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KONTROL EDITION
KONTROL EDITION
OPERATION MANUAL
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 or 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 Marc Schonbrun Editors: Jonathan DeRouchie, Andr Estermann Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.
Germany
NATIVE INSTRUMENTS GmbH Schlesische Str. 28 D-10997 Berlin Germany info@native-instruments.de www.native-instruments.de
USA
NATIVE INSTRUMENTS North America, Inc. 5631 Hollywood Boulevard Los Angeles, CA 90028 USA sales@native-instruments.com www.native-instruments.com
1. Introduction
1.1 Welcome
GUITAR RIG 3 will change the way you play and think about music. Say goodbye to complex, noisy, unreliable guitar pedal setups with cables that crackle and batteries that die in the middle of solos. GUITAR RIG 3 puts the worlds most sophisticated, flexible, and wonderful-sounding guitar setups into any modern laptop or desktop computer (Mac OS X or Windows XP). Take it to the studio, to the gig, or practice in your hotel roomthe possibilities are limitless. And thanks to the included RIG KONTROL 3 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 chords, and some way to hear what youre doing. Of course, none of this would be possible without the visionaries, inventors, and artisans whose dedication and hard work on guitar amps and effects over the decades have 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 integral source of inspiration in the design of this software. They have both our respect and gratitude, as without them, this software would not be possible. We are more than happy to state that imitation is indeed the sincerest form of flattery.
GUITAR RIG 3
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 youre looking for vintage blues timbres, modern rock grunge, or synthetic sounds for dance music, GUITAR RIG 3 will deliver the tone, punch, and crunch you crave. The NATIVE INSTRUMENTS GUITAR RIG 3 Team
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please make sure that you also choose to install the RIG KONTROL driver (KONTROL EDITION). This option has to be initiated during the last step of the installation process. (In this step, you should also install the Service Center if it is not already installed.)
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2. Getting started
Its time! You got the software and, you got the hardware (That new RIG KONTROL is crying "Step on me!"), now you want to start rocking out! Lets get you started with an overview of GUITAR RIG 3.
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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 3 audio inter face, NATIVE INSTRUMENTS advises you to use an audio interface or sound card designed specifically for audio applications. These are higher quality, and include drivers (software that transfers data from the audio interface to the computer) optimized for minimum delay. This will ensure that you have a much more pleasurable musical experience.
In standalone mode, simply choose the appropriate inputs and outputs by visiting the preferences screen to bring up your audio setup.
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GUITAR RIG 3 is inserted in Apple Logic to process a guitar track while being automated under host automation.
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2.5 Caution
Guitar pickups are very susceptible to hum, light dimmer hash, and the interference generated by computers and monitors. LCD monitors create less interference than CRT 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 3, always position your guitar so it picks up the least amount of interference. GUITAR RIG 3s Noise Reduction can help get rid of some interference, but it is not a substitute for orienting your guitar away from sources of interference. Also, as amazing as GUITAR RIG 3 is, it cannot compensate for problems at the guitar. For example, if you have dead strings, the Compressor will not magically make them sustain.
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The Live view button switches the interface to the new Live Mode, which is detailed in section 3.1..
3.1.2 Toolbar
The tooLbar in GUITAR RIG 3 is your one-stop-shop for controlling the most frequently used parts of GUITAR RIG. In the tooLbar, you can view and change Presets, Save them, as well as CoMpare various Presets while editing and even clear your whole rack with a single click. Its the TOOLBAR that you will also access the newly enhanced SynC settings.
The Toolbar
3.1.3 SideKick
The SideKiCK includes the remainder of GUITAR RIGs viewing options. Here, you can access the Sound browSer /Manager, which is where youll find, store, create, search and filter all of your sounds and Banks. The CoMponentS pooL contains all of the individual rack modules in GUITAR RIG 3. The optionS SCreen controls all of the RIG KONTROL, and external assignments for automation, and preferenCeS for setting up GUITAR RIG, such as window height, the location of its Bank storage and other program details.
The SideKick
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Alternately, you can use the keyboard shortcut F2 to hide and show it.
Nice Rack!
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fixed Components: tuner, MetronoMe, tapedeCK i and tapedeCK I|. You can remove CoMponentS from the rack by clicking the particular CoMponentS X button. Rearrange the rack by dragging selected CoMponentS into any order you choose.
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The
SoundS pane
GUITAR RIG 3 organizes these Presets together into Banks. Think of a Bank as a collection of Presets that you can create to keep your sounds in line. GUITAR RIG 3 ships with a generous amount of factory Presets and Banks, and you can easily create more as you see fit. Use Banks to save your edited sounds together or to create set-lists for your on-stage rigs.
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Bank categories are new in GUITAR RIG 3 and allow you to filter the Sound Banks based on categories. For example, rather than having to look at dozens of Banks, you can choose a filter to display your custom created Banks inside the My Sounds category. You can tag Banks with specific keywords (Guitar Amps, Bass Amps, Live, FX, etc) and filter your view on to the main Bank list. This helps to organize your sounds and avoid the congestive difficulties related to navigating a large Bank collection.
Bank Categories
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4. 5. 6. 7. 8.
EQ: Parametric EQ, Synth-style filters and Wah pedals. Vol: Volume, Compression, Limiting, Gates and Noise Suppression. Rev: Reverberant effects and Delays. Tools: Loop Machines, Splits and Crossover Mixes. MDF: A unique, synthesizer-style modulation framework; completely unique to guitar rig. Complete, detailed explanations about each of the Components in GUITAR RIG 3 can be found in sections 7 15.
3.2.1 Drop it
To add any of the CoMponentS from the CoMponent pooL into your rig, you just drag the CoMponent from the pooL and drop it in the raCK area. Use your mouse to reorder your Components for a completely flexible signal routing.
3.2.2 In Sync
Guitar Rig 3 now provides much greater flexibility in its synchronization options. You can now choose to sync to the host clock/external clock, store per-sound tempo settings, or have no sync at all.
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virtuaL rig KontroL is your dashboard for interfacing real world controls with your virtual rig. The virtuaL rig KontroL is a unifying theme throughout GUITAR RIG 3. No matter what controller you use, you can map it to the virtuaL rig KontroL interface. To make your life that much easier, the Templates and Snapshots will change the way you interface with your rig.
The virtuaL
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To make an assignment to the RIG KONTROL, the quickest way is to right click on the Components knob, button, or switch that you wish to map, right click (ctrl click on Mac), select Learn and then click the Button on the virtuaL rig KontroL and your control is now mapped!
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to look/sound, and map one of the buttons on the virtual RK to Snapshot for instant recall with a single Preset. You can setup multiple Snapshots within the same sound, making it easy to setup Snapshots for the verse, bridge, chorus, and solo of your song, all without changing Presets.
to alter the state of the multiple components within your currently selected rig with a single click.
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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/ (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 3 is compatible with a large number of amplification scenarios. Here are some typical options. Powered Monitor Speakers The RIG KONTROL 3's outputs can drive powered monitor signals directly. In order to prevent damage to the speakers, turn down the monitor volume controls before connecting any cables, and turn up the volume slowly to avoid excessively loud sounds as you optimize volume levels. Project Studio Mixer The RIG KONTROL 3's outputs should feed the mixers line, not mic, inputs. If only mic inputs are available, you may need to switch the mixers 20db pad into position. It may also be necessary to switch the RIG KONTROL output high/low switch to 1db.
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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, the GUITAR RIG 3 system can be used as a highly sophisticated pedal board. First, make sure that the rear panel high/low switch is set to 1dB. You may also need to lower the RIG KONTROL 3's output LeveL ControL to avoid excessive overloading of the amp then again, using a higher level to overload the amp may provide that extra degree of overload you are looking for. As the amp already has a cabinet, you will probably want to choose to omit 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 3's inputs, and send the RIG KONTROL outputs to the loop return (receive) jacks. As the signal coming into GUITAR RIG 3 will be fairly strong, the input gain control(s) will most likely need a minimal amount of gain. Adjust GUITAR RIG 3s 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 (-1dB).
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Keyboard Amp These are actually ideal for use with GUITAR RIG 3, as they are designed to give an uncolored, high-fidelity sound. Thus, you can use GUITAR RIG 3 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 3 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 CD or DVD player, tuner, tape deck, etc. (not the phono input, if present). You may need special cables or adaptors which provide a 1/ plug on one end and RCA phono plug on the other.
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the host program, so make sure to access the audio settings in your host of choice to control your latency/buffer size.
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and make sure that the virtuaL rig KontroL is shown. On the virtuaL rig KontroL, there is a small LED with the text aCtive next to it. You must click on the LED, (this makes it glow red) and enables the RIG KONTROL to control the desired plug-in.
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To this:
To add automation, select where it says volume and navigate to the Guitar Rig menu. You will see the full list of CoMponentS find and select the parameter you want to automate from the list. Use the pencil tool to draw automation by hand, or change the track to latch or touch mode and move
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the control with either your RIG KONTROL 3 or your mouse. Automation will be recorded automatically as you play the track back. To add multiple automation tracks, select the arrow at the bottom left corner of the track (small black triangle) to add another track. Adjust its parameter to the control youd like to automate and keep going. You can automate, as many things as you wish. After some automation, your tracks will resemble the following:
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Even though this example illustrates Apple Logic Pro, all other DAW software operates in a similar fashion. Please refer to the documentation for your software for more information on the specifics of your host automation.
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software.
eight RIG KONTROL buttons (they show up as automation parameters), so you can do snapshot, sound and bank changes easily within your
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4. Reference
Now comes the fun part! This part of the manual is devoted to the fine detail of GUITAR RIG. If you want to know the function and assignment of every single knob, switch and button on the GUITAR RIG 3 user interface and Components list, this is the section for you.
SideKick
Rack
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Each area is responsible for a specific task in guitar rig. Some areas, like the SideKiCK can change between views based on what tab the user selects. The only interface that never changes is the gLobaL Header. This is the best place to really dive in and discover GUITAR RIG 3.
Input Section
CPU Control
The Live Mode Button switches the interface to the new Live view mode, which is detailed in section . The input SeCtion allows global control of all audio inputs coming into GUITAR RIG and provides accurate visual metering of your input signals. The output SeCtion allows global control of all signals coming out of GUITAR RIG and proves visual metering of all output levels. The Cpu ControL merges several individual controls into a single, easy-touse CPU dashboard. The Cpu ControL displays the amount of CPU utlization (from 0 to 100 percent) in a dynamic window that changes according to current CPU use. To the left of the CPU utilization display is a convenient power button, which disables GUITAR RIG's audio engine. Finally, a toggle for High Quality Mode can be found to the right of the CPU utilization display. HigH
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QuaLity mode allows GUITAR RIG 3 to process its internal audio at twice the normal rate, which leads to a more detailed sound. The only downside is that it uses twice the CPU power; so watch the CPU meter when in High Quality Mode. The ni C oMpany L ogo not only signifies GUITAR RIG as a NATIVE INSTRUMENTS product, but also provides a portal to the About Guitar Rig menu selection. In the resulting dialogue box, you will find information about your currently installed version of GUITAR RIG and other details about your system and installation. To dismiss the About Window, click anywhere in the GUITAR RIG interface to return to GUITAR RIG.
4.1.2 Toolbar
The tooLbar in GUITAR RIG 3 is your one-stop-shop for controlling the most frequently used parts of GUITAR RIG.
The preSet diSpLay provides a quick look at the number and name of the currently selected sound. The previouS/next arrows let you switch back and forth between Presets in the Bank youve currently loaded. The Save button allows you to save a Preset once its been modified from its original state. Once you engage this Button, it will write over the Preset at the current location.
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The Save aS button allows you to save a Preset to a new location and change the name of the Preset at the same time. This is useful when you want to modify a pre-existing sound without losing the original sound permanently. The new sound will automatically be saved at the end of the currently selected Bank. The CoMpare button allows you to compare your changes to the currently edited Preset with the original, saved Preset. This allows quick A/B style comparisons without the need to save your edits. The CoMpare button will continue to toggle back and forth between edited and saved Presets as long as changes have been made to the currently used Preset. Once you Save or Save aS, you will not be able to compare Presets until you make changes to the Preset. The CLear button quickly removes all Components (except the fixed Components) from your rack. Use this to start a rig from scratch and build it with your own Components. The SynC section controls all levels of synchronization within GUITAR RIG 3. Since synchronization can come from external sources, DAW host clock, or internal GUITAR RIG Components, this flexible section allows you to select how GUITAR RIG synchronizes with the outside (or inside) world. The three available sync settings are as follows: free: This effectively turns your sync off and does not allow sync setting from a host, external clock or Preset in the currently selected sound. The metronome can run freely at whichever tempo you set. Sound: The sync information is contained within the Preset itself. There is no longer any need to manually change the metronome tempo between songs. Synced delays and modulations are reloaded as you saved them.
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SynC: The sync comes from the host (in plug-in) mode or external MIDI-clock (in standalone mode). The tap ControL allows you to set the current tempo by tapping the Button with successive mouse presses. It is also possible to dial in your exact BPM with the Up And Down Arrows, or clicking in the numerical field and adding your own value. When you are in sync mode, these buttons are disabled. The rig KontroL button toggles the expanded RIG KONTROL View at the bottom of the guitar rig screen. Showing the rig KontroL SCreen will allow you to view the currently configured state of the rig KontroL buttons, and change/assign controls to any of the RIG KONTROL switches or expression pedals for the currently active Preset. The next four buttons will show/hide the following four fixed Components: tape deCK one (Pre-Processing) tape deCK two (Post-Processing) tuner MetronoMe Lastly, MiniMize /MaxiMize buttons allow you to globally expand (to show more detail) or contract (show less detail) all of the Components in your rack with a single click.
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4.1.3 SideKick
The SideKiCK includes the rest of GUITAR RIGS viewing options. The tooLbar and raCK take up the right side of the guitar rig interface, while the SideKiCK (when shown) takes up the left side of your screen. The SideKiCK can be hidden or shown at any time by pressing the Button on the GUITAR RIG interface.
The SideKiCK includes access to the following screens and options within GUITAR RIG: The browSer is a collection of four sub-screens that provide you access and control over your sounds.
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The SoundS pane provides access to your sounds and Banks of sounds. The window is split vertically with the Banks appearing on top and the sounds contained within the Bank on the bottom. The attributeS pane allows you to specify different searchable attributes about your sounds, such as: Sound Name, Author, Info, and tags based on Style, Tone and Instrument to make locating sounds easier. The SearCH pane allows you to easily search your Presets based on the criteria entered in the attributes page. You can even search for sounds based on Bank category. The reSuLtS pane is where youll head after youve made your search. Here you will find listed any and all matching sounds based on your search criteria. The CoMponentS pooL houses all of the CoMponentS you can drop into your virtual raCK. The CoMponentS pooL has the following sub-categories: aMpS, diSt, Mod, eQ, voL, rev, tooLS and Mdf. The optionS tab houses the various options and settings within GUITAR RIG, and is separated into two sub-views: The C ontroLLer aSSignMentS pane is where you can setup and manage assignments to your RIG KONTROL and external MIDI devices, set parameters as global or per-Preset, save controller Templates and import and export saved controller assignments. The preferenCeS window is where you can set some global preferences for the GUITAR RIG application and plug-in. Elements like window height adjustment, Preset Banks directory and RIG KONTROL calibration can be found here.
tures in GUITAR RIG 3, we have devoted a more detailed section to it: section .2 in this reference. Section .5 will detail all of the choices in the COMPONENTS tab along with detailed descriptions of the individual COMPONENT modules.
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The Rack
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All factory Banks come pre-tagged with one of the seven Bank categories. Newly created Banks will, by default, have the tag my sounds, when they are created without a set filter. If a Bank is created with a filter engaged, then it will automatically be tagged with the current filter. You can always re-tag banK CategorieS using the context menu or the banK drop down Menu. The banK drop down Menu gives you access to the following commands: New: Create a new, empty Bank Save As: Save the currently selected Bank with a new name and location. This duplicates the currently selected Bank with a new name. Import: Import a saved Bank into GUITAR RIG. Export: Export the currently selected Bank to disk. Rename: Rename the currently selected Bank Protect: Protect the currently selected Bank from being edited or accidental deletion. Category: Tag the currently selected category with a Bank category based on the seven available Bank category choices. Remove Bank: This removes the Bank permanently from your hard disk. Refresh Bank List: This refreshes the Bank list. From within the Bank window you can perform the following operations: Double click the name of any Bank to rename it. Click and drag the Bank to reorder the Bank list.
GUITAR RIG 3
The following contextual menu is available to any Bank using a right-click or (command-click on Mac):
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Save As: Saves the currently selected sound to the end of the list. Cut: Cut the currently selected Preset or Preset text. Copy: Copy the currently selected Preset or Preset text. Paste: Paste the currently copied or cut Preset to the current location. Select All: Select all the Presets in the currently selected Bank. Rename: Rename the currently selected Preset. Undo: Undo the last action. Redo: Redo the last action. Remove Preset: Permanently delete the Preset from your hard disk. Clean Up: Remove the free space from the currently selected Bank. It will make your Preset list a single, contiguous entry.
The following contextual menu is available to any sound using a right click or (command click on Mac):
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Style, Tone and Instrument: Classify your sounds according to the style, tone and instrument the Preset is intended for.
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4.3 Options
The optionS tab provides access to two screens: controller assignments and general preferences for the plug-in/application.
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Each assignment has the same strip which can be configured several ways:
Lets look at what each section of the above graphic corresponds to: rK3 pedaL: This indicates that all of the options in the strip will refer to the rK3 pedaL Sound: This can be toggled by clicking on the Sound button to switch between Sound which are per-sound assignments and Global which are global controller assignments. Learn: This allows you to learn an external hardware control to this function. This Button links external controllers to the virtuaL rig KontroL. Press Learn, and then press the appropriate button on your external device. (Careful: your controller has now been assimilated!) voLuMe pedaL /pedaL: This shows what the current control is actually mapped to. In this case, the RK pedal is mapped to the volume pedal Component. To change the currently mapped parameter, click and hold down on the drop down text menu to select from all of the available Components for mapping. If you are in Sound Mode, you will see the Components in your current rig. If you are in Global Mode, you will see a fixed menu of global functions. From this menu, or the menu you see when selecting per-sound assignments, you always have the option to Clear the assignment and start over.
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range: Use this to set the distance of control you would like to be available when using a pedal, or other continuous controller with GUITAR RIG 3. For example, you may not want to sweep through the entire wet/dry mix of a reverb, perhaps you prefer to sweep through 20-50%. By adjusting the right to left handles, you can limit the range of any control.
From this screen, you can specify which sound ID youre going to jump to in the currently selected Bank. This is great when your sounds arent always in a line!
Global Parameters!
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You can also choose Jump To in the Bank Selection section and choose to jump to a particular Bank with the RIG KONTROL switches.
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iMport: Import a saved RIG KONTROL Template to disk. export: Export the currently selected Template to disk. deLete: Delete the currently selected Template.
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Simply press the L earn button on each assignment and learn your additional external MIDI controllers. You can assign similar types of commands this way as you have done before with the virtuaL rig KontroL. The main difference is that these external controllers will have no graphical representation on the virtuaL rig KontroL these devices will fully map to GUITAR RIG and work perfectly, but they will not mimic the virtuaL rig KontroL. Everything you can map to the RIG KONTROL, as stated in section .3.1, can be mapped to your external devices; this includes Preset jump(s), Snapshots, and more.
4.3.6 Preferences
The preferenCeS window allows you to set a limited number of controls that affect the operation of GUITAR RIG as either a standalone application, or as a plug in. Here is the window:
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This window gives you access to the following controls: window HeigHt: This control allows you to set the size of the guitar rig window. It can either be small, medium or large. The medium and large sizes are dependent on the physical display resolution of your monitor. Midi Learn popup window: Toggles whether or not the MIDI learn window will pop-up after you successfully make an assignment. SHow HeLp HintS: Allow or disallow mouse-over hints. rig KontroL 1: To use GUITAR RIG 3 with a RIG KONTROL 1, select On from this drop-down list. rig KontroL pedaL CaLibration: If your RIG KONTROL pedal is acting funny, press this to recalibrate the movement of the pedal. CHooSe Sound Banks Directory: You can select (if needed) a new directory to save and access your Banks and sounds.
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Doing so will prompt you to move the expression pedal on your RIG KONTROL through its full range of motion. This will internally recalibrate the range of the expression pedal back to normal.
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The interface has three main Components: 1. A listing of the currently selected Bank and its available SoundS (upper left). 2. The multi-function display shows you the currently selected Sound. It also displays any additional information about the active Sound, or one of the following three screens (MetronoMe, tuner or Loop MaCHine): 3. The supersized virtuaL rig KontroL and it's mapped parameters.
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Showing the Metronome
also display the info text about the Preset along with the metronome, tuner or loop machine views. At the smallest view, you will only see either the additionaL the tuner,
MaCHine.
Showing the Tuner
You can change the view between MetronoMe, tuner and Loop MaCHine simply by clicking on the buttons in the interface. Bring the sound info back by pressing its supersized name in the sounds window. When your trigger functions from the RIG KONTROL (like the tuner, MetronoMe or Loop MaCHine functions) the display will automatically switch to the correct window. If you have multiple Loop MaCHineS in your rig, then
The
Loop MaCHine is
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you can select between them using the right and left arrows in tHe Loop MaCHine view. The final section is the full sized virtuaL rig KontroL, This is where you can view your assignments: The beauty of Live view is that it provides you quick access to the most commonly used features of GUITAR RIG and does so in a supersized view for easy viewing from the stage. Even the RIG KONTROL buttons and assignments are clearly visible.
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imaging, or preserve existing stereo imaging, to create a bigger soundstage. These effects add stereo to a mono input: Cabinets (when using Pan and Air) Tremolo (in Stereo Pan mode) Stoned Phaser (with Rotate turned up) Chorus/ Flanger (in Stereo mode) Ensemble Rotator Quad Delay Psychedelay Spring Reverb Studio Reverb However, some Components have inherently mono operation. So, if any of these Components process a stereo input, it will first be converted to mono. Cabinets All amp head Components All distortion Components Ensemble WahWah Pedal TalkWah Chorus/ 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
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simply leave the signal alone mono in gives mono out, stereo in gives stereo out. Most of the stereo Components include the types of effects (reverb, delay, etc.) that would normally go after an amplifier (see Appendix C for information on effects placement). Therefore, youll end up with a stereo signal if you place a stereo Component 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 Chorus/ 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.
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Tuner Metronome Output These can be minimized or hidden (except the input and output Components) to save space, but cannot be deleted. All signal processing Components insert between the Input and Output.
This matches your instruments levels to GUITAR RIG 3. 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) without actually hitting it. voLuMe sets the incoming level. Turn it up (clockwise) as high as possible, short of the meter glowing red, (red 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 activated (button pushed in), GUITAR RIG 3 will set the optimum level automatically. After enabling Learn, play your guitar really hard so it generates the maximum possible level. GUITAR RIG 3 will analyze this level, and adjust the voLuMe automatically. After analysis is complete, the Learn button pops out automatically.
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The CHanneL buttonS control how GUITAR RIG 3 reacts in single and dual guitar modes: 1: GUITAR RIG 3 processes only the signal at RIG KONTROL 2 or 3 Input 1, and mutes Input 2. 2: GUITAR RIG 3 processes only the signal at RIG KONTROL 2 or 3 Input 2, and mutes Input 1. botH: Sends both Inputs into GUITAR RIG 3. The nr button toggles 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 arent 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 Gates Learn function automatically sets an optimum threshold. Without playing your guitar, click on Learn. GUITAR RIG 3 analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the Gate should open.
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This works the same way as if youre using RIG KONTROL 2 or 3, with the exception of the following additional functions. The CHanneL buttonS control how GUITAR RIG 3 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). 1: GUITAR RIG 3 processes only the signal at RIG KONTROL Input 1, and mutes Input 2. 2: GUITAR RIG 3 processes only the signal at RIG KONTROL Input 2, and mutes Input 1. botH: Sends both Inputs into GUITAR RIG 3. Do not use this mode when using the RIG KONTROL 1, as youll also hear the control signals coming out of the footswitches and pedal. on: Turns the RIG KONTROL Detection on/off (button pressed is on). auto: Recommended when using RIG KONTROL 1, as GUITAR RIG 3 will automatically recognize the instrument plugged into Input 1, as well as the RIG KONTROL control signals that appear in the other channel.
together.
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This matches GUITAR RIG 3s 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 its 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 (without waking button utton up your neighbors!); GUITAR RIG 3 will analyze this level, and adjust the Preset level automatically. When analysis is complete, the Learn button pops out. MaSter voLuMe sets the rigs overall level. Generally, this will be adjusted to provide the desired amount of signal to the next stage, and not changed unless GUITAR RIG 3 feeds something else. The Meter shows the output level. If the meters LEDs glow red, this indicates an overload condition. Turn down the MaSter voLuMe slightly (or preSet voLuMe in the case of an unusually loud Preset). If they still glow red, reduce the volume further. The LiMiter SwitCH chooses how GUITAR RIG 3 will handle an overload condition, as indicated by the red output light glowing red. Without limiting
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selected, overloads will exceed GUITAR RIG 3s 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.
4.6.4 Tuner
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chain.
sonic effects may not be desirable to you. If you want to use limiting as an ef fect, inser t the Limiter
For quick, accurate tuning, this is the module for you. You know what a tuner is; heres how this one works. The inStruMent drop-down Menu defaults to Guitar, but you can also choose Chromatic, 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. In the standard RIG KONTROL Template, the Mute Sound button is automatically mapped to an RIG KONTROL button. This is done globally, but you can, of course, change this! There are two tuning modes, as selected by the Cent button and Strobe button located toward the right of the display: In Cent mode, a small indicator shows whether the pitch is sharp (the indicator floats to the right of the meters center 0 point) or flat (indicator floats to the left of the meters center 0 point). The number toward the left of the display indicates the number of the string
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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=25Hz to A=55Hz. 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. You can also use the arrow buttonS above and below the display to change the virtual tuning fork pitch in semitone increments.
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4.6.5 Metronome
The MetronoMe helps you keep time. It may not be the most exciting Component within GUITAR RIG, but it is one of the most important as its tempo affects every module within GUITAR RIG that has the ability to sync (example: delays and modifiers). The MetronoMe automatically receives its tempo information from the sync section of the main toolbar. However, you can adjust the tempo and tap from its interface. power turns the audible metronome on. The voLuMe SLider sets the loudness of the metronome. Mute temporarily stops the sound of the metronome. Signat. sets the time signature that the metronome pulses in. The MetronoMe Meter Menu offers a ton of options for meters that you can select. BPM is the readout of whatever the current sync tempo is. #1 is the sound of the accented click, which appears on downbeats and strong beat divisions. You can change the .wav file that is played by clicking the arrow and selecting a different file. #2 is the unaccented click, which sounds on weak/off beats. You can change its .wav sound by clicking the arrow and selecting a different sound.
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tap allows you to tap tempo either with your foot or with an assigned external controller (like the RIG KONTROL 3) to set your tempo. This control is also found on the toolbar sync menu. Since the Metronome is one of the fixed Components, you can only hide it with the x button or minimize it with the button; it cannot be deleted.
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Transpose (semitones) Play/Record Mode Play Start Tempo (percent) Tune (cents) Hide
Instead of describing each control of Tapedeck One individually, well cover the function you want to accomplish with the Tapedeck, and describe how to go about doing it.
fected) guitar tone coming into guitar rig. If you want to use the Tapedeck as a recording device (like a mini DAW) for your processed, ultra-cool guitar rig creation, youll need to use Tapedeck two!
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Click on the Transport pLay button to start playback. Click 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 Meters red (distortion) LEDs light up, reduce the Volume to prevent overload conditions.
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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.
4.6.10 Recording
To record your playing: Click on the new button in the lower left. This will automatically enable record which you will recognize as the reCord button is now pressed in. If you have already created a new file, you can just click on the reCord button. The pLay Mode button will change to a reCord Mode button; select either reCord at input (records the input signal that feeds the RIG KONTROL) or reCord at output (the recorded signal includes any processing thats set up in the rig).
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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 the file, and click on Save.
cording.
Tapedeck Two is optimized for overdubbing and creating backing tracks or riffs over which you can play. Its located just before the Output Component, and therefore records whatever youre hearing from the rig. Its also very handy if you just want to create a simple guitar track to share with others, and you dont want to load a full DAW program to do so. Controls 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 tapedecks.
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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: Click on the tapedeCK one and two buttonS in the Kontrol Center 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 dont 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.
4.7 Amps
The virtual amps behave so much like real tube amps that the cabinet and the amps 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
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amp, the cabinet at the top of the list determines the amps behavior, even if this cabinet is not turned on. Also, amps should be followed by the cabinet(s) of your choice. An amps straight output is buzzy and can be shrill; with all guitar amps (even virtual ones!), the cabinet is a vitally important sound-shaping element. Each amplifier has the following expert controls: Click on the (+) SyMboL to reveal expert mode, with the following parameters. power SuppLy chooses between 50 and 60Hz. This represents the frequency of the virtual mains AC voltage going into the virtual amp power supply. The DC 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 AC 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 cant deliver the necessary power. Increasing Sag results in the power supply becoming more spongy, as would occur in 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 their capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning up the reSponSe will result in the amps power supply reacting more rapidly.
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biaS adjusts the virtual tubes grid bias which, in turn, influences crossover distortion. Although its possible with some tube amps to adjust the bias in order 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 wish to adjust biaS after changing the variaC and Sag settings.
4.7.1 Tweedman
Back in the 60s the Tweedman was a classic bass amp. Nowadays, its highly coveted as a great guitar amp, but of course, it still works equally as well in its originally intended role for bass. When compared to the Bass PRO amp, the sound of the Tweedman is a bit smoother and more well-behaved. Parameters 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.
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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.
4.7.2 AC Box
The AC Box models that famous circa nineteen eighty one ultra-electric amp sound (it rhymes with box) that powered the British Invasion of pop music. There were many versions of this original amp made, yet, each was created with a slightly different flavor. We chose a particular model that stands out and not only because of its unique flavor but add to that some circuit wizardry, perhaps a little bit Top Boost modification! The basic Normal channel has no tonal control aside from Top Cut. The Top Boost adds the Brilliant channel, which offers Treble and Bass controls.
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Parameters norMaL voLuMe sets the Normal channels overall level. The Treble and Bass controls have no effect in the Normal channel. briLLiant voLuMe sets the Brilliant channels 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. Basically, it reduces the outputs high frequency response. treMoLo Speed controls the rate of periodic volume modulation. treMoLo deptH controls the extent which tremolo modulates the sound from off, through subtle, to obvious.
The Twang Reverb simulates the rich tube sound of the classic amps from decades ago. It is ideal for screaming blues leads, crunchy rhythm guitar, even your clean sounds, rich in personality.
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Parameters voLuMe sets the amps overall level. Turning trebLe clockwise from the center boosts the high frequency response; counterclockwise reduces high frequency response. Turning Mid clockwise from the center boosts the midrange frequencies; counterclockwise reduces midrange frequencies. Turning baSS clockwise from the center boosts the low frequency response; counterclockwise reduces low frequency response. The brigHt switch is another tonal option that accentuates the high frequencies. reverb adds an emulated spring reverb effect. This is an extraordinarily realistic effect, unfortunately, if you tap on the side of your 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 youre not using it. Speed controls the tremolo speed (but its labeled vibrato, just as it was on vintage amps of days long gone). intenSity controls the extent to which the tremolo modulates the sound from a mild pulsing to a deep throbbing. Oh baby, baby vibrato on allows for the deactivation of the tremolo effect off when not in use. Click on the (+) SyMboL to reveal expert mode, with the following parameters (along with the other common controls for all amplifiers). reverb tiMe allows you to set the duration of the reverb decay tail.
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full).
you want to overdrive this amp, precede it with a module that provides gain (e.g., volume pedal turned up
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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 sounds character.
4.7.4 Plex
The classic Plex sound probably needs no introduction its the vintage amp sound that has powered too many hit records to mention. Parameters voLuMe 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. Turning trebLe clockwise from the center boosts the high frequency response; counterclockwise reduces high frequency response. Turning Mid clockwise from the center boosts the midrange frequencies; counterclockwise reduces midrange frequencies.
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Turning baSS clockwise from the center boosts the low frequency response; counterclockwise reduces low frequency response. The preSenCe control adds a frequency response lift in the upper midrange.
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. If you want to hear the Vibrato/Chorus effect in true stereo, then its best to turn off the effect built into the Jazz Amp and instead insert the Ensemble Component (which provides true stereo) after any Cabinets&Mics Component. Parameters voLuMe sets the amps overall level. Turning baSS clockwise boosts the low frequency response for a bassier sound; counterclockwise reduces low frequency response for a thinner sound.
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Turning Mid clockwise from the center boosts the midrange frequencies; counterclockwise reduces midrange frequencies. Turning trebLe clockwise boosts the high frequency response, while turning counterclockwise reduces high frequency response. The brigHt switch is another tonal option that, when On, accentuates the high frequencies. The vibrato/off/CHoruS switch selects Vibrato, Chorus, or effect off. rate controls the speed of the Vibrato effect. deptH controls the intensity of the Vibrato and Chorus effects.
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.
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Parameters MaSter adjusts the amps overall volume. pre-aMp sets the preamp gain. Turning it more clockwise adds drive, distortion, and an edge to the sound. 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.
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):
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Parameters MaSter 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 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. Turning preSenCe clockwise from the center boosts the upper midrange frequencies; counterclockwise reduces the upper midrange frequencies.
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This bass amp can deliver that gritty, growling sound that really makes a bass stand out in a mix. In addition to the unique tonal qualities, theres also a graphic equalizer to allow tailoring the sound more precisely. Parameters voLuMe sets the amps overall level. The gain control increases the amount of distortion as you turn it more clockwise. drive pushes gain in the midrange region; its sort of like a gain control, but affects the sounds overall character. 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. 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.
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Turning trebLe clockwise from the center boosts the high frequency response; counterclockwise reduces high frequency response. Turning the brigHt switch on accentuates the very high frequencies. When activated, the uLtra Lo switch will scoop out some of the midrange while increasing the lower frequency response. By turning the uLtra Hi switch on, boosts the highs, but over a much 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. Click on the (+) SyMboL to reveal expert mode, which shows the graphic equalizer controls. grapHiC eQ voLuMe adjusts the overall level of the graphic EQ processor. When centered, theres 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 sliders 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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4.7.9 Citrus
If youre yearning for that 70s British sound with a bunch of flavor, the CitruS amp is for you! Its tones can range from the edge of clean to a gritty distortion when the master and gain are cranked. Parameters The MaSter Knob sets the overall volume of the amp The gain Knob sets how much saturation/distortion is added to the preamp section. Turn clockwise to add more distortion to your signal. The Lo Cut Knob is a bass roll off control. The lower (counterclockwise) you set the Knob, the more bass will be present in your sound. Setting the Knob more clockwise will allow less bass into your sound and allow more of the highs to pass. The b aSS K nob adjusts the low frequency response. Adjust it counterclockwise to attenuate bass response and clockwise to boost bass response in your signal.
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The trebLe K nob adjusts the high frequency response. Adjust it counterclockwise to attenuate treble response and clockwise to boost treble response in your signal. The preSenCe Knob adjusts the upper midrange frequencies. Turning clockwise from the center boosts the upper midrange frequencies; counterclockwise reduces the upper midrange frequencies.
4.7.10 Ultrasonic
You asked for an ultra-modern, ultra-high-gain, ber-cool amp? We present the uLtraSoniC! A two-channel amp with all the modern tones you could even want. Parameters An override /CLean toggle switches the amp between the clean and overdrive channels. MaSter sets the overall output level. This control sets the master output on both channels. voLuMe sets the overall volume level of the currently selected channel.
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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. Each channel has a separate gain response depending on which channel is currently engaged via the overdrive /CLean toggle. 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. Turning preSenCe clockwise from the center boosts the upper midrange frequencies; counterclockwise reduces the upper midrange frequencies.
Are you seeking the signature British sound of David Gilmour and Pete Townsend? If so, then we think youll want to spend some time with the HigH wHite model were talking 100 virtual watts of pure tone! This amp features two different input paths, a normal input and a brilliant
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input, which you can use together with respective volume controls for each channel. Parameters The MaSter Knob sets the overall volume of the amp. The norMaL Knob sets the volume for the normal channel. The normal channel has a smoother clean sound. The briL Knob sets the volume for the brilliant channel. The brilliant has a slightly more edgy and aggressive tone. The b aSS K nob adjusts the low frequency response. Adjust it counterclockwise to attenuate bass response and clockwise to boost bass response in your signal. The MiddLe K nob adjusts the mid frequency response. Adjust it counterclockwise to attenuate mid response and clockwise to boost mid response in your signal. The trebLe K nob adjusts the high frequency response. Adjust it counterclockwise to attenuate treble response and clockwise to boost treble response in your signal. The preSenCe Knob adjusts the upper midrange and high frequencies. Turning clockwise from the center boosts the upper midrange frequencies; counterclockwise reduces the upper midrange frequencies.
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Theres nothing like the spank of an amp covered in tweed! This amp, based on an American legend, has greatly simplified controls and is designed to go from glassy clean, to bluesy squawk with only three control knobs! Both channels can be used together to overdrive the amp even further. Parameters The voLuMe brigHt Knob sets the volume of the bright channel of the amp. The bright channel is deigned for slightly edgy, distorted sounds when the gain is raised. The voLuMe norMaL Knob sets the volume for the normal channel on the amp. The normal channel is designed for smoother sounds that will still distort when pushed into higher volume settings. The tone Knob is your only Knob for shaping the EQ on the amp. With the Knob fully counterclockwise, the highs will be attenuated leaving you will a warm, but muddy sound. As you raise the control clockwise, more highs start to join the signal and add high end boost and an even more defined distorted sound.
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4.8 Cabinets
What amp would be complete without a matching cabinet? Here we give you two choices. The first is the Matched Cabinet, where we provide you with what we feel, is the best choice for the amp you choose. This cabinet choice should work well for most applications. For those who really want to tweak, we have the Cabinets & Mics, which will allow you to pair any cabinet, with any microphone and tweak EQ, mic position and air to your hearts content. Oh, did we mention that you can have as many cabinets as you want?
When you add any amplifier Component into your rack, you will see that a Matched Cabinet will also be added to your rig. This is different than in previous versions of GUITAR RIG.
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The Matched Cabinet is a module that contains the two closest Matched Cabinets for the amp you are using. Parameters Cabinet SeLeCtor: The Cabinet SeLeCtor allows you to choose a cabinet for your amp. MiC 1/MiC 2 Mix: This slider will blend between the two hidden microphones inside of the matched cabinet. One has a sharp tone, while the other has a mellow tone. You can mix between the two to achieve your desired blend. voLuMe: Set the volume of the matched cabinets output. voLuMe Learn: Automatically learn the best output volume by depressing the button and playing as loud as you can; GUITAR RIG will automatically select the best volume to avoid clipping. Once the volume has been learned, the button will pop out. dry/air: controls the level of early reflections in the room response. This simulates the distance of the microphone to the farthest wall.
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This Component models the standard guitar and bass amp recording chain: Cabinet, mic, and mic position. But it doesnt end there, click on the small add button, and you can add another recording chain 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 28 cabinet choices are (18 through 23 are bass cabinets):
Nr. Name Nr. Name
1 2
11 12
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3 5 6 7 8 9 10 21 22 23 2
2 x 12 Tweed Blue 2 x 12 Tweed Green 2 x 12 Tweed Ceram 2 x 12 Brit 60s 2 x 12 Chief V-30 2 x 12 Custom 2 x 12 Jazz x 10 Tweed Alnico x 10 Bass-WR 8 x 10 Bass-PRO 8 x 10 Bass-WR Rotator Horn Closed
13 1 15 16 17 18 19 20 25 26 27 28
x12 UK 80s x 12 UK 70s x 12 High White 4x12 Gratifier x12 Ultrasonic 1 x 15 Bass-PRO 1 x 15 Bass-WR x 10 Bass-PRO Rotator Horn Open Rotator Bass Close Rotator Bass Open 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 /5 Far 5/5 Back (This applies to open back cabs only, i.e. its not available on the x12s 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 /5 Far Cabs 17, 18, 19, 21: 1/5 On Axis 2/5 Off Axis 3/5 Edge /5 Far 5/5 Horn Guitar Cabs 1-17: 1/5 Dynamic 57 2/5 Dynamic 21
corded through slots. 25 & 27 use an open cabinet, with sound recorded direct. Mic positions and the position names depend on the selected cabinet (of course, the Direct Box doesnt offer a mic option).
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3/5 Dynamic 609 /5 Condenser 87 5/5 Tube Condenser Bass cabs 18-23: 1/5 Dynamic 7 2/5 Dynamic 21 3/5 Dynamic 609 /5 Dynamic 20 5/5 Condenser 7 Cabs 24, 25: 1/1 Condenser 60 Cabs 26, 27: 1/1 Condenser 87 In MicPos 5/5 (Back or Horn), only one Mic is available: Cabs 1-7, 9, 10 (Back) Condenser 87 Cabs 17, 18, 19, 21 (Horn) Condenser 60 Parameters Size (the slider below the cabinet graphic) provides 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 +3% creates a 1x17 speaker/cabinet. voLuMe sets the microphones output level.
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pan places the microphone 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 SubCabinet/Mic is active. This feature controls the delay due to the distance between the microphone and cabinet. Mixing together the signals from multiple microphones can result 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 microphone polarity. MaSter voLuMe sets the entire Components 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 Components Clipping/Limiter switch). 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 youll be using. GUITAR RIG 3 will analyze your playing, and adjust the Master volume for the optimum level. After analysis is complete, the Learn button pops out again.
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4.9 Distortion
The distortion and overdrive Components 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. Distortion tips Here are some hints on how to achieve a special distortion tonality. These apply to the various distortion Components. 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 provide 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/ 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.
4.9.1 Fuzz
Looking for that special 60s fuzz sound? The Fuzzs rather thin and sharp tone will make your leads cut through a mix like a chain saw. As a bonus, you can create buzzing vintage rhythm guitar sounds, too. Parameters voLuMe sets the Fuzzs output level. It acts like a master volume control. Turn the fuzz control clockwise to increase the distortions fuzzy quality. Click on the (+) SyMboL to reveal expert mode, with the following parameters. baSS provides control over the lower frequency tone. Turning trebLe clockwise accents the high frequencies.
Stretch sustain to the max, like a 1970s guitar heroor add some serious grunge to your tone. This is the distortion of choice for some serious rock and roll sounds. Parameters voLuMe sets the Big Fuzzs output level. It acts like a master volume control. SuStain affects the sounds 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. Click on the (+) SyMboL to reveal expert mode, which offers the following parameters. baSS provides control over the lower frequency tone. Turning trebLe clockwise accents the high frequencies.
4.9.3 Cat
If you want a responsive overdrive for blues and rock (rhythm or lead), the Cat is the one to use. But beware: Kick the Cat hard, and its inner angry punk appears! Parameters voLuMe sets the Cats output level. It acts like a master volume control. fiLter affects the sounds 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. Click on the (+) SyMboL to reveal expert mode, which offers the following parameters. Turn the baLLS control clockwise to add low-end punch. Turning it counterclockwise delivers a flatter, more biting sound. baSS provides control over the lower frequency tone. Turning trebLe clockwise accents the high frequencies, while moving in the counter-clockwise end of the range (say, from 0.00 to 3.00) can add an almost wah-wah like effect. tone adjusts the frequency range influenced by the built-in pre-distortion midrange booster.
4.9.4 Skreamer
This warm, smooth-sounding overdrive works great for rhythm guitar and smooth leads. Parameters voLuMe sets the Skreamers output level. It acts like a master volume control. Turning tone clockwise gives bright, screaming leads and biting rhythms. Counterclockwise gives a mellower, darker sound. drive determines the crunch factor. Turn clockwise for more distortion. Click on the (+) SyMboL to reveal expert mode, with the following parameters. baSS provides control over the lower frequency tone. brigHt determines the high frequency response. CLean adds some of the unprocessed sound in with the distortion, from none to maximum.
4.9.5 Distortion
When you want distortion that will scare small animals or clear a room of unwanted house guests, insert this baby and turn it up to 11. Parameters voLuMe sets the Distortions output level. It acts like a master volume control. Turning tone clockwise accents the midrange while dropping the bass. Counterclockwise 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. baSS provides control over the lower frequency tone. Mid affects the level of the midrange frequencies. trebLe determines the high frequency response.
4.9.6 Mezone
When you want metalhere you go. Pre- and post-distortion tone controls let you tailor the sound just about any way you want. Parameters voLuMe sets the Mezones output level. It acts like a master volume control. baSS provides control over the lower frequency tone. Warning to Californians: 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 controls boosting occurs. Turning trebLe clockwise accents the high frequencies. Turn diStortion clockwise for a more distorted sound. Click 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 distortions 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 controls boosting occurs. Turning trebLe clockwise lets through high frequencies to the distortion section.
Definitely a piece of hard rockers gear, the Demon Distortion provides you with razor-sharp, long-sustaining leads and speaker-blasting rhythm sounds. Parameters voLuMe sets the Demon Distortions output level. It acts like a master volume control. baSS provides control over the lower frequency tone. Mid enhances or attenuates the midrange frequencies. Turning trebLe clockwise accents the high 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 attenuates the midrange frequencies, which produces a typical modern metal sound. With Scoop on, the Mid control has no effect. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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 equalizers baSS control. Mid determines the center frequency of the equalizers Mid control. trebLe determines the center frequency of the equalizers Treble control. brigHt fine-tunes the signals presence by attenuating or enhancing the highest frequencies.
4.9.8 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. Parameters voLuMe sets the TransAmps output level. It acts like a master volume control. baSS provides control over the lower frequency tone. Turning trebLe clockwise accents the high frequencies. The drive control has a wide range, from just a hint of crunch (counterclockwise) to hardcore (clockwise). The aMp ControL morphs among three different amp characters: Tweed, British, and California. Click on the (+) SyMboL to reveal expert mode, with the following parameters. Click 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 Cab&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 Cab&MiC function is enabled. Turning the control more clockwise produces a brighter, hotter sound.
Treble boosters were used by Brian May of the group Queen, as well as Eric Clapton 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. Parameters brigHt, when turned down, reduces the boosting somewhat at the highest frequencies. booSt sets the degree of boost.
If youve 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 Component 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. Parameters It doesnt get much simpler than this: turn booSt clockwise to boost the signal level.
4.9.11 Sledgehammer
If you want your guitar to clear its way through a mix like a sledgehammer, than youll appropriately want to make use of the new Sledgehammer module. This effect is downright brutal and will make walls come down. Parameters voLuMe controls the overall volume coming out of the Component. baSS controls the low frequency response. Turn it counterclockwise to attenuate bass, and clockwise to increase bass and low frequency response in your sound. trebLe controls the treble response. Turn it counterclockwise to attenuate treble and clockwise to increase treble and high frequency response in your sound. The C ontour Knob scoops out certain frequencies from your sound depending on the freQ settings. Turning the control clockwise will scoop
through the frequencies selected by the freQ Knob. Fully clockwise is full scoop, and fully counterclockwise applies no Countour on the sound. The freQ Knob sets which frequencies are affected when using the Contour Knob. Counterclockwise rotation will affect the midrange, while turning the control clockwise will begin to affect the upper mids and treble frequencies. gain adjusts the amount over saturation fed into the distortion circuit The diStortion/drive switch changes the Component from softer overdrivetype sounds into harder, more edgy distortion tones.
4.10 Modulation
A modulator introduces motion into formerly static sounds. Common modulation devices in your hardware rigs are: Chorus, Tremolo and Flange. GUITAR RIG provides you with a vast list of modulators than can be inserted anywhere in your rig! The majority of modulation Components have the ability to sync. With the new sync possibilities in GUITAR RIG 3, you can now sync to either host clock, metronome clock, or per-Preset clock (free sync)
4.10.1 Tremolo
This Component provides a periodic amplitude change so that the sound seems to pulsate. A modulation source controls the rate of these amplitude changes. Parameters intenSity controls the tremolo effect depth by adding in some dry signal to the processed signal. r ate sets the modulation frequency. Faster settings add a type of shimmering effect to the sound. teMpo SynC will synchronize the tremolo rate to the host tempo so that it follows the songs 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 Component like an Amp. Click on the (+) SyMboL to reveal expert mode, with the following parameters.
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 rather 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.
4.10.2 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. Parameters voLuMe sets the overall output level. CHoruS intenSity is active only in Chorus mode. It sets the depth of the chorusing effect.
Mode chooses between the chorus and vibrato functions. d eptH 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. teMp SynC synchronizes the LFO speed to the metronome tempo, which is derived from the SYNC setting in the Toolbar. d ry/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 circuits delay time (the time around which modulation occurs). Stereo changes the imaging from mono (fully counterclockwise) to stereo (fully clockwise).
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, similar to the 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. Parameters Speed varies the modulation rate. With Chorus, faster speeds provide a more shimmering sound, while slower speeds create more of a rolling, much smoother 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 Chorus 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 Chorus, the amount of animation; and with Pitch Modulation, the amount of pitch deviation. Mode chooses among the Chorus, Flanger, and Pitch Modulation modes. Click on the (+) SyMboL to reveal expert mode, with the following parameters. SynC synchronizes the LFO speed to the metronome tempo, which is derived from the SYNC setting in the Toolbar. 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.
The Stoned Phraser adds a swirling, animated effect to the sound. This model is modeled after a popular phaser from the 1970s. Parameters rate controls the speed of the phaser effect. SynC synchronizes the phaser rate to the host tempo so that it follows the songs rhythm. In standalone mode, the phaser rate syncs to the Metronome tempo.
CoLor creates a timbral change thats a variation on the standard phaser sound. Click on the (+) SyMboL to reveal expert mode, with the following parameters. invert changes the phase of the shifted signal, producing a different timbre. notCHeS determines the number of stages in the phase shifter. Click on the associated numerical and drag to select from 1 to 5 notches. C oLor StrengtH sets how much the Color on /o ff button affects the sound. Sweep Min sets the sweeps lower frequency limit. Sweep Max sets the sweeps 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.
4.10.5 Rotator
This effect, the same one used in NATIVE INSTRUMENTS acclaimed B 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 Parameters rotator switches the speed of the rotating speaker slow or fast. baLanCe sets the ratio of the sound produced by the rotating speakers 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 effects strength; turn fully clockwise to hear the rotating speakers only. Click on the (+) SyMboL to reveal expert mode. Each rotor (treble and bass) has a set of identical controls.
Cab tone activates the Rotators own cabinet simulation effect. You can turn this off if you want to use the Cabinets & Mics Component instead. For example, you could set up the Rotator Bass Cabinet and pan it fully left, then add the Rotator Horn Cabinet and pan it fully right. Connect the Rotator after Cabinets & Mics, and switch Cab Tone off. The Cabinets left and right channels will now feed the Rotators 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 is used to determine 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.
4.10.6 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 Compressor, Stomp Compressor, and sometimes EQ, before it with no problems. Parameters direCt sets the dry signal level. oCt 1 determines the level of the octave below signal. o Ct 2 changes the level of the signal two octaves below the original pitch. Click 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.
GUITAR RIG fans from around the world begged us to include a pedalcontrolled vibrato tailpiece effect, so how could we resist? So, instead of a standard vibrato tailpiece, we created a unit where all the strings stay in tune as you bend up and down. Controlling the drag (pitch shift) parameter from the RIG KONTROL pedal is highly recommended, as this gives hands-free control over pitch changes. The expert mode parameters are crucial in creating useable bending. Those who dont want to get involved with programming can simply choose some of the Presets for common string-bending effects. Parameters drag 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. d ry / we t adjusts the proportion of dry and processed sounds. Counterclockwise is fully dry, clockwise is processed (wet) sound only.
ing works polyphonically; furthermore, with small shift amounts, the Pitch Pedal can provide some superb chorus and ensemble effects.
Click on the (+) SyMboL to reveal expert mode, with the following parameters. Min SHift sets the pitch shift amount when the pedal is at minimum (up position). The range is 2 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 2 semitones. Max detune sets fine tuning for the amount of detuning when the pedal is at maximum (down position). The range is 100 cents. feedbaCK determines how much of the output signal returns to the input. For example, if you have set the 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, youll hear more of a texture.
The Electric Lady adds a very versatile stereo Flanger to your effects rack. Modeled after an all-time classic, the Electric Lady produces sounds that range 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. Parameters rate 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 modulating 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters.
SynC synchronizes the LFO speed to the metronome tempo, which is derived from the SYNC setting in the Toolbar. invert shifts the phase of the effect signal leading to a different timbre. 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 (flanged) sound.
This Phaser is based on another well-known effect design, it is a sure-fire way to add all kinds of animated shimmering to your guitar sounds. Parameters rate controls the speed of the Phaser modulation. Turn the rotary Knob counter-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. Click on the (+) SyMboL to reveal expert mode, with the following parameters.
SynC synchronizes the LFO speed to the metronome tempo, which is derived from the SynC setting in the Toolbar. 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 frequency range. 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 (phased) sound.
The Harmonic Synthesizer opens up a whole world of synthesizer sounds simply by playing your guitar. It can produce faithful re-creations of classic 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.
Parameters guitar/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 Start 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.
Ring modulation is an unusual effect, one that you dont hear everyday. If you like Black Sabbaths Paranoid solo, then youve heard one in action. A ring modulator takes two signals, and mixes the sum and difference between the two, resulting in some very unique sounds. Its a throwback to the glory days of analog noisemaking. The Component has two sections: Mod and LFO. The Mod section comprises of the following controls: The ring control acts as a balance between the dry and the ring-modulated sound. The fM ControL is an additional FM modulator. The Hi/Lo switch selects the frequency range of the oscillator used by the ring and FM modulation.
The freQ Knob sets the frequency of the oscillator. Start with the control fully counterclockwise for low frequencies, and turning the control clockwise selects higher frequencies. The Lfo SeCtion (Low Frequency Oscillator Section) consists of the following controls: The aMount Knob controls the modulation strength of the LFO on the oscillator. Clockwise rotation of this Knob will add more movement to the sound. The Sine /SQuare switch selects between a sine wave, or square wave shaped LFO signal. The rate Knob controls the rate of periodic modulation through the LFO. The glowing Led to the right of the rate Knob shows the visual rate of the LFO applied to the signal. Click on the (+) SyMboL to reveal expert mode, with the following parameters. SynC synchronizes the LFO speed to the metronome tempo, which is derived from the SynC setting in the Toolbar. edge modifies the waveform of the oscillator. You can add overtones to the oscillator resulting in a more aggressive sound.
4.11 Filter
Filtering (e.g. equalizing) is the process of boosting or cutting frequencies present in any sound. Filtering is one of the most common ways to shape your sound, and GUITAR RIG gives you several ways to affect your sound
through filtering. Filtering also includes Wah pedals, and custom filters borrowed from other NATIVE INSTRUMENTS products.
4.11.1 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 from that point on. 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. Parameters There are two ways to adjust parameters: Click on the graphic displays 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 gain1s 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 gain2s center position, there is no boosting or cutting. Turning it clockwise boosts the response, while turning it counterclockwise cuts the response.
4.11.2 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. Parameters As with EQ Shelving, there are two ways to adjust parameters: Either click on the graphic displays 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 freQ1 and freQ2 respectively will be boosted (emphasized) or cut (de-emphasized). Q1 and Q2 edit the sharpness of the boosting or cutting action at frequencies freQ1 and freQ2 respectively. Narrow bandwidth settings (turning clockwise from the centre position) affect a very small part of the audio spectrum, while broad bandwidth settings (turning counterclockwise from the center position) affect a broader range.
4.11.3 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. Parameters grapHiC 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. range sets the maximum amount of boost and cut, from 1dB (very fine adjustment) to 30dB (very wide-range adjustment). Min sets the lowest bands frequency. Max sets the highest bands frequency.
%
3200 Hz.
logarithmic ratios) between the highest and lowest bands. Example: If Min is set to 50 Hz and Max to 600 Hz, the other bands are at 100, 200, 00, 800, 1600, and
4.11.4 Custom EQ
The Custom EQ is modeled after the boutique highly colored EQs that are all the rage in the studio these days. This particular EQ has a warm synth style EQ sound. Parameters The tone Knob controls the balance between treble and bass sound. At fully counterclockwise position, the low frequencies are boosted and the high frequencies are suppressed. As you rotate the knob clockwise, the treble comes up and the bass is suppressed. The freQ Knob selects the mid frequency, between bass and treble, where the scoop happens. The SCoop Knob controls the depth of the dip in the EQ response in the midrange. Turn clockwise to increase the amount of scoop. The voLuMe Knob sets the overall gain of the CuStoM eQ.
4.11.5 Pro-Filter
The Pro-Filter 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 Cutoff control to the RIG KONTROL pedal also produces a great wah-wah 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. Parameters Cutoff 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
4.11.6 AutoFilter
module.
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. Parameters SenS matches your guitars level to the AutoFilter. If the filter doesnt 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 Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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). 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 filters 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, youll hear the full bass sound along with the filtered sound.
The Wah Wah Pedal is a filter that sweeps a response peak over a frequency range; the wah-wah in GUITAR RIG 3 is perhaps Earths most versatile Independent settings for filter frequency, resonance, and level at the high, mid, and low points of the pedal travel allow for serious customization of the response for any type of wah-wah application or desired pedal feel. Parameters The 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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. 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 midposition. 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).
when moving the pedal from its minimum position to the middle, and a much greater change when progressing to the maximum position. When
Mid
4.11.8 Talkwah
This is similar to a wah-wah, but utilizes a different filter type. The Talkwahs filter emulates the sound shaping that your mouth creates when enunciating vowels. The result is similar to the talk box effect that was very popular in the 70s (Joe Walsh, Peter Frampton, Joe Perry amd Ritchie Sambora). Parameters The 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. Control this from the NATIVE INSTRUMENTS RIG KONTROLs footpedal and youll be amazed at the sounds youll be able to coax out of your guitar. Click on the (+) SyMboL to reveal expert mode, with the following parameters. brigHt is a switch that makes the overall sound more trebly. voLuMe adjusts the overall level.
Size adjusts the size of the virtual mouth. When counterclockwise, the mouth is small, like that of a midget. When clockwise, its like a giants mouth.
The Cry Wah is a faithful recreation of the wah-wah that weve all been stepping on for years. This pedal has been modeled faithfully and provides no expert controls; its a one trick pony, and oh what a trick it is! Parameters The SLider is used to control the wah-wah 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.
The Real Wah is the answer to those hip custom wah pedals that started to appear in the mid-90s. These wahs simply had that sound
Parameters The SLider is used to control the wah-wah 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.
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 kHz using EQ Parametric or EQ Graphic has the ability to really make a guitar solo stand out. Since thats above the range of the toms, bass, and most rhythm-oriented keyboard parts, theres little interference with these instruments. So, the guitar comes through loud and clear, but doesnt step on anything else. Equalizing rhythm guitar for better vocal support. Suppose youre 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 guitars midrange somewhat to make room for the vocal frequencies. You can then mix the guitar higher in level, while not getting 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; youll know youre at the right frequency because the hum will disappear). However, if the hum generates harmonics, youll need additional stages to notch those out as well.
Making distortion more responsive. Putting EQ before distortion can make an instrument seem more touchsensitive. 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 dont 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 parametrics frequency control. When the parametric hits the right frequency, the note will jump out (usually in an 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 youre 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. Heres 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.
4.12 Volume
Sure, it goes up (to eleven?)... and it goes down... but volume effects are capable of so much more than just simple loudness control! In Guitar Rig 3, youll find a range of tools to dynamically or interactively adjust levels to create an incredible range of sounds with really cool practical, musical, and even psychoacoustic properties.
This simple volume control can cut or boost level going into, or coming out of, a Component. Parameters The SLider changes volume from all the way down (extreme left) to all the way up (extreme right). This is an ideal Component 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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 sliders halfway point. Editing this can help give pedals a more comfortable feel.
4.12.2 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 wont let audio exceed a certain limit, but also doesnt affect signals below that limit. A limiter is ideal for cutting down on peaks to create a hotter sound, but without losing softer dynamics. Parameters voLuMe sets the output level. LiMit sets the level input signals cannot exceed. Counterclockwise 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 Tips Taming 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 Components 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.
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 Component 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 youre 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 theres only noise present, then turning the volume back up when youre playing. Its Threshold control sets the dividing line between whats 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.
Parameters tHreSHoLd 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 strings 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, its 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 3 analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the Gate should open.
The Noise Reduction Component 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. Parameters Start 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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.
The Stomp Compressor provides a different type of compression action compared to the Tube Compressor, 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 Compressor. Parameters The Stomp Compressor 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 the sustain clockwise will increase 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.
Click on the (+) SyMboL to reveal expert mode, with the following parameters. attaCK sets the time it takes for the compressor to react to input level changes. A longer attack time lets through more of a signals 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.
A compressor evens out dynamic range variations by amplifying soft signals to make them louder, and attenuating loud signals to make them softer. Its 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. Parameters The Tube Compressor 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 signals 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.
g ain 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 louder, even if the peaks are the same thats what compression is all about, bringing up the signals average level. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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) d ynaMiC 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 doesnt bring up the noise from previous stages. Although the effects in GUITAR RIG 3 dont 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 guitars 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 theres been a sudden increase in compression but you didnt 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 guitars 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.
This is the classic reverb effect found in older amps, before the advent of solid-state reverb units. But this time, theres no noise or hum. Parameters reverb adds the reverb effect into the mix, from full dry (counterclockwise) to 50-50 (middle) to all reverb (clockwise). tiMe determines 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 Reverbs reverb section, but lets any dry signal pass through. This is great for creating reverb splash: Control 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters.
%
(wet).
reverb section when Input Mute is on, you will hear nothing if the Reverb control is set fully clockwise
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.
The Studio Reverb provides a natural-sounding emulation of halls and rooms. Parameters Mix 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 Reverbs reverb section, but lets any dry signal pass through. This is great for creating reverb splash: Control 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. Stereo adjusts the stereo width of the reverberated signal. trebLe, when turned counterclockwise, reduces highs as the reverb decays. Turning trebLe clockwise leaves the highs untouched. pre deLay determines the delay time before the reverberated signal becomes audible.
!
(wet).
reverb section when Input Mute is on, you will hear nothing if the Mix control is set fully clockwise
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
Parameters dry/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.
input Mute shuts off the signal going to the Quad Delays 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. Click on the (+) SyMboL to reveal expert mode, with the following parameters. SynC synchronizes the LFO speed to the metronome tempo, which is derived from the SynC setting in the Toolbar. 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 coungterclockwise to reduce low frequencies. trebLe adjusts a low pass filter; Turn counterclockwise to reduce high frequencies.
%
(wet).
delay section when Input Mute is on, you will hear nothing if the Dry/ Wet control is set fully clockwise
4.13.4 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. Parameters dry/wet sets the balance of straight and delay sounds. Counterclockwise 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. Combining 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 Psychedelays 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. Click on the (+) SyMboL to reveal expert mode, which has parameters that turn the Psychedelay into a stereo effects box. Youll 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.
%
(wet).
delay section when Input Mute is on, you will hear nothing if the Dry/ Wet control is set fully clockwise
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 LFO speed to the metronome tempo, which is derived from the SynC setting in the Toolbar. 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 Cross up full. Hit a note, and it will stretch upward and then decayvery cool.
The Delay Man is an extremely warm and flexible delay unit with built-in chorus and vibrato. It faithfully recreates the sound of the esteemed classic hardware modules everyone had in their rigs. Parameters The Mute button shuts off the signal going to the Delay Mans 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 Delay Man, so there would be no new echoes. The input Knob sets the level of the incoming audio into the delay module. Set this so that the loudest peaks do not engage the overload LED next to the Knob. The dry/wet Knob controls the balance between the dry (unaffected) signal and the wet (delayed) signal. The 12 oclock position is an equal 50/50 blend of wet and dry signals. The tiMe Knob sets the length of the delay. Counterclockwise begins with short delays, while turning the control clockwise increases the length of the delay. The feedbaCK Knob brings in repeats of the delayed signal. Turning the knob fully clockwise will overload the delay and produce an interesting, distorted, oscillated sound. The CHor /vib switch switches the Component from having an additional chorus modulator, to having a vibrato modulation. The deptH Knob increases the intensity of either the chorus or vibrato (depending on which module is turned on) into the delay mix. The tap button allows you to tap with your mouse or external controller the delay time. Click on the (+) SyMboL to reveal expert mode, with the following parameters. The SynC deLayS button syncs the internal delay time to reflect the current state of the sync module. The SynC Mod button syncs the internal modulation (chorus or vibrato) to reflect the current state of the sync module.
The CHoruS rate Knob varies the frequency of modulation applied to the chorus module (when engaged.) The vibrato rate Knob varies the frequency of modulation applied to the vibrato module (when engaged.) The aCCeLeration Knob controls how fast the delay algorithm reacts to changes made to the tiMe parameter. baSS when adjusted counterclockwise attenuates bass frequencies. Turn the control clockwise to boost the bass frequencies. This control acts as a low shelf. trebLe when adjusted counterclockwise attenuates treble frequencies. Turn the control clockwise to boost the treble frequencies. This control acts as a high shelf.
The Tape Echo module recreates the sought-after sound of tape based delay modules. This module has two tape heads and also includes a spring
reverb module. We are proud to say this is one of the coolest sound shaping modules with GUITAR RIG 3. Parameters The input Mute button will mute the incoming audio, effectively bypassing the module. If the level is too great, the peaK LED will light up. The dry Mute button will completely mute the dry sound, leaving only the effected sound. The Tap Button allows you to tap your own tempo. The Head a Knob has five selections for delay time. Position 0 has no delay. The subsequent head positions (one through four) are each as many times longer than position one as their value states. The exact amount of delay depends on the tempo (either taped or set with the Speed ControL. The Head b Knob has five selections for delay time. Position 0 has no delay. The subsequent head positions (one through four) are each as many times longer than position one as their value states. The exact amount of delay depends on the tempo (either taped or set with the Speed ControL. The baSS Knob when adjusted counterclockwise attenuates bass frequencies of the delay. Turn the control clockwise to boost the bass frequencies. The trebLe Knob when adjusted counterclockwise attenuates treble frequencies of the delay. Turn the control clockwise to boost the treble frequencies. The Speed Knob varies the speed of the virtual tape loop and changes the delay times of Head b and Head b.
The feedb Knob controls the amount of feedback regeneration in the delay. The higher the level of feedback, the more cross modulation and possible distortion you can impart to the signal. The rev voL Knob controls the amount of reverb added to the dry signal in parallel to any delay effects. The eCHo Vol controls the volume of the delay output. When rotated fully counterclockwise, the delay will have no audible effect. Click on the (+) SyMboL to reveal expert mode, with the following parameters. The SynC button syncs the internal delay(s) time(s) to reflect the current state of the sync module. The tape baSS Knob controls the amount of bass response on the virtual tape. The tape trebLe Knob controls the amount of treble on the virtual tape. The dropoutS Knob simulates dropouts in the tape from long periods of use. The noiSe Knob adds that familiar tape noise to the delayed signal. The warbLe Knob simulates how mechanical problems caused delay tapes to slip and start, causing causing variations in pitch also known as flutter The HeadrooM Knob increased the amount of saturation the tape can take before distorting. The Head Mix Knob controls the balance of the outputs of tape playback heads A and B, allowing for interesting variations of sound where one or the other is louder by comparison. The revtiMe Knob adjusts the decay time of the reverb heard on the dry signal.
The Motor aCCeL Knob recreates slight acceleration of the tape motor over time. The Spring LengtH controls the length of the spring reverb element. A shorter spring produces a more metallic sound, while a longer spring produces a more traditional reverb sound.
4.14 Tools
The tools Components are at the heart of GUITAR RIGS extreme flexibility. From split modules that allow parallel signal processing with different effect chains, to the ultra-hip loop machine. The tools are the key to create fresh extraordinary sounds.
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. Parameters When 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). Its convenient to be able to go into Play mode to practice your part for the next loop, then return to Overdub mode. Press the S top b ut ton (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. 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.
button
to
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. 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 L ay exports the current loop as a WAV file. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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 synchronizes the LFO speed to the metronome tempo, which is derived from the SynC setting in the Toolbar. SynCHing to HoSt: The Loop Machine transport starts, stops, and rewinds, in synchronization 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.
4.14.2 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 C, Tips on Creating Your Own Rig. Creating a Split To create one split (Split A), drag the desired Component(s) in between the Split A and Split b sections. To create the second split (Split B), drag the desired Component(s) in between the Split B and Split Mix sections.
Heres what a particular split looks like in GUITAR RIG 3. Split A feeds the Skreamer, Equalizer Shelving, and Ensemble Components. Split B feeds the Distortion and Wahwah Components.
Parameters CroSSfade determines the mix between the A and B split. When fully left, youll hear only the A split. When fully right, youll 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 CroSSfade is set to the center, youll 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, youll 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 3 and want two different sounds. Using this option with a Chapman 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 Tips The Split module is extremely powerful: Because you can drag multiple Components into a split, its possible to have parallel strings of series effects. You can use more than one Split Component in a rig, and place Components inbetween them. Therefore, you can split a signal into two paths and use the CroSSfader 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.
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 C, Tips on Creating Your Own Rig.) Creating the Low and High Frequency Splits Drag Components 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 Crossover Mix sections. Note that you can even put a Crossover Mix inside another Crossover 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 guitars 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.
Parameters freQuenCy 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, youll hear only the Low split. When fully right, youll 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 Crossfade is set to the center, youll 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, youll 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.
4.15 Modifiers
Modifiers arent something you typically find in a guitar setup. If youve ever programmed a synthesizer (virtual or real), youve used modifiers like LFOs and step sequencers, as these elements are typical for synthetic sound design. Place these same modifiers in the hands of a guitarist, and the doors to creativity fly wide open. If youre into cutting-edge sound design, this is the section for you.
Input Trigger: This generates a constant-level modulation signal based on a notes 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-): 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 modifiers 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 isnt necessary, but it can be convenient. Sometimes you want to check out the parameters in a Component to see how theyre assigned; sometimes its 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.
4.15.2 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. Parameters rate 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 8 beats per cycle (32 dotted measures), while the fastest is a dotted 32nd note. This is chosen by the two arrows to the right of the main display. waveforM provides a graphic display of the LFOs shape. Options are Sine, Triangle, Square, Sawtooth, and Random. poLarity inverts the waveforms 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., Chorus/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 dont need to use two LFOs. Just set a positive modulation amount on one target and a negative amount on the other target.
4.15.3 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 Component 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, rightclick (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 lines shape between the breakpoints from concave, to straight, to convex. The Envelope Parameter Strip The 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 doesnt 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 Zoom The ruler below the envelope is calibrated in seconds. If the envelope extends past the envelopes 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 Parameters pLay 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 its 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 recomputed 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.
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 Step To turn on a step so that it provides a trigger, click on the desired step (116). It turns from gray to blue to indicate that its producing a trigger. Assigning the Step Sequencer to a Parameter 1. Click on the aSSign button, and drag it to the target parameter (e.g., Pro Filter cutoff). 2. Click 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.
tion to plug-in instruments, so this feature may not work with your host software. In standalone mode, GUITAR RIG 3 does respond to MIDI clock signals.
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. Parameters reSoLution sets the rhythmic value of each of the 16 steps. Available options are 1/, 1/8, 1/16, and 1/32 notes. Enable Legato to tie adjacent steps to each other, thus creating longer steps. Click on the (+) SyMboL to reveal expert mode, with the following parameters. 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 to 1233ms) from the start of a step up to the steps maximum value. See the diagram below. deCay causes the control signal to fade out after the step ends over a range of to 2197ms. See the diagram below.
offSet increases all control signal values as the control is turned more clockwise.
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 Levels To set a steps 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. Parameters reSoLution sets the rhythmic value of each of the 16 steps. Available options are 1/, 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.
The Input Level Modifier generates a control signal based on the input level at GUITAR RIG 3. This is commonly called an envelope follower as the signal tracks changes in the guitar or bass amplitude envelope. Parameters voLuMe adjusts the overall control signal output. This affects the level of the signal feeding all assigned parameters.
offSet varies the control signals 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 Component. 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 doesnt 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 Modifiers signal to the Modifiers 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 nega-
tive 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 Pedals Pedal parameter.
computer or attached via USB or FireWire. The more efficiently data is transferred between audio interface and computer, the lower the latency. GUITAR RIG 3 works with two low-latency driver types: ASIO (Audio Streaming Input Output). This cross-platform protocol was originally developed by Steinberg. Core 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 3. Although GUITAR RIG 3 can work with the DirectSound and MME drivers used with Windows machines, it will not make for a satisfying playing experience.
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 Components you can add to GUITAR RIG 3 and still obtain audio thats free of clicks, pops, or dropouts. So, here are some tips on living with latency.
Some ASIO control panels let you choose a particular number of samples/ buffer. The display then shows the resulting latency. A 256 samples/buffer is giving a latency of just under 6 ms at .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 as shown in the Audio Kontrol 1 panel.
synth, which places virtually no stress on your CPU, you can always edit the part later by re-inserting the soft synth.
6. When done, press the done button and quit Audio MIDI Setup. 7. Launch GUITAR RIG and open the Audio and MIDI Settings. Select the aggregated device Guitar Rig you have just created.
%
torted.
in on any computer. The output impedance of a normal electric guitar does not match these inputs, thus the sound will be thin and/or dis-
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 3, 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 1 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.
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, wah-wahs, etc. musicians started connecting all these boxes together with patch cords. And thats 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 3 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 16,38 GUITAR RIG 3 Banks of 128 programs for a grand total of over 2.000.000 programs (that should hold you for a while).
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 theyre 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 wah-wah 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 controllers 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 6. Continuing to push on the pedal until its all the way down generates a value of 127. Continous Controller Numbers MIDI tags each continuous controller message with an ID from 0 to 127. Therefore, you can control up to 127 GUITAR RIG 3 parameters, although in practice, its 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
only send messages reflecting a change; for example, leaving a pedal in one position doesnt transmit any messages until you change the pedals physical position.
rate, distortion drive, etc.) to a particular continuous controller number. With GUITAR RIG 3, 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 youre controlling Delay Feedback and it receives a value of 0, feedback is at minimum. When it receives a value of 6, the feedback is halfway up and upon receiving a value of 127, the feedback is up all the way.
However, note that if youre 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.
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 theyre 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. Heres one possibility: Tube Compressor EQ Parametric Plex Cabinet & Mic Chorus/ 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 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 Components connected in parallel. If you set bands 1, 3, 5, and 7 to maximum and bands 2, , 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, , 6, and 8 to maximum), youll create an interesting type of stereo spread.
If you make your own cables, its worth wiring up a few special ground loopbuster cords with a disconnected shield at one end. Mark them plainly; if used as conventional cords, youll encounter hum, loss of level, and other problems.
isolation transformer provides ancillary benefits. In short, an AC isolation transformer can clean up the AC line, reduce spikes and transients, and provide performance almost equal to that of a separate AC line. So which is better, breaking the audio connection or the AC connection? It depends. If you have a lot of microprocessor-controlled gear and less than ideal AC, adding isolation transformers can solve various AC-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.
F F3 F2 F1
F F3 F2 F1
10. Index
A
Activating a Step.............................. 185 Amp ............................................... 109 Assign ............................................ 185 Assigning the Step Sequencer to a Parameter ................ 185 Attack ..............137, 19, 152, 186, 189 Cross .............................................. 163 Cutoff ............................................. 135
Balls ............................................... 103 Bass ..... 78, 80, 82, 8, 85, 86, 90, 101, ...................... 102, 103, 10, 105, 106, ....................... 107, 108, 109, 115, 165 Bias ................................................. 77 Boost ......................................108, 111 Bottom ........................................... 108 Bright ............ 80, 83, 87, 10, 108, 10
De-Hiss .......................................... 150 Decay ..................................... 186, 189 Delay .............................................. 115 Depth ....................................... 83, 115 Detune ........................................... 162 Distortion ................. 100, 103, 105, 106 Down .............................................. 11 Drive ................................ 86, 10, 109 Dry/Wet .......................................... 115
E F
Ensemble ........................................ 11 Filter .............................................. 103 Flanger ........................................... 116 FP/BPF/HPF .................................... 137 Freq Max ........................................ 139 GUITAR RIG 3 215
Cab&Mic ......................................... 109 Chorus Intensity ............................... 11 Clean...................................... 10, 109 Continuous Controllers ...................... 201
Freq Mid ......................................... 139 Freq Min ......................................... 139 Fuzz ............................................... 101
Gain ......................................... 86, 108 Graphic EQ........................................ 87 Graphic EQ Band Level ....................... 87 Graphic EQ Volume ............................ 87
Half Volume .................................... 16 Hold ........................................ 17, 19 Hot ................................................ 109 Hum ................................................. 12
Master .............................................. 8 Max ................................................ 133 Metronome ........................................ 13 MicPos ........................................... 109 Mid ......................... 78, 80, 83, 8, 85, ......................... 86, 90, 105, 106, 107, .............................................. 108, 115 Mid-Freq ........................................... 86 Mid-Q ............................................. 107 Mid Freq ................................. 106, 107 MIDI ............................................... 198 Min Volume ..................................... 16 Mode .............................................. 115
Input .............................................. 153 Input Level Tips ............................... 189 Intensity ................................... 80, 113 Interference ...................................... 12
Learn.......................................19, 150 Legato ............................................ 186 LFP/BPF/HPF .................................. 135 Limit .............................................. 17
Parameters.............................. 186, 188 pickups ............................................. 12 Pitch .............................................. 162 Play Button ..................................... 169 Plug-in.............................................. 11 GUITAR RIG 3 216
Power ............................................... 61 Power Supply .................................... 76 Pre-Amp ........................................... 8 Presence ......................... 78, 8, 85, 90
Range ............................................. 136 Rate ..................................83, 113, 115 Release............. 137, 17, 19, 150, 152 Res Max ......................................... 139 Res Mid .......................................... 139 Res Min .......................................... 139 Reso ....................................... 135, 137 Resolution ............................... 186, 188 Response .......................................... 76 Reverb .............................................. 80 Reverb On ......................................... 80 Reverb Time ...................................... 80 Reverse........................................... 162
Slider .............................. 138, 11, 12 Slope .............................................. 135 Speed ............................................... 80 Standalone .......................................... 9 Step Sequencer ............................... 185 Stereo............................................. 115 Stereo\ Time ........................................... 162 Stereo Pan ...................................... 113 Sustain ....................................102, 151 Sync ............................................... 163
Sag .................................................. 76 Scoop ............................................. 108 Sens ............................................... 136 Signal Flow ....................................... 59 Size ................................................ 11 Slide............................................... 188
Tapedeck .......................................... 13 Tempo Sync .................................... 113 Temp Sync ........................115, 117, 163 Threshold ................. 19, 150, 152, 153 Tone ........................ 102, 103, 10, 105 Treble ...................... 78, 80, 83, 8, 85, ................... 87, 90, 101, 102, 103, 105, ............... 106, 107, 108, 109, 115, 165 Tremolo .......................................... 113 Tuner ................................................ 13
Variac ............................................... 76 Vibrato/Off/Chorus .............................. 83 Vibrato On ......................................... 80 Volume ........... 77, 80, 82, 86, 101, 102, 103, 10, 105, 106, 107, 109, 11, 16, 17, 151, 188 Volume Max .................................... 139 Volume Mid ..................................... 139 Volume Min ..................................... 139