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Guitar Rig 3 Manual English PDF
Guitar Rig 3 Manual English PDF
GUITAR RIG 3 9
2.3 Standalone and Plug-in Mode
You can use GUITAR RIG 3 in two different ways: run it as a stand-alone
application or plug it into your favourite sequencer. This section will intro-
duce you to both modes.
2.3.1 About Standalone Mode
GUITAR RIG 3 can function as a guitar processing setup all by itself, with-
out needing anything other than a computer and audio in and out. Only a
few steps are neccessary to get you started:
Turn off Direct Monitoring (please refer to Appendix A)
Open the GUITAR RIG 3 program, and select the computers audio
input as GUITAR RIG 3s audio input.
Plug your guitar (using RIG KONTROL, as described later, or a preamp)
into the computers audio input.
Select the computer audio output as GUITAR RIG 3s output.
Patch the computers audio output into your amplifcation system (gui-
tar amp, mixing console, PA system, etc.).
However, the built-in audio in most Windows machines is not studio qual-
ity, and there will be audible latency (time delay) between the time you
play a note and when you hear it come out of the computer. Latency is
frustrating, because were used to hearing a sound 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.
GUITAR RIG 3 10
If you are not using the RIG KONTROL 3 audio inter face,
NATIVE INSTRUMENTS advises you to use an audio interface or sound
card designed specifcally for audio applications. These are higher quality,
and include drivers (software that transfers data from the audio interface
to the computer) optimized for minimum delay. This will ensure that you
have a much more pleasurable musical experience.
The Audio/MIDI Setup Window
In standalone mode, simply choose the appropriate inputs and outputs by
visiting the preferences screen to bring up your audio setup.
GUITAR RIG 3 11
2.3.2 About Plug-in Mode
In this mode, GUITAR RIG 3 works in conjunction with a host program,
like GarageBand, Cubase, Apple Logic, Pro Tools, Live, Sonar, Digital
Performer, Tracktion, and so on. It inserts into the programs mixer, like a
virtual effect. Audio passes through the computers sound card into the
host program, which feeds it into GUITAR RIG 3. The hosts output then
proceeds to a hardware output, which goes to your amplifcation system.
As with standalone mode, an audio-oriented sound card is highly recom-
mended to avoid the latency involved in going through the host program
and computer.
GUITAR RIG 3 is inserted in Apple Logic to process a guitar track while being automated
under host automation.
GUITAR RIG 3 12
2.4 The RIG KONTROL foot controller
The RIG KONTROL 3 hardware which is included in the GUITAR RIG 3
KONTROL EDITION has an expression pedal, nine 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 func-
tions within GUITAR RIG 3 for hands-off, real-time control.
2.5 Caution
Guitar pickups are very susceptible to hum, light dimmer hash, and the
interference generated by computers and monitors. LCD monitors create
less interference than CRT types, and humbuckers are less likely to pick
up interference than single coil pickups. Piezo pickups, like those used in
the Line 6 Variax, do not pick up this interference.
As you play with GUITAR RIG 3, always position your guitar so it picks up
the least amount of interference. GUITAR RIG 3s Noise Reduction can
help get rid of some interference, but it is not a substitute for orienting
your guitar away from sources of interference.
Also, as amazing as GUITAR RIG 3 is, it cannot compensate for problems
at the guitar. For example, if you have dead strings, the Compressor will
not magically make them sustain.
GUITAR RIG 3 13
2.6 Get creative!
Once GUITAR RIG 3 is open and communicating with the audio interface
and/or host, the real fun begins. Unlike a hardware rack, you arent lim-
ited by a fxed number of effects in particular positions. You can place
the various GUITAR RIG 3 Components in any order even create parallel
processing paths and then save your favorite confgurations for later re-
call. You can create multiple rigs for blues, hard rock, and a few more for
bass. You can even create a rig for rehearsingthere are no limits, other
than your computers processor speed (and your imagination).
There is one caution: The huge variety of options means its possible to set
up some combinations of effects and settings that dont sound all that great.
If youre working with a sound and arent satisfed with it, try different cabi-
nets, mic positions, and the like until you hit the sweet spot. Also, save
frequently not necessarily because your computer might crash, but be-
cause its easy to overtweak a sound and youll wish youd kept an earlier
version. GUITAR RIG 3 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 3 also includes two hard disk recording Components called
Tapedecks. One is optimized to load audio fles 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 what youre playing, or overdubbing new parts
overtop of parts youve already played. A tuner and metronome keep you
in tune and on time. GUITAR RIG 3 is more than just a signal shaper its
a complete system for processing, and enjoying, your guitar.
GUITAR RIG 3 14
3. Using GUITAR RIG
GUITAR RIG was designed to be as easy to use as possible. It was also
designed to be very powerful. We have done so by designing a sleek inter-
face that combines all of the KNOBs and controls youre used to seeing in
real life, alongside the power and organization of a powerful piece of soft-
ware. This section is the broad overview of how to use GUITAR RIG. For a
more detailed look at the software in every minute detail, please consult
the reference section later in this manual.
3.1 Interface navigation
In order to get around GUITAR RIG with ease, youll want to know every-
thing you can about the visual interface to the software. The interface is
broken into fve main parts and we will detail them for you in the next
sections.
3.1.1 Global Header
The GLOBAL HEADER is a collection of the most important controls of
GUITAR RIG 3. It contains your input and output settings, as well as con-
trols for the audio engine and CPU controls. Its unique in that no mat-
ter what mode youre in (rig view or live view) the global HEADER is always
visible.
GUITAR RIG 3 15
The Global Header
The LIVE VIEW BUTTON switches the interface to the new LIVE MODE, which
is detailed in section 3.1.6.
3.1.2 Toolbar
The TOOLBAR in GUITAR RIG 3 is your one-stop-shop for controlling the most
frequently used parts of GUITAR RIG. In the TOOLBAR, you can view and
change Presets, SAVE them, as well as COMPARE various Presets while edit-
ing and even clear your whole rack with a single click. Its the TOOLBAR
that you will also access the newly enhanced SYNC settings.
The Toolbar
3.1.3 SideKick
The SIDEKICK includes the remainder of GUITAR RIGs viewing options. Here,
you can access the SOUND BROWSER/MANAGER, which is where youll fnd, store,
create, search and flter all of your sounds and Banks. The COMPONENTS POOL
contains all of the individual rack modules in GUITAR RIG 3. The OPTIONS
SCREEN controls all of the RIG KONTROL, and external assignments for auto-
mation, and PREFERENCES for setting up GUITAR RIG, such as window height,
the location of its Bank storage and other program details.
The SideKick The SideKick
GUITAR RIG 3 16
3.1.4 Hiding/Showing The SideKick
From the main GUITAR RIG screen, you can hide or show the SideKick by
clicking on the following Button:
Follow the white circle to hide/show the SideKick
Alternately, you can use the keyboard shortcut F2 to hide and show it.
GUITAR RIG 3 17
3.1.5 The Rack
The rack is where you will build your custom rigs. Using your mouse,
its easy work to drag and drop Components from the Components pool
into the rack to make your ultimate sound. The rack also houses the four
fxed Components: TUNER, METRONOME, TAPEDECK I and TAPEDECK I|. You can
remove COMPONENTS from the rack by clicking the particular COMPONENTS
X BUTTON. Rearrange the rack by dragging selected COMPONENTS into any
order you choose.
3.1.6 Live View
The new LIVE VIEW is perfect for taking your GUITAR RIG onstage with your
laptop computer. This view consolidates and magnifes the following ele-
ments for easy viewing across a stage:
Toolbar (Input/Output and CPU meters)
Sound List
Preset Name and Number
Metronome, Tuner, and Loop Machine Access
Large RIG KONTROL Display with Enlarged Assignment Text
You can toggle in and out of the live mode by clicking on the LIVE MODE
BUTTON, on the toolbar or with the key command F1.
GUITAR RIG 3 27
Project Studio Mixer
The RIG KONTROL 3's outputs should feed the mixers line, not mic, in-
puts. If only mic inputs are available, you may need to switch the mixers
20db pad into position. It may also be necessary to switch the RIG KON-
TROL 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, the GUITAR RIG 3 system can be used as a
highly sophisticated pedal board. First, make sure that the rear panel high/
low switch is set to 14dB. You may also need to lower the RIG KONTROL
3's OUTPUT LEVEL CONTROL to avoid excessive overloading of the amp then
again, using a higher level to overload the amp may provide that extra de-
gree of overload you are looking for.
As the amp already has a cabinet, you will probably want to choose to
omit a cabinet. A power amp may also be redundant, unless you want to
use it as an added effect.
Standard Guitar Amp With Effects Loop
The effects loop for most amps is designed to accommodate line-level (as
opposed to guitar-level) signals. In this case, connect the loop send jacks
to the RIG KONTROL 3's inputs, and send the RIG KONTROL outputs to
the loop return (receive) jacks. As the signal coming into GUITAR RIG 3
GUITAR RIG 3 28
will be fairly strong, the input gain control(s) will most likely need a mini-
mal amount of gain. Adjust GUITAR RIG 3s output so that the power amp
that follows the loop return jacks is not overloaded. You may need to set
the rear panel high/low switch to low (-14dB).
Keyboard Amp
These are actually ideal for use with GUITAR RIG 3, as they are designed
to give an uncolored, high-fdelity sound. Thus, you can use GUITAR RIG 3
to add different cabinets, power amps, and effects, and the keyboard amp
will reproduce these sounds faithfully. Keyboard amps are designed to ac-
cept fairly high-level signals, so you will probably need to set the output
level fairly high, and the high/low switch to high (0).
Headphones
Simply plug headphones into the RIG KONTROL 3 headphone jack.
Home Stereo System
Home stereo speakers are generally not designed to handle sustained high-
level sounds, so if you do want to plug into a stereo system, keep the vol-
ume at conservative levels. Plug the RIG KONTROL outputs into line level
inputs like those for a CD or DVD player, tuner, tape deck, etc. (not the
phono input, if present). You may need special cables or adaptors which
provide a 1/4 plug on one end and RCA phono plug on the other.
GUITAR RIG 3 29
3.6.1 Using GUITAR RIG with a Host Program
You can use GUITAR RIG within a host program, like Logic, Cubase, or
Live. To do so, set up an audio track and insert GUITAR RIG as an effect.
Record enable the track GUITAR RIG is inserted on, and your sound will
be routed through GUITAR RIG, and out to the selected audio interface.
You can use your RIG KONTROL to control GUITAR RIG even if you havent
previously selected it as your audio interface.
3.6.2 Installing GUITAR RIG as an Effect
Although some programs will allow you to install GUITAR RIG 3 as an in-
strument (this is because your program works with both audio and MIDI)
you will defnitely want to install it as a signal processing plug-in. Insert
GUITAR RIG 3 on audio tracks using VST, AU or RTAS plug-ins.
3.6.3 Avoid Zero-Latency Options!
As mentioned earlier, remember to avoid zero-latency (direct monitoring)
options, or you wont hear your guitar being processed by GUITAR RIG 3.
3.6.4 Total Recall
When using GUITAR RIG 3 within a host program, it is important to keep
in mind that when you save a hosts project, it will capture whatever is in
GUITAR RIG 3s buffer. So, if you have modifed a Preset as compared to
how it is stored in the Bank, dont worry when you recall the project, the
Preset will be recalled exactly as you left it.
!
The latency in a host pro-
gram is designated by
the host program, so make sure to
access the audio settings in your
host of choice to control your la-
tency/buffer size.
!
The latency in a host pro-
gram is designated by
the host program, so make sure to
access the audio settings in your
host of choice to control your la-
tency/buffer size.
GUITAR RIG 3 30
3.7 Controlling Multiple Plug-ins with a RIG KONTROL
When you use multiple instances of the GUITAR RIG plug-in within your
host sequencer, the RIG KONTROL only binds to the frst instance of
GUITAR RIG. It has no way of automatically switching its control from one
plug-in instance to another automatically. To switch RIG KONTROLs fo-
cus to another instance of GUITAR RIG, bring up its plug-in interface and
make sure that the is shown. On the , there is a small LED with the text
ACTIVE next to it. You must click on the LED, (this makes it glow red) and
enables the RIG KONTROL to control the desired plug-in.
3.8 Automating Plug-In Parameters
Automating plug-in parameters is super easy in GUITAR RIG! Each
Component has been previously confgured to the same automation ID. This
means that, for example, in your host, you will see the complete range of
modules available to GUITAR RIG as choices, whether they are in your cur-
rent Preset or not. This makes it much simpler to automate parameters as
they will never change their plug-in automation ID. A good example of this
is that Parameter one will always be the Virtual RIG KONTROL Pedal.
The main beneft of this is most obvious when you change Presets con-
taining the same Component, even though you can keep automating the
Component throughout the Preset change, there will never be glitches or
hiccups in the automation stream.
RIG KONTROL Active Status RIG KONTROL Active Status
GUITAR RIG 3 31
Here is an example of how to automate parameters in Apple Logic Pro.
In the view menu, turn on track automation for the selected track. Apple
Logic will change the view of the track from this:
Apple Logics Default Track View
To this:
Apple Logic Displaying Track Automation
GUITAR RIG 3 32
To add automation, select where it says volume and navigate to the GUITAR
RIG menu. You will see the full list of COMPONENTS fnd and select the
parameter you want to automate from the list. Use the pencil tool to draw
automation by hand, or change the track to latch or touch mode and move
the control with either your RIG KONTROL 3 or your mouse. Automation
will be recorded automatically as you play the track back. To add mul-
tiple automation tracks, select the arrow at the bottom left corner of the
track (small black triangle) to add another track. Adjust its parameter to
the control youd like to automate and keep going. You can automate, as
many things as you wish. After some automation, your tracks will resemble
the following:
GUITAR RIG 3 33
Multiple Automated Controls in Apple Logic Pro
Even though this example illustrates Apple Logic Pro, all other DAW software
operates in a similar fashion. Please refer to the documentation for your
software for more information on the specifcs of your host automation.
%
You can now even auto-
mate the action of the
eight RIG KONTROL buttons (they
show up as automation parameters),
so you can do snapshot, sound and
bank changes easily within your
software.
%
You can now even auto-
mate the action of the
eight RIG KONTROL buttons (they
show up as automation parameters),
so you can do snapshot, sound and
bank changes easily within your
software.
GUITAR RIG 3 34
4. Reference
Now comes the fun part! This part of the manual is devoted to the fne
detail of GUITAR RIG. If you want to know the function and assignment of
every single knob, switch and button on the GUITAR RIG 3 user interface
and Components list, this is the section for you.
4.1 User interface layout
The user interface is divided into four main areas:
Global Header
SideKick
ToolBar
Rack
The Interface Exposed!
GUITAR RIG 3 35
Each area is responsible for a specifc task in guitar rig. Some areas, like
the SIDEKICK can change between views based on what tab the user se-
lects. The only interface that never changes is the GLOBAL HEADER. This is
the best place to really dive in and discover GUITAR RIG 3.
4.1.1 Global Header
The GLOBAL HEADER is a global list of the most important features of
GUITAR RIG 3. Its unique in that no matter what mode youre in (RIG
VIEW or LIVE VIEW) the HEADER is always visible.
Input Section
NI Logo
CPU Control
Live Mode Output Section
The LIVE MODE Button switches the interface to the new LIVE VIEW mode,
which is detailed in section 4.
The INPUT SECTION allows global control of all audio inputs coming into
GUITAR RIG and provides accurate visual metering of your input signals.
The OUTPUT SECTION allows global control of all signals coming out of GUITAR
RIG and proves visual metering of all output levels.
The CPU CONTROL merges several individual controls into a single, easy-to-
use CPU dashboard: The CPU UTILIZATION DISPLAY shows the amount of CPU
power GUITAR RIG 3 currently uses (from 0 to 100 percent).
!
When no audio driver is
s el ect ed, t he CPU
Utilization Display shows the word
OFF. If a CPU overload occurs,
the CPU Utilization Display shows
OVER, and the Power Button (see
below) turns red, to indicate that
GUITAR RIG 3s audio engine has
been disabled. In order to continue
working, you should disable some
Components in the Rack to save
some CPU power. After this, re-ac-
tivate the audio engine by clicking
the Power Button.
!
When no audio driver is
s el ect ed, t he CPU
Utilization Display shows the word
OFF. If a CPU overload occurs,
the CPU Utilization Display shows
OVER, and the Power Button (see
below) turns red, to indicate that
GUITAR RIG 3s audio engine has
been disabled. In order to continue
working, you should disable some
Components in the Rack to save
some CPU power. After this, re-ac-
tivate the audio engine by clicking
the Power Button.
GUITAR RIG 3 36
To the left of the CPU UTILIZATION DISPLAY is a convenient POWER BUTTON,
which disables GUITAR RIG 3's audio engine and switches the Rack to
Bypass mode. Click here if you want to listen to the unprocessed input
signal that GUITAR RIG 3 is currently receiving. The POWER BUTTON can be
useful if you use GUITAR RIG 3 in a host software that does not provide
a bypass function on its own. When GUITAR RIG 3 is switched to Bypass
mode, the CPU UTILIZATION DISPLAY shows "BYP" (for Bypass) instead of a
percentage.
Finally, a toggle for High Quality Mode can be found to the right of the
CPU utilization display. HIGH QUALITY mode allows GUITAR RIG 3 to process
its internal audio at twice the normal rate, which leads to a more detailed
sound. The only downside is that it uses twice the CPU power; so watch
the CPU meter when in High Quality Mode.
The NI COMPANY LOGO not only signifies GUITAR RIG as a NATIVE
INSTRUMENTS product, but also provides a portal to the About GUITAR
RIG menu selection. In the resulting dialogue box, you will fnd information
about your currently installed version of GUITAR RIG and other details about
your system and installation. To dismiss the About Window, click anywhere
in the GUITAR RIG interface to return to GUITAR RIG.
4.1.2 Toolbar
The TOOLBAR in GUITAR RIG 3 is your one-stop-shop for controlling the
most frequently used parts of GUITAR RIG.
GUITAR RIG 3 37
The PRESET DISPLAY provides a quick look at the number and name of the
currently selected sound.
The PREVIOUS/NEXT arrows let you switch back and forth between Presets in
the Bank youve currently loaded.
The SAVE BUTTON allows you to save a Preset once its been modifed from
its original state. Once you engage this Button, it will write over the Preset
at the current location.
The SAVE AS BUTTON allows you to save a Preset to a new location and
change the name of the Preset at the same time. This is useful when you
want to modify a pre-existing sound without losing the original sound per-
manently. The new sound will automatically be saved at the end of the
currently selected Bank.
The COMPARE BUTTON allows you to compare your changes to the currently
edited Preset with the original, saved Preset. This allows quick A/B style
comparisons without the need to save your edits. The COMPARE BUTTON will
continue to toggle back and forth between edited and saved Presets as
long as changes have been made to the currently used Preset. Once you
SAVE or SAVE AS, you will not be able to compare Presets until you make
changes to the Preset.
The CLEAR BUTTON quickly removes all Components (except the fxed
Components) from your rack. Use this to start a rig from scratch and
build it with your own Components.
The SYNC section controls all levels of synchronization within GUITAR RIG 3.
Since synchronization can come from external sources, DAW host clock, or
internal GUITAR RIG Components, this fexible section allows you to select
how GUITAR RIG synchronizes with the outside (or inside) world.
GUITAR RIG 3 38
The three available sync settings are as follows:
FREE: This effectively turns your sync off and does not allow sync set-
ting from a host, external clock or Preset in the currently selected
sound. The metronome can run freely at whichever tempo you set.
SOUND: The sync information is contained within the Preset itself. There
is no longer any need to manually change the metronome tempo be-
tween songs. Synced delays and modulations are reloaded as you saved
them.
SYNC: The sync comes from the host (in plug-in) mode or external
MIDI-clock (in standalone mode).
The TAP CONTROL allows you to set the current tempo by tapping the Button
with successive mouse presses. It is also possible to dial in your exact BPM
with the Up And Down Arrows, or clicking in the numerical feld and adding
your own value. When you are in sync mode, these buttons are disabled.
The RIG KONTROL BUTTON toggles the expanded RIG KONTROL View at
the bottom of the guitar rig screen. Showing the RIG KONTROL SCREEN
will allow you to view the currently confgured state of the RIG KONTROL
buttons, and change/assign controls to any of the RIG KONTROL switches
or expression pedals for the currently active Preset.
The next four buttons will show/hide the following four fixed
Components:
TAPE DECK ONE (Pre-Processing)
TAPE DECK TWO (Post-Processing)
TUNER
METRONOME
GUITAR RIG 3 39
Lastly, MINIMIZE/MAXIMIZE BUTTONs allow you to globally expand (to show
more detail) or contract (show less detail) all of the Components in your
rack with a single click.
4.1.3 SideKick
The SIDEKICK includes the rest of GUITAR RIGS viewing options. The TOOLBAR
and RACK take up the right side of the guitar rig interface, while the SIDEKICK
(when shown) takes up the left side of your screen. The SIDEKICK can be
hidden or shown at any time by pressing the Button on the GUITAR RIG
interface.
Banish your SideKick
GUITAR RIG 3 40
The SIDEKICK includes access to the following screens and options within
GUITAR RIG:
The BROWSER is a collection of four sub-screens that provide you access
and control over your sounds.
The SOUNDS PANE provides access to your sounds and Banks of sounds. The
window is split vertically with the Banks appearing on top and the sounds
contained within the Bank on the bottom.
The ATTRIBUTES PANE allows you to specify different searchable attributes
about your sounds, such as: Sound Name, Author, Info, and tags based on
Style, Tone and Instrument to make locating sounds easier.
The SEARCH PANE allows you to easily search your Presets based on the
criteria entered in the attributes page. You can even search for sounds
based on Bank category.
The RESULTS PANE is where youll head after youve made your search. Here you
will fnd listed any and all matching sounds based on your search criteria.
The COMPONENTS POOL houses all of the COMPONENTS you can drop into your
virtual RACK. The COMPONENTS POOL has the following sub-categories: AMPS,
DIST, MOD, EQ, VOL, REV, TOOLS and MDF.
The OPTIONS TAB houses the various options and settings within GUITAR
RIG, and is separated into two sub-views:
The CONTROLLER ASSIGNMENTS PANE is where you can setup and manage as-
signments to your RIG KONTROL and external MIDI devices, set param-
eters as global or per-Preset, save controller Templates and import and
export saved controller assignments.
The PREFERENCES window is where you can set some global preferences for the
GUITAR RIG application and plug-in. Elements like window height adjustment,
Preset Banks directory and RIG KONTROL calibration can be found here.
The Attributes Pane The Attributes Pane
%
Since sound management
is such an important fea-
tures in GUITAR RIG 3, we have
devoted a more detailed section to
it: section 4.2 in this reference.
Section 4.5 will detail all of the choic-
es in the COMPONENTS tab along
with detailed descriptions of the indi-
vidual COMPONENT modules.
%
Since sound management
is such an important fea-
tures in GUITAR RIG 3, we have
devoted a more detailed section to
it: section 4.2 in this reference.
Section 4.5 will detail all of the choic-
es in the COMPONENTS tab along
with detailed descriptions of the indi-
vidual COMPONENT modules.
GUITAR RIG 3 41
4.1.4 The Rack
The rack houses all of the Components for GUITAR RIG. Its your drop
and rock section of the GUITAR RIG interface. The rack, at its minimum
will house the input and output fxed Components. These modules cannot
be removed from the rack.
To add items to the rack, use your mouse to click and grab a Component
from the Component pool and just drop it onto the rack. The location of
your drop will infuence the signal fow of your rack.
When you drag an amplifer Component into the rack, GUITAR RIG will
create the MATCHING CABINET for the amplifer automatically. You can always
remove the cabinet, or change it to the CABINET & MICS by dragging that
Component after the amplifer.
RACK COMPONENTS have the following controls for altering their appearance
when inside the rack:
X: This button will remove the Component from the rack permanently.
-: This button will minimize the Component controls, only showing its
name.
+: This button will expose the expert controls for the Component if
available.
To reorder items in your rack, simply click and drag the Component to the
desired location.
If your rack becomes too long to view in one window, use the scrollbars on
the right side of the rack to scroll through your rig.
There is no limitation on how many Components can reside in your rack;
the only limitation is the power of your CPU.
%
Section 4.3 provides a
fully detailed look at all
the functions of the controller as-
signments and preferences tab.
%
Section 4.3 provides a
fully detailed look at all
the functions of the controller as-
signments and preferences tab.
The Rack The Rack
GUITAR RIG 3 42
4.2 Sound Management
The SIDEKICK browser pane is where youll fnd GUITAR RIGs collection
of tools for managing your sounds. The browser is split into four panes:
SOUNDS, ATTRIBUTES, SEARCH and RESULTS.
4.2.1 Bank Operations
In the SOUNDS PANE, the top part of the interface is devoted to Banks. Banks
are collections of sounds that can contain up to 128 different Presets.
There is no limit to how many Banks you can have within GUITAR RIG.
The Bank section has three main elements:
BANK CATEGORY SELECTOR
BANK MENU
THE BANK LIST
The BANK CATEGORY SELECTOR allows you to flter your Banks based on the
following Bank categories:
All
Guitar Amps
Bass Amps
Artist Sounds
Signature Sounds
Styles
FX
Live
My Sounds
!
The various Bank catego-
ries are only available in
GUITAR RIG 3. Other variations of
GUITAR RIG offer only one Bank
category.
!
The various Bank catego-
ries are only available in
GUITAR RIG 3. Other variations of
GUITAR RIG offer only one Bank
category.
GUITAR RIG 3 43
All factory Banks come pre-tagged with one of the seven Bank categories.
Newly created Banks will, by default, have the tag my sounds, when
they are created without a set flter. If a Bank is created with a flter en-
gaged, then it will automatically be tagged with the current flter. You can
always re-tag BANK CATEGORIES using the context menu or the BANK DROP
DOWN MENU.
The BANK DROP DOWN MENU gives you access to the following commands:
New: Create a new, empty Bank
Save As: Save the currently selected Bank with a new name and loca-
tion. This duplicates the currently selected Bank with a new name.
Import: Import a saved Bank into GUITAR RIG.
Export: Export the currently selected Bank to disk.
Rename: Rename the currently selected Bank
Protect: Protect the currently selected Bank from being edited or ac-
cidental deletion.
Category: Tag the currently selected category with a Bank category
based on the seven available Bank category choices.
Remove Bank: This removes the Bank permanently from your hard disk.
Refresh Bank List: This refreshes the Bank list.
From within the Bank window you can perform the following operations:
Double click the name of any Bank to rename it.
Click and drag the Bank to reorder the Bank list.
The following contextual menu is available to any Bank using a right-click
or (command-click on Mac):
GUITAR RIG 3 44
The Bank Contextual Menu
4.2.2 Sound Operations
The SOUNDS PANE is the lower half of the sounds window. It contains all of
the sounds within the currently selected Bank. The sounds window has
three main sections:
BANK NAME DISPLAY
EDIT PRESET MENU
PRESET LIST
The BANK NAME DISPLAY will always show the name of the Bank for the cur-
rently selected sound.
The EDIT SOUND MENU is comprised of the following commands:
New: Creates a new, empty Preset at the end of the list.
Save: Saves the currently selected sound
Save As: Saves the currently selected sound to the end of the list.
Cut: Cut the currently selected Preset or Preset text.
GUITAR RIG 3 45
Copy: Copy the currently selected Preset or Preset text.
Paste: Paste the currently copied or cut Preset to the current location.
Select All: Select all the Presets in the currently selected Bank.
Rename: Rename the currently selected Preset.
Undo: Undo the last action.
Redo: Redo the last action.
Remove Preset: Permanently delete the Preset from your hard disk.
Clean Up: Remove the free space from the currently selected Bank. It
will make your Preset list a single, contiguous entry.
The following contextual menu is available to any sound using a right click
or (command click on Mac):
The Sound Contextual Menu
GUITAR RIG 3 46
4.2.3 Useful Tips for Sounds
Here are a few useful tips for managing your sounds:
You can drag and drop a Preset from the sounds menu to any Bank in
the BANK LIST by simply dragging and dropping! The sound will auto-
matically move to the Bank you select at the end of the list of sounds
in that Bank.
You can Save As and direct that sound to save to a different Bank. The
minute youve changed a sound in any way, the SAVE BUTTON will be-
come illuminated, this way you know its different than the original.
You can now select a new Bank before pressing SAVE AS. This will
switch the Bank, but the sound will remain. Now when you press Save
as..., it will save into the new Bank.
4.2.4 Sound Attributes
Any sound can be further categorized for easier searching by using the
attributes pane.
The ATTRIBUTES WINDOW lets you set the following information for each sound:
Sound Name: The name of the currently selected sound.
AUTHOR: The special person who made the sound in the frst place
Modifed: The date the Preset was last modifed and saved.
Favorite: You can check off your favorite sounds with a check mark for
easier retrieval
Info: You can add additional information into your Preset, which can
be displayed when in LIVE MODE.
Style, Tone and Instrument: Classify your sounds according to the style,
tone and instrument the Preset is intended for.
&
Owners of previous ver-
sions: This is a new op-
eration in GUITAR RIG 3.
&
Owners of previous ver-
sions: This is a new op-
eration in GUITAR RIG 3.
CleanCountrySingle Coils???
Never!
CleanCountrySingle Coils???
Never!
GUITAR RIG 3 47
4.2.5 Search and Results
The SEARCH and RESULTS are two separate panes that react to one an-
other.
The SEARCH WINDOW allows you to search for Presets and sounds based on
the following criteria:
Quicksearch (A search based on any search criteria or keyword)
Name
Author
Category
Date Modifed
Style
Tone
Instrument
Favorite
Once youve entered the elements you want to search, press the FIND
BUTTON and youll be taken directly to the RESULTS PAGE. You will see any
and all matching sounds based on your search criteria. The RESULTS PAGE
contains the results SOUND LIST and the list of PRESETS of the currently se-
lected Bank.
You can return to the SEARCH PAGE for further searches. To speed your ability
to search for new sounds, use the RESET BUTTON. This restores the SEARCH
PAGE back to the default, blank page.
GUITAR RIG 3 50
RANGE: Use this to set the distance of control you would like to be
available when using a pedal, or other continuous controller with
GUITAR RIG 3. For example, you may not want to sweep through the
entire wet/dry mix of a reverb, perhaps you prefer to sweep through
20-50%. By adjusting the right to left handles, you can limit the range
of any control.
4.3.2 Special Operations
In the CONTROLLER ASSIGNMENTS WINDOW, you can set up a few special as-
signments that will make your life easier. We think you will fnd the new
snapshot feature is especially useful. When a controller is set to Sound, you
then have the option to set a snapshot to that controller in the drop down
menu. Simply confgure your rig as you want it and select Set Snapshot
to confgure that controller to a snapshot recall. You can either name the
snapshot from the or the CONTROLLER OPTIONS PAGE.
Additionally, when assigning controllers in Global mode, you may also
choose Sound Jump, this allows you to jump to a specifc Preset at any
point. To confgure this, set your assignment to Global and choose Jump
To in the SOUND SELECTION MENU.
Sound Jump Parameter
From this screen, you can specify which sound ID youre going to jump
to in the currently selected Bank. This is great when your sounds arent
always in a line!
GUITAR RIG 3 53
External Control in Action!
Simply press the LEARN BUTTON on each assignment and learn your ad-
ditional external MIDI controllers. You can assign similar types of com-
mands this way as you have done before with the VIRTUAL RIG KONTROL.
The main difference is that these external controllers will have no graphi-
cal representation on the Virtual RIG KONTROL these devices will fully
map to GUITAR RIG and work perfectly, but they will not mimic the VIRTUAL
RIG KONTROL. Everything you can map to the RIG KONTROL, as stated
in section 4.3.1, can be mapped to your external devices; this includes
Preset jump(s), Snapshots, and more.
GUITAR RIG 3 54
4.3.6 Preferences
The PREFERENCES WINDOW allows you to set a number of controls that affect
the operation of GUITAR RIG as either a standalone application, or as a
plug-in. Here is the window:
Choices, choices, and more choices
Starting at the top, this window gives you access to the following con-
trols:
GUITAR RIG 3 55
WINDOW HEIGHT: Use this control to set the height of the GUITAR RIG 3
window (in pixels). The window can either be Small, Medium or Large.
The actual dimensions of the medium and large sizes depend on the
physical display resolution of your monitor.
MIDI LEARN POPUP WINDOW: Toggles whether or not the MIDI Learn
Window will pop up after each MIDI assignment you make.
SHOW HELP HINTS: Allow or disallow mouse-over hints.
VIRTUAL RIG KONTROL STYLE: Using this menu, you can adapt the ap-
pearance of the Virtual RIG KONTROL to the RIG KONTROL hardware
you want to use with GUITAR RIG 3. Choose between RIG KONTROL
3 and RIG KONTROL 2.
RIG KONTROL 1: To use GUITAR RIG 3 with a RIG KONTROL 1, select
On from this drop-down list. If you do not want to use a RIG KONTROL
1, select Off (which is the default).
RIG KONTROL PEDAL PARAMETER MODE: Determines how GUITAR RIG 3
handles pedal-controlled parameters when a Preset is loaded. If you
want GUITAR RIG 3 to use the parameter value stored with the Preset,
select Preset from the menu. If you want GUITAR RIG 3 to set the pa-
rameter to the value it currently receives from the pedal, select Pedal.
RIG KONTROL PEDAL CALIBRATION: If your RIG KONTROL pedal does not
behave as intended, click RESET to recalibrate the movement of the
pedal.
RIG KONTROL EXT. PEDALS CALIBRATION: If the external pedals connect-
ed to your RIG KONTROL do not behave as intended, click RESET to
recalibrate the movement of the pedals.
GUITAR RIG 3 56
RIG KONTROL 3 EXT. PEDAL 1 MODE: Use this menu to adapt the be-
havior of the RIG KONTROL 3s external pedal/footswitch inputs to
your pedal or footswitch. For expression or volume pedals, select Pedal
- Tip Active or Pedal - Ring Active, according to the pedals signal
curve. For footswitches, select Switch - Closing or Switch - Opening,
depending on whether you want the footswitch to enable or disable the
GUITAR RIG 3 parameter it is assigned to.
RIG KONTROL 3 EXT. PEDAL 2 MODE: Same as above, but affects ex-
ternal pedal/footswitch input 2.
EXTERNAL SWITCH MODE: Using this menu, you can specify how GUITAR RIG
handles control signals from external hardware controllers. Select Toggle
if your hardware controller sends MIDI value 127 while the footswitch is
held down and returns to MIDI value 0 as soon as you release the foot-
switch. Select Switch if your footswitch does not switch to MIDI value 0
unless you press it again.
CHOOSE Sound Banks Directory: Here you can select a new directory to
save and access your Banks and sounds (if necessary).
4.3.7 Calibrating the RIG KONTROL
If you fnd that the RIG KONTROL's expression pedal is no longer cali-
brated properly, click the RESET BUTTON, on the Options Preferences
screen. Doing so will prompt you to move the expression pedal on your RIG
KONTROL through its full range of motion. This will internally recalibrate
the range of the expression pedal back to normal.
%
On many footswitches you
can toggle the polarity of
the switch. This enables you to select
whether the switch closes or breaks
the electrical circuit. The same goes
for some volume or expression ped-
als, on which you can invert the signal
curve. If your device does not provide
such an option, you should at frst
determine which polarity it is set up
for; then select the appropriate option
in GUITAR RIG 3.
%
On many footswitches you
can toggle the polarity of
the switch. This enables you to select
whether the switch closes or breaks
the electrical circuit. The same goes
for some volume or expression ped-
als, on which you can invert the signal
curve. If your device does not provide
such an option, you should at frst
determine which polarity it is set up
for; then select the appropriate option
in GUITAR RIG 3.
GUITAR RIG 3 57
4.4 Live View
The Live View is a new addition to GUITAR RIG 3. Pressing on the LIVE VIEW
BUTTON in the GLOBAL HEADER takes you to the Live View screen:
The Live View
The Live View has three main Components:
A list of the Sounds that are available in the currently selected Bank
(upper left).
The multi-function display shows you the currently selected SOUND. It
also displays any additional information about the active SOUND, or one
of the three screens described below (METRONOME, TUNER or LOOP MACHINE).
The supersized and it's mapped parameters.
1.
2.
3.
GUITAR RIG 3 58
Metronome, Tuner and Loop Machine
You can change the view between Metronome, Tuner and Loop Machine
simply by clicking on the buttons labeled METRONOME, TUNER and LOOP
MACHINE in the interface. Bring the sound info back by pressing its super-
sized name in the sounds window.
Showing the Metronome
Showing the Tuner
Showing the Loop Machine
%
The Loop Machine is only
available if it has been
inserted into your currently selec-
ted rig.
%
The Loop Machine is only
available if it has been
inserted into your currently selec-
ted rig.
%
If you set the window size
to a larger view, you can
also display the info text about the
Preset along with the metronome,
tuner or loop machine views. At the
smallest view, you will only see ei-
ther the ADDITIONAL PRESET INFO,
the TUNER, METRONOME or LOOP
MACHINE.
%
If you set the window size
to a larger view, you can
also display the info text about the
Preset along with the metronome,
tuner or loop machine views. At the
smallest view, you will only see ei-
ther the ADDITIONAL PRESET INFO,
the TUNER, METRONOME or LOOP
MACHINE.
GUITAR RIG 3 59
When your trigger functions from the RIG KONTROL (like the TUNER,
METRONOME or LOOP MACHINE functions) the display will automatically switch
to the correct window. If you have multiple LOOP MACHINES in your rig, then
you can select them using the right and left arrows in THE LOOP MACHINE
view.
The fnal section is the full sized VIRTUAL RIG KONTROL, This is where you
can view your assignments:
The beauty of LIVE VIEW is that it provides you quick access to the most
commonly used features of GUITAR RIG and does so in a supersized
view for easy viewing from the stage. Even the RIG KONTROL buttons and
assignments are clearly visible.
4.5 Components and Parameters
To customize GUITAR RIG 3 for your own unique sound, you need to un-
derstand how the available effects parameters infuence what you hear.
Heres the easy way: Drag in an effect, select a parameter, change it, and
listen to what happens. After a bit of listening, you will understand each
parameter's function.
However, as fun as it is, trial-and-error can take some time, so this sec-
tion describes each effect, its parameters, and where appropriate, tips on
getting the most out of the particular effect.
%
To toggle in and out of
Live Mode, press F1. %
To toggle in and out of
Live Mode, press F1.
GUITAR RIG 3 60
4.5.1 Mono, Stereo, and Signal Flow
Unlike most guitar rigs that use only mono connections, GUITAR RIG 3
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 3s Components add stereo imag-
ing, 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 frst be converted to mono.
Cabinets
All amp head Components
All distortion Components
Ensemble
WahWah Pedal
TalkWah
Chorus/ Flanger
GUITAR RIG 3 61
Note that some effects are in both lists because they may convert stereo to
mono, then create a stereo feld 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 amplifer (see Appendix C for informa-
tion on effects placement). Therefore, youll end up with a stereo signal if
you place a stereo Component after a mono one.
However, be aware that if you follow stereo effects with a mono one, the
sound will no longer be stereo. Furthermore, when Chorus/ Flanger is in ste-
reo 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.
4.5.2 Display Controls
Each Component has one or more buttons in the upper right corner.
These are:
X: Removes Component from the rack
-: Minimizes the module to a single rack space panel (dont you wish hard-
ware rack gear could do this?)
+: Expands the Component to a larger size, and reveals more parameters
(expert or extended mode).
4.5.3 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.
GUITAR RIG 3 62
4.5.4 Saving and Loading Templates
All Components also have a common way of saving, selecting, and renam-
ing Templates (control settings for the Component) that can be saved
separate from a Preset. For example, if you come up with a great Quad
Delay effect and whish 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 feld, and select the Template.
To save a Template, frst name it by dragging over the existing name
in the name feld (or double-clicking on it). Type in the new name.
Next, click on the drop-down menu to the right of the name feld 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 feld and select
Overwrite.
To delete a Template entirely, select the Template to be deleted, then
click on the drop-down menu and select Delete.
GUITAR RIG 3 63
4.6 Fixed Rack Components
There are six fxed rack Components:
Input
Tapedeck One
Tapedeck Two
Tuner
Metronome
Output
These can be minimized or hidden (except the input and output
Components) to save space, but cannot be deleted. All signal processing
Components insert between the Input and Output.
4.6.1 Input Component with RIG KONTROL 2 or 3
This matches your instruments levels to GUITAR RIG 3. Hint: Always feed
in the highest possible levels (short of distortion) as indicated by the sig-
nal level meters getting as close as possible to the red (overload) without
actually hitting it.
GUITAR RIG 3 64
VOLUME sets the incoming level. Turn it up (clockwise) as high as possible,
short of the meter glowing red, (red indicates an overload). Then, turn the
control counterclockwise a bit to allow some headroom (clipping the sound
card input is a major sonic disaster). If the red LEDS still glow, reduce
the volume further.
If the accompanying LEARN BUTTON is activated (button pushed in),
GUITAR RIG 3 will set the optimum level automatically. After enabling LEARN,
play your guitar really hard so it generates the maximum possible level.
GUITAR RIG 3 will analyze this level, and adjust the VOLUME automatically.
After analysis is complete, the LEARN BUTTON pops out automatically.
The CHANNEL BUTTONS control how GUITAR RIG 3 reacts in single and dual
guitar modes:
1: GUITAR RIG 3 processes only the signal at RIG KONTROL 2 or 3
Input 1, and mutes Input 2.
2: GUITAR RIG 3 processes only the signal at RIG KONTROL 2 or 3
Input 2, and mutes Input 1.
BOTH: Sends both Inputs into GUITAR RIG 3.
The NR BUTTON toggles noise reduction on (button pushed in) or off (but-
ton out). The THRESHOLD control sets a level; signals above this level will
pass through the gate (the GATE LED is off). If the signal dips below the
threshold, then the gate closes (the GATE LED glows red). This is helpful
if your pickups are picking up any kind of low-level hum or buzz; set the
gate Threshold just above this noise, and when you arent playing, the gate
will not let the hum or buzz through. As soon as you start playing and the
signal exceeds the threshold, the gate will open; hopefully the signal will
be loud enough to mask the buzz.
GUITAR RIG 3 65
The Gates Learn function automatically sets an optimum threshold.
Without playing your guitar, click on LEARN. GUITAR RIG 3 analyzes your
signal, and sets the threshold just above any residual noise. Now when
you play, the Gate should open.
4.6.2 Input Component with RIG KONTROL 1
This works the same way as if youre using RIG KONTROL 2 or 3, with the
exception of the following additional functions.
The CHANNEL BUTTONS control how GUITAR RIG 3 reacts in single and
dual guitar modes, a feature associated with RIG KONTROL 1 (refer to
the original GUITAR RIG manual for information on RIG KONTROL 1).
1: GUITAR RIG 3 processes only the signal at RIG KONTROL Input 1,
and mutes Input 2.
2: GUITAR RIG 3 processes only the signal at RIG KONTROL Input 2,
and mutes Input 1.
BOTH: Sends both Inputs into GUITAR RIG 3. Do not use this mode
when using the RIG KONTROL 1, as youll also hear the control signals
coming out of the footswitches and pedal.
ON: Turns the RIG KONTROL Detection on/off (button pressed is on).
AUTO: Recommended when using RIG KONTROL 1, as GUITAR RIG 3
will automatically recognize the instrument plugged into Input 1, as well
as the RIG KONTROL control signals that appear in the other channel.
%
Note that mono modules
will mix these two signals
together.
GUITAR RIG 3 66
4.6.3 Output Component
This matches GUITAR RIG 3s levels to the next stage (mixer, amplifer,
PA system, etc.), and also lets you compensate for level variations among
different Presets.
PRESET VOLUME is saved with a Preset. Thus, if a Preset is louder than most,
you can trim down its volume or if its softer, then you can turn it up to match
the other Presets. NATIVE INSTRUMENTS recommends you leave this at the
mid-position unless you need to compensate for Preset level variations.
To set the Preset volume automatically, turn on the accompanying LEARN BUTTON
(button pushed in). Play your guitar really hard (without waking up your
neighbors!); GUITAR RIG 3 will analyze this level, and adjust the Preset level
automatically. When analysis is complete, the LEARN BUTTON pops out.
MASTER VOLUME sets the rigs overall level. Generally, this will be adjusted to
provide the desired amount of signal to the next stage, and not changed
unless GUITAR RIG 3 feeds something else.
The METER shows the output level. If the meters LEDs glow red, this in-
dicates an overload condition. Turn down the MASTER VOLUME slightly (or
PRESET VOLUME in the case of an unusually loud Preset). If they still glow
red, reduce the volume further.
The LIMITER SWITCH chooses how GUITAR RIG 3 will handle an overload con-
dition, as indicated by the red output light glowing red. Without Limiting
selected, overloads will exceed GUITAR RIG 3s headroom, resulting in dis-
tortion. With LIMITER selected, if an overload condition occurs, the limiter
GUITAR RIG 3 67
turns the volume down automatically to prevent distortion. When the light
goes out, the volume returns to normal. If limiting occurs often, turn down
the MASTER VOLUME or, with an excessively loud Preset, the PRESET VOLUME.
4.6.4 Tuner
For quick, accurate tuning, this is the module for you. You know what a
tuner is; heres how this one works.
The INSTRUMENT DROP-DOWN MENU defaults to Guitar, but you can also choose
Chromatic, Bass, four open tunings (D, E, G, A), and DADGAD tuning.
MUTE SOUND turns off the audio output, so you can tune without the audi-
ence listening in. In the standard RIG KONTROL Template, the MUTE SOUND
BUTTON is automatically mapped to an RIG KONTROL button. This is done
globally, but you can, of course, change this!
There are two tuning modes, as selected by the CENT BUTTON and STROBE
BUTTON located toward the right of the display:
In CENT mode, a small indicator shows whether the pitch is sharp (the
indicator foats to the right of the meters center 0 point) or fat
(indicator foats to the left of the meters center 0 point). The num-
ber 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.
%
This limiter acts more
like a fail safe, but its
sonic effects may not be desirable
to you. If you want to use limiting as
an ef fect, inser t the Limiter
Component into the rigs signal
chain.
GUITAR RIG 3 68
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 fat. 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 feld to the right of the TUNE FORK BUTTON, and drag up to raise
pitch and down to lower pitch. You can also use the ARROW BUTTONS
above and below the display to change the virtual tuning fork pitch
in semitone increments.
GUITAR RIG 3 69
4.6.5 Metronome
The METRONOME helps you keep time. It may not be the most exciting
Component within GUITAR RIG, but it is one of the most important as its
tempo affects every module within GUITAR RIG that has the ability to sync
(example: delays and modifers).
The METRONOME automatically receives its tempo information from the sync
section of the main toolbar. However, you can adjust the tempo and tap
from its interface.
POWER turns the audible metronome on.
The VOLUME SLIDER sets the loudness of the metronome.
MUTE temporarily stops the sound of the metronome.
SIGNAT. sets the time signature that the metronome pulses in. The METRONOME
METER MENU offers a ton of options for meters that you can select.
BPM is the readout of whatever the current sync tempo is.
#1 is the sound of the accented click, which appears on downbeats and
strong beat divisions. You can change the .wav fle that is played by click-
ing the arrow and selecting a different fle.
#2 is the unaccented click, which sounds on weak/off beats. You can
change its .wav sound by clicking the arrow and selecting a different
sound.
GUITAR RIG 3 70
TAP allows you to tap tempo either with your foot or with an assigned ex-
ternal controller (like the RIG KONTROL 3) to set your tempo. This control
is also found on the toolbar sync menu.
Since the Metronome is one of the fxed Components, you can only hide it
with the X BUTTON or minimize it with the BUTTON; it cannot be deleted.
4.6.6 Tapedeck One
Okay, it doesnt use actual tape, but its much cooler than a conventional
tape deck in a digital way. To start, this handy module will play your au-
dio fles as well as record while play. Its also capable of changing your
tempo during playback without changing pitch, changing the pitch without
changing the tempo, or even change both. This is great for learning licks
by slowing them down, or changing the tempo on backing drum loops an
d similar parts.
New
Play/Record
Mode
Tempo
(percent)
Tune
(cents) Hide
Minimize
Save
Load
Stop
Play
Record Volume Control
Transpose
(semitones)
Loop Level Meter
Play
Start
Loop
in
Loop
out
%
Tapedeck One will only
record the clean (unaf-
fected) guitar tone coming into gui-
tar rig. If you want to use the
Tapedeck as a recording device (like
a mini DAW) for your processed,
ultra-cool GUITAR RIG creation,
youll need to use Tapedeck two!
GUITAR RIG 3 71
Instead of describing each control of Tapedeck One individually, well cover
the function you want to accomplish with the Tapedeck, and describe how
to go about doing it.
4.6.7 Standard playback
To play back a fle, like a backing track or drum loop:
Click on the LOAD BUTTON, navigate to the fle you want to load, and
click on Open. Tapedeck accepts WAV, AIF, AIFF, and MP3 format fles
but will 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 specifc point in the fle, drag the PLAY START SLIDER to the desired
start point.
Adjust VOLUME to set the desired level. If the OUTPUT METERs red (distor-
tion) LEDs light up, reduce the Volume to prevent overload condi-
tions.
GUITAR RIG 3 72
4.6.8 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. The two basic ways to set up a loop are:
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 de-
sired, drag these to fne-tune the loop starting and ending 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.
4.6.9 Changing playback pitch and/or tempo
TRANSPOSE transposes pitch 12 semitones to +12 semitones.
TUNE provides fne tuning over the range of 50 cents to +50 cents.
TEMPO will change the playback speed from by as much as 50% of the
original tempo to as much as 150% of the original tempo.
GUITAR RIG 3 73
4.6.10 Recording
To record your playing:
Click on the NEW BUTTON in the lower left. This will automatically enable
record which you will recognize as the RECORD BUTTON is now pressed
in. If you have already created a new fle, you can just click on the
RECORD BUTTON.
The PLAY MODE BUTTON will change to a RECORD MODE BUTTON; select
either RECORD AT INPUT (records the input signal that feeds the RIG
KONTROL) or RECORD AT OUTPUT (the recorded signal includes any pro-
cessing thats set up in the rig).
Record mode is already enabled, so click on the PLAY BUTTON to initiate
recording.
After recording, click on the SAVE BUTTON, navigate to the folder where
you want to save the fle. Name the fle, and click on SAVE.
4.6.11 Tapedeck Two
Tapedeck Two is optimized for overdubbing and creating backing tracks or
riffs over which you can play. Its located just before the Output Component,
and therefore records whatever youre hearing from the rig. Its also very
%
Note that Loop mode
i s not available while
recording.
GUITAR RIG 3 74
handy if you just want to create a simple guitar track to share with others,
and you dont want to load a full DAW program to do so.
Controls are similar to Tapedeck One, except that it has no TRANSPOSE,
TUNE, or TEMPO controls, nor can you choose between recording At Input
or At Output. However, it can transfer recordings to Tapedeck One. This
is useful not just for overdubs, but you can (for example) record a rhythm
guitar part in Tapedeck Two, transfer it to Tapedeck One, practice a lead
part against it, and record the rhythm and lead part playing together in
Tapedeck TwO. To simplify this type of recording, setting the SYNC switch
to On syncs the two tapedecks.
Loop functions are the same as for TAPEDECK ONE. Like TAPEDECK ONE, only
16-bit fles 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 fle in Tapedeck One over which you want to overdub, and select
Play at Output if you dont want to process this fle 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 au-
tomatically enables record by pushing in the RECORD BUTTON. If you have
already created a new fle, 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 fle, name it, and click on Save.
GUITAR RIG 3 75
If you want to overdub this fle again, click on Transfer File to Tapedeck
One and repeat the recording procedure.
4.7 Amps
The virtual amps behave so much like real tube amps that the cabinet
and the amps power output stage interact in a complex way. As a result,
the amps tone and distortion characteristics change subtly depending on
which cabinet you connect. When more than one cabinet connects to an
amp, the cabinet at the top of the list determines the amps behavior, even
if this cabinet is not turned on.
Also, amps should be followed by the cabinet(s) of your choice. An amps
straight output is buzzy and can be shrill; with all guitar amps (even virtual
ones!), the cabinet is a vitally important sound-shaping element.
Each amplifer has the following expert controls:
Click on the (+) SYMBOL to reveal expert mode, with the following param-
eters.
POWER SUPPLY chooses between 50 and 60Hz. This represents the frequency
of the virtual mains AC voltage going into the virtual amp power supply. The
DC power voltage inside the modeled amp has a ripple at this frequency,
which imparts a very subtle modulation on the sound.
VARIAC emulates the effect of inserting a Variac in the AC line, thus reducing
the supply voltage (brown sound) or increasing it above normal (bold).
SAG simulates what happens to the power supply when you hit it with a
loud signal, and the supply voltage sags for a fraction of a second because
it cant deliver the necessary power. Increasing Sag results in the power
supply becoming more spongy, as would occur in a tube-based rectifer
GUITAR RIG 3 76
circuit. Tuning down SAG makes the power supply harder, like a silicon di-
ode-based rectifer circuit.
RESPONSE changes the power storing capacity of the power supply capaci-
tors. Turning down RESPONSE increases their capacity, so that the supply
voltage reacts more slowly to playing dynamics. Turning up the RESPONSE
will result in the amps power supply reacting more rapidly.
BIAS adjusts the virtual tubes grid bias which, in turn, infuences crossover
distortion. Although its possible with some tube amps to adjust the bias in
order to alter the tone, bias also changes naturally as the result of a tube
aging, and this control can simulate that effect as well. You may wish to
adjust BIAS after changing the VARIAC and SAG settings.
4.7.1 Tweedman
Back in the 60s the Tweedman was a classic bass amp. Nowadays, its
highly coveted as a great guitar amp, but of course, it still works equally
as well in its originally intended role for bass. When compared to the Bass
PRO amp, the sound of the Tweedman is a bit smoother and more well-
behaved.
GUITAR RIG 3 77
Parameters
VOLUME BRIGHT sets the overall level for the bright channel.
VOLUME NORMAL adjusts the level for the normal, warmer channel. Both
the Volume Bright and Volume Normal controls can be used simultaneous
to blend the two sounds.
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 re-
sponse; counterclockwise reduces high frequency response.
The PRESENCE control adds a frequency response lift in the upper mid-
range.
GUITAR RIG 3 78
4.7.2 AC Box
The AC Box models that famous circa nineteen eighty one ultra-electric
amp sound (it rhymes with box) that powered the British Invasion of pop
music. There were many versions of this original amp made, yet, each was
created with a slightly different favor. We chose a particular model that
stands out and not only because of its unique favor but add to that some
circuit wizardry, perhaps a little bit Top Boost modifcation! The basic
Normal channel has no tonal control aside from Top Cut. The Top Boost
adds the Brilliant channel, which offers Treble and Bass controls.
Parameters
NORMAL VOLUME sets the Normal channels overall level. The Treble and Bass
controls have no effect in the Normal channel.
BRILLIANT VOLUME sets the Brilliant channels overall level. The Treble and
Bass controls have no effect when Brilliant Volume is turned down.
Turning TREBLE clockwise boosts the high frequency response in the Brilliant
channel; counterclockwise reduces high frequency response.
GUITAR RIG 3 79
Turning BASS clockwise boosts the low frequency response in the Brilliant
channel; counterclockwise reduces low frequency response.
TONE-CUT is a control unique to this type of amp. Basically, it reduces the
outputs high frequency response.
TREMOLO SPEED controls the rate of periodic volume modulation.
TREMOLO DEPTH controls the extent which tremolo modulates the sound from
off, through subtle, to obvious.
4.7.3 Twang Reverb
The Twang Reverb simulates the rich tube sound of the classic amps from
decades ago. It is ideal for screaming blues leads, crunchy rhythm guitar,
even your clean sounds, rich in personality.
Parameters
VOLUME sets the amps overall level.
Turning TREBLE clockwise from the center boosts the high frequency re-
sponse; counterclockwise reduces high frequency response.
%
Note that this is like a
master volume control; if
you want to overdrive this amp, pre-
cede it with a module that provides
GUITAR RIG 3 80
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning BASS clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
The BRIGHT switch is another tonal option that accentuates the high fre-
quencies.
REVERB adds an emulated spring reverb effect. This is an extraordinarily
realistic effect, unfortunately, if you tap on the side of your monitor, it will
not go boing.
The REVERB ON switch allows turning off the reverb. Like all good software
reverbs, the spring reverb uses a fair amount of processing power; turn it
off if youre not using it.
SPEED controls the tremolo speed (but its labeled vibrato, just as it was on
vintage amps of days long gone).
INTENSITY controls the extent to which the tremolo modulates the sound
from a mild pulsing to a deep throbbing. Oh baby, baby
VIBRATO ON allows for the deactivation of the tremolo effect off when not
in use.
Click on the (+) SYMBOL to reveal expert mode, with the following parameters
(along with the other common controls for all amplifers).
REVERB TIME allows you to set the duration of the reverb decay tail.
REVERB SIZE changes the apparent size of the room being emulated by
the reverb. While this interacts with Reverb Time to some extent in that a
larger size leads to a longer decay, Size has more to do with the sounds
character.
GUITAR RIG 3 81
4.7.4 Plex
The classic Plex sound probably needs no introduction its the vintage
amp sound that has powered too many hit records to mention.
Parameters
VOLUME I sets the preamp gain for the bright channel.
VOLUME II sets the preamp gain for the warm channel. By combining Volume
I and Volume II you can set the mix between bright and warm tone.
Turning TREBLE clockwise from the center boosts the high frequency re-
sponse; counterclockwise reduces high frequency response.
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning BASS clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
The PRESENCE control adds a frequency response lift in the upper mid-
range.
GUITAR RIG 3 82
4.7.5 Jazz Amp
Modeled after an amp produced by a highly-respected synthesizer manu-
facturer, the Jazz Amp produces a warm, clean tone. An essential part of
its sound is the Ensemble effect, which adds chorusing or vibrato. As a
result, the Ensemble is built into the Jazz Amp.
If you want to hear the Vibrato/Chorus effect in true stereo, then its best to
turn off the effect built into the Jazz Amp and instead insert the Ensemble
Component (which provides true stereo) after any Cabinets&Mics Component.
Parameters
VOLUME sets the amps overall level.
Turning BASS clockwise boosts the low frequency response for a bassier sound;
counterclockwise reduces low frequency response for a thinner sound.
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning TREBLE clockwise boosts the high frequency response, while turn-
ing counterclockwise reduces high frequency response.
The BRIGHT switch is another tonal option that, when On, accentuates the
high frequencies.
The VIBRATO/OFF/CHORUS switch selects Vibrato, Chorus, or effect off.
RATE controls the speed of the Vibrato effect.
DEPTH controls the intensity of the Vibrato and Chorus effects.
%
There are no expert mode
settings for this amp.
GUITAR RIG 3 83
4.7.6 Lead 800
This smooth, intense lead sound cuts like a knife and offers plenty of fex-
ibility. 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 amps overall volume.
PRE-AMP sets the preamp gain. Turning it more clockwise adds drive, dis-
tortion, and an edge to the sound.
Turning BASS clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning TREBLE clockwise from the center boosts the high frequency re-
sponse; counterclockwise reduces high frequency response.
The PRESENCE control adds a frequency response lift in the upper mid-
range.
GUITAR RIG 3 84
4.7.7 Instant Gratifer Solo Head
Of course you need an amp to put before your cabinet, and the Gratifer
emulates a smokin solo head sound with a tube power amp. Its tonal spec-
trum 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
Parameters
MASTER sets the overall output level. Setting this to a high level overdrives
the virtual tube power amp.
GAIN determines the amount of preamp overdrive. Use this to dial in the
desired crunch and timbre, but use the Master to regulate the overall
output.
Turning BASS clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
GUITAR RIG 3 85
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning TREBLE clockwise from the center boosts the high frequency re-
sponse; counterclockwise reduces high frequency response.
Turning PRESENCE clockwise from the center boosts the upper midrange
frequencies; counterclockwise reduces the upper midrange frequencies.
4.7.8 Bass PRO
This bass amp can deliver that gritty, growling sound that really makes a
bass stand out in a mix. In addition to the unique tonal qualities, theres
also a graphic equalizer to allow tailoring the sound more precisely.
Parameters
VOLUME sets the amps overall level.
The GAIN control increases the amount of distortion as you turn it more
clockwise.
DRIVE pushes gain in the midrange region; its sort of like a gain control,
but affects the sounds overall character.
GUITAR RIG 3 86
Turning BASS clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
The MID-FREQ control adjusts the center of the frequency band boosted
or cut by the Mid control. This mid frequency is sweepable from 200Hz
to 3200Hz.
Turning TREBLE clockwise from the center boosts the high frequency re-
sponse; counterclockwise reduces high frequency response.
Turning the BRIGHT switch on accentuates the very high frequencies.
When activated, the ULTRA LO switch will scoop out some of the midrange
while increasing the lower frequency response.
By turning the ULTRA HI switch on, boosts the highs, but over a much
wider frequency range than the Bright switch. It therefore, has a more
obvious effect.
The GRAPHIC EQ switch enables or disables the graphic EQ processor, which
is visible only in Expert mode.
Click on the (+) SYMBOL to reveal expert mode, which shows the graphic
equalizer controls.
GRAPHIC EQ VOLUME adjusts the overall level of the graphic EQ processor.
When centered, theres unity gain through the EQ. Pushing the slider up
from the center increases gain (which will likely be necessary if you cut the
response at various frequencies using the band level sliders), while moving
the slider downward decreases gain. You will probably need to decrease
the gain if you boost several frequency bands.
GUITAR RIG 3 87
The GRAPHIC EQ BAND LEVEL controls boost or cut response at nine specif-
ic frequency bands: 40Hz, 90Hz, 180Hz, 300Hz, 500Hz, 1kHz, 2kHz,
4kHz, and 10kHz. When a slider is centered, there is neither a boost nor
cut at that sliders frequency band. Moving the slider up increases gain
up to +12dB, while moving the slider down decreases gain by as much
as -12dB.
4.7.9 Citrus
If youre yearning for that 70s British sound with a bunch of favor, the
CITRUS amp is for you! Its tones can range from the edge of clean to a gritty
distortion when the master and gain are cranked.
Parameters
The MASTER KNOB sets the overall volume of the amp
The GAIN KNOB sets how much saturation/distortion is added to the preamp
section. Turn clockwise to add more distortion to your signal.
The LO CUT KNOB is a bass roll off control. The lower (counterclockwise)
you set the KNOB, the more bass will be present in your sound. Setting the
GUITAR RIG 3 88
KNOB more clockwise will allow less bass into your sound and allow more
of the highs to pass.
The BASS KNOB adjusts the low frequency response. Adjust it counterclock-
wise to attenuate bass response and clockwise to boost bass response in
your signal.
The TREBLE KNOB adjusts the high frequency response. Adjust it counter-
clockwise to attenuate treble response and clockwise to boost treble re-
sponse in your signal.
The PRESENCE KNOB adjusts the upper midrange frequencies. Turning clock-
wise from the center boosts the upper midrange frequencies; counterclock-
wise reduces the upper midrange frequencies.
4.7.10 Ultrasonic
You asked for an ultra-modern, ultra-high-gain, ber-cool amp? We pres-
ent the ULTRASONIC! A two-channel amp with all the modern tones you
could even want.
GUITAR RIG 3 89
Parameters
An OVERRIDE/CLEAN toggle switches the amp between the clean and over-
drive channels.
MASTER sets the overall output level. This control sets the master output
on both channels.
VOLUME sets the overall volume level of the currently selected channel.
GAIN determines the amount of preamp overdrive. Use this to dial in the de-
sired crunch and timbre, but use the Master to regulate the overall output.
Each channel has a separate gain response depending on which channel
is currently engaged via the OVERDRIVE/CLEAN toggle.
Turning BASS clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
Turning MID clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning TREBLE clockwise from the center boosts the high frequency re-
sponse; counterclockwise reduces high frequency response.
Turning PRESENCE clockwise from the center boosts the upper midrange
frequencies; counterclockwise reduces the upper midrange frequencies.
GUITAR RIG 3 90
4.7.11 High White
Are you seeking the signature British sound of David Gilmour and Pete
Townsend? If so, then we think youll want to spend some time with the
HIGH WHITE model were talking 100 virtual watts of pure tone! This
amp features two different input paths, a normal input and a brilliant in-
put, which you can use together with respective volume controls for each
channel.
Parameters
The MASTER KNOB sets the overall volume of the amp.
The NORMAL KNOB sets the volume for the normal channel. The normal
channel has a smoother clean sound.
The BRIL KNOB sets the volume for the brilliant channel. The brilliant has
a slightly more edgy and aggressive tone.
The BASS KNOB adjusts the low frequency response. Adjust it counterclock-
wise to attenuate bass response and clockwise to boost bass response in
your signal.
GUITAR RIG 3 91
The MIDDLE KNOB adjusts the mid frequency response. Adjust it counter-
clockwise to attenuate mid response and clockwise to boost mid response
in your signal.
The TREBLE KNOB adjusts the high frequency response. Adjust it counter-
clockwise to attenuate treble response and clockwise to boost treble re-
sponse in your signal.
The PRESENCE KNOB adjusts the upper midrange and high frequencies.
Turning clockwise from the center boosts the upper midrange frequencies;
counterclockwise reduces the upper midrange frequencies.
4.7.12 Tweed Delight
Theres nothing like the spank of an amp covered in tweed! This amp,
based on an American legend, has greatly simplifed controls and is de-
signed to go from glassy clean, to bluesy squawk with only three control
knobs! Both channels can be used together to overdrive the amp even
further.
GUITAR RIG 3 92
Parameters
The VOLUME BRIGHT KNOB sets the volume of the bright channel of the amp.
The bright channel is deigned for slightly edgy, distorted sounds when the
gain is raised.
The VOLUME NORMAL KNOB sets the volume for the normal channel on the
amp. The normal channel is designed for smoother sounds that will still
distort when pushed into higher volume settings.
The TONE KNOB is your only KNOB for shaping the EQ on the amp. With the
KNOB fully counterclockwise, the highs will be attenuated leaving you will
a warm, but muddy sound. As you raise the control clockwise, more highs
start to join the signal and add high end boost and an even more defned
distorted sound.
4.8 Cabinets
What amp would be complete without a matching cabinet? Here we give
you two choices. The frst is the Matched Cabinet, where we provide you
with what we feel, is the best choice for the amp you choose. This cabi-
net choice should work well for most applications. For those who really
want to tweak, we have the Cabinets & Mics, which will allow you to pair
any cabinet, with any microphone and tweak EQ, mic position and air
to your hearts content. Oh, did we mention that you can have as many
cabinets as you want?
GUITAR RIG 3 93
4.8.1 Matched Cabinet
When you add any amplifer Component into your rack, you will see that
a Matched Cabinet will also be added to your rig. This is different than in
previous versions of GUITAR RIG.
The Matched Cabinet is a module that contains the two closest Matched
Cabinets for the amp you are using.
Parameters
CABINET SELECTOR: The CABINET SELECTOR allows you to choose a cabinet
for your amp.
MIC 1/MIC 2 MIX: This slider will blend between the two hidden micro-
phones inside of the matched cabinet. One has a sharp tone, while the
other has a mellow tone. You can mix between the two to achieve your
desired blend.
VOLUME: Set the volume of the matched cabinets output.
GUITAR RIG 3 94
VOLUME LEARN: Automatically learn the best output volume by depress-
ing the button and playing as loud as you can; GUITAR RIG will auto-
matically select the best volume to avoid clipping. Once the volume
has been learned, the button will pop out.
DRY/AIR: controls the level of early refections in the room response.
This simulates the distance of the microphone to the farthest wall.
4.8.2 Cabinets & Mics
This Component models the standard guitar and bass amp recording chain:
Cabinet, mic, and mic position. But it doesnt end there, click on the small
ADD BUTTON, and you can add another recording chain with the same set of
options and controls (as shown above). Why settle for miking one or two
cabinets when you can have a roomful
The 28 cabinet choices are (18 through 23 are bass cabinets):
GUITAR RIG 3 95
Nr. Name Nr. Name
1 1 x 12 Tweed Alnico 15 4 x 12 High White
2 1 x 12 Custom 16 4x12 Gratifer
3 2 x 12 Tweed Blue 17 4x12 Ultrasonic
4 2 x 12 Tweed Green 18 1 x 15 Bass-PRO
5 2 x 12 Tweed Ceram 19 1 x 15 Bass-WR
6 2 x 12 Brit 60s 20 4 x 10 Bass-PRO
7 2 x 12 Chief V-30 21 4 x 10 Bass-WR
8 2 x 12 Custom 22 8 x 10 Bass-PRO
9 2 x 12 Jazz 23 8 x 10 Bass-WR
10 4 x 10 Tweed Alnico 24 Rotator Horn Closed
11 4 x 12 UK 60s Tall 25 Rotator Horn Open
12 4 x 12 UK 60s 26 Rotator Bass Close
13 4x12 UK 80s 27 Rotator Bass Open
14 4 x 12 UK 70s 28 DI Box
GUITAR RIG 3 96
Cabs 1-7, 9, 10, and 22-25:
1/5 On Axis
2/5 Off Axis
3/5 Edge
4/5 Far
5/5 Back (This applies to open back cabs only, i.e. its not available
on the 4x12s or the Bass cabinets, which are all closed-back. However,
many of the Bass cabinets have a Horn Tweeter, so they include 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
%
24 & 26 use a closed
cabinet, with sound re-
corded through slots.
25 & 27 use an open cabinet, with
sound recorded direct.
Mic positions and the position
names depend on the selected
cabinet (of course, the Direct Box
doesnt offer a mic option).
GUITAR RIG 3 97
Guitar Cabs 1-17:
1/5 Dynamic 57
2/5 Dynamic 421
3/5 Dynamic 609
4/5 Condenser 87
5/5 Tube Condenser
Bass cabs 18-23:
1/5 Dynamic 7
2/5 Dynamic 421
3/5 Dynamic 609
4/5 Dynamic 20
5/5 Condenser 47
Cabs 24, 25:
1/1 Condenser 460
Cabs 26, 27:
1/1 Condenser 87
In MicPos 5/5 (Back or Horn), only one Mic is available:
Cabs 1-7, 9, 10 (Back) Condenser 87
Cabs 17, 18, 19, 21 (Horn) Condenser 460
GUITAR RIG 3 98
Parameters
SIZE (the slider below the cabinet graphic) provides the equivalent of grow-
ing 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.
VOLUME sets the microphones output level.
PAN places the microphone signal anywhere in the stereo panorama, from
far left to far right.
AIR controls the level of early refections in the room response.
DISTANCE appears if more than one SubCabinet/Mic is active. This feature
controls the delay due to the distance between the microphone and cabi-
net. Mixing together the signals from multiple microphones can result in
cancellations and emphasis of certain frequencies, depending on the rela-
tive distances.
BASS boosts or cuts the level of the lower frequencies.
TREBLE boosts or cuts the level of the higher frequencies.
PHASE fips the microphone polarity.
MASTER VOLUME sets the entire Components level. This is necessary be-
cause if you have used the ADD BUTTON to create multiple cabinets, they
may use different output levels. The Master Volume control allows bring-
ing the levels of all the cabinets up or down as a group. Set this control
carefully if previous stages have added a lot of gain, it will be necessary
to lower this control if you want to avoid triggering the output limiter or
clipping (depending on the setting of the Output Components Clipping/
Limiter switch).
GUITAR RIG 3 99
LEARN is a Button that optimizes the Master Volume setting automatically.
As with the other LEARN BUTTONS, push it in, then play at the loudest level
youll be using. GUITAR RIG 3 will analyze your playing, and adjust the
Master volume for the optimum level. After analysis is complete, the LEARN
BUTTON pops out again.
4.9 Distortion
The distortion and overdrive Components are accurate reproductions of
classic hardware devices. Therefore, just like the transistorized originals,
these effects can sound somewhat thin and artifcial by themselves espe-
cially when driven hard. For the best tone, feed them into an amp/cabinet
combination to create a beefer, more realistic sound.
Distortion tips
Here are some hints on how to achieve a special distortion tonality. These
apply to the various distortion Components.
Smooth sound: Use the bass pickup with the tone control set for
minimum treble.
Raunchier sound: Use the treble pickup.
Using optional guitar switches: If your guitar has a series/parallel pick-
up switch, the series position will give the thickest fuzz sound. If your
guitar has an in phase/out of phase switch, the out of phase position
will provide the thinnest sound.
%
Please note that there is
no expert mode for this
module.
GUITAR RIG 3 135
With the UP/DOWN switch set to the Down mode, playing harder drives the
flter down to a lower frequency; as the string decays, the flter returns to
a higher frequency. With the Up mode, playing harder drives the flter up
to a higher frequency. As the string decays, the flter returns to a lower
frequency.
RANGE sets the width of the flter sweep. Turn it clockwise to sweep over
a wider range.
RESO edits the sharpness (Q) of the flter response.
LFP/BPF/HPF morphs among three flter responses:
Lowpass (LFP) the flter passes low frequencies and attenuates high
frequencies
Bandpass (BPF) the flter passes a band of frequencies, and attenu-
ates frequencies that fall higher or lower outside that band
Highpass (HPF) the flter passes high frequencies and attenuates low
frequencies
Click on the (+) SYMBOL to reveal expert mode, with the following param-
eters.
ATTACK adds a glide time (from 5 to 80ms) between when the flter senses
an input change, and when the flter reaches its highest frequency (in Up
mode) or lowest frequency (in Down mode).
RELEASE causes the flter 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.
%
While the Loop Machine
is stopped, you can dou-
ble-click on the Stop BUTTON to
erase the various layers.
GUITAR RIG 3 168
UNDO deletes the current layer. You can press UNDO repeatedly to delete
layers, starting from the most recent.
REDO restores the most recently-deleted layer.
The LOAD BUTTON (folder icon) calls up Loop Machine fles, which have a
.ls suffx. These consist of the audio fles and all settings for a particular
loop.
The SAVE BUTTON (foppy disk icon) saves Loop Machine fles, which have a .ls
suffx and consist of the audio fles and all settings for a particular loop.
EXP MIX exports the entire collection of loops as a single mixed WAV fle.
EXP LAY exports the current loop as a WAV fle.
Click on the (+) SYMBOL to reveal expert mode, with the following parameters.
AUTOSTART causes recording to begin when the Loop Machine detects that
you have started playing.
OVERDUB MULTIPLY allows recording a longer loop over a shorter loop.
REVERSE plays back the layers in reverse mode, like 60s-type backwards
tape effects.
REC PAN places the recorded signal in the stereo feld. Thus, one overdub
could go in the right channel, and another overdub in the left channel.
SYNC synchronizes the LFO speed to the metronome tempo, which is de-
rived from the SYNC setting in the Toolbar.
SYNCHING TO HOST: The Loop Machine transport starts, stops, and rewinds,
in synchronization with the host.
SYNCHING TO METRONOME: This quantizes the loop length to the beat, even if
you stop recording slightly before or after the beat.
LOOP A/B toggles between two loops recorded previously.
%
Although you can Undo
multiple layers, you can
Redo only to the most recently un-
done layer.
GUITAR RIG 3 169
4.14.2 Split
This device splits the signal path in two directions, thus allowing paral-
lel 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 be-
tween the Split B and Split Mix sections.
GUITAR RIG 3 170
Heres what a particular split looks like in GUITAR RIG 3. Split A feeds the
Skreamer, Equalizer Shelving, and Ensemble Components. Split B feeds
the Distortion and Wahwah Components.
This diagram shows the splits actual signal fow.
Parameters
CROSSFADE determines the mix between the A and B split. When fully left,
youll hear only the A split. When fully right, youll hear only the B split.
PAN is separate for each split, and determines where the split will appear
in the stereo feld. Example: If A is panned left, B is panned right, and
CROSSFADE is set to the center, youll hear only the A split from the left
channel and only the B split from the right channel. If you now pan A to
GUITAR RIG 3 171
the right, youll hear both splits out of the right channel, and nothing from
the left channel.
STEREO INPUT L/R SPLIT allows processing each stereo channel separately.
This is particularly useful if you play with two guitars through GUITAR RIG 3
and want two different sounds. Using this option with a Chapman Stick
can be interesting as well, as it enables you to process the high and low
strings with different effects.
The +/- SWITCH varies the polarity (also called phase) of the B split.
Split Tips
The Split module is extremely powerful:
Because you can drag multiple Components into a split, its possible
to have parallel strings of series effects.
You can use more than one Split Component in a rig, and place
Components inbetween them. Therefore, you can split a signal into two
paths and use the CROSSFADER to adjust the balance of the two splits.
This total sound can then be processed by additional effects, before
going to another split.
You can even put a split inside another split to get more than two
parallel signal chains.
%
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.
GUITAR RIG 3 193
5.6 Using Built-In Mac Audio
In OSX 10.4, Apple changed the way that you access its built-in audio
settings. If you plan to use GUITAR RIG 3 without an external soundcard
or the RIG KONTROL, you may need to set up an aggregate device. Here
is how to do it:
From the Utilities Folder, launch the Audio MIDI Setup.
From the drop-down list labeled AUDIO, choose Create Aggregate Device
Press + in the dialog that comes up to create a new entry.
Rename the new entry to GUITAR RIG by double clicking in the text
field for Aggregate Device
In the USE column, check Built in Inputs and Built in Outputs. The
panel should look like this:
1.
2.
3.
4.
5.
GUITAR RIG 3 194
6. When done, press the DONE BUTTON and quit Audio MIDI Setup.
7. Launch GUITAR RIG and open the Audio and MIDI Settings. Select
the aggregated device GUITAR RIG you have just created.
%
You cant simply plug a
guitar directly into a line
in on any computer. The output im-
pedance of a normal electric guitar
does not match these inputs, thus
the sound will be thin and/or dis-
torted.
GUITAR RIG 3 195
6. 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 multi-ef-
fects, 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 multi-
effects control, so theres not really that much to learn. Lets start with
MIDI basics.
6.1 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 3. Of course, this assumes
your computer has a MIDI input so that GUITAR RIG 3 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 3) over a MIDI cable. Host sequenc-
ers also use MIDI data to provide automation for GUITAR RIG 3 when its
serving as a plug-in.
GUITAR RIG 3 196
There are many different kinds of MIDI messages, most of which relate
to keyboards, sequencers, drum machines, lighting controllers, tape re-
corders, and other gear we can ignore. With GUITAR RIG 3, 99% of the
time you need to know about only two kinds of MIDI messages: program
changes (which call up different Presets) and continuous controller mes-
sages (which alter effects parameters in real time).
Note that RIG KONTROL 1 does not use MIDI messages to trigger changes
or control parameters, but rather a unique audio control method as de-
scribed earlier. MIDI is applicable only if you want to use MIDI controllers
made by other companies.
6.2 MIDI Connections
Your computers sound card probably has a MIDI in jack (receives MIDI
message) and MIDI out jack that transmits MIDI messages. There may
also be a MIDI thru jack, which provides a duplicate of the signal at the
MIDI in jack.
6.3 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 hip-
GUITAR RIG 3 197
pest control on any signal processor was the in/out footswitch because it
allowed you to bring an effect in as needed (distortion is wonderful, but
not all the time).
As more boxes were introduced compressors, phase shifters, echo units,
wah-wahs, etc. musicians started connecting all these boxes together
with patch cords. And thats where the trouble began: if you wanted to
bring in multiple effects simultaneously, you had to hit a bunch of foot-
switches at once. Fancy tap dancing became the order of the day.
When the MIDI spec was drawn up, provisions were made for 128 MIDI
program change messages. This is why many signal processors offer 128
programs, and why each GUITAR RIG 3 Bank can store up to 128 Presets.
As usual, people wanted more so an addition to the MIDI spec, Bank
Select messages, can select up to 16,384 GUITAR RIG 3 Banks of 128
programs for a grand total of over 2.000.000 programs (that should hold
you for a while).
6.4 About Continuous Controllers
Changing from one program to another is a good start, but sometimes
youd like to vary a particular parameter within an individual program (de-
lay feedback, flter frequency, distortion drive, etc.). A wah-wah sound is
a good example of changing a particular parameter (flter frequency) in
real time.
When you call up a programs parameter, you usually change its value by
turning a KNOB. The idea of continuous controllers came about because
GUITAR RIG 3 198
synthesizers and effects have pedals, KNOBs, levers, and other physical
controllers that alter some aspect of the sound over a continuous range
of values (this is why theyre called continuous controllers, as opposed
to a controller such as an on-off switch, which only selects between two
possible values).
Unlike a program change, which is a single event, continuous controllers
generate a series of events, such as a volume fade-in (each event raises
the volume a bit more than the previous event), or change in some other
parameter (e.g., increasing chorus depth, or altering the wah-wah flter
frequency).
Like program changes, continuous controller messages are transmitted
over a MIDI output and received by a MIDI input. The transmitter usually
digitizes the physical controller motion into 128 discrete values (0-127).
For example, pulling the controllers pedal all the way back generates a
value of 0. Pushing down on the pedal increases the value until at mid-
point, the pedal generates a value of 64. Continuing to push on the pedal
until its all the way down generates a value of 127.
Continous Controller Numbers
MIDI tags each continuous controller message with an ID from 0 to 127.
Therefore, you can control up to 127 GUITAR RIG 3 parameters, although
in practice, its unlikely you could keep track of that many parameter as-
signments, 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, modula-
tion rate, distortion drive, etc.) to a particular continuous controller num-
%
Note that continuous
controller transmitters
only send messages reflecting a
change; for example, leaving a
pedal in one position doesnt trans-
mit any messages until you change
the pedals physical position.
GUITAR RIG 3 199
ber. With GUITAR RIG 3, this is particularly easy thanks to the Learn
function.
At the receiving end, the parameter being controlled changes in response to
incoming message values. For example, if youre controlling Delay Feedback
and it receives a value of 0, feedback is at minimum. When it receives a
value of 64, the feedback is halfway up and upon receiving a value of 127,
the feedback is up all the way.
GUITAR RIG 3 200
7. Appendix C: Tips on creating your own RIG
One of the best aspects of GUITAR RIG 3 is you have the freedom to re-
arrange 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.
7.1 Series and Parallel Effects
There are two main ways of hooking effects together. With a series con-
nection of effects, the effects string together serially, one after another.
Effect 1s output plugs into effect 2s input, effect 2s output plugs into
effect 3s input, and so on.
A parallel effects combination uses the Split Component to split the sig-
nal into the inputs of effects 1 and 2. Mixing the outputs of the two ef-
fects gives the combined (paralleled) sound of these effects; the Split
Components Cross-fade 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 illus-
trates this well.
GUITAR RIG 3 201
7.2 Placing Components in the right order
Series, parallel, and series/parallel confgurations 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 differ-
ent sounds, so experiment! Thats why GUITAR RIG 3 gives you all these
cool toys.
Nonetheless, its a good idea to at least establish a recommended point of
departure. Well start off with some general rules, then discuss series com-
binations of effects, and fnally investigate parallel effects combinations.
7.3 The all-important frst effect
For many instruments, compression or distortion are generally good choices
for the frst effect. A compressor increases sustain, which gives a punch-
ier signal for subsequent stages. Also, a compressor is a unique kind of
effect since if its not over compressed, the effect is fairly subtle and can
be left in the signal chain at all times.
GUITAR RIG 3 202
However, note that if youre using Oktaver, it wants to be the frst effect.
This is because it needs a clean, single-note line, and adding effects prior
to Oktaver can work against this.
7.4 Series Effects Combinations
When determining an order for effects, start off by considering a series ef-
fects chain as consisting of three subsections that occur in this order:
Modules that alter dynamic range (compression, limiting) and/or syn-
thesize frequencies (e.g., distortion, Oktaver).
Equalization (tone controls) to further shape the sound. This will usu-
ally 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 equal-
ization 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 specifc exam-
ples 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.