpassing the attendance at Woodstock. Included in the line-up of over fifty performers were The Who, Jimi Hendrix, Miles Davis, The Doors, Ten Years After, Emerson, Lake & Palmer, Joni Mitchell, The Moody Blues, Melanie, Donovan, Free, Chicago, Richie Havens, John Sebastian, Leonard Cohen, Jethro Tull, Taste and Tiny Tim. The unexpectedly high attendance levels led, in 1971, to Parliament passing the "Isle of Wight Act" preventing gatherings of more than 5,000 people on the island without a special licence.
The 1970 festival was filmed by a 35mm film crew under the direction of future Academy Award-winning director Murray Lerner who at that point had just directed the Academy Award-nominated documentary Festival of the Newport Folk Festival. The footage passed to Lerner in settlement of legal fees after a dispute with the Foulk brothers in which the two sides claimed against each for breach of contract. Lerner distilled material from the festival into the film A Message to Love: The Isle of Wight Rock Festival released theatrically in 1996 and subsequently on DVD. In addition to this film, Lerner has created full-length films focused on performances by individual artists at the 1970 festival. To date there have been individual films of The Who, Jimi Hendrix, Miles Davis, Emerson, Lake & Palmer, The Moody Blues, Free, Leonard Cohen and Jethro Tull.
The event was revived in 2002 at Seaclose Park, a recreation ground on the outskirts of Newport. It has been held annually since that year, progressively extending itself northwards beyond Seaclose Park along the fields of the eastern Medina valley. Many notable artists have performed since its revival including The Rolling Stones, Paul McCartney, Muse, Stereophonics, Donovan, Ray Davies, Robert Plant, David Bowie, Manic Street Preachers, The Who, R.E.M., Coldplay, The Proclaimers, Bryan Adams and The Police. It was sponsored by Nokia from 2004 to 2006. The promoters of the event now are Solo Music Agency and promotions. Apart from being held on the Isle of Wight, and featuring the now customary artwork of Dave Roe, there is no connection with the festivals of 1968--1970.

From Wikipedia, the free ecyclopedia.

Rory Gallagher Vids

Seria muito legal se alguns (seria todos?) que ganharam esses prêmios ou "tocaram" no VMB ou o que seja da MTV dessem uma espiada nestes videos.

Rory Gallagher - The beat club sessions 1971-72




Rory Gallagher - 1976 - Live at Rockpalast [Cologne]




Rory Gallagher Irish Tour 1974 ( Full concert, Remastered)

Elements Clean Chorus v2.0

• 

  Elements Clean Chorus v2.0

  R2R | Sept 07 2012 | 6 MB

  Rich and versatile chorus device with extended, yet simple, interface to bring up more “under the hood” parameters to user’s control. Wide palette of sounds, from brilliant basic chorusing/flanging, to multi-textured -almost Leslie- effect. Nice pack of presets for quick demonstration and tryout.

  
  

  • Double precision internal processing, full 64bit input to output
  • Stereo width control
  • Unique negative/positive feedback configuration
  • Several working modes, versatile tempo-synchronization
  • Several bundled presets for start
  • Demo Version fully functional with occasional short interrupts.
  • Download link on “Plugins” page.

  HOME: http://redi.se/1ec
  Elements Clean Chorus v2.0
  http://beelink.in/1096/Elements-Clean-Chorus-v2.0.html

Virtuasonic Mijoy Pro 4 VSTi 4.5-R2R

 

 

 Virtuasonic Mijoy Pro 4 VSTi 4.5

R2R | 11.9.2012 | 8.84 MB

• MIJOY PRO is a VSTi MIDI plug-in that allows you to use a joystick or gamepad as a MIDI controller. It can be used to control other VSTi instruments, FX plug-ins and even MIDI hardware in real-time. Nowadays synthesizers, samplers and effects offer an incredible range of possibilities. So much power and flexibility also means many parameters to be managed. Programming the automation by hand is a possible approach to this issue, but certainly more suitable for refining a track than for creating it from scratch. MIJOY PRO is a premium application designed to let you control virtual instruments, hardware synthesizers, samplers and effects processors in a more friendly and effective way, as well as opening up new possibilities of approaching them. It can be used alone, but it’s also a perfect complement to a masterkeyboard or other MIDI controllers. For instance, it can be configured for key-switching, as well as for controlling filters and other parameters.
  
  MIJOY PRO 4 represents a step forward in the way joystick axis data is handled. This version introduces some key features that greatly improve the flexibility of the plug-in:
  • – eight slots assignable to every joystick axis of your choice between X, Y, Z, Slider1, Slider 2, Z-rotation and their inversions.
  • – now the same axis can be assigned to more than one MIDI command at the same with independent MIDI settings (Ch, min/max, etc.).
  • – axis inversion.
  • – new axis display with four switchable pointers, one for each couple of axes.
  • – improved MIDI monitor.
  • – new navigation menu with buttons.
  MAIN FEATURES
  • * Support for multiple joysticks/gamepads (up to 8)
  • * up to 16 buttons and 2 direction pads
  • * reads data from X, Y, Z, Slider1, Slider 2, Z-rotation axes
  • * axis inversion
  • * 8 slots assignable to every joystick axis of your choice between the above-mentioned axes and their inversions
  • * General On/Off and independent switch for each axis slot
  • * 2 axis types (cartesian, radial)
  • * Offset function with assignable minimum and maximum value for each MIDI controller
  • * Two Output Modes (Sequencer/MIDI Port)
  • * Trigger function
  • * Calibration settings (Smoothness and Center deadzone for X/Y axes)
  • * MIDI Thru (to mix different MIDI sources. For example, MIJOY PRO + Masterkeyboard.)
  • * Binary MIDI controller with assignable min/max (button 1 to 16 and direction pads)
  • * 2 Button Modes (Press/Release, Switch)
  • * List of standard MIDI controllers values included in the software package
  • * MIDI messages assignable to X, Y, Z , Slider1, Slider 2 and Z-rotation: Control Change, Pitch Bend (7 bit), Program Change, Channel After Touch MIDI
  • * messages and functions assignable independently to every joystick buttons and direction pads position: Control Change, MIDI Note, Pitch Bend, Program Change, Channel After Touch, idle (button1), Trigger
  • * Independent MIDI Channel Setup for every axis slot, button and direction pads position
  Requirements: Soundcard, Joystick, Windows VST Host able to recognize joystick information.
  NO need of joystick to MIDI cable adapters.
  MIJOY PRO 4 works with USB or older joysticks.
  HOME: http://redi.se/1fp
  Virtuasonic Mijoy Pro 4 VSTi 4.5-R2R
  http://beelink.in/1184/Virtuasonic-Mijoy-Pro-4-VSTi-4.5-R2R.html

Larry Carlton Plays - Larry's BLUES (and more)

Larry Carlton - Emotions Wound Us So (BlueNote Tokyo 1993)



Larry Carlton Live In Blue Note (Tokyo'93)




Larry Carlton Blues Project with Robben Ford




Steve Lukather & Larry Carlton Band Live - Room 335




Larry Carlton Steve Lukather Cause We've Ended as Lovers

Saiba como escolher a sua guitarra - Por Rafael Bittencourt

George Benson The Art Of Jazz Guitar

Guitar Legends 1992 - Full Concert

Guitar Legends 1992 - Full Concert

...

Overloud Plugins Bundle WIN VST/RTAS

Overloud Plugins Bundle WIN VST/RTAS

Overloud Plugins Bundle WIN VST/RTAS | 254 Mb

Overloud Plugins for sound effects creation, includes the following plugins: Breverb 2.0.8, Mark Studio 2.0.3, SpringAge 1.0.8, TH2 2.2.3 and VKFX 2.2.12. Breverb is a hi-end algorithmic reverberation plug-in that aims to faithfully recreate the sound of revered hardware reverbs. The Mark Studio 2 plugin has been designed to faithfully simulate the sound of Markbass amplification. SpringAge is described as "the new reference in spring reverb simulation". TH2 is Overloud's 4th generation engine-powered Custom Guitar Effect. VKFX is a virtual rack packed with models of vintage analog effect processors.

Breverb
Breverb is a hi-end algorithmic reverberation plug-in that aims to faithfully recreate the sound of revered hardware reverbs while keeping CPU load very low. Breverb comprises four different algorithms, Hall, Room, Plate and Inverse, each one accurately modeled and engineered "with no compromises in sound quality". Breverb's no frills hardware-like user interface gives you immediate control over all of the parameters, allowing you to dynamically map parameters to six assignable controllers and to store, recall and automate presets in any way you want.

Mark Studio
The Mark Studio 2 plugin has been designed to faithfully simulate the sound of Markbass amplification in any DAW application or live situation. It gives you 6 Markbass heads, 9 Markbass cabinets and a full pedalboard.

SpringAge
SpringAge is described as "the new reference in spring reverb simulation". Based on a mixed convolution and algorithmic technology, SpringAge can give the advantages of both worlds. If you have never been able to get the real tone and dynamic of a spring reverb out of a plug-in, then you need to check it out. With three spring models, taken from the most standard and acclaimed vintage and modern gear, SpringAge gives the perfect tone on any kind of instrument, ranging from guitars to vocals, keyboards and synthesizer.

TH2
TH2 is Overloud's 4th generation engine-powered Custom Guitar Effect Suite (it replaces TH1).

VKFX
VKFX is a virtual rack packed with models of vintage analog effect processors, especially suited for keyboard players. It captures the sound of the original masters, which were often the key element in defining a classic instrument's unique 'voice'.

Format: VST/RTAS
Platform: Win

Download

Overloud.BREVERB.2.v2.0.8-R2R
Overloud.Mark.Studio.2.v2.0.3-R2R
Overloud.SpringAge.v1.0.8-R2R
Overloud.TH2.v2.2.3-R2R
Overloud.TH2.v2.2.3.FIXED-R2R
Overloud.VKFX.v2.2.12-R2R

Password:
www.AvaxHome.ru

Eddie Van Halen - Catherine ( 5150 Studio )

Hot-Rod Your Electric

TAKEN FROM
 http://www.premierguitar.com/Magazine/Issue/2012/Sep/Hot_Rod_Your_Electric_Tiny_Tone_Tweaks_Done_Dirt_Cheap.aspx#ixzz24Jzitg89

Hot-Rod Your Electric: Tiny Tone Tweaks, Done Dirt Cheap Jol Dantzig   One of the industry’s most esteemed builders shows us 5 easy (and practically free) mods to hot-rod your electric.

Some guitarists consider the notion of modifying an electric guitar from its stock configuration distasteful, while others consider it mandatory. As a custom builder with a decidedly vintage background, I fall somewhere in between. Generally, I’m most in favor of maximizing an instrument’s usability without jeopardizing the ability to return it to original condition.
However, when I’m building a guitar, there’s a myriad of small adjustments I can make to steer the instrument on a desired trajectory. These micro mods are interactive with each other and, depending upon the combination, offer a wide variety of sonic outcomes. But these little mods can also be applied to existing guitars—your guitars—in any number of permutations and to great affect. Let’s take a look at five mods that are easy enough for most players to try.
1.
Foaming Pickup Cavities
The first and easiest adjustment that most electric guitars can benefit from is stuffing soft foam into the cavity behind the pickups in order to stop microphonic squealing. The first time I used this was when I was repairing a Gibson Firebird for Johnny Winter—the foam stopped the pickup’s back plate from vibrating like a microphone diaphragm. I have since learned that reducing the space (the cubic volume) behind a pickup modifies its sound at higher sound levels. Discovering this resonating-chamber effect has altered my approach to routing a body for pickups on new guitars, too.
It’s easy to remove your pickup or pickguard and slide some foam rubber behind the unit. Start with soft foam first, and then increase the density to find the difference you like. Conveniently, the gray foam used in aftermarket pickup packaging makes great damping material: It’s soft enough that you can double it up (see Fig. 1 and 2) to create more pressure on the pickup’s back plate, too. This is a relatively no-frills mod that requires minimal materials and tools.

2.
Pickup Magnet Tricks
As we all know, sometimes a pickup isn’t a perfect match for a guitar. I always approach pickup selection like a vocalist would choose a microphone—finding the one that best brings out the guitar’s character rather than attempting to change that innate character with a new pickup.
With this in mind, try swapping your existing pickups’ magnets instead of replacing the whole thing. Magnet type and strength are big contributors to a pickup’s tonality, so it stands to reason that tweaking them will affect your sound.
Swapping magnets is easiest to do with humbuckers. In fact, it can actually be done without completely disassembling the pickup—and sometimes without even unsoldering it.
The first step is to determine what’s in your pickup already. The most common magnets for humbuckers are (roughly in order of strength): alnico 2, alnico 4, alnico 5, and then various types of ceramic magnets. In simple terms, the stronger the magnet, the greater the potential output. But you can’t just look at magnetic strength alone, because stronger magnets also affect the string’s ability to sustain.
By moving up or down one level, in terms of magnetic strength, you can usually add or subtract a little edge from a pickup. If your guitar is too tangy, moving down one pickup level (e.g., from alnico 4 to alnico 2) may smooth it out. If you want to add bite, go with a slightly stronger magnet—like, alnico 5 to a ceramic magnet. The good part is that magnets are both easy to find and inexpensive in comparison to buying a whole new pickup.
Here’s how to swap magnets in a humbucker:

1. Before you begin, determine the magnet’s polarity orientation (north/ south). You can use a simple magnetic compass to do this (Fig. 3).
2. Desolder the main leads and remove the pickup from your guitar.
3. Remove the protective outer tape (Fig. 4). This gives you a clear view of the internal parts. (Note: Be careful not to pull out the hookup wires underneath.) You should be able to see the magnet in the center, underneath the two coils.

4. Loosen the four small coil-mount screws on the underside of the pickup (Fig. 5).
5. Raise each of the adjustable pole pieces about four turns to release the coil from the back plate (Fig. 6).

6. Gently pry the coils from the plate to provide a little gap (Fig. 7).
7. Place a screwdriver in the gap at one end of the pickup and slowly tap the magnet out (Fig. 8). Once enough of the magnet is exposed outside the housing, you’ll be able to pull the magnet out with your fingers. (Note: If your pickup is wax-potted, you may encounter some initial resistance as the wax breaks free.)
8. Slide in your new magnet, being careful to match the same magnetic orientation you observed in step 1 (Fig. 9).
9. Return the adjustable pole pieces to their prior position, replace the coil-mount screws and tape, and re-install the pickup in your guitar.
3.
Modern vs. Vintage Wiring
Another relatively drastic but easy and cheap way to hot-rod your guitar’s sound with its current components is to alter how and where its volume and tone pots are connected to each other. The difference can be subtle—and it’s more a matter of preference than what’s “correct”—but it canmake the difference between a guitar that is just OK and one that really is a joy to play.
With this mod, what you’re essentially doing is changing the way the tone and volume control interact, based upon how they “load” each other. I’ve mocked up a control setup here showing one volume and the corresponding tone control.

Fig. 10 Vintage wiring—which has pickups wired to the volume pot alone, and the tone control’s capacitor being attached to the output—yields minimal high-end roll-off when you turn the volume down.
Fig. 11 Modern pickup circuits often have the tone control affecting the pickup’s tone before it gets to the volume knob, yielding a decrease in treble response as volume is reduced.
In the vintage setup, the pickup is wired to the pot lug alone, with the tone control capacitor being attached to the output side. This tends to allow the volume to be rolled off without losing too much high end. This is great for those who play clean rhythm by just lowering their guitar volume as opposed to switching amp channels or turning off a boost pedal. It’s old-school, and it works. The downside is that the tone control sometimes has to be rotated a bit more before its effects are heard.
In our so-called modern configuration, the tone cap is attached to the pickupbefore the volume pot. This presents the volume control with a totally different signal, resulting in a more colored sound as you reduce the volume. This can be useful if you like to turn up the guitar to cut through more. For me, the downside is the way it makes the tone control a bit of a hair-trigger affair. If you’re the type who avoids the tone control, this won’t be a factor for you.
If you have two sets of volume and tone controls (e.g., on a standard Les Paul), you may or may not decide to wire them differently, which can potentially open the door to even more tonal variations.
4.
Add Steely Twang to Your Strat
There are times when a single-coil just doesn’t have enough twang. I’ve encountered Strat neck pickups that are just too wooly to provide me with that saucy, SRV/Hendrix-style rhythm juice. Or, sometimes an anemic bridge pickup just needs an extra dose of snap to push it into Tele-like territory. If so, this simple mod could be just what you’re looking for.
When Leo and the boys at the big “F”ranch developed the Tele, they put a big slab of steel under the bridge-pickup coil. This reflected the magnetic field up and toward the strings. In the words of Seymour Duncan’s Evan Skopp, this gives it more “crack”—which, if you’re addicted to twang, is a good thing. The better news is that you can attach a plate (sometimes called an elevator plate, because of how it elevates the magnetic field toward the strings) to any single coil whose pole-piece magnets are exposed at the back.
To do so, purchase a small piece of .047"(18-gauge) sheet steel from your local hardware store. Then:

1. Trim it to a manageable size and shape—about the same dimension as the pickup bobbin (Fig. 12). Then trim it so that it fits within the perimeter of the base plate without touching the lead wire contacts (Fig. 13).
2. Using a small piece of thin, double-sided tape, fit the plate over the bottom of the pickup, and then secure it with dabs of adhesive (Fig. 14). I prefer hot glue, because it’s easy to remove, but you can use epoxy or super glue, too.
This mod works great for Strat-type pickups or aftermarket Tele-style reproduction pickups that don’t already have a plate. Some pickup companies make P-90s that don’t have a metal base plate, and these can be twang-ified in this way, too. The best part is that, if you don’t like the sound, you can just peel the plate off and be right back where you started.
5.
Fine-Tuning Your Tuners
This mod is a little different—and definitely not as affordable as the ones we’ve been talking about up to this point. When players think about modifications that involve tuning machines, the subject revolves around tuning stability. That’s all well and good, but I’ve rarely encountered a quality machine that slips—because the mechanical torque required to turn the tuner’s capstan is pretty stout. Problems of pitch are usually more related to capstan wobble or a bad nut-slotting job.
However, there’s another aspect of machine-head selection that I contemplate when building a custom guitar: weight. But this is more about sustain and tone than a question of neck-heaviness.
I’ve written in previous issues of Premier Guitar about how the size and shape of a guitar’s headstock affect its sustain and tone. Clearly, the mass of the tuning machines is a factor in this, as well. Having overseen the building of tens of thousands of custom guitars over the course of my career has given me cause to consider machine-head weight as a fine-tuning tool in and of itself. This kind of mod is more complex than the others I’ve presented here because it is harder to predict, and obviously more costly to dabble in because it involves replacing the existing tuners. Nevertheless, I put it out there for those of you who are willing to go to the limit of sanity in the search for a responsive instrument.
This mod revolves around the concept that adding mass to the headstock lowers its resonant frequency, while reducing mass will raise that frequency. The theory at work here is that vibration is absorbed or reflected back into the strings and body based upon this frequency. Depending upon the harmonic makeup of your particular instrument, changing this can enhance or degrade sustain and accentuate or attenuate certain harmonics. All of this is dependent not only on your guitar’s construction, but also on how large your headstock is to begin with. If all of this seems a bit hazy, that’s because it is. I don’t have a handy-dandy answer like “more mass equals more sustain” because it isn’t always true. Suffice it to say that you can make a difference in a guitar’s character by following this path. I usually go through this exercise with my builds because I have the luxury of time and the resources at hand. It’s like fine tuning a race car’s suspension settings to your liking.
Most of the better machine heads on the market these days use a standard .375" headstock hole, so swapping tuners isn’t that hard to do. The problem comes with the mounting at the rear of the peghead. Luckily, if you use the type that screw down from the front side with a nut and washer, you can swap and test before you drill additional mounting-screw holes.
To illustrate the potential variances in weight that one can expect with different tuners, I rounded up three of the most common choices and threw them on my shop scale. You can weigh your current machines to compare. Be sure to weigh all the hardware—screws, nuts, and washers—because it all comes into play. (All weights are in grams.)

The lightest of the bunch are minimalist Sperzel tuners, which look pretty sci-fi. They clocked in at 138 grams (Fig. 15). Well-made and beautifully finished, the Sperzels use a pin-mount on the back instead of wood screws—further reducing weight. This can be a game-changer if you have a substantial headstock.
Next up are the wonderful vintage Kluson reproductions by TonePros (Fig. 16). These are some of my favorites, and they weigh in at a moderate 186 grams with all hardware included. For many of my builds, the characteristics of these tuners are ideal. I enjoy the modern engineering these tuners hide within their vintage-styled exteriors, and the weight is almost perfect.
Unabashedly brute class, with typical German overbuilding, the Schallers shown here are the Incredible Hulk of the bunch (Fig. 17). At a hefty 272 grams, they have the might to get noticed when you fasten them to your axe. If you have a guitar with a tiny headstock, you’ll hear and feel a difference with the Schallers. Whether or not you like the change is subjective, and it depends on the makeup of the rest of your guitar.
Sweat the Small Stuff
As we’ve shown here, a lot of relatively small—and inexpensive (many are practically free)—tweaks can hot-rod your tone and maneuver it to an array of differing ports of call. In some ways, it’s like tossing a handful of dice instead of just two—because the way small tweaks interact can lead to exponential changes in sound. For that reason, my advice is to take it slow and only make a single change at a time to understand what it delivers. Besides, it’s more fun (and less stressful) that way, anyway!

 

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Read more: http://www.premierguitar.com/Magazine/Issue/2012/Sep/Hot_Rod_Your_Electric_Tiny_Tone_Tweaks_Done_Dirt_Cheap.aspx#ixzz24Jzitg89

Celso Blues Boy - Por Um Monte de Cerveja [2011]

Download

Plug&Mix V.I.P. Bundle v2.0.0 VST RTAS x86 x64 R2R

Plug&Mix V.I.P. Bundle v2.0.0 VST RTAS x86 x64 R2R

• 

  Plug&Mix V.I.P. Bundle v2.0.0 R2RR2R | 7.8.2012 | 805 MB

  P&M for Audio Professionnals
  In today`s market, music production is constantly evolving. Producers, composers, musicians and artists alike need professional sounding plug-ins that are simple and easy-to-use ! The P&M audio plug-in series delivers the same professional sound you would come to expect from other major plug-in manufacturers, but they are much easier to use. Designed with an emphasis on quality and simplicity, each plug-in has a clean interface with only the most essential knobs and switches needed to dial a great sound.

  
  

  Contents:

  • PM-American Tweed
  • PM-Analoger
  • PM-Brightness
  • PM-British Tone
  • PM-California Tone
  • PM-Chorus Ensemble
  • PM-Clarisonix
  • PM-Classic Flanger
  • PM-Classic Phaser
  • PM-Cool Vibe
  • PM-Degradiator
  • PM-Digital Plate
  • PM-Digital Reverb
  • PM-Dimension 3D
  • PM-Distorted
  • PM-Echoflex
  • PM-Electro Optical
  • PM-Magic Queen
  • PM-Monster Booster
  • PM-Retro Compressor
  • PM-Retro Equalizer
  • PM-Retro Filter
  • PM-Retro Limiter
  • PM-Transcontrol
  • PM-Tremolo Pan
  • PM-Ultramaxit

  Windows Minimum Requirements :
  Pentium® iV 2GHz / Athlon™XP 2GHz with 1Gb of RAM.
  Windows 7 – XP – Vista are supported

  Plug&Mix V.I.P. Bundle v2.0.0 R2R
  http://beelink.in/322/Plug-amp-Mix-V.I.P.-Bundle-v2.0.0-VST-RTAS-x86-x64-R2R.html

VOX JamVOX v3.0.1 PC R2R

• VOX JamVOX v3.0.1 PC R2RTEAM R2R | 2012.08.06 | 73 MB

  Plug-in support brings “real” VOX sound to your DAW. JamVOX can now be used as a plug-in effect, allowing your songs to use the uncompromisingly “real” VOX sound that only VOX can provide This is not mere modeling inspired by VOX amps; it’s a unique plug-in designed by top engineers intimately familiar with the VOX sound, and faithfully reproduces vintage amps such as the legendary AC30. Sophisticated analog device modeling technology is used to deliver an amazing 88 different models of famous guitar amps, cabinets, and effects in plug-in format. VST and AU plug-ins are provided, and the latest 64-bit DAWs are also natively supported.
• 
  

  Works with all audio interfaces
  Now you can use JamVOX with any CoreAudio/ASIO compatible audio interface, not just with JamVOX’s dedicated monitor. With no limitations on your system, you can perform using JamVOX with your favorite audio interface at any time and at any place.
  VOX JamVOX v3.0.1 PC R2R
  http://beelink.in/339/VOX-JamVOX-v3.0.1-PC-R2R.html