Key features

Capture your performance

With Pro Tools | Eleven Rack, you have a variety of inputs and outputs to connect your gear. Plus, you can create big, complex mixes—without worrying about distracting latency—thanks to the hardware’s dual high-resolution DSP power. Connect your guitar, microphone, and other analog, digital, and MIDI gear. With its high-quality connectors, you'll always get great sound.

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Access the greatest amps and more

Crank up incredible emulations of classic amp tones inspired by Fender, VOX, Marshall, Soldano, Bogner, Mesa/Boogie, and more (see details below). Eleven Rack comes loaded with dozens of amp and speaker cabinet models, plus classic stompbox effects and microphone emulations to customize your sound.

Create pro-level productions

Compose, record, edit, and mix large, richly detailed music and audio sessions easily with the included 1-year subscription to Pro Tools software. With turbocharged 64-bit performance, coupled with Eleven Rack's DSP acceleration, you gain incredible power—and near-zero latency—to keep even the biggest sessions running smoothly. Plus, the built-in guitar tuner will help you stay in tune or detune.

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Round out your band

Gain access to a wide range of virtual instruments and sounds, ready to accompany your guitar wizardry. Use them together with the MIDI and notation tools, and you have an expansive canvas and boundless sonic resources to be creative. From drum machines and a grand piano, to a sample workstation that delivers bass, synth, orchestral, and other sounds, making music has never been more fun or easy.

Edit and enhance tracks

Pro Tools comes loaded with tools to help you perfect your mix. Punch in and out of recordings. Change or fix tempo, time, and pitch. Comp together tracks to create flawless performances. Accelerate mixing tasks with powerful automation. And polish tracks with studio-essential effects and sound processing plugins—from high-quality reverbs and EQ, to coveted compressors and other dynamics.

 See included plugins

Rock your talent on stage
Eleven Rack can also be used as a standalone amp and effects emulator for live performances. Get the feel of playing through real vintage gear, complete with amp sag and speaker cone breakup. Access a vast collection of emulated classic stompbox effects. And when used with a MIDI controller or expression pedal, you gain full foot control over everything from vintage wah-wah effects to tempo-driven delays.
Customize your setup

With the Eleven Rack Editor, you can edit Eleven Rack settings on your computer without having to launch Pro Tools. The interface displays simple graphic representations of your pedal, amp, and speaker settings, so you can interact with your rig intuitively and get the sounds you want fast. You can even use the editor to download and play user-created presets from Elevenrackpresets.com and other portals.

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’59 Tweed Lux

Based on a 1959 Fender Deluxe, our amp delivers the iconic sounds of this studio favorite. Get crunchy clean tones when used with single-coil pickups, or fat leads when driven with humbuckers. In our emulation, the knobs range from 0–10 to match other amps in Eleven Rack and maintain control surface and automation control consistency. And it’s “jumped,” so you can feed the Instrument and Mic inputs in parallel.

’59 Tweed Bass

The 1959 Fender Bassman became the holy grail of tone for nearly every pioneering country, rock, and blues guitarist of the ’50s and ’60s. In our emulation, the knobs range from 0–10 to match other amps in Eleven Rack and maintain control surface and automation control consistency. And it’s "jumped," so you can feed both the Bright and Normal inputs.

’64 Black Panel Lux Vibrato/Normal

Based on the 1964 model, the 20-watt Fender Deluxe Reverb has been used to record countless #1 hits in Nashville. At low volumes, it achieves a crisp, clean high-end with single-coil pickups. But push the amp past 7 with a humbucking pickup, and you’ve got an amazingly dynamic lead. Our emulation models both the Vibrato and Normal channels of this classic blackface-era amp.

’66 AC Hi Boost

The VOX AC30 defined the sound of British pop/rock in the ’60s with its distinctive high-end chime and glassiness. 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. For our emulation of the 1966 model, we “jumped” the Normal and Brilliant channels.

’67 Black Duo

Without a doubt, the blackface-era Fender Twin Reverb is considered one of the greatest combo amps ever made. No concert stage was complete without one. Our emulation of the 1967 model is just like the original—as you turn the Volume knob up, the Bright switch has less of an effect. Dial the Volume knob around 3 or 4 with the Bright switch on, and you’ll get that ultra-clean snap that it’s famous for.

’69 Plexiglas 100W

Marshall amps were originally designed as a lower cost British alternative to Fender amps. Within two years, they gained favor among such guitar players as Eric Clapton and Pete Townsend. Our emulation is based on the legendary 100-watt 1968/69 Marshall Super Lead head, and also has the “lay down” transformers favored by Eddie Van Halen. We also “jumped” both channels like Eric Johnson’s setup.

’82 Lead 800 100W

The Marshall JCM800 delivers massive rhythm distortion thanks to its cascaded preamp design, a quartet of EL34 tubes, and the addition of a master volume. Unlike Marshall heads of the ’60s, which needed to be on 10 to achieve any overdrive, a JCM800 could deliver real distortion at any volume level. Our emulation of a 1982 100-watt “2203” head captures the unmistakable growl of this highly respected vintage amp.

’85 M-2 Lead

The Mesa/Boogie Mark IIc+ is one of the most desirable amps ever made. It can be heard on everything from the soaring solos of Dream Theater’s John Petrucci to the super chunky rhythm sounds of Metallica’s James Hetfield, who set the EQ in a “V” curve to maintain a tight bass sound. Our emulation is based on the 1985 Lead channel, with the Fat, Bright, and Gain Boost options on—and we even re-created the “V” EQ curve!

’89 SL-100 Drive / ’89 SL-100 Crunch / ’89 SL-100 Clean

After gaining a reputation for making high-gain mods to old Marshall heads, Michael Soldano created his own Soldano SLO-100 100-watt amp, known for its singing sustain and clear articulation. For our emulation, we modeled three different channels of the 1989 model. Clean and Crunch both have the Bright/Normal switch of a stock SLO-100. For Drive, we emulated Soldano’s bright switch mod.

’92 Treadplate Modern/’92 Treadplate Vintage

The Mesa/Boogie Dual Rectifier offered more tone-tweaking options and distortion than any Boogie before it. The amp became the industry standard for players looking to achieve a massive sound. For our ʼ92 Treadplate, we modeled two different channels. Treadplate Modern, based on the Red channel, delivers a tight, aggressive tone. Treadplate Vintage, based on the Orange channel, offers a more fluid lead tone.

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. Based on the Marshall JCM800, we added loads of extra gain and a carefully tweaked tone stack for a little extra thump. Plus, there’s a Bright switch and a Fender-style Tremolo. Use a humbucker in the bridge position and you’ll have a tone that can shred with the best of them.

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. Based on the tweed-era Deluxe, we added more gain and a Bright switch. To make it even more versatile, we added the blackface-era tone stack and tremolo. Using single-coil pickups, you can achieve glassy clean sounds and punchy leads with ease.

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Fender, Marshall, Mesa/Boogie, Soldano, or VOX names. These names are used solely to identify the guitar amplifiers and cabinets emulated by Eleven Rack.

Expansion pack amps

’64 Black Vib

The Fender Vibroverb combo amp was one of the all-time great US-made smaller club amps. 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. Our version of the 1964 amp offers a range of volume and tone controls, plus four Tremolo settings. We also added a midrange control (not found on the original) for more tonal versatility.

’65 Black Mini

Though small in stature and volume, the original Fender Champ amp offered sweet, gently driven tones and straight-ahead spank in droves. Its ability to produce classic tube amp sounds at low volumes made it a studio standard for decades. Our ’65 Black Mini amp model is based on the ’60s-era tube combo amp, offering Volume, Treble, and Bass controls, and four Tremolo settings—Speed, Sync, Intensity, and Vibrato.

’65 Black SR

Known for its chiming clean tones at relatively high volumes, the ’65 Fender Super Reverb "blackface" 40-watt combo amp featured an all-tube design and became a legend among country, blues, and other guitar players who favored high-volume clean tones. Our version offers Volume, Treble, Mid, and Bass controls, along with a Bright switch and four Tremolo settings, to capture the full tone profile of the original.

’65 J45

The Marshall JTM45 was the first guitar amp made by Marshall, based on the Fender Bassman. The amp was 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.” Our model features two bridged input channels—Channel 1 offers a fairly flat tonal response, while Channel 2 is somewhat darker sounding.

’67 Plexiglas Vari

The Marshall Super Lead “Plexi” was among the loudest amps when it arrived. Its warm, bluesy tone is embraced by many revered blues and rock guitarists. Our amp is based on the 1967 100-watt tube head, but simulates that amp having its voltage reduced by a variable transformer—the customer Variac mod made famous by Eddie Van Halen. Channel 1 has a fairly flat tonal response, while Channel 2 is somewhat darker sounding.

’68 Plexiglas 50w

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. Our Plexiglas model is based on the legendary 1968 Marshall Super Lead 50-watt head, which was designed with a lower power tube plate voltage, and is known to break up at lower levels than its 100-watt counterpart. We also “jumped” both channels for even more gain.

’69 Blue Line Bass

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 with our emulation of the vintage 300-watt 1969 Ampeg SVT bass amp head. In our version, the U-Lo and U-Hi controls are continuously variable, so you can use them to add low or high harmonics to your tone.

’97 RB-01b Red, Blue, and Green

The 100-watt Bogner Ecstasy 101B 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. The Red channel excels at high-gain lead tones, Blue is suited to chunky rhythm playing, and Green focuses on clean tones. Our model offers a variety of volume, tone, gain, presence, and boost controls, plus a Bright switch.

DC Bass—Avid custom amp

For bassists, our 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, Fender, Marshall, Mesa/Boogie, or VOX names. These names are used solely to identify the guitar amplifiers, cabinets, and speakers emulated by Eleven Rack.

Effects and utilities

BBD Delay

The original Memory Man could produce analog delay and colorful chorus/vibrato effects without requiring tape. The 5-knob Electro-Harmonix Deluxe Memory Man does the same, but is also capable of producing eerie and unusual pitch-shift and flying saucer effects. Our BBD Delay effect emulates virtually every aspect and all controls of the Deluxe, adding a switchable noise control to enhance the realism.

Black Op Distortion

The Pro Co Rat is one of the most popular overdrive effects boxes ever. We based our Black Op Distortion effect on a stock second edition Pro Co Rat pedal. Ours features three controls: Distortion controls the amount of overdrive in the amp, Filter attenuates the highs, and Volume controls the output gain. And it works great as part of a cascading chain of gain.

Black Wah

The Cry Baby is a fitting moniker that accurately described this best-selling wah-wah pedal’s unique sound. For our effect, we emulated an original Thomas Organ CB-95 Cry Baby pedal. The True-Z input on Eleven Rack is an especially important part of re-creating this particular wah tone.

C1 Chorus/Vibrato

The Boss CE-1 Chorus Ensemble was the first chorus effect to be produced in pedal form. Virtually every chorus pedal released since owes its heritage to this one, which delivers an unmistakable sound. Our emulation of a vintage Boss CE-1 unit captures both the chorus and vibrato modes, enabling you to synchronize the modulation rate to an adjustable tempo setting.

Eleven SR (Stereo Reverb)

Our acclaimed Avid Reverb One plugin is used in countless professional studios to create award-winning albums, movies, and TV shows. We decided to optimize its technology for Eleven Rack. The results—an incredible high-fidelity reverb effect that lets you take complete control of the reverberant characteristics of your mix.

EP Tape Echo

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. For our effect, we painstakingly emulated virtually every aspect of an original Echoplex EP-3, with one significant improvement—our effect enables you to achieve an unreal 2.4 seconds of delay time.

Flanger—Avid custom effect

To design our custom Eleven Rack Flanger effect, we listened to a variety of vintage and modern flange pedals, including models from MXR, Electro-Harmonix, and A/DA. Then we finally came up with our own custom design. It works great in front of or after the amp in the signal chain. And you won’t get the noise or limited frequency response of typical flanger pedals.

Graphic EQ—Avid custom filter

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. It's ideal for cutting out troublesome frequencies or dialing in just the right tone.

Green JRC Overdrive

The Ibanez TS-808 Tube Screamer pedal is one of the most highly sought-after classic effects. To create our version, we found a completely stock TS-808 with the original JRC 4558D dual operational amp to emulate. The results are amazingly realistic, providing a warm moderate overdrive to amps with clean settings, and pushing distorted amps to even higher levels of saturation.

Gray Compressor

Although the ’70s-designed Ross pedals seemed to disappear by the ’80s, guitarists have recently re-discovered the lineup—in particular, the gray-colored Ross Compressor, which delivers a warm tone. For our version, we faithfully emulated a completely stock original unit, delivering an effect that sounds great for clean country lead guitar tones or for further overdriving distorted amps.

Orange Phaser

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), and Matt Bellamy (Muse). We faithfully emulated the original “script logo” MXR Phase 90, making some minor tweaks to ensure the effect sounds equally great at any point in your Eleven Rack signal chain.

Roto Speaker—Avid custom effect

The Eleven Rack Roto Speaker effect emulates the unique spinning sound of a Leslie rotary speaker cabinet. Insert it before your amp to mimic using a foot pedal. Or place it after your amp and turn off cabinet simulation in Eleven Rack to get a faithful rotary speaker cabinet emulation.

Shine Wah

VOX executives originally wanted to market its wah-wah pedals to brass and woodwind players. That changed in the late ’60s when the VOX V846 wah-wah pedal was designed specifically for guitar players. We emulated our effect after a completely stock, vintage VOX V846, giving you the flexibility to place the effect in your signal chain after the amplifier—a setup that would be difficult using the original.

Spring Reverb

To create our effect, we analyzed actual blackface-era Fender Spring Reverb units from several classic Fender amps, resulting in a completely convincing emulation of the Fender reverb tone. In addition to the mix control on the original amps, we added extra Decay and Tone controls. To capture the original Fender reverb sound, set the Decay and Tone knobs to the middle position.

Tri Knob Fuzz

After being inspired by discussing tone with Jimi Hendrix in the studio, Electro-Harmonix owner Mike Matthews designed the pedal that would launch his company into history and become one of the best-selling distortion effects of all time—the Big Muff Pi. Like the original, our effect employs a three-knob configuration and when combined with the True-Z input, you get an extremely accurate emulation.

Tuner—Avid custom utility

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, while recording, or want to drop-tune your guitar, this simple built-in tuner will help you quickly and effectively get the job done.

Vibe Phaser

The Univox 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. For our emulated effect, we added a tempo-lock function, which enables you to synchronize the speed to the tempo of your Pro Tools session.

Volume Pedal—Avid custom effect

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—great for both the studio and stage.

DC Distortion—Avid custom effect

DC Distortion is a custom effect model built just for Eleven Rack. It offers 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

This stereo delay effect is based on the AIR Dynamic Delay plugin 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. It also offers an envelope follower that enables you to modulate various parameters, based on the amplitude envelope of the incoming signal.

Dyn III Compressor

This effect is based on the Avid Dynamics III Compressor plugin that comes with Pro Tools. With it, you can control the dynamics of your guitar signal, much like Gray Compressor. However, while Gray Compressor emulates a classic guitar-specific compressor pedal with a smooth liquid tone, Dyn III Compressor is more versatile, acting more like an outboard compressor you’d use in recording situations.


This modulation effect is based on the AIR Multi-Chorus plugin 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 filter

This EQ provides a high-quality, 4-band parametric equalizer, with a variety of controls to adjust the gain, frequency, Q (bandwidth), and volume output for each band. With the Low and High bands, you can switch between four EQ types—Shelf, Peak, Low-Pass (high band), High-Pass (low band), and Notch.

White Boost

The much-loved clean Xotic 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. Our effect emulates that same crystal-clear boost and tonal shaping control.

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Boss, Electro-Harmonix, Fender, Hammond, Ibanez, MXR, Maestro, Pro Co, Roland, Ross, Thomas Organ, Univox, VOX, or Xotic names. These names are used solely to identify the guitar amplifiers and effects emulated by Eleven Rack.

Speaker cabinets and microphones

Cabinets included in 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
Cabinets in the 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
Mics included in 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
Mics included in the 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

* Eleven Rack is not connected with, or approved or endorsed by, the owners of the Ampeg, Bogner, Celestion, Fender, Jensen, Marshall, Neumann, Roland, Royer, Sennheiser, Shure, or VOX names. These names are used solely to identify the guitar amplifiers, cabinets, speakers, and effects emulated by Eleven Rack.