Key features

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A tightly integrated, fully tricked-out solution

Stop struggling with trying to get the sound you’re after. With Pro Tools | Eleven Rack, you get great tone and versatility, and a tightly integrated, fully tricked-out hardware/software audio recording solution that keeps up with your creativity. Have access to dozens of the most coveted rigs and stompbox effects for a fraction of the price of a single vintage amp.

Features of the Eleven Rack and Pro Tools software bundle features include high-res DSP power

Capture your performance

Have everything you need to compose, record, sequence, edit, and mix your own music using the same software used in countless recording and postproduction studios worldwide. With its dual high resolution DSP power, Eleven Rack—coupled with Pro Tools | Software—enables you to create big, complex mixes, without placing a burden on your computer.

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Rock your talent on stage

Why settle for a single amp at your next gig when you can have access to dozens? Eleven Rack holds its own as a standalone amp tone and effects processor, functioning like an amp head that can be connected to a speaker cabinet or direct to the soundboard.

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Eleven Rack hardware

  • Get incredible emulations of classic amp tones inspired by
    Fender®, VOX®, Marshall®, Soldano, and Mesa/Boogie®*
  • Enhance your tone with classic stompbox effects inspired by
    MXR®, Electro-Harmonix®, Ibanez®, Pro Co, Univox®, and
    more*
  • Gain realistic response and tone with the unique True-Z
    impedance-matching guitar input
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Eleven Rack Expansion Pack

  • Expand your tonal versatility with guitar amp tones inspired by Bogner®, Celestion®, Fender, Marshall, Matchless®, Roland®, and more*
  • Re-create the legendary thunderous bass tones inspired by the Ampeg® SVT*
  • Enhance vocal and mic’d instrument performances with studio-grade processing and tools
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Pro Tools software included

Includes Pro Tools | Software

  • Compose, record, edit, and mix using industry-standard tools
  • Build big productions with up to 96 simultaneous stereo audio tracks
  • Record dry and processed signals simultaneously for easy reamping
  • Never worry about saving presets, as all rig settings are embedded into recorded tracks
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Eleven Rack Editor

Edit and configure Eleven Rack settings on your Mac or PC—without having to launch Pro Tools—using the standalone Eleven Rack Editor. With its simple, easy-to-use interface, which displays graphical versions of guitar pedal, amp, and speaker settings, you get a more intuitive way to get the sounds you want fast. You can even use it to download and play user-created presets from Elevenrackpresets.com and other portals.


Download the Eleven Rack Editor
Eleven Rack Editor

Eleven Rack amps

’59 Tweed Lux—based on a 1959 Fender® Deluxe*

Fender’s "Tweed" Deluxe became a recording studio favorite for everyone from ZZ Top’s Billy Gibbons to jazz/fusion legend Larry Carlton. With just a simple tone control, ʼ50s-era Deluxe amps deliver crunchy clean sounds when used with single-coil pickups, and fat leads when driven with humbuckers. Read more

’59 Tweed Bass—based on a 1959 Fender Bassman®*

Although the ’59 Bassman was originally designed with bass guitar in mind, it became the holy grail of tone for nearly all of the pioneering country, rock, and blues guitarists of the ’50s and ’60s. And its layout and circuit design became the blueprint for many others to follow. Read more

’64 Black Panel Lux Vibrato / ’64 Black Panel Lux Normal—based on a 1964 Fender Deluxe Reverb®, Vibrato channel and Normal channel'

With a single 12-inch Oxford speaker and a pair of 6V6s putting out just over 20 watts, Fender’s Deluxe Reverb became the ultimate small club amp, and has been used to record countless #1 hits in Nashville. Read more

’66 AC Hi Boost—based on a 1966 VOX® AC30 Top Boost*

Originally released in 1958, the VOX AC30 went through a few design changes that would eventually define the sound of British pop/rock in the ’60s. While the Beatles are forever linked to the AC30 Top Boost, many other great bands built their sound with it, including Tom Petty and The Heartbreakers, REM, Radiohead, and U2. Read more

'67 Black Duo—based on a 1967 Fender Twin Reverb®

Without a doubt, Fender’s blackface-era Twin Reverb is considered one of the greatest combo amps ever made. With two 12-inch Jensen speakers and a quartet of 6L6 tubes pushing 80 watts, no concert stage was complete without one. Read more

’69 Plexiglas – 100W—based on a 1969 Marshall® 1959 100-Watt Super Lead head*

Music shop owner and drum teacher Jim Marshall and the shop’s amp repairman, Ken Bran, thought they could build the same kind of amps as Fender, but use domestic parts to keep costs low. Within two years, Marshall amps were gaining. Read more

’82 Lead 800 – 100W—based on a 1982 Marshall JCM800 2203 100- Watt head*

Named after the license plate on his car (Jim Charles Marshall’s initials and a plate number), the JCM800 delivered massive distorted rhythm sounds thanks to its cascaded preamp design, a quartet of EL34 tubes, and the addition of a master volume. Read more

’85 M-2 Lead—based on a 1985 Mesa/Boogie® Mark IIc+, Drive channel*

Amp repairman Randall Smith originally started Mesa Engineering so he could buy supplies for his other job, rebuilding Mercedes engines. After hot-rodding a small Fender Princeton amp into a 50-watt monster, local guitarist Carlos Santana heard it, exclaiming, “Man, this thing really boogies!” and the Mesa/Boogie amplifier was born. Read more

’89 SL-100 Drive / ’89 SL-100 Crunch / ’89 SL-100 Clean—based on a 1989 Soldano SLO-100 Super Lead Overdrive head; Overdrive channel, Crunch channel, and Clean channel*

After gaining a reputation for making high-gain mods to old Marshall heads, Michael Soldano created his own SLO-100 100-watt amp, known for its singing sustain and clear articulation. For our ’89 SL-100, we emulated three different channels. Clean and Crunch both have the Bright/Normal switch of a stock SLO-100. For Drive, we emulated Warren Haynes’ (The Allman Brothers) Soldano’s bright switch mod. Set to Normal, the amp is stock. Read more

’92 Treadplate Modern / ’92 Treadplate Vintage

Based on a 1992 Mesa/Boogie Dual Rectifier® head; Channel 3: Modern High Gain and Channel 2: Vintage High Gain* released in 1989, Mesa/Boogie’s Dual Rectifier offered more tone-tweaking options and distortion than any Boogie before it. Read more

DC Modern Overdrive—Avid custom amp

If you’re looking for a unique tone that blends the classic growl of a 100-watt Marshall with more low-end girth, give our DC Modern Overdrive a try. Read more

DC Vintage Crunch—Avid custom amp

For our DC Vintage Crunch emulation, we blended the two most popular versions of the Fender Deluxe* into one killer amp. Read more

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Ampeg, Bogner, Celestion, Electro-Harmonix, Fender, Ibanez, Marshall, Matchless, Mesa/Boogie, MXR, Pro Co, Roland, Soldano, Univox, or VOX names. These names are used solely to identify the guitar amplifiers, cabinets, speakers, and effects emulated by Eleven Rack.

Eleven Rack Expansion Pack amps

’64 Black Vib—based on the 1964 Fender Vibroverb* combo amp

Produced for a short time in the mid-’60s, the Fender Vibroverb amp was one of the all-time great US-made smaller club amps. With an easy-to-overdrive but still not over-loud 40-watt 6L6GC-based power section and a single 15-inch speaker in an open-back cabinet, the amp strikes a great compromise between the crunch of smaller models in the line and the hall-filling clean tones of the larger models. Read more

’65 Black Mini—based on the 1965 Fender Champ* combo amp

Outputting a mere 5 watts of power through a single 6-inch speaker when it first arrived in ’55, the Fender Champ boasted just one power tube. Though small in stature and volume, the amp offers sweet, gently driven tones and straight-ahead spank in droves. Read more

’65 Black SR—based on the 1965 Fender Super Reverb* combo amp

Known for its chiming clean tones at comparatively high volumes, the ’65 Fender Super Reverb "blackface" 40-watt combo amp featured an all-tube design, tremolo and spring reverb effects, and four 10-inch speakers in an open-back configuration. Read more

’65 J45—based on the 1965 Marshall JTM45* head

Originally released in 1962, the JTM45 was the first guitar amp made by Marshall and was based on the Fender Bassman. Designed as a cheaper alternative to Fender amps, the JTM45 became known for its warm, clean Fender Tweed-like sound, giving way to a dirtier bluesy sound when cranked—unlike later Marshall amps, which are known for their signature "crunch". Read more

’67 Plexiglas Vari—based on the 1967 Marshall Super Lead "Plexi"* head with Variac modification

When guitarists want it loud, they turn to Marshall, and the Super Lead "Plexi" was among the loudest when it arrived. Known for its warm, bluesy tone, the amp is embraced by many revered blues and rock guitarists, including Pete Townsend, Eric Clapton, and Angus Young. Our amp model is based on the 1967 100-watt tube head, similar to the amp we used as the basis for our ’69 Plexiglas 100w model. Read more

’68 Plexiglas 50w—based on the 1968 Marshall Super Lead 50w* head

In 1968, Marshall changed up the circuitry in its Super Lead Plexi series of amps, giving them more brightness, which brought out even more crunch... Read more

’69 Blue Line Bass—based on the 1969 Ampeg SVT* head

When it comes to getting that big, ballsy, blow-’em-away tone, guitarists have their Marshalls. Bassists bow to the great Ampeg SVT bass amplifier. And now you can get that thunderous, sought-after sound of rock legends worldwide with our emulation of the vintage 300-watt 1969 Ampeg SVT bass amp head. Read more

’97 RB-01b Red, Blue, and Green—based on the Bogner Ecstasy 101B* head

With three distinct channels—Red (lead), Blue (rhythm), and Green (clean)—and a discrete preamp circuit for each channel, the 100-watt Bogner Ecstasy boutique amp enabled variety-hungry guitarists to achieve a huge range of vintage amp tones, without the tonal and ergonomic issues of modular amp setups. Read more

DC Bass—Avid custom amp

For bassists, this amp is based on the same 300-watt ʼ69 Ampeg SVT* bass head we used as the basis for the Blue Line Bass model. We designed this custom bass amp with a scooped lower-midrange response, enabling you to achieve more thundering lows with a tighter response than the original amp. And—unconventionally for a bass amp—ours offers a tremolo circuit

DC Modern 800—Avid custom amp

A variant of our Lead 800 model, DC Modern 800 is based on an ʼ80s-era Marshall JCM800* high-gain tube head. We made a couple of simple component swaps to change the tone significantly, and added a Bright switch to provide additional tonal range

DC Modern Clean—Avid custom amp

This custom amp is loosely based on a 60s-era Fender* 85-watt tube combo amp. We tweaked our version to provide shimmering clean tones.

DC Modern SOD—Avid custom amp

This amp is loosely based on a US-made late-ʼ80s 100-watt "super overdrive" tube head. It features a tight, extended low-end and high-gain capability—perfect for players of extended-range guitars.

DC Vintage Clean—Avid custom amp

This amp is loosely based on the same ʼ66 VOX AC30 Top Boost* tube amp we used as the basis for our AC Hi Boost model. We further refined it to offer a range of tones—from super clean (it’s actually cleaner than the original amp) to a slight amount of breakup.

DC Vintage OD—Avid custom amp

This unique “overdrive” amp is loosely based on a combination of Marshall* and VOX* tube amps. It takes the preamp section from our Plexiglas model and marries it to the power section of our AC Hi Boost model, with further tonal enhancements.

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Ampeg, Bogner, Celestion, Electro-Harmonix, Fender, Ibanez, Marshall, Matchless, Mesa/Boogie, MXR, Pro Co, Roland, Soldano, Univox, or VOX names. These names are used solely to identify the guitar amplifiers, cabinets, speakers, and effects emulated by Eleven Rack.

Eleven Rack effects, sound processors, and utilities

BBD Delay—based on the Electro - Harmonix Deluxe Memory Man*

Favored by guitarists such as U2’s The Edge and Eric Johnson, the original Electro-Harmonix Memory Man could produce analog delay and colorful chorus/vibrato effects without requiring tape. The 5-knob Deluxe Memory Man version does the same, but is also capable of producing eerie and unusual pitch-shift and flying saucer effects. Read more

Black Op Distortion—based on the Pro Co Rat*

During the mid-1970s, Pro Co Sound engineers Scott Burnham and Steve Kiraly repaired and hot-rodded existing overdrive and distortion pedals before deciding to design a superior model from scratch. Thus was born the Pro Co Rat, which became one of the most popular effects boxes ever. Read more

Black Wah—based on the Thomas Organ CB-95 Cry Baby*

The history of the wah-wah pedal is rather convoluted. The pedal was first introduced by VOX in 1966, but soon after, VOX’s former parent company, Thomas Organ, began releasing wah-wahs on its own... Read more

C1 Chorus/Vibrato—based on the Boss CE-1 Chorus Ensemble*

The Boss CE-1 Chorus Ensemble is a landmark in vintage effects history. It was the first chorus effect to be produced in pedal form, and was the first product to be released under the Boss name. Read more

Eleven SR (Stereo Reverb)—based on the Avid Reverb One plug-in

Eleven Rack features the most pristine, high-quality stereo reverb ever available in a rackmount guitar-recording device. We converted our acclaimed Reverb One TDM plug-in—which is used in countless professional studios to create award-winning albums, movies, and TV shows—to work in Eleven Rack. Read more

EP Tape Echo—based on the Maestro Echoplex EP-3*

The Maestro Echoplex was one of the earliest analog delay devices, with the Echoplex EP-3 making use of solid-state "transistorized" technology instead of vacuum tubes. It also offered a “sound on sound” feature that allowed players to loop record almost three minutes of audio. Read more

Flanger—Avid custom flange effect

The flanger effect was originally created by depressing the flange of tape reels. This effect was later re-created using modulated analog delay circuits in pedals. Read more

Graphic EQ—Avid custom 5-band graphic EQ

The Eleven Rack Graphic EQ gives you full control over five bands of EQ—100 Hz, 370 Hz, 800 Hz, 2 kHz, and 3.25 kHz—ideal for cutting out troublesome frequencies or dialing-in just the right tone. Read more

Graphic EQ—Avid custom 5-band graphic EQ

The Eleven Rack Graphic EQ gives you full control over five bands of EQ—100 Hz, 370 Hz, 800 Hz, 2 kHz, and 3.25 kHz—ideal for cutting out troublesome frequencies or dialing-in just the right tone. Read more

Green JRC Overdrive—based on the Ibanez TS-808 Tube Screamer*

Considered by many to be the quintessential overdrive pedal, the Ibanez TS-808 Tube Screamer pedal has become one of the most highly sought-after classic effects. To create our version, we scoured vintage shops and found a completely stock TS-808 with the original JRC 4558D dual op-amp... Read more

Gray Compressor—based on the Ross Compressor*

During the mid- to late-’70s, Kustom Electronics produced a line of guitar effects pedals under the Ross brand. Unfortunately, sales were sluggish, and the Ross family of pedals disappeared by the ’80s. Read more

Orange Phaser—based on the MXR Phase 90*

Since its debut in 1974, the MXR Phase 90 has arguably been the most popular phase-shift pedal on the market, favored by countless guitarists, including Eddie Van Halen, Andy Summers (The Police), Steve Vai, Matt Bellamy (Muse), and Tom Morello (Rage Against the Machine). Read more

Roto Speaker—Avid custom rotary speaker effect

The Eleven Rack Roto Speaker effect emulates the unique spinning sound of a Leslie rotary speaker cabinet. There are several interesting ways you can use Roto Speaker, each providing a different type of sound. Insert it before your amp, just like using a foot pedal. Read more

Shine Wah—based on the VOX V846*

In 1966, VOX engineer Brad Plunkett accidentally discovered the wah-wah effect while experimenting with the tone circuit on a guitar amp. The VOX executives immediately saw the commercial potential of a wah-wah pedal, but originally wanted to market it to brass and woodwind players. Read more

Spring Reverb—based on blackface-era Fender Spring Reverb units*

According to author Tom Hughes’ book, "Analog Man’s Guide to Vintage Effects," surf guitar legend Dick Dale asked Leo Fender to build a compact reverb unit that he could run his voice through. Fender responded by licensing Hammond Organ’s analog reverb technology, and the rest is history. Read more

Tri Knob Fuzz—based on the Electro-Harmonix Big Muff Pi*

In the late ’60s, Electro-Harmonix was a small, relatively unknown boutique pedal manufacturer in New York City run by owner Mike Matthews. Thanks to the growing popularity of distorted guitar tones, the company found a niche market selling small fuzzboxes and booster circuits to guitarists. Read more

Tuner—Avid guitar tuner

Keep your guitar or bass in tune and explore alternative tunings with this handy guitar tuner. Whether you need to maintain perfect pitch on stage of while recording, this simple built-in tuner will help you quickly and effectively get the job done.

Vibe Phaser—based on the Univox Uni-Vibe*

Released in the mid-’60s, the Uni-Vibe was originally designed to mimic the sound of a rotating speaker cabinet. While it didn’t quite nail the Leslie cabinet sound, it did deliver a distinctive phase-shift, sweeping effect that became a favorite of guitar legends Jimi Hendrix, Robin Trower, and David Gilmour. Read more

Volume Pedal—Avid custom volume pedal

While volume pedals aren’t technically effects, guitarists have relied on them for decades to create reverse-attack and pedal steel-type sounds. Our Volume Pedal is totally transparent, delivering everything you need in a volume device, but without the signal degradation and noise inherent in vintage models. Read more

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Ampeg, Bogner, Celestion, Electro-Harmonix, Fender, Ibanez, Marshall, Matchless, Mesa/Boogie, MXR, Pro Co, Roland, Soldano, Univox, or VOX names. These names are used solely to identify the guitar amplifiers, cabinets, speakers, and effects emulated by Eleven Rack.

Eleven Rack Expansion Pack effects, sound processors, and utilities

DC Distortion—Avid custom distortion effect

DC Distortion is a custom effect model built just for Eleven Rack, offering a range of overdriven tones, aided by its built-in Bass and Treble EQ controls, which help shape the response of the clipping circuit. The effect includes controls to adjust the amount of distortion (clipping level), boost treble and/or bass frequencies, and control the final output volume.

Dyn Delay—based on the Avid AIR Dynamic Delay plug-in

This stereo delay effect is based on the AIR Dynamic Delay plug-in that comes with Pro Tools software. A powerful effect, Dyn Delay can be synchronized to your Rig or Session tempo to create time-based delay effects, and offers an envelope follower that enables you to modulate various parameters, based on the amplitude envelope of the incoming signal. Read more

Dyn III Compressor—based on the Avid Dynamics III Compressor plug-in

This effect is based on the Compressor plug-in from the Dynamics III plug-in set that comes with Pro Tools. With it, you can control the dynamics of your guitar signal, much like Gray Compressor. Read more

Multi-Chorus—based on the Avid AIR Multi-Chorus plug-in

This modulation effect is based on the AIR Multi-Chorus plug-in that comes with Pro Tools software. With it, you can stack multiple layers of chorusing to create a thick, swirling sound. The effect includes a number of controls to set the rate, width, depth, pre-delay, number of voices, and more, plus sync control to your Rig or Pro Tools Session tempo.

Para EQ—Avid custom parametric EQ

This EQ provides a high-quality, 4-band parametric equalizer, with adjustable gain, frequency, Q (bandwidth), and output for each band... Read more

White Boost—based on the Xotic RC Booster*

The much-loved clean RC Booster pedal provides guitarists with 20 dB of gain boost, without coloring the tone, plus a built-in EQ to help shape it. It’s great for driving the preamp section of any amp model into a gentle (or not so gentle) overdrive. Read more

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Ampeg, Bogner, Celestion, Electro-Harmonix, Fender, Ibanez, Marshall, Matchless, Mesa/Boogie, MXR, Pro Co, Roland, Soldano, Univox, or VOX names. These names are used solely to identify the guitar amplifiers, cabinets, speakers, and effects emulated by Eleven Rack.

Speaker cabinets

Eleven Rack

  • 4x12 Classic 30—based on an ’06 Marshall 1960AV 4x12” with Celestion Vintage 30s*
  • 4x12 Green 25W—based on a ’68 Marshall 1960A with Celestion G12H “Greenbacks”*
  • 4x10 Tweed Bass—based on a ’59 Fender Bassman 4x10” with Jensen P10Qs*
  • 2x12 AC Blue—based on a ’66 VOX AC30 2x12” with Celestion Alnico Blues*
  • 2x12 Black Duo—based on a ’67 Fender Black Face Twin Reverb 2x12” with Jensen C12Ns*
  • 1x12 Black Lux—based on a ’64 Fender Black Face Deluxe Reverb 1x12” with Jensen P12N*
  • 1x12 Tweed Lux—based on a ’59 Fender Tweed Deluxe 1x12” with Jensen P12Q*

Eleven Rack Expansion Pack

  • 8x10 Blue Line—based on an Ampeg SVT 8x10 with "towel bar"*
  • 4x12 Green 20W—based on a Marshall 4x12 with Celestion Heritage G12M speakers*
  • 4x12 65W—based on a Marshall 4x12 with original issue Celestion G12-65 speakers*
  • 4x10 Black SR—based on a Fender Super Reverb 4x10 with CTS Alnico speakers*
  • 2x12 B30—based on a Bogner 2x12 with Celestion Vintage 30 speakers*
  • 2x12 Silver Cone—based on a Roland JC-120 2x12*
  • 1x15 Open Back—based on an Ampeg Reverberocket 1x15 with Jensen C15N speaker*
  • 1x8 Custom—based on a Fender Champ combo amp speaker*

Microphones

Eleven Rack

  • Dyn 7—based on a Shure® SM7 dynamic microphone*
  • Dyn 57—based on a Shure SM57 Unidyne III dynamic microphone*
  • Dyn 409—based on a Sennheiser® MD 409 dynamic microphone*
  • Dyn 421—based on a Sennheiser MD 421 dynamic microphone*
  • Cond 67—based on a Neumann® U67 condenser microphone*
  • Cond 87—based on a Neumann U87 condenser microphone*
  • Ribbon 121—based on a Royer® 121 ribbon microphone*

Eleven Rack Expansion Pack

  • Dyn 12—based on an AKG® D112 large diaphragm dynamic microphone*
  • Dyn 20—based on an Electro-Voice RE20 dynamic cardioid microphone*