guitar rig 2 english

Operation Manual

GUITAR RIG 2

The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NATIVE INSTRUMENTS GmbH, hereinafter referred to as NATIVE INSTRUMENTS. All product and company names are trademarks of their respective owners.

Furthermore, the fact that you are reading this text means you are the owner of legal version rather than an illegal, pirated copy. It is only through the loyalty and honesty of people like yourself that NATIVE INSTRUMENTS GmbH can continue to develop and create innovative audio software. On behalf of the entire company, thank you very much.

Users Guide written by �raig Anderton�raig Anderton

Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.

© NATIVE INSTRUMENTS GmbH, 2006. All rights reserved.

Germany USANATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc.

Schlesische Str. 28 5631 Hollywood Boulevard

D-10997 Berlin Los Angeles, �A 90028

Germany USA

[email protected] [email protected]

www.native-instruments.de www.native-instruments.com

GUITAR RIG 2 – III

Table Of Contents1 Welcome to GUITAR RIG 2!.............................................................. 72. Installing and Setting Up GUITAR RIG 2 ........................................... 73 The Big Picture, and Why GUITAR RIG 2 is Cool. ....................................8

3.1 About “Standalone” Mode .......................................................... 83.2 About “Plug-in” Mode ............................................................... 93.3 The “RIG KONTROL 2” Foot �ontroller .......................................103.4 �aution ...................................................................................103.5 Get creative! Why be normal? .....................................................113.6 Patience, please... ....................................................................11

4 Instant Gratification/Quick Start ......................................................125 GUITAR RIG 2 Layout .....................................................................12

5.1 �ontrol �enter ..........................................................................135.2 Left Frame View Options ...........................................................135.3 The Right Frame ......................................................................14

6 Setting Preferences ........................................................................156.1 Pref: Global Tab .......................................................................156.2 Pref: Presets Tab ......................................................................166.3 Pref: �ontroller Tab ...................................................................166.4 GUITAR RIG 2 �ontroller Basics ................................................166.5 Rack �ontrols ..........................................................................176.6 Presets �ontrols .......................................................................19

7 The Storage Story Banks, Presets, and Templates ..............................217.1 �omponent Template Management .............................................217.2 Preset Management ................................................................. 237.3 Bank Operations ...................................................................... 237.4 Resizing the Bank and Preset Windows .......................................247.5 Preset List Operations ...............................................................257.6 Keyboard Shortcuts for Banks and Presets ..................................277.7 Properties ............................................................................... 287.8 Search ................................................................................... 29

8 Fixed Rack Components ................................................................ 308.1 Input �omponent with RIG KONTROL 2 ..................................... 308.2 Input �omponent with RIG KONTROL 1 ......................................318.3 Output �omponent .................................................................. 328.4 Tuner ..................................................................................... 338.5 Metronome ............................................................................. 348.6 Tapedeck One ......................................................................... 358.7 Standard Playback ................................................................... 36

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8.8 Looped Playback ..................................................................... 368.9 �hanging Playback Pitch and/or Tempo .......................................378.10 Recording .............................................................................378.11 Tapedeck Two ........................................................................ 38

9 Components and Parameters .......................................................... 399.1 Mono, Stereo, and Signal Flow .................................................. 399.2 �ommon �ontrols .................................................................... 409.3 Display �ontrols ...................................................................... 409.4 Power On/Off .......................................................................... 409.5 Saving and Loading Templates ...................................................419.6 �omponent MIDI �ontrol ...........................................................419.7 Loading and Arranging the Order of �omponents ......................... 429.8 Amps ..................................................................................... 429.9 �abinets & Mics ...................................................................... 439.10 Tweedman ............................................................................ 469.11 A� Box ..................................................................................479.12 Twang Reverb .........................................................................499.13 Plex ......................................................................................519.14 Jazz Amp .............................................................................. 529.15 Lead 800 ............................................................................. 539.16 Instant Gratifier Solo Head...................................................... 549.17 Bass PRO ............................................................................. 56

10 Distort ....................................................................................... 5810.1 Fuzz ..................................................................................... 5810.2 Big Fuzz ............................................................................... 5910.3 �at ...................................................................................... 6010.4 Skreamer ...............................................................................6110.5 Distortion ............................................................................. 6210.6 Mezone ................................................................................ 6310.7 Demon Distortion .................................................................. 6410.8 TransAmp ............................................................................. 6510.9 Treble Booster ....................................................................... 6610.10 Gain Booster ....................................................................... 67

11 Mod ........................................................................................... 6811.1 Tremolo ................................................................................ 6811.2 Ensemble ..............................................................................6911.3 �horus/ Flanger ......................................................................7011.4 Stoned Phaser ........................................................................7111.5 Rotator ..................................................................................7211.6 Oktaver................................................................................. 7311.7 Pitch Pedal ............................................................................74

GUITAR RIG 2 – V

11.8 Electric Lady ..........................................................................7511.9 Phaser Nine ...........................................................................7611.10 Harmonic Synthesizer ............................................................76

12 Filter ..........................................................................................7812.1 EQ Shelving ...........................................................................7812.2 EQ Parametric ........................................................................7912.3 EQ Graphic ........................................................................... 8012.4 Pro-Filter ...............................................................................8112.5 AutoFilter ............................................................................. 8212.6 Wahwah Pedal....................................................................... 8312.7 Talkwah ................................................................................ 8512.8 Equalizer Tips ....................................................................... 86

13 Volume ...................................................................................... 8813.1 Volume Pedal ........................................................................ 8813.2 Limiter ................................................................................. 8913.3 Noise Gate............................................................................ 9013.4 Noise Reduction .....................................................................9113.5 Stomp �ompressor ................................................................ 9213.6 Tube �ompressor ................................................................... 93

14 Reverbs and Delays ......................................................................9514.1 Spring Reverb ....................................................................... 9514.2 Studio Reverb ....................................................................... 9614.3 Quad Delay ............................................................................9714.4 Psychedelay .......................................................................... 99

15 Tools ........................................................................................10115.1 Loop Machine ......................................................................10115.2 Split....................................................................................10315.3 �rossover Mix .......................................................................105

16 Modifiers ...................................................................................10716.1 About Modifiers ....................................................................10716.2 LFO ....................................................................................10916.3 Envelope .............................................................................11016.4 Step Sequencer ....................................................................11316.5 Analog Sequencer .................................................................11516.6 Input Level Modifier ..............................................................116

17 Control via RIG KONTROL / MIDI ................................................11717.1 The Virtual RIG KONTROL .....................................................11717.2 �alibrating RIG KONTROL 2 ...................................................11717.3 Assigning Parameters to MIDI �ontrollers ................................11817.4 Assigning Parameters to MIDI Notes .......................................11917.5 MIDI Synchronization ............................................................119

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18 Interfacing Guitar Rig with Other Gear ..........................................12019 Using GUITAR RIG 2 with a Host Program ....................................122

19.1 Installing GUITAR RIG 2 as an Effect ......................................12219.2 About Re-Amping .................................................................12219.3 Avoid Zero-Latency Options! ..................................................12319.4 Total Recall ..........................................................................12319.5 Typical Examples ..................................................................123

20 Automating Plug-In Parameters ...................................................125Appendix A: Optimizing System Response .........................................129

Use Low-Latency Drivers ...............................................................129What About Direct Monitoring? ......................................................130How Low �an You Go? ..................................................................130About Samples and Buffers ...........................................................131Warning: Different Types of ASIO ...................................................132Tips on Minimizing Latency ..........................................................133

Appendix B: About MIDI ..................................................................134MIDI Basics .................................................................................134MIDI �onnections .........................................................................134About Program �hanges and Bank Select .......................................135About �ontinuous �ontrollers .........................................................135

Appendix C: Tips on Creating Your Own RIG .......................................137Series and Parallel Effects ............................................................137Placing �omponents in the Right Order ...........................................137The All-Important First Effect ........................................................138Series Effects �ombinations ..........................................................138Parallel Effects ............................................................................140

Appenidx D: About Ground Loops .....................................................141A Non-Solution: Ground Lifters ......................................................141Solution #1: The Single Plug Theory ...............................................141Solution #2: The Broken Shield Effect ............................................142Solution #3: Audio Isolation Transformer .........................................142Solution #4: A� Isolation Transformer .............................................142

Index .............................................................................................143

GUITAR RIG 2 – 7

1 Welcome to GUITAR RIG 2!GUITAR RIG 2 will change your musical life. Forget about complex, noisy, unreliable guitar pedal setups with cables that crackle and batteries that die in the middle of solos: GUITAR RIG 2 puts the world’s most sophisticated, flexible, and wonderful-sounding guitar rig into any modern laptop or desktop computer (Mac OS X or Windows XP). Take it to the studio, to the gig, practice in your hotel room…the possibilities are limitless.

And thanks to the included RIG KONTROL 2 foot controller/DI box/USB 2 sound card/preamp, you can take your guitar, bass, or other stringed instrument sound to the next level with only a few guitar cords, and some way to hear what you’re doing.

Of course, none of this would have happened without the visionaries, inventors, and artisans whose work on guitar amps and effects over the decades defined the sound of the electric guitar as we know it. All of the NATIVE INSTRUMENTS team would like to acknowledge their creations as an important source of inspiration in the design of this software; they have both our respect and gratitude. In this case, we are more than happy to state that imitation is indeed the sincerest form of flattery.

A love of the guitar and its seemingly infinite potential has driven our quest for the ultimate guitar rig. We thank you for your support, and hope that whether you’re looking for vintage blues timbres, modern rock grunge, or synthetic sounds for dance music, GUITAR RIG 2 will deliver the tone, punch, and crunch you crave.

– The NATIVE INSTRUMENTS GUITAR RIG 2 Team

2. Installing and Setting Up GUITAR RIG 2We recommend that you first follow the steps described in the Setup Guide supplied separately before you start reading this manual. The Setup Guide explains how to install GUITAR RIG 2 on your computer, how to setup the audio and MIDI interfaces of the Stand-Alone Version or alternatively, how to incorporate

GUITAR RIG 2 as a plug-in to your Audio MIDI Sequencer. The Setup Guide also includes a step-by-step introduction to using the new NI Service �enter, which is available online to help you activate GUITAR RIG 2 for permanent use on your computer and search comfortably for new updates with ease.

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3 The Big Picture, and Why GUITAR RIG 2 is Cool.GUITAR RIG 2 places a complete guitar processing setup inside your computer. The program contains the �omponents needed for great guitar and bass sounds: Effects like distortion and wah, ambience creators like delay and reverb, 8 different amp heads, 26 different speaker cabinets, and more. All of these have been modeled by the NATIVE INSTRUMENTS team not only for realism, but ease of use and great tone.

3.1 About “Standalone” Mode

GUITAR RIG 2 can function as a guitar processing setup all by itself, without needing anything other than a computer and audio in and out. Here’s an overview:

• Turn off Direct Monitoring (please refer to Appendix A)

• Open the GUITAR RIG 2 program, and select the computer’s audio input as GUITAR RIG 2’s audio input.

• Plug your guitar (using RIG KONTROL, as described later, or a preamp) into the computer’s audio input.

• Select the computer audio output as GUITAR RIG 2’s output.

• Patch the computer’s audio output into your amplification system (guitar amp, mixing console, PA system, etc.).

However, the built-in audio in most Windows machines is not studio quality, and there will be latency (time delay) between the time you play a note and when you hear it come out of the computer. Latency is frustrating, because we’re used to hearing a sound immediately when we pluck a string. Modern Macintosh computers running OS X are better, but there may still be sound quality issues with built-in audio.

If you are not using the RIG KONTROL 2 audio interface NATIVE INSTRUMENTS advises to use an audio interface or sound card designed specifically for audio applications, such as those made by RME, Echo (Indigo I/O), MOTU, M-Audio, Frontier Designs, Aardvark, TAS�AM, Yamaha, etc. These are higher quality, and include drivers (software that transfers data from the audio interface to the computer) optimized for minimum delay. You’ll have a much more pleasurable musical experience.

GUITAR RIG 2 – 9

In standalone mode, just choose the appropriate inputs and outputs by going File Audio+MIDI Settings, and you’re ready to go.

3.2 About “Plug-in” Mode

In this mode, GUITAR RIG 2 works in conjunction with a host program, like �ubase, Logic Audio, Pro Tools, Live, Sonar, Digital Performer, Tracktion, and so on. It inserts into the program’s mixer, like a “virtual effect.” Audio passes through the computer’s sound card into the host program, which feeds it into GUITAR RIG 2. The host’s output then proceeds to a hardware output, which goes to your amplification system.

As with standalone mode, an audio-oriented sound card is highly recommended to avoid the latency involved in going through the host program and computer.

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GUITAR RIG 2 is inserted in Cubase SX2 to process a guitar track.

3.3 The “RIG KONTROL 2” Foot Controller

GUITAR RIG 2’s included RIG KONTROL 2 hardware has an expression pedal, seven footswitches, guitar preamp/impedance converter, and USB 2 computer audio interface. The preamp is important as it conditions the guitar signal properly for the best tone and lowest noise when interfaced with other electronic devices, or your computer. The footswitches and pedal are assignable to various functions within GUITAR RIG 2 for “hands-off,” real-time control.

3.4 Caution

Guitar pickups are very susceptible to hum, light dimmer “hash,” and the interference generated by computers and monitors. L�D monitors create less interference than �RT types, and humbuckers are less likely to pick up interference than single coil pickups. Piezo pickups, like those used in the Line 6 Variax, do not pick up this interference.

As you play with GUITAR RIG 2, always position your guitar so it picks up the least amount of interference. GUITAR RIG 2’s Noise Reduction can help get rid of some interference, but it is not a substitute for orienting your guitar away from sources of interference.

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Also, as amazing as GUITAR RIG 2 is, it cannot compensate for problems at the guitar. For example, if you have dead strings, the �ompressor will not magically make them sustain.

3.5 Get creative! Why be normal?

Once GUITAR RIG 2 is open and communicating with the audio interface and/or host, the real fun begins. Unlike a hardware rack, you aren’t stuck with a fixed number of effects in particular positions (and you don’t have to screw and unscrew those stupid rack screws). You can place various �omponents in any order – even create parallel processing paths – and save your favorite configurations for later recall. You can create a couple rigs for blues, several for hard rock, a few more for bass, one for rehearsing…there are no limits, other than your computer’s processor speed.

But there is one caution: The huge variety of options means it’s possible to set up some combinations of effects and settings that don’t sound all that great. If you’re working with a sound and aren’t happy with it, try different cabinets, mic positions, and the like until you hit the “sweet spot.” Also, save frequently – not necessarily because the computer might crash, but because it’s easy to “overtweak” a sound and wish you’d kept an earlier version. GUITAR RIG 2 makes it easy to save multiple variations on a sound; you can then decide which one you like best, and delete the rest.

GUITAR RIG 2 also includes two hard disk recording �omponents called Tapedecks. One is optimized to load audio files to serve as backing tracks, or you can study solos by loading them into the Tapedeck, and using the tempo control to slow them down for easy analysis. The second Tapedeck is optimized for recording your playing, or overdubbing new parts on parts you’ve already played. A tuner and metronome keep you in tune and on time. GUITAR RIG 2 is more than just a signal shaper – it’s a complete system for processing, and enjoying, your guitar.

3.6 Patience, please...

We know you can’t wait to discover GUITAR RIG 2’s magic, but it’s necessary to do a few things first, like install the program and make sure everything is working properly. We suggest trying standalone mode first, as it involves fewer variables. Once that’s set up, then it’s easier to use GUITAR RIG 2 as a plug-in.

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4 Instant Gratification/Quick StartNATIVE INSTRUMENTS has a tradition of making enhancements up to the very last second. Because of the lead time involved in printing a manual, this makes it difficult to write a Quick Start section. As a result, you have two options:

• Do what people who don’t read the manual do: Just point and click at things to see what happens! If you run into difficulties, skim the manual to find appropriate instructions.

• Better yet, go through the Quick Start included on the distribution �D-ROM. It will get you up to speed on some of GUITAR RIG 2’s most important features.

5 GUITAR RIG 2 LayoutGUITAR RIG 2’s screen has two “virtual rack frames.” The right frame has two main sections: The upper section is the rig’s �ontrol �enter (basically a toolbar of important functions), while the lower section is like a “virtual rack” where you can insert and remove various �omponents. The left frame manages Presets, �omponents, and Preferences.

The entire setup – racks, �omponents, Presets, and settings – is called a Rig.

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5.1 Control Center

Here’s the story behind the various buttons and displays.

• Previous Preset selects the next lower-numbered Preset.

• Next Preset selects the next higher-numbered Preset.

• Undo Edit works with almost all GUITAR RIG 2 operations, not just parameter changes. If you ever do something you didn’t mean to do, instead of saying “ooops,” click on Undo Edit.

• Redo Edit restores the status of Guitar Rig prior to clicking on Undo Edit.

• Clear Rack removes all �omponents (except Input, Output, TapeDeck, and Metronome) from the rack. Use this with caution, although of course you can always use Undo if you didn’t mean to delete the �omponents.

Also notice the High Resolution mode button in the right corner of the �ontrol �enter beside the �PU meter. Enabling this doubles the sample rate of the internal processing, which gives a more “detailed” sound. However, this doubles the load on your �PU, so High Resolution mode is recommended only with fast and powerful computers.

5.2 Left Frame View Options

The Left View section has three views, selected by the three Left View buttons.

Manage Presets/Banks, the left-most button, is where you display, save, load, and manage Banks and Presets. Typically, a Bank is a grouping of related Presets (e.g., Heavy Metal, Presets for a certain guitar, Presets for a particular gig, Blues Presets, Presets for bass, etc.), with up to 128 Presets per Bank. A Preset consists of what’s in the rack and the various settings. This view also

14 – GUITAR RIG 2

includes a powerful search function for quickly finding and loading particular Presets, based on a variety of criteria.

Show All Available Components (middle button) displays the array of available signal processing Components, classified as Amps, Distort, Mod, EQ, Volume, Reverb, Tools, and Modifiers. Selecting a Component also brings up a short description in the lower part of the window. Drag the �omponents you want to use into the right virtual rack frame, and arrange in any order you like; signal “flow” goes from the rack top to the bottom. Note that additional Components are planned for future updates, so don’t forget to register your software so you can be advised when these become available.

Global Settings and Controller Assigns (right button) is where you customize GUITAR RIG 2’s global settings; choose default directories for presets, banks, and Component templates (Component-specific Presets); and assign controllers from the included NATIVE INSTRUMENTS RIG KONTROL or other MIDI controllers.

5.3 The Right Frame

This is where you drag in �omponents to create your rig’s processing path. It always has certain fixed Components: Input, Tapedeck One, Tuner, Metronone, Tapedeck Two, and Output. You can show/hide the Tapedecks, Tuner, and Metronome using the �ontrol �enter show/hide buttons, but the Input and Output are always visible.

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6 Setting Preferences�all up Edit Global Settings and Controller Assigns (Preferences) in the left frame by clicking on the right-most Left View button. There are three tabs: Global, Presets, and Controller.

6.1 Pref: Global TabWindow Height�hoose from three different heights for GUITAR RIG 2 (Small, Medium, or Large) so it takes up less or more screen space.

Tapedeck Time Stretch QualityThis determines the Tapedeck One sound quality when stretching time or pitch using the Transpose, Tune, and Tempo buttons. There are four choices: Disable, Low, Medium, High. The higher the quality, the greater the �PU load. Selecting Disable means it is not possible to timestretch.

MIDI Learn Popup WindowThis turns the “New �ontroller Detected” pop up window on or off.

RIG KONTROLGUITAR RIG 2 comes with a new RIG KONTROL. If you are using it, select RIG KONTROL 2. If you are an original GUITAR RIG owner and would prefer to use the original RIG KONTROL, select RIG KONTROL 1.

Reset Pedal CalibrationRIG KONTROL 2 calibrates its pedal automatically for the widest response range. However, if you experience any problems with pedal calibration, click on “Reset Pedal �alibration” in the Global menu.

External pedals need to be calibrated via software routines. To calibrate external pedals use the ‘Resets Pedal �alibration’ function in the global preference section of GUITAR RIG 2 for this.

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6.2 Pref: Presets Tab

Choose preset banks directory: �heck this box, and a browser appears where you can navigate to an existing folder for Preset Banks, or create a new folder for storing Banks. Note that if you change the directory where Banks are stored, Banks in the previous directory will be removed from the Bank list that’s shown in the left frame.

Choose Components templates file directory: �heck this box, and a browser appears where you can navigate to an existing folder for �omponents Templates (i.e., control settings for a particular �omponent), or create a new folder for storing them.

6.3 Pref: Controller Tab

There are two main ways to assign the RIG KONTROL, MIDI controllers (pedals, switches, RIG KONTROL switches and pedal, etc.) and computer keyboard keys to parameters in GUITAR RIG 2. Assigning controllers is a wonderful feature, because it means you can change the “color” of your rig quickly and conveniently via the RIG KONTROL pedal or other MIDI controllers, as well as automate parameters within a host program.

Furthermore, you can save �ontroller Sets of controller setups, and load them when desired. For example, you might want to control different parameters when playing live with RIG KONTROL compared to using automation in the studio during mixdown.

This is a somewhat advanced application, but we are presenting the information here for reference. You may want to return to this after you’ve worked with GUITAR RIG 2 for a bit.

If you are not familiar with MIDI basics, please refer to Appendix B before continuing.

6.4 GUITAR RIG 2 Controller Basics

In the Preferences Controller section, you tell GUITAR RIG 2 about your controllers — whether they’re continuously variable (like a MIDI-compatible pedal, fader, or potentiometer) or on/off switches (like the RIG KONTROL footswitches, a MIDI keyboard note, or your computer keyboard). You can then assign this controller to a specific parameter in each Preset. There are four important rules:

GUITAR RIG 2 – 17

• If a controller controls Preset or Bank selection, it cannot control any parameters within the rack.

• A controller can control only one parameter in a Preset. Unfortunately, this is necessary to avoid problems with host applications that don’t allow a single MIDI controller to control multiple parameters.

• A controller can control a different parameter in a different Preset (e.g., the same controller could affect Distortion Tone in one Preset and �ompressor Ratio in another).

• If you use a �omponent’s “Learn” function, as described later, to assign a controller that was already assigned in the Preferences �ontroller section, the previous controller assignment will be de-assigned (the �omponent Learn function takes priority).

6.5 Rack Controls

This is where you can define pedals and switches, then assign them to Targets (parameters within �omponents). Note: When the RIG KONTROL graphic is showing (by clicking on the RIG KONTROL show/hide switch in the �ontrol �enter), you can call up the Rack �ontrols by clicking on the Edit button.

When you’re editing controllers, the left frame has two main areas: Rack �ontrols, and Preset �ontrols. These are separated by a Resize bar just under the Preset �ontrols label; click and drag up or down on this bar to change the proportion of the frame occupied by each section.

Assigning a Controller• �lick on Add Controller. If you don’t see the Add �ontroller button,

click and drag down on the Resize bar under the Preset �ontrols label to reveal the lower part of the Rack �ontrols section.

• �lick on Learn, and vary the hardware controller you want to assign to this controller. (Note: Pitch Bend is not recognized, only continuous controllers.)

• The RIG KONTROL controller name (or MIDI controller number) will appear in the left-most pane. If the controller number does not show up, there is a MIDI communication problem with GUITAR RIG 2.

• You can clear the assignment by clicking on Clear; click on Learn again to re-assign to a different controller. You can delete the controller altogether by clicking on Delete.

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The RIG KONTROL pedal is being assigned to the Wahwah Component’s “virtual pedal.” This could also be done using a knob’s Learn function, as described later.

• To choose the parameter to be controlled, right-click on the associated Target window and select the parameter.

• In this area, you can “scale” the parameter by varying its range. Drag the left handle to set a minimum parameter value, and the right handle to set a maximum value. Example: If the left handle is set to 2.00 and the right handle to 7.00, then sweeping the controller will cover a range of 20% of the parameter value to 70% of the parameter value.

The left handle is being adjusted to set a lower limit for the Plex Amp

Warm Volume parameter.

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6.6 Presets Controls

You can use RIG KONTROL footswitches, MIDI controllers, MIDI notes, and (in standalone mode) computer keyboard keys to do the following:

• Select the next Preset

• Select the previous Preset

• Select a specific Preset

• Select the next higher Bank

• Select the next lower Bank

• Select a specific Bank number

The Preset controls are on a slideable “panel.” Place your mouse over the Resize bar; the cursor turns into a double arrow. �lick, and drag the panel up or down. Also, note that when the RIG KONTROL graphic is showing (by clicking on the RIG KONTROL show/hide switch in the Kontrol �enter), you can call up the Preset �ontrols by clicking on the Edit button.

Moving the panel up or down with the “resize” bar shows more or fewer of the Preset Control assignments.

To assign a hardware controller to the Next Preset, Previous Preset, Next Bank, or Previous Bank function:

• �lick on Learn.

• Push the RIG KONTROL switch or other controller. The hardware field indicates the selected controller.

• To de-assign the controller, click on Clear.

To create an assignment for a particular Preset or Bank:

• �lick on the Add Pres. Sel or Add Bank Sel. if all you see are Preset/Bank Up or Down options.

• There are three fields for the hardware controller, the name of the function, and the Preset or Bank number that will be selected.

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• To assign the hardware controller, click on Learn.

• Push the RIG KONTROL switch or other controller. The hardware field indicates the selected controller.

• The function name cannot be renamed, but under Target, specify the Preset or Bank to be called up by the hardware controller you assigned. To do this, double-click on the Target number or drag across it, and type in a new number.

• To de-assign the controller, click on Clear.

• To remove the Preset or Bank select, click on Delete.

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7 The Storage Story Banks, Presets, and TemplatesImagine if you could take a “snapshot” of all the control settings and patches of a guitar setup, and recall it at any time. GUITAR RIG 2 does that – and more – by making it easy to store and retrieve your favorite settings via Templates, Presets, and Banks.

A �omponent’s Template represents the settings for a signal processing �omponent (Quad Delay, EQ Parametric, etc.). For example, if you create a great EQ Graphic setting for a country rock sound, save the settings as a template so you can call it up whenever you want those particular EQ settings.

A Preset stores the �omponents used in your rack, along with all settings for all Components (except for the “fixed” rack Components – Input, Tapedeck One, Tuner, Metronome, Tapedeck Two, and Output).

A Bank consists of up to 128 Presets that are usually, but don’t have to be, related in some way.

7.1 Component Template Management

Each �omponent has a small drop-down menu, located near the �omponent’s name. Template management occurs here.

To save a new Template• Click in the Template name field and type a name.

• �lick on the drop-down menu’s arrow.

• �lick on Save. Note that if the name field is blank, you will not be able to save.

The Template is added to a list of available Templates for the �omponent.

To rename a Template• Click at the end or beginning of the existing name in the name field,

and drag over it.

• Type in the new name.

• �lick on the drop-down menu’s arrow.

• �lick on Save.

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The renamed Template is added to the list of available Templates for the �omponent. The Template with the original name still exists.

If a Template has already been selected, you can delete, save, or overwrite it. Here are the steps:

• To delete it, click on the drop-down menu’s arrow and click on Delete.

• If you’ve changed the control settings since you called up the Template and want to overwrite the stored settings, click on the drop-down menu’s arrow and click on Overwrite.

• If you’ve changed the control settings since you called up the Template and want to save the new settings as a new Template, click on the drop-down menu’s arrow and click on Save.

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7.2 Preset Management

When the left frame is on the Preset page (by clicking on the Manage Presets and Banks icon in the Left View toolbar), there are four sections: Bank, Search, Search Result, and Properties. We’ll cover Banks first; Search, Search Result, and Properties relate to Presets.

7.3 Bank Operations

With Bank selected, the upper window shows the list of Banks in the Preset Banks directory (as specified under Preferences). To select a Bank, click on the Bank name. If the list of Banks is longer than can fit in the window, use the vertical scroll bar to the right of the window to scroll through the entire list.

Bank Operation ButtonsThere are five buttons to the left of the Banklist that select Bank-related operations.

New creates a new bank, with the generic name <new bank>. Upon creation, a “save as” dialog will pop up. Enter a name for the bank (this is necessary because the Bank is saved to disk).

Load opens a browser where you can select a Bank to load.

Save writes the currently selected bank and Preset to the Preset Banks directory.

Save As writes the currently selected bank to the Preset Banks directory, but gives you the opportunity to rename it, and appends the name to the end of the list of Banks.

Protect prevents a Bank from being cut, overwritten, or moved. With protected Banks, the Preset list has a light colored background. To unprotect, click on the Protect button for the protected Bank.

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Remove a BankTo remove a Bank from the list, right-click on its slot and click on Remove Bank from List. This does not delete the Bank file itself, only its occurrence in the list.

Refresh the Bank ListRefresh changes the Banklist to reflect any changes you’ve made to the Presets or list of Presets. Access this by right-clicking on any of the Bank names. It’s a good idea to refresh prior to saving a Bank. This feature is especially helpful when working with multiple instances in a host: When changing a Preset in instance 1, then you can refresh this change in the other instances too.

Load Bank ShortcutsThere are two other ways to load a bank:

• Drag and drop a .BNK file into the Bank List.

• Right-click on any existing slot with a Bank and select Load a Bank. A browser appears; click on the desired Bank, and it will be appended to the Bank list.

7.4 Resizing the Bank and Preset Windows

The lower window shows the Preset List for the selected Bank. A resize bar located between the Bank and Preset List pane allows increasing the size of the Preset List pane while decreasing the size of the Bank pane, or vice-versa. This is particularly helpful when browsing through large search results.

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Change the proportion of the Bank List to the Preset List by moving the resize bar up and down.

7.5 Preset List Operations

The lower Preset List window shows the Presets associated with the selected Bank; note the Bank name in large print toward the Preset window’s upper left. To see all 128 Presets, use the horizontal scroll bar at the bottom of the Preset window.

There are four Bank-related operations, selected by buttons in the upper right. To select a Preset, click on the Preset name.

New creates a new preset with an empty rack.

Compare lets you toggle back and forth between the edited and original versions of a Preset.

Append saves the current collection of �omponents and their settings into the next available empty Preset that has a higher number than the selected Preset.

Delete removes the selected preset.

Preset Drag and DropPresets may be dragged to any empty Preset; �trl-drag copies and moves the Preset, yet leaves the Preset being copied in its original location.

If you drag a Preset on top of another Preset (which becomes covered by a red rectangle), the dragged Preset will replace the original Preset. If you drag

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a Preset between two Presets (indicated by a red line between the Presets), the dragged Preset will “push” down all the Presets below it.

Example: Suppose there are five Presets arranged as follows:

• 1 Rock

• 2 Metal

• 3 Jazz

• 4 Dance

• 5 Funk

If you drag Funk between Rock and Metal, the order now goes like this:

• 1 Rock

• 2 Funk

• 3 Metal

• 4 Jazz

• 5 Dance

However, note that the numbering has changed to reflect the insertion. For example, Preset 4 was Dance, but now it’s Jazz. As Presets respond to MIDI Program �hanges (see Appendix B on MIDI), if inserting a Preset will cause a renumbering of other programs so that they follow different MIDI Program �hanges, you will be warned about this (assuming QQ that Ask before inserting presets is checked in the Preferences page, as described previously).

In addition, the Presets follow standard Mac and Windows editing procedures. For example, you could copy a Preset, call up a different Bank, and paste the Preset into the newly-selected Bank.

Creating More than 128 PresetsIt is possible through pasting, copying, appending, etc. to create more than 128 Presets in a Bank. If this happens, GUITAR RIG 2 will first look for an empty Preset within the Bank where the new Preset can go. If all the slots are filled, a pop-up will ask if you want to create a new Bank. If not, you can erase one of the existing Presets and insert the new one in its place.

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7.6 Keyboard Shortcuts for Banks and Presets

The following shortcuts work when running GUITAR RIG 2 in Standalone mode.

These shortcuts are disabled when using GUITAR RIG 2 as a plug-in to avoid conflicts with the host program. Instead, use the right-click operations described later.

• To select multiple Presets (rack retains current Preset): �trl + select Presets

• To select multiple Presets (rack loads most recently selected Preset): Shift + select Presets

• Select all Presets: �trl + A

• �opy Preset: Select Preset, then type �trl + �

• Delete (cut) Preset: Select Preset, then type �trl + X

• Paste copied or cut Preset: Select Preset, then type �trl + V

• Save Bank and Preset: �trl + S

• New Bank: �trl + N

• Preset Append: �trl + D

• �opy to location: �trl-select Preset, then Drag & Drop

• Show Properties: �trl + P

• Protect Mode on/off: �trl + Shift + P

• Undo: �trl + Z

• Redo: �trl + Y

• Search: �trl + F

• Rename: Select Preset, then type F2 (or double-click or press space). Type the new name, then hit Enter.

• �ancel: Esc

You can also access several functions by right-clicking on the Preset name.

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• Rename

• �ut

• �opy

• Paste

• Delete

• Select All

• �lean Up (removes empty Presets, then “closes up” the Presets so there is one continuous Bank of Presets.)

7.7 Properties

This is where you can enter several properties of the selected Preset:

• Name (Preset name/label)

• Author

• Style

• Tone

• Instrument

GUITAR RIG 2 – 29

• Last change (read-only; date of the most recent modification)

• Favorite (a check box to indicate particularly useful or commonly used Presets)

• Info (basically a notepad)

Take the time to enter this information for your Presets, as you can search for them based on particular criteria entered under Properties.

7.8 Search

�lick on the Search tab, and several fields appear. GUITAR RIG 2 will examine all Banks and Presets to find Presets that match the criteria you’ve specified in those fields. For example, you can generate a list of all Presets that fit a certain musical style by choosing a Style, then clicking on the Find button. You can narrow the search further by specifying additional fields, like all Presets done in a particular musical style by a particular Author, in a specific Bank (or in all Banks).

With the Quicksearch field, you can enter anything about a Preset, including words in the Properties “info” field, and GUITAR RIG 2 will find Presets containing what you’ve entered.

Note that the Date field is quite handy, as you can search for Presets that were modified prior to a certain date, after a certain date, or on a certain date. �hecking Favorites will insure that only patches marked as Favorites are listed in the search results.

As soon as you click on the Find button, you’ll see the results of the search. You can also access these results later by clicking on the Search Result tab.

If you want to start a new search, rather than reset all fields manually, you can simply click on the Reset button.

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8 Fixed Rack ComponentsThere are five fixed rack Components:

• Input

• Tapedeck One

• Tapedeck Two

• Tuner

• Metronome

• Output

These can be minimized or hidden to save space, but cannot be deleted. All signal processing �omponents insert between the Input and Output.

Let’s cover each �omponent.

8.1 Input Component with RIG KONTROL 2

This matches your instrument’s levels to GUITAR RIG 2. Hint: Always feed in the highest possible levels short of distortion, as indicated by the signal level meters getting as close as possible to the red (overload) condition without actually hitting it.

Volume sets the incoming level. Turn it up (clockwise) as high as possible, short of the meter glowing red, which indicates an overload. Then, turn the control counterclockwise a bit to allow some headroom (clipping the sound card input is a major sonic disaster). If the red “LEDs” still glow, reduce the volume further.

If the accompanying Learn button is on (button “pushed in”), GUITAR RIG 2 can set the optimum level automatically. After enabling Learn, play your guitar really hard so it generates the maximum possible level. GUITAR RIG 2 will analyze this level, and adjust the Volume automatically. After analysis is complete, the Learn button “pops out.”

The Channel Buttons control how GUITAR RIG 2 reacts in “single” and “dual” guitar modes.

• 1: GUITAR RIG 2 processes only the signal at RIG KONTROL Input 1, and mutes Input 2.

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• Both: Sends both Inputs into GUITAR RIG 2.

The NR button turns the noise reduction on (button “pushed in”) or off (button “out”). The Threshold control sets a level; signals above this level will pass through the gate (the Gate LED is off). If the signal dips below the threshold, then the gate closes (the Gate LED glows red). This is helpful if your pickups are picking up any kind of low-level hum or buzz; set the gate Threshold just above this noise, and when you aren’t playing, the gate will not let the hum or buzz through. As soon as you start playing and the signal exceeds the threshold, the gate will open; hopefully the signal will be loud enough to “mask” the buzz.

The Gate’s Learn function automatically sets an optimum threshold. Without playing your guitar, click on Learn. GUITAR RIG 2 analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the Gate should open.

8.2 Input Component with RIG KONTROL 1

This works the same way as if you’re using RIG KONTROL 2, with the exception of the following additional functions.

The Channel Buttons control how GUITAR RIG 2 reacts in “single” and “dual” guitar modes, a feature associated with RIG KONTROL 1 (refer to the original GUITAR RIG manual for information on RIG KONTROL 1).



• Both: Sends both Inputs into GUITAR RIG 2. Do not use this mode when using the RIG KONTROL, as you’ll also hear the control signals coming out of the footswitches and pedal. (Note that mono modules will mix these two signals together.)

• On: Turns the RIG KONTROL Detection on/off (button pressed is on).

• Auto: Recommended when using RIG KONTROL, as GUITAR RIG 2 will automatically recognize the instrument plugged into Input 1, as well as the RIG KONTROL control signals that appear in the other channel.

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8.3 Output Component

This matches GUITAR RIG 2’s levels to the next stage (mixer, amplifier, PA system, etc.), and also lets you compensate for level variations among different Presets.

Preset Volume is saved with a Preset. Thus, if a Preset is louder than most, you can trim down its volume or if it’s softer, then you can turn it up to match the other Presets. NATIVE INSTRUMENTS recommends you leave this at the mid-position unless you need to compensate for Preset level variations.

To set the Preset volume automatically, turn on the accompanying Learn button (button “pushed in”). Play your guitar really hard; GUITAR RIG 2 will analyze this level, and adjust the Preset level automatically. When analysis is complete, the Learn button “pops out.”

Master Volume sets the rig’s overall level. This generally will be adjusted to provide the desired amount of signal to the next stage, and not changed unless GUITAR RIG 2 feeds something else.

The Meter shows the output level. If the meter’s LEDs glow red, this indicates an overload condition. Turn down the Master Volume a bit (or Preset Volume in the case of an unusually loud Preset). If they still glow red, reduce the volume further.

The Clipping/Limiter switch chooses how GUITAR RIG 2 will handle an overload condition, as indicated by the red output light glowing red. With �lipping selected, overloads will exceed GUITAR RIG 2’s headroom, resulting in distortion. With Limiter selected, if an overload condition occurs, the limiter turns the volume down automatically to prevent distortion. When the light goes out, the volume returns to normal. If limiting occurs often, turn down the Master Volume or, with an excessively loud Preset, the Preset Volume.

Note: This limiter acts more like a “safety valve.” If you want to use limiting as an effect, insert the Limiter �omponent into the rig’s signal chain.

GUITAR RIG 2 – 33

8.4 Tuner

For quick, accurate tuning, this is the module for you. You know what a tuner is; here’s how this one works.

The (Instrument) Drop-Down Menu defaults to Guitar, but you can also choose �hromatic, Bass, four open tunings (D, E, G, A), and DADGAD tuning.

Mute Sound turns off the audio output, so you can tune without the audience listening in.

There are two tuning modes, as selected by the Cent and Strobe buttons located toward the right of the display.

• In Cent mode, a small indicator shows whether the pitch is sharp (indicator to the right of the meter’s center “0” point) or flat (indicator to the left of the meter’s center “0” point). The number toward the left of the display indicates the number of the string being tuned. When a string is at proper pitch, the indicator should sit in the middle of the meter at the “0” point.

• In Strobe mode, a series of lights moves to the right when the string is sharp, and moves to the left when the string is flat. The faster they move, the more out of tune the string. When the lights stop moving, the string is in tune.

To access the Extended View functions, click on the (+) symbol to “fold down” the bottom of the tuner.

• Reference Pitch adjusts the tuning reference, from A=425Hz to A=455Hz. The hint text for this control shows the exact pitch.

• Cents shows the deviation from ideal tuning in cents.

• Drop Tune transposes the tuning range. Example: If you tune all your strings a semitone lower, set drop tune to -1.

• Tune Fork produces a reference tone. To select the pitch, click on the note field to the right of the Tune Fork button, and drag up to raise pitch and down to lower pitch. Or, use the arrow buttons above and below the display to change the “virtual tuning fork” pitch in semitone increments.

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8.5 Metronome

The Metronome provides a rhythmic reference, but with GUITAR RIG 2 in standalone mode, it also serves as a master tempo clock for tempo-synched effects.

Sync, when enabled, synchronizes the Metronome tempo to the host sequencer tempo if GUITAR RIG 2 is serving as a plug-in.

Volume changes the metronome’s audio level.

Mute turns off the metronome’s audio output, but you can still see a visual indication of the beat.

�lick on Signat(ure) to show a drop-down menu with 28 different time signatures as well as “none.”

When used as a plug-in, BPM shows the host tempo. In standalone mode, the BPM field lets you change tempo in two different ways:

• Click on the BPM field and drag up to speed up the tempo; drag down to slow down the tempo.

• Double-click on the field and type in the desired tempo (accurate to hundredths of a BPM)

The #1 field lets you select a particular sound for the downbeat. Click on the downward-pointing arrow, and navigate to the folder with the metronome sound you want to use. GUITAR RIG 2 comes with several suitable sounds in the Metronome Samples folder, which is installed with the program. Note: Sounds with bit resolutions greater than 16 bits will not be recognized.

The #2 field lets you select a particular sound for beats other than the downbeat. �lick on the downward-pointing arrow, and navigate to the folder with the metronome sound you want to use. Note: Sounds with bit resolutions greater than 16 bits will not be recognized.

�lick on the Tap button to set the tempo. GUITAR RIG 2 measures the time between clicks, which determines the tempo. Repeated clicking causes GUITAR RIG 2 to derive an average tempo.

You can also assign Tap to a switch of the RIG KONTROL (do this with the Learn function, as described later). This makes setting the tempo much more convenient when you’re in the middle of playing and both hands are busy.

GUITAR RIG 2 – 35

8.6 Tapedeck One

Okay, it doesn’t use tape. But it’s much cooler than a tape deck. This handy module can play back files as well as record your playing…and more, like change tempo during playback without changing pitch, change pitch without changing tempo, or change both. This is great for learning licks by slowing them down, or changing the tempo on backing drum loops and similar parts.

With Tapedeck One, instead of describing each control individually, we’ll cover the function you want to accomplish with the Tapedeck, and describe how to do it.

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8.7 Standard Playback

To play back a file, like a backing track or drum loop:

• �lick on the Load button, navigate to the file you want to load, and click on Open. Tapedeck accepts WAV, AIF, AIFF, and MP3 format files but does not accept bit resolutions greater than 16 bits.

• With the Play Mode button, select either Play at Input (any processing affects playback) or Play at Output (applies no processing).

• �lick on the Transport Play button to start playback. �lick on the Stop button to stop. To loop the selection so that it plays repeatedly, click on the loop button (the button to the right of the Stop button). To start at a specific point in the file, drag the Play Start Slider to the desired start point.

• Adjust Volume to set the desired level. If the output meter’s red (distortion) “LEDs” light up, reduce the Volume to prevent overload conditions.

8.8 Looped Playback

You can create a loop from your recording so that a certain portion of the recording repeats over and over. This is great for practicing, or creating a rhythm track. There are two basic ways to set up a loop:

• �lick on the Loop button (located between the Stop and Record buttons); this can be done while the Tapedeck is playing back or stopped. Two “handles” appear above the playback indicator. If desired, drag these to fine-tune the loop points.

• While the Tapedeck is playing, click on the Loop In button when you want the loop to start, and click on the Loop Out button when you want the loop to end. Handles will appear at these points, which again, you can drag around as desired.

• The diagram shows Tapedeck One set up to loop. Note the “pushed in” Loop button, and the two handles that show the Loop In and Loop Out points.

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8.9 Changing Playback Pitch and/or Tempo

Transpose transposes pitch –12 semitones to +12 semitones.

Tune provides fine tuning over the range of –50 cents to +50 cents.

Tempo changes the playback speed from 50% of the original tempo to 150% of the original tempo.

Remember that you can set the time stretch audio quality under Preferences.

8.10 Recording

To record your playing:

• �lick on the New button in the lower left. This automatically enables record by pushing in the Record button. If you have already created a new file, you can just click on the Record button.

• The Play Mode button changes to a Record Mode button; select either Record at Input (records the input signal that feeds the Rig) or Record at Output (the recorded signal includes any processing that’s set up in the rig).

• Record mode is already enabled, so click on the Play button to initiate recording.

• After recording, click on the Save button, navigate to the folder where you want to save the file, name it, and click on Save.

Note that loop mode is not available while recording.

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8.11 Tapedeck Two

Tapedeck Two is optimized for overdubbing and creating backing tracks or riffs over which you can play. It’s located just before the Output �omponent, and therefore records whatever you’re hearing from the rig.

�ontrols are similar to Tapedeck One except that it has no Transpose, Tune, or Tempo controls, nor can you choose between recording “At Input” or “At Output.” However, it can transfer recordings to Tapedeck One. This is useful not just for overdubs, but you can (for example) record a rhythm guitar part in Tapedeck Two, transfer it to Tapedeck One, practice a lead part against it, and record the rhythm and lead part playing together in Tapedeck Two. To simplify this type of recording, setting the Sync switch to On syncs the two tape decks.

Loop functions are the same as for Tapedeck One. Like Tapedeck One, only 16-bit files can be used, and looping does not work while recording.

To record an overdub• �lick on the Tapedeck One and Two buttons in the Kontrol �enter if

needed so that both Tapedecks are visible.

• Load a file in Tapedeck One over which you want to overdub, and select Play at Output if you don’t want to process this file through the rig.

• To sync the recording of Tapedeck Two to Tapedeck One, turn on Sync on Tapedeck Two.

• Go to Tapedeck Two and click on its New button (lower left). This automatically enables record by pushing in the Record button. If you have already created a new file, just click on the Record button.

• As Record mode is already enabled, click the Play button to initiate recording.

• After recording, click on the Save button, navigate to the folder where you want to save the file, name it, and click on Save.

• If you want to overdub this file again, click on Transfer File to Tapedeck One and repeat the recording procedure.

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9 Components and ParametersTo customize GUITAR RIG 2 for your own unique sound, you need to understand how the available effects parameters influence what you hear. Here’s the easy way: Drag in an effect, select a parameter, change it, and listen to what happens. After a while, you’ll figure out what each parameter does.

However, trial-and-error can take time, so this section describes each effect, its parameters, and where appropriate, tips on getting the most out of the particular effect.

9.1 Mono, Stereo, and Signal Flow

Unlike most guitar rigs that use only mono connections, GUITAR RIG 2 lives in a stereo world where all connections potentially carry separate left and right channel signals. This is important, because although almost all guitars are mono, many of GUITAR RIG 2’s �omponents add stereo imaging, or preserve existing stereo imaging, to create a bigger soundstage. These effects add stereo to a mono input:

• �abinets (when using Pan and Air)

• Tremolo (in Stereo Pan mode)

• Stoned Phaser (with Rotate turned up)

• �horus/ Flanger (in Stereo mode)

• Ensemble

• Rotator

• Quad Delay

• Psychedelay

• Spring Reverb

• Studio Reverb

However, some �omponents have inherently mono operation. So, if any of these Components process a stereo input, it will first be converted to mono.

• �abinets

• All amp head �omponents

• All distortion �omponents

• Ensemble

• WahWah Pedal

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• TalkWah

• �horus/ Flanger

Note that some effects are in both lists because they may convert stereo to mono, then create a stereo field at the output. Other Components simply leave the signal alone – mono in gives mono out, stereo in gives stereo out.

Most of the stereo �omponents include the types of effects (reverb, delay, etc.) that would normally go after an amplifier (see Appendix C for information on effects placement). Therefore, you’ll end up with a stereo signal if you place a stereo �omponent after a mono one.

However, be aware that if you follow stereo effects with a mono one, the sound will no longer be stereo. Furthermore, when �horus/ Flanger is in stereo mode, or Tremolo is in stereo pan mode, the effect will disappear when played through a mono device, or played back over a mono system.

9.2 Common Controls

All �omponents have several controls in common.

9.3 Display Controls

Each �omponent has one or more buttons in the upper right corner. These are:

X Removes �omponent from the rack

- Minimizes the module to a single rack space panel (don’t you wish hardware rack gear could do this?)

+ Expands the �omponent to a larger size, and reveals more parameters (“expert” or “extended” mode).

9.4 Power On/Off

All �omponents also have an on/off switch in the upper left corner. When turned off, the �omponent is completely taken out of the processing chain (true bypass), just as if it was deleted. With power turned off, �omponents do not use any �PU power.

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9.5 Saving and Loading Templates

All �omponents also have a common way of saving, selecting, and renaming Templates (control settings for the �omponent) that can be saved separately from a Preset. For example, if you come up with a great Quad Delay effect and want to use it in other Presets, save it as a �omponent Template, then load it into the same �omponent in different Presets. This is described fully at the beginning of �hapter 7; the following is a recap.

• To select a Template, click on the drop-down menu to the right of the name field, and select the Template.

• To save a Template, first name it by dragging over the existing name in the name field (or double-clicking on it) then typing in the new name. Next, click on the drop-down menu to the right of the name field and select Save.

• To overwrite a Template, rename the Template if necessary, then click on the drop-down menu to the right of the name field and select Overwrite.

• To delete a Template entirely, select the Template to be deleted, then click on the drop-down menu and select Delete.

9.6 Component MIDI Control

One of the best features of the �omponents is that almost all parameters can be controlled via RIG KONTROL, MIDI controllers assigned to it from a host application (when GUITAR RIG 2 is a plug-in), or a general-purpose MIDI controller hardware box (e.g., Peavey P�-1600x, Evolution U�-33, M-Audio Oxygen8, etc.). Not only does this allow for remote control, but also for controlling parameters from within a host application’s automation.

For example, if you want to increase distortion drive when soloing then bring it down when playing rhythm, no problem – automate the distortion drive control. You don’t even have to mess with controller assignments, thanks to a convenient “Learn” function. All this is covered later, but we just couldn’t help tantalizing you with the concept before going any further.

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9.7 Loading and Arranging the Order of Components

To load a Component into your rack• Select the �omponent tab (middle tab) in the Left Frame view.

• Select the tab containing the type of �omponent you want to load (Amps, Distort, Modulation, EQ, etc.).

• Drag the �omponent into the desired position in the rack.

As you drag the �omponent over to the rack, a shiny silver bar will appear between �omponents where the new �omponent will “land” if you release the mouse button. With the rack, signal flow goes from top to bottom.

To move a Component within the rack to a new position:• �lick on the �omponent name; the cursor turns into a little hand.

• Drag the �omponent to the new position.

• Say “Wow, that was easy!”

9.8 Amps

The virtual amps behave so much like real tube amps that the cabinet and the amp’s power output stage interact in a complex way. As a result, the amps’ tone and distortion characteristics change subtly depending on which cabinet you connect. When more than one cabinet connects to an amp, the cabinet at the top of the list determines the amp’s behavior, even if this cabinet is not turned on.

Also, amps should be followed by the cabinet(s) of your choice. An amp’s straight output is buzzy and can be shrill; with all guitar amps (even virtual ones!), the cabinet is a vitally important sound-shaping element.

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9.9 Cabinets & Mics

This �omponent models the standard guitar and bass amp recording chain: �abinet, mic, and mic position. But that’s not all. �lick on the small Add button, and another recording chain folds out with the same set of options and controls (as shown above). Why settle for miking one or two cabinets when you can have a roomful…

The 26 cabinet choices are (6 through 21 are bass cabinets):

Note: 22 & 24 use a closed cabinet, with sound recorded through slots.

23 & 25 use an open cabinet, with sound recorded direct.

Mic positions and the position names depend on the selected cabinet (of course, the Direct Box doesn’t offer a mic option).

Nr. Name1 1 x 12 Tweed Alnico2 1 x 12 Custom3 2 x 12 Tweed Blue4 2 x 12 Tweed Green5 2 x 12 Tweed Ceram6 2 x 12 Brit 60s7 2 x 12 Chief V-308 2 x 12 Custom9 2 x 12 Jazz10 4 x 10 Tweed Alnico11 4 x 12 UK 60s Tall12 4 x 12 UK 60s13 4 x 12 UK 80s

Nr. Name14 4 x 12 UK 70s15 4 x 12 Gratifier16 1 x 15 Bass-PRO17 1 x 15 Bass-WR18 4 x 10 Bass-PRO19 4 x 10 Bass-WR20 8 x 10 Bass-PRO21 8 x 10 Bass-WR22 Rotator Horn Closed23 Rotator Horn Open24 Rotator Bass Close25 Rotator Bass Open26 DI Box

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Cabs 1-7, 9, 10, and 22-25:• 1/5 On Axis

• 2/5 Off Axis

• 3/5 Edge

• 4/5 Far

• 5/5 Back (This applies to open back cabs only, i.e. it’s not available on the 4x12s or the Bass cabinets, which are all closed-back. However, many of the Bass cabinets have a Horn Tweeter, so they include the 5/5 Horn Microphone Position.)

Cabs 8, 11-15, 16, and 20:• 1/5 On Axis

• 2/5 Off Axis

• 3/5 Edge

• 4/5 Far

Cabs 17, 18, 19, 21:• 1/5 On Axis

• 2/5 Off Axis

• 3/5 Edge

• 4/5 Far

• 5/5 Horn

Available mics and their names depend on the selected cabinet.

Guitar Cabs 1-15:• 1/5 Dynamic 57

• 2/5 Dynamic 421

• 3/5 Dynamic 609

• 4/5 �ondenser 87

• 5/5 Tube �ondenser

Bass cabs 16-21:• 1/5 Dynamic 7

• 2/5 Dynamic 421

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• 3/5 Dynamic 609

• 4/5 Dynamic 20

• 5/5 �ondenser 47

Cabs 22, 23:• 1/1 �ondenser 460

Cabs 24, 25:• 1/1 �ondenser 87

In MicPos 5/5 (Back or Horn), only one Mic is available:

�abs 1-7, 9, 10 (Back) — �ondenser 87

�abs 17, 18, 19, 21 (Horn) — �ondenser 460

ParametersSize (the slider below the cabinet graphic) does the equivalent of “growing” or “shrinking” the cabinet and speaker. For example, with a 1x12 cabinet, set Size to -20% and it becomes a 1x10. Increasing Size to +25% turns it into a 1x15, and +43% creates a 1x17 speaker/cabinet. Is modeling cool, or what?

Volume sets the mic’s output level.

Pan places the mic signal anywhere in the stereo panorama, from far left to far right.

Air controls the level of early reflections in the room response.

Distance appears if more than one Sub�abinet/Mic is active, and controls the delay due to the distance between the mic and cabinet. Mixing together the signals from multiple mics results in cancellations and emphasis of certain frequencies, depending on the relative distances.

Bass boosts or cuts the level of the lower frequencies.

Treble boosts or cuts the level of the higher frequencies.

Phase flips the mic polarity.

Master Volume sets the entire �omponent’s level. This is necessary because if you have used the Add button to create multiple cabinets, they may use different output levels. The Master Volume control allows bringing the levels of all the cabinets up or down as a group. Set this control carefully – if previous stages have added a lot of gain, it will be necessary to lower this control if you want to avoid triggering the output limiter or clipping (depending on the setting of the Output �omponent’s �lipping/Limiter switch).

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Learn is a button that optimizes the Master Volume setting automatically. As with the other Learn buttons, push it in, then play at the loudest level you’ll be using. GUITAR RIG 2 will analyze your playing, and adjust the Master volume for the optimum level. After analysis is complete, the Learn button “pops out.”

9.10 Tweedman

Back in the 60s the “Tweedman” was a classic bass amp. Nowadays, it’s highly coveted as a great guitar amp, but of course still works well in its originally intended role for bass. �ompared to the Bass PRO amp, the sound is a bit smoother and more “well-behaved.”

Volume Bright sets the overall level for the bright channel.

Volume Normal adjusts the level for the normal, “warmer” channel. Both the Volume Bright and Volume Normal controls can be used simultaneous to blend the two sounds.

Turning Bass clockwise from the center boosts the low frequency response; counterclockwise reduces low frequency response.

Turning Mid clockwise from the center boosts the midrange frequencies; counterclockwise reduces midrange frequencies.

Turning Treble clockwise from the center boosts the high frequency response; counterclockwise reduces high frequency response.

The Presence control adds a frequency response “lift” in the upper midrange.

�lick on the (+) symbol to reveal expert mode, with the following parameters.

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Power Supply chooses between 50 and 60Hz. This represents the frequency of the virtual mains A� voltage going into the virtual amp power supply. The D� power voltage inside the modeled amp has a ripple at this frequency, which imparts a very subtle modulation on the sound.

Variac emulates the effect of inserting a Variac in the A� line, thus reducing the supply voltage (“brown sound”) or increasing it above normal (“bold”).

Sag simulates what happens to the power supply when you hit it with a loud signal, and the supply voltage sags for a fraction of a second because it can’t deliver the necessary power. Increasing Sag makes the

power supply more “spongy,” as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit.

Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amp’s power supply react more rapidly.

Bias adjusts the virtual tube’s grid bias, which influences crossover distortion. Although it’s possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings.

9.11 AC Box

This amp models the famous amp sound (rhymes with “box”) that powered the British Invasion of pop music. There were many versions made of the original amp, each with a slightly sonic character. This model is based on a type with the Top Boost modification. The basic Normal channel has no tone controls aside from Top �ut. The Top Boost adds the Brilliant channel, which offers Treble and Bass controls.

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ParametersNormal Volume sets the Normal channel’s overall level. The Treble and Bass controls have no effect in the Normal channel.

Brilliant Volume sets the Brilliant channel’s overall level. The Treble and Bass controls have no effect when Brilliant Volume is turned down.

Turning Treble clockwise boosts the high frequency response in the Brilliant channel; counterclockwise reduces high frequency response.

Turning Bass clockwise boosts the low frequency response in the Brilliant channel; counterclockwise reduces low frequency response.

Tone-Cut is a control unique to this type of amp that reduces the output’s high frequency response.

Tremolo Speed controls the rate of periodic volume modulation.

Tremolo Depth controls the extent to which tremolo modulates the sound, from off, through subtle, to obvious.




Sag simulates what happens to the power supply when you hit it with a loud signal, and the supply voltage sags because it can’t deliver the necessary power. Increasing Sag makes the power supply more “spongy,” as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit.



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9.12 Twang Reverb

The Twang Reverb simulates the rich tube sound of classic amps from decades ago. It’s ideal for screaming blues leads and crunchy rhythm guitar sounds, as well as clean sounds with personality.

ParametersVolume sets the amp’s overall level. Note that this is like a master volume control; if you want to overdrive this amp, precede it with a module that provides gain (e.g., volume pedal turned up full).




The Bright switch is another tonal option that accentuates the high frequencies.

Reverb adds in emulated spring reverb effects. It’s extraordinarily realistic, but don’t worry – if you tap on the side of the monitor, it will not go “boing.”

The Reverb On switch allows turning off the reverb. Like all good software reverbs, the spring reverb uses a fair amount of processing power; turn it off if you’re not using it.

Speed controls the tremolo speed (but it’s labeled vibrato, just as it was labeled on vintage amps).

Intensity controls the extent to which tremolo modulates the sound – from a mild pulsing to a deep throbbing. Oh baby, baby…

Vibrato On allows turning the tremolo effect off when not in use.

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Reverb Time sets the reverb decay tail’s duration.

Reverb Size changes the apparent size of the “room” being emulated by the reverb. While this interacts with Reverb Time to some extent in that a larger size leads to a longer decay, Size has more to do with the sound’s character.

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9.13 Plex

The classic Plex sound probably needs no introduction – it’s the vintage amp sound that has powered too many hit records to mention.

ParametersVolume I sets the preamp gain for the bright channel.

Volume II sets the preamp gain for the warm channel. By combining Volume I and Volume II you can set the mix between bright and warm tone.









power supply more “spongy,” as occurs with a tube-based rectifier circuit.

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Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit.



9.14 Jazz Amp

Modeled after an amp produced by a highly-respected synthesizer manufacturer, the Jazz Amp produces a warm, clean tone. An essential part of its sound is the Ensemble effect, which adds chorusing or vibrato. As a result, the Ensemble is built into the Jazz Amp.

However, if you want to hear the Vibrato/�horus effect in true stereo, then it’s best to turn off the effect built into the Jazz Amp and instead insert the Ensemble component (which provides true stereo) after any �abinets&Mics component.

Note: There are no expert mode settings for this amp.

ParametersVolume sets the amp’s overall level.

Turning Bass clockwise boosts the low frequency response for a bassier sound; counterclockwise reduces low frequency response for a “thinner” sound.


Turning Treble clockwise boosts the high frequency response, while turning counterclockwise reduces high frequency response.

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The Bright switch is another tonal option that, when On, accentuates the high frequencies.

The Vibrato/Off/Chorus switch selects Vibrato, �horus, or effect off.

Rate controls the speed of the Vibrato effect.

Depth controls the intensity of the Vibrato and �horus effects.

9.15 Lead 800

This smooth, intense lead sound cuts like a knife and offers plenty of flexibility. While the Plex works very well for both chunky rhythm sounds and leads, the Lead 800 gives a brighter, more edgy sound.

ParametersMaster adjusts the amp’s overall volume.

Pre-Amp sets the preamp gain. Turning it more clockwise adds drive, distortion, and an “edge” to the sound.






Power Supply chooses between 50 and 60Hz. This represents the frequency of the virtual mains A� voltage going into the virtual amp power supply. The

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D� power voltage inside the modeled amp has a ripple at this frequency, which imparts a very subtle modulation on the sound.






9.16 Instant Gratifier Solo Head

Of course you need an amp to put before your cabinet, and the Gratifier emulates a smokin’ solo head sound with a tube power amp. Its tonal spectrum spans the range from clean to over-the-top distortion. Think of it as a four-channel amp (click on the associated “channel” to select it):

• �lean • Raw

• Vintage • Modern

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ParametersMaster sets the overall output level. Setting this to a high level overdrives the virtual tube power amp.

Gain determines the amount of preamp overdrive. Use this to dial in the desired crunch and timbre, but use the Master to regulate the overall output.




Turning Presence clockwise from the center boosts the upper midrange frequencies; counterclockwise reduces the upper midrange frequencies.




Sag simulates what happens to the power supply when you hit it with a loud signal, and the supply voltage sags because it can’t deliver the necessary power. Increasing Sag makes the power supply more “spongy,” as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit.



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9.17 Bass PRO

This bass amp can deliver a gritty, growling sound that can really make a bass stand out in a mix. In addition to the unique tonal qualities, there’s a graphic equalizer to allow tailoring the sound more precisely.

ParametersVolume sets the amp’s overall level.

The Gain control increases the amount of distortion as you turn it more clockwise.

Drive “pushes” gain in the midrange region; it’s sort of like a gain control, but affects the sound’s overall “character.”



The Mid-Freq control adjusts the center of the frequency band boosted or cut by the Mid control. This mid frequency is sweepable from 200Hz to 3200Hz.


Turning the Bright switch on accentuates the very high frequencies.

The Ultra Lo switch, when on, scoops out some of the midrange and increases the lower frequency response.

Turning the Ultra Hi switch on boosts highs, but over a wider frequency range than the Bright switch. It therefore has a more obvious effect.

The Graphic EQ switch enables or disables the graphic EQ processor, which is visible only in Expert mode.

�lick on the (+) symbol to reveal expert mode, which shows the graphic equalizer controls.

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Graphic EQ Volume adjusts the overall level of the graphic EQ processor. When centered, there’s unity gain through the EQ. Pushing the slider up from the center increases gain (which will likely be necessary if you cut the response at various frequencies using the band level sliders), while moving the slider downward decreases gain. You will probably need to decrease the gain if you boost several frequency bands.

The Graphic EQ Band Level controls boost or cut response at nine specific frequency bands: 40Hz, 90Hz, 180Hz, 300Hz, 500Hz, 1kHz, 2kHz, 4kHz, and 10kHz. When a slider is centered, there is neither a boost nor cut at that slider’s frequency band. Moving the slider up increases gain up to +12dB, while moving the slider down decreases gain by as much as -12dB.

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10 DistortThe distortion and overdrive �omponents are accurate reproductions of classic hardware devices. Therefore, just like the transistorized originals, these effects can sound somewhat thin and artificial by themselves — especially when driven hard. For the best tone, feed them into an amp/cabinet combination to create a beefier, more realistic sound.

10.1 Fuzz

Looking for that special 60s fuzz sound? The Fuzz’s rather thin and sharp tone makes your leads cut through a mix like a chain saw. As a bonus, you can create buzzing vintage rhythm guitar sounds, too.

ParametersVolume sets the Fuzz’s output level. It acts like a master volume control.

Turn the Fuzz control clockwise to increase the distortion’s “fuzzy” quality.


Bass provides control over the lower frequency tone.

Turning Treble clockwise accents the high frequencies.

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10.2 Big Fuzz

Stretch sustain to the max, like a 1970s guitar hero…or add some serious grunge to your tone. This is the distortion of choice for some serious rock and roll sounds.

ParametersVolume sets the Big Fuzz’s output level. It acts like a master volume control.

Sustain affects the sound’s sustain by increasing the amount of gain going to the distortion circuitry as you turn it further clockwise.

Turn Tone clockwise to emphasize low frequencies and reduce higher frequencies, or counter-clockwise to dampen the bass range and enhance the high frequency tone.

�lick on the (+) symbol to reveal expert mode, which offers the following parameters.



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10.3 Cat

If you want a responsive overdrive for blues and rock (rhythm or lead), the �at is the one to use. But beware: Kick the �at hard, and its inner angry punk appears!

ParametersVolume sets the �at’s output level. It acts like a master volume control.

Filter affects the sound’s color, For a darker sound, turn clockwise to enhance the low frequency range; turn counter-clockwise to for a brighter, sharper sound.

Turn Distortion clockwise for a more distorted sound.

�lick on the (+) symbol to reveal expert mode, which offers the following parameters.

Turn the Balls control clockwise to add low-end punch. Turning it counter-clockwise delivers a flatter, more biting sound.


Turning Treble clockwise accents the high frequencies. Moving in the counter-clockwise end of the range (say, from 0.00 to 3.00) can add an almost wa-wa like effect.

Tone adjusts the frequency range influenced by the built-in pre-distortion midrange booster.

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10.4 Skreamer

This warm, smooth-sounding overdrive works great for rhythm guitar and smooth leads.

ParametersVolume sets the Skreamer’s output level. It acts like a master volume control.

Turning Tone clockwise gives bright, screaming leads and biting rhythms. �ounterclockwise gives a mellower, darker sound.

Drive determines the “crunch factor.” Turn clockwise for more distortion.



Bright determines the high frequency response.

Clean adds some of the unprocessed sound in with the distortion, from none to maximum.

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10.5 Distortion

When you want distortion that will scare small animals and clear a room of unwanted house guests, insert this baby and turn it up to 11.

ParametersVolume sets the Distortion’s output level. It acts like a master volume control.

Turning Tone clockwise accents the midrange while dropping the bass. �ounterclockwise takes off the highs and boosts the bass for a warmer sound.

Distortion is the main grunge control. Turn it clockwise to dirty up the sound.



Mid affects the level of the midrange frequencies.

Treble determines the high frequency response.

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10.6 Mezone

When you want metal…here you go. Pre- and post-distortion tone controls let you tailor the sound just about any way you want.

ParametersVolume sets the Mezone’s output level. It acts like a master volume control.

Bass provides control over the lower frequency tone. Warning to �alifornians: Turn up Bass all the way, and there may be enough low frequencies to trigger an earthquake.

Mid sets the amount of midrange frequency boost; turn clockwise for more boost.

Mid Freq adjusts the frequency where the Mid control’s boosting occurs.


Turn Distortion clockwise for a more distorted sound.

�lick on the (+) symbol to reveal expert mode, which offers the following parameters. Note that all these filters are before the distortion, and are therefore designed to affect the distortion’s character more than its tonality.

Bass adjusts how much bass is allowed to be distorted. Turn clockwise for more bass.

Mid-Q sets the amount of midrange boost that makes its way to the distortion section; turn clockwise for more boost.

Mid Freq adjusts the frequency where the Mid-Q control’s boosting occurs.

Turning Treble clockwise lets through high frequencies to the distortion section.

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10.7 Demon Distortion

Definitely a piece of hard rocker’s gear, the Demon Distortion provides you with razor-sharp, long-sustaining leads and speaker-blasting rhythm sounds.

ParametersVolume sets the Demon Distortion’s output level. It acts like a master volume control.


Mid enhances or attenuates the midrange frequencies.


The Gain control lets you adjust the input sensitivity. The more you turn the Gain control clockwise, the more the incoming signal will be distorted.

The Scoop switch drastically attenutates the midrange frequencies, which produces a typical modern metal sound. With Scoop on, the Mid control has no effect.


The Bottom control sets how much bass passes through to the distortion section. If the sound “rumbles” or sounds “blurry,” turn this control counter-clockwise to tighten the sound.

Boost sets the frequency range influenced by the built-in pre-distortion midrange booster.

Bass determines the center frequency of the equalizer’s Bass control.

Mid determines the center frequency of the equalizer’s Mid control.

Treble determines the center frequency of the equalizer’s Treble control.

Bright fine-tunes the signal’s presence by attenuating or enhancing the highest frequencies.

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10.8 TransAmp

This versatile, analog distortion box set the stage for the later generation of digital wonderboxes. When you need a “one-size-fits-all” fuzz, TransAmp delivers a wide variety of tones –from cool, “on the verge” distortion to biting, raging heat.

ParametersVolume sets the TransAmp’s output level. It acts like a master volume control.



The Drive control has a wide range, from just a hint of crunch (counter-clockwise) to hardcore (clockwise).

The Amp control “morphs” among three different amp characters: Tweed, British, and California.


�lick on Clean to produce a cleaner, less distorted sound.

The Cab&Mic switch, when pushed in, simulates the effect of adding a speaker cabinet and miking it.

MicPos has an effect only if the �ab&Mic function is enabled. This control places the mic at various degrees of off-axis position, or at a distance from the speaker.

Hot has an effect only if the �ab&Mic function is enabled. Turning the control more clockwise produces a brighter, hotter sound.

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10.9 Treble Booster

Treble boosters were used by Brian May of the group Queen, as well as Eric �lapton on the “Beano” album (when he was with John Mayall and the Bluesbreakers) to push their tube amps into crispy, creamy distortion. Tony Iommi, Rory Gallagher, Ritchie Blackmore, and David Gilmour are other guitarists who used this technique. Also, many Fender Telecaster players would turn down the volume control slightly, which reduced the bass and created a similar effect when feeding high-gain amps.

ParametersBright, when turned down, reduces the boosting somewhat at the highest frequencies.

Boost sets the degree of boost.

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10.10 Gain Booster

If you’ve ever seen the movie “This is Spinal Tap,” you know that amps that go up to 11 are much better than ones that go up to 10. Well, this �omponent can add gain where you need it – for insane amounts of overdrive, to compensate for settings that reduce level, or simply to see if you really can get your amp to go up to 11 instead of 10.

ParameterIt doesn’t get much simpler than this: turn Boost clockwise to boost the signal level.

Distortion tipsThese apply to the various distortion �omponents.

• Smooth sound. Use the bass pickup with the tone control set for minimum treble.

• Raunchier sound. Use the treble pickup.

• Using optional guitar switches. If your guitar has a series/parallel pickup switch, the series position will give the thickest fuzz sound. If your guitar has an in phase/out of phase switch, the out of phase position will give the thinnest sound.

• Brighter sound. Some guitars (particularly Fender solid body types) have a feature where turning down the volume control attenuates the low frequencies at a faster rate than the high frequencies. Thus, if you turn the control down about 3/4 of the way, the upper strings will distort more than the lower ones. This gives a bright, lively type of distortion.

• Balancing the sound. With guitar, pickup height adjustments are crucial to getting a consistent distortion sound. If the sound is too boomy, angle the pickups slightly so that the bottom three strings are further away from the pickup than the top three strings. Also, note that newer strings will sustain longer than older strings.

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11 Mod

11.1 Tremolo

This provides a periodic amplitude change so that the sound seems to “pulsate.” A modulation source controls the rate of these amplitude changes.

ParametersIntensity controls the tremolo effect depth by adding in some dry signal to the processed signal.

Rate sets the modulation frequency. Faster settings add a type of “shimmering” effect to the sound.

Tempo Sync synchronizes the tremolo rate to the host tempo so that it follows the song’s rhythm. In standalone mode, the tremolo rate syncs to the Metronome tempo.

Stereo Pan, when enabled, provides a stereo tremolo effect: When the level increases in one channel, it decreases in the opposite channel, and vice-versa. Note that the effect pretty much disappears when Tremolo is followed by a mono �omponent like an Amp.


Width, in mono mode, controls the ratio between when the LFO cycle is positive (higher volume) and negative (lower volume). In stereo mode, this control sets the ratio between the time spent to the right or to the left side of the stereo field.

Down requires some explanation. Think of the tremolo modulation not as a waveform, but an attack and decay from an envelope. Down changes the decay time.

Up changes the apparent “attack time” in a similar manner. Turning both Down and Up to minimum creates more of a hard gate effect.

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11.2 Ensemble

This unique effect is based on a popular vintage processor that is similar to chorusing, in the sense that it creates “bigger” sounds; but also provides vibrato (pitch modulation) effects.

ParametersVolume sets the overall output level.

Chorus Intensity is active only in �horus mode. It sets the depth of the chorusing effect.

Mode chooses between the chorus and vibrato functions.

Depth is active only in Vibrato mode and sets the amount of pitch deviation.

Rate is active only in Vibrato mode and sets the vibrato speed.


Temp Sync synchronizes the LFO speed to the host application’s tempo, or the metronome tempo in standalone mode.

Dry/Wet sets the ratio of dry to processed sound, from dry only (counterclockwise) to 50-50 (mid position) to processed sound only (fully clockwise).

Bass provides control over the lower frequency tone (turn clockwise to boost, counterclockwise to cut).

Mid similarly affects the level of the midrange frequencies.

Treble similarly determines the high frequency response.

Delay sets the chorus circuit’s delay time (the time around which modulation occurs).

Stereo changes the imaging from mono (fully counterclockwise) to stereo (fully clockwise).

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11.3 Chorus/ Flanger

This delay-based unit can create chorusing, flanging, and pitch modulation effects.

Chorusing essentially turns one guitar into a chorus of guitars, providing a more diffused and complex sound.

Flanging produces a whooshing sound, like the same effect you hear from a jet airplane when it passes overhead but more intense and metallic.

Pitch Modulation is the same thing as vibrato — a cyclic pitch change.

ParametersSpeed varies the modulation rate. With �horus, faster speeds provide a more shimmering sound, while slower speeds create more of a rolling, smooth chorus effect. With Flanger, Speed determines how long it takes to complete one “cycle” of flanging (i.e., minimum delay to maximum delay, or the “high” and “low” timbres). With Pitch Modulation, this control sets the vibrato rate.

Intensity, in �horus mode, adds in more of the delayed, processed sound. When flanging, it increases the flanger resonance to create a sharper, more intense effect. With Pitch Modulation, the vibrato is more pronounced and less like chorusing as you turn Intensity clockwise.

Width determines the range of the flanging effects (i.e., the difference between the highest and lowest points); with �horus, the amount of “animation;” and with Pitch Modulation, the amount of pitch deviation.

Mode chooses among the �horus, Flanger, and Pitch Modulation modes.


Sync synchronizes the LFO speed to the host application’s tempo, or the metronome tempo in standalone mode.

Stereo creates a super-wide stereo effect, but is recommended only for live use – playing the signal back in mono causes the effect to disappear, leaving only the straight sound.

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11.4 Stoned Phaser

The Stoned Phraser adds a swirling, animated effect to the sound. This model is based on popular phaser technology from the 1970s.

ParametersRate controls the speed of the phaser effect.

Sync synchronizes the phaser rate to the host tempo so that it follows the song’s rhythm. In standalone mode, the phaser rate syncs to the Metronome tempo.

Color creates a timbral change that’s a variation on the standard phaser sound.


Invert changes the phase of the shifted signal, producing a different timbre.

Notches determines the number of stages in the phase shifter. �lick on the associated numerical and drag to select from 1 to 5 notches.

Color Strength sets how much the �olor on/off button affects the sound.

Sweep Min sets the sweep’s lower frequency limit.

Sweep Max sets the sweep’s upper frequency limit.

Rotate alters the phase difference between the LFOs feeding the left and right channels for a stereo effect.

Dry Wet adjusts the mix of the dry and processed (phase shifted) sound.

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11.5 Rotator

This effect, the same one used in NATIVE INSTRUMENTS’ acclaimed B4 “virtual organ,” simulates the effect of miking a rotating speaker. A true rotating speaker has two separate elements — the lower rotor and upper rotor — and this module faithfully emulates both elements, as well as provides separate controls for each one

ParametersRotator switches the speed of the rotating speaker – slow or fast.

Balance sets the ratio of the sound produced by the rotating speaker’s high frequency horn compared to the low frequency woofer. Turning clockwise gives more highs, while turning counterclockwise gives a bassier sound.

Pan changes the treble and bass rotors’ location in the stereo field. Turning clockwise moves treble right while bass moves left.

Distance edits the distance between the virtual microphones and the rotating speaker.

Dry/wet controls the effect’s strength; turn fully clockwise to hear the rotating speakers only.

�lick on the (+) symbol to reveal expert mode. Each rotor (treble and bass) has a set of identical controls.

Cab Tone activates the Rotator’s own cabinet simulation effect. You can turn this off if you want to use the �abinets & Mics �omponent instead. For example, you could set up the Rotator Bass �abinet and pan it fully left, then add the Rotator Horn �abinet and pan it fully right. �onnect the Rotator after �abinets & Mics, and switch �ab Tone off. The �abinets’ left and right channels will now feed the Rotator’s Bass and Horn rotors.

Slow sets the rotor speed in slow mode. When set to minimum, the rotor comes to a stop.

Fast sets the rotor speed in fast mode.

Accel sets how long it takes for the speed to change when you change the

GUITAR RIG 2 – 73

Rotator speed switch. When counterclockwise, it accelerates or decelerates over time; clockwise produces a near instantaneous change.

Spread widens the stereo image when turned clockwise, and narrows the image when turned counterclockwise. It controls the distance between the left and right virtual microphones.

11.6 Oktaver

This generates two signals – one octave below, and another signal two octaves below, the original pitch. There are two important cautions:

• Oktaver works only with single notes, not chords.

• Place Oktaver toward the beginning of the chain. Do not add reverb, delay, or other modulation effects before it, as that will confuse the pitch tracking circuitry. However, you can usually put the Tube �ompressor, Stomp �ompressor, and sometimes EQ, before it with no problems.

ParametersDirect sets the dry signal level.

Oct 1 determines the level of the octave below signal.

Oct 2 changes the level of the signal two octaves below the original pitch.

�lick on the (+) symbol to reveal expert mode. Each octave (1 and 2) has a set of identical controls.

Cutoff changes the timbre of the octave sound. Turn clockwise to increase brightness.

Reso sets the filter resonance.

Accel sets how long it takes for the speed to change when you change the Rotator speed switch. When counterclockwise, it accelerates or decelerates over time; clockwise produces a near instantaneous change.

Spread widens the stereo image when turned clockwise, and narrows the image when turned counterclockwise. It controls the distance between the left and right virtual microphones.

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11.7 Pitch Pedal

GUITAR RIG fans from around the world begged us to include a “pedal-controlled vibrato tailpiece” effect, so how could we resist? But unlike a standard vibrato tailpiece, all the strings stay in tune as you bend up and down. �ontrolling the Drag (pitch shift) parameter from the RIG KONTROL pedal is highly recommended, as this gives hands-free control over pitch changes. (Note that unlike the Oktaver, the pitch shifting works polyphonically; furthermore, with small shift amounts, the Pitch Pedal can provide some superb chorus and ensemble effects.)

The expert mode parameters are crucial in creating useable bending. Those who don’t want to get involved with programming can simply choose some of the presets for common string-bending effects.

ParametersDrag changes pitch, based on limits set by the expert mode knobs. Generally you drag the slider to the right to bend pitch up, and to the left to bend pitch down; but the reverse is also possible – as is having one extreme with no pitch change, and the other with an upward or downward pitch slide.

Dry/wet adjusts the proportion of dry and processed sounds. �ounterclockwise is fully dry, clockwise is processed (wet) sound only.


Min Shift sets the pitch shift amount when the pedal is at minimum (up position). The range is ±24 semitones.

Min Detune sets “fine tuning” for the amount of detuning when the pedal is at minimum (up position). The range is ±100 cents.

Max Shift sets the pitch shift amount when the pedal is at maximum (down position). The range is ±24 semitones.

Max Detune sets “fine tuning” for the amount of detuning when the pedal is at maximum (down position). The range is ±100 cents.

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Feedback determines how much of the output signal returns to the input. For example, if you have set pitch to transpose up 1 semitone, that signal will return to the input and be transposed up another semitone, then that signal will return to the input and be transposed up another semitone, and so on. This produces an ascending series of notes.

Delay affects the smoothness of the pitch shifted sound. It also introduces a delay in the feedback path, from 10 to 50 ms. The longer the delay, the greater the sense of a series of notes; with shorter delays, you’ll hear more of a texture.

11.8 Electric Lady

The Electric Lady adds a very versatile stereo Flanger to your effects rack. Modeled after an all-time classic, the Electric Lady produces sounds ranging from subtle flanging and chorusing to weird metallic timbres and extreme flanger swooshes. The static mode adds to this wide palette of sounds. It switches the unit into filter mode acting as a bank of notch filters.

ParametersRate controls the speed of the Flanger effect. For a slow effect, turn the knob counter-clockwise. For a fast effect turn it clockwise.

Static toggles the effect into static filter-bank mode and disables the modu-lating LFO.

Depth controls the intensity of the modulation. With higher values a broader frequency range is affected.

Color varies the general timbre of the effect. In static mode (see above) this knob controls the frequency of the filters.


Sync synchronizes the LFO rate to the current host tempo following the song’s rhythm. In standalone mode, the rate syncs to the Metronome tempo.

Invert shifts the phase of the effect signal leading to a different timbre.


Dry Wet adjusts the mix of the dry and processed (flanged) sound.

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11.9 Phaser Nine

This Phaser is based on another well-known effects design and adds all kinds of animated shimmering to your guitar sounds.

ParametersRate controls the speed of the Phaser modulation. Turn the rotary knob coun-ter-clockwise for slow and clockwise for fast swirls.

Depth sets the intensity of the phasing.

Color controls the basic timbre of the phasing by changing the feedback of the effect. Higher values lead to greater emphasis on the frequency peaks in the signal.


Sync synchronizes the LFO rate to the current host tempo following the song’s rhythm. In standalone mode, the rate syncs to the Metronome tempo.

Invert shifts the phase of the effect signal leading to a different timbre.

Frequency controls the center frequency around which the LFO modulation will take place.

Notches dials in the number of notches the effect introduces into the fre-quency range.


Dry Wet adjusts the mix of the dry and processed (phased) sound.

11.10 Harmonic Synthesizer

The Harmonic Synthesizer opens up a whole world of synthesizer sounds simply by playing your guitar. It can produce faithful re-creations of classic

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sounds but is also well-suited for generating wild effects never heard before. Additionally, you can switch it to bass-mode for use with your bass guitar.

The effect contains four voices – sub-octave, dry, octave and square wave – that can be freely mixed for envelope shaping as well as for coloring using a flexible filter.

ParametersGuitar/Bass is used for switching the filter sweep range to be fed by a guitar or a bass, respectively.

Threshold acts as a noise gate for the input signal. Only signals above the threshold will get through and trigger the volume envelope and the filter sweep. Dial in a setting that cleanly triggers the effect.

Trigger controls the signal volume needed to activate the filter. If you set this too high it may result in a stuttering filter due to multiple triggering. Experiment a bit to find the exact setting you need for your style of playing.

Sub controls the volume of the sub-octave. Be aware that only single-notes are tracked.

Dry dials in the volume of the dry, unprocessed guitar signal.

Oct is for mixing the signal shifted up one octave from the original and only tracks single notes.

Sqr mixes in a square wave signal that can be controlled by dynamic playing.

Att has a similar effect to the Attack controls of a synthesizer envelope. The higher the value the slower the signal will be faded in. High settings can completely remove the initial attack sound of the instrument.

Res controls resonance and width of the filter. With higher values you get a broader frequency range and a more pronounced peak around the cutoff frequency.

Strt sets the frequency at which the filter sweep starts.

Stop determines the end-frequency of the filter sweep. If Strt and Stop are set to the same value, the filter will emphasize that particular frequency without sweeping.

Rate determines the speed of the filter sweep from the start frequency to the end frequency.

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12 Filter

12.1 EQ Shelving

A shelving equalizer is a type of tone control that boosts or cuts starting at a specific frequency. Upon attaining the specified amount of boost or cut, the response turns into a “shelf” and provides a constant amount of boost or cut past from that point.

This type of EQ provides general tone shaping to correct broad issues, like lack of high frequency “sparkle” or excessive “boominess” in the bass end. The graph in EQ Shelving illustrates the response created by the controls, while the Tooltips for each dot show the exact frequency in Hz and amount of boost/cut in dB.

ParametersThere are two ways to adjust parameters:

• �lick on the graphic display’s dots and drag (up to increase gain, down to decrease gain, sideways to change frequency)

• Adjust these same parameters by clicking on the (+) sign to reveal expert mode.

These parameters are:

Freq1 sets the frequency for the low shelf where boosting or cutting begins.

In Gain1’s center position, there is no boosting or cutting. Turning it clockwise boosts the response, while turning it counterclockwise cuts the response.

Freq2 sets the frequency for the high shelf where boosting or cutting begins.

In Gain2’s center position, there is no boosting or cutting. Turning it clockwise boosts the response, while turning it counterclockwise cuts the response.

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12.2 EQ Parametric

A parametric equalizer is a highly sophisticated form of tone control. Unlike the graphic equalizer (described next) which can boost/cut only at specific fixed frequencies, a parametric can boost or cut over a continuously variable range of frequencies. In addition, the bandwidth (the range of frequencies affected by the boosting or cutting) is variable, from broad to sharp. The graph in EQ Parametric illustrates the response created by the controls, while the Tooltips for each dot show the exact frequency in Hz and amount of boost/cut in dB.

EQ Parametric includes two complete parametric EQ stages. For example, the first stage could boost the bass frequencies around 100 Hz, while the second stage adds a midrange notch.

ParametersAs with EQ Shelving, there are two ways to adjust parameters: Either click on the graphic display’s dots (up to increase gain, down to decrease gain, sideways to change frequency), or adjust these same parameters by clicking on the (+) sign to reveal expert mode. These parameters are:

Freq1 and Freq2 set the specific part of the audio spectrum where the boosting or cutting occurs.

Gain1 and Gain2 determine whether the frequency dialed in by F1 and F2 respectively will be boosted (emphasized) or cut (de-emphasized).

Q1 and Q2 edit the sharpness of the boosting or cutting action at frequencies F1 and F2 respectively. Narrow bandwidth settings (turning clockwise from the center position) affect a very small part of the audio spectrum, while broad bandwidth settings (turning counterclockwise from the center position) affect a broader range.

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12.3 EQ Graphic

This module uses multiple bandpass filters to split the audio spectrum up into eight bands, with an individual boost/cut control for each band. The term graphic equalizer refers to the fact that hardware graphic EQs use linear slide pots for the boost/cut controls, so looking at the position of the knobs gives a “graphic” indication of frequency response. With EQ Graphic, the display shows the response curve.

ParametersGraphic interface dots (handles) set gain. Drag the dot up to increase gain, down to decrease gain. Double-clicking on a handle restores it to zero gain. The Tooltip for a handle shows the amount of boost or cut as an amount from 0 to 10.


Range sets the maximum amount of boost and cut, from ±1dB (very fine adjustment) to ±30dB (very wide-range adjustment).

Min sets the lowest band’s frequency.

Max sets the highest band’s frequency.

Note that all bands are equally spaced (using logarithmic ratios) between the highest and lowest bands. Example: If Min is set to 50 Hz and Max to 6400 Hz, the other bands are at 100, 200, 400, 800, 1600, and 3200 Hz.

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12.4 Pro-Filter

The ProFilter is a synthesizer-type filter based on the filter included in NATIVE INSTRUMENTS’ popular Pro-53 virtual instrument. The Pro-Filter has a fat, rich sound that works very well as a tone control, but tying the �utoff control to the RIG KONTROL pedal also produces a great wahwah sound.

But why stop there? The various Modifiers are perfect for modulating cutoff. In particular, the Step Sequencer can give novel filtered effects that sync to the music. This is ideal for hip hop, dance, techno, and other forms of highly rhythmic music.

ParametersCutoff sets the frequency at which any filtering occurs.

Reso edits the sharpness (“Q”) of the filter response.

Slope morphs between two rates at which frequencies are attenuated past the cutoff frequency. When fully counter-clockwise, frequencies are attenuated at a rate of 12dB per octave. This produces a “softer” filtering sound. When fully clockwise, frequencies are attenuated at a rate of 24dB per octave. This produces a fatter, more intense filtering sound. In between settings include elements of both responses.

LFP/BPF/HPF morphs among three filter responses:

• Lowpass (LFP) – the filter passes low frequencies and attenuates high frequencies

• Bandpass (BPF) – the filter passes a band of frequencies, and attenuates frequencies that fall higher or lower outside that band

• Highpass (HPF) – the filter passes high frequencies and attenuates low frequencies

Note that there is no expert mode for this module.

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12.5 AutoFilter

The AutoFilter is basically a wahwah that responds to the dynamics of your playing. The AutoFilter sound is very popular in funk music, particularly from the 1970s.

ParametersSens matches your guitar’s level to the AutoFilter. If the filter doesn’t sweep over a wide enough range (and the Range control, described later, is set properly), increase the Sensitivity. If on the other hand you hardly have to touch the strings to kick the filter wide open, then turn the Sens control down.

With the Up/Down switch set to the Down mode, playing harder drives the filter down to a lower frequency; as the string decays, the filter returns to a higher frequency. With the Up mode, playing harder drives the filter up to a higher frequency. As the string decays, the filter returns to a lower frequency.

Range sets the width of the filter sweep. Turn it clockwise to sweep over a wider range.

Reso edits the sharpness (“Q”) of the filter response.

LFP/BPF/HPF morphs among three filter responses:

• Lowpass (LFP) – the filter passes low frequencies and attenuates high frequencies

• Bandpass (BPF) – the filter passes a band of frequencies, and attenuates frequencies that fall higher or lower outside that band

• Highpass (HPF) – the filter passes high frequencies and attenuates low frequencies


Attack adds a “glide” time (from 5 to 80ms) between when the filter senses an input change, and when the filter reaches its highest frequency (in Up mode) or lowest frequency (in Down mode).

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Release causes the filter to take anywhere from 50 to 800ms to decay back to its initial setting in the absence of an input signal. With short release times, the AutoFilter tracks even slight level changes. This can produce a “choppy” sound; turn up the release for a smoother decay.

Offset adjusts the filter’s center frequency. In other words, the frequency goes up or down from this frequency.

The Wet control sets the balance of dry to filtered signal as you turn the control from fully counter-clockwise to fully clockwise. This is particularly useful with bass, as the filter might otherwise “thin out” the sound. By adding more dry signal, you’ll hear the full bass sound along with the filtered sound.

12.6 Wahwah Pedal

The Wahwah Pedal is a filter that sweeps a response peak over a frequency range, and the GUITAR RIG 2 version is perhaps the planet’s most versatile. Independent settings for filter frequency, resonance, and level at the high, mid, and low points of the pedal travel allow customizing the response for any type of wahwah application or desired pedal “feel.”

ParametersThe Slider controls the wahwah frequency. Moving the slider toward the left lowers the frequency, and moving it toward the right raises the frequency. The RIG KONTROL expression pedal is ideal for controlling this.


LP-BP-HP controls the mix of filter characteristics (lowpass, bandpass, and highpass). Lowpass has the response of a typical synthesizer filter, Bandpass is more like a traditional wahwah, and Highpass attenuates low frequencies as you move the pedal toward the down position.

Freq Min sets the filter frequency with the pedal all the way up (back).

Freq Mid sets the filter frequency with the pedal at its mid-position. Examples:

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A low mid setting gives little change when moving the pedal from its minimum position to the middle, and a much greater change when progressing to the maximum position. When Mid is set high, the pedal’s mid-position sounds much like the maximum position.

Freq Max adjusts the filter frequency with the pedal all the way down (forward).

Res Min determines the amount of filter resonance with the pedal all the way up (back).

Res Mid sets the amount of filter resonance with the pedal at its mid-position.

Res Max edits the amount of filter resonance with the pedal all the way down (forward).

Volume Min alters the filter level with the pedal all the way up (back).

Volume Mid sets the filter level at the pedal midpoint.

Volume Max tweaks the filter level with the pedal all the way down (forward).

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12.7 Talkwah

This is similar to a Wahwah, but uses a different filter type that emulates the filtering that your mouth creates when enunciating vowels. The result is similar to the “talk box” effect that was very popular in the 70s (Stevie Wonder, Peter Frampton, “Funkytown,” etc.).

ParametersThe Slider controls the Talkwah frequency. Moving the slider toward the left gives an “oooo” sound; moving it toward center morphs into more of an “aah” sound, while going further to the right morphs into more of an “eee” sound. �ontrol this from the NATIVE INSTRUMENTS RIG KONTROL’s footpedal and you’ll be amazed at the sounds you’ll be able to coax out of your guitar.


Bright is a switch that makes the overall sound more trebly.

Volume changes the overall level.

Size adjusts the size of the “virtual mouth.” When counterclockwise, the mouth is small, like that of a midget. When clockwise, it’s like a giant’s mouth.

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12.8 Equalizer Tips

Most of these tips apply to the shelving, parameteric, and graphic EQ types; however, they also work with some of the more esoteric EQ types as well. Experiment to see what produces the results you want. Note that unlike hardware, the EQs and most other components in GUITAR RIG 2 will never overload internally and cause distortion. Because of floating-point signal processing, the headroom is well over 700dB — so feel free to boost away! Of course, though, GUITAR RIG 2 can overload subsequent stages.

Creating new sonic personalities. EQ can change a sound’s character – for example, turn a brash guitar sound into something more mellow. This type of application requires relatively gentle EQ, possibly at several different frequencies; a graphic equalizer works well.

Making comparisons. Use the bypass switch to constantly compare the equalized and non-equalized sounds. You don’t want to get into a situation where you boost the treble a lot, which makes the bass seems thin so you boost that, which then makes the midrange seem weak so you boost that, and so on until everything is turned up to 11 (good for Spinal Tap; bad for more successful musicians). Always use the minimum amount of equalization necessary. Just a few dB of change can make a big difference to the sound.

Better lead guitar tone for a better mix. Adding a bit of a peak around 3 to 4 kHz using EQ Parametric or EQ Graphic really makes a guitar solo stand out. Since that’s above the range of the toms, bass, and most rhythm-oriented keyboard parts, there’s little interference with these instruments. So, the guitar comes through loud and clear, but doesn’t step on anything else.

Equalizing rhythm guitar for better vocal support. Suppose you’re playing a rhythmic guitar part behind a vocalist, but as the guitar and voice occupy a similar frequency range, they conflict. The solution: Pull back on the guitar’s midrange somewhat to make room for the vocal frequencies. You can then mix the guitar higher in level, yet still not get in the way of the vocals.

Eliminating hum. A parametric equalizer is an excellent way to reduce hum. Simply set the equalizer for maximum cut and narrowest bandwidth, then dial in 60Hz (50Hz in Europe; you’ll know you’re at the right frequency because the hum will disappear). However, if the hum generates harmonics, you’ll need additional stages to notch those out as well.

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Making distortion more responsive. Putting EQ before distortion can make an instrument seem more “touch-sensitive.” This is because distortion usually affects all frequencies more or less equally. By gently boosting the midrange over a fairly broad range (e.g., 200Hz to 1kHz) prior to distortion, the notes you play in this range will distort at lower levels, which makes the distortion seem more responsive.

Fixing dead spots on bass. Basses (and guitars) sometimes have “dead spots” on the neck that don’t quite seem to have the same power as the other notes; this is a job for parametric equalization. Turn the volume down on your amp, turn the boost and bandwidth controls up full, and play the dead note repeatedly while sweeping the parametric’s frequency control. When the parametric hits the right frequency, the note will jump out (in a possibly obnoxious fashion, which is why you should turn down the amp first). Once the frequency control is set properly, reduce the amount of boost until the dead note is the same level as the other notes. If the note sounds too “peaky,” reduce the bandwidth control as well.

Emphasizing and/or differentiating instruments. Finding and cutting specific frequencies can eliminate “fighting” between competing instruments. For example, suppose you’re mixing two rhythm guitar parts with resonant peaks around the same frequency. When playing together they really emphasize that part of the frequency spectrum, which makes them difficult to differentiate. Here’s a way to work around this:

• Find, then reduce, the peak on one of the instruments. To do this, set a parametric EQ for lots of boost (10-12 dB) and fairly narrow bandwidth (around a quarter-octave or so). As the instrument plays, slowly sweep the frequency control. Any peaks will jump out due to the boosting and narrow bandwidth; some peaks may even distort. Find the loudest peak, and cut at that frequency until the peak falls into balance with the rest of the instrument sound. You may need to widen the bandwidth a bit if the peak is broad.

• Note the amount of cut and bandwidth that was applied to reduce the peak.

• Using the second stage of EQ Parametric, apply a roughly equal and opposite boost at either a slightly higher or slightly lower frequency than the natural peak.

Both instruments will now sound more articulated, and because each peaks in a different part of the spectrum, they will tend not to interfere with each other.

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13 Volume

13.1 Volume Pedal

This simple volume control can cut or boost level going into, or coming out of, a �omponent.

ParametersThe Slider changes volume from all the way down (extreme left) to all the way up (extreme right). This is an ideal �omponent for the RIG KONTROL footpedal, or other MIDI controllers.

Volume acts as a master volume control. It sets the maximum attainable level when the slider is full up.


Min Volume sets the lowest volume when the slider is full left, as you may not want the volume to be all the way down but at a soft level.

Half Volume sets the volume at the slider’s halfway point. Editing this can help give pedals a more comfortable “feel.”

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13.2 Limiter

A limiter is similar to a compressor, as it changes dynamic range. However, while a compressor makes soft parts louder and loud parts softer to even out the dynamics, a limiter acts like a governor on a motor: It won’t let audio exceed a certain limit, but also doesn’t affect signals below that limit. A limiter is ideal for cutting down on peaks to create a “hotter” sound, but without losing softer dynamics.

ParametersVolume sets the output level.

Limit sets the level input signals cannot exceed. �ounterclockwise lowers this level.

Hold sets a minimum time that limiting will be applied when the signal exceeds the Limit threshold.

Release determines how long it takes for the limiter to return to its normal state after the signal is no longer being limited. Longer release times usually sound somewhat smoother, but if there are noticeable volume fluctuations, try shortening it (lower release value).

Limiter TipsTaming filters. If a filter setting is very resonant and produces peaks that distort subsequent stages, tame those peaks with limiting. This also works with modulation effects that use high amounts of feedback.

Increasing average level. Add this at the very beginning of the chain, right after the input, and clamp strong peaks with the limiter. This will let you send more signal through the various �omponents and obtain a higher average level.

Using with vocals. Limiters are used a lot with vocals to prevent overloading if the singer gets too close to the mic.

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13.3 Noise Gate

A noise gate helps remove noise and hiss, but can also be used as a special effect. Although there is a simple gate built into the Input module, the Noise Gate �omponent is more sophisticated and offers more parameters.

To understand the principle of operation, suppose your guitar is picking up an electrical buzz. As long as you’re playing, the signal will generally be higher than the buzz and “mask” it. However, when the audio goes away, the noise is no longer masked and can be audible.

A noise gate does the equivalent of turning down the volume when there’s only noise present, then turning the volume back up when you’re playing. Its Threshold control sets the “dividing line” between what’s considered noise and what is considered signal. Setting the threshold just above the noise level insures that the noise will be muted when no signal is present.

ParametersThreshold determines the reference level above which the gate opens, and below which the gate closes. Setting Threshold very low (counterclockwise) accommodates signals with little noise; higher threshold levels are useful for special effects, such as removing substantial amounts of a string’s decay to make a more percussive or gated sound.

Hold sets a minimum amount of time that the gate stays open. With high threshold, this prevents the gating effect from being too percussive.

Attack works in reverse. When a signal exceeds the threshold, the noise gate fades in over a specified period of time. With long attack times, it’s possible to simulate “backwards tape” effects.

Release prevents the gate from closing down abruptly. Instead, when the signal goes under the threshold, the noise gate fades out according to the release time.

Learn automatically sets an optimum threshold. Without playing your guitar, click on Learn. GUITAR RIG 2 analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the Gate should open.

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13.4 Noise Reduction

T h e Noise Reduction �omponent affects the signal similarly to a noise gate, but has a less abrupt action because it filters out noise below a certain threshold rather than relying solely on amplitude. It is very simple to adjust.

ParametersStart with Threshold fully counter-clockwise (no reduction). Turn it clockwise until when the input signal has faded out, any noise fades out as well.

For automated threshold settings, without playing your guitar, click on Learn. The Noise Reduction component analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the noise reduction filter will open up and allow you to hear your playing.


Release determines how long it takes for the filter to close down after the input signal goes away.

De-Hiss, when turned clockwise, accentuates the effect of the filtering to reduce more treble frequencies.

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13.5 Stomp Compressor

The Stomp �ompressor provides a different type of compression action compared to the Tube �ompressor, but follows the same basic principle of operation: It evens out dynamic range variations by amplifying soft signals to make them louder, and attenuating loud signals to make them softer. Most would characterize the sound as being “tighter” and perhaps somewhat cleaner than the Tube �ompressor.

ParametersThe Stomp �ompressor has several parameters that interact (i.e., after adjusting one parameter you may need to go back and tweak a different parameter).

Volume sets the overall output level. Think of it as a master volume control.

Sustain determines how much the compressor level will be boosted as the string decays. Turning this clockwise increases the apparent sustain, but note that this can also amplify other low-level signals, like noise and hum coming into the pickups.

The Meter between the two controls mentioned above shows how much the gain is being reduced by the compression action.


Attack sets the time it takes for the compressor to react to input level changes. A longer attack time “lets through” more of a signal’s original dynamics before the compression begins. For example, to retain the pick noise in a compressed guitar sound, add a bit of attack time.

Release determines how long it takes for the compressor to return to its normal state after the input goes under the threshold. With short release times, the compressor tracks even very slight level changes. This can produce a “choppy” sound; turn up the release time to smooth things out.

Threshold sets the level above which signals will be compressed. A lower threshold = more compression = greater sustain. If the signal drops below the threshold, the compressor leaves the signal alone until it exceeds the threshold again.

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13.6 Tube Compressor

A compressor evens out dynamic range variations by amplifying soft signals to make them louder, and attenuating loud signals to make them softer. It’s as if an invisible hand was turning up the volume during soft passages, then turning it down during the peaks. This gives a more controlled sound with narrower dynamic range, a higher average level, and more sustain.

ParametersThe Tube �ompressor has several parameters that interact (i.e., after adjusting one parameter you may need to go back and tweak a different parameter).

Input sets the level going to the compressor. Increasing the input causes a signal to be more likely to exceed the threshold, and therefore be compressed. However, turning this up too high can lead to distortion.

Threshold sets the level above which signals will be compressed. A lower threshold = more compression = greater sustain. If the signal drops below the threshold, the compressor leaves the signal alone until it exceeds the threshold again.

Ratio selects how the output signal changes in relation to the input signal once the input signal exceeds the threshold. The higher the ratio, the greater the amount of compression, and the more “squeezed” the sound.

Attack sets the time it takes for the compressor to react to input level changes. A longer attack time “lets through” more of a signal’s original dynamics before the compression begins. For example, to retain the pick noise in a compressed guitar sound, add a bit of attack time.

Release determines how long it takes for the compressor to return to its normal state after the input goes under the threshold. With short release times, the compressor tracks even very slight level changes. This can produce a “choppy” sound; turn up the release time to smooth things out.

Gain allows compensating for output level changes caused by the compression process. Set this so that the peaks of your playing are the same when the compressor is bypassed or active. Note that the compressed sound will appear

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louder, even if the peaks are the same – that’s what compression is all about, bringing up the signal’s average level.


Saturation adds an element of distortion to the tube characteristics.

Knee changes the compressor response from soft knee (gentler compression effect) to hard knee (more squeezed, harder-sounding compression)

Dynamic determines the dynamic response of the “tube.” Turning this clockwise flattens dynamics a bit.

Compressor Tips• Minimizing noise. Do not overcompress, as this makes for a thin,

unnatural sound. Use the bypass switch to compare the compressed and non-compressed sounds; you may find that even a little bit of compression gives the desired effect.

• Optimum signal chain placement. Place the compressor toward the beginning so that it doesn’t bring up the noise from previous stages. Although the effects in GUITAR RIG 2 don’t create noise themselves, ones with high gain (such as distortion) can amplify noise already present in your guitar.

• Using compression to increase sustain. Remember that compressors are not miracle workers. They cannot make your guitar’s strings vibrate any longer, but can only increase the apparent sustain. A compressor cannot compensate for dead strings or for guitars with poor sustain characteristics.

• Smoother distortion sound. Add compression before distortion for a smoother sound with more sustain.

• “Mystery” compression increases. If it seems like there’s been a sudden increase in compression but you didn’t increase the compression amount, then the input signal going to the compressor may have increased.

• Compressing lead guitar but not compressing rhythm. You can take advantage of the fact that increasing the input level increases compression when you want a sustaining lead but an uncompressed rhythm sound. Turn up your guitar’s volume control for leads, and turn back down for rhythm. As the guitar signal drops below the threshold, the compression will either go away, or have much less of an effect.

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14 Reverbs and Delays

14.1 Spring Reverb

This is the classic reverb effect found in older amps, before the advent of solid-state reverb units. But this time, there’s no noise or hum.

ParametersReverb adds the reverb effect into the mix, from full dry (counterclockwise) to 50-50 (middle) to all reverb (clockwise).

Time sets the reverb decay time. Turn clockwise to increase decay.

Bass sets the low-frequency response characteristics. Turn clockwise for a bassier sound, counterclockwise for less bass.

Input Mute shuts off the signal going to the Spring Reverb’s reverb section, but lets any dry signal pass through. This is great for creating reverb “splashe”: �ontrol input mute with a footswitch, and leave the input muted. When you want to splash a note with reverb, disable the input mute while you play the note, then mute the input again. The note you played while input mute was disabled will continue to reverberate – but no subsequent notes you play will be reverberated.

Note that because no signal is allowed into the reverb section when Input Mute is on, you will hear nothing if the Reverb control is set fully clockwise (“wet”).


Spring Length adjusts the length of the virtual spring. Spring reverbs varied in length, with the shorter versions producing a tighter, more metallic effect, and longer springs giving a more diffused sound with a longer decay.

High Damp, when turned clockwise, reduces highs as the reverb decays. Turning it counterclockwise leaves the highs intact during the decay.

Low Damp, when turned clockwise, reduces lows as the reverb decays. A counterclockwise setting leaves the lows intact during the decay.

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14.2 Studio Reverb

The Studio Reverb provides a natural-sounding emulation of halls and rooms.

ParametersMix determines the balance of dry and reverberated sound, from full dry (counterclockwise) to 50-50 (middle) to all reverb (clockwise).

Time sets the reverb decay time. Turn clockwise to increase decay.

Room Size determines the cubic volume of the virtual room. Turn clockwise for a large concert hall, counterclockwise for a small auditorium or room.

Input Mute shuts off the signal going to the Studio Reverb’s reverb section, but lets any dry signal pass through. This is great for creating reverb “splashe”: �ontrol input mute with a footswitch, and leave the input muted. When you want to splash a note with reverb, disable the input mute while you play the note, then mute the input again. The note you played while input mute was disabled will continue to reverberate – but no subsequent notes you play will be reverberated.

Note that because no signal is allowed into the reverb section when Input Mute is on, you will hear nothing if the Mix control is set fully clockwise (“wet”).


High Damp, when turned clockwise, reduces highs as the reverb decays. Turning it counterclockwise leaves the highs intact during the decay.

Low Damp, when turned clockwise, reduces lows as the reverb decays. A counterclockwise setting leaves the lows intact during the decay.

Character changes the reverb’s timbre. Adjust according to your personal preference.

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14.3 Quad Delay

The Delay module takes the input signal and plays it back through four taps, each delayed by a certain amount of time. The output can be fed back to the input, thus producing a series of echoes, and mixed with the straight signal

ParametersDry/Wet determines the balance of the delayed (wet) and straight (dry) signals; you rarely want to hear the sound of the delayed signal by itself. With longer echoes, the amount of delayed sound will depend on how “murky” a sound you want: increasing the amount of delayed sound gives a swimming-in-echo effect, while adding in only a little delayed sound provides more of an ambience effect.

Time sets the amount of delay time (i.e., the time interval between the straight sound and the appearance of the echo).

Feedback determines how much of the output feeds back into the input. Minimum feedback gives a single echo; increasing this makes the echoes repeat.

Rate sets the modulation frequency. A slower rate produces a slow, gradual detuning that gives a majestic, rolling chorusing or pseudo-flanging sound. Faster rates produce a more “bubbly” effect.

Depth determines how much the modulation section varies the delay time. With longer delays, adding a little bit of modulation can give chorus-like sounds, but too much modulation will cause detuning effects. Note that the rate parameter interacts with the depth parameter because the total amount of pitch change depends not just on the amount of pitch change, but also on the rate. For example, combining full depth with a fast rate setting can sound out of tune, whereas the same amount of depth coupled with a slow rate sounds just fine.

Tap Time allows setting the delay rhythm by clicking on the Tap Time button. The Quad Delay measures the time between clicks, and uses this to derive the tempo; it will also average the time between multiple “taps.”

98 – GUITAR RIG 2

Input Mute shuts off the signal going to the Quad Delay’s delay section, but lets any dry signal pass through. One application would be to control this function with a footswitch; when you hit the footswitch, any existing echoes would continue until they faded out, but no new signals would be fed into the Psychedelay, so there would be no new echoes.

Note that because no signal is allowed into the delay section when Input Mute is on, you will hear nothing if the Dry/Wet control is set fully clockwise (“wet”).


Sync synchronizes the delay time to the host tempo so that delays follow the rhythm of a song. In standalone mode, the delay time syncs to the Metronome tempo.

Invert changes the phase of the delayed signal, so that different frequencies cancel when mixing the delayed signal in with the dry signal. The result is particularly noticeable in Flanger-like effects involving short delays.

Sync Delays, when on, insures that the delay tap times have a regular pattern (for rhythmic delays), and the modulation LFOs are in phase for a “hard” sound. When off, the delay tap times are irregular (for reverb-like delay) and the LFOs are free-running, which produces a “lusher” sound.

Diffusion spreads out the delay tap times for the four delay lines that make up the effect.

Bass adjusts a high pass filter; turn clockwise to reduce low frequencies.

Treble adjusts a low pass filter. Turn counterclockwise to reduce high frequencies.

GUITAR RIG 2 – 99

14.4 Psychedelay

This true stereo delay (both ins and outs are stereo) creates sounds that range from standard echo/ambient sounds, to reverse-based effects that recall the “backwards tape” sounds of the 1960s.

ParametersDry/wet sets the balance of straight and delay sounds. �ounterclockwise is dry sound only; turning clockwise adds more delay effect.

Time adjust the initial delay time, from 10 ms to 2000 ms. This parameter is also influenced by the Stereo: Time control in expert mode. Note that very short delay times give complex, ring modulation-type tones.

Reverse plays back subsequent echoes in reverse, like the reverse tape sounds commonly heard on many albums from 60s (especially Jimi Hendrix).

Detune detunes echoes up to ±50 cents. �ombining this with feedback causes successive echoes to have ever-increasing amounts of detuning.

Feedback determines how much of the output feeds back into the input. Minimum feedback gives a single echo; increasing this parameter produces repeating echoes. As noted above under “Detune,” Feedback interacts with the Detune parameter.

Tap sets the delay rhythm as you click on the Tap Time button. This function measures the time between clicks, and uses this value to derive the tempo; it will also average the time between multiple “taps.”

Input Mute shuts off the signal going to the Psychedelay’s delay section, but lets any dry signal pass through. One application would be to control this function with a footswitch; when you hit the footswitch, any existing echoes would continue until they faded out, but no new signals would be fed into the Psychedelay, so there would be no new echoes.

Note that because no signal is allowed into the delay section when Input Mute is on, you will hear nothing if the Dry/Wet control is set fully clockwise (“wet”).

100 – GUITAR RIG 2

�lick on the (+) symbol to reveal expert mode, which has parameters that turn the Psychedelay into a stereo effects box. You’ll find the following options.

Pitch adds a more extreme amount of detuning by transposing the echo in semitones, from –12 to +12. It interacts with the feedback control in the same way as Detune (i.e., each successive echo will be transposed an additional amount upward or downward, as set by the Pitch value).

Stereo: Time, when turned clockwise, creates stereo echo effects. At 1.00, the delay time is set solely by the main Time parameter. Settings of less than 1.00 place echoes in the stereo field, with the number indicating division (e.g., a setting of 0.50 means that the extra echoes will happen at half the time of the main delay setting).

Reverse causes these additional delays to play back in reverse, like the main delays when the main reverse button is enabled.

Detune allows the main Detune parameter to affect the added stereo echoes as well.

Cross creates feedback paths that cross between the two channels – right feeds back into the left channel, and left feeds back into the right channel. This creates a more complex, polyrhythmic type of echo effect.

Sync synchronizes the delay time to the host tempo so that it follows the song’s rhythm. In standalone mode, the delay time syncs to the Metronome tempo.

For some amazing effects, on the main panel set a fairly short Delay Time (e.g., 200 ms), Detune to +50 cents, and Feedback to maximum. In the expert section, set Stereo Time fully clockwise (0.50), detune to On, and �ross up full. Hit a note, and it will stretch upward and then decay…very cool.

GUITAR RIG 2 – 101

15 Tools

15.1 Loop Machine

The Loop Machine allows recording, playing back, and overdubbing multiple layers of sound. The loops can be synchronized with the host, or to the metronome tempo in stand-alone mode. Furthermore, individual layers, or the mix of all layers, can be exported as WAV files.

As a practical example, you could record four measures of rhythm guitar, then overdub a lead, then a harmony, some rhythmic slides, etc.

ParametersWhen nothing has been recorded into the Loop Machine, the Play Button (arrow symbol) has a red outline. Pressing the Play button has different functions depending on the Loop Machine status.

• Press once to start the recording. The button glows red.

• Press again to stop recording and begin loop playback. The button glows green.

• Press again to enter overdub mode (the button glows yellow). Existing material plays back, but you can record over this. When the loop repeats, you can continue overdubbing.

From this point on, pressing the Play button toggles between Play and Overdub modes. Each time you do this creates another layer (the Layers indicator shows how many layers have been recorded). It’s convenient to be able to go into Play mode to practice your part for the next loop, then return to Overdub mode.

Press the Stop Button (X symbol) once to stop the loop from playing. The button will have a red outline for a few seconds; if you click again while the red is showing, all layers will be erased. Note: While the Loop Machine is stopped, you can double-click on the Stop button to erase the various layers.


The Beat Button enables a flashing indicator on the beat.

The Progress Meter shows the current time within the loop. Loop Time shows the total loop time, while Rec Time shows the current time within the loop.

Rec Vol adjusts the level feeding the Loop Machine.

Play Vol adjusts the Loop Machine playback level.

Undo deletes the current layer. You can press Undo repeatedly to delete layers, starting from the most recent.

Redo restores the most recently-deleted layer. Note: Although you can Undo multiple layers, you can Redo only to the most recently undone layer.

The Load button (folder icon) calls up Loop Machine files, which have a .ls suffix. These consist of the audio files and all settings for a particular loop.

The Save button (floppy disk icon) saves Loop Machine files, which have a .ls suffix and consist of the audio files and all settings for a particular loop.

Exp Mix exports the entire collection of loops as a single mixed WAV file.

Exp Lay exports the current loop as a WAV file.


Autostart causes recording to begin when the Loop Machine detects that you have started playing.

Overdub Multiply allows recording a longer loop over a shorter loop.

Reverse plays back the layers in reverse mode, like 60s-type “backwards tape” effects.

Rec Pan places the recorded signal in the stereo field. Thus, one overdub could go in the right channel, and another overdub in the left channel.

Sync has two different purposes that depend on whether Loop Machine is synching to a host, or to the metronome.

• Synching to host: The Loop Machine starts, stops, and rewinds in sync with the host.

• Synching to metronome: This quantizes the loop length to the beat, even if you stop recording slightly before or after the beat.

Loop A/B toggles between two loops recorded previously.


15.2 Split

This device splits the signal path in two directions, thus allowing parallel effects. For more information on series and parallel effects (as well as optimal placement of effects), see Appendix �, “Tips on �reating Your Own Rig.”

Creating a SplitTo create one split (Split “A”), drag the desired �omponent(s) in between the Split A and Split B sections.

To create the second split (Split “B”), drag the desired �omponent(s) in between the Split B and Split Mix sections.

Here’s what a particular split looks like in GUITAR RIG 2. Split A feeds the Skreamer, Equalizer Shelving, and Ensemble �omponents. Split B feeds the Distortion and Wahwah �omponents.


This diagram shows the split’s actual signal flow.

ParametersCrossfade determines the mix between the A and B split. When fully left, you’ll hear only the A split. When fully right, you’ll hear only the B split.

Pan is separate for each split, and determines where the split will appear in the stereo field. Example: If A is panned left, B is panned right, and �rossfade is set to the center, you’ll hear only the A split from the left channel and only the B split from the right channel. If you now pan A to the right, you’ll hear both splits out of the right channel, and nothing from the left channel.

Stereo Input L/R Split allows processing each stereo channel separately. This is particularly useful if you play with two guitars through GUITAR RIG 2 and want two different sounds. Using this option with a �hapman Stick can be interesting as well, as it enables you to process the high and low strings with different effects.

The +/- switch varies the polarity (also called “phase”) of the B split.

Split TipsThe Split module is extremely powerful:

• Because you can drag multiple �omponents into a split, it’s possible to have parallel strings of series effects.

• You can use more than one Split �omponent in a rig, and place �omponents inbetween them. Therefore, you can split a signal into two paths and use crossfade to adjust the balance of the two splits.


This total sound can then be processed by additional effects, before going to another split.

• You can even put a split inside another split to get more than two parallel signal chains.

15.3 Crossover Mix

This device is similar to the Split Mix, in that it splits the signal path in two directions, thus allowing parallel effects. However, in this case, you can set a dividing line (“crossover point”) in the frequency response, and send lower frequencies to one split and higher frequencies to the other split. (For more information on series and parallel effects, see Appendix �, “Tips on �reating Your Own Rig.”)

Creating the Low and High Frequency SplitsDrag �omponents that will process the low frequencies between the Low and High sections, and drag components that will process the high frequencies between the High and �rossover Mix sections.

Note that you can even put a �rossover Mix inside another �rossover Mix. Thus, you can split the signal into two frequency bands, then split those frequency bands into two more frequency bands (e.g., split the low ito low and lower mid, and the high into upper mid and highs).

The following example shows a setup that splits the guitar’s low frequencies into an equalizer, and the highs through the Ensemble and Quad Delay effects. This gives a shimmering, echoey effect on higher notes, but the lower notes have a more solid, direct sound.


The following diagram shows the equivalent signal flow.

ParametersFrequency sets the crossover point frequency, where signals are divided between the Low and High splits.

Crossfade determines the mix between the Low and High splits. When fully left, you’ll hear only the Low split. When fully right, you’ll hear only the High split.

Pan is separate for each split, and determines where the split will appear in the stereo field. Example: If Low is panned left, High is panned right, and �rossfade is set to the center, you’ll hear only the Low split from the left channel and only the High split from the right channel. If you now pan the Low split to the right, you’ll hear both splits out of the right channel, and nothing from the left channel.

The +/- switch varies the polarity (also called “phase”) of the High split.


16 Modifiers

16.1 About Modifiers

You already know about the concept of a modifier (also called a modulator); for example, you can modify a �omponent’s parameter with the Guitar Rig foot pedal, or modify amplitude with the tremolo’s periodic waveform. In both cases, there is a modulation source that generates a control signal; this affects a particular parameter, called the modulation target.

The modifier modules included with Guitar Rig take the concept of real-time parameter value modification to another level, as they can modify multiple parameters simultaneously, and tailor the amount of modulation to each parameter.

Once you insert a Modifier into the rack, you can assign its control signal to almost any �omponent parameter to it. There are two ways to do this. The simplest is to simply click on the Modifier’s “Assign” button and drag it on top of the parameter you want to modify. A hand cursor will confirm the parameter is eligible for modifier control.

The second method is ideal if you have a lot of �omponents inserted in the rack, and the parameter you want to control is located far from the Modifier �omponent.

1. Right-click on the parameter you want to assign.

2. Place the cursor over Modifiers.

3. Move the desired Modifier slider to either add the modulation signal to the parameter value (positive percentage) or subtract the modulation from the parameter value (negative percentage).

Several modulation sources are available even with no Modifier modules inserted into the rack. These are:

• Input Trigger – This generates a constant-level modulation signal based on a note’s initial input transient. When you play a note, the level goes to full on. Stop the note, and the level returns to full off.

• RIG KONTROL Pedal – The pedal generates a signal whose level depends on the pedal position.

• RIG KONTROL Switches (1-4) – Each of these produces a signal that alternates between full off an full on.


In the following screen shot, the Wah Wah pedal parameter has been right-clicked to reveal the available modifiers. The amount of Amp Follower modulation is being adjusted to 38.8%.

An additional consideration is that each Modifier lists the targets that the Modifier signal feeds (the drop-down “targets” menu). These also have level controls that duplicate the level controls at the parameters themselves. If you change the parameter slider value, the level shown in the modifier’s target list will reflect those changes, and vice-versa.

In this example, the LFO signal is being sent to the Parametric EQ: Volume, Distortion: Tone, and Wahwah Pedal: Pedal parameters.

Why is it necessary to adjust the amount of modulation in two separate places? It actually isn’t necessary, but it can be convenient. Sometimes you want to check out the parameters in a �omponent to see how they’re


assigned; sometimes it’s more convenient to see all the targets being fed from a particular modifier.

Finally, note the blue meter above the Targets drop-down menu. This gives a visual representation of the modulation signal.

16.2 LFO

LFO stands for Low Frequency Oscillator – a periodic waveform that occurs at a subsonic rate. An LFO is at the heart of tremolo circuits; the low frequency varies amplitude to create a pulsing effect.

ParametersRate sets the LFO frequency, from 0.01Hz to 10.24Hz. The frequency can also sync to tempo, as described next.

Tempo Sync, when enabled (“pushed in”), synchronizes the LFO rate to a rhythmic value. Moving the Rate control displays the rhythm. The slowest rhythm is 48 beats per cycle (32 dotted measures), while the fastest is a dotted 32nd note.

Waveform (chosen by the two arrows to the right of the display) provides a graphic display of the LFO’s shape. Options are Sine, Triangle, Square, Sawtooth, and Random.

Polarity flips the waveform’s polarity.

Play restarts the LFO from a specific point, as determined by the Start Phase control (described next). To “auto trigger” the LFO so that it restarts when you hit a note, click on the small Auto button above the Play button so that it turns blue. This enables auto-trigger.

Start Phase sets the restart point. At 0 degrees (center position), clicking on Trigger causes the LFO waveform to start from a 0 (neither positive nor negative) value and go positive. Turning clockwise to 90 degrees causes the waveform to start from its peak (full positive value) and go negative. With the control set to 180 degrees (fully clockwise), the waveform starts at 0 and goes negative.


Turning counterclockwise to –90 degrees causes the waveform to start from the full negative value and go positive, while turning counterclockwise all the way to –180 degrees causes the waveform to start from 0 and go negative.

LFO Tips • Input Trigger is a useful modulation source for the Trigger parameter;

or use one of the RIG KONTROL footswitches.

• A Random LFO waveform, applied to a Speed or Rate control (e.g., �horus/Flanger Speed, Stoned Phaser Rate) can add a more humanized, less periodic effect.

• If you want to modulate two targets in opposite directions, using the same waveform at the same rate, you don’t need to use two LFOs. Just set a positive modulation amount on one target and a negative amount on the other target.

16.3 Envelope

The envelope generates an arbitrary control shape over time. This is a Rate/Level type of envelope, where you specify levels, and the times that it takes to get from one level to the next. Levels are specified by inserting breakpoints [also called nodes] along a line, then moving the breakpoints up or down to change levels, and left or right to change times. This �omponent has an extremely useful graphic display, where you make most of the envelope adjustments.

Editing the Envelope Shape A default envelope includes four breakpoints. To add a breakpoint, right-click (Mac: ctrl-click) anywhere along the envelope curve where you want a breakpoint to appear. To remove a breakpoint, right-click (Mac: ctrl-click) on it. Note that the first and last breakpoints move up and down together, because the envelope always starts from where it ended.


Again referring to the default envelope, the left-most breakpoint is where the envelope starts. The next two breakpoints fall on two vertical lines. These indicate the segment where the envelope reaches the “sustain” level, marked by the horizontal blue line; however, note that if the Loop option is enabled, this segment will repeat for as long as a Trigger signal is present.

If there are three or more breakpoints (other than the start and end), the sustain/loop segment can be shifted by clicking on a vertical blue line and dragging it to the next breakpoint.

When the trigger returns to zero, the envelope continues with the segment after the second vertical line.

Dragging the small circle between breakpoints can change the line’s shape between the breakpoints from concave, to straight, to convex.

The Envelope Parameter StripThe envelope parameter strip above the envelope provides a variety of useful data. Except as noted, clicking on a numerical and dragging up or down edits the value; the numericals also update automatically if you move the breakpoint.

At the left of the strip, # shows two numbers. The first field is the index number of the breakpoint or stage being edited. You can change this by clicking on the numerical and dragging. The second field is the total number of envelope breakpoints. This is for display only and cannot be edited.

Mode has two options, SLIDE and FIXED. In Slide mode, if you move a breakpoint left or right, the envelope to the right of the breakpoint moves as well to maintain the same times and levels past the breakpoint being edited. In Fixed mode, the total envelope time doesn’t change. Moving a breakpoint to the right not only lengthens its distance compared to the breakpoint to its left, but shortens the distance compared to the breakpoint at its right.

Abs. Time shows the amount of time in seconds from the start of the envelope to the breakpoint being edited.

Delta Time shows the amount of time in seconds from the breakpoint being edited to the breakpoint at its immediate left.

Level shows the breakpoint level referenced to the center line.

Slope shows the state of the line between breakpoints. 0.5 indicates a straight line. 0.999 indicates a maximally convex curve. 0.001 indicates a maximally concave curve. The numericals for Delta time, Level and Slope can be edited by using the mouse (click and move up or down).


Envelope Ruler and ZoomThe ruler below the envelope is calibrated in seconds. If the envelope extends past the envelope’s visible range, click on the ruler and drag to the left or right to see a different range of the ruler. Double-click on the ruler to fit the envelope exactly within the visible part of the ruler.

To change the ruler range and zoom in on the envelope for more precise adjustments, click on the (+) symbol in the lower right. To zoom out, click on the (-) symbol. This not only changes the display, but also sets the quantization time for the Tempo Sync function (described later).

Other Envelope ParametersPlay starts the envelope from its beginning. To “auto trigger” the envelope so that it starts when you hit a note, click on the small Auto button above the Play button so that it turns blue. This enables auto-trigger.

With Release disabled, a trigger of any duration causes the envelope to play through all the way to the end. When it’s enabled, the envelope will proceed through its stages as long as a trigger signal is present (e.g., by clicking on and holding the Trigger button). If the trigger goes away, the envelope jumps immediately to the third node from the left and continues from there.

Loop, when enabled (“pushed in”), repeats the curve between the two loop points. If Release is off, the looping continues until another trigger occurs, which then restarts the envelope. If Release is on, looping continues for as long as the trigger signal is present. When the trigger signal goes away, the envelope jumps immediately to the third node from the left and continues from there.

Enabling Sync superimposes a grid on the envelope display that corresponds to rhythmic values, such as quarter notes, eighth notes, 16th notes, etc. Breakpoints can be snapped to these points. The quantization value depends on the current zoom factor; when Sync is enabled, the ruler markings will be calibrated in rhythmic values instead of seconds.

If the incoming tempo information changes, the envelope times are re-computed to match the current song tempo. Example: If the envelope loop is set to a 1 beat duration, it will remain 1 beat long even if the tempo changes. Enabling Tempo Sync does not change breakpoint positions in existing envelopes. However, you can edit an existing envelope by moving the breakpoints so that they snap to the nearest quantization value.


Note: Not all VST host software supplies tempo information to plug-in instruments, so this feature may not work with your host software. In standalone mode, GUITAR RIG 2 does respond to MIDI clock signals.

16.4 Step Sequencer

The Step Sequencer generates up to 16 sequential trigger signals, which can have rhythmic values of quarter notes to 1/32nd notes. Note that you cannot vary the level of these steps; they are triggers that are intended to create chopping/rhythmic effects that sync to the rhythm.

Activating a StepTo turn on a step so that it provides a trigger, click on the desired step (1-16). It turns from gray to blue to indicate that it’s producing a trigger.

Assigning the Step Sequencer to a Parameter1. �lick on the Assign button, and drag it to the target parameter (e.g.,

Pro Filter cutoff).

2. �lick on the Targets downward-pointing arrow to reveal a drop-down menu. A slider will appear for the Step Sequencer and for the target parameter.

3. Adjust the Step Sequencer slider for the desired step level.

4. Adjust the target parameter slider for the desired effect on the target.

It may seem that having two sliders is redundant. However, if you are feeding multiple parameters from the step sequencer, you will almost certainly want to be able to adjust each target parameter independently. Furthermore, the Step Sequencer provides a sort of “master control” if you want to vary the step level going to all targets simultaneously.


ParametersResolution sets the rhythmic value of each of the 16 steps. Available options are 1/4, 1/8, 1/16, and 1/32 notes.

Enable Legato to tie adjacent steps to each other, thus creating longer steps.


Width sets the amount of time the step reaches its assigned value. When fully clockwise, the width equals the resolution (e.g., if Resolution is set to 1/8, then the step stays at its assigned value for an eighth note). When set to its midpoint (50%), the width equals half the resolution (e.g., if Resolution is set to 1/8, then the step stays at its assigned value for a sixteenth note).

Attack adds a “glide” time (from 4 to 1233ms) from the start of a step up to the step’s maximum value. See the diagram below.

Decay causes the control signal to fade out after the step ends over a range of 4 to 2197ms. See the diagram below.

Offset increases all control signal values as the control is turned more clockwise.


16.5 Analog Sequencer

The Analog Sequencer generates 16 sequential control signals, which can have rhythmic values of quarter notes to 1/32nd notes. You can change the value of each “step” to create a complex, rhythmically-related control signal.

Setting Step LevelsTo set a step’s level:

1.Move one of the 16 faders up- or downwards from its initial position.

2.A step is turned on if its position differs from the initial zero position in the middle.

3.A fader turned upwards will apply a positive value to the assigned target.

4.A fader turned downwards will apply a negative value to the assigned target.

ParametersResolution sets the rhythmic value of each of the 16 steps. Available options are 1/4, 1/8, 1/16, and 1/32 notes.

With the Slide parameter you adjust the Glissando, the continuous sliding from one value of a step to the next.


16.6 Input Level Modifier

The Input Level Modifier generates a control signal based on the input level at GUITAR RIG 2. This is commonly called an “envelope follower” as the signal tracks changes in the guitar or bass amplitude envelope.

ParametersVolume adjusts the overall control signal output. This affects the level of the signal feeding all assigned parameters.

Offset varies the control signal’s “baseline.” For example, normally the control signal covers a range from –1 to +1, with 0 as the midpoint. When Offset is at minimum, the baseline is -1. When Offset is at maximum, the baseline is 0. No higher baseline than 0 is possible.

Attack adds a “glide” time (from 1 to 978ms) between when the control signal receives an input change, and when the control signal reaches that actual value. Sometimes, too abrupt an attack can create a “pop” when the control signal first kicks in; increasing Attack can soften this effect.

Decay causes the control signal to take anywhere from 10 to 9863ms to fall back to its initial setting in the absence of an input signal.

Input Level Tips The most common application for envelope control is filters; this is already built in to the AutoFilter �omponent. However, envelope control has many other uses.

• Set some attack and decay time to create a “spongier” response, and control chorus or ensemble Speed or Rate. This varies the rate so it doesn’t sound quite so regular.

• Use the Input Level modifier to control panning, so that the position of the signal in the stereo field changes depending on the signal level.

• Note that you can apply the Modifier’s signal to the Modifier’s parameters, or parameters in other Modifiers. For example, you can assign Input Level to the Input Level Attack control. With a positive modulation amount, stronger input signals increase the attack time. With a negative modulation amount, stronger input signals decrease the attack time.

• If you really want to drive your audience crazy, apply the Input Level signal to the Pitch Pedal’s Pedal parameter.


17 Control via RIG KONTROL / MIDI

17.1 The Virtual RIG KONTROL

When you show the RIG KONTROL graphic (using the RIG KONTROL show/hide button in the �ontrol �enter), the graphic emulates the functions of the RIG KONTROL – you can click on the footswitches, and move the pedal by clicking on it and dragging. When the graphic is showing, you can also hide it by clicking on the small (-) button above the pedal.

17.2 Calibrating RIG KONTROL 2

Unlike RIG KONTROL 1, RIG KONTROL 2 calibrates itself automatically. However, if you experience any problems with pedal calibration, simply press “Reset Pedal �alibration” in the Global menu.


17.3 Assigning Parameters to MIDI Controllers

GUITAR RIG 2 makes it very easy to assign a parameter to the RIG KONTROL pedal or a MIDI continuous controller.

• Right-click on the parameter to be linked to a controller.


• Move the controller you want to use to control the parameter. This controller can be the RIG KONTROL expression pedal, or a controller from an external fader box or other MIDI controller.

• GUITAR RIG 2 will analyze the incoming signal, and assign the parameter to that controller.

Notes• If you later assign that same controller to a different parameter, the original

assignment will be removed in favor of the newer assignment.

• If you already assigned that controller in the �ontroller page in the Left Frame view, it will be deassigned in favor of the new assignment.

Control multiple ParametersIf you want to control multiple parameters with the same controller:

• Right-click on the parameter you want to assign.

• Place the cursor over Modifiers.

• Move the desired controller slider to assign the controller to this parameter.


17.4 Assigning Parameters to MIDI Notes

In addition to responding to continuous controllers, GUITAR RIG 2 can also respond to MIDI notes. This is an obvious control choice for parameters with two states (e.g., on/off) as “note up” means off and “note down” means on. However, notes can also be used with controls where key up selects the control’s minimum value, and key down selects the maximum value.

• Right-click on the parameter to be linked to a MIDI controller.


• Play the note you want to use to control the parameter, or hit a switch on the RIG KONTROL.

• GUITAR RIG 2 will analyze the incoming signal, and assign the parameter to that note or switch.

17.5 MIDI Synchronization

GUITAR RIG 2 also responds to MIDI sync (tempo) messages. Example: If a drum machine’s MIDI out sends MIDI clock signals to GUITAR RIG 2’s MIDI in, and GUITAR RIG 2 is in standalone mode, syncable parameters (such as delay time or tremolo rate) will sync to the incoming MIDI timing signals.

You don’t have to do anything to make this happen, it’s an automatic process.


18 Interfacing Guitar Rig with Other GearThe RIG KONTROL 2 is a multi-purpose device that provides:

• Input impedance buffering to preserve the guitar’s sound quality

• Gain control to match the instrument level to Guitar Rig or other host software

• Analog to Digital converter to convert the guitar’s analog signal to a digital signal compatible with computers

• USB 2 interface to shuttle digital audio to and from the computer and associated software running on it

• Digital to Analog converter to convert digital data coming from the computer into audio

• Standard 1/4” (6.3mm) phone jacks for input and output connections

• MIDI In and Out connectors

• Volume pedal controller and footswitches

In terms of audio, RIG KONTROL is compatible with a large number of amplification scenarios. Following are some typical options.

Powered monitor speakers: The RIG KONTROL outputs can drive powered monitor signals directly. Turn down the monitor volume controls before hooking up any cables, and turn up volume slowly to avoid excessively loud sounds as you optimize volume levels.

Project studio mixer: The RIG KONTROL outputs should feed the mixer’s line, not mic, inputs. If only mic inputs are available, you may need to switch the mixer’s –20dB pad into position. It may also be necessary to switch the RIG KONTROL output high/low switch to –14dB.

Pro studio mixer: Same as above, except the high/low switch must be set to the high (0) position for the best signal-to-noise ratio.

Standard guitar amp: With a standard guitar amp, GUITAR RIG 2 can be used as a highly sophisticated pedal board. First, make sure that the rear panel high/low switch is set to –14dB. You may also need to lower the GUITAR RIG 2 output level control to avoid excessive overloading of the amp…then again, using higher level to overload the amp may provide an extra degree of overload you find pleasing.

As the amp already has a cabinet, you will probably not want to include a cabinet. A power amp may also be redundant, unless you want to use it as an added effect.


Standard guitar amp with effects loop: The effects loop for most amps is designed to accommodate line-level (as opposed to guitar-level) signals. In this case, connect the loop send jacks to the RIG KONTROL inputs, and send the RIG KONTROL outputs to the loop return (receive) jacks. As the signal coming into GUITAR RIG 2 will be fairly strong, the input gain control(s) will likely need to be set to small amounts of gain. Adjust GUITAR RIG 2’s output so that the power amp that follows the loop return jacks is not overloaded. You may need to set the rear panel high/low switch to low (-14dB).

Keyboard amp: These are actually ideal for use with GUITAR RIG 2, as they are designed to give an uncolored, high-fidelity sound. Thus, you can use GUITAR RIG 2 to add different cabinets, power amps, and effects, and the keyboard amp will reproduce these sounds faithfully. Keyboard amps are designed to accept fairly high-level signals, so you will probably need to set the output level fairly high, and the high/low switch to high (0).

Headphones: Simply plug headphones into the RIG KONTROL 2 headphone jack.

Home stereo system: Home stereo speakers are generally not designed to handle sustained high-level sounds, so if you do want to plug into a stereo system, keep the volume at conservative levels. Plug the RIG KONTROL outputs into line level inputs like those for a �D or DVD player, tuner, tape deck, etc. (not the phono input, if present). You will need special cables with a 1/4” plug on one end and R�A phono plug on the other.


19 Using GUITAR RIG 2 with a Host ProgramAlthough GUITAR RIG 2 works just fine in standalone mode, its power is multiplied when used with a multitrack host program like Pro Tools, �ubase, Sonar, Digital Performer, Logic, etc. Part of this is because GUITAR RIG 2 allows you to change the fundamental sound of your guitar part at any time, right up until the final mixdown, through a process called “virtual re-amping.” First, though, let’s discuss how to insert it into a track.

19.1 Installing GUITAR RIG 2 as an Effect

Although some programs let you install GUITAR RIG 2 as an instrument because it works with both audio and MIDI, you will want to install it as a signal processing plug-in.

For example, with Sonar, GUITAR RIG 2 is classified as a DXi instrument because it works with audio but also accepts MIDI and tempo information. However, do not use the Insert DXi Synth option to insert GUITAR RIG 2. Instead, treat it like a signal processor:

19.2 About Re-Amping

In the early days of recording, once you recorded a guitar part there was little you could do to modify the basic sound other than add processing during mixdown. Then people got the idea to record just the straight guitar sound on tape, and on playback, send this through a variety of amps and cabinets to find the perfect sound. This process is commonly called “re-amping.”

Low-latency sound cards, sophisticated hard disk recording software, and plug-ins have made re-amping possible in our “virtual” world. But it’s much easier than re-amping with hardware – for starters, you don’t have to string any cables around, or set up mics.

The basic procedure is to insert GUITAR RIG 2 as a plug-in, and monitor your playing through the plug-in (which is why low sound card latency is important – you don’t want to hear a delay while you’re playing). This way you can hear the sound of the amp and other processors as you play.

But note that the program will record your straight guitar sound – the one hitting the sound card input before GUITAR RIG 2 processes it. Therefore, to re-amp, all you need to do is try different amps and processors within GUITAR RIG 2 while the track plays back. For example, if you thought the


Plex was the right sound for a track but then find that the Twang Reverb would have been a better choice, you don’t have to re-record with a different amp; just change the amp in GUITAR RIG 2.

19.3 Avoid Zero-Latency Options!

Remember, as mentioned earlier, to avoid zero-latency (“direct monitoring”) options or you won’t hear your guitar being processed by GUITAR RIG 2.

19.4 Total Recall

When using GUITAR RIG 2 with a host program, when you save a host’s project, it captures whatever is in GUITAR RIG 2’s buffer. So, if you have modified a Preset compared to how it is in the Bank, no problem — when you recall the project, the Preset will be recalled exactly as you left it.

19.5 Typical Examples

Here are some examples of how to record through hosts so you can hear your playing though the plug-in, as well as record your guitar if desired.

Playing Live Through Cubase SX• �reate an audio track.

• Go Devices VST Connections and make sure the input(s) being fed by the guitar are enabled.

• �lick on the track’s Record and Monitor (Speaker icon) buttons so that the track is record-ready and in monitor mode.

• You have a choice of several monitoring modes; go File Preferences then click on VST. Click on the arrow in the Auto Monitoring field. Tapemachine Style is generally best, as this automatically enables input monitoring while stopped and recording, but monitors the recorded track on playback. After making your selection, click on OK.

• Play your guitar and check the track’s meter to verify that it’s receiving the input source.

• Open up the track’s VST �hannel Settings window by clicking on the “e” button.


• Add GUITAR RIG 2 as an Insert Effect.

• You should now hear your input source being processed by GUITAR RIG 2. If you start recording, �ubase will record the unprocessed input source.

Playing Live Through Sonar• Make sure there is no feedback loop from the host output back to the

input. Until you know everything is working properly, keep your monitor speaker volume low.

• Plug your guitar into the RIG KONTROL input.

• Plug the RIG KONTROL output into your computer’s audio interface as described previously.

• In Sonar, go Audio Options Drivers, and make sure the driver for the hardware input you want to use is enabled.

• �hoose the track into which you want to record. Right-click on its FX field and go DXi Synth NATIVE INSTRUMENTS GUITAR RIG 2.

• Enable recording on the GUITAR RIG 2 audio track, and make sure the appropriate hardware input is selected in the track’s I (Input) field.

• Turn on the Input Echo function (in the Track view, click on the button to the right of the Record button). It will glow green and you should hear your input source.

• Enable the GUITAR RIG 2 audio track’s Record button, and go!


20 Automating Plug-In ParametersAutomation techniques for various sequencer hosts depends on the host; refer to its documentation for details. However, your basic automation options will likely be as follows:

• Recording signals from NATIVE INSTRUMENTS RIG KONTROL into one channel of the host’s stereo track containing GUITAR RIG 2, which on playback, varies parameters within GUITAR RIG 2

• �reating and editing automation envelopes within the host

• Manipulating GUITAR RIG 2 controls in real time, and recording the movements as envelopes or other automation data

• �ontrolling GUITAR RIG 2 parameters via MIDI, and recording the MIDI data in a MIDI track that plays back through GUITAR RIG 2.

A Typical Automation ApplicationIn the following example, we will show how to automate GUITAR RIG 2 within �akewalk’s Sonar. However, even if you don’t have Sonar, the same principles apply to most other hosts. The reason for choosing Sonar is that it accommodates all four automation methods mentioned above, so you can likely translate the procedure into something that works for your host program of choice. We’ll also discuss VST automation techniques.

Sonar Automation OptionsTo create and edit automation envelopes:

• Right-click on the track into which GUITAR RIG 2 is inserted, and go Envelopes Create Track Envelope and click on GuitarRig.


• A dialog box appears that lists all controllable parameters in GUITAR RIG 2. �heck the boxes for parameters that should have envelopes, then click on OK.

• Envelopes will now appear within the track, which you can edit using

standard techniques: Double-click to create a breakpoint, click on a breakpoint and drag to change its value or position, etc.


To record GUITAR RIG 2 knob movements as envelopes:

• Right-click on the label “GUITAR RIG 2” that appears in the FX field, and select Arm Parameter.

• A dialog box appears that lists all controllable parameters in

GUITAR RIG 2. �heck the boxes for parameters you want to automate by moving their controls, then click on OK.


• �lick on the Record Automation icon, and move the onscreen GUITAR RIG 2 controls you want to automate.

• When you stop recording automation, envelopes will appear in the

track view that correspond to the knob movements you made. They will move the GUITAR RIG 2 knobs on playback, and can be edited using standard envelope editing techniques.

To control GUITAR RIG 2 via MIDI and record the MIDI data:

• Assuming you have created a MIDI track, assigned its output to GUITAR RIG 2, and assigned one or more GUITAR RIG 2 parameters to an external MIDI control, enable Recording on the MIDI track.

• �lick on the Transport Record button.

• Move your MIDI controller knobs/faders as desired. This will be recorded as data in the MIDI track.

• On playback, this data plays back into GUITAR RIG 2.

VST AutomationMost VST automation (e.g., in �ubase) involves clicking on GUITAR RIG 2’s W(write) button, clicking on Play in the transport, then moving the on-screen controls you want to automate.

On playback, unclick W(rite) and click on R(ead). The knob movements will play back.

�ontrol changes will also be represented as editable envelopes. To access an envelope you’ve created, open an Automation Subtrack, click on the Envelope field, and select the envelope you want to edit.

Automation can also be done via MIDI, as described above for Sonar.


Appendix A: Optimizing System ResponseYour guitar will be playing through a computer, and any computer-based audio system has some delay between the audio input and output. Even the most powerful computer can only do a certain number of calculations per second; signal processing demands a lot from a processor, so it’s important to minimize any computer-based delays.

Fortunately, three main factors make delays virtually insignificant, assuming you have a suitable computer setup (see System Requirements).

• Today’s multi-GigaHertz computers are so fast they dramatically reduce latency.

• Many sound cards and audio interfaces include drivers optimized for low latency.

• GUITAR RIG 2’s software, despite its superb sound quality, is written very efficiently.

Use Low-Latency Drivers

Drivers are pieces of code that handle communications between your computer and audio interface, whether built into a computer or attached via USB or FireWire. The more efficiently they transfer data between audio interface and computer, the lower the latency.

GUITAR RIG 2 works with two low-latency driver types:

• ASIO (Advanced Streaming Input Output). This cross-platform protocol was originally developed by Steinberg.

• �ore Audio (Mac only). This low-latency protocol was created by Apple for the Macintosh, starting with OS X.

If your audio interface does not support one of these protocols, you will likely hear an audible delay if you play through GUITAR RIG 2. Although GUITAR RIG 2 can work with the DirectSound and MME drivers used with Windows machines, it will not make for a satisfying playing experience.

Following is a list of sound cards that NATIVE INSTRUMENTS recommends for use with GUITAR RIG 2 if you are not using the integrated USB 2 audio device in the RIG KONTROL 2. For more recommendations, see www.native-instruments.com

• �reamware PowerPulsar

• Echo Indigo I/O


• Frontier Design Dakota

• MOTU 828

• RME Hammerfall series

What About Direct Monitoring?

You may have heard about a sound card feature called “direct monitoring,” which reduces latency by sending the sound card’s audio input signal directly to its audio output. However, this bypasses the computer, which means it also bypasses GUITAR RIG 2’s processing. Make sure direct monitoring is turned off in your sound card’s control panel software.

A typical mixer applet, used with Terratec cards. Note the sliders for “Analog In” — they’re muted to make sure the input doesn’t feed to the output.

How Low Can You Go?

1.5 ms of latency approaches the theoretical minimum, because it will always take some time to convert analog to digital, then back to analog again at the output. However, note that ultra-low latency settings (or higher sampling rates) make your computer work harder, which may limit the number of �omponents you can add to GUITAR RIG 2 and still obtain audio that’s free of clicks, pops, or dropouts. So, here are some tips on living with latency.


About Samples and Buffers

Audio cannot be handled continuously by a computer, but has to wait its turn while other operations are being carried out. As a result, sound cards create a “buffer,” which can hold a certain number of samples, where data can be stored and released as needed to create a smooth flow of data. If there’s an interruption in the data flow for a little bit, no problem: There’s some reserve in the buffer. An analogy would be if you had a hose that didn’t deliver water continuously, but in bursts. So, you use a bucket to store the water from the hose, and release the water from the bucket as a smooth, continuous flow.

If the bucket (buffer) is large, then you can store more water in case the hose goes dry for a bit. But it will take longer to fill the bucket, which is equivalent to latency. A smaller bucket takes less time to fill, but the hose had better deliver water on a pretty continuous basis.

All ASIO audio interfaces and sound cards include a control panel where you can adjust latency. This may be given as the number of samples per buffer, as shown in the Terratec EWX control panel:

The Terratec EWX ASIO control panel lets you choose a particular number of samples/buffer. The display then shows the resulting latency. In this case, 256 samples/buffer has been selected, giving latency of just under 6 ms at 44.1kHz. Setting this to 128 samples/buffer will reduce the latency, but may stress out your computer more.

Some control panels simply show the latency that results from choosing a particular setting in milliseconds rather than showing samples/buffer.


�reamware’s ASIO control panel simply lets you choose the desired latency; buffers are adjusted “behind the scenes” within the �reamware Scope application (in this case, to 128 samples). The Device Setup panel in �ubase confirms the latency, which is about 4 ms, but doesn’t indicate the buffer size.

Warning: Different Types of ASIO

It’s extremely important to use the ASIO driver written for the card you’re using. There are also “generic” ASIO drivers, typically called (for Windows) “ASIO DirectX Full Duplex Driver” or “ASIO Multimedia Driver.” There will usually be a drop-down menu in the host program to choose the desired ASIO driver. You’ll know you’ve chosen the right one when there’s a dramatic decrease in latency.

With the generic ASIO Multimedia Driver selected, the output latency is a totally unacceptable 749 ms – almost one second! By choosing ASIO Scope (the driver written for the sound card used in this example), the latency shrinks to 4 ms.


Tips on Minimizing Latency

• Set latency to the highest comfortable value. 256 samples/buffer is very responsive yet gives your computer some “breathing room.” 512 samples may also be acceptable, anything more will create too much delay. If you can’t get reliable audio with 512 samples, it’s time for a better computer!

• If your ASIO Control Panel shows latency in milliseconds, you’ll find that anything over 10 ms or so gives an audible delay. 5 ms is a good compromise between speed and minimum stress to your computer.

• Download your sound card’s latest drivers from the manufacturer’s web site. This can make a huge difference in performance.

• If you are recording in a host application and using software synthesizers, use your program’s “freeze” function (if available) to disconnect some synths from the �PU. Or, render a soft synth’s output as a hard disk audio track (then remove the soft synth), as audio tracks are less taxing on the computer. Hint: If you retain the MIDI track driving the soft synth, which places virtually no stress on your �PU, you can always edit the part later by re-inserting the soft synth.

• Sometimes there are two latency adjustments: A �ontrol Panel for the sound card sets a minimum amount of latency, and the host can increase from this value if needed. Or, the host may “lock” to the control panel setting.


Appendix B: About MIDIMany musicians think that MIDI (Musical Instrument Digital Interface) is just for keyboard players; but guitarists can use MIDI to control multieffects, and in the process, sculpt a unique and fresh sound.

The complete MIDI spec is fairly “deep” and complex. Fortunately for MIDIphobes, there are only a few parts of the spec that relate to multieffects control, so there’s not really that much to learn. Let’s start with MIDI basics.

MIDI Basics

A MIDI system requires something that sends MIDI messages (such as a footpedal or footswitch that says “make the instrument louder,” “select this effect,” “add more echo,” etc.) and something that receives these messages and acts on them, like GUITAR RIG 2. Of course, this assumes your computer has a MIDI input so that GUITAR RIG 2 can receive MIDI messages.

Stripped to its basics, you can think of MIDI as a catch-all name for the process of sending control messages from one device (e.g., a footswitch) to another device (e.g., GUITAR RIG 2) over a MIDI cable. Host sequencers also use MIDI data to provide automation for GUITAR RIG 2 when it’s serving as a plug-in.

There are many different kinds of MIDI messages, most of which relate to keyboards, sequencers, drum machines, lighting controllers, tape recorders, and other gear we can ignore. With GUITAR RIG 2, 99% of the time you need to know about only two kinds of MIDI messages: program changes (which call up different Presets) and continuous controller messages (which alter effects parameters in real time).

Note that RIG KONTROL does not use MIDI messages to trigger changes or control parameters, but rather a unique audio control method as described earlier. MIDI is applicable only if you want to use MIDI controllers made by other companies.

MIDI Connections

Your computer’s sound card probably has a MIDI in jack (receives MIDI message) and MIDI out jack that transmits MIDI messages. There may also be a MIDI thru jack, which provides a duplicate of the signal at the MIDI in jack.


About Program Changes and Bank Select

To understand program changes, take a trip with me down memory lane to the mid-70s, when disco ruled, synthesizers were not yet programmable, and guitar effects were starting to progress beyond funny little boxes that ate batteries and burped noise. Guitarists discovered early on that the hippest control on any signal processor was the in/out footswitch because it allowed you to bring an effect in as needed (distortion is wonderful, but not all the time).

As more boxes were introduced—compressors, phase shifters, echo units, wa-was, etc.—musicians started connecting all these boxes together with patch cords. And that’s where the trouble began: if you wanted to bring in multiple effects simultaneously, you had to hit a bunch of footswitches at once. Fancy tap dancing became the order of the day.

When the MIDI spec was drawn up, provisions were made for 128 MIDI program change messages. This is why many signal processors offer 128 programs, and why each GUITAR RIG 2 Bank can store up to 128 Presets. As usual, people wanted more – so an addition to the MIDI spec, Bank Select messages, can select up to 16,384 GUITAR RIG 2 Banks of 128 programs for a grand total of over 2,000,000 programs (that should hold you for a while).

About Continuous Controllers

�hanging from one program to another is a good start, but sometimes you’d like to vary a particular parameter within an individual program (delay feedback, filter frequency, distortion drive, etc.). A wahwah sound is a good example of changing a particular parameter (filter frequency) in real time.

When you call up a program’s parameter, you usually change its value by turning a knob. The idea of continuous controllers came about because synthesizers and effects have pedals, knobs, levers, and other physical “controllers” that alter some aspect of the sound over a continuous range of values (this is why they’re called continuous controllers, as opposed to a controller such as an on-off switch, which only selects between two possible values).

Unlike a program change, which is a single event, continuous controllers generate a series of events, such as a volume fade-in (each event raises the volume a bit more than the previous event), or change in some other parameter (e.g., increasing chorus depth, or altering the wahwah filter frequency).

Like program changes, continuous controller messages are transmitted over a MIDI output and received by a MIDI input. The transmitter usually digitizes


the physical controller motion into 128 discrete values (0-127). For example, pulling the controller’s pedal all the way back generates a value of 0. Pushing down on the pedal increases the value until at midpoint, the pedal generates a value of 64. �ontinuing to push on the pedal until it’s all the way down generates a value of 127.

Note that continuous controller transmitters only send messages reflecting a change; for example, leaving a pedal in one position doesn’t transmit any messages until you change the pedal’s physical position.

Continous Controller NumbersMIDI “tags” each continuous controller message with an ID from 0 to 127. Therefore, you can control up to 127 GUITAR RIG 2 parameters, although in practice, it’s unlikely you could keep track of that many parameter assignments, let alone use them constructively.

When controlling a signal processor via continuous controllers, the basic idea is to assign a particular signal processor parameter (delay, modulation rate, distortion drive, etc.) to a particular continuous controller number. With GUITAR RIG 2, this is particularly easy thanks to the Learn function.

At the receiving end, the parameter being controlled changes in response to incoming message values. For example, if you’re controlling Delay Feedback and it receives a value of 0, feedback is at minimum. When it receives a value of 64, the feedback is halfway up and upon receiving a value of 127, the feedback is up all the way.


Appendix C: Tips on Creating Your Own RIGOne of the best aspects of GUITAR RIG 2 is you have the freedom to rearrange the various �omponents in any way you like. This section gives some guidelines on which effects should follow or precede other effects in the signal chain.

Series and Parallel Effects

There are two main ways of hooking effects together. With a series connection of effects, the effects string together serially, one after another. Effect 1’s output plugs into effect 2’s input, effect 2’s output plugs into effect 3’s input, and so on.

A parallel effects combination uses the Split �omponent to split the signal into the inputs of effects 1 and 2. Mixing the outputs of the two effects gives the combined (paralleled) sound of these effects; the Split �omponent’s �rossfade parameter adjusts the proportion of the two splits.

Another variation is the series/parallel effects combination, where you include multiple �omponents connected in series within a parallel Split. The example given earlier in the section on the Split �omponent illustrates this well.

Placing Components in the Right Order

Series, parallel, and series/parallel configurations represent an almost unlimited way of connecting effects together for a customized sound. In fact, maybe the possibilities are just too great, because people are often confused about topics such as whether compression should go before or after distortion, which effects work best in parallel, whether a noise gate should go earlier or later in the signal chain, and so on.

Actually, there is no one “right” routing, although there are certainly common ones. Different combinations of different effects make different sounds, so experiment! That’s why GUITAR RIG 2 gives you all these cool toys.

Nonetheless, it’s a good idea to at least establish a recommended point of departure. We’ll start off with some general rules, then discuss series combinations of effects, and finally investigate parallel effects combinations.


The All-Important First Effect

For many instruments, compression or distortion are generally good choices for the first effect. A compressor increases sustain, which gives a “punchier” signal for subsequent stages. Also, a compressor is a unique kind of effect since if it’s not overcompressed, the effect is fairly subtle and can be left in the signal chain at all times.

However, note that if you’re using Oktaver, it wants to be the first effect. This is because it needs a clean, single-note line, and adding effects prior to Oktaver can work against this.

Series Effects Combinations

When determining an order for effects, start off by considering a series effects chain as consisting of three subsections that occur in this order:

• Modules that alter dynamic range (compression, limiting) and/or synthesize frequencies (e.g., distortion, Oktaver).

• Equalization (tone controls) to further shape the sound. This will usually include speaker cabinets.

• Time-altering devices (delay, chorus, reverb, etc.) to add ambience and animation

In addition, you may want to close out the chain with additional equalization to give an overall tonal tweaking, a noise gate to cut out noise, a speaker cabinet if one was not already included in the chain, and/or a limiter to reduce peaks.

The order in which effects occur can make a huge difference to the overall sound. For example, distortion before equalization sounds very different compared to equalization before distortion. Here are some specific examples of what to expect when you connect two effects in series.

• Compressor before distortion With guitar, this increases sustain and gives a more consistent distortion timbre.

• Distortion before compressor tends to be a bit noisy but provides a somewhat “gentler” sound compared to compressor before distortion.

• Equalization before distortion. This can make distortion seem more “touch-sensitive” by causing boosted frequencies to distort more readily than non-boosted ones. Also, as distortion synthesizes harmonics, the overall sound may be too bright. Pulling back on the highs before feeding the distortion can help control this.


• Distortion before equalization. In this combination, the equalization tailors the timbre of the distorted sound. In general, placing equalization both before and after distortion gives the most flexibility.

• Distortion before delay gives a clear echo sound.

• Delay before distortion gives a dirty echo sound since the echoes “melt” together when distorted.

• Echo before noise gate. The noise-gating action will also cut out some of the low-level echoes, which may not be desirable. Patching the noise gate before echo gives a more natural echo sound.

• Distortion before flanger or chorus. Flangers and choruses give the most intense effect when they’re fed a signal with lots of harmonics (overtones). Distortion delivers a harmonically rich sound that accents the flanging or chorusing effect.

• Flanger or chorus before distortion. Lots of distortion may mask the subtlety of the flanger or chorus effect. In fact, with extreme amounts of distortion, it may seem as if there is little, if any, flanger or chorus effect.

• Reverb before equalization. Boosting lower frequencies gives a larger, more “distant” reverb sound. Boosting higher frequencies gives more presence, resulting in a subjectively closer reverb sound.

• Reverb before chorus unit. Following reverb with light chorusing can impart a shimmering, full sound.

As an example of how to apply this, suppose you want a flexible, general purpose effects algorithm for power-chord rhythm guitar. Here’s one possibility:

Tube �ompressor » EQ Parametric » Plex » �abinet & Mic » �horus/ Flanger » Noise Gate » Studio Reverb

The compressor adds sustain, and the EQ/distortion/amp+cabinet combination allows for a very precise tailoring of the distorted sound. The chorus helps diffuse the overall sound somewhat; the noise gate cuts out any low level noise, and the reverb “smoothes over” choppiness contributed by the noise gate as well as provides ambience.


Parallel EffectsParallel effects combinations can provide a greater degree of subtlety than series combinations. As one example, putting bass through a chorus and then a wahwah will give a thin sound because the wahwah removes the bass “bottom.” Placing the wahwah in parallel with the chorused signal adds the filtered effect to the chorused bass sound (which doesn’t remove the low end).

Parallel effects chains are also a good way to create a stereo image, as one leg of the chain can provide one channel and the other leg, the other channel. For example, suppose you feed a guitar into two graphic equalizer �omponents connected in parallel. If you set bands 1, 3, 5, and 7 to maximum and bands 2, 4, 6, and 8 to minimum in one channel, and do the reverse for the other channel (bands 1, 3, 5, and 7 to minimum with bands 2, 4, 6, and 8 to maximum), you’ll create an interesting type of stereo spread.


Appenidx D: About Ground LoopsWhat was that buzz? That strange hum? The digital hash from your computer that’s showing up in your guitar pickup? You may be a victim of ground loops, which can occur easily when using multiple A�-powered devices. But before we can solve the problem, we need to understand what causes it.

A ground loop means there is more than one ground path available to a device. For example one path goes from device A to ground via the A� power cord’s ground terminal, but A also sees a path to ground through the shielded cable and A� ground of device B which is connected to A. Because ground wires have some resistance (the electronic equivalent of friction), there can be a voltage difference between the two ground lines, thus causing small amounts of current to flow through ground. This signal may get induced into the hot conductor. The loop can also act like an antenna for hum and radio frequencies. Furthermore, many �omponents in a circuit connect to ground. If that ground is “dirty,” this noise might get picked up by the circuit. Ground loops cause the most problems with high-gain devices, since massive amplification of even a couple millivolts of noise (as often happens when using high-gain distortion) can be objectionable.

There are two main fixes: break the loop by interrupting the audio ground, or break the loop by interrupting the A� ground line. The preferred method depends on the nature of the problem, so let’s look at various options.

A Non-Solution: Ground LiftersSome musicians who are unconcerned about leading a long and productive life simply “lift” the A� ground by plugging a 3-wire cord into a 3-to-2 adapter. However, this is definitely not recommended since it eliminates the safety protection afforded by a grounded chassis. Rather then spend time explaining why you shouldn’t do this, just don’t do it, okay?

Solution #1: The Single Plug TheoryMany ground loop problems can be solved by plugging all equipment into the same grounded A� source, which attaches all ground leads to a single ground point (for example, a barrier strip that feeds an A� outlet through a short cord). However, it is important to make sure that the A� source is not overloaded and is properly rated to handle the gear plugged into it.


Solution #2: The Broken Shield EffectA solution for some stubborn ground loop problems is to isolate the piece of gear causing the problem, and disconnect the ground lead (shield) at one end only of one or more of the audio patch cords between it and other devices. The inner conductor is still protected from hum by a shield connected to ground, yet there’s no completed ground path between the two devices except for A� ground.

If you make your own cables, it’s worth wiring up a few special ground loop-buster cords with a disconnected shield at one end. Mark them plainly; if used as conventional cords, you’ll encounter hum, loss of level, and other problems.

Solution #3: Audio Isolation TransformerUsing a 1:1 audio isolation transformer is much more elegant than simply breaking the shield, but accomplishes the same thing: interrupt the ground connection while carrying the signal. Although a cord with a broken shield is less expensive, the transformer offers some advantages. If needed, you can change impedance or levels simultaneously by choosing a transformer with different impedances for the primary and secondary windings (e.g., use the transformer to boost the level of a device with a fairly low output; this gives less noise than turning up the mixer’s preamp gain).

Solution #4: AC Isolation TransformerMany times, you can also break a loop by removing the direct connection from a piece of gear to A� ground. This doesn’t always work because the ground loop may not involve the A� line but various ground-to-ground connections; however, loops involving the A� line generally seem to be more problematic and common. Breaking audio is a simpler, lower power solution (that can also minimize computer-generated “hash”), but an A� isolation transformer provides ancillary benefits. In short, an AC isolation transformer can clean up the A� line, reduce spikes and transients, and provide performance almost equal to that of a separate A� line.

So which is better, breaking the audio connection or the A� connection? It depends. If you have a lot of microprocessor-controlled gear and less than ideal A�, adding isolation transformers can solve various A�-related problems and get rid of ground loops. If you just have a simple ground loop problem, then patching in audio isolation transformers may be all you need.


Index

AAbout Modifiers ...................... 107Abs. Time ...............................111Accel ................................. 72, 73Activating a Step ..................... 113Amp ........................................ 65Amps ....................................... 42Arranging ................................. 42ASIO ..................................... 132Assign ................................... 113Assigning the Step Sequencer to a Parameter 113Attack .... 82, 90, 92, 93, 114, 116AutoFilter ................................. 82Automating Plug-In Parameters 125Automation ............................ 125Autostart ................................ 102

BB4 .......................................... 72Balance ................................... 72Balls ........................................ 60Banks ...................................... 21Basics ..................................... 16Bass ..........46, 49, 51, 52, 53, 55, .................56, 58, 59, 60, 61, 62, ................. 63, 64, 65, 69, 95, 98Bass VT ................................... 56Beat Button ........................... 102Bias .................47, 50, 52, 54, 55Big Fuzz................................... 59Boost ................................ 64, 67Bottom ....................................64BPM ........................................ 34Bright .........49, 53, 56, 61, 64, 85Buffers .................................. 131

C�ab&Mic .................................. 65�abinets ..................................43�ab Tone ................................. 72�alibrating ..............................117�at .......................................... 60�ent mode ............................... 33�haracter ................................. 96�horus ..................................... 70�horus Intensity ........................ 69�lean ................................. 61, 65�olor ....................................... 71�olor Strength .......................... 71�ontinuous �ontrollers ..... 135, 136�ontrol �enter .......................... 13�ontroller ................................. 17�ross ..................................... 100�rossfade ....................... 104, 106�rossover Mix ......................... 105�ubase SX ............................. 123�utoff ................................ 73, 81

DDate ........................................ 29De-Hiss ................................... 91Decay ............................. 114, 116Delay ................................. 69, 75Delta Time ..............................111Demon Distortion ......................64Depth .......................... 53, 69, 97Detune ............................ 99, 100Diffusion .................................. 98Direct ...................................... 73Direct Monitoring .................... 130Distance .................................. 72


Distortion ............... 58, 60, 62, 63Down .......................................68Drag ........................................ 74Drag and Drop .......................... 25Drive ........................... 56, 61, 65Drivers ................................... 129Drop Tune ................................ 33Dry/Wet .......69, 71, 72, 74, 97, 99Dynamic .................................. 94

EEditing the Envelope Shape ...... 110Ensemble ................................. 69Envelope Parameter Strip ..........111Envelope Ruler and Zoom ........ 112EQ Graphic...............................80EQ Parametric .......................... 79EQ Shelving .............................. 78Exp Lay ................................. 102Exp Mix ................................. 102

FFast ......................................... 72Favorites .................................. 29Feedback ......................75, 97, 99Filter ................................. 60, 78Find ........................................ 29Fixed Rack �omponents ............ 30Flanger .................................... 70Foot �ontroller .......................... 10FP/BPF/HPF ............................. 82Freq1................................. 78, 79Freq2 ................................ 78, 79Freq Max .................................84Freq Mid ..................................83Freq Min ..................................83Frequency .............................. 106Fuzz ........................................58

GGain ............................ 56, 64, 93Gain1 ................................ 78, 79Gain2 ................................ 78, 79Gain Booster ............................ 67Graphic EQ............................... 56Graphic EQ Band Level .............. 57Graphic EQ Volume ................... 57Gratifier ...................................54Ground Loops ......................... 141

HHalf Volume .............................88High Damp ......................... 95, 96High Resolution ........................ 13Hold .................................. 89, 90Host Program ......................... 122Hot ......................................... 65Hum ........................................ 10

IInput ............................30, 31, 93Input Level Modifier ......... 115, 116Input Level Tips ...................... 116Input Mute ............. 95, 96, 98, 99Input Trigger ........................... 107Intensity ............................ 49, 68Interference ............................. 10Invert ................................ 71, 98

KKnee ....................................... 94

LLayout ..................................... 12Lead 800.................................53


Learn ..........................90, 91, 118Legato ................................... 114Level ......................................111LFO ....................................... 109LFO Tips ................................ 110LFP/BPF/HPF ........................... 81Limit ....................................... 89Limiter ..................................... 89Load ................................ 24, 102Loop ...................................... 112Loop A/B ............................... 102Looped Playback ....................... 36Loop Machine ......................... 101Loop Time .............................. 102Low-Latency ........................... 129Low Damp .......................... 95, 96LP-BP-HP ................................83

MMaster .....................................53Master Volume .......................... 32Max .........................................80Max Detune .............................. 74Max Shift ................................. 74Metronome ............................... 34metronome ............................... 11Mezone ....................................63MicPos .................................... 65Mics ........................................43Mid .................46, 49, 51, 52, 53,................ 55, 56, 62, 63, 64, 69Mid-Freq .................................. 56Mid-Q ......................................63Mid Freq ..................................63MIDI ............................... 117, 134MIDI �ontrol ............................. 41MIDI �ontrollers ...................... 118MIDI Notes ............................ 119MIDI Synchronization .............. 119

Min .........................................80Min Detune .............................. 74Min Shift ................................. 74Min Volume ..............................88Mix .......................................... 96Mod ........................................68Mode ................................69, 111

NNoise Gate ...............................90Noise Reduction ....................... 91Notches ................................... 71

OOct 1 ....................................... 73Oct 2 ....................................... 73Offset ....................... 83, 114, 116Oktaver .................................... 73Other Envelope Parameters ...... 112Output ..................................... 32overdrive ..................................58Overdub Multiply ..................... 102

PPan ..........................72, 104, 106Parameters .................... 104, 106, .............................. 109, 114, 116Phaser ..................................... 71pickups .................................... 10Pitch ................................37, 100Pitch Pedal .............................. 74Play ................................109, 112Play Button ............................ 101Play Vol ................................. 102Plexi ........................................ 51Plug-in ....................................... 9Polarity .................................. 109


Power ......................................40Power Supply .... 47, 50, 51, 53, 55Pre-Amp ..................................53Preferences .............................. 15Presence ................ 46, 51, 53, 55Presets .............................. 19, 21Preset Volume .......................... 32Pro-Filter ................................. 81Progress Meter ....................... 102Properties ................................ 28

QQ1 .......................................... 79Q2 .......................................... 79Quad Delay .............................. 97Quick ....................................... 29

RRack �ontrols ........................... 17Range ................................ 80, 82Rate .................53, 68, 69, 71, 97Ratio ....................................... 93Recording ................................ 37Rec Pan ................................. 102Rec Time ............................... 102Rec Vol .................................. 102Redo ..................................... 102Reference Pitch ........................ 33Refresh .................................... 24Release ....................... 83, 89, 90,........................... 91, 92, 93, 112Reset ....................................... 29Resizing ................................... 24Res Max ..................................84Res Mid ...................................84Res Min ...................................84Reso .............................73, 81, 82Resolution .......................114, 115

Response ..........47, 50, 52, 54, 55Reverb ............................... 49, 95Reverb On ................................ 49Reverb Size .............................. 50Reverb Time ............................. 50Reverse.....................99, 100, 102Room Size ................................ 96Rotate ..................................... 71Rotator .................................... 72

SSag .................. 47, 50, 51, 54, 55Samples ................................ 131Saturation ................................ 94Save ...................................... 102Scoop ......................................64Search ..................................... 29Search Result ........................... 29Sens ........................................ 82Shortcuts ................................. 27Signal Flow .............................. 39Size ......................................... 85Skreamer ................................. 61Slide...................................... 115Slider ......................................83Slope ................................81, 111Slow ........................................ 72Sonar .............................124, 125Speed ...................................... 49Split ...................................... 103Split Tips ............................... 104Spread ..................................... 73Spring Length ........................... 95Spring Reverb ........................... 95Standalone ................................. 8Standard Playback .................... 36Start Phase ............................ 109Step Sequencer ...................... 113Stereo ...................................... 69


Stereo: Time ........................... 100Stereo Input L/R Split.............. 104Stereo Pan ...............................68Stomp �ompressor .................... 92Stoned Phaser .......................... 71Stop Button............................ 101Strobe mode ............................. 33Studio Reverb ........................... 96Sustain .............................. 59, 92Sweep Max............................... 71Sweep Min ............................... 71Sync ..... 34, 71, 98, 100, 102, 112Sync Delays .............................. 98

TTalkwah ................................... 85Tap .......................................... 99Tapedeck ................................. 11Tapedeck One ........................... 35Tapedeck Two ........................... 38Tap Time .................................. 97Templates .......................... 16, 21Tempo ..................................... 37Tempo Sync ..................... 68, 109Temp Sync ............................... 69Threshold ................90, 91, 92, 93Time .......................95, 96, 97, 99Tone .......................59, 60, 61, 62Total Recall ............................ 123TransAmp ................................ 65Transpose ................................ 37Treble ..............46, 49, 51, 52, 53, ..................... 55, 56, 58, 59, 60, ..................62, 63, 64, 65, 69, 98Treble Booster .......................... 66Tremolo ...................................68Tube �ompressor ...................... 93Tune ........................................ 37Tune Fork ................................. 33

Tuner ................................. 11, 33Twang Reverb ........................... 49Tweedman ................................46

UUltra Hi ................................... 56Ultra Lo ................................... 56Undo ..................................... 102Up ..........................................68Up/Down .................................. 82

VVariac ............... 47, 50, 51, 54, 55Vibrato/Off/�horus .....................53Vibrato On ................................ 49Volume ............46, 49, 51, 52, 56,...................... 58, 59, 60, 61, 62,..................... 63, 64, 65, 69, 85, ...........................88, 89, 92, 116Volume Max .............................84Volume Mid ..............................84Volume Min ..............................84Volume Pedal ...........................88

WWahwah ...................................83Waveform ............................... 109Wet .........................................83Width .............................. 68, 114

ZZero-Latency .......................... 123

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