Guitar Rig 2 Manual English

7/29/2019 Guitar Rig 2 Manual English

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GUITAR RIG 2Operation Manual


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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 INSTRUMENTSSoftware 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.

Germany USA

NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS USA, Inc.

Schlesische Str. 29/30 5631 A Hollywood Boulevard

D-10997 Berlin Los Angeles, CA 90028

Germany USA

[email protected] [email protected]

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


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GUITAR RIG 2 III

Table Of Contents

1 Welcome to GUITAR RIG 2! ........................................................... 7

2 The Big Picture, and Why GUITAR RIG 2 is Cool. ..................................8

2.1 About Standalone Mode ....................................................... 82.2 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 InstantGratication/QuickStart....................................................12

4 GUITAR RIG 2 Layout ..................................................................12

4.1 Control Center .......................................................................134.2 Left Frame View Options ........................................................13

4.3 The Right Frame ....................................................................14

5 SettingPreferences .....................................................................15

5.1 Pref: Global Tab .....................................................................15

5.2 Pref: Presets Tab ...................................................................16

5.3 Pref: Controller Tab ................................................................16

5.4 GUITAR RIG 2 Controller Basics ..............................................16

5.5 Rack Controls ........................................................................17

5.6 Presets Controls ....................................................................19

6 TheStorageStory...........................................................................

Banks,Presets,andTemplates .....................................................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 ...............................276.7 Properties ............................................................................ 28

6.8 Search ................................................................................ 29

7 FixedRackComponents.............................................................. 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


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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 ComponentsandParameters ....................................................... 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 .......................418.8 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 Gratier Solo Head................................................... 538.17 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


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GUITAR RIG 2 V

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 ..................................................................... 8412.2 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 Modiers..................................................................................103

15.1 About Modiers .................................................................103

15.2 LFO .................................................................................10515.3 Envelope...........................................................................106

15.4 Step Sequencer .................................................................109

15.5 Analog Sequencer ..............................................................111

15.6 Input Level Modier ...........................................................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 ............................. 11416.4 Assigning Parameters to MIDI Notes ....................................115


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16.5 MIDI Synchronization .........................................................115

17 InterfacingGuitarRigwithOtherGear .........................................116

18 UsingGUITARRIG2withaHostProgram ...................................118

18.1 Installing GUITAR RIG 2 as an Effect ...................................118

18.2 About Re-Amping ..............................................................11818.3 Avoid Zero-Latency Options! ...............................................119

18.4 Total Recall .......................................................................119

18.5 Typical Examples ...............................................................119

19 Automating Plug-In Parameters ...................................................121

AppendixA:OptimizingSystemResponse .........................................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

AppendixB:AboutMIDI ..................................................................130

MIDI Basics ..............................................................................130

MIDI Connections ......................................................................130

About Program Changes and Bank Select .....................................131

About Continuous Controllers ......................................................131

AppendixC:TipsonCreatingYourOwnRIG.......................................133Series and Parallel Effects ..........................................................133

Placing Components in the Right Order ........................................133

The All-Important First Effect .....................................................134

Series Effects Combinations .......................................................134

Parallel Effects..........................................................................136

AppenidxD:AboutGroundLoops .....................................................137

A Non-Solution: Ground Lifters ...................................................137

Solution #1: The Single Plug Theory ............................................137Solution #2: The Broken Shield Effect .........................................138

Solution #3: Audio Isolation Transformer ......................................138

Solution #4: AC Isolation Transformer ..........................................138

Index .............................................................................................139


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GUITAR RIG 2 7

1 Welcome to GUITAR RIG 2!

GUITAR RIG 2 will change your musical life. Forget about complex, noisy,

unreliable guitar pedal setups with cables that crackle and batteries that die

in the middle of solos: GUITAR RIG 2 puts the worlds most sophisticated,exible, 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 dened

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 attery.

A love of the guitar and its seemingly innite 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 syntheticsounds for dance music, GUITAR RIG 2 will deliver the tone, punch, and

crunch you crave.

The Native Instruments GUITAR RIG 2 Team


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2 The Big Picture, and Why GUITAR RIG 2 is Cool.

GUITAR RIG 2 places a complete guitar processing setup inside your computer.

The program contains the Components needed for great guitar and bass sounds:

Effects like distortion and wah, ambience creators like delay and reverb, 8different amp heads, 26 different speaker cabinets, and more. All of these

have been modeled by the Native Instruments team not only for realism, but

ease of use and great tone.

2.1 About Standalone Mode

GUITAR RIG 2 can function as a guitar processing setup all by itself, without

needing anything other than a computer and audio in and out. Heres an

overview: Turn off Direct Monitoring (please refer to Appendix A)

Open the GUITAR RIG 2 program, and select the computers audio

input as GUITAR RIG 2s audio input.

Plug your guitar (using Rig Kontrol, as described later, or a preamp)

into the computers audio input.

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

Patch the computers audio output into your amplication system (guitar

amp, mixing console, PA system, etc.).

However, the built-in audio in most Windows machines is not studio quality,

and there will be latency(time delay) between the time you play a note and

when you hear it come out of the computer. Latency is frustrating, because

were used to hearing a sound immediatelywhen we pluck a string. Modern

Macintosh computers running OS X are better, but there may still be sound

quality issues with built-in audio.

If you are not using the Rig Kontrol 2 audio interface NI advises to use an

audio interface or sound card designed specically for audio applications,

such as those made by RME, Echo (Indigo I/O), MOTU, M-Audio, Frontier

Designs, Aardvark, TASCAM, Yamaha, etc. These are higher quality, and

include drivers(software that transfers data from the audio interface to the

computer) optimized for minimum delay. Youll have a much more pleasurable

musical experience.


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In standalone mode, just choose the appropriate inputs and outputs by going FileAudio+MIDI

Settings, and youre ready to go.

2.2 About Plug-in Mode

In this mode, GUITAR RIG 2 works in conjunction with a host program, like

Cubase, Logic Audio, Pro Tools, Live, Sonar, Digital Performer, Tracktion, and

so on. It inserts into the programs mixer, like a virtual effect. Audio passes

through the computers sound card into the host program, which feeds it into

GUITAR RIG 2. The hosts output then proceeds to a hardware output, which

goes to your amplication system.

As with standalone mode, an audio-oriented sound card is highly recommended

to avoid the latency involved in going through the host program and

computer.


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

2.3 The RIG KONTROL 2 Foot Controller

GUITAR RIG 2s included RIG KONTROL 2 hardware has an expression pedal,

seven footswitches, guitar preamp/impedance converter, and USB 2 computer

audio interface. The preamp is important as it conditions the guitar signal

properly for the best tone and lowest noise when interfaced with other electronic

devices, or your computer. The footswitches and pedal are assignable to various

functions within GUITAR RIG 2 for hands-off, real-time control.

2.4 Caution

Guitar pickups are very susceptible to hum, light dimmer hash, and theinterference generated by computers and monitors. LCD monitors create

less interference than CRT types, and humbuckers are less likely to pick up

interference than single coil pickups. Piezo pickups, like those used in the

Line 6 Variax, do not pick up this interference.

As you play with GUITAR RIG 2, always position your guitar so it picks up the

least amount of interference. GUITAR RIG 2s Noise Reduction can help get

rid of some interference, but it is not a substitute for orienting your guitar

away from sources of interference.


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Also, as amazing as GUITAR RIG 2 is, it cannot compensate for problems

at the guitar. For example, if you have dead strings, the Compressor will not

magically make them sustain.

2.5 Get creative! Why be normal?Once GUITAR RIG 2 is open and communicating with the audio interface

and/or host, the real fun begins. Unlike a hardware rack, you arent stuck with

a xed number of effects in particular positions (and you dont have to screw

and unscrew those stupid rack screws). You can place various Components

in any order even create parallel processing paths and save your favorite

congurations for later recall. You can create a couple rigs for blues, several

for hard rock, a few more for bass, one for rehearsingthere are no limits,

other than your computers processor speed.

But there is one caution: The huge variety of options means its possible to set

up some combinations of effects and settings that dont sound all that great.

If youre working with a sound and arent happy with it, try different cabinets,

mic positions, and the like until you hit the sweet spot. Also, save frequently

not necessarily because the computer might crash, but because its easy to

overtweak a sound and wish youd kept an earlier version. GUITAR RIG 2

makes it easy to save multiple variations on a sound; you can then decide

which one you like best, and delete the rest.

GUITAR RIG 2 also includes two hard disk recording Components called

Tapedecks. One is optimized to load audio les to serve as backing tracks, or

you can study solos by loading them into the Tapedeck, and using the tempo

control to slow them down for easy analysis. The second Tapedeck is optimized

for recording your playing, or overdubbing new parts on parts youve already

played. A tuner and metronome keep you in tune and on time. GUITAR RIG 2

is more than just a signal shaper its a complete system for processing, and

enjoying, your guitar.

2.6 Patience, please...

We know you cant wait to discover GUITAR RIG 2s magic, but its necessary

to do a few things rst, like install the program and make sure everything

is working properly. We suggest trying standalone mode rst, as it involves

fewer variables. Once thats set up, then its easier to use GUITAR RIG 2 as

a plug-in.


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3 Instant Gratication/Quick Start

Native Instruments has a tradition of making enhancements up to the very last

second. Because of the lead time involved in printing a manual, this makes it

difcult to write a Quick Start section. As a result, you have two options: Do what people who dont read the manual do: Just point and click at

things to see what happens! If you run into difculties, skim the manual

to nd appropriate instructions.

Better yet, go through the Quick Start included on the distribution

CD-ROM. It will get you up to speed on some of GUITAR RIG 2s most

important features.

4 GUITAR RIG 2 Layout

GUITAR RIG 2s 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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4.1 Control Center

Heres the story behind the various buttons and displays.

PreviousPreset selects the next lower-numbered Preset.

NextPreset selects the next higher-numbered Preset. UndoEdit works with almost all GUITAR RIG 2 operations, not just

parameter changes. If you ever do something you didnt mean to do,

instead of saying ooops, click on Undo Edit.

RedoEdit restores the status of Guitar Rig prior to clicking on Undo

Edit.

ClearRack 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 theComponents.

Also notice theHighResolution 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.

4.2 Left Frame View OptionsThe Left Viewsection has three views, selected by the three LeftView

buttons.

ManagePresets/Banks,theleft-mostbutton, is where you display, save, load,

and manage Banksand Presets. Typically, a Bankis a grouping of related

Presets (e.g., Heavy Metal, Presets for a certain guitar, Presets for a particular

gig, Blues Presets, Presets for bass, etc.), with up to 128 Presets per Bank.

A Presetconsists of whats in the rack and the various settings.


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This view also includes a powerful search function for quickly nding and

loading particular Presets, based on a variety of criteria.

ShowAllAvailableComponents(middlebutton)displays the array of available

signal processing Components, classied as Amps, Distort, Mod, EQ, Volume,

Reverb, Tools, and Modiers. 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

ow goes from the rack top to the bottom. Note that additional Components

are planned for future updates, so dont forget to register your softwareso you

can be advised when these become available.

GlobalSettingsandControllerAssigns(rightbutton) is where you customize

GUITAR RIG 2s global settings; choose default directories for presets, banks,

and Component templates (Component-specic Presets); and assign controllers

from the included NI RIG KONTROL or other MIDI controllers.

4.3 The Right Frame

This is where you drag in Components to create your rigs processing path. It

always has certain xed Components: Input, Tapedeck One, Tuner, Metronone,

Tapedeck Two, and Output. You can show/hide the Tapedecks, Tuner, and

Metronome using the Control Center show/hide buttons, but the Input and

Output are always visible.


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5 Setting Preferences

Call upEditGlobalSettingsandControllerAssigns (Preferences) in the left

frame by clicking on the right-most Left View button. There are three tabs:

Global, Presets, and Controller.

5.1 Pref: Global Tab

Window Height

Choose from three different heights for GUITAR RIG 2 (Small, Medium, or

Large) so it takes up less or more screen space.

Tapedeck Time Stretch Quality

This determines the Tapedeck One sound quality when stretching time or

pitch using the Transpose, Tune, and Tempo buttons. There are four choices:

Disable,Low, Medium, High. The higher the quality, the greater the CPU load.

Selecting Disable means it is not possible to timestretch.

MIDI Learn Popup Window

This turns the New Controller Detected pop up window on or off.

Rig Kontrol

GUITAR RIG 2 comes with a new Rig Kontrol. If you are using it, select Rig

Kontrol 2. If you are an original GUITAR RIG owner and would prefer to use

the original Rig Kontrol, select Rig Kontrol 1.

Reset Pedal Calibration

RIG KONTROL 2 calibrates its pedal automatically for the widest response

range. However, if you experience any problems with pedal calibration, click

on Reset Pedal Calibration in the Global menu.

External pedals need to be calibrated via software routines. To calibrate external

pedals use the Resets Pedal Calibration function in the global preference

section of GUITAR RIG 2 for this.


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5.2 Pref: Presets Tab

Choosepresetbanksdirectory: Check this box, and a browser appears where

you can navigate to an existing folder for Preset Banks, or create a new folder

for storing Banks. Note that if you change the directory where Banks are

stored, Banks in the previous directory will be removed from the Bank listthats shown in the left frame.

Choose Components templates le directory: Check this box, and a browser

appears where you can navigate to an existing folder for Components Templates

(i.e., control settings for a particular Component), or create a new folder for

storing them.

5.3 Pref: Controller Tab

There are two main ways to assign the RIG KONTROL, MIDI controllers (pedals,

switches, RIG KONTROL switches and pedal, etc.) and computer keyboard

keys to parameters in GUITAR RIG 2. Assigning controllers is a wonderful

feature, because it means you can change the color of your rig quickly and

conveniently via the RIG KONTROL pedal or other MIDI controllers, as well

as automate parameters within a host program.

Furthermore, you can save Controller Sets of controller setups, and load them

when desired. For example, you might want to control different parameters

when playing live with RIG KONTROL compared to using automation in thestudio during mixdown.

This is a somewhat advanced application, but we are presenting the information

here for reference. You may want to return to this after youve worked with

GUITAR RIG 2 for a bit.

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

continuing.

5.4 GUITAR RIG 2 Controller Basics

In the Preferences Controller section, you tell GUITAR RIG 2 about your

controllers whether theyre continuously variable (like a MIDI-compatible

pedal, fader, or potentiometer) or on/off switches (like the RIG KONTROL

footswitches, a MIDI keyboard note, or your computer keyboard). You can

then assign this controller to a specic parameter in each Preset. There are

four importantrules:

If a controller controls Preset or Bank selection, it cannot control any

parameters within the rack.


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A controller can control only oneparameter 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 differentparameter in a differentPreset

(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).

5.5 Rack Controls

This is where you can dene pedals and switches, then assign them to Targets(parameters within Components). Note: When the RIG KONTROL graphic is

showing (by clicking on the RIG KONTROL show/hide switch in the Control

Center), you can call up the Rack Controls by clicking on the Edit button.

When youre editing controllers, the left frame has two main areas: Rack

Controls, and Preset Controls. These are separated by a Resize bar just under

the Preset Controls label; click and drag up or down on this bar to change the

proportion of the frame occupied by each section.

Assigning a Controller

Click on AddController. 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) willappear in the left-most pane. If the controller number does not show

up, there is a MIDI communication problem with GUITAR RIG 2.

You can clear the assignment by clicking on Clear; click on Learn again

to re-assign to a different controller. You can delete the controller

altogether by clicking on Delete.


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The RIG KONTROL pedal is being assigned to the Wahwah 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 handleto 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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GUITAR RIG 2 19

5.6 Presets Controls

You can use RIG KONTROL footswitches, MIDI controllers, MIDI notes, and

(in standalone mode) computer keyboard keys to do the following:

Select the next Preset

Select the previous Preset

Select a specic Preset

Select the next higher Bank

Select the next lower Bank

Select a specic Bank number

The Preset controls are on a slideable panel. Place your mouse over the

Resize bar; the cursor turns into a double arrow. Click, and drag the panel

up or down. Also, note that when the RIG KONTROL graphic is showing (byclicking on the RIG KONTROL show/hide switch in the Kontrol Center), you

can call up the Preset Controls by clicking on the Edit button.

Moving the panel up or down with the resize bar shows more or fewer of the Preset Control

assignments.

To assign a hardware controller to the Next Preset, Previous Preset, Next

Bank, or Previous Bank function:

Click on Learn.

Push the RIG KONTROL switch or other controller. The hardware eldindicates the selected controller.

To de-assign the controller, click on Clear.

To create an assignment for a particular Preset or Bank:

Click on the AddPres.Sel or AddBankSel. if all you see are Preset/Bank

Up or Down options.

There are three elds 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.


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Push the RIG KONTROL switch or other controller. The hardware eld

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 onClear.

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


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6 The Storage Story

Banks, Presets, and Templates

Imagine if you could take a snapshot of all the control settings and patches

of a guitar setup, and recall it at any time. GUITAR RIG 2 does that and more

by making it easy to store and retrieve your favorite settings via Templates,

Presets, and Banks.

A Components Template represents the settings for a signal processing

Component (Quad Delay, EQ Parametric, etc.). For example, if you create

a great EQ Graphic setting for a country rock sound, save the settings as

a template so you can call it up whenever you want those particular EQ

settings.

A Preset stores the Components used in your rack, along with all settings forall Components (except for the xed rack Components Input, Tapedeck

One, Tuner, Metronome, Tapedeck Two, and Output).

A Bank consists of up to 128 Presets that are usually, but dont have to be,

related in some way.

6.1 Component Template Management

Each Component has a small drop-down menu, located near the Componentsname. Template management occurs here.

To save a new Template

Click in the Template name eld and type a name.

Click on the drop-down menus arrow.

Click on Save. Note that if the name eld is blank, you will not be able

to save.

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

To rename a Template

Click at the end or beginning of the existing name in the name eld,

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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6.2 Preset Management

When the left frame is on the Preset page (by clicking on the ManagePresets

andBanks icon in the Left View toolbar), there are four sections: Bank, Search,

SearchResult, and Properties. Well cover Banks rst; Search, Search Result,

and Properties relate to Presets.

6.3 Bank Operations

With Bank selected, the upper window shows the list of Banks in the Preset

Banks directory (as specied under Preferences). To select a Bank, click on the

Bank name. If the list of Banks is longer than can t in the window, use the

vertical scroll bar to the right of the window to scroll through the entire list.

Bank Operation Buttons

There are ve buttons to the left of the Banklist that select Bank-related

operations.

Newcreates a new bank, with the generic name . 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 Banksdirectory.

SaveAswrites 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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24 GUITAR RIG 2

Remove a Bank

To remove a Bank from the list, right-click on its slot and click on Remove

BankfromList. This does not delete the Bank le itself, only its occurrence

in the list.

Refresh the Bank ListRefreshchanges the Banklist to reect any changes youve made to the Presets

or list of Presets. Access this by right-clicking on any of the Bank names. Its

a good idea to refresh prior to saving a Bank. This feature is especially helpful

when working with multiple instances in a host: When changing a Preset in

instance 1, then you can refresh this change in the other instances too.

Load Bank Shortcuts

There are two other ways to load a bank: Drag and drop a .BNK le into the Bank List.

Right-click on any existing slot with a Bank and select LoadaBank. A

browser appears; click on the desired Bank, and it will be appended

to the Bank list.

6.4 Resizing the Bank and Preset Windows

The lower window shows the Preset List for the selected Bank. A resize barlocated between the Bank and Preset List pane allows increasing the size of

the Preset List pane while decreasing the size of the Bank pane, or vice-versa.

This is particularly helpful when browsing through large search results.


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GUITAR RIG 2 25

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

down.

6.5 Preset List Operations

The lower Preset List window shows the Presets associated with the selected

Bank; note the Bank name in large print toward the Preset windows upperleft. To see all 128 Presets, use the horizontal scroll bar at the bottom of the

Preset window.

There are four Bank-related operations, selected by buttons in the upper right.

To select a Preset, click on the Preset name.

Newcreates a new preset with an empty rack.

Compare lets you toggle back and forth between the edited and original

versions of a Preset.

Append saves the current collection of Components and their settings intothe next available empty Preset that has a higher number than the selected

Preset.

Delete removes the selected preset.


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26 GUITAR RIG 2

Preset Drag and Drop

Presets may be dragged to any empty Preset; Ctrl-drag copies andmoves the

Preset, yet leaves the Preset being copied in its original location.

If you drag a Preset on top of another Preset (which becomes covered by a

red rectangle), the dragged Preset will replace the original Preset. If you draga Preset between two Presets (indicated by a red line between the Presets),

the dragged Preset will push down all the Presets below it.

Example: Suppose there are ve Presets arranged as follows:

1 Rock

2 Metal

3 Jazz

4 Dance

5 Funk

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

1 Rock

2 Funk

3 Metal

4 Jazz

5 Dance

However, note that the numbering has changed to reect the insertion. For

example, Preset 4 was Dance, but now its Jazz. As Presets respond to MIDI

Program Changes (see Appendix B on MIDI), if inserting a Preset will cause

a renumbering of other programs so that they follow different MIDI Program

Changes, you will be warned about this (assuming QQ that Askbeforeinserting

presets is checked in the Preferences page, as described previously).

In addition, the Presets follow standard Mac and Windows editing procedures.

For example, you could copy a Preset, call up a different Bank, and paste the

Preset into the newly-selected Bank.

Creating More than 128 Presets

It is possible through pasting, copying, appending, etc. to create more than

128 Presets in a Bank. If this happens, GUITAR RIG 2 will rst look for an

empty Preset within the Bank where the new Preset can go. If all the slots

are lled, a pop-up will ask if you want to create a new Bank. If not, you can

erase one of the existing Presets and insert the new one in its place.


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6.6 Keyboard Shortcuts for Banks and Presets

The following shortcuts work when running GUITAR RIG 2 in Standalone

mode.

These shortcuts are disabled when using GUITAR RIG 2 as a plug-into avoid conicts with the host program. Instead, use the right-click

operations described later.

To select multiple Presets (rack retains current Preset): Ctrl + select

Presets

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

Shift + select Presets

Select all Presets: Ctrl + A Copy Preset: Select Preset, then type Ctrl + C

Delete (cut) Preset: Select Preset, then type Ctrl + X

Paste copied or cut Preset: Select Preset, then type Ctrl + V

Save Bank and Preset: Ctrl + S

New Bank: Ctrl + N

Preset Append: Ctrl + D

Copy to location: Ctrl-select Preset, then Drag & Drop Show Properties: Ctrl + P

Protect Mode on/off: Ctrl + Shift + P

Undo: Ctrl + Z

Redo: Ctrl + Y

Search: Ctrl + F

Rename: Select Preset, then type F2 (or double-click or press space).

Type the new name, then hit Enter. Cancel: Esc

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


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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 modication)


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GUITAR RIG 2 29

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 elds appear. GUITAR RIG 2 will examine

all Banks and Presets to nd Presets that match the criteria youve specied

in those elds. For example, you can generate a list of all Presets that t a

certain musical style by choosing a Style, then clicking on the Find button. Youcan narrow the search further by specifying additional elds, like all Presets

done in a particular musical style by a particular Author, in a specic Bank

(or in all Banks).

With the Quicksearch eld, you can enter anything about a Preset, including

words in the Properties info eld, and GUITAR RIG 2 will nd Presets

containing what youve entered.

Note that the Dateeld is quite handy, as you can search for Presets that

were modied prior to a certain date, after a certain date, or on a certaindate. 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 SearchResult tab.

If you want to start a new search, rather than reset all elds manually, you

can simply click on the Reset button.


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7 Fixed Rack Components

There are ve xed rack Components:

Input

Tapedeck One

Tapedeck Two

Tuner

Metronome

Output

These can be minimized or hidden to save space, but cannot be deleted. All

signal processing Components insert between the Input and Output.

Lets cover each Component.

7.1 Input Component with Rig Kontrol 2

This matches your instruments levels to GUITAR RIG 2. Hint: Always feed in

the highest possible levels short of distortion, as indicated by the signal level

meters getting as close as possible to the red (overload) condition without

actually hitting it.

Volume sets the incoming level. Turn it up (clockwise) as high as possible,

short of the meter glowing red, which indicates an overload. Then, turn the

control counterclockwise a bit to allow some headroom (clipping the sound

card input is a major sonic disaster). If the red LEDs still glow, reduce the

volume further.

If the accompanying Learn button is on (button pushed in), GUITAR RIG 2

can set the optimum level automatically. After enabling Learn, play yourguitar really hard so it generates the maximum possible level. GUITAR RIG 2

will analyze this level, and adjust the Volume automatically. After analysis is

complete, the Learn button pops out.

The Channel Buttons control how GUITAR RIG 2 reacts in single and dual

guitar modes.

1: GUITAR RIG 2 processes only the signal at RIG KONTROL Input 1,

and mutes Input 2.



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GUITAR RIG 2 31

and mutes Input 1.

Both:Sends both Inputs into GUITAR RIG 2.

The NR button turns the noise reduction on (button pushed in) or off (button

out). The Threshold control sets a level; signals above this level will pass

through the gate (the Gate LED is off). If the signal dips below the threshold,then the gate closes (the Gate LED glows red). This is helpful if your pickups are

picking up any kind of low-level hum or buzz; set the gate Threshold just above

this noise, and when you arent playing, the gate will not let the hum or buzz

through. As soon as you start playing and the signal exceeds the threshold, the

gate will open; hopefully the signal will be loud enough to mask the buzz.

The Gates Learn function automatically sets an optimum threshold. Without

playing your guitar, click on Learn. GUITAR RIG 2 analyzes your signal, and

sets the threshold just above any residual noise. Now when you play, the

Gate should open.

7.2 Input Component with Rig Kontrol 1

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 GUITAR RIG 2 reacts in single and dual

guitar modes, a feature associated with Rig Kontrol 1 (refer to the original

GUITAR RIG manual for information on Rig Kontrol 1).


and mutes Input 2.


and mutes Input 1.

Both:Sends both Inputs into GUITAR RIG 2. Do notuse this modewhen 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 GUITAR RIG 2 will

automatically recognize the instrument plugged into Input 1, as well as

the RIG KONTROL control signals that appear in the other channel.


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32 GUITAR RIG 2

7.3 Output Component

This matches GUITAR RIG 2s levels to the next stage (mixer, amplier, PAsystem, etc.), and also lets you compensate for level variations among different

Presets.

PresetVolume 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; GUITAR RIG 2 willanalyze this level, and adjust the Preset level automatically. When analysis is

complete, the Learn button pops out.

MasterVolumesets the rigs overall level. This generally will be adjusted to

provide the desired amount of signal to the next stage, and not changed unless

GUITAR RIG 2 feeds something else.

The Meter shows the output level. If the 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 thevolume further.

The Clipping/Limiter switch chooses how GUITAR RIG 2 will handle an

overload condition, as indicated by the red output light glowing red. With

Clipping selected, overloads will exceed GUITAR RIG 2s 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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GUITAR RIG 2 33

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-DownMenu defaults to Guitar, but you can also choose

Chromatic, Bass, four open tunings (D, E, G, A), and DADGAD tuning.

MuteSound turns off the audio output, so you can tune without the audience

listening in.

Therearetwotuningmodes,asselectedbytheCentandStrobebuttonslocatedtowardtherightofthedisplay.

In Cent mode, a small indicator shows whether the pitch is sharp

(indicator to the right of the meters center 0 point) or at (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 stringis sharp, and moves to the left when the string is at. 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.

ReferencePitch 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. DropTune transposes the tuning range. Example: If you tune all your

strings a semitone lower, set drop tune to -1.

TuneFork produces a reference tone. To select the pitch, click on the

note eld 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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34 GUITAR RIG 2

7.5 Metronome

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

effects.

Sync, when enabled, synchronizes the Metronome tempo to the host sequencer

tempo if GUITAR RIG 2 is serving as a plug-in.

Volume changes the 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 eld lets you change tempo in two different ways:

Click on the BPM eld and drag up to speed up the tempo; drag down

to slow down the tempo.

Double-click on the eld and type in the desired tempo (accurate to

hundredths of a BPM)The #1 eld lets you select a particular sound for the downbeat. Click on

the downward-pointing arrow, and navigate to the folder with the metronome

sound you want to use. GUITAR RIG 2 comes with several suitable sounds

in the Metronome Samples folder, which is installed with the program. Note:

Sounds with bit resolutions greater than 16 bits will not be recognized.

The #2 eld 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. GUITAR RIG 2 measures the time

between clicks, which determines the tempo. Repeated clicking causes

GUITAR RIG 2 to derive an average tempo.

You can also assign Tap to a switch of the RIG KONTROL (do this with the

Learn function, as described later). This makes setting the tempo much more

convenient when youre in the middle of playing and both hands are busy.


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GUITAR RIG 2 35

7.6 Tapedeck One

Okay, it doesnt use tape. But its much cooler than a tape deck. This handy

module can play back les as well as record your playingand more, like

change tempo during playback without changing pitch, change pitch without

changing tempo, or change both. This is great for learning licks by slowing themdown, or changing the tempo on backing drum loops and similar parts.

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.

7.7 Standard Playback

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

Click on the Load button, navigate to the le you want to load, and click

on Open. Tapedeck accepts WAV, AIF, AIFF, and MP3 format lesbut

doesnotacceptbitresolutionsgreaterthan16bits.

With the Play Mode button, select either PlayatInput (any processing

affects playback) or PlayatOutput(applies no processing). Click on the Transport Play button to start playback. Click on the Stop

button to stop. To loop the selection so that it plays repeatedly, click

on the loop button (the button to the right of the Stop button). To start

at a specic point in the le, drag the PlayStartSliderto the desired

start point.

Adjust Volume to set the desired level. If the output meters red

(distortion) LEDs light up, reduce the Volume to prevent overload

conditions.


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36 GUITAR RIG 2

7.8 Looped Playback

You can create a loop from your recording so that a certain portion of the

recording repeats over and over. This is great for practicing, or creating a

rhythm track. There are two basic ways to set up a loop:

Click on the Loop button (located between the Stop and Record buttons);this can be done while the Tapedeck is playing back or stopped. Two

handles appear above the playback indicator. If desired, drag these

to ne-tune the loop points.

While the Tapedeck is playing, click on theLoopIn button when you

want the loop to start, and click on the LoopOut button when you want

the loop to end. Handles will appear at these points, which again, you

can drag around as desired.

The diagram shows Tapedeck One set up to loop. Note the pushed

in Loop button, and the two handles that show the Loop In and Loop

Out points.


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GUITAR RIG 2 37

7.9 Changing Playback Pitch and/or Tempo

Transpose transposes pitch 12 semitones to +12 semitones.

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

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

of the original tempo.

Remember that you can set the time stretch audio quality under

Preferences.

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 anew le, you can just click on the Record button.

The Play Mode button changes to a Record Mode button; select either

RecordatInput (records the input signal that feeds the Rig) or Record

atOutput(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 whereyou want to save the le, name it, and click on Save.

Note that loop mode is not available while recording.


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7.11 Tapedeck Two

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 foroverdubs, 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 les 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 le in Tapedeck One over which you want to overdub, and select

PlayatOutput if you dont want to process this le 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 le, 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 le, name it, and click on Save.

If you want to overdub this le again, click on TransferFiletoTapedeck

One and repeat the recording procedure.


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GUITAR RIG 2 39

8 Components and Parameters

To customize GUITAR RIG 2 for your own unique sound, you need to understand

how the available effects parameters inuence what you hear. Heres the

easy way: Drag in an effect, select a parameter, change it, and listen to whathappens. After a while, youll gure out what each parameter does.

However, trial-and-error can take time, so this section describes each effect,

its parameters, and where appropriate, tips on getting the most out of the

particular effect.

8.1 Mono, Stereo, and Signal Flow

Unlike most guitar rigs that use only mono connections, GUITAR RIG 2 lives

in a stereo world where all connections potentially carry separate left and rightchannel signals. This is important, because although almost all guitars are

mono, many of GUITAR RIG 2s Components add stereo imaging, or preserve

existing stereo imaging, to create a bigger soundstage. These effects add

stereo to a mono input:

Cabinets (when using Pan and Air)

Tremolo (in Stereo Pan mode)

Stoned Phaser (with Rotate turned up)

Chorus+Flanger (in Stereo mode)

Ensemble

Rotator

Quad Delay

Psychedelay

Spring Reverb

Studio Reverb

However, some Components have inherently mono operation. So, if any of these

Components process a stereo input, it will rst be converted to mono.

Cabinets

All amp head Components

All distortion Components

Ensemble

WahWah Pedal


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40 GUITAR RIG 2

TalkWah

Chorus+Flanger

Note that some effects are in both lists because they may convert stereo to

mono, then create a stereo eld 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 amplier (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.

8.2 Common Controls

All Components have several controls in common.

8.3 Display Controls

Each Component has one or more buttons in the upper right corner. These

are:X Removes Component from the rack

- Minimizes the module to a single rack space panel (dont you wish

hardware rack gear could do this?)

+ Expands the Component to a larger size, and reveals more parameters

(expert or extended mode).

8.4 Power On/OffAll Components also have an on/off switch in the upper left corner. When

turned off, the Component is completely taken out of the processing chain

(true bypass), just as if it was deleted. With power turned off, Components

do not use any CPU power.

8.5 Saving and Loading Templates

All Components also have a common way of saving, selecting, and renaming


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GUITAR RIG 2 41

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 eld, and select the Template.

To save a Template, rst name it by dragging over the existing name in

the name eld (or double-clicking on it) then typing in the new name.

Next, click on the drop-down menu to the right of the name eld 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 eld and select

Overwrite.

To delete a Template entirely, select the Template to be deleted, then

click on the drop-down menu and select Delete.

8.6 Component MIDI Control

One of the best features of the Components is that almost all parameters

can be controlled via RIG KONTROL, MIDI controllers assigned to it from

a host application (when GUITAR RIG 2 is a plug-in), or a general-purposeMIDI controller hardware box (e.g., Peavey PC-1600x, Evolution UC-33, M-

Audio Oxygen8, etc.). Not only does this allow for remote control, but also for

controlling parameters from within a host applications automation.

For example, if you want to increase distortion drive when soloing then bring

it down when playing rhythm, no problem automate the distortion drive

control. You dont even have to mess with controller assignments, thanks to

a convenient Learn function. All this is covered later, but we just couldnt

help tantalizing you with the concept before going any further.

8.7 Loading and Arranging the Order of Components

To load a Component into your rack

Select the Component tab (middle tab) in the Left Frame view.

Select the tab containing the type of Component you want to load

(Amps, Distort, Modulation, EQ, etc.).


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42 GUITAR RIG 2

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 ow goes from top to bottom.

To move a Component within the rack to a new position:

Click on the Component name; the cursor turns into a little hand.

Drag the Component to the new position.

Say Wow, that was easy!

8.8 Amps

The virtual amps behave so much like real tube amps that the cabinet and theamps 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.

8.9 Cabinets & Mics

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


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GUITAR RIG 2 43

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

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

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

and the position names depend on the selected cabinet (of course, the

Direct Box doesnt offer a mic option).

Cabs 1-7, 9, 10, and 22-25:

1/5 On Axis

2/5 Off Axis

3/5 Edge

4/5 Far

5/5 Back (This applies to open back cabs only, i.e. its not available on

the 4x12s or the Bass cabinets, which are all closed-back. However,

many of the Bass cabinets have a Horn Tweeter, so they include the5/5 Horn Microphone Position.)

Cabs 8, 11-15, 16, and 20:

1/5 On Axis 2/5 Off Axis

3/5 Edge 4/5 Far

Nr. Name

1 1x12TweedAlnico

2 1x12Custom

32x12TweedBlue

4 2x12TweedGreen

5 2x12TweedCeram

6 2x12Brit60s

7 2x12ChiefV-30

8 2x12Custom

9 2x12Jazz

10 4x10TweedAlnico

11 4x12UK60sTall

12 4x12UK60s

13 4x12UK80s

Nr. Name

14 4x12UK70s

15 4 x 12 Gratifer

16 1x15Bass-VT

17 1x15Bass-WR

18 4x10Bass-VT

19 4x10Bass-WR

20 8x10Bass-VT

21 8x10Bass-WR

22 RotatorHornClosed

23 RotatorHornOpen

24 RotatorBassClose

25 RotatorBassOpen

26 DIBox


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Cabs 17, 18, 19, 21:

1/5 On Axis 2/5 Off Axis

3/5 Edge 4/5 Far

5/5 Horn

Available mics and their names depend on the selected cabinet.

Guitar Cabs 1-15:

1/5 Dynamic 57 2/5 Dynamic 421

3/5 Dynamic 609 4/5 Condenser 87

5/5 Tube Condenser

Bass cabs 16-21:



5/5 Condenser 47

Cabs 22, 23:

1/1 Condenser 460

Cabs 24, 25: 1/1 Condenser 87

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

Cabs 1-7, 9, 10 (Back) Condenser 87

Cabs 17, 18, 19, 21 (Horn) Condenser 460

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.

Aircontrols the level of early reections 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 ips the mic polarity.

MasterVolume sets the entire Components level. This is necessary because

if you have used the Add button to create multiple cabinets, they may use

different output levels. The Master Volume control allows bringing the levels of

all the cabinets up or down as a group. Set this control carefully if previous

stages have added a lot of gain, it will be necessary to lower this control if

you want to avoid triggering the output limiter or clipping (depending on the

setting of the Output Components Clipping/Limiter switch).

Learn is a button that optimizes the Master Volume setting automatically. As

with the other Learn buttons, push it in, then play at the loudest level youll

be using. GUITAR RIG 2 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.

VolumeBright sets the overall level for the bright channel.

VolumeNormal adjusts the level for the normal, warmer channel. Both the

Volume Bright and Volume Normal controls can be used simultaneous to

blend the two sounds.


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TurningBass clockwise from the center boosts the low frequency response;

counterclockwise reduces low frequency response.

TurningMid clockwise from the center boosts the midrange frequencies;

counterclockwise reduces midrange frequencies.

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

The Presencecontrol adds a frequency response lift in the upper

midrange.

Click on the (+) symbol to reveal expert mode, with the following

parameters.

PowerSupply 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 rectier circuit.

Tuning down Sag makes the power supply harder, like a silicon diode-basedrectier 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 inuences 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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GUITAR RIG 2 47

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 modication. The basic Normal channel has no tonecontrols aside from Top Cut. The Top Boost adds the Brilliant channel, which

offers Treble and Bass controls.

Parameters

NormalVolume sets the Normal channels overall level. The Treble and Bass

controls have no effect in the Normal channel.

BrilliantVolume sets the Brilliant channels overall level. The Treble and Bass

controls have no effect when Brilliant Volume is turned down.

TurningTreble clockwise boosts the high frequency response in the Brilliant

channel; counterclockwise reduces high frequency response.

TurningBass 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.

TremoloSpeed controls the rate of periodic volume modulation.

TremoloDepthcontrols the extent to which tremolo modulates the sound, fromoff, through subtle, to obvious.

Click on the (+) symbol to reveal expert mode, with the following

parameters.



DC power voltage inside the modeled amp has a ripple at this frequency,

which imparts a very subtle modulation on the sound.



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48 GUITAR RIG 2



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 rectier circuit. Tuning down Sag makes the power supply

harder, like a silicon diode-based rectier circuit.








simulate that effect as well. You may need to adjust Bias after changing theVariac and Sag settings.

8.12 Twang Reverb

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).

TurningTreble clockwise from the center boosts the high frequency response;

counterclockwise reduces high frequency response.




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The Brightswitch is another tonal option that accentuates the high

frequencies.

Reverb adds in emulated spring reverb effects. Its extraordinarily realistic, butdont worry if you tap on the side of the monitor, it will notgo boing.

The ReverbOn 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, babyVibratoOnallows turning the tremolo effect off when not in use.

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






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


deliver the necessary power. Increasing Sag makes the

power supply more spongy, as occurs with a tube-based rectier circuit.

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

rectier circuit.


Turning down Response increases the capacity, so that the supply voltagereacts more slowly to playing dynamics. Turning Response up makes the amps





simulate that effect as well. You may need to adjust Bias after changing the

Variac and Sag settings.

ReverbTime sets the reverb decay tails duration.


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ReverbSize 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

VolumeI sets the preamp gain for the bright channel.

VolumeII 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.

TurningTreble clockwise from the center boosts the high frequency response;

counterclockwise reduces high frequency response.





The Presencecontrol adds a frequency response lift in the upper

midrange.Click on the (+) symbol to reveal expert mode, with the following

parameters.








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GUITAR RIG 2 51



deliver the necessary power. Increasing Sag makes the power supply more

spongy, as occurs with a tube-based rectier circuit. Tuning down Sag makes

the power supply harder, like a silicon diode-based rectier circuit.







Documents

Guitar Rig 2 Manual English