Beruflich Dokumente
Kultur Dokumente
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 Software Synthesis 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 Software Synthesis GmbH. All product and company names are or trademarks of their respective owners. Users Guide written by: Craig Anderton 2004-2005 NATIVE INSTRUMENTS Software Synthesis GmbH. All rights reserved.
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USA NATIVE INSTRUMENTS USA, Inc. 5631 A Hollywood Boulevard Los Angeles, CA 90028 USA info@native-instruments.com www.native-instruments.com
Table Of Contents
1 Welcome to GUITARRIG2!............................................................ 7 2 The Big Picture, and Why GUITARRIG2 is Cool.. ..................................8 2.1 About Standalone Mode........................................................ 8 2.2 About Plug-in Mode . ........................................................... 9 2.3 The RIG KONTROL 2 Foot Controller.....................................10 2.4 Caution.................................................................................10 2.5 Get creative! Why be normal?. ..................................................11 2.6 Patience, please.....................................................................11 3 Instant Gratification/Quick Start. ...................................................12 4 GUITARRIG2 Layout...................................................................12 4.1 Control Center........................................................................13 4.2 Left Frame View Options.........................................................13 4.3 The Right Frame. ....................................................................14 5 Setting Preferences......................................................................15 5.1 Pref: Global Tab. .....................................................................15 5.2 Pref: Presets Tab....................................................................16 5.3 Pref: Controller Tab. ................................................................16 5.4 GUITARRIG2 Controller Basics. ..............................................16 5.5 Rack Controls. ........................................................................17 5.6 Presets Controls.....................................................................19 6 The Storage Story. .......................................................................... Banks, Presets, and Templates......................................................21 6.1 Component Template Management...........................................21 6.2 Preset Management............................................................... 23 6.3 Bank Operations. ................................................................... 23 6.4 Resizing the Bank and Preset Windows.....................................24 6.5 Preset List Operations. ............................................................25 6.6 Keyboard Shortcuts for Banks and Presets................................27 6.7 Properties. ............................................................................ 28 6.8 Search................................................................................. 29 7 Fixed Rack Components. ............................................................. 30 7.1 Input Component with Rig Kontrol 2........................................ 30 7.2 Input Component with Rig Kontrol 1.........................................31 7.3 Output Component. ................................................................ 32 7.4 Tuner. ................................................................................... 33 7.5 Metronome. ........................................................................... 34
7.6 Tapedeck One. ....................................................................... 35 7.7 Standard Playback................................................................. 35 7.8 Looped Playback................................................................... 36 7.9 Changing Playback Pitch and/or Tempo. .....................................37 7.10 Recording . ..........................................................................37 7.11 Tapedeck Two...................................................................... 38 8 Components and Parameters........................................................ 39 8.1 Mono, Stereo, and Signal Flow................................................ 39 8.2 Common Controls.................................................................. 40 8.3 Display Controls.................................................................... 40 8.4 Power On/Off........................................................................ 40 8.5 Saving and Loading Templates................................................ 40 8.6 Component MIDI Control.........................................................41 8.7 Loading and Arranging the Order of Components. .......................41 8.8 Amps................................................................................... 42 8.9 Cabinets & Mics.................................................................... 42 8.10 Tweedman.......................................................................... 45 8.11 AC-Box................................................................................47 8.12 Twang Reverb. ..................................................................... 48 8.13 Plexi. .................................................................................. 50 8.14 Jazz Amp. ............................................................................51 8.15 Lead 800........................................................................... 52 8.16 Instant Gratifier Solo Head................................................... 53 8.17 Bass VT. ............................................................................. 55 9 Distort....................................................................................... 56 9.1 Fuzz Ace. .............................................................................. 56 9.2 Big Fuzz................................................................................57 9.3 Cat...................................................................................... 58 9.4 Skreamer. ............................................................................. 59 9.5 Distortion............................................................................. 60 9.6 Mezone.................................................................................61 9.7 Demon Distortion. .................................................................. 62 9.8 TransAmp............................................................................. 63 9.9 Treble Booster....................................................................... 64 9.10 Gain Booster....................................................................... 65 10 Mod. .......................................................................................... 66 10.1 Tremolo.............................................................................. 66 10.2 Ensemble........................................................................... 67 10.3 Chorus + Flanger................................................................. 68 10.4 Stoned Phaser. .....................................................................69 IV GUITAR RIG 2
10.5 Rotator................................................................................70 10.6 Oktaver. ...............................................................................71 10.7 Pitch Pedal..........................................................................72 11 Filter. ..........................................................................................74 11.1 EQ Shelving. .........................................................................74 11.2 EQ Parametric......................................................................75 11.3 EQ Graphic..........................................................................76 11.4 Pro-Filter............................................................................ 77 11.5 AutoFilter. ............................................................................78 11.6 Wahwah Pedal......................................................................79 11.7 Talkwah...............................................................................81 11.8 Equalizer Tips. ..................................................................... 82 12 Volume. ...................................................................................... 84 12.1 Volume Pedal...................................................................... 84 12.2 Limiter............................................................................... 85 12.3 Noise Gate. ......................................................................... 86 12.4 Noise Reduction.................................................................. 87 12.5 Stomp Compressor.............................................................. 88 12.6 Tube Compressor. ................................................................ 89 13 Reverbs and Delays......................................................................91 13.1 Spring Reverb. ......................................................................91 13.2 Studio Reverb..................................................................... 92 13.3 Quad Delay......................................................................... 93 13.4 Psychedelay........................................................................ 95 14 Tools. ..........................................................................................97 14.1 Loop Machine. ......................................................................97 14.2 Split. .................................................................................. 99 14.3 Crossover Mix. ....................................................................101 15 Modifiers...................................................................................103 15.1 About Modifiers..................................................................103 15.2 LFO..................................................................................105 15.3 Envelope...........................................................................106 15.4 Step Sequencer. .................................................................109 15.5 Analog Sequencer. .............................................................. 111 15.6 Input Level Modifier............................................................112 16 Control via RIG KONTROL / MIDI ................................................113 16.1 The Virtual RIG KONTROL...................................................113 16.2 Calibrating RIG KONTROL 2................................................113 16.3 Assigning Parameters to MIDI Controllers.............................. 114 16.4 Assigning Parameters to MIDI Notes..................................... 115 GUITAR RIG 2
16.5 MIDI Synchronization.......................................................... 115 17 Interfacing Guitar Rig with Other Gear.......................................... 116 18 Using GUITARRIG2 with a Host Program....................................118 18.1 Installing GUITARRIG2 as an Effect....................................118 18.2 About Re-Amping...............................................................118 18.3 Avoid Zero-Latency Options!................................................119 18.4 Total Recall. .......................................................................119 18.5 Typical Examples. ...............................................................119 19 Automating Plug-In Parameters. ...................................................121 Appendix A: Optimizing System Response..........................................125 Use Low-Latency Drivers.............................................................125 What About Direct Monitoring?. ....................................................126 How Low Can You Go?................................................................126 About Samples and Buffers.........................................................127 Warning: Different Types of ASIO.................................................128 Tips on Minimizing Latency ........................................................129 Appendix B: About MIDI...................................................................130 MIDI Basics...............................................................................130 MIDI Connections. ......................................................................130 About Program Changes and Bank Select. .....................................131 About Continuous Controllers. ......................................................131 Appendix C: Tips on Creating Your Own RIG. ......................................133 Series and Parallel Effects. ..........................................................133 Placing Components in the Right Order. ........................................133 The All-Important First Effect......................................................134 Series Effects Combinations........................................................134 Parallel Effects. ..........................................................................136 Appenidx D: About Ground Loops......................................................137 A Non-Solution: Ground Lifters....................................................137 Solution #1: The Single Plug Theory.............................................137 Solution #2: The Broken Shield Effect..........................................138 Solution #3: Audio Isolation Transformer.......................................138 Solution #4: AC Isolation Transformer. ..........................................138 Index. .............................................................................................139
VI GUITAR RIG 2
1 Welcome to GUITARRIG2!
GUITARRIG2 will change your musical life. Forget about complex, noisy, unreliable guitar pedal setups with cables that crackle and batteries that die in the middle of solos: GUITARRIG2 puts the worlds most sophisticated, flexible, and wonderful-sounding guitar rig into any modern laptop or desktop computer (Mac OS X or Windows XP). Take it to the studio, to the gig, practice in your hotel roomthe possibilities are limitless. And thanks to the included RIG KONTROL 2 foot controller/DI box/USB 2 sound card/preamp, you can take your guitar, bass, or other stringed instrument sound to the next level with only a few guitar cords, and some way to hear what youre doing. Of course, none of this would have happened without the visionaries, inventors, and artisans whose work on guitar amps and effects over the decades defined the sound of the electric guitar as we know it. All of the Native Instruments team would like to acknowledge their creations as an important source of inspiration in the design of this software; they have both our respect and gratitude. In this case, we are more than happy to state that imitation is indeed the sincerest form of flattery. A love of the guitar and its seemingly infinite potential has driven our quest for the ultimate guitar rig. We thank you for your support, and hope that whether youre looking for vintage blues timbres, modern rock grunge, or synthetic sounds for dance music, GUITARRIG2 will deliver the tone, punch, and crunch you crave. The Native Instruments GUITARRIG2 Team
GUITAR RIG 2
GUITAR RIG 2
In standalone mode, just choose the appropriate inputs and outputs by going File Audio+MIDI Settings, and youre ready to go.
GUITAR RIG 2
2.4 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 GUITARRIG2, always position your guitar so it picks up the least amount of interference. GUITARRIG2s Noise Reduction can help get rid of some interference, but it is not a substitute for orienting your guitar away from sources of interference.
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Also, as amazing as GUITARRIG2 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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4 GUITARRIG2 Layout
GUITARRIG2s screen has two virtual rack frames. The right frame has two main sections: The upper section is the rigs Control Center (basically a toolbar of important functions), while the lower section is like a virtual rack where you can insert and remove various Components. The left frame manages Presets, Components, and Preferences.
The entire setup racks, Components, Presets, and settings is called a Rig.
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Previous Preset selects the next lower-numbered Preset. Next Preset selects the next higher-numbered Preset. Undo Edit works with almost all GUITARRIG2 operations, not just parameter changes. If you ever do something you didnt mean to do, instead of saying ooops, click on Undo Edit. Redo Edit restores the status of Guitar Rig prior to clicking on Undo Edit. Clear Rack removes all Components (except Input, Output, TapeDeck, and Metronome) from the rack. Use this with caution, although of course you can always use Undo if you didnt mean to delete the Components. Also notice the High Resolution mode button in the right corner of the Control Center beside the CPU meter. Enabling this doubles the sample rate of the internal processing, which gives a more detailed sound. However, this doubles the load on your CPU, so High Resolution mode is recommended only with fast and powerful computers.
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This view also includes a powerful search function for quickly finding and loading particular Presets, based on a variety of criteria. Show All Available Components (middle button) displays the array of available signal processing Components, classified as Amps, Distort, Mod, EQ, Volume, Reverb, Tools, and Modifiers. Selecting a Component also brings up a short description in the lower part of the window. Drag the Components you want to use into the right virtual rack frame, and arrange in any order you like; signal flow goes from the rack top to the bottom. Note that additional Components are planned for future updates, so dont forget to register your software so you can be advised when these become available. Global Settings and Controller Assigns (right button) is where you customize GUITARRIG2s global settings; choose default directories for presets, banks, and Component templates (Component-specific Presets); and assign controllers from the included NI RIG KONTROL or other MIDI controllers.
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5 Setting Preferences
Call up Edit Global Settings and Controller Assigns (Preferences) in the left frame by clicking on the right-most Left View button. There are three tabs: Global, Presets, and Controller.
Rig Kontrol
GUITARRIG2 comes with a new Rig Kontrol. If you are using it, select Rig Kontrol 2. If you are an original GUITAR RIG owner and would prefer to use the original Rig Kontrol, select Rig Kontrol 1.
A controller can control only one parameter in a Preset. Unfortunately, this is necessary to avoid problems with host applications that dont allow a single MIDI controller to control multiple parameters. A controller can control a different parameter in a different Preset (e.g., the same controller could affect Distortion Tone in one Preset and Compressor Ratio in another). If you use a Components Learn function, as described later, to assign a controller that was already assigned in the Preferences Controller section, the previous controller assignment will be de-assigned (the Component Learn function takes priority).
Assigning a Controller
Click on Add Controller. If you dont see the Add Controller button, click and drag down on the Resize bar under the Preset Controls label to reveal the lower part of the Rack Controls section. Click on Learn, and vary the hardware controller you want to assign to this controller. (Note: Pitch Bend is not recognized, only continuous controllers.) The RIG KONTROL controller name (or MIDI controller number) will appear in the left-most pane. If the controller number does not show up, there is a MIDI communication problem with GUITARRIG2. You can clear the assignment by clicking on Clear; click on Learn again to re-assign to a different controller. You can delete the controller altogether by clicking on Delete.
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The RIG KONTROL pedal is being assigned to the Wahwah Components virtual pedal. This could also be done using a knobs Learn function, as described later. To choose the parameter to be controlled, right-click on the associated Target window and select the parameter. In this area, you can scale the parameter by varying its range. Drag the left handle to set a minimum parameter value, and the right handle to set a maximum value. Example: If the left handle is set to 2.00 and the right handle to 7.00, then sweeping the controller will cover a range of 20% of the parameter value to 70% of the parameter value.
The left handle is being adjusted to set a lower limit for the Plexi Amp Warm Volume parameter.
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Moving the panel up or down with the resize bar shows more or fewer of the Preset Control assignments. To assign a hardware controller to the Next Preset, Previous Preset, Next Bank, or Previous Bank function: Click on Learn. Push the RIG KONTROL switch or other controller. The hardware field indicates the selected controller. To de-assign the controller, click on Clear. To create an assignment for a particular Preset or Bank: Click on the Add Pres. Sel or Add Bank Sel. if all you see are Preset/Bank Up or Down options. There are three fields for the hardware controller, the name of the function, and the Preset or Bank number that will be selected. To assign the hardware controller, click on Learn. GUITAR RIG 2 19
Push the RIG KONTROL switch or other controller. The hardware field indicates the selected controller. The function name cannot be renamed, but under Target, specify the Preset or Bank to be called up by the hardware controller you assigned. To do this, double-click on the Target number or drag across it, and type in a new number. To de-assign the controller, click on Clear. To remove the Preset or Bank select, click on Delete.
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To rename a Template
Click at the end or beginning of the existing name in the name field, and drag over it. Type in the new name. Click on the drop-down menus arrow. Click on Save.
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The renamed Template is added to the list of available Templates for the Component. The Template with the original name still exists. If a Template has already been selected, you can delete, save, or overwrite it. Here are the steps: To delete it, click on the drop-down menus arrow and click on Delete. If youve changed the control settings since you called up the Template and want to overwrite the stored settings, click on the drop-down menus arrow and click on Overwrite. If youve changed the control settings since you called up the Template and want to save the new settings as a new Template, click on the drop-down menus arrow and click on Save.
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New creates a new bank, with the generic name <new bank>. Upon creation, a save as dialog will pop up. Enter a name for the bank (this is necessary because the Bank is saved to disk). Load opens a browser where you can select a Bank to load. Save writes the currently selected bank and Preset to the Preset Banks directory. Save As writes the currently selected bank to the Preset Banks directory, but gives you the opportunity to rename it, and appends the name to the end of the list of Banks. Protect prevents a Bank from being cut, overwritten, or moved. With protected Banks, the Preset list has a light colored background. To unprotect, click on the Protect button for the protected Bank.
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Remove a Bank
To remove a Bank from the list, right-click on its slot and click on Remove Bank from List. This does not delete the Bank file itself, only its occurrence in the list.
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Change the proportion of the Bank List to the Preset List by moving the resize bar up and down.
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26 GUITAR RIG 2
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Rename Cut Copy Paste Delete Select All Clean Up (removes empty Presets, then closes up the Presets so there is one continuous Bank of Presets.)
6.7 Properties
This is where you can enter several properties of the selected Preset: Name (Preset name/label) Author Style Tone Instrument Last change (read-only; date of the most recent modification)
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Favorite (a check box to indicate particularly useful or commonly used Presets) Info (basically a notepad) Take the time to enter this information for your Presets, as you can search for them based on particular criteria entered under Properties.
6.8 Search
Click on the Search tab, and several fields appear. GUITARRIG2 will examine all Banks and Presets to find Presets that match the criteria youve specified in those fields. For example, you can generate a list of all Presets that fit a certain musical style by choosing a Style, then clicking on the Find button. You can narrow the search further by specifying additional fields, like all Presets done in a particular musical style by a particular Author, in a specific Bank (or in all Banks). With the Quicksearch field, you can enter anything about a Preset, including words in the Properties info field, and GUITARRIG2 will find Presets containing what youve entered. Note that the Date field is quite handy, as you can search for Presets that were modified prior to a certain date, after a certain date, or on a certain date. Checking Favorites will insure that only patches marked as Favorites are listed in the search results. As soon as you click on the Find button, youll see the results of the search. You can also access these results later by clicking on the Search Result tab. If you want to start a new search, rather than reset all fields manually, you can simply click on the Reset button.
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This matches your instruments levels to GUITARRIG2. Hint: Always feed in the highest possible levels short of distortion, as indicated by the signal level meters getting as close as possible to the red (overload) condition without actually hitting it. Volume sets the incoming level. Turn it up (clockwise) as high as possible, short of the meter glowing red, which indicates an overload. Then, turn the control counterclockwise a bit to allow some headroom (clipping the sound card input is a major sonic disaster). If the red LEDs still glow, reduce the volume further. If the accompanying Learn button is on (button pushed in), GUITARRIG2 can set the optimum level automatically. After enabling Learn, play your guitar really hard so it generates the maximum possible level. GUITARRIG2 will analyze this level, and adjust the Volume automatically. After analysis is complete, the Learn button pops out. The Channel Buttons control how GUITARRIG2 reacts in single and dual guitar modes. 1: GUITARRIG2 processes only the signal at RIG KONTROL Input 1, and mutes Input 2. 2: GUITARRIG2 processes only the signal at RIG KONTROL Input 2, 30 GUITAR RIG 2
and mutes Input 1. Both: Sends both Inputs into GUITARRIG2. The NR button turns the noise reduction on (button pushed in) or off (button out). The Threshold control sets a level; signals above this level will pass through the gate (the Gate LED is off). If the signal dips below the threshold, then the gate closes (the Gate LED glows red). This is helpful if your pickups are picking up any kind of low-level hum or buzz; set the gate Threshold just above this noise, and when you 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. GUITARRIG2 analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the Gate should open.
This works the same way as if youre using Rig Kontrol 2, with the exception of the following additional functions. The Channel Buttons control how GUITARRIG2 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: GUITARRIG2 processes only the signal at RIG KONTROL Input 1, and mutes Input 2. 2: GUITARRIG2 processes only the signal at RIG KONTROL Input 2, and mutes Input 1. Both: Sends both Inputs into GUITARRIG2. Do not use this mode when using the RIG KONTROL, as youll also hear the control signals coming out of the footswitches and pedal. (Note that mono modules will mix these two signals together.) On: Turns the RIG KONTROL Detection on/off (button pressed is on). Auto: Recommended when using RIG KONTROL, as GUITARRIG2 will automatically recognize the instrument plugged into Input 1, as well as the RIG KONTROL control signals that appear in the other channel.
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This matches GUITARRIG2s 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. NI 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; GUITARRIG2 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. This generally will be adjusted to provide the desired amount of signal to the next stage, and not changed unless GUITARRIG2 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 a bit (or Preset Volume in the case of an unusually loud Preset). If they still glow red, reduce the volume further. The Clipping/Limiter switch chooses how GUITARRIG2 will handle an overload condition, as indicated by the red output light glowing red. With Clipping selected, overloads will exceed GUITARRIG2s headroom, resulting in distortion. With Limiter selected, if an overload condition occurs, the limiter turns the volume down automatically to prevent distortion. When the light goes out, the volume returns to normal. If limiting occurs often, turn down the Master Volume or, with an excessively loud Preset, the Preset Volume. Note: This limiter acts more like a safety valve. If you want to use limiting as an effect, insert the Limiter Component into the rigs signal chain.
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7.4 Tuner
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. There are two tuning modes, as selected by the Cent and Strobe buttons located toward the right of the display. In Cent mode, a small indicator shows whether the pitch is sharp (indicator to the right of the meters center 0 point) or flat (indicator to the left of the meters center 0 point). The number toward the left of the display indicates the number of the string being tuned. When a string is at proper pitch, the indicator should sit in the middle of the meter at the 0 point. In Strobe mode, a series of lights moves to the right when the string is sharp, and moves to the left when the string is flat. The faster they move, the more out of tune the string. When the lights stop moving, the string is in tune. To access the Extended View functions, click on the (+) symbol to fold down the bottom of the tuner. Reference Pitch adjusts the tuning reference, from A=425Hz to A=455Hz. The hint text for this control shows the exact pitch. Cents shows the deviation from ideal tuning in cents. Drop Tune transposes the tuning range. Example: If you tune all your strings a semitone lower, set drop tune to -1. Tune Fork produces a reference tone. To select the pitch, click on the note field to the right of the Tune Fork button, and drag up to raise pitch and down to lower pitch. Or, use the arrow buttons above and below the display to change the virtual tuning fork pitch in semitone increments.
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7.5 Metronome
The Metronome provides a rhythmic reference, but with GUITARRIG2 in standalone mode, it also serves as a master tempo clock for tempo-synched effects. Sync, when enabled, synchronizes the Metronome tempo to the host sequencer tempo if GUITARRIG2 is serving as a plug-in. Volume changes the metronomes audio level. Mute turns off the metronomes audio output, but you can still see a visual indication of the beat. Click on Signat(ure) to show a drop-down menu with 28 different time signatures as well as none. When used as a plug-in, BPM shows the host tempo. In standalone mode, the BPM field lets you change tempo in two different ways: Click on the BPM field and drag up to speed up the tempo; drag down to slow down the tempo. Double-click on the field and type in the desired tempo (accurate to hundredths of a BPM) The #1 field lets you select a particular sound for the downbeat. Click on the downward-pointing arrow, and navigate to the folder with the metronome sound you want to use. GUITARRIG2 comes with several suitable sounds in the Metronome Samples folder, which is installed with the program. Note: Sounds with bit resolutions greater than 16 bits will not be recognized. The #2 field lets you select a particular sound for beats other than the downbeat. Click on the downward-pointing arrow, and navigate to the folder with the metronome sound you want to use. Note: Sounds with bit resolutions greater than 16 bits will not be recognized. Click on the Tap button to set the tempo. GUITARRIG2 measures the time between clicks, which determines the tempo. Repeated clicking causes GUITARRIG2 to derive an average tempo. You can also assign Tap to a switch of the RIG KONTROL (do this with the Learn function, as described later). This makes setting the tempo much more convenient when youre in the middle of playing and both hands are busy.
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With Tapedeck One, instead of describing each control individually, well cover the function you want to accomplish with the Tapedeck, and describe how to do it.
GUITAR RIG 2 35
The diagram shows Tapedeck One set up to loop. Note the pushed in Loop button, and the two handles that show the Loop In and Loop Out points.
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7.10 Recording
To record your playing: Click on the New button in the lower left. This automatically enables record by pushing in the Record button. If you have already created a new file, you can just click on the Record button. The Play Mode button changes to a Record Mode button; select either Record at Input (records the input signal that feeds the Rig) or Record at Output (the recorded signal includes any processing thats set up in the rig). Record mode is already enabled, so click on the Play button to initiate recording. After recording, click on the Save button, navigate to the folder where you want to save the file, name it, and click on Save. Note that loop mode is not available while recording.
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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. 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 tape decks. Loop functions are the same as for Tapedeck One. Like Tapedeck One, only 16-bit files can be used, and looping does not work while recording.
To record an overdub
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.
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GUITAR RIG 2 39
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 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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Templates (control settings for the Component) that can be saved separately from a Preset. For example, if you come up with a great Quad Delay effect and want to use it in other Presets, save it as a Component Template, then load it into the same Component in different Presets. This is described fully at the beginning of Chapter 7; the following is a recap. To select a Template, click on the drop-down menu to the right of the name field, and select the Template. To save a Template, first name it by dragging over the existing name in the name field (or double-clicking on it) then typing in the new name. Next, click on the drop-down menu to the right of the name field and select Save. To overwrite a Template, rename the Template if necessary, then click on the drop-down menu to the right of the name field and select Overwrite. To delete a Template entirely, select the Template to be deleted, then click on the drop-down menu and select Delete.
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Drag the Component into the desired position in the rack. As you drag the Component over to the rack, a shiny silver bar will appear between Components where the new Component will land if you release the mouse button. With the rack, signal flow goes from top to bottom.
8.8 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 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.
This Component models the standard guitar and bass amp recording chain: Cabinet, mic, and mic position. But thats not all. Click on the small Add button, and another recording chain folds out with the same set of options and controls (as shown above). Why settle for miking one or two cabinets when you can have a roomful 42 GUITAR RIG 2
Note: 22 & 24 use a closed cabinet, with sound recorded through slots. 23 & 25 use an open cabinet, with sound recorded direct. Mic positions and the position names depend on the selected cabinet (of course, the Direct Box doesnt offer a mic option).
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Parameters
Size (the slider below the cabinet graphic) does the equivalent of growing or shrinking the cabinet and speaker. For example, with a 1x12 cabinet, set Size to -20% and it becomes a 1x10. Increasing Size to +25% turns it into a 1x15, and +43% creates a 1x17 speaker/cabinet. Is modeling cool, or what? Volume sets the mics output level. Pan places the mic signal anywhere in the stereo panorama, from far left to far right. Air controls the level of early reflections in the room response.
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Distance appears if more than one SubCabinet/Mic is active, and controls the delay due to the distance between the mic and cabinet. Mixing together the signals from multiple mics results in cancellations and emphasis of certain frequencies, depending on the relative distances. Bass boosts or cuts the level of the lower frequencies. Treble boosts or cuts the level of the higher frequencies. Phase flips the mic polarity. Master Volume sets the entire 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. GUITARRIG2 will analyze your playing, and adjust the Master volume for the optimum level. After analysis is complete, the Learn button pops out.
8.10 Tweedman
Back in the 60s the Tweedman was a classic bass amp. Nowadays, its highly coveted as a great guitar amp, but of course still works well in its originally intended role for bass. Compared to the Bass VT amp, the sound is a bit smoother and more well-behaved. Volume Bright sets the overall level for the bright channel. Volume Normal adjusts the level for the normal, warmer channel. Both the Volume Bright and Volume Normal controls can be used simultaneous to blend the two sounds. GUITAR RIG 2 45
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. 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 makes the power supply more spongy, as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit. Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amps power supply react more rapidly. Bias adjusts the virtual tubes grid bias, which influences crossover distortion. Although its possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings.
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8.11 AC-Box
This amp models the famous amp sound (rhymes with box) that powered the British Invasion of pop music. There were many versions made of the original amp, each with a slightly sonic character. This model is based on a type with the Top Boost modification. The basic Normal channel has no tone controls aside from Top Cut. The Top Boost adds the Brilliant channel, which offers Treble and Bass controls.
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 that reduces the outputs high frequency response. Tremolo Speed controls the rate of periodic volume modulation. Tremolo Depth controls the extent to which tremolo modulates the sound, from off, through subtle, to obvious. 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 GUITAR RIG 2 47
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 because it cant deliver the necessary power. Increasing Sag makes the power supply more spongy, as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit. Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amps power supply react more rapidly. Bias adjusts the virtual tubes grid bias, which influences crossover distortion. Although its possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings.
The Twang Reverb simulates the rich tube sound of classic amps from decades ago. Its ideal for screaming blues leads and crunchy rhythm guitar sounds, as well as clean sounds with personality.
Parameters
Volume sets the amps overall level. Note that this is like a master volume control; if you want to overdrive this amp, precede it with a module that provides gain (e.g., volume pedal turned up full). 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. 48 GUITAR RIG 2
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 in emulated spring reverb effects. Its extraordinarily realistic, but dont worry if you tap on the side of the monitor, it will not go boing. The Reverb On switch allows turning off the reverb. Like all good software reverbs, the spring reverb uses a fair amount of processing power; turn it off if youre not using it. Speed controls the tremolo speed (but its labeled vibrato, just as it was labeled on vintage amps). Intensity controls the extent to which tremolo modulates the sound from a mild pulsing to a deep throbbing. Oh baby, baby Vibrato On allows turning the tremolo effect off when not in use. 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 makes the power supply more spongy, as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit. Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amps power supply react more rapidly. Bias adjusts the virtual tubes grid bias, which influences crossover distortion. Although its possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings. Reverb Time sets the reverb decay tails duration.
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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.
8.13 Plexi
The classic Plexi 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. 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. 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).
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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 makes the power supply more spongy, as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit. Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amps power supply react more rapidly. Bias adjusts the virtual tubes grid bias, which influences crossover distortion. Although its possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings.
Modeled after an amp produced by a highly-respected synthesizer manufacturer, the Jazz Amp produces a warm, clean tone. An essential part of its sound is the Ensemble effect, which adds chorusing or vibrato. As a result, the Ensemble is built into the Jazz Amp. However, if you want to hear the Vibrato/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. Note: There are no expert mode settings for this amp.
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. Turning Mid clockwise from the center boosts the midrange frequencies; counterclockwise reduces midrange frequencies. GUITAR RIG 2 51
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 Plexi works very well for both chunky rhythm sounds and leads, the Lead 800 gives a brighter, more edgy sound.
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. Click on the (+) symbol to reveal expert mode, with the following parameters. Power Supply chooses between 50 and 60Hz. This represents the frequency 52 GUITAR RIG 2
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 makes the power supply more spongy, as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit. Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amps power supply react more rapidly. Bias adjusts the virtual tubes grid bias, which influences crossover distortion. Although its possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings.
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 fourchannel amp (click on the associated channel to select it): Clean Raw Vintage Modern
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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. 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 because it cant deliver the necessary power. Increasing Sag makes the power supply more spongy, as occurs with a tube-based rectifier circuit. Tuning down Sag makes the power supply harder, like a silicon diode-based rectifier circuit. Response changes the power storing capacity of the power supply capacitors. Turning down Response increases the capacity, so that the supply voltage reacts more slowly to playing dynamics. Turning Response up makes the amps power supply react more rapidly. Bias adjusts the virtual tubes grid bias, which influences crossover distortion. Although its possible with some tube amps to adjust bias to alter the tone, bias also changes naturally as the result of a tube aging, and this control can simulate that effect as well. You may need to adjust Bias after changing the Variac and Sag settings.
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8.17 Bass VT
This bass amp can deliver a gritty, growling sound that can really make a bass stand out in a mix. In addition to the unique tonal qualities, theres 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. 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. The Ultra Lo switch, when on, scoops out some of the midrange and increases the lower frequency response. Turning the Ultra Hi switch on boosts highs, but over a wider frequency range than the Bright switch. It therefore has a more obvious effect. The Graphic EQ switch enables or disables the graphic EQ processor, which is visible only in Expert mode. Click on the (+) symbol to reveal expert mode, which shows the graphic equalizer controls.
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Graphic EQ Volume adjusts the overall level of the graphic EQ processor. When centered, 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.
9 Distort
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.
Looking for that special 60s fuzz sound? The Fuzz Aces rather thin and sharp tone makes your leads cut through a mix like a chain saw. As a bonus, you can create buzzing vintage rhythm guitar sounds, too.
Parameters
Volume sets the Fuzz Aces output level. It acts like a master volume control.
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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.
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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. Moving in the counterclockwise end of the range (say, from 0.00 to 3.00) can add an almost wa-wa like effect. Tone adjusts the frequency range influenced by the built-in pre-distortion midrange booster.
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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.
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9.5 Distortion
When you want distortion that will scare small animals and clear a room of unwanted house guests, insert this baby and turn it up to 11.
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.
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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.
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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 attenutates 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 counterclockwise 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.
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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.
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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.
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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.
Parameter
It doesnt get much simpler than this: turn Boost clockwise to boost the signal level.
Distortion tips
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 give the thinnest sound. Brighter sound. Some guitars (particularly Fender solid body types) have a feature where turning down the volume control attenuates the low frequencies at a faster rate than the high frequencies. Thus, if you turn the control down about 3/4 of the way, the upper strings will distort more than the lower ones. This gives a bright, lively type of distortion. Balancing the sound. With guitar, pickup height adjustments are crucial to getting a consistent distortion sound. If the sound is too boomy, angle the pickups slightly so that the bottom three strings are further away from the pickup than the top three strings. Also, note that newer strings will sustain longer than older strings.
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10 Mod
10.1 Tremolo
This provides a periodic amplitude change so that the sound seems to pulsate. A modulation source controls the rate of these amplitude changes.
Parameters
Intensity controls the tremolo effect depth by adding in some dry signal to the processed signal. Rate sets the modulation frequency. Faster settings add a type of shimmering effect to the sound. Tempo Sync synchronizes the tremolo rate to the host tempo so that it follows the 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 an attack and decay from an envelope. Down changes the decay time. Up changes the apparent attack time in a similar manner. Turning both Down and Up to minimum creates more of a hard gate effect.
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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. Depth is active only in Vibrato mode and sets the amount of pitch deviation. Rate is active only in Vibrato mode and sets the vibrato speed. Click on the (+) symbol to reveal expert mode, with the following parameters. Temp Sync synchronizes the LFO speed to the host applications tempo, or the metronome tempo in standalone mode. Dry/Wet sets the ratio of dry to processed sound, from dry only (counterclockwise) to 50-50 (mid position) to processed sound only (fully clockwise). Bass provides control over the lower frequency tone (turn clockwise to boost, counterclockwise to cut). Mid similarly affects the level of the midrange frequencies. Treble similarly determines the high frequency response. Delay sets the chorus circuits delay time (the time around which modulation occurs). Stereo changes the imaging from mono (fully counterclockwise) to stereo (fully clockwise).
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This delay-based unit can create chorusing, flanging, and pitch modulation effects. Chorusing essentially turns one guitar into a chorus of guitars, providing a more diffused and complex sound. Flanging produces a whooshing sound, like the same effect you hear from a jet airplane when it passes overhead but more intense and metallic. Pitch Modulation is the same thing as vibrato a cyclic pitch change.
Parameters
Speed varies the modulation rate. With Chorus, faster speeds provide a more shimmering sound, while slower speeds create more of a rolling, smooth chorus effect. With Flanger, Speed determines how long it takes to complete one cycle of flanging (i.e., minimum delay to maximum delay, or the high and low timbres). With Pitch Modulation, this control sets the vibrato rate. Intensity, in 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 host applications tempo, or the metronome tempo in standalone mode. Stereo creates a super-wide stereo effect, but is recommended only for live use playing the signal back in mono causes the effect to disappear, leaving only the straight sound.
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The Stoned Phraser adds a swirling, animated effect to the sound. This model is based on popular phaser technology 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. Color Strength sets how much the Color on/off 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.
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10.5 Rotator
This effect, the same one used in Native Instruments acclaimed B4 virtual organ, simulates the effect of miking a rotating speaker. A true rotating speaker has two separate elements the lower rotor and upper rotor and this module faithfully emulates both elements, as well as provides separate controls for each one
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 sets how long it takes for the speed to change when you change the Rotator speed switch. 70 GUITAR RIG 2
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.
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. Oct 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.
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GUITAR RIG fans from around the world begged us to include a pedalcontrolled vibrato tailpiece effect, so how could we resist? But unlike a standard vibrato tailpiece, all the strings stay in tune as you bend up and down. Controlling the Drag (pitch shift) parameter from the Rig Kontrol pedal is highly recommended, as this gives hands-free control over pitch changes. (Note that unlike the Oktaver, the pitch shifting works polyphonically; furthermore, with small shift amounts, the Pitch Pedal can provide some superb chorus and ensemble effects.) The expert mode parameters are crucial in creating useable bending. Those who 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. Dry/wet adjusts the proportion of dry and processed sounds. Counterclockwise is fully dry, clockwise is processed (wet) sound only. 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 24 semitones. Min Detune sets fine tuning for the amount of detuning when the pedal is at minimum (up position). The range is 100 cents. Max Shift sets the pitch shift amount when the pedal is at maximum (down position). The range is 24 semitones. Max Detune sets fine tuning for the amount of detuning when the pedal is at maximum (down position). The range is 100 cents. Feedback determines how much of the output signal returns to the input. For 72 GUITAR RIG 2
example, if you have set pitch to transpose up 1 semitone, that signal will return to the input and be transposed up another semitone, then that signal will return to the input and be transposed up another semitone, and so on. This produces an ascending series of notes. Delay affects the smoothness of the pitch shifted sound. It also introduces a delay in the feedback path, from 10 to 50 ms. The longer the delay, the greater the sense of a series of notes; with shorter delays, youll hear more of a texture.
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11 Filter
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 past from that point. This type of EQ provides general tone shaping to correct broad issues, like lack of high frequency sparkle or excessive boominess in the bass end. The graph in EQ Shelving illustrates the response created by the controls, while the Tooltips for each dot show the exact frequency in Hz and amount of boost/cut in dB.
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.
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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 F1 and F2 respectively will be boosted (emphasized) or cut (de-emphasized). Q1 and Q2 edit the sharpness of the boosting or cutting action at frequencies F1 and F2 respectively. Narrow bandwidth settings (turning clockwise from the center position) affect a very small part of the audio spectrum, while broad bandwidth settings (turning counterclockwise from the center position) affect a broader range.
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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. Note that all bands are equally spaced (using logarithmic ratios) between the highest and lowest bands. Example: If Min is set to 50 Hz and Max to 6400 Hz, the other bands are at 100, 200, 400, 800, 1600, and 3200 Hz.
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11.4 Pro-Filter
The ProFilter is a synthesizer-type filter based on the filter included in Native Instruments popular Pro-53 virtual instrument. The Pro-Filter has a fat, rich sound that works very well as a tone control, but tying the Cutoff control to the Rig Kontrol pedal also produces a great wahwah sound. But why stop there? The various Modifiers are perfect for modulating cutoff. In particular, the Step Sequencer can give novel filtered effects that sync to the music. This is ideal for hip hop, dance, techno, and other forms of highly rhythmic music.
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 Note that there is no expert mode for this module.
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11.5 AutoFilter
The AutoFilter is basically a wahwah that responds to the dynamics of your playing. The AutoFilter sound is very popular in funk music, particularly from the 1970s.
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).
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Release causes the filter to take anywhere from 50 to 800ms to decay back to its initial setting in the absence of an input signal. With short release times, the AutoFilter tracks even slight level changes. This can produce a choppy sound; turn up the release for a smoother decay. Offset adjusts the 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 Wahwah Pedal is a filter that sweeps a response peak over a frequency range, and the GUITARRIG2 version is perhaps the planets most versatile. Independent settings for filter frequency, resonance, and level at the high, mid, and low points of the pedal travel allow customizing the response for any type of wahwah application or desired pedal feel.
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.
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Examples: A low mid setting gives little change when moving the pedal from its minimum position to the middle, and a much greater change when progressing to the maximum position. When Mid is set high, the pedals mid-position sounds much like the maximum position. Freq Max adjusts the filter frequency with the pedal all the way down (forward). Res Min determines the amount of filter resonance with the pedal all the way up (back). Res Mid sets the amount of filter resonance with the pedal at its 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).
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11.7 Talkwah
This is similar to a Wahwah, but uses a different filter type that emulates the filtering that your mouth creates when enunciating vowels. The result is similar to the talk box effect that was very popular in the 70s (Stevie Wonder, Peter Frampton, Funkytown, etc.).
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 NI 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 changes the overall level. Size adjusts the size of the virtual mouth. When counterclockwise, the mouth is small, like that of a midget. When clockwise, its like a giants mouth.
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Making distortion more responsive. Putting EQ before distortion can make an instrument seem more touch-sensitive. This is because distortion usually affects all frequencies more or less equally. By gently boosting the midrange over a fairly broad range (e.g., 200Hz to 1kHz) prior to distortion, the notes you play in this range will distort at lower levels, which makes the distortion seem more responsive. Fixing dead spots on bass. Basses (and guitars) sometimes have dead spots on the neck that 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 (in a possibly obnoxious fashion, which is why you should turn down the amp first). Once the frequency control is set properly, reduce the amount of boost until the dead note is the same level as the other notes. If the note sounds too peaky, reduce the bandwidth control as well. Emphasizing and/or differentiating instruments. Finding and cutting specific frequencies can eliminate fighting between competing instruments. For example, suppose 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.
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12 Volume
12.1 Volume Pedal
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.
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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.
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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. GUITARRIG2 analyzes your signal, and sets the threshold just above any residual noise. Now when you play, the Gate should open.
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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.
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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 this clockwise increases the apparent sustain, but note that this can also amplify other low-level signals, like noise and hum coming into the pickups. The Meter between the two controls mentioned above shows how much the gain is being reduced by the compression action. 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.
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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. Gain allows compensating for output level changes caused by the compression process. Set this so that the peaks of your playing are the same when the compressor is bypassed or active. Note that the compressed sound will appear
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louder, even if the peaks are the same 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) Dynamic determines the dynamic response of the tube. Turning this clockwise flattens dynamics a bit.
Compressor Tips
Minimizing noise. Do not overcompress, as this makes for a thin, unnatural sound. Use the bypass switch to compare the compressed and non-compressed sounds; you may find that even a little bit of compression gives the desired effect. Optimum signal chain placement. Place the compressor toward the beginning so that it doesnt bring up the noise from previous stages. Although the effects in GUITARRIG2 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.
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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 sets the reverb decay time. Turn clockwise to increase decay. Bass sets the low-frequency response characteristics. Turn clockwise for a bassier sound, counterclockwise for less bass. Input Mute shuts off the signal going to the Spring Reverbs reverb section, but lets any dry signal pass through. This is great for creating reverb splashe: 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. Note that because no signal is allowed into the reverb section when Input Mute is on, you will hear nothing if the Reverb control is set fully clockwise (wet). Click on the (+) symbol to reveal expert mode, with the following parameters. 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. GUITAR RIG 2 91
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 splashe: 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. Note that because no signal is allowed into the reverb section when Input Mute is on, you will hear nothing if the Mix control is set fully clockwise (wet). Click on the (+) symbol to reveal expert mode, with the following parameters. High Damp, when turned clockwise, reduces highs as the reverb decays. Turning it counterclockwise leaves the highs intact during the decay. Low Damp, when turned clockwise, reduces lows as the reverb decays. A counterclockwise setting leaves the lows intact during the decay. Character changes the reverbs timbre. Adjust according to your personal preference.
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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-inecho 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 GUITAR RIG 2 93
lets any dry signal pass through. One application would be to control this function with a footswitch; when you hit the footswitch, any existing echoes would continue until they faded out, but no new signals would be fed into the Psychedelay, so there would be no new echoes. Note that because no signal is allowed into the delay section when Input Mute is on, you will hear nothing if the Dry/Wet control is set fully clockwise (wet). Click on the (+) symbol to reveal expert mode, with the following parameters. Sync synchronizes the delay time to the host tempo so that delays follow the rhythm of a song. In standalone mode, the delay time syncs to the Metronome tempo. Invert changes the phase of the delayed signal, so that different frequencies cancel when mixing the delayed signal in with the dry signal. The result is particularly noticeable in Flanger-like effects involving short delays. Sync Delays, when on, insures that the delay tap times have a regular pattern (for rhythmic delays), and the modulation LFOs are in phase for a hard sound. When off, the delay tap times are irregular (for reverb-like delay) and the LFOs are free-running, which produces a lusher sound. Diffusion spreads out the delay tap times for the four delay lines that make up the effect. Bass adjusts a high pass filter; turn clockwise to reduce low frequencies. Treble adjusts a low pass filter. Turn counterclockwise to reduce high frequencies.
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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. Note that because no signal is allowed into the delay section when Input Mute is on, you will hear nothing if the Dry/Wet control is set fully clockwise (wet).
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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. Cross creates feedback paths that cross between the two channels right feeds back into the left channel, and left feeds back into the right channel. This creates a more complex, polyrhythmic type of echo effect. Sync synchronizes the delay time to the host tempo so that it follows the songs rhythm. In standalone mode, the delay time syncs to the Metronome tempo. For some amazing effects, on the main panel set a fairly short Delay Time (e.g., 200 ms), Detune to +50 cents, and Feedback to maximum. In the expert section, set Stereo Time fully clockwise (0.50), detune to On, and Cross up full. Hit a note, and it will stretch upward and then decayvery cool.
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14 Tools
14.1 Loop Machine
The Loop Machine allows recording, playing back, and overdubbing multiple layers of sound. The loops can be synchronized with the host, or to the metronome tempo in stand-alone mode. Furthermore, individual layers, or the mix of all layers, can be exported as WAV files. As a practical example, you could record four measures of rhythm guitar, then overdub a lead, then a harmony, some rhythmic slides, etc.
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 Stop Button (X symbol) once to stop the loop from playing. The button will have a red outline for a few seconds; if you click again while the red is showing, all layers will be erased. Note: While the Loop Machine is stopped, you can double-click on the Stop button to erase the various layers.
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The Beat Button enables a flashing indicator on the beat. The Progress Meter shows the current time within the loop. Loop Time shows the total loop time, while Rec Time shows the current time within the loop. Rec Vol adjusts the level feeding the Loop Machine. Play Vol adjusts the Loop Machine playback level. Undo deletes the current layer. You can press Undo repeatedly to delete layers, starting from the most recent. Redo restores the most recently-deleted layer. Note: Although you can Undo multiple layers, you can Redo only to the most recently undone layer. The Load button (folder icon) calls up Loop Machine files, which have a .ls suffix. These consist of the audio files and all settings for a particular loop. The Save button (floppy disk icon) saves Loop Machine files, which have a .ls suffix and consist of the audio files and all settings for a particular loop. Exp Mix exports the entire collection of loops as a single mixed WAV file. Exp Lay exports the current loop as a WAV file. 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 has two different purposes that depend on whether Loop Machine is synching to a host, or to the metronome. Synching to host: The Loop Machine starts, stops, and rewinds in sync with the host. Synching to metronome: This quantizes the loop length to the beat, even if you stop recording slightly before or after the beat. Loop A/B toggles between two loops recorded previously.
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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 GUITARRIG2. Split A feeds the Skreamer, Equalizer Shelving, and Ensemble Components. Split B feeds the Distortion and Wahwah Components.
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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 GUITARRIG2 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 crossfade to adjust the balance of the two splits. 100 GUITAR RIG 2
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.)
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.
15 Modifiers
15.1 About Modifiers
You already know about the concept of a modifier (also called a modulator); for example, you can modify a Components parameter with the Guitar Rig foot pedal, or modify amplitude with the tremolos periodic waveform. In both cases, there is a modulation source that generates a control signal; this affects a particular parameter, called the modulation target. The modifier modules included with Guitar Rig take the concept of real-time parameter value modification to another level, as they can modify multiple parameters simultaneously, and tailor the amount of modulation to each parameter. Once you insert a Modifier into the rack, you can assign its control signal to almost any Component parameter to it. There are two ways to do this. The simplest is to simply click on the Modifiers Assign button and drag it on top of the parameter you want to modify. A hand cursor will confirm the parameter is eligible for modifier control. The second method is ideal if you have a lot of Components inserted in the rack, and the parameter you want to control is located far from the Modifier Component. 1. Right-click on the parameter you want to assign. 2. Place the cursor over Modifiers. 3. Move the desired Modifier slider to either add the modulation signal to the parameter value (positive percentage) or subtract the modulation from the parameter value (negative percentage). Several modulation sources are available even with no Modifier modules inserted into the rack. These are: Input Trigger This generates a constant-level modulation signal based on a 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 (1-4) Each of these produces a signal that alternates between full off an full on.
In the following screen shot, the Wah Wah pedal parameter has been rightclicked 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.
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 48 beats per cycle (32 dotted measures), while the fastest is a dotted 32nd note. Waveform (chosen by the two arrows to the right of the display) provides a graphic display of the LFOs shape. Options are Sine, Triangle, Square, Sawtooth, and Random. Polarity flips 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. GUITAR RIG 2 105
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.
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.
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.
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).
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 (1-16). It turns from gray to blue to indicate that its producing a trigger.
Parameters
Resolution sets the rhythmic value of each of the 16 steps. Available options are 1/4, 1/8, 1/16, and 1/32 notes. Enable Legato to tie adjacent steps to each other, thus creating longer steps. 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 4 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 4 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.
Parameters
Resolution sets the rhythmic value of each of the 16 steps. Available options are 1/4, 1/8, 1/16, and 1/32 notes. With the Slide parameter you adjust the Glissando, the continuous sliding from one value of a step to the next.
The Input Level Modifier generates a control signal based on the input level at GUITARRIG2. 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.
If you really want to drive your audience crazy, apply the Input Level signal to the Pitch Pedals Pedal parameter.
Notes
If you later assign that same controller to a different parameter, the original assignment will be removed in favor of the newer assignment. If you already assigned that controller in the Controller page in the Left Frame view, it will be deassigned in favor of the new assignment.
Standard guitar amp with effects loop: The effects loop for most amps is designed to accommodate line-level (as opposed to guitar-level) signals. In this case, connect the loop send jacks to the Rig Kontrol inputs, and send the Rig Kontrol outputs to the loop return (receive) jacks. As the signal coming into GUITARRIG2 will be fairly strong, the input gain control(s) will likely need to be set to small amounts of gain. Adjust GUITARRIG2s output so that the power amp that follows the loop return jacks is not overloaded. You may need to set the rear panel high/low switch to low (14dB). Keyboard amp: These are actually ideal for use with GUITARRIG2, as they are designed to give an uncolored, high-fidelity sound. Thus, you can use GUITARRIG2 to add different cabinets, power amps, and effects, and the keyboard amp will reproduce these sounds faithfully. Keyboard amps are designed to accept fairly high-level signals, so you will probably need to set the output level fairly high, and the high/low switch to high (0). Headphones: Simply plug headphones into the Rig Kontrol 2 headphone jack. Home stereo system: Home stereo speakers are generally not designed to handle sustained high-level sounds, so if you do want to plug into a stereo system, keep the volume at conservative levels. Plug the Rig Kontrol outputs into line level inputs like those for a CD or DVD player, tuner, tape deck, etc. (not the phono input, if present). You will need special cables with a 1/4 plug on one end and RCA phono plug on the other.
would have been a better choice, you dont have to re-record with a different amp; just change the amp in GUITARRIG2.
A dialog box appears that lists all controllable parameters in GUITARRIG2. Check the boxes for parameters that should have envelopes, then click on OK.
Envelopes will now appear within the track, which you can edit using standard techniques: Double-click to create a breakpoint, click on a breakpoint and drag to change its value or position, etc.
To record GUITARRIG2 knob movements as envelopes: Right-click on the label GUITARRIG2 that appears in the FX field, and select Arm Parameter.
A dialog box appears that lists all controllable parameters in GUITARRIG2. Check the boxes for parameters you want to automate by moving their controls, then click on OK.
Click on the Record Automation icon, and move the onscreen GUITARRIG2 controls you want to automate.
When you stop recording automation, envelopes will appear in the track view that correspond to the knob movements you made. They will move the GUITARRIG2 knobs on playback, and can be edited using standard envelope editing techniques. To control GUITARRIG2 via MIDI and record the MIDI data: Assuming you have created a MIDI track, assigned its output to GUITARRIG2, and assigned one or more GUITARRIG2 parameters to an external MIDI control, enable Recording on the MIDI track. Click on the Transport Record button. Move your MIDI controller knobs/faders as desired. This will be recorded as data in the MIDI track. On playback, this data plays back into GUITARRIG2.
VST Automation
Most VST automation (e.g., in Cubase) involves clicking on GUITARRIG2s W(write) button, clicking on Play in the transport, then moving the on-screen controls you want to automate. On playback, unclick W(rite) and click on R(ead). The knob movements will play back. Control changes will also be represented as editable envelopes. To access an envelope youve created, open an Automation Subtrack, click on the Envelope field, and select the envelope you want to edit. Automation can also be done via MIDI, as described above for Sonar.
A typical mixer applet, used with Terratec cards. Note the sliders for Analog In theyre muted to make sure the input doesnt feed to the output.
The Terratec EWX ASIO control panel lets you choose a particular number of samples/buffer. The display then shows the resulting latency. In this case, 256 samples/buffer has been selected, giving latency of just under 6 ms at 44.1kHz. Setting this to 128 samples/buffer will reduce the latency, but may stress out your computer more. Some control panels simply show the latency that results from choosing a particular setting in milliseconds rather than showing samples/buffer.
Creamwares ASIO control panel simply lets you choose the desired latency; buffers are adjusted behind the scenes within the Creamware Scope application (in this case, to 128 samples). The Device Setup panel in Cubase confirms the latency, which is about 4 ms, but doesnt indicate the buffer size.
MIDI Basics
A MIDI system requires something that sends MIDI messages (such as a footpedal or footswitch that says make the instrument louder, select this effect, add more echo, etc.) and something that receives these messages and acts on them, like GUITARRIG2. Of course, this assumes your computer has a MIDI input so that GUITARRIG2 can receive MIDI messages. Stripped to its basics, you can think of MIDI as a catch-all name for the process of sending control messages from one device (e.g., a footswitch) to another device (e.g., GUITARRIG2) over a MIDI cable. Host sequencers also use MIDI data to provide automation for GUITARRIG2 when its serving as a plug-in. There are many different kinds of MIDI messages, most of which relate to keyboards, sequencers, drum machines, lighting controllers, tape recorders, and other gear we can ignore. With GUITARRIG2, 99% of the time you need to know about only two kinds of MIDI messages: program changes (which call up different Presets) and continuous controller messages (which alter effects parameters in real time). Note that RIG KONTROL does not use MIDI messages to trigger changes or control parameters, but rather a unique audio control method as described earlier. MIDI is applicable only if you want to use MIDI controllers made by other companies.
MIDI Connections
Your computers sound card probably has a MIDI in jack (receives MIDI message) and MIDI out jack that transmits MIDI messages. There may also be a MIDI thru jack, which provides a duplicate of the signal at the MIDI in jack.
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 64. Continuing to push on the pedal until its all the way down generates a value of 127. Note that continuous controller transmitters only send messages reflecting a change; for example, leaving a pedal in one position doesnt transmit any messages until you change the pedals physical position.
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 Plexi 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
Parallel effects combinations can provide a greater degree of subtlety than series combinations. As one example, putting bass through a chorus and then a wahwah will give a thin sound because the wahwah removes the bass bottom. Placing the wahwah in parallel with the chorused signal adds the filtered effect to the chorused bass sound (which doesnt remove the low end). Parallel effects chains are also a good way to create a stereo image, as one leg of the chain can provide one channel and the other leg, the other channel. For example, suppose you feed a guitar into two graphic equalizer Components connected in parallel. If you set bands 1, 3, 5, and 7 to maximum and bands 2, 4, 6, and 8 to minimum in one channel, and do the reverse for the other channel (bands 1, 3, 5, and 7 to minimum with bands 2, 4, 6, and 8 to maximum), youll create an interesting type of stereo spread.
Index
Symbols
#........................................... 107 +/-. ................................. 100, 102 Parameters. ............................ 100 BPM. ........................................ 34 Bright.......... 49, 52, 55, 59, 62, 81 Buffers................................... 127 Cab&Mic. .................................. 63 Cabinets................................... 42 Cab Tone.................................. 70 Calibrating.............................. 113 Cat. .......................................... 58 Cent mode................................ 33 Character.................................. 92 Chorus. ..................................... 68 Chorus Intensity. ........................ 67 Clean. ................................. 59, 63 Color........................................ 69 Color Strength........................... 69 Continous Controller................. 132 Continuous Controllers. ............. 131 Control Center........................... 13 Controller.................................. 17 Cross. ....................................... 96 Crossfade. ....................... 100, 102 Crossover Mix.......................... 101 Cubase SX.............................. 119 Cutoff................................. 71, 77
About Modifiers....................... 103 Abs. Time............................... 107 Accel. ................................. 70, 71 Activating a Step. ..................... 109 Amp......................................... 63 Amps. ....................................... 42 Arranging.................................. 41 ASIO...................................... 128 Assign.................................... 109 Assigning the Step Sequencer to a Parameter............................... 109 Attack..... 78, 86, 88, 89, 110, 112 AutoFilter.................................. 78 Automating Plug-In Parameters 121 Automation............................. 121 Autostart. .................................. 98
B4........................................... 70 Balance.................................... 70 Balls. ........................................ 58 Banks....................................... 21 Basics...................................... 16 Bass 46, 49, 50, 51, 52, 54, 55, 57, 58, 59, 60, 61, 62, 63, 67, 91, 94 Bass VT.................................... 55 Beat Button.............................. 98 Bias..................46, 49, 51, 53, 54 Big Fuzz................................... 57 Boost................................. 62, 65 Bottom..................................... 62
Date......................................... 29 De-Hiss.................................... 87 Decay.............................. 110, 112 Delay. ..................................67, 73 Delta Time.............................. 107 Demon Distortion. ...................... 62 Depth............................52, 67, 93 Detune............................... 95, 96 Diffusion. .................................. 94
Direct....................................... 71 Direct Monitoring..................... 126 Distance................................... 70 Distortion. ..................... 58, 60, 61 distortion.................................. 56 Down. ....................................... 66 Drag......................................... 72 Drag and Drop........................... 26 Drive............................ 55, 59, 63 Drivers. ................................... 125 Drop Tune................................. 33 Dry/Wet...............................67, 93 Dry/wet......................... 70, 72, 95 Dry Wet.................................... 69 Dynamic................................... 90
Gain............................. 55, 62, 89 Gain1................................. 74, 75 Gain2................................. 74, 75 Gain Booster............................. 65 Graphic EQ............................... 55 Graphic EQ Band Level. .............. 56 Graphic EQ Volume.................... 56 Gratifier.................................... 53 Ground Loops.......................... 137
Editing the Envelope Shape. ...... 106 Ensemble. ................................. 67 Envelope Parameter Strip. ......... 107 Envelope Ruler and Zoom......... 107 EQ Graphic............................... 76 EQ Parametric........................... 75 EQ Shelving. .............................. 74 Exp Lay.................................... 98 Exp Mix.................................... 98
Half Volume.............................. 84 High Damp. ......................... 91, 92 High Resolution......................... 13 Hold................................... 85, 86 Host Program.......................... 118 Hot.......................................... 63 hum......................................... 10
Fast. ......................................... 70 Favorites................................... 29 Feedback...................... 72, 93, 95 Filter.................................. 58, 74 Find......................................... 29 Fixed Rack Components............. 30 Flanger..................................... 68 Foot Controller. .......................... 10 FP/BPF/HPF.............................. 78 Freq1................................. 74, 75 Freq2................................. 74, 75 Freq Max.................................. 80
Input............................ 30, 31, 89 Input Level Modifier.......... 111, 112 Input Level Tips. ...................... 112 Input Mute...............91, 92, 93, 95 Input Trigger. ........................... 103 Intensity............................. 49, 66 Invert................................. 69, 94
K L
Knee........................................ 90 Layout...................................... 12
Lead 800................................. 52 Learn. .......................... 86, 87, 114 Legato.................................... 110 Level...................................... 107 LFO. ....................................... 105 LFO Tips. ................................ 106 LFP/BPF/HPF............................ 77 Limit........................................ 85 Limiter. ..................................... 85 Load. .................................. 24, 98 Loop. ...................................... 108 Loop A/B.................................. 98 Looped Playback. ....................... 36 Loop Machine. ........................... 97 Loop Time. ................................ 98 Low-Latency. ........................... 125 Low Damp. .......................... 91, 92 LP-BP-HP................................. 79
Min.......................................... 76 Min Detune............................... 72 Min Shift.................................. 72 Min Volume............................... 84 Mix. .......................................... 92 Mod......................................... 66 Mode. ................................67, 107
Master...................................... 52 Master Volume. .......................... 32 Max. ......................................... 76 Max Detune. .............................. 72 Max Shift.................................. 72 Metronome. ............................... 34 metronome. ............................... 11 Mezone. .................................... 61 MicPos..................................... 63 Mics......................................... 42 Mid......46, 48, 50, 51, 52, 54, 55, 60, 61, 62, 67 Mid-Freq. .................................. 55 Mid-Q. ...................................... 61 Mid Freq................................... 61 MIDI. ...............................113, 130 MIDI Control. ............................. 41 MIDI Controllers. ...................... 114 MIDI Notes............................. 115 MIDI Synchronization............... 115
Oct 1. ....................................... 71 Oct 2. ....................................... 71 Offset. ....................... 79, 110, 112 Oktaver. .................................... 71 Other Envelope Parameters....... 108 Output. ..................................... 32 overdrive................................... 56 Overdub Multiply. ....................... 98
Pan...........................70, 100, 102 Parameters. .......102, 105, 110, 112 Phaser...................................... 69 pickups. .................................... 10 Pitch...................................37, 96 Pitch Pedal............................... 72 Play. ............................... 105, 108 Play Button............................... 97 Play Vol.................................... 98 Plexi. ........................................ 50 Plug-in. ....................................... 9 Polarity................................... 105 Power....................................... 40 Power Supply.... 46, 49, 50, 52, 54 Pre-Amp................................... 52
Preferences............................... 15 Presence. ................ 46, 50, 52, 54 Presets..................................... 19 Presets,.................................... 21 Preset Volume........................... 32 Pro-Filter.................................. 77 Progress Meter.......................... 98 Properties................................. 28
Reverb Time.............................. 49 Reverse........................ 95, 96, 98 Rig Control. ............................... 10 RIG KONTROL. ...................10, 113 Room Size. ................................ 92 Rotate...................................... 69 Rotator..................................... 70
Rack Controls............................ 17 Range. ................................ 76, 78 Rate.................. 52, 66, 67, 69, 93 Ratio........................................ 89 Recording................................. 37 Rec Pan. ................................... 98 Rec Time.................................. 98 Rec Vol..................................... 98 Redo........................................ 98 Reference Pitch......................... 33 Refresh. .................................... 24 Release. ........................................ 79, 85, 86, 87, 88, 89, 108 Reset. ....................................... 29 Resizing. ................................... 24 Res Max................................... 80 Res Mid.................................... 80 Res Min.................................... 80 Reso. ............................. 71, 77, 78 Resolution. ....................... 110, 111 Response...........46, 49, 51, 53, 54 Reverb................................ 49, 91 Reverb On................................. 49 Reverb Size............................... 50
Sag...................46, 49, 51, 53, 54 Samples................................. 127 Saturation................................. 90 Save. ........................................ 98 Scoop. ...................................... 62 Search. ..................................... 29 Search Result............................ 29 Sens. ........................................ 78 Shortcuts.................................. 27 Signal Flow............................... 39 Size. ......................................... 81 Skreamer.................................. 59 Slide.......................................111 Slider....................................... 79 Slope. ................................77, 107 Slow......................................... 70 Sonar..............................120, 121 Speed. ...................................... 49 Split......................................... 99 Split Tips................................ 100 Spread. ..................................... 71 Spring Length. ........................... 91 Spring Reverb. ........................... 91 Standalone. ................................. 8 Standard Playback..................... 35 Start Phase............................. 105 Step Sequencer....................... 109 Step Sequencer, assigning to a Parameter............................... 109 Stereo. ...................................... 67 Stereo: Time. ............................. 96
Stereo Input L/R Split.............. 100 Stereo Pan................................ 66 Stomp Compressor. .................... 88 Stoned Phaser........................... 69 Stop Button.............................. 97 Strobe mode. ............................. 33 Studio Reverb. ........................... 92 Sustain............................... 57, 88 Sweep Max............................... 69 Sweep Min................................ 69 Sync. .........34, 69, 94, 96, 98, 108 Sync Delays. .............................. 94
Ultra Hi.................................... 55 Ultra Lo.................................... 55 Undo........................................ 98 Up........................................... 66 Up/Down. .................................. 78 Variac............... 46, 49, 50, 53, 54 Vibrato/Off/Chorus. ..................... 52 Vibrato On. ................................ 49 Volume.................. 45, 48, 50, 51, 55, 56, 57, 58, 59, 60, 61, 62, 63, 67, 81, 84, 85, 88, 112 Volume Max.............................. 80 Volume Mid............................... 80 Volume Min............................... 80 Volume Pedal............................ 84
Talkwah.................................... 81 Tap. .......................................... 95 Tapedeck.................................. 11 Tapedeck One. ........................... 35 Tapedeck Two. ........................... 38 Tap Time. .................................. 93 Templates........................... 16, 21 Tempo...................................... 37 Tempo Sync...................... 66, 105 Temp Sync................................ 67 Threshold. ................86, 87, 88, 89 Time. .......................91, 92, 93, 95 Tone........................57, 58, 59, 60 Total Recall............................. 119 TransAmp................................. 63 Transpose................................. 37 Treble...46, 48, 50, 52, 54, 55, 57, 58, 60, 61, 62, 63, 67, 94 Treble Booster........................... 64 Tremolo.................................... 66 Tube Compressor....................... 89 Tune. ........................................ 37 Tune Fork. ................................. 33 Tuner. ................................. 11, 33 Twang Reverb............................ 48 Tweedman. ................................ 45
Zero-Latency........................... 119