Guitar Rig 2 English

GUITAR RIG 2
Operation Manual
The information in this document is subject to change without notice and does
not represent a commitment on the part of NATIVE INSTRUMENTS GmbH. The
software described by this document is subject to a License Agreement and may not
be copied to other media. No part of this publication may be copied, reproduced or
otherwise transmitted or recorded, for any purpose, without prior written permission
by NATIVE INSTRUMENTS GmbH, hereinafter referred to as NATIVE INSTRUMENTS.
All product and company names are trademarks of their respective owners.
Furthermore, the fact that you are reading this text means you are the owner of
legal version rather than an illegal, pirated copy. It is only through the loyalty and
honesty of people like yourself that NATIVE INSTRUMENTS GmbH can continue
to develop and create innovative audio software. On behalf of the entire company,
thank you very much.
Users Guide written by ��

Craig Anderton
Special thanks to the Beta Test Team, who were invaluable not just in tracking down
bugs, but in making this a better product.
© Native Instruments GmbH, 2006. All rights reserved.
Germany USA
NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc.
Schlesische Str. 28 5631 Hollywood Boulevard
D-10997 Berlin Los Angeles, CA 90028
Germany USA
info@native-instruments.de sales@native-instruments.com
www.native-instruments.de www.native-instruments.com
Table Of Contents
1 Welcome to GUITAR RIG 2!.............................................................. 7
2. Installing and Setting Up GUITAR RIG 2............................................ 7
3 The Big Picture, and Why GUITAR RIG 2 is Cool......................................8
3.1 About “Standalone” Mode........................................................... 8
3.2 About “Plug-in” Mode ............................................................... 9
3.3 The “RIG KONTROL 2” Foot Controller........................................10
3.4 Caution....................................................................................10
3.5 Get creative! Why be normal?......................................................11
3.6 Patience, please........................................................................11
4 Instant Gratification/Quick Start.......................................................12
5 GUITAR RIG 2 Layout......................................................................12
5.1 Control Center...........................................................................13
5.2 Left Frame View Options............................................................13
5.3 The Right Frame.......................................................................14
6 Setting Preferences.........................................................................15
6.1 Pref: Global Tab........................................................................15
6.2 Pref: Presets Tab.......................................................................16
6.3 Pref: Controller Tab....................................................................16
6.4 GUITAR RIG 2 Controller Basics.................................................16
6.5 Rack Controls...........................................................................17
6.6 Presets Controls........................................................................19
7 The Storage Story Banks, Presets, and Templates...............................21
7.1 Component Template Management..............................................21
7.2 Preset Management.................................................................. 23
7.3 Bank Operations....................................................................... 23
7.4 Resizing the Bank and Preset Windows........................................24
7.5 Preset List Operations................................................................25
7.6 Keyboard Shortcuts for Banks and Presets...................................27
7.7 Properties................................................................................ 28
7.8 Search.................................................................................... 29
8 Fixed Rack Components................................................................. 30
8.1 Input Component with RIG KONTROL 2...................................... 30
8.2 Input Component with RIG KONTROL 1.......................................31
8.3 Output Component................................................................... 32
8.4 Tuner...................................................................................... 33
8.5 Metronome.............................................................................. 34
8.6 Tapedeck One.......................................................................... 35
8.7 Standard Playback.................................................................... 36
GUITAR RIG 2 – III

8.8 Looped Playback...................................................................... 36
8.9 Changing Playback Pitch and/or Tempo........................................37
8.10 Recording ..............................................................................37
8.11 Tapedeck Two......................................................................... 38
9 Components and Parameters........................................................... 39
9.1 Mono, Stereo, and Signal Flow................................................... 39
9.2 Common Controls..................................................................... 40
9.3 Display Controls....................................................................... 40
9.4 Power On/Off........................................................................... 40
9.5 Saving and Loading Templates....................................................41
9.6 Component MIDI Control............................................................41
9.7 Loading and Arranging the Order of Components.......................... 42
9.8 Amps...................................................................................... 42
9.9 Cabinets & Mics....................................................................... 43
9.10 Tweedman............................................................................. 46
9.11 AC Box...................................................................................47
9.12 Twang Reverb..........................................................................49
9.13 Plex.......................................................................................51
9.14 Jazz Amp............................................................................... 52
9.15 Lead 800.............................................................................. 53
9.16 Instant Gratifier Solo Head...................................................... 54
9.17 Bass PRO.............................................................................. 56
10 Distort........................................................................................ 58
10.1 Fuzz...................................................................................... 58
10.2 Big Fuzz................................................................................ 59
10.3 Cat....................................................................................... 60
10.4 Skreamer................................................................................61
10.5 Distortion.............................................................................. 62
10.6 Mezone................................................................................. 63
10.7 Demon Distortion................................................................... 64
10.8 TransAmp.............................................................................. 65
10.9 Treble Booster........................................................................ 66
10.10 Gain Booster........................................................................ 67
11 Mod............................................................................................ 68
11.1 Tremolo................................................................................. 68
11.2 Ensemble...............................................................................69
11.3 Chorus/ Flanger.......................................................................70
11.4 Stoned Phaser.........................................................................71
11.5 Rotator...................................................................................72
11.6 Oktaver................................................................................. 73
11.7 Pitch Pedal.............................................................................74
IV – GUITAR RIG 2
11.8 Electric Lady...........................................................................75
11.9 Phaser Nine............................................................................76
11.10 Harmonic Synthesizer.............................................................76
12 Filter...........................................................................................78
12.1 EQ Shelving............................................................................78
12.2 EQ Parametric.........................................................................79
12.3 EQ Graphic............................................................................ 80
12.4 Pro-Filter................................................................................81
12.5 AutoFilter.............................................................................. 82
12.6 Wahwah Pedal....................................................................... 83
12.7 Talkwah................................................................................. 85
12.8 Equalizer Tips........................................................................ 86
13 Volume....................................................................................... 88
13.1 Volume Pedal......................................................................... 88
13.2 Limiter.................................................................................. 89
13.3 Noise Gate............................................................................ 90
13.4 Noise Reduction......................................................................91
13.5 Stomp Compressor................................................................. 92
13.6 Tube Compressor.................................................................... 93
14 Reverbs and Delays.......................................................................95
14.1 Spring Reverb........................................................................ 95
14.2 Studio Reverb........................................................................ 96
14.3 Quad Delay.............................................................................97
14.4 Psychedelay........................................................................... 99
15 Tools.........................................................................................101
15.1 Loop Machine.......................................................................101
15.2 Split....................................................................................103
15.3 Crossover Mix........................................................................105
16 Modifiers....................................................................................107
16.1 About Modifiers.....................................................................107
16.2 LFO.....................................................................................109
16.3 Envelope.............................................................................. 110
16.4 Step Sequencer.....................................................................113
16.5 Analog Sequencer.................................................................. 115
16.6 Input Level Modifier............................................................... 116
17 Control via RIG KONTROL / MIDI ................................................. 117
17.1 The Virtual RIG KONTROL...................................................... 117
17.2 Calibrating RIG KONTROL 2.................................................... 117
17.3 Assigning Parameters to MIDI Controllers.................................118
17.4 Assigning Parameters to MIDI Notes........................................119
17.5 MIDI Synchronization.............................................................119
GUITAR RIG 2 –
18 Interfacing Guitar Rig with Other Gear...........................................120
19 Using GUITAR RIG 2 with a Host Program.....................................122
19.1 Installing GUITAR RIG 2 as an Effect.......................................122
19.2 About Re-Amping..................................................................122
19.3 Avoid Zero-Latency Options!...................................................123
19.4 Total Recall...........................................................................123
19.5 Typical Examples...................................................................123
20 Automating Plug-In Parameters....................................................125
Appendix A: Optimizing System Response..........................................129
Use Low-Latency Drivers................................................................129
What About Direct Monitoring?.......................................................130
How Low Can You Go?...................................................................130
About Samples and Buffers............................................................131
Warning: Different Types of ASIO....................................................132
Tips on Minimizing Latency ...........................................................133
Appendix B: About MIDI...................................................................134
MIDI Basics..................................................................................134
MIDI Connections..........................................................................134
About Program Changes and Bank Select........................................135
About Continuous Controllers..........................................................135
Appendix C: Tips on Creating Your Own RIG........................................137
Series and Parallel Effects.............................................................137
Placing Components in the Right Order............................................137
The All-Important First Effect.........................................................138
Series Effects Combinations...........................................................138
Parallel Effects.............................................................................140
Appenidx D: About Ground Loops......................................................141
A Non-Solution: Ground Lifters....................................................... 141
Solution #1: The Single Plug Theory................................................ 141
Solution #2: The Broken Shield Effect.............................................142
Solution #3: Audio Isolation Transformer..........................................142
Solution #4: AC Isolation Transformer..............................................142
Index..............................................................................................143
VI – GUITAR RIG 2
1 Welcome to GUITAR RIG 2!
GUITAR RIG 2 will change your musical life. Forget about complex, noisy,
unreliable guitar pedal setups with cables that crackle and batteries that die
in the middle of solos: GUITAR RIG 2 puts the world’s most sophisticated,
flexible, and wonderful-sounding guitar rig into any modern laptop or desktop
computer (Mac OS X or Windows XP). Take it to the studio, to the gig, practice
in your hotel room…the possibilities are limitless.
And thanks to the included RIG KONTROL 2 foot controller/DI box/USB 2
sound card/preamp, you can take your guitar, bass, or other stringed instrument
sound to the next level with only a few guitar cords, and some way to hear
what you’re doing.
Of course, none of this would have happened without the visionaries, inventors,
and artisans whose work on guitar amps and effects over the decades defined
the sound of the electric guitar as we know it. All of the NATIVE INSTRUMENTS
team would like to acknowledge their creations as an important source of
inspiration in the design of this software; they have both our respect and
gratitude. In this case, we are more than happy to state that imitation is
indeed the sincerest form of flattery.
A love of the guitar and its seemingly infinite potential has driven our quest for
the ultimate guitar rig. We thank you for your support, and hope that whether
you’re looking for vintage blues timbres, modern rock grunge, or synthetic
sounds for dance music, GUITAR RIG 2 will deliver the tone, punch, and
crunch you crave.
– The NATIVE INSTRUMENTS GUITAR RIG 2 Team
2. Installing and Setting Up GUITAR RIG 2

We recommend that you first follow the steps described in the Setup Guide
supplied separately before you start reading this manual. The Setup Guide
explains how to install GUITAR RIG 2 on your computer, how to setup the
audio and MIDI interfaces of the Stand-Alone Version or alternatively, how
to incorporate
GUITAR RIG 2 as a plug-in to your Audio MIDI Sequencer. The Setup Guide
also includes a step-by-step introduction to using the new NI Service Center,
which is available online to help you activate GUITAR RIG 2 for permanent use
on your computer and search comfortably for new updates with ease.
GUITAR RIG 2 –
3 The Big Picture, and Why GUITAR RIG 2 is Cool.
GUITAR RIG 2 places a complete guitar processing setup inside your computer.
The program contains the Components needed for great guitar and bass
sounds: Effects like distortion and wah, ambience creators like delay and
reverb, 8 different amp heads, 26 different speaker cabinets, and more. All
of these have been modeled by the NATIVE INSTRUMENTS team not only
for realism, but ease of use and great tone.
3.1 About “Standalone” Mode

GUITAR RIG 2 can function as a guitar processing setup all by itself, without
needing anything other than a computer and audio in and out. Here’s an
overview:
• Turn off Direct Monitoring (please refer to Appendix A)
• Open the GUITAR RIG 2 program, and select the computer’s audio
input as GUITAR RIG 2’s audio input.
• Plug your guitar (using RIG KONTROL, as described later, or a preamp)
into the computer’s audio input.
• Select the computer audio output as GUITAR RIG 2’s output.
• Patch the computer’s audio output into your amplification system (guitar
amp, mixing console, PA system, etc.).
However, the built-in audio in most Windows machines is not studio quality,
and there will be latency (time delay) between the time you play a note and
when you hear it come out of the computer. Latency is frustrating, because
we’re used to hearing a sound immediately when we pluck a string. Modern
Macintosh computers running OS X are better, but there may still be sound
quality issues with built-in audio.
If you are not using the RIG KONTROL 2 audio interface NATIVE INSTRUMENTS
advises to use an audio interface or sound card designed specifically for audio
applications, such as those made by RME, Echo (Indigo I/O), MOTU, M-Audio,
Frontier Designs, Aardvark, 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. You’ll have a much more pleasurable
musical experience.
– GUITAR RIG 2
In standalone mode, just choose the appropriate inputs and outputs by going
File  Audio+MIDI Settings, and you’re ready to go.
3.2 About “Plug-in” Mode

In this mode, GUITAR RIG 2 works in conjunction with a host program, like
Cubase, Logic Audio, Pro Tools, Live, Sonar, Digital Performer, Tracktion, and
so on. It inserts into the program’s mixer, like a “virtual effect.” Audio passes
through the computer’s sound card into the host program, which feeds it into
GUITAR RIG 2. The host’s output then proceeds to a hardware output, which
goes to your amplification system.
As with standalone mode, an audio-oriented sound card is highly recommended
to avoid the latency involved in going through the host program and
computer.
GUITAR RIG 2 –
GUITAR RIG 2 is inserted in Cubase SX2 to process a guitar track.
3.3 The “RIG KONTROL 2” Foot Controller

GUITAR RIG 2’s included RIG KONTROL 2 hardware has an expression pedal,
seven footswitches, guitar preamp/impedance converter, and USB 2 computer
audio interface. The preamp is important as it conditions the guitar signal
properly for the best tone and lowest noise when interfaced with other electronic
devices, or your computer. The footswitches and pedal are assignable to various
functions within GUITAR RIG 2 for “hands-off,” real-time control.
3.4 Caution
Guitar pickups are very susceptible to hum, light dimmer “hash,” and the
interference generated by computers and monitors. 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 2’s Noise Reduction can help get
rid of some interference, but it is not a substitute for orienting your guitar
away from sources of interference.
10 – GUITAR RIG 2
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.
3.5 Get creative! Why be normal?

Once GUITAR RIG 2 is open and communicating with the audio interface
and/or host, the real fun begins. Unlike a hardware rack, you aren’t stuck with
a fixed number of effects in particular positions (and you don’t have to screw
and unscrew those stupid rack screws). You can place various Components
in any order – even create parallel processing paths – and save your favorite
configurations for later recall. You can create a couple rigs for blues, several
for hard rock, a few more for bass, one for rehearsing…there are no limits,
other than your computer’s processor speed.
But there is one caution: The huge variety of options means it’s possible to set
up some combinations of effects and settings that don’t sound all that great.
If you’re working with a sound and aren’t happy with it, try different cabinets,
mic positions, and the like until you hit the “sweet spot.” Also, save frequently
– not necessarily because the computer might crash, but because it’s easy to
“overtweak” a sound and wish you’d kept an earlier version. GUITAR RIG 2
makes it easy to save multiple variations on a sound; you can then decide
which one you like best, and delete the rest.
GUITAR RIG 2 also includes two hard disk recording Components called
Tapedecks. One is optimized to load audio files to serve as backing tracks, or
you can study solos by loading them into the Tapedeck, and using the tempo
control to slow them down for easy analysis. The second Tapedeck is optimized
for recording your playing, or overdubbing new parts on parts you’ve already
played. A tuner and metronome keep you in tune and on time. GUITAR RIG 2
is more than just a signal shaper – it’s a complete system for processing, and
enjoying, your guitar.
3.6 Patience, please...

We know you can’t wait to discover GUITAR RIG 2’s magic, but it’s necessary
to do a few things first, like install the program and make sure everything
is working properly. We suggest trying standalone mode first, as it involves
fewer variables. Once that’s set up, then it’s easier to use GUITAR RIG 2 as
a plug-in.
GUITAR RIG 2 – 11
4 Instant Gratification/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 difficult to write a Quick Start section. As a result, you have two
options:
• Do what people who don’t read the manual do: Just point and click at
things to see what happens! If you run into difficulties, skim the manual
to find appropriate instructions.
• Better yet, go through the Quick Start included on the distribution
CD-ROM. It will get you up to speed on some of GUITAR RIG 2’s most
important features.
5 GUITAR RIG 2 Layout
GUITAR RIG 2’s screen has two “virtual rack frames.” The right frame has
two main sections: The upper section is the rig’s 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.
12 – GUITAR RIG 2
5.1 Control Center
Here’s the story behind the various buttons and displays.
• Previous Preset selects the next lower-numbered Preset.

• Next Preset selects the next higher-numbered Preset.
• Undo Edit works with almost all GUITAR RIG 2 operations, not just
parameter changes. If you ever do something you didn’t mean to do,
instead of saying “ooops,” click on Undo Edit.
• Redo Edit restores the status of Guitar Rig prior to clicking on Undo
Edit.
• Clear Rack removes all Components (except Input, Output, TapeDeck,
and Metronome) from the rack. Use this with caution, although of
course you can always use Undo if you didn’t mean to delete the
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.
5.2 Left Frame View Options

The Left View section has three views, selected by the three Left View
buttons.
Manage Presets/Banks, the left-most button, is where you display, save, load,
and manage Banks and Presets. Typically, a Bank is a grouping of related
Presets (e.g., Heavy Metal, Presets for a certain guitar, Presets for a particular
gig, Blues Presets, Presets for bass, etc.), with up to 128 Presets per Bank. A
Preset consists of what’s in the rack and the various settings. This view also
GUITAR RIG 2 – 13
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 don’t forget to register your software so you
can be advised when these become available.
Global Settings and Controller Assigns (right button) is where you customize
GUITAR RIG 2’s global settings; choose default directories for presets, banks,
and Component templates (Component-specific Presets); and assign controllers
from the included NATIVE INSTRUMENTS RIG KONTROL or other MIDI
controllers.
5.3 The Right Frame

This is where you drag in Components to create your rig’s processing path. It
always has certain fixed Components: Input, Tapedeck One, Tuner, Metronone,
Tapedeck Two, and Output. You can show/hide the Tapedecks, Tuner, and
Metronome using the Control Center show/hide buttons, but the Input and
Output are always visible.
14 – GUITAR RIG 2
6 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.
6.1 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.
GUITAR RIG 2 – 15
6.2 Pref: Presets Tab
Choose preset banks directory: 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 list
that’s shown in the left frame.
Choose Components templates file 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.
6.3 Pref: Controller Tab

There are two main ways to assign the RIG KONTROL, MIDI controllers (pedals,
switches, RIG KONTROL switches and pedal, etc.) and computer keyboard
keys to parameters in GUITAR RIG 2. Assigning controllers is a wonderful
feature, because it means you can change the “color” of your rig quickly and
conveniently via the RIG KONTROL pedal or other MIDI controllers, as well
as automate parameters within a host program.
Furthermore, you can save 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 the
studio during mixdown.
This is a somewhat advanced application, but we are presenting the information
here for reference. You may want to return to this after you’ve worked with
GUITAR RIG 2 for a bit.
If you are not familiar with MIDI basics, please refer to Appendix B before
continuing.
6.4 GUITAR RIG 2 Controller Basics

In the Preferences Controller section, you tell GUITAR RIG 2 about your
controllers — whether they’re continuously variable (like a MIDI-compatible
pedal, fader, or potentiometer) or on/off switches (like the RIG KONTROL
footswitches, a MIDI keyboard note, or your computer keyboard). You can
then assign this controller to a specific parameter in each Preset. There are
four important rules:
16 – GUITAR RIG 2
• If a controller controls Preset or Bank selection, it cannot control any
parameters within the rack.
• A controller can control only one parameter in a Preset. Unfortunately,
this is necessary to avoid problems with host applications that don’t
allow a single MIDI controller to control multiple parameters.
• A controller can control a different parameter in a different Preset
(e.g., the same controller could affect Distortion Tone in one Preset
and Compressor Ratio in another).
• If you use a Component’s “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).
6.5 Rack Controls

This is where you can define 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 you’re 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 Add Controller. If you don’t 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 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.
GUITAR RIG 2 – 17
The RIG KONTROL pedal is being assigned to the Wahwah Component’s “virtual pedal.” This
could also be done using a knob’s Learn function, as described later.
• To choose the parameter to be controlled, right-click on the associated
Target window and select the parameter.
• In this area, you can “scale” the parameter by varying its range. Drag
the left handle to set a minimum parameter value, and the right handle
to set a maximum value. Example: If the left handle is set to 2.00 and
the right handle to 7.00, then sweeping the controller will cover a range
of 20% of the parameter value to 70% of the parameter value.
The left handle is being adjusted to set a lower limit for the Plex Amp
Warm Volume parameter.
18 – GUITAR RIG 2
6.6 Presets Controls
You can use RIG KONTROL footswitches, MIDI controllers, MIDI notes, and
(in standalone mode) computer keyboard keys to do the following:
• Select the next Preset
• Select the previous Preset
• Select a specific Preset
• Select the next higher Bank
• Select the next lower Bank
• Select a specific Bank number
The Preset controls are on a slideable “panel.” Place your mouse over the
Resize bar; the cursor turns into a double arrow. Click, and drag the panel
up or down. Also, note that when the RIG KONTROL graphic is showing (by
clicking on the RIG KONTROL show/hide switch in the Kontrol 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 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.
GUITAR RIG 2 – 19
• To assign the hardware controller, click on Learn.
• Push the RIG KONTROL switch or other controller. The hardware field
indicates the selected controller.
• The function name cannot be renamed, but under Target, specify the
Preset or Bank to be called up by the hardware controller you assigned.
To do this, double-click on the Target number or drag across it, and
type in a new number.
• To de-assign the controller, click on Clear.
• To remove the Preset or Bank select, click on Delete.
20 – GUITAR RIG 2
7 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 Component’s 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 for
all Components (except for the “fixed” rack Components – Input, Tapedeck
One, Tuner, Metronome, Tapedeck Two, and Output).
A Bank consists of up to 128 Presets that are usually, but don’t have to be,
related in some way.
7.1 Component Template Management

Each Component has a small drop-down menu, located near the Component’s
name. Template management occurs here.
To save a new Template

• Click in the Template name field and type a name.
• Click on the drop-down menu’s arrow.
• Click on Save. Note that if the name field is blank, you will not be able
to save.
The Template is added to a list of available Templates for the Component.
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 menu’s arrow.
• Click on Save.
GUITAR RIG 2 – 21
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 menu’s arrow and click on
Delete.
• If you’ve changed the control settings since you called up the Template
and want to overwrite the stored settings, click on the drop-down menu’s
arrow and click on Overwrite.
• If you’ve changed the control settings since you called up the Template
and want to save the new settings as a new Template, click on the
drop-down menu’s arrow and click on Save.
22 – GUITAR RIG 2
7.2 Preset Management
When the left frame is on the Preset page (by clicking on the Manage Presets
and Banks icon in the Left View toolbar), there are four sections: Bank, Search,
Search Result, and Properties. We’ll cover Banks first; Search, Search Result,
and Properties relate to Presets.
7.3 Bank Operations

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

There are five buttons to the left of the Banklist that select Bank-related
operations.
New creates a new bank, with the generic name <new bank>. Upon creation,
a “save as” dialog will pop up. Enter a name for the bank (this is necessary
because the Bank is saved to disk).
Load opens a browser where you can select a Bank to load.
Save writes the currently selected bank and Preset to the Preset Banks
directory.
Save As writes the currently selected bank to the Preset Banks directory, but
gives you the opportunity to rename it, and appends the name to the end of
the list of Banks.
Protect prevents a Bank from being cut, overwritten, or moved. With protected
Banks, the Preset list has a light colored background. To unprotect, click on
the Protect button for the protected Bank.
GUITAR RIG 2 – 23
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.
Refresh the Bank List

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

There are two other ways to load a bank:
• Drag and drop a .BNK file into the Bank List.
• Right-click on any existing slot with a Bank and select Load a Bank. A
browser appears; click on the desired Bank, and it will be appended
to the Bank list.
7.4 Resizing the Bank and Preset Windows

The lower window shows the Preset List for the selected Bank. A resize bar
located between the Bank and Preset List pane allows increasing the size of
the Preset List pane while decreasing the size of the Bank pane, or vice-versa.
This is particularly helpful when browsing through large search results.
24 – GUITAR RIG 2
Change the proportion of the Bank List to the Preset List by moving the resize bar up and down.
7.5 Preset List Operations

The lower Preset List window shows the Presets associated with the selected
Bank; note the Bank name in large print toward the Preset window’s upper
left. To see all 128 Presets, use the horizontal scroll bar at the bottom of the
Preset window.
There are four Bank-related operations, selected by buttons in the upper right.
To select a Preset, click on the Preset name.
New creates a new preset with an empty rack.
Compare lets you toggle back and forth between the edited and original
versions of a Preset.
Append saves the current collection of Components and their settings into
the next available empty Preset that has a higher number than the selected
Preset.
Delete removes the selected preset.
Preset Drag and Drop

Presets may be dragged to any empty Preset; Ctrl-drag copies and moves the
Preset, yet leaves the Preset being copied in its original location.
If you drag a Preset on top of another Preset (which becomes covered by a
red rectangle), the dragged Preset will replace the original Preset. If you drag
GUITAR RIG 2 – 25
a Preset between two Presets (indicated by a red line between the Presets),
the dragged Preset will “push” down all the Presets below it.
Example: Suppose there are five Presets arranged as follows:
• 1 Rock
• 2 Metal
• 3 Jazz
• 4 Dance
• 5 Funk
If you drag Funk between Rock and Metal, the order now goes like this:
• 1 Rock
• 2 Funk
• 3 Metal
• 4 Jazz
• 5 Dance
However, note that the numbering has changed to reflect the insertion. For
example, Preset 4 was Dance, but now it’s Jazz. As Presets respond to MIDI
Program 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 Ask before inserting
presets is checked in the Preferences page, as described previously).
In addition, the Presets follow standard Mac and Windows editing procedures.
For example, you could copy a Preset, call up a different Bank, and paste the
Preset into the newly-selected Bank.
Creating More than 128 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 first look for an
empty Preset within the Bank where the new Preset can go. If all the slots
are filled, a pop-up will ask if you want to create a new Bank. If not, you can
erase one of the existing Presets and insert the new one in its place.
26 – GUITAR RIG 2
7.6 Keyboard Shortcuts for Banks and Presets
The following shortcuts work when running GUITAR RIG 2 in Standalone
mode.
These shortcuts are disabled when using GUITAR RIG 2 as a plug-in

to avoid conflicts with the host program. Instead, use the right-click
operations described later.
• To select multiple Presets (rack retains current Preset): 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.
GUITAR RIG 2 – 27
• 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.)
7.7 Properties
This is where you can enter several properties of the selected Preset:
• Name (Preset name/label)
• Author
• Style
• Tone
• Instrument
28 – GUITAR RIG 2
• Last change (read-only; date of the most recent modification)
• Favorite (a check box to indicate particularly useful or commonly used
Presets)
• Info (basically a notepad)
Take the time to enter this information for your Presets, as you can search for
them based on particular criteria entered under Properties.
7.8 Search
Click on the Search tab, and several fields appear. GUITAR RIG 2 will examine
all Banks and Presets to find Presets that match the criteria you’ve specified
in those fields. For example, you can generate a list of all Presets that fit a
certain musical style by choosing a Style, then clicking on the Find button. You
can narrow the search further by specifying additional fields, like all Presets
done in a particular musical style by a particular Author, in a specific Bank
(or in all Banks).
With the Quicksearch field, you can enter anything about a Preset, including
words in the Properties “info” field, and GUITAR RIG 2 will find Presets
containing what you’ve entered.
Note that the Date field is quite handy, as you can search for Presets
that were modified prior to a certain date, after a certain date, or on a
certain date. 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, you’ll see the results of the search.
You can also access these results later by clicking on the Search Result tab.
If you want to start a new search, rather than reset all fields manually, you
can simply click on the Reset button.
GUITAR RIG 2 – 29
8 Fixed Rack Components
There are five fixed rack Components:
• Input
• Tapedeck One
• Tapedeck Two
• Tuner
• Metronome
• Output
These can be minimized or hidden to save space, but cannot be deleted. All
signal processing Components insert between the Input and Output.
Let’s cover each Component.
8.1 Input Component with RIG KONTROL 2
This matches your instrument’s levels to GUITAR RIG 2. Hint: Always feed in

the highest possible levels short of distortion, as indicated by the signal level
meters getting as close as possible to the red (overload) condition without
actually hitting it.
Volume sets the incoming level. Turn it up (clockwise) as high as possible,
short of the meter glowing red, which indicates an overload. Then, turn the
control counterclockwise a bit to allow some headroom (clipping the sound
card input is a major sonic disaster). If the red “LEDs” still glow, reduce the
volume further.
If the accompanying Learn button is on (button “pushed in”), GUITAR RIG 2
can set the optimum level automatically. After enabling Learn, play your
guitar really hard so it generates the maximum possible level. GUITAR RIG 2
will analyze this level, and adjust the Volume automatically. After analysis is
complete, the Learn button “pops out.”
The Channel Buttons control how GUITAR RIG 2 reacts in “single” and “dual”
guitar modes.
• 1: GUITAR RIG 2 processes only the signal at RIG KONTROL Input 1,
and mutes Input 2.
30 – GUITAR RIG 2
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 aren’t playing, the gate will not let the hum or buzz
through. As soon as you start playing and the signal exceeds the threshold, the
gate will open; hopefully the signal will be loud enough to “mask” the buzz.
The Gate’s Learn function automatically sets an optimum threshold. Without
playing your guitar, click on Learn. GUITAR RIG 2 analyzes your signal, and
sets the threshold just above any residual noise. Now when you play, the
Gate should open.
8.2 Input Component with RIG KONTROL 1
This works the same way as if you’re using RIG KONTROL 2, with the exception
of the following additional functions.
The Channel Buttons control how GUITAR RIG 2 reacts in “single” and “dual”
guitar modes, a feature associated with RIG KONTROL 1 (refer to the original
GUITAR RIG manual for information on RIG KONTROL 1).
and mutes Input 2.
and mutes Input 1.
• Both: Sends both Inputs into GUITAR RIG 2. Do not use this mode
when using the RIG KONTROL, as you’ll also hear the control signals
coming out of the footswitches and pedal. (Note that mono modules
will mix these two signals together.)
• On: Turns the RIG KONTROL Detection on/off (button pressed is on).
• Auto: Recommended when using RIG KONTROL, as GUITAR RIG 2 will
automatically recognize the instrument plugged into Input 1, as well as
the RIG KONTROL control signals that appear in the other channel.
GUITAR RIG 2 – 31
8.3 Output Component
This matches GUITAR RIG 2’s levels to the next stage (mixer, amplifier, PA

system, etc.), and also lets you compensate for level variations among different
Presets.
Preset Volume is saved with a Preset. Thus, if a Preset is louder than most,
you can trim down its volume or if it’s softer, then you can turn it up to match
the other Presets. NATIVE INSTRUMENTS recommends you leave this at the
mid-position unless you need to compensate for Preset level variations.
To set the Preset volume automatically, turn on the accompanying Learn
button (button “pushed in”). Play your guitar really hard; GUITAR RIG 2 will
analyze this level, and adjust the Preset level automatically. When analysis is
complete, the Learn button “pops out.”
Master Volume sets the rig’s overall level. This generally will be adjusted to
provide the desired amount of signal to the next stage, and not changed unless
GUITAR RIG 2 feeds something else.
The Meter shows the output level. If the meter’s LEDs glow red, this indicates
an overload condition. Turn down the Master Volume a bit (or Preset Volume
in the case of an unusually loud Preset). If they still glow red, reduce the
volume further.
The Clipping/Limiter switch chooses how GUITAR RIG 2 will handle an
overload condition, as indicated by the red output light glowing red. With
Clipping selected, overloads will exceed GUITAR RIG 2’s headroom, resulting
in distortion. With Limiter selected, if an overload condition occurs, the limiter
turns the volume down automatically to prevent distortion. When the light
goes out, the volume returns to normal. If limiting occurs often, turn down the
Master Volume or, with an excessively loud Preset, the Preset Volume.
Note: This limiter acts more like a “safety valve.” If you want to use limiting
as an effect, insert the Limiter Component into the rig’s signal chain.
32 – GUITAR RIG 2
8.4 Tuner
For quick, accurate tuning, this is the module for you. You know what a tuner
is; here’s how this one works.
The (Instrument) Drop-Down Menu defaults to Guitar, but you can also choose
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 meter’s center “0” point) or flat (indicator
to the left of the meter’s center “0” point). The number toward the left
of the display indicates the number of the string being tuned. When a
string is at proper pitch, the indicator should sit in the middle of the
meter at the “0” point.
• In Strobe mode, a series of lights moves to the right when the string
is sharp, and moves to the left when the string is flat. The faster they
move, the more out of tune the string. When the lights stop moving,
the string is in tune.
To access the Extended View functions, click on the (+) symbol to “fold down”
the bottom of the tuner.
• Reference Pitch adjusts the tuning reference, from A=425Hz to
A=455Hz. The hint text for this control shows the exact pitch.
• Cents shows the deviation from ideal tuning in cents.
• Drop Tune transposes the tuning range. Example: If you tune all your
strings a semitone lower, set drop tune to -1.
• Tune Fork produces a reference tone. To select the pitch, click on the
note field to the right of the Tune Fork button, and drag up to raise
pitch and down to lower pitch. Or, use the arrow buttons above and
below the display to change the “virtual tuning fork” pitch in semitone
increments.
GUITAR RIG 2 – 33
8.5 Metronome
The Metronome provides a rhythmic reference, but with GUITAR RIG 2 in

standalone mode, it also serves as a master tempo clock for tempo-synched
effects.
Sync, when enabled, synchronizes the Metronome tempo to the host sequencer
tempo if GUITAR RIG 2 is serving as a plug-in.
Volume changes the metronome’s audio level.
Mute turns off the metronome’s audio output, but you can still see a visual
indication of the beat.
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. GUITAR RIG 2 comes with several suitable sounds
in the Metronome Samples folder, which is installed with the program. Note:
Sounds with bit resolutions greater than 16 bits will not be recognized.
The #2 field lets you select a particular sound for beats other than the
downbeat. 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 you’re in the middle of playing and both hands are busy.
34 – GUITAR RIG 2
8.6 Tapedeck One
Okay, it doesn’t use tape. But it’s much cooler than a tape deck. This handy
module can play back files as well as record your playing…and more, like
change tempo during playback without changing pitch, change pitch without
changing tempo, or change both. This is great for learning licks by slowing them
down, or changing the tempo on backing drum loops and similar parts.
With Tapedeck One, instead of describing each control individually, we’ll

cover the function you want to accomplish with the Tapedeck, and describe
how to do it.
GUITAR RIG 2 – 35
8.7 Standard Playback
To play back a file, like a backing track or drum loop:
• Click on the Load button, navigate to the file you want to load, and click
on Open. Tapedeck accepts WAV, AIF, AIFF, and MP3 format files but
does not accept bit resolutions greater than 16 bits.
• With the Play Mode button, select either Play at Input (any processing
affects playback) or Play at Output (applies no processing).
• Click on the Transport Play button to start playback. Click on the Stop
button to stop. To loop the selection so that it plays repeatedly, click
on the loop button (the button to the right of the Stop button). To start
at a specific point in the file, drag the Play Start Slider to the desired
start point.
• Adjust Volume to set the desired level. If the output meter’s red
(distortion) “LEDs” light up, reduce the Volume to prevent overload
conditions.
8.8 Looped Playback

You can create a loop from your recording so that a certain portion of the
recording repeats over and over. This is great for practicing, or creating a
rhythm track. There are two basic ways to set up a loop:
• 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 fine-tune the loop points.
• While the Tapedeck is playing, click on the Loop In button when you
want the loop to start, and click on the Loop Out button when you want
the loop to end. Handles will appear at these points, which again, you
can drag around as desired.
• The diagram shows Tapedeck One set up to loop. Note the “pushed
in” Loop button, and the two handles that show the Loop In and Loop
Out points.
36 – GUITAR RIG 2
8.9 Changing Playback Pitch and/or Tempo
Transpose transposes pitch –12 semitones to +12 semitones.
Tune provides fine tuning over the range of –50 cents to +50 cents.
Tempo changes the playback speed from 50% of the original tempo to 150%
of the original tempo.
Remember that you can set the time stretch audio quality under
Preferences.
8.10 Recording
To record your playing:
• 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 that’s set up in
the rig).
• Record mode is already enabled, so click on the Play button to initiate
recording.
• After recording, click on the Save button, navigate to the folder where
you want to save the file, name it, and click on Save.
Note that loop mode is not available while recording.
GUITAR RIG 2 – 37
8.11 Tapedeck Two
Tapedeck Two is optimized for overdubbing and creating backing tracks or

riffs over which you can play. It’s located just before the Output Component,
and therefore records whatever you’re 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 don’t want to process this file through the rig.
• To sync the recording of Tapedeck Two to Tapedeck One, turn on Sync
on Tapedeck Two.
• Go to Tapedeck Two and click on its New button (lower left). This
automatically enables record by pushing in the Record button. If you
have already created a new file, just click on the Record button.
• As Record mode is already enabled, click the Play button to initiate
recording.
• After recording, click on the Save button, navigate to the folder where
you want to save the file, name it, and click on Save.
• If you want to overdub this file again, click on Transfer File to Tapedeck
One and repeat the recording procedure.
38 – GUITAR RIG 2
9 Components and Parameters
To customize GUITAR RIG 2 for your own unique sound, you need to understand
how the available effects parameters influence what you hear. Here’s the
easy way: Drag in an effect, select a parameter, change it, and listen to what
happens. After a while, you’ll figure out what each parameter does.
However, trial-and-error can take time, so this section describes each effect,
its parameters, and where appropriate, tips on getting the most out of the
particular effect.
9.1 Mono, Stereo, and Signal Flow

Unlike most guitar rigs that use only mono connections, GUITAR RIG 2 lives
in a stereo world where all connections potentially carry separate left and right
channel signals. This is important, because although almost all guitars are
mono, many of GUITAR RIG 2’s 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 first be converted to mono.
• Cabinets
• All amp head Components
• All distortion Components
• Ensemble
• WahWah Pedal
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, you’ll 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.
9.2 Common Controls

All Components have several controls in common.
9.3 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 (don’t you wish
hardware rack gear could do this?)
+ Expands the Component to a larger size, and reveals more parameters
(“expert” or “extended” mode).
9.4 Power On/Off

All 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.
40 – GUITAR RIG 2
9.5 Saving and Loading Templates
All Components also have a common way of saving, selecting, and renaming
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.
9.6 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-purpose
MIDI 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 application’s automation.
For example, if you want to increase distortion drive when soloing then bring
it down when playing rhythm, no problem – automate the distortion drive
control. You don’t even have to mess with controller assignments, thanks to
a convenient “Learn” function. All this is covered later, but we just couldn’t
help tantalizing you with the concept before going any further.
GUITAR RIG 2 – 41
9.7 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.).
• 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.
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!”
9.8 Amps
The virtual amps behave so much like real tube amps that the cabinet and the
amp’s power output stage interact in a complex way. As a result, the amps’
tone and distortion characteristics change subtly depending on which cabinet
you connect. When more than one cabinet connects to an amp, the cabinet
at the top of the list determines the amp’s behavior, even if this cabinet is
not turned on.
Also, amps should be followed by the cabinet(s) of your choice. An amp’s
straight output is buzzy and can be shrill; with all guitar amps (even virtual
ones!), the cabinet is a vitally important sound-shaping element.
42 – GUITAR RIG 2
9.9 Cabinets & Mics
This Component models the standard guitar and bass amp recording chain:
Cabinet, mic, and mic position. But that’s 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…
The 26 cabinet choices are (6 through 21 are bass cabinets):
Nr. Name Nr. Name

1 1 x 12 Tweed Alnico 14 4 x 12 UK 70s
2 1 x 12 Custom 15 4 x 12 Gratifier
3 2 x 12 Tweed Blue 16 1 x 15 Bass-PRO
4 2 x 12 Tweed Green 17 1 x 15 Bass-WR
5 2 x 12 Tweed Ceram 18 4 x 10 Bass-PRO
6 2 x 12 Brit 60s 19 4 x 10 Bass-WR
7 2 x 12 Chief V-30 20 8 x 10 Bass-PRO
8 2 x 12 Custom 21 8 x 10 Bass-WR
9 2 x 12 Jazz 22 Rotator Horn Closed
10 4 x 10 Tweed Alnico 23 Rotator Horn Open
11 4 x 12 UK 60s Tall 24 Rotator Bass Close
12 4 x 12 UK 60s 25 Rotator Bass Open
13 4 x 12 UK 80s 26 DI Box
Note:
22 & 24 use a closed cabinet, with sound recorded through slots.
23 & 25 use an open cabinet, with sound recorded direct.
Mic positions and the position names depend on the selected cabinet (of
course, the Direct Box doesn’t offer a mic option).
GUITAR RIG 2 – 43
Cabs 1-7, 9, 10, and 22-25:
• 1/5 On Axis
• 2/5 Off Axis
• 3/5 Edge
• 4/5 Far
• 5/5 Back (This applies to open back cabs only, i.e. it’s not available on
the 4x12s or the Bass cabinets, which are all closed-back. However,
many of the Bass cabinets have a Horn Tweeter, so they include the
5/5 Horn Microphone Position.)
Cabs 8, 11-15, 16, and 20:

• 1/5 On Axis
• 2/5 Off Axis
• 3/5 Edge
• 4/5 Far
Cabs 17, 18, 19, 21:

• 1/5 On Axis
• 2/5 Off Axis
• 3/5 Edge
• 4/5 Far
• 5/5 Horn
Available mics and their names depend on the selected cabinet.
Guitar Cabs 1-15:

• 1/5 Dynamic 57
• 2/5 Dynamic 421
• 3/5 Dynamic 609
• 4/5 Condenser 87
• 5/5 Tube Condenser
Bass cabs 16-21:

• 1/5 Dynamic 7
• 2/5 Dynamic 421
44 – GUITAR RIG 2
• 3/5 Dynamic 609
• 4/5 Dynamic 20
Cabs 22, 23:

Cabs 24, 25:

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 mic’s output level.
Pan places the mic signal anywhere in the stereo panorama, from far left to
far right.
Air controls the level of early reflections in the room response.
Distance appears if more than one 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 Component’s level. This is necessary because
if you have used the Add button to create multiple cabinets, they may use
different output levels. The Master Volume control allows bringing the levels of
all the cabinets up or down as a group. Set this control carefully – if previous
stages have added a lot of gain, it will be necessary to lower this control if
you want to avoid triggering the output limiter or clipping (depending on the
setting of the Output Component’s Clipping/Limiter switch).
GUITAR RIG 2 – 45
Learn is a button that optimizes the Master Volume setting automatically. As
with the other Learn buttons, push it in, then play at the loudest level you’ll
be using. GUITAR RIG 2 will analyze your playing, and adjust the Master
volume for the optimum level. After analysis is complete, the Learn button
“pops out.”
9.10 Tweedman
Back in the 60s the “Tweedman” was a classic bass amp. Nowadays, it’s highly
coveted as a great guitar amp, but of course still works well in its originally
intended role for bass. Compared to the Bass PRO amp, the sound is a bit
smoother and more “well-behaved.”
Volume Bright sets the overall level for the bright channel.
Volume Normal adjusts the level for the normal, “warmer” channel. Both the
Volume Bright and Volume Normal controls can be used simultaneous to
blend the two sounds.
Turning Bass clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
Turning Mid clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning Treble clockwise from the center boosts the high frequency response;
counterclockwise reduces high frequency response.
The Presence control adds a frequency response “lift” in the upper
midrange.
Click on the (+) symbol to reveal expert mode, with the following
parameters.
46 – GUITAR RIG 2
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 can’t
deliver the necessary power. Increasing Sag makes the
power supply more “spongy,” as occurs with a tube-based rectifier circuit.
Tuning down Sag makes the power supply harder, like a silicon diode-based
rectifier circuit.
Response changes the power storing capacity of the power supply capacitors.
Turning down Response increases the capacity, so that the supply voltage
reacts more slowly to playing dynamics. Turning Response up makes the amp’s
power supply react more rapidly.
Bias adjusts the virtual tube’s grid bias, which influences crossover distortion.
Although it’s possible with some tube amps to adjust bias to alter the tone,
bias also changes naturally as the result of a tube aging, and this control can
simulate that effect as well. You may need to adjust Bias after changing the
Variac and Sag settings.
9.11 AC Box
This amp models the famous amp sound (rhymes with “box”) that powered
the British Invasion of pop music. There were many versions made of the
original amp, each with a slightly sonic character. This model is based on a
type with the Top Boost modification. The basic Normal channel has no tone
controls aside from Top Cut. The Top Boost adds the Brilliant channel, which
offers Treble and Bass controls.
GUITAR RIG 2 – 47
Parameters
Normal Volume sets the Normal channel’s overall level. The Treble and Bass
controls have no effect in the Normal channel.
Brilliant Volume sets the Brilliant channel’s overall level. The Treble and Bass
controls have no effect when Brilliant Volume is turned down.
Turning Treble clockwise boosts the high frequency response in the Brilliant
channel; counterclockwise reduces high frequency response.
Turning Bass clockwise boosts the low frequency response in the Brilliant
channel; counterclockwise reduces low frequency response.
Tone-Cut is a control unique to this type of amp that reduces the output’s
high frequency response.
Tremolo Speed controls the rate of periodic volume modulation.
Tremolo Depth controls the extent to which tremolo modulates the sound, from
off, through subtle, to obvious.
parameters.
signal, and the supply voltage sags because it can’t deliver the necessary
power. Increasing Sag makes the power supply more “spongy,” as occurs
with a tube-based rectifier circuit. Tuning down Sag makes the power supply
harder, like a silicon diode-based rectifier circuit.
48 – GUITAR RIG 2
9.12 Twang Reverb
The Twang Reverb simulates the rich tube sound of classic amps from decades
ago. It’s ideal for screaming blues leads and crunchy rhythm guitar sounds,
as well as clean sounds with personality.
Parameters
Volume sets the amp’s overall level. Note that this is like a master volume
control; if you want to overdrive this amp, precede it with a module that
provides gain (e.g., volume pedal turned up full).
The Bright switch is another tonal option that accentuates the high
frequencies.
Reverb adds in emulated spring reverb effects. It’s extraordinarily realistic, but
don’t worry – if you tap on the side of the monitor, it will not go “boing.”
The Reverb On switch allows turning off the reverb. Like all good software
reverbs, the spring reverb uses a fair amount of processing power; turn it off
if you’re not using it.
Speed controls the tremolo speed (but it’s labeled vibrato, just as it was
labeled on vintage amps).
Intensity controls the extent to which tremolo modulates the sound – from a
mild pulsing to a deep throbbing. Oh baby, baby…
Vibrato On allows turning the tremolo effect off when not in use.
GUITAR RIG 2 – 49
parameters.
rectifier circuit.
Reverb Time sets the reverb decay tail’s duration.
Reverb Size changes the apparent size of the “room” being emulated by the
reverb. While this interacts with Reverb Time to some extent in that a larger size
leads to a longer decay, Size has more to do with the sound’s character.
50 – GUITAR RIG 2
9.13 Plex
The classic Plex sound probably needs no introduction – it’s the vintage amp
sound that has powered too many hit records to mention.
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.
midrange.
parameters.
GUITAR RIG 2 – 51
rectifier circuit.
9.14 Jazz Amp
Modeled after an amp produced by a highly-respected synthesizer manufacturer,

the Jazz Amp produces a warm, clean tone. An essential part of its sound is the
Ensemble effect, which adds chorusing or vibrato. As a result, the Ensemble
is built into the Jazz Amp.
However, if you want to hear the Vibrato/Chorus effect in true stereo, then
it’s best to turn off the effect built into the Jazz Amp and instead insert the
Ensemble component (which provides true stereo) after any Cabinets&Mics
component.
Note: There are no expert mode settings for this amp.
Parameters
Volume sets the amp’s overall level.
Turning Bass clockwise boosts the low frequency response for a bassier sound;
counterclockwise reduces low frequency response for a “thinner” sound.
Turning Treble clockwise boosts the high frequency response, while turning
52 – GUITAR RIG 2
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.
9.15 Lead 800
This smooth, intense lead sound cuts like a knife and offers plenty of flexibility.
While the Plex works very well for both chunky rhythm sounds and leads, the
Lead 800 gives a brighter, more edgy sound.
Parameters
Master adjusts the amp’s overall volume.
Pre-Amp sets the preamp gain. Turning it more clockwise adds drive, distortion,
and an “edge” to the sound.
midrange.
parameters.
GUITAR RIG 2 – 53
rectifier circuit.
9.16 Instant Gratifier Solo Head
Of course you need an amp to put before your cabinet, and the Gratifier
emulates a smokin’ solo head sound with a tube power amp. Its tonal spectrum
spans the range from clean to over-the-top distortion. Think of it as a four-
channel amp (click on the associated “channel” to select it):
• Clean • Raw
• Vintage • Modern
54 – GUITAR RIG 2
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 Presence clockwise from the center boosts the upper midrange
frequencies; counterclockwise reduces the upper midrange frequencies.
parameters.
signal, and the supply voltage sags because it can’t deliver the necessary
power. Increasing Sag makes the power supply more “spongy,” as occurs
with a tube-based rectifier circuit. Tuning down Sag makes the power supply
harder, like a silicon diode-based rectifier circuit.
GUITAR RIG 2 – 55
9.17 Bass PRO
This bass amp can deliver a gritty, growling sound that can really make a bass
stand out in a mix. In addition to the unique tonal qualities, there’s a graphic
equalizer to allow tailoring the sound more precisely.
Parameters
Volume sets the amp’s overall level.
The Gain control increases the amount of distortion as you turn it more
clockwise.
Drive “pushes” gain in the midrange region; it’s sort of like a gain control, but
affects the sound’s overall “character.”
The Mid-Freq control adjusts the center of the frequency band boosted or cut by
the Mid control. This mid frequency is sweepable from 200Hz to 3200Hz.
Turning the Bright switch on accentuates the very high frequencies.
The Ultra Lo switch, when on, scoops out some of the midrange and increases
the lower frequency response.
Turning the Ultra Hi switch on boosts highs, but over a wider frequency range
than the Bright switch. It therefore has a more obvious effect.
The Graphic EQ switch enables or disables the graphic EQ processor, which
is visible only in Expert mode.
Click on the (+) symbol to reveal expert mode, which shows the graphic
equalizer controls.
56 – GUITAR RIG 2
Graphic EQ Volume adjusts the overall level of the graphic EQ processor. When
centered, there’s unity gain through the EQ. Pushing the slider up from the
center increases gain (which will likely be necessary if you cut the response
at various frequencies using the band level sliders), while moving the slider
downward decreases gain. You will probably need to decrease the gain if you
boost several frequency bands.
The Graphic EQ Band Level controls boost or cut response at nine specific
frequency bands: 40Hz, 90Hz, 180Hz, 300Hz, 500Hz, 1kHz, 2kHz, 4kHz,
and 10kHz. When a slider is centered, there is neither a boost nor cut at that
slider’s frequency band. Moving the slider up increases gain up to +12dB,
while moving the slider down decreases gain by as much as ‑12dB.
GUITAR RIG 2 – 57
10 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.
10.1 Fuzz
Looking for that special 60s fuzz sound? The Fuzz’s rather thin and sharp
tone makes your leads cut through a mix like a chain saw. As a bonus, you
can create buzzing vintage rhythm guitar sounds, too.
Parameters
Volume sets the Fuzz’s output level. It acts like a master volume control.
Turn the Fuzz control clockwise to increase the distortion’s “fuzzy” quality.
parameters.
Bass provides control over the lower frequency tone.
Turning Treble clockwise accents the high frequencies.
58 – GUITAR RIG 2
10.2 Big Fuzz
Stretch sustain to the max, like a 1970s guitar hero…or add some serious
grunge to your tone. This is the distortion of choice for some serious rock
and roll sounds.
Parameters
Volume sets the Big Fuzz’s output level. It acts like a master volume
control.
Sustain affects the sound’s sustain by increasing the amount of gain going to
the distortion circuitry as you turn it further clockwise.
Turn Tone clockwise to emphasize low frequencies and reduce higher
frequencies, or counter-clockwise to dampen the bass range and enhance
the high frequency tone.
Click on the (+) symbol to reveal expert mode, which offers the following
parameters.
GUITAR RIG 2 – 59
10.3 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 Cat’s output level. It acts like a master volume control.
Filter affects the sound’s color, For a darker sound, turn clockwise to enhance
the low frequency range; turn counter-clockwise to for a brighter, sharper
sound.
Turn Distortion clockwise for a more distorted sound.
parameters.
Turn the Balls control clockwise to add low-end punch. Turning it counter-
clockwise delivers a flatter, more biting sound.
Turning Treble clockwise accents the high frequencies. Moving in the counter-
clockwise end of the range (say, from 0.00 to 3.00) can add an almost wa-wa
like effect.
Tone adjusts the frequency range influenced by the built-in pre-distortion
midrange booster.
60 – GUITAR RIG 2
10.4 Skreamer
This warm, smooth-sounding overdrive works great for rhythm guitar and
smooth leads.
Parameters
Volume sets the Skreamer’s 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.
parameters.
Bright determines the high frequency response.
Clean adds some of the unprocessed sound in with the distortion, from none
to maximum.
GUITAR RIG 2 – 61
10.5 Distortion
When you want distortion that will scare small animals and clear a room of
unwanted house guests, insert this baby and turn it up to 11.
Parameters
Volume sets the Distortion’s 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.
parameters.
Mid affects the level of the midrange frequencies.
Treble determines the high frequency response.
62 – GUITAR RIG 2
10.6 Mezone
When you want metal…here you go. Pre- and post-distortion tone controls let
you tailor the sound just about any way you want.
Parameters
Volume sets the Mezone’s 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 control’s boosting occurs.
Turn Distortion clockwise for a more distorted sound.
parameters. Note that all these filters are before the distortion, and are
therefore designed to affect the distortion’s character more than its tonality.
Bass adjusts how much bass is allowed to be distorted. Turn clockwise for
more bass.
Mid-Q sets the amount of midrange boost that makes its way to the distortion
section; turn clockwise for more boost.
Mid Freq adjusts the frequency where the Mid-Q control’s boosting occurs.
Turning Treble clockwise lets through high frequencies to the distortion
section.
GUITAR RIG 2 – 63
10.7 Demon Distortion
Definitely a piece of hard rocker’s gear, the Demon Distortion provides you
with razor-sharp, long-sustaining leads and speaker-blasting rhythm sounds.
Parameters
Volume sets the Demon Distortion’s output level. It acts like a master volume
control.
Mid enhances or attenuates the midrange frequencies.
The Gain control lets you adjust the input sensitivity. The more you turn the
Gain control clockwise, the more the incoming signal will be distorted.
The Scoop switch drastically attenutates the midrange frequencies, which
produces a typical modern metal sound. With Scoop on, the Mid control has
no effect.
parameters.
The Bottom control sets how much bass passes through to the distortion
section. If the sound “rumbles” or sounds “blurry,” turn this control counter-
clockwise to tighten the sound.
Boost sets the frequency range influenced by the built-in pre-distortion
midrange booster.
Bass determines the center frequency of the equalizer’s Bass control.
Mid determines the center frequency of the equalizer’s Mid control.
Treble determines the center frequency of the equalizer’s Treble control.
Bright fine-tunes the signal’s presence by attenuating or enhancing the highest
frequencies.
64 – GUITAR RIG 2
10.8 TransAmp
This versatile, analog distortion box set the stage for the later generation of
digital wonderboxes. When you need a “one-size-fits-all” fuzz, TransAmp
delivers a wide variety of tones –from cool, “on the verge” distortion to biting,
raging heat.
Parameters
Volume sets the TransAmp’s output level. It acts like a master volume
control.
The Drive control has a wide range, from just a hint of crunch (counter-
clockwise) to hardcore (clockwise).
The Amp control “morphs” among three different amp characters: Tweed,
British, and California.
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.
GUITAR RIG 2 – 65
10.9 Treble Booster
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.
66 – GUITAR RIG 2
10.10 Gain Booster
If you’ve ever seen the movie “This is Spinal Tap,” you know that amps that go
up to 11 are much better than ones that go up to 10. Well, this 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 doesn’t 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.
GUITAR RIG 2 – 67
11 Mod
11.1 Tremolo
This provides a periodic amplitude change so that the sound seems to “pulsate.”
A modulation source controls the rate of these amplitude changes.
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 song’s rhythm. In standalone mode, the tremolo rate syncs to the
Metronome tempo.
Stereo Pan, when enabled, provides a stereo tremolo effect: When the level
increases in one channel, it decreases in the opposite channel, and vice-versa.
Note that the effect pretty much disappears when Tremolo is followed by a
mono Component like an Amp.
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.
68 – GUITAR RIG 2
11.2 Ensemble
This unique effect is based on a popular vintage processor that is similar to

chorusing, in the sense that it creates “bigger” sounds; but also provides
vibrato (pitch modulation) effects.
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.
parameters.
Temp Sync synchronizes the LFO speed to the host application’s tempo, or
the metronome tempo in standalone mode.
Dry/Wet sets the ratio of dry to processed sound, from dry only (counterclockwise)
to 50-50 (mid position) to processed sound only (fully clockwise).
Bass provides control over the lower frequency tone (turn clockwise to boost,
counterclockwise to cut).
Mid similarly affects the level of the midrange frequencies.
Treble similarly determines the high frequency response.
Delay sets the chorus circuit’s delay time (the time around which modulation
occurs).
Stereo changes the imaging from mono (fully counterclockwise) to stereo
(fully clockwise).
GUITAR RIG 2 – 69
11.3 Chorus/ Flanger
This delay-based unit can create chorusing, flanging, and pitch modulation
effects.
Chorusing essentially turns one guitar into a chorus of guitars, providing a
more diffused and complex sound.
Flanging produces a whooshing sound, like the same effect you hear from a
jet airplane when it passes overhead but more intense and metallic.
Pitch Modulation is the same thing as vibrato — a cyclic pitch change.
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.
parameters.
Sync synchronizes the LFO speed to the host application’s tempo, or the
metronome tempo in standalone mode.
Stereo creates a super-wide stereo effect, but is recommended only for live
use – playing the signal back in mono causes the effect to disappear, leaving
only the straight sound.
70 – GUITAR RIG 2
11.4 Stoned Phaser
The Stoned Phraser adds a swirling, animated effect to the sound. This model
is based on popular phaser technology from the 1970s.
Parameters
Rate controls the speed of the phaser effect.
Sync synchronizes the phaser rate to the host tempo so that it follows the
song’s rhythm. In standalone mode, the phaser rate syncs to the Metronome
tempo.
Color creates a timbral change that’s a variation on the standard phaser
sound.
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 sweep’s lower frequency limit.
Sweep Max sets the sweep’s upper frequency limit.
Rotate alters the phase difference between the LFOs feeding the left and right
channels for a stereo effect.
Dry Wet adjusts the mix of the dry and processed (phase shifted) sound.
GUITAR RIG 2 – 71
11.5 Rotator
This effect, the same one used in NATIVE INSTRUMENTS’ acclaimed B4

“virtual organ,” simulates the effect of miking a rotating speaker. A true rotating
speaker has two separate elements — the lower rotor and upper rotor — and
this module faithfully emulates both elements, as well as provides separate
controls for each one
Parameters
Rotator switches the speed of the rotating speaker – slow or fast.
Balance sets the ratio of the sound produced by the rotating speaker’s high
frequency horn compared to the low frequency woofer. Turning clockwise gives
more highs, while turning counterclockwise gives a bassier sound.
Pan changes the treble and bass rotors’ location in the stereo field. Turning
clockwise moves treble right while bass moves left.
Distance edits the distance between the virtual microphones and the rotating
speaker.
Dry/wet controls the effect’s strength; turn fully clockwise to hear the rotating
speakers only.
Click on the (+) symbol to reveal expert mode. Each rotor (treble and bass)
has a set of identical controls.
Cab Tone activates the Rotator’s own cabinet simulation effect. You can turn this
off if you want to use the 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 Rotator’s Bass and Horn rotors.
Slow sets the rotor speed in slow mode. When set to minimum, the rotor
comes to a stop.
Fast sets the rotor speed in fast mode.
Accel sets how long it takes for the speed to change when you change the
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Rotator speed switch. When counterclockwise, it accelerates or decelerates
over time; clockwise produces a near instantaneous change.
Spread widens the stereo image when turned clockwise, and narrows the image
when turned counterclockwise. It controls the distance between the left and
right virtual microphones.
11.6 Oktaver
This generates two signals – one octave below, and another signal two octaves
below, the original pitch. There are two important cautions:
• Oktaver works only with single notes, not chords.
• Place Oktaver toward the beginning of the chain. Do not add reverb,
delay, or other modulation effects before it, as that will confuse the pitch
tracking circuitry. However, you can usually put the Tube 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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11.7 Pitch Pedal
GUITAR RIG fans from around the world begged us to include a “pedal-
controlled vibrato tailpiece” effect, so how could we resist? But unlike a
standard vibrato tailpiece, all the strings stay in tune as you bend up and down.
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 don’t 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.
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.
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Feedback determines how much of the output signal returns to the input. For
example, if you have set pitch to transpose up 1 semitone, that signal will
return to the input and be transposed up another semitone, then that signal
will return to the input and be transposed up another semitone, and so on.
This produces an ascending series of notes.
Delay affects the smoothness of the pitch shifted sound. It also introduces
a delay in the feedback path, from 10 to 50 ms. The longer the delay, the
greater the sense of a series of notes; with shorter delays, you’ll hear more
of a texture.
11.8 Electric Lady
The Electric Lady adds a very versatile stereo Flanger to your effects rack.
Modeled after an all-time classic, the Electric Lady produces sounds ranging
from subtle flanging and chorusing to weird metallic timbres and extreme
flanger swooshes. The static mode adds to this wide palette of sounds. It
switches the unit into filter mode acting as a bank of notch filters.
Parameters
Rate controls the speed of the Flanger effect. For a slow effect, turn the knob
counter-clockwise. For a fast effect turn it clockwise.
Static toggles the effect into static filter-bank mode and disables the modu-
lating LFO.
Depth controls the intensity of the modulation. With higher values a broader
frequency range is affected.
Color varies the general timbre of the effect. In static mode (see above) this
knob controls the frequency of the filters.
Click on the (+) symbol to reveal expert mode, with the following parameters.
Sync synchronizes the LFO rate to the current host tempo following the song’s
rhythm. In standalone mode, the rate syncs to the Metronome tempo.
Invert shifts the phase of the effect signal leading to a different timbre.
Rotate alters the phase difference between the LFOs feeding the left and
right channels for a stereo effect.
Dry Wet adjusts the mix of the dry and processed (flanged) sound.
GUITAR RIG 2 – 75
11.9 Phaser Nine
This Phaser is based on another well-known effects design and adds all kinds
of animated shimmering to your guitar sounds.
Parameters
Rate controls the speed of the Phaser modulation. Turn the rotary knob coun-
ter-clockwise for slow and clockwise for fast swirls.
Depth sets the intensity of the phasing.
Color controls the basic timbre of the phasing by changing the feedback of
the effect. Higher values lead to greater emphasis on the frequency peaks
in the signal.
Sync synchronizes the LFO rate to the current host tempo following the song’s
rhythm. In standalone mode, the rate syncs to the Metronome tempo.
Invert shifts the phase of the effect signal leading to a different timbre.
Frequency controls the center frequency around which the LFO modulation
will take place.
Notches dials in the number of notches the effect introduces into the fre-
quency range.
Rotate alters the phase difference between the LFOs feeding the left and
right channels for a stereo effect.�
Dry Wet adjusts the mix of the dry and processed (phased) sound.
11.10 Harmonic Synthesizer
The Harmonic Synthesizer opens up a whole world of synthesizer sounds

simply by playing your guitar. It can produce faithful re-creations of classic
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sounds but is also well-suited for generating wild effects never heard before.
Additionally, you can switch it to bass-mode for use with your bass guitar.
The effect contains four voices – sub-octave, dry, octave and square wave
– that can be freely mixed for envelope shaping as well as for coloring using
a flexible filter.
Parameters
Guitar/Bass is used for switching the filter sweep range to be fed by a guitar
or a bass, respectively.
Threshold acts as a noise gate for the input signal. Only signals above the
threshold will get through and trigger the volume envelope and the filter sweep.
Dial in a setting that cleanly triggers the effect.
Trigger controls the signal volume needed to activate the filter. If you set this
too high it may result in a stuttering filter due to multiple triggering. Experiment
a bit to find the exact setting you need for your style of playing.
Sub controls the volume of the sub-octave. Be aware that only single-notes
are tracked.
Dry dials in the volume of the dry, unprocessed guitar signal.
Oct is for mixing the signal shifted up one octave from the original and only
tracks single notes.
Sqr mixes in a square wave signal that can be controlled by dynamic playing.
Att has a similar effect to the Attack controls of a synthesizer envelope. The
higher the value the slower the signal will be faded in. High settings can
completely remove the initial attack sound of the instrument.
Res controls resonance and width of the filter. With higher values you get
a broader frequency range and a more pronounced peak around the cutoff
frequency.
Strt sets the frequency at which the filter sweep starts.
Stop determines the end-frequency of the filter sweep. If Strt and Stop are
set to the same value, the filter will emphasize that particular frequency
without sweeping.
Rate determines the speed of the filter sweep from the start frequency to the
end frequency.
GUITAR RIG 2 – 77
12 Filter
12.1 EQ Shelving
A shelving equalizer is a type of tone control that boosts or cuts starting at a

specific frequency. Upon attaining the specified amount of boost or cut, the
response turns into a “shelf” and provides a constant amount of boost or cut
past from that point.
This type of EQ provides general tone shaping to correct broad issues, like
lack of high frequency “sparkle” or excessive “boominess” in the bass end.
The graph in EQ Shelving illustrates the response created by the controls,
while the Tooltips for each dot show the exact frequency in Hz and amount
of boost/cut in dB.
Parameters
There are two ways to adjust parameters:
• Click on the graphic display’s dots and drag (up to increase gain, down
to decrease gain, sideways to change frequency)
• Adjust these same parameters by clicking on the (+) sign to reveal
expert mode.
These parameters are:
Freq1 sets the frequency for the low shelf where boosting or cutting begins.
In Gain1’s center position, there is no boosting or cutting. Turning it clockwise
boosts the response, while turning it counterclockwise cuts the response.
Freq2 sets the frequency for the high shelf where boosting or cutting
begins.
In Gain2’s center position, there is no boosting or cutting. Turning it clockwise
boosts the response, while turning it counterclockwise cuts the response.
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12.2 EQ Parametric
A parametric equalizer is a highly sophisticated form of tone control. Unlike

the graphic equalizer (described next) which can boost/cut only at specific
fixed frequencies, a parametric can boost or cut over a continuously variable
range of frequencies. In addition, the bandwidth (the range of frequencies
affected by the boosting or cutting) is variable, from broad to sharp. The
graph in EQ Parametric illustrates the response created by the controls,
while the Tooltips for each dot show the exact frequency in Hz and amount
of boost/cut in dB.
EQ Parametric includes two complete parametric EQ stages. For example, the
first stage could boost the bass frequencies around 100 Hz, while the second
stage adds a midrange notch.
Parameters
As with EQ Shelving, there are two ways to adjust parameters: Either click
on the graphic display’s dots (up to increase gain, down to decrease gain,
sideways to change frequency), or adjust these same parameters by clicking
on the (+) sign to reveal expert mode. These parameters are:
Freq1 and Freq2 set the specific part of the audio spectrum where the boosting
or cutting occurs.
Gain1 and Gain2 determine whether the frequency dialed in by F1 and F2
respectively will be boosted (emphasized) or cut (de-emphasized).
Q1 and Q2 edit the sharpness of the boosting or cutting action at frequencies
F1 and F2 respectively. Narrow bandwidth settings (turning clockwise from
the center position) affect a very small part of the audio spectrum, while
broad bandwidth settings (turning counterclockwise from the center position)
affect a broader range.
GUITAR RIG 2 – 79
12.3 EQ Graphic
This module uses multiple bandpass filters to split the audio spectrum up
into eight bands, with an individual boost/cut control for each band. The term
graphic equalizer refers to the fact that hardware graphic EQs use linear slide
pots for the boost/cut controls, so looking at the position of the knobs gives
a “graphic” indication of frequency response. With EQ Graphic, the display
shows the response curve.
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.
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 band’s frequency.
Max sets the highest band’s frequency.
Note that all bands are equally spaced (using logarithmic ratios) between the
highest and lowest bands. Example: If Min is set to 50 Hz and Max to 6400
Hz, the other bands are at 100, 200, 400, 800, 1600, and 3200 Hz.
80 – GUITAR RIG 2
12.4 Pro-Filter
The ProFilter is a synthesizer-type filter based on the filter included in

NATIVE INSTRUMENTS’ popular Pro-53 virtual instrument. The Pro-Filter
has a fat, rich sound that works very well as a tone control, but tying the 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.
GUITAR RIG 2 – 81
12.5 AutoFilter
The AutoFilter is basically a wahwah that responds to the dynamics of your

playing. The AutoFilter sound is very popular in funk music, particularly from
the 1970s.
Parameters
Sens matches your guitar’s level to the AutoFilter. If the filter doesn’t sweep over
a wide enough range (and the Range control, described later, is set properly),
increase the Sensitivity. If on the other hand you hardly have to touch the
strings to kick the filter wide open, then turn the Sens control down.
With the Up/Down switch set to the Down mode, playing harder drives the filter
down to a lower frequency; as the string decays, the filter returns to a higher
frequency. With the Up mode, playing harder drives the filter up to a higher
frequency. As the string decays, the filter returns to a lower frequency.
Range sets the width of the filter sweep. Turn it clockwise to sweep over a
wider range.
Reso edits the sharpness (“Q”) of the filter response.
LFP/BPF/HPF morphs among three filter responses:
• Lowpass (LFP) – the filter passes low frequencies and attenuates high
frequencies
• Bandpass (BPF) – the filter passes a band of frequencies, and attenuates
frequencies that fall higher or lower outside that band
• Highpass (HPF) – the filter passes high frequencies and attenuates low
frequencies
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 filter’s center frequency. In other words, the frequency goes
up or down from this frequency.
The Wet control sets the balance of dry to filtered signal as you turn the control
from fully counter-clockwise to fully clockwise. This is particularly useful with
bass, as the filter might otherwise “thin out” the sound. By adding more dry
signal, you’ll hear the full bass sound along with the filtered sound.
12.6 Wahwah Pedal
The Wahwah Pedal is a filter that sweeps a response peak over a frequency
range, and the GUITAR RIG 2 version is perhaps the planet’s most versatile.
Independent settings for filter frequency, resonance, and level at the high,
mid, and low points of the pedal travel allow customizing the response for
any type of wahwah application or desired pedal “feel.”
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.
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. Examples:
GUITAR RIG 2 – 83
A low mid setting gives little change when moving the pedal from its minimum
position to the middle, and a much greater change when progressing to the
maximum position. When Mid is set high, the pedal’s mid-position sounds
much like the maximum position.
Freq Max adjusts the filter frequency with the pedal all the way down
(forward).
Res Min determines the amount of filter resonance with the pedal all the way
up (back).
Res Mid sets the amount of filter resonance with the pedal at its mid-
position.
Res Max edits the amount of filter resonance with the pedal all the way down
(forward).
Volume Min alters the filter level with the pedal all the way up (back).
Volume Mid sets the filter level at the pedal midpoint.
Volume Max tweaks the filter level with the pedal all the way down
(forward).
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12.7 Talkwah
This is similar to a Wahwah, but uses a different filter type that emulates the
filtering that your mouth creates when enunciating vowels. The result is similar
to the “talk box” effect that was very popular in the 70s (Stevie Wonder, Peter
Frampton, “Funkytown,” etc.).
Parameters
The Slider controls the Talkwah frequency. Moving the slider toward the left
gives an “oooo” sound; moving it toward center morphs into more of an “aah”
sound, while going further to the right morphs into more of an “eee” sound.
Control this from the NATIVE INSTRUMENTS RIG KONTROL’s footpedal and
you’ll be amazed at the sounds you’ll be able to coax out of your guitar.
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, it’s like a giant’s mouth.
GUITAR RIG 2 – 85
12.8 Equalizer Tips
Most of these tips apply to the shelving, parameteric, and graphic EQ types;
however, they also work with some of the more esoteric EQ types as well.
Experiment to see what produces the results you want. Note that unlike
hardware, the EQs and most other components in GUITAR RIG 2 will never
overload internally and cause distortion. Because of floating-point signal
processing, the headroom is well over 700dB — so feel free to boost away!
Of course, though, GUITAR RIG 2 can overload subsequent stages.
Creating new sonic personalities. EQ can change a sound’s character – for
example, turn a brash guitar sound into something more mellow. This type
of application requires relatively gentle EQ, possibly at several different
frequencies; a graphic equalizer works well.
Making comparisons. Use the bypass switch to constantly compare the equalized
and non-equalized sounds. You don’t want to get into a situation where you
boost the treble a lot, which makes the bass seems thin so you boost that,
which then makes the midrange seem weak so you boost that, and so on until
everything is turned up to 11 (good for Spinal Tap; bad for more successful
musicians). Always use the minimum amount of equalization necessary. Just
a few dB of change can make a big difference to the sound.
Better lead guitar tone for a better mix. Adding a bit of a peak around 3 to 4
kHz using EQ Parametric or EQ Graphic really makes a guitar solo stand out.
Since that’s above the range of the toms, bass, and most rhythm-oriented
keyboard parts, there’s little interference with these instruments. So, the guitar
comes through loud and clear, but doesn’t step on anything else.
Equalizing rhythm guitar for better vocal support. Suppose you’re playing a
rhythmic guitar part behind a vocalist, but as the guitar and voice occupy a
similar frequency range, they conflict. The solution: Pull back on the guitar’s
midrange somewhat to make room for the vocal frequencies. You can then
mix the guitar higher in level, yet still not get in the way of the vocals.
Eliminating hum. A parametric equalizer is an excellent way to reduce hum.
Simply set the equalizer for maximum cut and narrowest bandwidth, then dial
in 60Hz (50Hz in Europe; you’ll know you’re at the right frequency because
the hum will disappear). However, if the hum generates harmonics, you’ll need
additional stages to notch those out as well.
86 – GUITAR RIG 2
Making distortion more responsive. Putting EQ before distortion can make an
instrument seem more “touch-sensitive.” This is because distortion usually
affects all frequencies more or less equally. By gently boosting the midrange
over a fairly broad range (e.g., 200Hz to 1kHz) prior to distortion, the notes
you play in this range will distort at lower levels, which makes the distortion
seem more responsive.
Fixing dead spots on bass. Basses (and guitars) sometimes have “dead spots”
on the neck that don’t quite seem to have the same power as the other notes;
this is a job for parametric equalization. Turn the volume down on your amp,
turn the boost and bandwidth controls up full, and play the dead note repeatedly
while sweeping the parametric’s frequency control. When the parametric hits
the right frequency, the note will jump out (in a possibly obnoxious fashion,
which is why you should turn down the amp first). Once the frequency control
is set properly, reduce the amount of boost until the dead note is the same
level as the other notes. If the note sounds too “peaky,” reduce the bandwidth
control as well.
Emphasizing and/or differentiating instruments. Finding and cutting specific
frequencies can eliminate “fighting” between competing instruments. For
example, suppose you’re mixing two rhythm guitar parts with resonant peaks
around the same frequency. When playing together they really emphasize that
part of the frequency spectrum, which makes them difficult to differentiate.
Here’s a way to work around this:
• Find, then reduce, the peak on one of the instruments. To do this, set a
parametric EQ for lots of boost (10-12 dB) and fairly narrow bandwidth
(around a quarter-octave or so). As the instrument plays, slowly sweep
the frequency control. Any peaks will jump out due to the boosting and
narrow bandwidth; some peaks may even distort. Find the loudest peak,
and cut at that frequency until the peak falls into balance with the rest
of the instrument sound. You may need to widen the bandwidth a bit
if the peak is broad.
• Note the amount of cut and bandwidth that was applied to reduce the
peak.
• Using the second stage of EQ Parametric, apply a roughly equal and
opposite boost at either a slightly higher or slightly lower frequency
than the natural peak.
Both instruments will now sound more articulated, and because each peaks
in a different part of the spectrum, they will tend not to interfere with each
other.
GUITAR RIG 2 – 87
13 Volume
13.1 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.
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 slider’s halfway point. Editing this can help
give pedals a more comfortable “feel.”
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13.2 Limiter
A limiter is similar to a compressor, as it changes dynamic range. However,

while a compressor makes soft parts louder and loud parts softer to even
out the dynamics, a limiter acts like a governor on a motor: It won’t let audio
exceed a certain limit, but also doesn’t affect signals below that limit. A limiter
is ideal for cutting down on peaks to create a “hotter” sound, but without
losing softer dynamics.
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.
GUITAR RIG 2 – 89
13.3 Noise Gate
A noise gate helps remove noise and hiss, but can also be used as a special
effect. Although there is a simple gate built into the Input module, the Noise
Gate 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 you’re playing, the signal will generally be higher
than the buzz and “mask” it. However, when the audio goes away, the noise
is no longer masked and can be audible.
A noise gate does the equivalent of turning down the volume when there’s
only noise present, then turning the volume back up when you’re playing. Its
Threshold control sets the “dividing line” between what’s considered noise
and what is considered signal. Setting the threshold just above the noise level
insures that the noise will be muted when no signal is present.
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 string’s decay to
make a more percussive or gated sound.
Hold sets a minimum amount of time that the gate stays open. With high
threshold, this prevents the gating effect from being too percussive.
Attack works in reverse. When a signal exceeds the threshold, the noise gate
fades in over a specified period of time. With long attack times, it’s possible
to simulate “backwards tape” effects.
Release prevents the gate from closing down abruptly. Instead, when the
signal goes under the threshold, the noise gate fades out according to the
release time.
Learn automatically sets an optimum threshold. Without playing your guitar,
click on Learn. GUITAR RIG 2 analyzes your signal, and sets the threshold
just above any residual noise. Now when you play, the Gate should open.
90 – GUITAR RIG 2
13.4 Noise Reduction
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.
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.
GUITAR RIG 2 – 91
13.5 Stomp Compressor
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.
Attack sets the time it takes for the compressor to react to input level changes.
A longer attack time “lets through” more of a signal’s original dynamics before
the compression begins. For example, to retain the pick noise in a compressed
guitar sound, add a bit of attack time.
Release determines how long it takes for the compressor to return to its normal
state after the input goes under the threshold. With short release times, the
compressor tracks even very slight level changes. This can produce a “choppy”
sound; turn up the release time to smooth things out.
Threshold sets the level above which signals will be compressed. A lower
threshold = more compression = greater sustain. If the signal drops below
the threshold, the compressor leaves the signal alone until it exceeds the
threshold again.
92 – GUITAR RIG 2
13.6 Tube Compressor
A compressor evens out dynamic range variations by amplifying soft signals

to make them louder, and attenuating loud signals to make them softer. It’s
as if an invisible hand was turning up the volume during soft passages, then
turning it down during the peaks. This gives a more controlled sound with
narrower dynamic range, a higher average level, and more sustain.
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 signal’s original dynamics before
the compression begins. For example, to retain the pick noise in a compressed
guitar sound, add a bit of attack time.
Release determines how long it takes for the compressor to return to its normal
state after the input goes under the threshold. With short release times, the
compressor tracks even very slight level changes. This can produce a “choppy”
sound; turn up the release time to smooth things out.
Gain allows compensating for output level changes caused by the compression
process. Set this so that the peaks of your playing are the same when the
compressor is bypassed or active. Note that the compressed sound will appear
GUITAR RIG 2 – 93
louder, even if the peaks are the same – that’s what compression is all about,
bringing up the signal’s average level.
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 doesn’t bring up the noise from previous stages.
Although the effects in GUITAR RIG 2 don’t create noise themselves,
ones with high gain (such as distortion) can amplify noise already
present in your guitar.
• Using compression to increase sustain. Remember that compressors
are not miracle workers. They cannot make your guitar’s strings vibrate
any longer, but can only increase the apparent sustain. A compressor
cannot compensate for dead strings or for guitars with poor sustain
characteristics.
• Smoother distortion sound. Add compression before distortion for a
smoother sound with more sustain.
• “Mystery” compression increases. If it seems like there’s been a sudden
increase in compression but you didn’t increase the compression amount,
then the input signal going to the compressor may have increased.
• Compressing lead guitar but not compressing rhythm. You can take
advantage of the fact that increasing the input level increases
compression when you want a sustaining lead but an uncompressed
rhythm sound. Turn up your guitar’s volume control for leads, and turn
back down for rhythm. As the guitar signal drops below the threshold,
the compression will either go away, or have much less of an effect.
94 – GUITAR RIG 2
14 Reverbs and Delays
14.1 Spring Reverb
This is the classic reverb effect found in older amps, before the advent of
solid-state reverb units. But this time, there’s no noise or hum.
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 Reverb’s 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”).
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 – 95
14.2 Studio Reverb
The Studio Reverb provides a natural-sounding emulation of halls and

rooms.
Parameters
Mix determines the balance of dry and reverberated sound, from full dry
(counterclockwise) to 50-50 (middle) to all reverb (clockwise).
Time sets the reverb decay time. Turn clockwise to increase decay.
Room Size determines the cubic volume of the virtual room. Turn clockwise
for a large concert hall, counterclockwise for a small auditorium or room.
Input Mute shuts off the signal going to the Studio Reverb’s 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”).
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 reverb’s timbre. Adjust according to your personal
preference.
96 – GUITAR RIG 2
14.3 Quad Delay
The Delay module takes the input signal and plays it back through four taps,
each delayed by a certain amount of time. The output can be fed back to the
input, thus producing a series of echoes, and mixed with the straight signal
Parameters
Dry/Wet determines the balance of the delayed (wet) and straight (dry) signals;
you rarely want to hear the sound of the delayed signal by itself. With longer
echoes, the amount of delayed sound will depend on how “murky” a sound
you want: increasing the amount of delayed sound gives a swimming-in-
echo effect, while adding in only a little delayed sound provides more of an
ambience effect.
Time sets the amount of delay time (i.e., the time interval between the straight
sound and the appearance of the echo).
Feedback determines how much of the output feeds back into the input.
Minimum feedback gives a single echo; increasing this makes the echoes
repeat.
Rate sets the modulation frequency. A slower rate produces a slow, gradual
detuning that gives a majestic, rolling chorusing or pseudo-flanging sound.
Faster rates produce a more “bubbly” effect.
Depth determines how much the modulation section varies the delay time.
With longer delays, adding a little bit of modulation can give chorus-like
sounds, but too much modulation will cause detuning effects. Note that the
rate parameter interacts with the depth parameter because the total amount
of pitch change depends not just on the amount of pitch change, but also
on the rate. For example, combining full depth with a fast rate setting can
sound out of tune, whereas the same amount of depth coupled with a slow
rate sounds just fine.
Tap Time allows setting the delay rhythm by clicking on the Tap Time button.
The Quad Delay measures the time between clicks, and uses this to derive
the tempo; it will also average the time between multiple “taps.”
GUITAR RIG 2 – 97
Input Mute shuts off the signal going to the Quad Delay’s delay section, but
lets any dry signal pass through. One application would be to control this
function with a footswitch; when you hit the footswitch, any existing echoes
would continue until they faded out, but no new signals would be fed into the
Psychedelay, so there would be no new echoes.
Note that because no signal is allowed into the delay section when Input
Mute is on, you will hear nothing if the Dry/Wet control is set fully clockwise
(“wet”).
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.
98 – GUITAR RIG 2
14.4 Psychedelay
This true stereo delay (both ins and outs are stereo) creates sounds that range
from standard echo/ambient sounds, to reverse-based effects that recall the
“backwards tape” sounds of the 1960s.
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 Psychedelay’s delay section, but
lets any dry signal pass through. One application would be to control this
function with a footswitch; when you hit the footswitch, any existing echoes
would continue until they faded out, but no new signals would be fed into the
Psychedelay, so there would be no new echoes.
Note that because no signal is allowed into the delay section when Input
Mute is on, you will hear nothing if the Dry/Wet control is set fully clockwise
(“wet”).
GUITAR RIG 2 – 99
Click on the (+) symbol to reveal expert mode, which has parameters that turn
the Psychedelay into a stereo effects box. You’ll find the following options.
Pitch adds a more extreme amount of detuning by transposing the echo in
semitones, from –12 to +12. It interacts with the feedback control in the same
way as Detune (i.e., each successive echo will be transposed an additional
amount upward or downward, as set by the Pitch value).
Stereo: Time, when turned clockwise, creates stereo echo effects. At 1.00,
the delay time is set solely by the main Time parameter. Settings of less than
1.00 place echoes in the stereo field, with the number indicating division
(e.g., a setting of 0.50 means that the extra echoes will happen at half the
time of the main delay setting).
Reverse causes these additional delays to play back in reverse, like the main
delays when the main reverse button is enabled.
Detune allows the main Detune parameter to affect the added stereo echoes
as well.
Cross creates feedback paths that cross between the two channels – right
feeds back into the left channel, and left feeds back into the right channel.
This creates a more complex, polyrhythmic type of echo effect.
Sync synchronizes the delay time to the host tempo so that it follows the
song’s rhythm. In standalone mode, the delay time syncs to the Metronome
tempo.
For some amazing effects, on the main panel set a fairly short Delay Time
(e.g., 200 ms), Detune to +50 cents, and Feedback to maximum. In the expert
section, set Stereo Time fully clockwise (0.50), detune to On, and Cross up
full. Hit a note, and it will stretch upward and then decay…very cool.
100 – GUITAR RIG 2

15 Tools
15.1 Loop Machine
The Loop Machine allows recording, playing back, and overdubbing multiple
layers of sound. The loops can be synchronized with the host, or to the
metronome tempo in stand-alone mode. Furthermore, individual layers, or
the mix of all layers, can be exported as WAV files.
As a practical example, you could record four measures of rhythm guitar, then
overdub a lead, then a harmony, some rhythmic slides, etc.
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). It’s convenient to be able to go into Play
mode to practice your part for the next loop, then return to Overdub mode.
Press the Stop Button (X symbol) once to stop the loop from playing. The button
will have a red outline for a few seconds; if you click again while the red is
showing, all layers will be erased. Note: While the Loop Machine is stopped,
you can double-click on the Stop button to erase the various layers.
GUITAR RIG 2 – 101

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.
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.

15.2 Split
This device splits the signal path in two directions, thus allowing parallel
effects. For more information on series and parallel effects (as well as optimal
placement of effects), see Appendix 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.
Here’s what a particular split looks like in GUITAR RIG 2. Split A feeds the
Skreamer, Equalizer Shelving, and Ensemble Components. Split B feeds the
Distortion and Wahwah Components.

This diagram shows the split’s actual signal flow.
Parameters
Crossfade determines the mix between the A and B split. When fully left, you’ll
hear only the A split. When fully right, you’ll hear only the B split.
Pan is separate for each split, and determines where the split will appear in
the stereo field. Example: If A is panned left, B is panned right, and Crossfade
is set to the center, you’ll hear only the A split from the left channel and only
the B split from the right channel. If you now pan A to the right, you’ll hear
both splits out of the right channel, and nothing from the left channel.
Stereo Input L/R Split allows processing each stereo channel separately. This
is particularly useful if you play with two guitars through GUITAR RIG 2 and
want two different sounds. Using this option with a 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, it’s 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.

This total sound can then be processed by additional effects, before
going to another split.
• You can even put a split inside another split to get more than two
parallel signal chains.
15.3 Crossover Mix
This device is similar to the Split Mix, in that it splits the signal path in two
directions, thus allowing parallel effects. However, in this case, you can set
a dividing line (“crossover point”) in the frequency response, and send lower
frequencies to one split and higher frequencies to the other split. (For more
information on series and parallel effects, see Appendix C, “Tips on Creating
Your Own Rig.”)
Creating the Low and High Frequency Splits

Drag Components that will process the low frequencies between the Low and
High sections, and drag components that will process the high frequencies
between the High and Crossover Mix sections.
Note that you can even put a Crossover Mix inside another Crossover Mix. Thus,
you can split the signal into two frequency bands, then split those frequency
bands into two more frequency bands (e.g., split the low ito low and lower
mid, and the high into upper mid and highs).
The following example shows a setup that splits the guitar’s low frequencies
into an equalizer, and the highs through the Ensemble and Quad Delay effects.
This gives a shimmering, echoey effect on higher notes, but the lower notes
have a more solid, direct sound.

The following diagram shows the equivalent signal flow.
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, you’ll hear only the Low split. When fully right, you’ll hear only the High
split.
Pan is separate for each split, and determines where the split will appear in
the stereo field. Example: If Low is panned left, High is panned right, and
Crossfade is set to the center, you’ll hear only the Low split from the left
channel and only the High split from the right channel. If you now pan the
Low split to the right, you’ll hear both splits out of the right channel, and
nothing from the left channel.
The +/- switch varies the polarity (also called “phase”) of the High split.

16 Modifiers
16.1 About Modifiers

You already know about the concept of a modifier (also called a modulator);
for example, you can modify a Component’s parameter with the Guitar Rig
foot pedal, or modify amplitude with the tremolo’s periodic waveform. In both
cases, there is a modulation source that generates a control signal; this affects
a particular parameter, called the modulation target.
The modifier modules included with Guitar Rig take the concept of real-time
parameter value modification to another level, as they can modify multiple
parameters simultaneously, and tailor the amount of modulation to each
parameter.
Once you insert a Modifier into the rack, you can assign its control signal to
almost any Component parameter to it. There are two ways to do this. The
simplest is to simply click on the Modifier’s “Assign” button and drag it on top
of the parameter you want to modify. A hand cursor will confirm the parameter
is eligible for modifier control.
The second method is ideal if you have a lot of 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 note’s initial input transient. When you play a note, the level goes
to full on. Stop the note, and the level returns to full off.
• RIG KONTROL Pedal – The pedal generates a signal whose level depends
on the pedal position.
• RIG KONTROL Switches (1-4) – Each of these produces a signal that
alternates between full off an full on.

In the following screen shot, the Wah Wah pedal parameter has been right-
clicked to reveal the available modifiers. The amount of Amp Follower
modulation is being adjusted to 38.8%.
An additional consideration is that each Modifier lists the targets that the
Modifier signal feeds (the drop-down “targets” menu). These also have level
controls that duplicate the level controls at the parameters themselves. If you
change the parameter slider value, the level shown in the modifier’s target list
will reflect those changes, and vice-versa.
In this example, the LFO signal is being sent to the Parametric EQ: Volume,
Distortion: Tone, and Wahwah Pedal: Pedal parameters.
Why is it necessary to adjust the amount of modulation in two separate

places? It actually isn’t necessary, but it can be convenient. Sometimes
you want to check out the parameters in a Component to see how they’re

assigned; sometimes it’s more convenient to see all the targets being fed
from a particular modifier.
Finally, note the blue meter above the Targets drop-down menu. This gives a
visual representation of the modulation signal.
16.2 LFO
LFO stands for Low Frequency Oscillator – a periodic waveform that occurs at
a subsonic rate. An LFO is at the heart of tremolo circuits; the low frequency
varies amplitude to create a pulsing effect.
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 LFO’s shape. Options are Sine, Triangle, Square,
Sawtooth, and Random.
Polarity flips the waveform’s polarity.
Play restarts the LFO from a specific point, as determined by the Start Phase
control (described next). To “auto trigger” the LFO so that it restarts when
you hit a note, click on the small Auto button above the Play button so that
it turns blue. This enables auto-trigger.
Start Phase sets the restart point. At 0 degrees (center position), clicking
on Trigger causes the LFO waveform to start from a 0 (neither positive nor
negative) value and go positive. Turning clockwise to 90 degrees causes the
waveform to start from its peak (full positive value) and go negative. With the
control set to 180 degrees (fully clockwise), the waveform starts at 0 and
goes negative.

Turning counterclockwise to –90 degrees causes the waveform to start from
the full negative value and go positive, while turning counterclockwise all the
way to –180 degrees causes the waveform to start from 0 and go negative.
LFO Tips
• Input Trigger is a useful modulation source for the Trigger parameter;
or use one of the RIG KONTROL footswitches.
• A Random LFO waveform, applied to a Speed or Rate control (e.g.,
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 don’t need to use two LFOs. Just
set a positive modulation amount on one target and a negative amount
on the other target.
16.3 Envelope
The envelope generates an arbitrary control shape over time. This is a Rate/
Level type of envelope, where you specify levels, and the times that it takes to
get from one level to the next. Levels are specified by inserting breakpoints [also
called nodes] along a line, then moving the breakpoints up or down to change
levels, and left or right to change times. This Component has an extremely
useful graphic display, where you make most of the envelope adjustments.
Editing the Envelope Shape

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

Again referring to the default envelope, the left-most breakpoint is where the
envelope starts. The next two breakpoints fall on two vertical lines. These
indicate the segment where the envelope reaches the “sustain” level, marked
by the horizontal blue line; however, note that if the Loop option is enabled,
this segment will repeat for as long as a Trigger signal is present.
If there are three or more breakpoints (other than the start and end), the
sustain/loop segment can be shifted by clicking on a vertical blue line and
dragging it to the next breakpoint.
When the trigger returns to zero, the envelope continues with the segment
after the second vertical line.
Dragging the small circle between breakpoints can change the line’s shape
between the breakpoints from concave, to straight, to convex.
The Envelope Parameter Strip

The envelope parameter strip above the envelope provides a variety of useful
data. Except as noted, clicking on a numerical and dragging up or down
edits the value; the numericals also update automatically if you move the
breakpoint.
At the left of the strip, # shows two numbers. The first field is the index number
of the breakpoint or stage being edited. You can change this by clicking on
the numerical and dragging. The second field is the total number of envelope
breakpoints. This is for display only and cannot be edited.
Mode has two options, SLIDE and FIXED. In Slide mode, if you move a
breakpoint left or right, the envelope to the right of the breakpoint moves as
well to maintain the same times and levels past the breakpoint being edited.
In Fixed mode, the total envelope time doesn’t change. Moving a breakpoint
to the right not only lengthens its distance compared to the breakpoint to its
left, but shortens the distance compared to the breakpoint at its right.
Abs. Time shows the amount of time in seconds from the start of the envelope
to the breakpoint being edited.
Delta Time shows the amount of time in seconds from the breakpoint being
edited to the breakpoint at its immediate left.
Level shows the breakpoint level referenced to the center line.
Slope shows the state of the line between breakpoints. 0.5 indicates a straight
line. 0.999 indicates a maximally convex curve. 0.001 indicates a maximally
concave curve. The numericals for Delta time, Level and Slope can be edited
by using the mouse (click and move up or down).

Envelope Ruler and Zoom
The ruler below the envelope is calibrated in seconds. If the envelope extends
past the envelope’s visible range, click on the ruler and drag to the left or
right to see a different range of the ruler. Double-click on the ruler to fit the
envelope exactly within the visible part of the ruler.
To change the ruler range and zoom in on the envelope for more precise
adjustments, click on the (+) symbol in the lower right. To zoom out, click on
the (-) symbol. This not only changes the display, but also sets the quantization
time for the Tempo Sync function (described later).
Other Envelope Parameters

Play starts the envelope from its beginning. To “auto trigger” the envelope so
that it starts when you hit a note, click on the small Auto button above the
Play button so that it turns blue. This enables auto-trigger.
With Release disabled, a trigger of any duration causes the envelope to play
through all the way to the end. When it’s enabled, the envelope will proceed
through its stages as long as a trigger signal is present (e.g., by clicking on
and holding the Trigger button). If the trigger goes away, the envelope jumps
immediately to the third node from the left and continues from there.
Loop, when enabled (“pushed in”), repeats the curve between the two loop
points. If Release is off, the looping continues until another trigger occurs,
which then restarts the envelope. If Release is on, looping continues for as
long as the trigger signal is present. When the trigger signal goes away, the
envelope jumps immediately to the third node from the left and continues
from there.
Enabling Sync superimposes a grid on the envelope display that corresponds
to rhythmic values, such as quarter notes, eighth notes, 16th notes, etc.
Breakpoints can be snapped to these points. The quantization value depends
on the current zoom factor; when Sync is enabled, the ruler markings will be
calibrated in rhythmic values instead of seconds.
If the incoming tempo information changes, the envelope times are re-computed
to match the current song tempo. Example: If the envelope loop is set to a 1
beat duration, it will remain 1 beat long even if the tempo changes. Enabling
Tempo Sync does not change breakpoint positions in existing envelopes.
However, you can edit an existing envelope by moving the breakpoints so that
they snap to the nearest quantization value.

Note: Not all VST host software supplies tempo information to plug-in
instruments, so this feature may not work with your host software. In
standalone mode, GUITAR RIG 2 does respond to MIDI clock signals.
16.4 Step Sequencer
The Step Sequencer generates up to 16 sequential trigger signals, which can

have rhythmic values of quarter notes to 1/32nd notes. Note that you cannot
vary the level of these steps; they are triggers that are intended to create
chopping/rhythmic effects that sync to the rhythm.
Activating a 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 it’s producing a trigger.
Assigning the Step Sequencer to a Parameter

1. Click on the Assign button, and drag it to the target parameter (e.g.,
Pro Filter cutoff).
2. Click on the Targets downward-pointing arrow to reveal a drop-down
menu. A slider will appear for the Step Sequencer and for the target
parameter.
3. Adjust the Step Sequencer slider for the desired step level.
4. Adjust the target parameter slider for the desired effect on the
target.
It may seem that having two sliders is redundant. However, if you are feeding
multiple parameters from the step sequencer, you will almost certainly want
to be able to adjust each target parameter independently. Furthermore, the
Step Sequencer provides a sort of “master control” if you want to vary the
step level going to all targets simultaneously.

Parameters
Resolution sets the rhythmic value of each of the 16 steps. Available options
are 1/4, 1/8, 1/16, and 1/32 notes.
Enable Legato to tie adjacent steps to each other, thus creating longer
steps.
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 step’s maximum value. See the diagram below.
Decay causes the control signal to fade out after the step ends over a range
of 4 to 2197ms. See the diagram below.
Offset increases all control signal values as the control is turned more
clockwise.

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

To set a step’s level:
1.Move one of the 16 faders up- or downwards from its initial position.
2.A step is turned on if its position differs from the initial zero position
in the middle.
3.A fader turned upwards will apply a positive value to the assigned
target.
4.A fader turned downwards will apply a negative value to the assigned
target.
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.

16.6 Input Level Modifier
The Input Level Modifier generates a control signal based on the input level at
GUITAR RIG 2. This is commonly called an “envelope follower” as the signal
tracks changes in the guitar or bass amplitude envelope.
Parameters
Volume adjusts the overall control signal output. This affects the level of the
signal feeding all assigned parameters.
Offset varies the control signal’s “baseline.” For example, normally the control
signal covers a range from –1 to +1, with 0 as the midpoint. When Offset is
at minimum, the baseline is -1. When Offset is at maximum, the baseline is
0. No higher baseline than 0 is possible.
Attack adds a “glide” time (from 1 to 978ms) between when the control signal
receives an input change, and when the control signal reaches that actual
value. Sometimes, too abrupt an attack can create a “pop” when the control
signal first kicks in; increasing Attack can soften this effect.
Decay causes the control signal to take anywhere from 10 to 9863ms to fall
back to its initial setting in the absence of an input signal.
Input Level Tips

The most common application for envelope control is filters; this is already built in
to the AutoFilter Component. However, envelope control has many other uses.
• Set some attack and decay time to create a “spongier” response, and
control chorus or ensemble Speed or Rate. This varies the rate so it
doesn’t sound quite so regular.
• Use the Input Level modifier to control panning, so that the position of
the signal in the stereo field changes depending on the signal level.
• Note that you can apply the Modifier’s signal to the Modifier’s parameters,
or parameters in other Modifiers. For example, you can assign Input
Level to the Input Level Attack control. With a positive modulation
amount, stronger input signals increase the attack time. With a negative
modulation amount, stronger input signals decrease the attack time.
• If you really want to drive your audience crazy, apply the Input Level
signal to the Pitch Pedal’s Pedal parameter.

17 Control via RIG KONTROL / MIDI
17.1 The Virtual RIG KONTROL

When you show the RIG KONTROL graphic (using the RIG KONTROL show/
hide button in the Control Center), the graphic emulates the functions of the
RIG KONTROL – you can click on the footswitches, and move the pedal by
clicking on it and dragging. When the graphic is showing, you can also hide
it by clicking on the small (-) button above the pedal.
17.2 Calibrating RIG KONTROL 2

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

17.3 Assigning Parameters to MIDI Controllers
GUITAR RIG 2 makes it very easy to assign a parameter to the RIG KONTROL
pedal or a MIDI continuous controller.
• Right-click on the parameter to be linked to a controller.
• Click on Learn.
• Move the controller you want to use to control the parameter. This
controller can be the RIG KONTROL expression pedal, or a controller
from an external fader box or other MIDI controller.
• GUITAR RIG 2 will analyze the incoming signal, and assign the parameter
to that controller.
Notes
• If you later assign that same controller to a different parameter, the original
assignment will be removed in favor of the newer assignment.
• If you already assigned that controller in the Controller page in the Left
Frame view, it will be deassigned in favor of the new assignment.
Control multiple Parameters

If you want to control multiple parameters with the same controller:
• Right-click on the parameter you want to assign.
• Place the cursor over Modifiers.
• Move the desired controller slider to assign the controller to this
parameter.

17.4 Assigning Parameters to MIDI Notes
In addition to responding to continuous controllers, GUITAR RIG 2 can also
respond to MIDI notes. This is an obvious control choice for parameters with
two states (e.g., on/off) as “note up” means off and “note down” means
on. However, notes can also be used with controls where key up selects the
control’s minimum value, and key down selects the maximum value.
• Right-click on the parameter to be linked to a MIDI controller.
• Click on Learn.
• Play the note you want to use to control the parameter, or hit a switch
on the RIG KONTROL.
• GUITAR RIG 2 will analyze the incoming signal, and assign the parameter
to that note or switch.
17.5 MIDI Synchronization

GUITAR RIG 2 also responds to MIDI sync (tempo) messages. Example: If a
drum machine’s MIDI out sends MIDI clock signals to GUITAR RIG 2’s MIDI
in, and GUITAR RIG 2 is in standalone mode, syncable parameters (such as
delay time or tremolo rate) will sync to the incoming MIDI timing signals.
You don’t have to do anything to make this happen, it’s an automatic
process.

18 Interfacing Guitar Rig with Other Gear
The RIG KONTROL 2 is a multi-purpose device that provides:
• Input impedance buffering to preserve the guitar’s sound quality
• Gain control to match the instrument level to Guitar Rig or other host
software
• Analog to Digital converter to convert the guitar’s analog signal to a
digital signal compatible with computers
• USB 2 interface to shuttle digital audio to and from the computer
and associated software running on it
• Digital to Analog converter to convert digital data coming from the
computer into audio
• Standard 1/4” (6.3mm) phone jacks for input and output
connections
• MIDI In and Out connectors
• Volume pedal controller and footswitches
In terms of audio, RIG KONTROL is compatible with a large number of
amplification scenarios. Following are some typical options.
Powered monitor speakers: The RIG KONTROL outputs can drive powered
monitor signals directly. Turn down the monitor volume controls before hooking
up any cables, and turn up volume slowly to avoid excessively loud sounds as
you optimize volume levels.
Project studio mixer: The RIG KONTROL outputs should feed the mixer’s
line, not mic, inputs. If only mic inputs are available, you may need to switch
the mixer’s –20dB pad into position. It may also be necessary to switch the
RIG KONTROL output high/low switch to –14dB.
Pro studio mixer: Same as above, except the high/low switch must be set to
the high (0) position for the best signal-to-noise ratio.
Standard guitar amp: With a standard guitar amp, GUITAR RIG 2 can be used
as a highly sophisticated pedal board. First, make sure that the rear panel
high/low switch is set to –14dB. You may also need to lower the GUITAR RIG 2
output level control to avoid excessive overloading of the amp…then again,
using higher level to overload the amp may provide an extra degree of overload
you find pleasing.
As the amp already has a cabinet, you will probably not want to include a
cabinet. A power amp may also be redundant, unless you want to use it as
an added effect.

Standard guitar amp with effects loop: The effects loop for most amps is
designed to accommodate line-level (as opposed to guitar-level) signals. In
this case, connect the loop send jacks to the RIG KONTROL inputs, and send
the RIG KONTROL outputs to the loop return (receive) jacks. As the signal
coming into GUITAR RIG 2 will be fairly strong, the input gain control(s) will
likely need to be set to small amounts of gain. Adjust GUITAR RIG 2’s output
so that the power amp that follows the loop return jacks is not overloaded.
You may need to set the rear panel high/low switch to low (‑14dB).
Keyboard amp: These are actually ideal for use with GUITAR RIG 2, as they
are designed to give an uncolored, high-fidelity sound. Thus, you can use
GUITAR RIG 2 to add different cabinets, power amps, and effects, and the
keyboard amp will reproduce these sounds faithfully. Keyboard amps are
designed to accept fairly high-level signals, so you will probably need to set
the output level fairly high, and the high/low switch to high (0).
Headphones: Simply plug headphones into the RIG KONTROL 2 headphone
jack.
Home stereo system: Home stereo speakers are generally not designed to handle
sustained high-level sounds, so if you do want to plug into a stereo system,
keep the volume at conservative levels. Plug the RIG KONTROL outputs into
line level inputs like those for a 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.

19 Using GUITAR RIG 2 with a Host Program
Although GUITAR RIG 2 works just fine in standalone mode, its power is
multiplied when used with a multitrack host program like Pro Tools, Cubase,
Sonar, Digital Performer, Logic, etc. Part of this is because GUITAR RIG 2
allows you to change the fundamental sound of your guitar part at any time,
right up until the final mixdown, through a process called “virtual re-amping.”
First, though, let’s discuss how to insert it into a track.
19.1 Installing GUITAR RIG 2 as an Effect

Although some programs let you install GUITAR RIG 2 as an instrument
because it works with both audio and MIDI, you will want to install it as a
signal processing plug-in.
For example, with Sonar, GUITAR RIG 2 is classified as a DXi instrument
because it works with audio but also accepts MIDI and tempo information.
However, do not use the Insert  DXi Synth option to insert GUITAR RIG 2.
Instead, treat it like a signal processor:
19.2 About Re-Amping

In the early days of recording, once you recorded a guitar part there was little
you could do to modify the basic sound other than add processing during
mixdown. Then people got the idea to record just the straight guitar sound on
tape, and on playback, send this through a variety of amps and cabinets to
find the perfect sound. This process is commonly called “re-amping.”
Low-latency sound cards, sophisticated hard disk recording software, and
plug-ins have made re-amping possible in our “virtual” world. But it’s much
easier than re-amping with hardware – for starters, you don’t have to string
any cables around, or set up mics.
The basic procedure is to insert GUITAR RIG 2 as a plug-in, and monitor your
playing through the plug-in (which is why low sound card latency is important
– you don’t want to hear a delay while you’re playing). This way you can hear
the sound of the amp and other processors as you play.
But note that the program will record your straight guitar sound – the one
hitting the sound card input before GUITAR RIG 2 processes it. Therefore,
to re-amp, all you need to do is try different amps and processors within
GUITAR RIG 2 while the track plays back. For example, if you thought the

Plex was the right sound for a track but then find that the Twang Reverb would
have been a better choice, you don’t have to re-record with a different amp;
just change the amp in GUITAR RIG 2.
19.3 Avoid Zero-Latency Options!

Remember, as mentioned earlier, to avoid zero-latency (“direct monitoring”)
options or you won’t hear your guitar being processed by GUITAR RIG 2.
19.4 Total Recall

When using GUITAR RIG 2 with a host program, when you save a host’s project,
it captures whatever is in GUITAR RIG 2’s buffer. So, if you have modified a
Preset compared to how it is in the Bank, no problem — when you recall the
project, the Preset will be recalled exactly as you left it.
19.5 Typical Examples

Here are some examples of how to record through hosts so you can hear your
playing though the plug-in, as well as record your guitar if desired.
Playing Live Through Cubase SX

• Create an audio track.
• Go Devices  VST Connections and make sure the input(s) being fed
by the guitar are enabled.
• Click on the track’s Record and Monitor (Speaker icon) buttons so that
the track is record-ready and in monitor mode.
• You have a choice of several monitoring modes; go File  Preferences
then click on VST. Click on the arrow in the Auto Monitoring field.
Tapemachine Style is generally best, as this automatically enables input
monitoring while stopped and recording, but monitors the recorded
track on playback. After making your selection, click on OK.
• Play your guitar and check the track’s meter to verify that it’s receiving
the input source.
• Open up the track’s VST Channel Settings window by clicking on the
“e” button.

• Add GUITAR RIG 2 as an Insert Effect.
• You should now hear your input source being processed by GUITAR RIG 2.
If you start recording, Cubase will record the unprocessed input
source.
Playing Live Through Sonar

• Make sure there is no feedback loop from the host output back to the
input. Until you know everything is working properly, keep your monitor
speaker volume low.
• Plug your guitar into the RIG KONTROL input.
• Plug the RIG KONTROL output into your computer’s audio interface as
described previously.
• In Sonar, go Audio Options  Drivers, and make sure the driver for the
hardware input you want to use is enabled.
• Choose the track into which you want to record. Right-click on its FX
field and go DXi Synth  NATIVE INSTRUMENTS  GUITAR RIG 2.
• Enable recording on the GUITAR RIG 2 audio track, and make sure the
appropriate hardware input is selected in the track’s I (Input) field.
• Turn on the Input Echo function (in the Track view, click on the button
to the right of the Record button). It will glow green and you should
hear your input source.
• Enable the GUITAR RIG 2 audio track’s Record button, and go!

20 Automating Plug-In Parameters
Automation techniques for various sequencer hosts depends on the host; refer
to its documentation for details. However, your basic automation options will
likely be as follows:
• Recording signals from NATIVE INSTRUMENTS RIG KONTROL into one
channel of the host’s stereo track containing GUITAR RIG 2, which on
playback, varies parameters within GUITAR RIG 2
• Creating and editing automation envelopes within the host
• Manipulating GUITAR RIG 2 controls in real time, and recording the
movements as envelopes or other automation data
• Controlling GUITAR RIG 2 parameters via MIDI, and recording the MIDI
data in a MIDI track that plays back through GUITAR RIG 2.
A Typical Automation Application

In the following example, we will show how to automate GUITAR RIG 2
within Cakewalk’s Sonar. However, even if you don’t have Sonar, the same
principles apply to most other hosts. The reason for choosing Sonar is that
it accommodates all four automation methods mentioned above, so you can
likely translate the procedure into something that works for your host program
of choice. We’ll also discuss VST automation techniques.
Sonar Automation Options

To create and edit automation envelopes:
• Right-click on the track into which GUITAR RIG 2 is inserted, and go
Envelopes  Create Track Envelope and click on GuitarRig.

• A dialog box appears that lists all controllable parameters in
GUITAR RIG 2. 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 GUITAR RIG 2 knob movements as envelopes:
• Right-click on the label “GUITAR RIG 2” that appears in the FX field,
and select Arm Parameter.

• A dialog box appears that lists all controllable parameters in
GUITAR RIG 2. 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
GUITAR RIG 2 controls you want to automate.

• When you stop recording automation, envelopes will appear in the
track view that correspond to the knob movements you made. They will
move the GUITAR RIG 2 knobs on playback, and can be edited using
standard envelope editing techniques.
To control GUITAR RIG 2 via MIDI and record the MIDI data:
• Assuming you have created a MIDI track, assigned its output to
GUITAR RIG 2, and assigned one or more GUITAR RIG 2 parameters
to an external MIDI control, enable Recording on the MIDI track.
• 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 GUITAR RIG 2.
VST Automation
Most VST automation (e.g., in Cubase) involves clicking on GUITAR RIG 2’s
W(write) button, clicking on Play in the transport, then moving the on-screen
controls you want to automate.
On playback, unclick W(rite) and click on R(ead). The knob movements will
play back.
Control changes will also be represented as editable envelopes. To access an
envelope you’ve created, open an Automation Subtrack, click on the Envelope
field, and select the envelope you want to edit.
Automation can also be done via MIDI, as described above for Sonar.

Appendix A: Optimizing System Response
Your guitar will be playing through a computer, and any computer-based audio
system has some delay between the audio input and output. Even the most
powerful computer can only do a certain number of calculations per second;
signal processing demands a lot from a processor, so it’s important to minimize
any computer-based delays.
Fortunately, three main factors make delays virtually insignificant, assuming
you have a suitable computer setup (see System Requirements).
• Today’s multi-GigaHertz computers are so fast they dramatically reduce
latency.
• Many sound cards and audio interfaces include drivers optimized for
low latency.
• GUITAR RIG 2’s software, despite its superb sound quality, is written
very efficiently.
Use Low-Latency Drivers

Drivers are pieces of code that handle communications between your computer
and audio interface, whether built into a computer or attached via USB or
FireWire. The more efficiently they transfer data between audio interface and
computer, the lower the latency.
GUITAR RIG 2 works with two low-latency driver types:
• ASIO (Advanced Streaming Input Output). This cross-platform protocol
was originally developed by Steinberg.
• Core Audio (Mac only). This low-latency protocol was created by Apple
for the Macintosh, starting with OS X.
If your audio interface does not support one of these protocols, you will
likely hear an audible delay if you play through GUITAR RIG 2. Although
GUITAR RIG 2 can work with the DirectSound and MME drivers used with
Windows machines, it will not make for a satisfying playing experience.
Following is a list of sound cards that NATIVE INSTRUMENTS recommends
for use with GUITAR RIG 2 if you are not using the integrated USB 2 audio
device in the RIG KONTROL 2. For more recommendations, see www.native-
instruments.com
• Creamware PowerPulsar
• Echo Indigo I/O

• Frontier Design Dakota
• MOTU 828
• RME Hammerfall series
What About Direct Monitoring?

You may have heard about a sound card feature called “direct monitoring,”
which reduces latency by sending the sound card’s audio input signal directly
to its audio output. However, this bypasses the computer, which means it also
bypasses GUITAR RIG 2’s processing. Make sure direct monitoring is turned
off in your sound card’s control panel software.
A typical mixer applet, used with Terratec cards. Note the sliders for “Analog
In” — they’re muted to make sure the input doesn’t feed to the output.
How Low Can You Go?

1.5 ms of latency approaches the theoretical minimum, because it will always
take some time to convert analog to digital, then back to analog again at the
output. However, note that ultra-low latency settings (or higher sampling rates)
make your computer work harder, which may limit the number of Components
you can add to GUITAR RIG 2 and still obtain audio that’s free of clicks, pops,
or dropouts. So, here are some tips on living with latency.

About Samples and Buffers
Audio cannot be handled continuously by a computer, but has to wait its turn
while other operations are being carried out. As a result, sound cards create
a “buffer,” which can hold a certain number of samples, where data can be
stored and released as needed to create a smooth flow of data. If there’s an
interruption in the data flow for a little bit, no problem: There’s some reserve
in the buffer. An analogy would be if you had a hose that didn’t deliver water
continuously, but in bursts. So, you use a bucket to store the water from the
hose, and release the water from the bucket as a smooth, continuous flow.
If the bucket (buffer) is large, then you can store more water in case the hose
goes dry for a bit. But it will take longer to fill the bucket, which is equivalent
to latency. A smaller bucket takes less time to fill, but the hose had better
deliver water on a pretty continuous basis.
All ASIO audio interfaces and sound cards include a control panel where you
can adjust latency. This may be given as the number of samples per buffer,
as shown in the Terratec EWX control panel:
The Terratec EWX ASIO control panel lets you choose a particular number
of samples/buffer. The display then shows the resulting latency. In this case,
256 samples/buffer has been selected, giving latency of just under 6 ms at
44.1kHz. Setting this to 128 samples/buffer will reduce the latency, but may
stress out your computer more.
Some control panels simply show the latency that results from choosing a
particular setting in milliseconds rather than showing samples/buffer.

Creamware’s 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 doesn’t indicate the buffer
size.
Warning: Different Types of ASIO

It’s extremely important to use the ASIO driver written for the card you’re
using. There are also “generic” ASIO drivers, typically called (for Windows)
“ASIO DirectX Full Duplex Driver” or “ASIO Multimedia Driver.” There will
usually be a drop-down menu in the host program to choose the desired
ASIO driver. You’ll know you’ve chosen the right one when there’s a dramatic
decrease in latency.
With the generic ASIO Multimedia Driver selected, the output latency is a
totally unacceptable 749 ms – almost one second! By choosing ASIO Scope
(the driver written for the sound card used in this example), the latency
shrinks to 4 ms.

Tips on Minimizing Latency
• Set latency to the highest comfortable value. 256 samples/buffer is
very responsive yet gives your computer some “breathing room.” 512
samples may also be acceptable, anything more will create too much
delay. If you can’t get reliable audio with 512 samples, it’s time for a
better computer!
• If your ASIO Control Panel shows latency in milliseconds, you’ll find
that anything over 10 ms or so gives an audible delay. 5 ms is a good
compromise between speed and minimum stress to your computer.
• Download your sound card’s latest drivers from the manufacturer’s web
site. This can make a huge difference in performance.
• If you are recording in a host application and using software synthesizers,
use your program’s “freeze” function (if available) to disconnect some
synths from the CPU. Or, render a soft synth’s output as a hard disk
audio track (then remove the soft synth), as audio tracks are less taxing
on the computer. Hint: If you retain the MIDI track driving the soft synth,
which places virtually no stress on your CPU, you can always edit the
part later by re-inserting the soft synth.
• Sometimes there are two latency adjustments: A Control Panel for the
sound card sets a minimum amount of latency, and the host can increase
from this value if needed. Or, the host may “lock” to the control panel
setting.

Appendix B: About MIDI
Many musicians think that MIDI (Musical Instrument Digital Interface) is just
for keyboard players; but guitarists can use MIDI to control multieffects, and
in the process, sculpt a unique and fresh sound.
The complete MIDI spec is fairly “deep” and complex. Fortunately for
MIDIphobes, there are only a few parts of the spec that relate to multieffects
control, so there’s not really that much to learn. Let’s start with MIDI
basics.
MIDI Basics
A MIDI system requires something that sends MIDI messages (such as a
footpedal or footswitch that says “make the instrument louder,” “select this
effect,” “add more echo,” etc.) and something that receives these messages
and acts on them, like GUITAR RIG 2. Of course, this assumes your computer
has a MIDI input so that GUITAR RIG 2 can receive MIDI messages.
Stripped to its basics, you can think of MIDI as a catch-all name for the
process of sending control messages from one device (e.g., a footswitch) to
another device (e.g., GUITAR RIG 2) over a MIDI cable. Host sequencers also
use MIDI data to provide automation for GUITAR RIG 2 when it’s serving as
a plug-in.
There are many different kinds of MIDI messages, most of which relate to
keyboards, sequencers, drum machines, lighting controllers, tape recorders,
and other gear we can ignore. With GUITAR RIG 2, 99% of the time you need
to know about only two kinds of MIDI messages: program changes (which call
up different Presets) and continuous controller messages (which alter effects
parameters in real time).
Note that RIG KONTROL does not use MIDI messages to trigger changes or
control parameters, but rather a unique audio control method as described
earlier. MIDI is applicable only if you want to use MIDI controllers made by
other companies.
MIDI Connections
Your computer’s sound card probably has a MIDI in jack (receives MIDI message)
and MIDI out jack that transmits MIDI messages. There may also be a MIDI
thru jack, which provides a duplicate of the signal at the MIDI in jack.

About Program Changes and Bank Select
To understand program changes, take a trip with me down memory lane to the
mid-70s, when disco ruled, synthesizers were not yet programmable, and guitar
effects were starting to progress beyond funny little boxes that ate batteries
and burped noise. Guitarists discovered early on that the hippest control on
any signal processor was the in/out footswitch because it allowed you to bring
an effect in as needed (distortion is wonderful, but not all the time).
As more boxes were introduced—compressors, phase shifters, echo units, wa-
was, etc.—musicians started connecting all these boxes together with patch
cords. And that’s where the trouble began: if you wanted to bring in multiple
effects simultaneously, you had to hit a bunch of footswitches at once. Fancy
tap dancing became the order of the day.
When the MIDI spec was drawn up, provisions were made for 128 MIDI program
change messages. This is why many signal processors offer 128 programs, and
why each GUITAR RIG 2 Bank can store up to 128 Presets. As usual, people
wanted more – so an addition to the MIDI spec, Bank Select messages, can
select up to 16,384 GUITAR RIG 2 Banks of 128 programs for a grand total
of over 2,000,000 programs (that should hold you for a while).
About Continuous Controllers

Changing from one program to another is a good start, but sometimes you’d
like to vary a particular parameter within an individual program (delay feedback,
filter frequency, distortion drive, etc.). A wahwah sound is a good example of
changing a particular parameter (filter frequency) in real time.
When you call up a program’s parameter, you usually change its value by turning
a knob. The idea of continuous controllers came about because synthesizers
and effects have pedals, knobs, levers, and other physical “controllers” that
alter some aspect of the sound over a continuous range of values (this is why
they’re called continuous controllers, as opposed to a controller such as an
on-off switch, which only selects between two possible values).
Unlike a program change, which is a single event, continuous controllers
generate a series of events, such as a volume fade-in (each event raises the
volume a bit more than the previous event), or change in some other parameter
(e.g., increasing chorus depth, or altering the wahwah filter frequency).
Like program changes, continuous controller messages are transmitted over
a MIDI output and received by a MIDI input. The transmitter usually digitizes

the physical controller motion into 128 discrete values (0-127). For example,
pulling the controller’s pedal all the way back generates a value of 0. Pushing
down on the pedal increases the value until at midpoint, the pedal generates
a value of 64. Continuing to push on the pedal until it’s all the way down
generates a value of 127.
Note that continuous controller transmitters only send messages reflecting
a change; for example, leaving a pedal in one position doesn’t transmit any
messages until you change the pedal’s physical position.
Continous Controller Numbers

MIDI “tags” each continuous controller message with an ID from 0 to 127.
Therefore, you can control up to 127 GUITAR RIG 2 parameters, although in
practice, it’s unlikely you could keep track of that many parameter assignments,
let alone use them constructively.
When controlling a signal processor via continuous controllers, the basic
idea is to assign a particular signal processor parameter (delay, modulation
rate, distortion drive, etc.) to a particular continuous controller number. With
GUITAR RIG 2, this is particularly easy thanks to the Learn function.
At the receiving end, the parameter being controlled changes in response to
incoming message values. For example, if you’re controlling Delay Feedback
and it receives a value of 0, feedback is at minimum. When it receives a
value of 64, the feedback is halfway up and upon receiving a value of 127,
the feedback is up all the way.

Appendix C: Tips on Creating Your Own RIG
One of the best aspects of GUITAR RIG 2 is you have the freedom to rearrange
the various Components in any way you like. This section gives some guidelines
on which effects should follow or precede other effects in the signal chain.
Series and Parallel Effects

There are two main ways of hooking effects together. With a series connection
of effects, the effects string together serially, one after another. Effect 1’s
output plugs into effect 2’s input, effect 2’s output plugs into effect 3’s
input, and so on.
A parallel effects combination uses the Split Component to split the signal
into the inputs of effects 1 and 2. Mixing the outputs of the two effects gives
the combined (paralleled) sound of these effects; the Split Component’s
Crossfade parameter adjusts the proportion of the two splits.
Another variation is the series/parallel effects combination, where you include
multiple Components connected in series within a parallel Split. The example
given earlier in the section on the Split Component illustrates this well.
Placing Components in the Right Order

Series, parallel, and series/parallel configurations represent an almost unlimited
way of connecting effects together for a customized sound. In fact, maybe
the possibilities are just too great, because people are often confused about
topics such as whether compression should go before or after distortion, which
effects work best in parallel, whether a noise gate should go earlier or later
in the signal chain, and so on.
Actually, there is no one “right” routing, although there are certainly common
ones. Different combinations of different effects make different sounds, so
experiment! That’s why GUITAR RIG 2 gives you all these cool toys.
Nonetheless, it’s a good idea to at least establish a recommended
point of departure. We’ll start off with some general rules, then discuss
series combinations of effects, and finally investigate parallel effects
combinations.

The All-Important First Effect
For many instruments, compression or distortion are generally good choices
for the first effect. A compressor increases sustain, which gives a “punchier”
signal for subsequent stages. Also, a compressor is a unique kind of effect
since if it’s not overcompressed, the effect is fairly subtle and can be left in
the signal chain at all times.
However, note that if you’re using Oktaver, it wants to be the first effect.
This is because it needs a clean, single-note line, and adding effects prior to
Oktaver can work against this.
Series Effects Combinations

When determining an order for effects, start off by considering a series effects
chain as consisting of three subsections that occur in this order:
• Modules that alter dynamic range (compression, limiting) and/or
synthesize frequencies (e.g., distortion, Oktaver).
• Equalization (tone controls) to further shape the sound. This will usually
include speaker cabinets.
• Time-altering devices (delay, chorus, reverb, etc.) to add ambience and
animation
In addition, you may want to close out the chain with additional equalization to
give an overall tonal tweaking, a noise gate to cut out noise, a speaker cabinet if
one was not already included in the chain, and/or a limiter to reduce peaks.
The order in which effects occur can make a huge difference to the overall
sound. For example, distortion before equalization sounds very different
compared to equalization before distortion. Here are some specific examples
of what to expect when you connect two effects in series.
• Compressor before distortion With guitar, this increases sustain and
gives a more consistent distortion timbre.
• Distortion before compressor tends to be a bit noisy but provides
a somewhat “gentler” sound compared to compressor before
distortion.
• Equalization before distortion. This can make distortion seem more
“touch-sensitive” by causing boosted frequencies to distort more readily
than non-boosted ones. Also, as distortion synthesizes harmonics,
the overall sound may be too bright. Pulling back on the highs before
feeding the distortion can help control this.

• Distortion before equalization. In this combination, the equalization
tailors the timbre of the distorted sound. In general, placing equalization
both before and after distortion gives the most flexibility.
• Distortion before delay gives a clear echo sound.
• Delay before distortion gives a dirty echo sound since the echoes “melt”
together when distorted.
• Echo before noise gate. The noise-gating action will also cut out some
of the low-level echoes, which may not be desirable. Patching the noise
gate before echo gives a more natural echo sound.
• Distortion before flanger or chorus. Flangers and choruses give the
most intense effect when they’re fed a signal with lots of harmonics
(overtones). Distortion delivers a harmonically rich sound that accents
the flanging or chorusing effect.
• Flanger or chorus before distortion. Lots of distortion may mask the
subtlety of the flanger or chorus effect. In fact, with extreme amounts
of distortion, it may seem as if there is little, if any, flanger or chorus
effect.
• Reverb before equalization. Boosting lower frequencies gives a larger,
more “distant” reverb sound. Boosting higher frequencies gives more
presence, resulting in a subjectively closer reverb sound.
• Reverb before chorus unit. Following reverb with light chorusing can
impart a shimmering, full sound.
As an example of how to apply this, suppose you want a flexible, general purpose
effects algorithm for power-chord rhythm guitar. Here’s one possibility:
Tube Compressor » EQ Parametric » Plex » Cabinet & Mic » Chorus/ Flanger
» Noise Gate » Studio Reverb
The compressor adds sustain, and the EQ/distortion/amp+cabinet combination
allows for a very precise tailoring of the distorted sound. The chorus helps
diffuse the overall sound somewhat; the noise gate cuts out any low level
noise, and the reverb “smoothes over” choppiness contributed by the noise
gate as well as provides ambience.

Parallel Effects
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 doesn’t remove the low end).
Parallel effects chains are also a good way to create a stereo image, as one
leg of the chain can provide one channel and the other leg, the other channel.
For example, suppose you feed a guitar into two graphic equalizer 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), you’ll create an interesting type of stereo spread.

Appenidx D: About Ground Loops
What was that buzz? That strange hum? The digital hash from your computer
that’s showing up in your guitar pickup? You may be a victim of ground loops,
which can occur easily when using multiple AC-powered devices. But before
we can solve the problem, we need to understand what causes it.
A ground loop means there is more than one ground path available to a device.
For example one path goes from device A to ground via the AC power cord’s
ground terminal, but A also sees a path to ground through the shielded cable
and AC ground of device B which is connected to A. Because ground wires
have some resistance (the electronic equivalent of friction), there can be a
voltage difference between the two ground lines, thus causing small amounts
of current to flow through ground. This signal may get induced into the hot
conductor. The loop can also act like an antenna for hum and radio frequencies.
Furthermore, many Components in a circuit connect to ground. If that ground
is “dirty,” this noise might get picked up by the circuit. Ground loops cause
the most problems with high-gain devices, since massive amplification of even
a couple millivolts of noise (as often happens when using high-gain distortion)
can be objectionable.
There are two main fixes: break the loop by interrupting the audio ground,
or break the loop by interrupting the AC ground line. The preferred method
depends on the nature of the problem, so let’s look at various options.
A Non-Solution: Ground Lifters

Some musicians who are unconcerned about leading a long and productive life
simply “lift” the AC ground by plugging a 3-wire cord into a 3-to-2 adapter.
However, this is definitely not recommended since it eliminates the safety
protection afforded by a grounded chassis. Rather then spend time explaining
why you shouldn’t do this, just don’t do it, okay?
Solution #1: The Single Plug Theory

Many ground loop problems can be solved by plugging all equipment into
the same grounded AC source, which attaches all ground leads to a single
ground point (for example, a barrier strip that feeds an AC outlet through a
short cord). However, it is important to make sure that the AC source is not
overloaded and is properly rated to handle the gear plugged into it.

Solution #2: The Broken Shield Effect
A solution for some stubborn ground loop problems is to isolate the piece of
gear causing the problem, and disconnect the ground lead (shield) at one end
only of one or more of the audio patch cords between it and other devices.
The inner conductor is still protected from hum by a shield connected to
ground, yet there’s no completed ground path between the two devices except
for AC ground.
If you make your own cables, it’s worth wiring up a few special ground loop-
buster cords with a disconnected shield at one end. Mark them plainly; if
used as conventional cords, you’ll encounter hum, loss of level, and other
problems.
Solution #3: Audio Isolation Transformer

Using a 1:1 audio isolation transformer is much more elegant than simply
breaking the shield, but accomplishes the same thing: interrupt the ground
connection while carrying the signal. Although a cord with a broken shield is
less expensive, the transformer offers some advantages. If needed, you can
change impedance or levels simultaneously by choosing a transformer with
different impedances for the primary and secondary windings (e.g., use the
transformer to boost the level of a device with a fairly low output; this gives
less noise than turning up the mixer’s preamp gain).
Solution #4: AC Isolation Transformer

Many times, you can also break a loop by removing the direct connection from
a piece of gear to AC ground. This doesn’t always work because the ground
loop may not involve the AC line but various ground-to-ground connections;
however, loops involving the AC line generally seem to be more problematic
and common. Breaking audio is a simpler, lower power solution (that can
also minimize computer-generated “hash”), but an AC isolation transformer
provides ancillary benefits. In short, an AC isolation transformer can clean up
the AC line, reduce spikes and transients, and provide performance almost
equal to that of a separate AC line.
So which is better, breaking the audio connection or the AC connection? It
depends. If you have a lot of microprocessor-controlled gear and less than
ideal AC, adding isolation transformers can solve various AC-related problems
and get rid of ground loops. If you just have a simple ground loop problem,
then patching in audio isolation transformers may be all you need.

Index
A C
About Modifiers....................... 107 Cab&Mic................................... 65
Abs. Time................................111 Cabinets................................... 43
Accel.................................. 72, 73 Cab Tone.................................. 72
Activating a Step...................... 113 Calibrating...............................117
Amp......................................... 65 Cat........................................... 60
Amps........................................ 42 Cent mode................................ 33
Arranging.................................. 42 Character.................................. 96
ASIO...................................... 132 Chorus...................................... 70
Assign.................................... 113 Chorus Intensity......................... 69
Assigning the Clean.................................. 61, 65
Step Sequencer to a Parameter 113 Color........................................ 71
Attack..... 82, 90, 92, 93, 114, 116 Color Strength........................... 71
AutoFilter.................................. 82 Continuous Controllers...... 135, 136
Automating Plug-In Parameters 125 Control Center........................... 13
Automation............................. 125 Controller.................................. 17
Autostart................................. 102 Cross...................................... 100
Crossfade........................ 104, 106
Crossover Mix.......................... 105
B Cubase SX.............................. 123
B4........................................... 72 Cutoff................................. 73, 81
Balance.................................... 72
Balls......................................... 60
Banks....................................... 21 D
Basics...................................... 16 Date......................................... 29
Bass........... 46, 49, 51, 52, 53, 55, De-Hiss.................................... 91
.................56, 58, 59, 60, 61, 62, Decay.............................. 114, 116
................. 63, 64, 65, 69, 95, 98 Delay.................................. 69, 75
Bass VT.................................... 56 Delta Time...............................111
Beat Button............................ 102 Demon Distortion....................... 64
Bias.................. 47, 50, 52, 54, 55 Depth........................... 53, 69, 97
Big Fuzz................................... 59 Detune............................. 99, 100
Boost................................. 64, 67 Diffusion................................... 98
Bottom..................................... 64 Direct....................................... 73
BPM......................................... 34 Direct Monitoring..................... 130
Bright..........49, 53, 56, 61, 64, 85 Distance................................... 72
Buffers................................... 131

Distortion................ 58, 60, 62, 63 G
Down........................................ 68 Gain............................. 56, 64, 93
Drag......................................... 74 Gain1................................. 78, 79
Drag and Drop........................... 25 Gain2................................. 78, 79
Drive............................ 56, 61, 65 Gain Booster............................. 67
Drivers.................................... 129 Graphic EQ............................... 56
Drop Tune................................. 33 Graphic EQ Band Level............... 57
Dry/Wet........69, 71, 72, 74, 97, 99 Graphic EQ Volume.................... 57
Dynamic................................... 94 Gratifier.................................... 54
Ground Loops.......................... 141
E
Editing the Envelope Shape....... 110 H
Ensemble.................................. 69 Half Volume.............................. 88
Envelope Parameter Strip...........111 High Damp.......................... 95, 96
Envelope Ruler and Zoom......... 112 High Resolution......................... 13
EQ Graphic............................... 80 Hold................................... 89, 90
EQ Parametric........................... 79 Host Program.......................... 122
EQ Shelving............................... 78 Hot.......................................... 65
Exp Lay.................................. 102 Hum......................................... 10
Exp Mix.................................. 102
I
F Input.............................30, 31, 93
Fast.......................................... 72 Input Level Modifier.......... 115, 116
Favorites................................... 29 Input Level Tips....................... 116
Feedback.......................75, 97, 99 Input Mute.............. 95, 96, 98, 99
Filter.................................. 60, 78 Input Trigger............................ 107
Find......................................... 29 Intensity............................. 49, 68
Fixed Rack Components............. 30 Interference.............................. 10
Flanger..................................... 70 Invert................................. 71, 98
Foot Controller........................... 10
FP/BPF/HPF.............................. 82
Freq1................................. 78, 79 K
Freq2................................. 78, 79 Knee........................................ 94
Freq Max.................................. 84
Freq Mid................................... 83
Freq Min................................... 83 L
Frequency............................... 106 Layout...................................... 12
Fuzz......................................... 58 Lead 800................................. 53

Learn...........................90, 91, 118 Min.......................................... 80
Legato.................................... 114 Min Detune............................... 74
Level.......................................111 Min Shift.................................. 74
LFO........................................ 109 Min Volume............................... 88
LFO Tips................................. 110 Mix........................................... 96
LFP/BPF/HPF............................ 81 Mod......................................... 68
Limit........................................ 89 Mode.................................69, 111
Limiter...................................... 89
Load................................. 24, 102
Loop....................................... 112 N
Loop A/B................................ 102 Noise Gate................................ 90
Looped Playback........................ 36 Noise Reduction........................ 91
Loop Machine.......................... 101 Notches.................................... 71
Loop Time............................... 102
Low-Latency............................ 129
Low Damp........................... 95, 96 O
LP-BP-HP................................. 83 Oct 1........................................ 73
Oct 2........................................ 73
Offset........................ 83, 114, 116
M Oktaver..................................... 73
Master...................................... 53 Other Envelope Parameters....... 112
Master Volume........................... 32 Output...................................... 32
Max.......................................... 80 overdrive................................... 58
Max Detune............................... 74 Overdub Multiply...................... 102
Max Shift.................................. 74
Metronome................................ 34
metronome................................ 11 P
Mezone..................................... 63 Pan...........................72, 104, 106
MicPos..................................... 65 Parameters..................... 104, 106,
Mics......................................... 43 .............................. 109, 114, 116
Mid.................. 46, 49, 51, 52, 53, Phaser...................................... 71
................ 55, 56, 62, 63, 64, 69 pickups..................................... 10
Mid-Freq................................... 56 Pitch.................................37, 100
Mid-Q....................................... 63 Pitch Pedal............................... 74
Mid Freq................................... 63 Play.................................109, 112
MIDI................................ 117, 134 Play Button............................. 101
MIDI Control.............................. 41 Play Vol.................................. 102
MIDI Controllers....................... 118 Plexi......................................... 51
MIDI Notes............................. 119 Plug-in........................................ 9
MIDI Synchronization............... 119 Polarity................................... 109

Power....................................... 40 Response........... 47, 50, 52, 54, 55
Power Supply..... 47, 50, 51, 53, 55 Reverb................................ 49, 95
Pre-Amp................................... 53 Reverb On................................. 49
Preferences............................... 15 Reverb Size............................... 50
Presence................. 46, 51, 53, 55 Reverb Time.............................. 50
Presets............................... 19, 21 Reverse.....................99, 100, 102
Preset Volume........................... 32 Room Size................................. 96
Pro-Filter.................................. 81 Rotate...................................... 71
Progress Meter........................ 102 Rotator..................................... 72
Properties................................. 28
S
Q Sag................... 47, 50, 51, 54, 55
Q1........................................... 79 Samples................................. 131
Q2........................................... 79 Saturation................................. 94
Quad Delay............................... 97 Save....................................... 102
Quick........................................ 29 Scoop....................................... 64
Search...................................... 29
Search Result............................ 29
R Sens......................................... 82
Rack Controls............................ 17 Shortcuts.................................. 27
Range................................. 80, 82 Signal Flow............................... 39
Rate..................53, 68, 69, 71, 97 Size.......................................... 85
Ratio........................................ 93 Skreamer.................................. 61
Recording................................. 37 Slide...................................... 115
Rec Pan.................................. 102 Slider....................................... 83
Rec Time................................ 102 Slope................................. 81, 111
Rec Vol................................... 102 Slow......................................... 72
Redo...................................... 102 Sonar..............................124, 125
Reference Pitch......................... 33 Speed....................................... 49
Refresh..................................... 24 Split....................................... 103
Release........................ 83, 89, 90, Split Tips................................ 104
........................... 91, 92, 93, 112 Spread...................................... 73
Reset........................................ 29 Spring Length............................ 95
Resizing.................................... 24 Spring Reverb............................ 95
Res Max................................... 84 Standalone.................................. 8
Res Mid.................................... 84 Standard Playback..................... 36
Res Min.................................... 84 Start Phase............................. 109
Reso..............................73, 81, 82 Step Sequencer....................... 113
Resolution........................ 114, 115 Stereo....................................... 69

Stereo: Time............................ 100 Tuner.................................. 11, 33
Stereo Input L/R Split.............. 104 Twang Reverb............................ 49
Stereo Pan................................ 68 Tweedman................................. 46
Stomp Compressor..................... 92
Stoned Phaser........................... 71
Stop Button............................ 101 U
Strobe mode.............................. 33 Ultra Hi.................................... 56
Studio Reverb............................ 96 Ultra Lo.................................... 56
Sustain............................... 59, 92 Undo...................................... 102
Sweep Max............................... 71 Up........................................... 68
Sweep Min................................ 71 Up/Down................................... 82
Sync...... 34, 71, 98, 100, 102, 112
Sync Delays............................... 98
V
Variac................ 47, 50, 51, 54, 55
T Vibrato/Off/Chorus...................... 53
Talkwah.................................... 85 Vibrato On................................. 49
Tap........................................... 99 Volume............. 46, 49, 51, 52, 56,
Tapedeck.................................. 11 ...................... 58, 59, 60, 61, 62,
Tapedeck One............................ 35 ..................... 63, 64, 65, 69, 85,
Tapedeck Two............................ 38 ...........................88, 89, 92, 116
Tap Time................................... 97 Volume Max.............................. 84
Templates........................... 16, 21 Volume Mid............................... 84
Tempo...................................... 37 Volume Min............................... 84
Tempo Sync...................... 68, 109 Volume Pedal............................ 88
Temp Sync................................ 69
Threshold.................90, 91, 92, 93
Time........................95, 96, 97, 99 W
Tone........................59, 60, 61, 62 Wahwah.................................... 83
Total Recall............................. 123 Waveform................................ 109
TransAmp................................. 65 Wet.......................................... 83
Transpose................................. 37 Width............................... 68, 114
Treble............... 46, 49, 51, 52, 53,
..................... 55, 56, 58, 59, 60,
..................62, 63, 64, 65, 69, 98 Z
Treble Booster........................... 66 Zero-Latency........................... 123
Tremolo.................................... 68
Tube Compressor....................... 93
Tune......................................... 37
Tune Fork.................................. 33

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GUITAR RIG 2

Users Guide written by ��������������

© Native Instruments GmbH, 2006. All rights reserved.

GUITAR RIG 2 – III

– The NATIVE INSTRUMENTS GUITAR RIG 2 Team

2. Installing and Setting Up GUITAR RIG 2

3.1 About “Standalone” Mode

3.2 About “Plug-in” Mode

3.3 The “RIG KONTROL 2” Foot Controller

3.5 Get creative! Why be normal?

3.6 Patience, please...

• Previous Preset selects the next lower-numbered Preset.

5.2 Left Frame View Options

5.3 The Right Frame

6.1 Pref: Global Tab

Tapedeck Time Stretch Quality

MIDI Learn Popup Window

Reset Pedal Calibration

6.3 Pref: Controller Tab

6.4 GUITAR RIG 2 Controller Basics

6.5 Rack Controls

7.1 Component Template Management

To save a new Template

7.3 Bank Operations

Bank Operation Buttons

Refresh the Bank List

Load Bank Shortcuts

7.4 Resizing the Bank and Preset Windows

7.5 Preset List Operations

Preset Drag and Drop

Creating More than 128 Presets

These shortcuts are disabled when using GUITAR RIG 2 as a plug-in

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

8.1 Input Component with RIG KONTROL 2

This matches your instrument’s levels to GUITAR RIG 2. Hint: Always feed in

8.2 Input Component with RIG KONTROL 1

This matches GUITAR RIG 2’s levels to the next stage (mixer, amplifier, PA

The Metronome provides a rhythmic reference, but with GUITAR RIG 2 in

With Tapedeck One, instead of describing each control individually, we’ll

8.8 Looped Playback

Note that loop mode is not available while recording.

Tapedeck Two is optimized for overdubbing and creating backing tracks or

9.1 Mono, Stereo, and Signal Flow

9.2 Common Controls

9.3 Display Controls

9.4 Power On/Off

9.6 Component MIDI Control

To load a Component into your rack

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

Nr. Name Nr. Name

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

Cabs 17, 18, 19, 21:

Guitar Cabs 1-15:

Bass cabs 16-21:

Cabs 22, 23:

Cabs 24, 25:

9.14 Jazz Amp

Modeled after an amp produced by a highly-respected synthesizer manufacturer,

9.15 Lead 800

9.16 Instant Gratif﻿ier Solo Head

This unique effect is based on a popular vintage processor that is similar to

This effect, the same one used in NATIVE INSTRUMENTS’ acclaimed B4

11.8 Electric Lady

11.10 Harmonic Synthesizer

Users Guide written by ��

9.16 Instant Gratifier Solo Head