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NI Guitar Rig 2 Operation Manual

Ni guitar rig 2 operation manual
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GUITAR RIG 2
Operation Manual

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Summary of Contents for NI Guitar Rig 2

  • Page 1 GUITAR RIG 2 Operation Manual...
  • Page 2 The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NATIVE INSTRUMENTS GmbH, hereinafter referred to as NATIVE INSTRUMENTS.

  • Page 3: 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”...
  • Page 4 10.9 Treble Booster ............... 66 10.10 Gain Booster ............... 67 11 Mod ................... 68 11.1 Tremolo ................68 11.2 Ensemble ................69 11.3 �horus/ Flanger ..............70 11.4 Stoned Phaser ................71 11.5 Rotator ..................72 11.6 Oktaver................. 73 11.7 Pitch Pedal ................74 IV – GUITAR RIG 2...
  • Page 5 17 Control via RIG KONTROL / MIDI ..........117 17.1 The Virtual RIG KONTROL ............. 117 17.2 �alibrating RIG KONTROL 2 ........... 117 17.3 Assigning Parameters to MIDI �ontrollers ........118 17.4 Assigning Parameters to MIDI Notes ........119 17.5 MIDI Synchronization ............119 GUITAR RIG 2 – V...
  • Page 6 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...

  • Page 7: Welcome To 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.

  • Page 8: The Big Picture, And Why Guitar Rig 2 Is Cool

    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: •...

  • Page 9: About "Plug-In" Mode

    File  Audio+MIDI Settings, and you’re ready to go. 3.2 About “Plug-in” Mode In this mode, GUITAR RIG 2 works in conjunction with a host program, like �ubase, Logic Audio, Pro Tools, Live, Sonar, Digital Performer, Tracktion, and so on. It inserts into the program’s mixer, like a “virtual effect.” Audio passes through the computer’s sound card into the host program, which feeds it into...

  • Page 10: The "Rig Kontrol 2" Foot �Ontroller

    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.

  • Page 11: Get Creative! Why Be Normal

    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.

  • Page 12: Instant Gratification/Quick Start

    If you run into difficulties, skim the manual to find appropriate instructions. • Better yet, go through the Quick Start included on the distribution �D-ROM. It will get you up to speed on some of GUITAR RIG 2’s most important features. 5 GUITAR RIG 2 Layout GUITAR RIG 2’s screen has two “virtual rack frames.”...

  • Page 13: Ontrol �Enter

    • 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,”...

  • Page 14: The Right Frame

    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.

  • Page 15: Setting Preferences

    This turns the “New �ontroller 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.

  • Page 16: Pref: Presets 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.

  • Page 17: Rack �Ontrols

    • 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.
  • Page 18 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...

  • Page 19: Presets �Ontrols

    • �lick on the Add Pres. Sel or Add Bank Sel. if all you see are Preset/Bank Up or Down options. • There are three fields for the hardware controller, the name of the function, and the Preset or Bank number that will be selected. GUITAR RIG 2 – 19...
  • Page 20 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...

  • Page 21: 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.
  • Page 22 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...

  • Page 23: Preset Management

    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...

  • Page 24: Resizing The Bank And Preset Windows

    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...

  • Page 25: Preset List Operations

    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...
  • Page 26 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.

  • Page 27: Keyboard Shortcuts For Banks And Presets

    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.

  • Page 28: Properties

    • �lean Up (removes empty Presets, then “closes up” the Presets so there is one continuous Bank of Presets.) 7.7 Properties This is where you can enter several properties of the selected Preset: • Name (Preset name/label) • Author • Style • Tone • Instrument 28 – GUITAR RIG 2...

  • Page 29: Search

    Properties. 7.8 Search �lick on the Search tab, and several fields appear. GUITAR RIG 2 will examine all Banks and Presets to find Presets that match the criteria you’ve specified in those fields. For example, you can generate a list of all Presets that fit a certain musical style by choosing a Style, then clicking on the Find button.

  • Page 30: Fixed Rack Components

    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...

  • Page 31: Input �Omponent With Rig Kontrol 1

    • 2: GUITAR RIG 2 processes only the signal at RIG KONTROL Input 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”).

  • Page 32: Output �Omponent

    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...

  • Page 33: Tuner

    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...

  • Page 34: Metronome

    Note: Sounds with bit resolutions greater than 16 bits will not be recognized. �lick on the Tap button to set the tempo. GUITAR RIG 2 measures the time between clicks, which determines the tempo. Repeated clicking causes GUITAR RIG 2 to derive an average tempo.

  • Page 35: Tapedeck One

    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...

  • Page 36: Standard Playback

    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...

  • Page 37: Hanging Playback Pitch And/Or Tempo

    • 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...

  • Page 38: Tapedeck Two

    • 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...

  • Page 39: Components And Parameters

    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.

  • Page 40: Ommon �Ontrols

    All �omponents also have an on/off switch in the upper left corner. When turned off, the �omponent is completely taken out of the processing chain (true bypass), just as if it was deleted. With power turned off, �omponents do not use any �PU power. 40 – GUITAR RIG 2...

  • Page 41: Saving And Loading Templates

    One of the best features of the �omponents is that almost all parameters can be controlled via RIG KONTROL, MIDI controllers assigned to it from a host application (when GUITAR RIG 2 is a plug-in), or a general-purpose MIDI controller hardware box (e.g., Peavey P�-1600x, Evolution U�-33, M- Audio Oxygen8, etc.).

  • Page 42: Loading And Arranging The Order Of �Omponents

    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...

  • Page 43: Abinets & Mics

    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...
  • Page 44 Available mics and their names depend on the selected cabinet. Guitar Cabs 1-15: • 1/5 Dynamic 57 • 2/5 Dynamic 421 • 3/5 Dynamic 609 • 4/5 �ondenser 87 • 5/5 Tube �ondenser Bass cabs 16-21: • 1/5 Dynamic 7 • 2/5 Dynamic 421 44 – GUITAR RIG 2...
  • Page 45 (depending on the setting of the Output �omponent’s �lipping/Limiter switch). GUITAR RIG 2 – 45...

  • Page 46: Tweedman

    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.”...

  • Page 47: A� Box

    This model is based on a type with the Top Boost modification. The basic Normal channel has no tone controls aside from Top �ut. The Top Boost adds the Brilliant channel, which offers Treble and Bass controls. GUITAR RIG 2 – 47...
  • Page 48 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. 48 – GUITAR RIG 2...

  • Page 49: Twang Reverb

    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...
  • Page 50 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...

  • Page 51: Plex

    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. GUITAR RIG 2 – 51...

  • Page 52: Jazz Amp

    “thinner” sound. Turning Mid clockwise from the center boosts the midrange frequencies; counterclockwise reduces midrange frequencies. Turning Treble clockwise boosts the high frequency response, while turning counterclockwise reduces high frequency response. 52 – GUITAR RIG 2...

  • Page 53: Lead 800

    �lick on the (+) symbol to reveal expert mode, with the following parameters. Power Supply chooses between 50 and 60Hz. This represents the frequency of the virtual mains A� voltage going into the virtual amp power supply. The GUITAR RIG 2 – 53...

  • Page 54: Instant Gratifier Solo Head

    Its tonal spectrum spans the range from clean to over-the-top distortion. Think of it as a four- channel amp (click on the associated “channel” to select it): • �lean • Raw • Vintage • Modern 54 – GUITAR RIG 2...
  • Page 55 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. GUITAR RIG 2 – 55...

  • Page 56: Bass Pro

    Bright switch. It therefore has a more obvious effect. The Graphic EQ switch enables or disables the graphic EQ processor, which is visible only in Expert mode. �lick on the (+) symbol to reveal expert mode, which shows the graphic equalizer controls. 56 – GUITAR RIG 2...
  • Page 57 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...

  • Page 58: Distort

    Turn the Fuzz control clockwise to increase the distortion’s “fuzzy” quality. �lick on the (+) symbol to reveal expert mode, with the following parameters. Bass provides control over the lower frequency tone. Turning Treble clockwise accents the high frequencies. 58 – GUITAR RIG 2...

  • Page 59: Big Fuzz

    �lick on the (+) symbol to reveal expert mode, which offers the following parameters. Bass provides control over the lower frequency tone. Turning Treble clockwise accents the high frequencies. GUITAR RIG 2 – 59...
  • Page 60 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...

  • Page 61: Skreamer

    �lick on the (+) symbol to reveal expert mode, with the following parameters. Bass provides control over the lower frequency tone. Bright determines the high frequency response. Clean adds some of the unprocessed sound in with the distortion, from none to maximum. GUITAR RIG 2 – 61...

  • Page 62: Distortion

    �lick on the (+) symbol to reveal expert mode, with the following parameters. Bass provides control over the lower frequency tone. Mid affects the level of the midrange frequencies. Treble determines the high frequency response. 62 – GUITAR RIG 2...

  • Page 63: Mezone

    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...

  • Page 64: Demon Distortion

    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...

  • Page 65: Transamp

    Hot has an effect only if the �ab&Mic function is enabled. Turning the control more clockwise produces a brighter, hotter sound. GUITAR RIG 2 – 65...

  • Page 66: Treble Booster

    Parameters Bright, when turned down, reduces the boosting somewhat at the highest frequencies. Boost sets the degree of boost. 66 – GUITAR RIG 2...

  • Page 67: Gain Booster

    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...

  • Page 68: Mod

    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...

  • Page 69: Ensemble

    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...

  • Page 70: Horus/ Flanger

    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...

  • Page 71: Stoned Phaser

    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...

  • Page 72: Rotator

    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 72 – GUITAR RIG 2...

  • Page 73: Oktaver

    Rotator speed switch. When counterclockwise, it accelerates or decelerates over time; clockwise produces a near instantaneous change. Spread widens the stereo image when turned clockwise, and narrows the image when turned counterclockwise. It controls the distance between the left and right virtual microphones. GUITAR RIG 2 – 73...

  • Page 74: Pitch Pedal

    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. 74 – GUITAR RIG 2...

  • Page 75: Electric Lady

    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...

  • Page 76: Phaser Nine

    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 76 – GUITAR RIG 2...
  • Page 77 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...

  • Page 78: Filter

    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. 78 – GUITAR RIG 2...

  • Page 79: Eq Parametric

    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...

  • Page 80: Eq Graphic

    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...

  • Page 81: Pro-Filter

    • 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...

  • Page 82: Autofilter

    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). 82 – GUITAR RIG 2...

  • Page 83: Wahwah Pedal

    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.”...
  • Page 84 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). 84 – GUITAR RIG 2...

  • Page 85: Talkwah

    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...

  • Page 86: Equalizer Tips

    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 —...
  • Page 87 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...

  • Page 88: Volume

    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.” 88 – GUITAR RIG 2...

  • Page 89: Limiter

    This will let you send more signal through the various �omponents and obtain a higher average level. Using with vocals. Limiters are used a lot with vocals to prevent overloading if the singer gets too close to the mic. GUITAR RIG 2 – 89...

  • Page 90: Noise Gate

    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...

  • Page 91: Noise Reduction

    �lick on the (+) symbol to reveal expert mode, with the following parameters. Release determines how long it takes for the filter to close down after the input signal goes away. De-Hiss, when turned clockwise, accentuates the effect of the filtering to reduce more treble frequencies. GUITAR RIG 2 – 91...

  • Page 92: Stomp �Ompressor

    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...

  • Page 93: Tube �Ompressor

    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...
  • Page 94 • 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.

  • Page 95: Reverbs And Delays

    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...

  • Page 96: Studio Reverb

    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...

  • Page 97: Quad Delay

    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...
  • Page 98 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...

  • Page 99: Psychedelay

    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...
  • Page 100 (e.g., 200 ms), Detune to +50 cents, and Feedback to maximum. In the expert section, set Stereo Time fully clockwise (0.50), detune to On, and �ross up full. Hit a note, and it will stretch upward and then decay…very cool. 100 – GUITAR RIG 2...

  • Page 101: Tools

    Note: While the Loop Machine is stopped, you can double-click on the Stop button to erase the various layers. GUITAR RIG 2 – 101...
  • Page 102 • 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. 102 – GUITAR RIG 2...

  • Page 103: Split

    To create the second split (Split “B”), drag the desired �omponent(s) in between the Split B and Split Mix sections. Here’s what a particular split looks like in GUITAR RIG 2. Split A feeds the Skreamer, Equalizer Shelving, and Ensemble �omponents. Split B feeds the Distortion and Wahwah �omponents.
  • Page 104 Stereo Input L/R Split allows processing each stereo channel separately. This is particularly useful if you play with two guitars through GUITAR RIG 2 and want two different sounds. Using this option with a �hapman Stick can be interesting as well, as it enables you to process the high and low strings with different effects.

  • Page 105: Rossover Mix

    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. GUITAR RIG 2 – 105...
  • Page 106 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. 106 – GUITAR RIG 2...

  • Page 107: Modifiers

    • 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. GUITAR RIG 2 – 107...
  • Page 108 Why is it necessary to adjust the amount of modulation in two separate places? It actually isn’t necessary, but it can be convenient. Sometimes you want to check out the parameters in a �omponent to see how they’re 108 – GUITAR RIG 2...

  • Page 109: Lfo

    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. GUITAR RIG 2 – 109...

  • Page 110: Envelope

    (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. 110 – GUITAR RIG 2...
  • Page 111 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). GUITAR RIG 2 – 111...
  • Page 112 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. 112 – GUITAR RIG 2...

  • Page 113: Step Sequencer

    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.
  • Page 114 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. 114 – GUITAR RIG 2...

  • Page 115: Analog Sequencer

    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. GUITAR RIG 2 – 115...

  • Page 116: Input Level Modifier

    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.

  • Page 117: Control Via Rig Kontrol / Midi

    (-) button above the pedal. 17.2 Calibrating RIG KONTROL 2 Unlike RIG KONTROL 1, RIG KONTROL 2 calibrates itself automatically. However, if you experience any problems with pedal calibration, simply press “Reset Pedal �alibration” in the Global menu. GUITAR RIG 2 – 117...

  • Page 118: Assigning Parameters To Midi �Ontrollers

    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. • �lick on Learn.

  • Page 119: Assigning Parameters To Midi Notes

    • 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.

  • Page 120: Interfacing Guitar Rig With Other Gear

    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.
  • Page 121 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.

  • Page 122: Using Guitar Rig 2 With A Host Program

    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...

  • Page 123: Avoid Zero-Latency Options

    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 —...
  • Page 124 • Add GUITAR RIG 2 as an Insert Effect. • You should now hear your input source being processed by GUITAR RIG 2. If you start recording, �ubase will record the unprocessed input source. Playing Live Through Sonar • Make sure there is no feedback loop from the host output back to the input.

  • Page 125: Automating Plug-In Parameters

    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. GUITAR RIG 2 – 125...
  • Page 126 • A dialog box appears that lists all controllable parameters in GUITAR RIG 2. �heck the boxes for parameters that should have envelopes, then click on OK. • Envelopes will now appear within the track, which you can edit using standard techniques: Double-click to create a breakpoint, click on a breakpoint and drag to change its value or position, etc.
  • Page 127 To record GUITAR RIG 2 knob movements as envelopes: • Right-click on the label “GUITAR RIG 2” that appears in the FX field, and select Arm Parameter. • A dialog box appears that lists all controllable parameters in GUITAR RIG 2. �heck the boxes for parameters you want to automate by moving their controls, then click on OK.
  • Page 128 • 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.

  • Page 129: Appendix A: Optimizing System Response

    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...

  • Page 130: What About Direct Monitoring

    However, note that ultra-low latency settings (or higher sampling rates) make your computer work harder, which may limit the number of �omponents you can add to GUITAR RIG 2 and still obtain audio that’s free of clicks, pops, or dropouts. So, here are some tips on living with latency.

  • Page 131: About Samples And Buffers

    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. GUITAR RIG 2 – 131...

  • Page 132: Warning: Different Types Of Asio

    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. 132 – GUITAR RIG 2...

  • Page 133: Tips On Minimizing Latency

    • Sometimes there are two latency adjustments: A �ontrol Panel for the sound card sets a minimum amount of latency, and the host can increase from this value if needed. Or, the host may “lock” to the control panel setting. GUITAR RIG 2 – 133...

  • Page 134: Appendix B: About Midi

    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).

  • Page 135: About Program �Hanges And Bank Select

    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).
  • Page 136 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.

  • Page 137: Appendix C: Tips On Creating Your Own Rig

    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 �omponents in any way you like. This section gives some guidelines on which effects should follow or precede other effects in the signal chain.

  • Page 138: The All-Important First Effect

    “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. 138 – GUITAR RIG 2...
  • Page 139 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. GUITAR RIG 2 – 139...

  • Page 140: Parallel Effects

    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. 140 – GUITAR RIG 2...

  • Page 141: Appenidx D: About Ground Loops

    (for example, a barrier strip that feeds an A� outlet through a short cord). However, it is important to make sure that the A� source is not overloaded and is properly rated to handle the gear plugged into it. GUITAR RIG 2 – 141...

  • Page 142: Solution #2: The Broken Shield Effect

    A�, adding isolation transformers can solve various A�-related problems and get rid of ground loops. If you just have a simple ground loop problem, then patching in audio isolation transformers may be all you need. 142 – GUITAR RIG 2...

  • Page 143: Index

    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 GUITAR RIG 2 – 143...
  • Page 144 FP/BPF/HPF ......82 Freq1......... 78, 79 Freq2 ........ 78, 79 Knee ........94 Freq Max ......... 84 Freq Mid ........83 Freq Min ........83 Frequency ......106 Layout ........12 Fuzz ........58 Lead 800......... 53 144 – GUITAR RIG 2...
  • Page 145 MIDI ....... 117, 134 Play Button ......101 MIDI �ontrol ......41 Play Vol ......... 102 MIDI �ontrollers ...... 118 Plexi ........51 MIDI Notes ......119 Plug-in ........9 MIDI Synchronization ....119 Polarity ........109 GUITAR RIG 2 – 145...
  • Page 146 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 ........69 146 – GUITAR RIG 2...
  • Page 147 Treble ....46, 49, 51, 52, 53, ..... 55, 56, 58, 59, 60, ....62, 63, 64, 65, 69, 98 Treble Booster ......66 Zero-Latency ......123 Tremolo ........68 Tube �ompressor ...... 93 Tune ........37 Tune Fork ......... 33 GUITAR RIG 2 – 147...

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