KONTROL EDITION

KONTROL EDITION

KONTROL EDITION

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

Users Guide written by Marc Schonbrun

Editors: Jonathan DeRouchie, André Estermann
Special thanks to the Beta Test Team, who were invaluable
not just in tracking down bugs, but in making this a better
product.
Germany
NATIVE INSTRUMENTS GmbH
Schlesische Str. 28
D-10997 Berlin
Germany
[email protected]
www.native-instruments.de

USA
NATIVE INSTRUMENTS North America, Inc.
5631 Hollywood Boulevard
Los Angeles, CA 90028
USA
[email protected]
www.native-instruments.com

© Native Instruments GmbH, 2007. All rights reserved.

1. Introduction

1.1 Welcome
GUITAR RIG 3 will change the way you play and think about music. Say
goodbye to complex, noisy, unreliable guitar pedal setups with cables that
crackle and batteries that die in the middle of solos. GUITAR RIG 3 puts
the world’s most sophisticated, flexible, and wonderful-sounding guitar
setups into any modern laptop or desktop computer (Mac OS X or Windows
XP). Take it to the studio, to the gig, or practice in your hotel room…the
possibilities are limitless.
And thanks to the included RIG KONTROL 3 foot controller/DI box/USB
2 sound card/preamp, you can take your guitar, bass, or other stringed
instrument sound to the next level with only a few guitar chords, and some
way to hear what you’re doing.
Of course, none of this would be possible without the visionaries, inventors,
and artisans whose dedication and hard work on guitar amps and effects
over the decades have defined the sound of the electric guitar as we know
it. All of the NATIVE INSTRUMENTS team would like to acknowledge their
creations as an integral source of inspiration in the design of this software.
They have both our respect and gratitude, as without them, this software
would not be possible. We are more than happy to state that imitation is
indeed the sincerest form of flattery.

GUITAR RIG 3 – 
A love of the guitar and its seemingly infinite potential has driven our quest
for the ultimate guitar rig. We thank you for your support, and hope that
whether you’re looking for vintage blues timbres, modern rock grunge, or
synthetic sounds for dance music, GUITAR RIG 3 will deliver the tone,
punch, and crunch you crave.

– The NATIVE INSTRUMENTS GUITAR RIG 3 Team

1.2 How to use this manual

This manual has been designed to be as clear and concise as possible.
While Guitar Rig has been designed to be as intuitive as any of the
hardware rigs you may be used to, its true power lies in its great flexibility
– Guitar Rig is much more diverse and flexible than the hardware rigs
you’re used to. In order to make the most of your Guitar Rig experience,
we recommend that you keep this manual handy, as it will shed light on
all the cool things Guitar Rig can do, and with any luck, inspire you to
try things you never thought about.
The manual is divided into two main sections. The first gives you a broad
overview of the software and hardware to get you up and running as quickly
as possible. The remainder of the manual is devoted to referencing every
Button, Knob and switch on the interface. If you want to get deep into
guitar rig, and its sound design possibilities, you’ll want to know
everything you can about it.

GUITAR RIG 3 – 
1.3 Software installation
If you are looking for more information about the Guitar Rig software
installation, please consult the NATIVE INSTRUMENTS Setup Guide,
included with this package.
! When you install Guitar
Rig 3 for the first time,
please make sure that you also
choose to install the Rig Kontrol
driver (Kontrol Edition). This
1.4 Hardware setup option has to be initiated during the
last step of the installation process.
If you are looking for more information about the Rig Kontrol hardware (In this step, you should also install
installation, please consult the NATIVE INSTRUMENTS Rig control the Service Center if it is not al-
Operation Manual, included with this package. ready installed.)

GUITAR RIG 3 – 
2. Getting started
It’s time! You got the software and, you got the hardware (That new rig
kontrol is crying "Step on me!"), now you want to start rocking out!
Let’s get you started with an overview of guitar rig 3.

2.1 What is Guitar Rig

Guitar Rig is the future of guitar tone. Imagine having a room filled with
every boutique amplifier ever crafted, endless arrays of cabinets (each with
different microphones), any effect you desire, loop machines, and other
amazing tools for crafting sounds at your immediate disposal. Guitar
Rig takes this idea (which would cost you many hundreds of thousands of
dollars) and puts them into a single program which can run as a standalone
application, or a plug-in, on Mac OSX, or Windows XP in any DAW that
you prefer to work in. Not only can guitar rig craft your favorite sounds,
you can also create new sounds you’d never even dreamed of thanks to
our unique modulation framework. guitar rig is simply the best thing to
happen to your guitar playing and production since the key of E minor!

GUITAR RIG 3 – 
2.2 New in Version 3
Guitar Rig 3 adds to the award winning Guitar Rig 2 design, and
implements a multitude of improvements to the software. Here’s what you
can expect to find in Guitar Rig 3:
► A new, more polished, easier to navigate user interface.
► The powerful Live View for easy access to your parameters for live, on-
stage performance.
► Four brand-new, sought-after amplifier models.
► Six brand-new, sound shaping effects.
► “Snapshots”, which allow for quick and fluid changes of sounds during
a song.
► “Matched Cabinets” feature that makes combining amp models and
cabinets easier than ever.
► A newly designed Rig Kontrol (Guitar Rig 3 Kontrol Edition),
featuring a new A/D D/A section from the acclaimed Audio Kontrol 1,
eight freely assignable foot-switches, and one continuous controller
pedal with on/off switch.
► An updated Preset browser with improved Bank and sound functional-
ity which makes organizing your sounds easier than ever.
► Tempo, such as synced delays can now be stored within the Preset and
can be set to sync to host clock or ignore host clock when needed.
► Assigning controllers has never been easier. Third party controllers can
share the common Virtual Rig Kontrol graphic for a simplified inter-
face.

GUITAR RIG 3 – 
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
introduce you to both modes.

2.3.1 About “Standalone” Mode

GUITAR RIG 3 can function as a guitar processing setup all by itself,

without 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 computer’s audio
input as GUITAR RIG 3’s audio input.
► Plug your guitar (using RIG KONTROL, as described later, or a preamp)
into the computer’s audio input.
► Select the computer audio output as GUITAR RIG 3’s output.
► Patch the computer’s audio output into your amplification system (gui-
tar amp, mixing console, PA system, etc.).

However, the built-in audio in most Windows machines is not studio quality,
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 we’re used to hearing a sound immediately when we pluck a string.

GUITAR RIG 3 – 
Modern Macintosh computers running OS X are better, but there may still
be sound quality issues with built-in audio.
If you are not using the RIG KONTROL 3 audio inter face,
NATIVE INSTRUMENTS advises you to use an audio interface or sound
card designed specifically 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 – 10
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 program’s mixer, like a
“virtual effect”. Audio passes through the computer’s sound card into the
host program, which feeds it into GUITAR RIG 3. The host’s output then
proceeds to a hardware output, which goes to your amplification system.
As with standalone mode, an audio-oriented sound card is highly
recommended to avoid the latency involved in going through the host
program and computer.

GUITAR RIG 3 is inserted in Apple Logic to process a guitar track while being automated
under host automation.

GUITAR RIG 3 – 11
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
functions 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 3’s Noise Reduction can
help get rid of some interference, but it is not a substitute for orienting
your guitar away from sources of interference.
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 – 12
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 aren’t limited
by a fixed 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 configurations for later
recall. You can create multiple rigs for blues, hard rock, and a few more for
bass. You can even create a rig for rehearsing…there are no limits, other
than your computer’s processor speed (and your imagination).
There is one caution: The huge variety of options means it’s possible to
set up some combinations of effects and settings that don’t sound all
that great. If you’re working with a sound and aren’t satisfied with it, try
different cabinets, mic positions, and the like until you hit the “sweet
spot”. Also, save frequently – not necessarily because your computer might
crash, but because it’s easy to “overtweak” a sound and you’ll wish you’d
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 files to serve as backing tracks,
or you can study solos by loading them into the Tapedeck, and using the
tempo control to slow them down for easy analysis. The second Tapedeck
is optimized for recording what you’re playing, or overdubbing new parts
overtop of parts you’ve already played. A tuner and metronome keep you
in tune and on time. GUITAR RIG 3 is more than just a signal shaper – it’s
a complete system for processing, and enjoying, your guitar.

GUITAR RIG 3 – 13
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
interface that combines all of the Knobs and controls you’re used to seeing
in real life, alongside the power and organization of a powerful piece of
software. 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, you’ll want to know everything
you can about the visual interface to the software. The interface is broken
into five 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 controls for the
audio engine and CPU controls. It’s unique in that no matter what mode
you’re in (rig view or live view) the global Header is always visible.

GUITAR RIG 3 – 14
The Global Header

The Live View Button switches the interface to the new “Live Mode”, which
is detailed in section 3.1.4.

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
editing and even clear your whole rack with a single click. It’s 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 rig’s viewing options.
Here, you can access the Sound Browser /manager, which is where you’ll
find, store, create, search and filter 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 automation, and Preferences for setting up guitar rig,
such as window height, the location of its Bank storage and other program
details. The SideKick

GUITAR RIG 3 – 15
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.

3.1.5 The Rack

The rack is where you will build your custom rigs. Using your mouse,
it’s 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 Nice Rack!

GUITAR RIG 3 – 16
fixed 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 magnifies the following
elements 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.

3.2 Finding the right sound

guitar rig would be useless without a sophisticated Preset manager
to help you find, and organize all of your sounds. Intelligent categories,
Banks, and search options help you manage the hundreds of sounds that
come with guitar rig.

GUITAR RIG 3 – 17
3.2.1 Categories, Banks and Sounds
The first organization of any sound in guitar rig is a Preset. A sound
contains all the Components in your rig as well as any necessary controller
assignments, and the sync settings.

The Sounds Pane

guitar rig 3 organizes these Presets together into Banks. Think of a Bank
as a collection of Presets that you can create to keep your sounds ‘in line’.
Guitar rig 3 ships with a generous amount of factory Presets and Banks,
and you can easily create more as you see fit. Use Banks to save your edited
sounds together or to create set-lists for your on-stage rigs.

GUITAR RIG 3 – 18
The Bank Pane

Bank categories are new in guitar rig 3 and allow you to filter the Sound
Banks based on categories. For example, rather than having to look at
dozens of Banks, you can choose a filter to display your custom created
Banks inside the My Sounds category. You can tag Banks with specific
keywords (Guitar Amps, Bass Amps, Live, FX, etc…) and filter your view
on to the main Bank list. This helps to organize your sounds and avoid the
congestive difficulties related to navigating a large Bank collection.

Bank Categories

GUITAR RIG 3 – 19
3.2.2 Search and find
Since GUITAR RIG 3 ships with hundreds of sounds to explore and make
music with, we felt it was key to provide a tool for you to discover this
diverse sound. A library this extensive would be useless without a search
engine. Behind the Search Tab you will discover a couple of handy tools
to search for sounds based on name, author, attributes or their Bank
category.

The Search Pane

GUITAR RIG 3 – 20
3.2.3 Manage your sounds
Managing your sounds is easier than ever in guitar rig 3. You can
classify your Presets with attributes like style, tone and instrument types
to make searching more efficient. Bank categories allow you to filter large
collections of Banks by intelligent tagging. For example, you might want
to put all of your live Banks into the “Live” category, and then filter them
using the new Bank categories.

3.3 Building your own Rack

Forget about the days of floor to ceiling rack systems, sophisticated MIDI
switching systems and miles of patch cables, guitar rig lets you create
your custom rig by simply dragging and dropping Components into a
virtual “rig” to make your custom sound. Crafting your rig has never been
easier. The Attributes Pane

3.3.1 The Components pool

The Components Pool is where you’ll find all the sound-shaping elements
in guitar rig. The C omponents themselves are divided into eight
categories:

1. Amps: The heart of guitar rig ­– the modeled amplifiers, and cabinets.
2. Dist: Classic, stomp-box style distortion effects.
3. Mod: Modulation effects such as Tremolo, Chorus, Flange, Octave shift-
ers and much more. The Components Pool

GUITAR RIG 3 – 21
4. EQ: Parametric EQ, Synth-style filters and Wah pedals.
5. Vol: Volume, Compression, Limiting, Gates and Noise Suppression.
6. Rev: Reverberant effects and Delays.
7. Tools: Loop Machines, Splits and Crossover Mixes.
8. MDF: A unique, synthesizer-style modulation framework; completely
unique to guitar rig.
Complete, detailed explanations about each of the Components in Guitar
rig 3 can be found in sections 7 – 15.

3.2.1 Drop it
To add any of the Components from the Component Pool into your rig, you
just drag the Component from the Pool and drop it in the Rack area. Use
your mouse to reorder your Components for a completely flexible signal
routing.

3.2.2 In Sync
Guitar Rig 3 now provides much greater flexibility in its synchronization
options. You can now choose to sync to the host clock/external clock, store
per-sound tempo settings, or have no sync at all.

3.3 The Virtual RIG KONTROL

Virtual instruments are one thing, but hands on (or, in this case, your feet)
controls are a must. Whether you’re using one of the rig kontrols
(RK1, RK2, or RK3) or using your own external MIDI control surface, the

GUITAR RIG 3 – 22
Virtual Rig Kontrol is your dashboard for interfacing real world controls
with your virtual rig.
The Virtual Rig Kontrol is a unifying theme throughout guitar rig 3.
No matter what controller you use, you can map it to the Virtual Rig
Kontrol interface. To make your life that much easier, the Templates and
Snapshots will change the way you interface with your rig.

The Virtual Rig Kontrol in all its glory!

3.3.1 In control of the Rig

You want total control of your rig? Whether you use the rig kontrol or a
3rd party MIDI controller, Guitar rig 3 allows you new ways to manage
all of your controller assignments. If you use a rig kontrol, you’ll find
that it’s completely “plug-and-play” in guitar rig 3. Just plug it in and
all of the controls are pre-defined and hardwired in – no need to configure
anything! You can even hot swap between rig kontrol 2 and rig
kontrol 3 without having to change a single setting!

GUITAR RIG 3 – 23
3.3.2 Making assignments
Making assignments to your rig kontrol or external MIDI device is
accomplished in a few ways. You can assign controllers through simple MIDI
learn, using the Virtual Rig Kontrol or through the controller assignments
window.
Assignments for the RK can be on a per-sound, or global basis. Global
assignments speed up the assignment task (providing you want to commit
a Button to a certain action, every time you use the RK.)
Global Assignment

Per Sound Assignment

Example Controller Assignments

To make an assignment to the rig kontrol, the quickest way is to right

click on the Components knob, button, or switch that you wish to map,
right click (ctrl click on Mac), select Learn and then click the Button on
the Virtual Rig Kontrol and your control is now mapped!

3.3.3 The snapshot concept

Have you ever wished that you could change the status of multiple
Components with a single click, all within the same sound/Preset? You Right-Click Component Learn
can with Snapshots! All you have to do is setup your rig the way you want

GUITAR RIG 3 – 24
to look/sound, and map one of the buttons on the virtual RK to Snapshot
for instant recall with a single Preset. You can setup multiple Snapshots
within the same sound, making it easy to setup Snapshots for the verse,
bridge, chorus, and solo of your song, all without changing Presets.

The Virtual RIG KONTROL with Snapshots Assignments

3.3.4 Linking external controllers

You will appreciate the new Virtual Rig Kontrol, as it allows you to
seamlessly integrate and link external controllers with the Virtual Rig
Kontrol. All you have to do is map your external device to the Virtual
% Snapshots are not Preset
changes – they allow you
to alter the state of the multiple
rig kontrol through the Options > Controller > Assignment Page once, components within your currently
and you’ll have permanent integration with all of the guitar rig 3 selected rig with a single click.
sounds. From this point on, your external controller will act just like a rig
kontrol. In order to “learn” MIDI assignments, you just choose the
appropriate rig kontrol assignment, which is already mapped to your
external device. Set it, and forget it!

GUITAR RIG 3 – 25
Linked Controller Assignments

3.4 The Live View

The new Live View is perfect for taking your guitar rig on stage with a
laptop computer. Live View consolidates and “supersizes” the most essential
elements of the guitar rig interface for easy viewing across a stage.

3.5 Interfacing Guitar Rig with other gear

The RIG KONTROL 3 is a multi-purpose device that provides:
► Input impedance buffering to preserve the guitar’s sound quality
► Gain control to match the instrument level to Guitar Rig or other host
software
► Analog to Digital converter to convert the guitar’s analog signal to a
digital signal compatible with computers

GUITAR RIG 3 – 26
► USB 2 interface to shuttle digital audio to and from the computer and
associated software running on it
► Digital to Analog converter to convert digital data coming from the
computer into audio
► Standard 1/4” (6.3mm) phone jacks for input and output connec-
tions
► MIDI In and Out connectors
► Volume pedal controller and footswitches

In terms of audio, RIG KONTROL 3 is compatible with a large number of

amplification scenarios. Here are some typical options.

Powered Monitor Speakers

The RIG KONTROL 3's outputs can drive powered monitor signals directly.
In order to prevent damage to the speakers, turn down the monitor volume
controls before connecting any cables, and turn up the volume slowly to
avoid excessively loud sounds as you optimize volume levels.

Project Studio Mixer

The rig kontrol 3's outputs should feed the mixer’s line, not mic,
inputs. If only mic inputs are available, you may need to switch the
mixer’s –20db pad into position. It may also be necessary to switch the
rig kontrol output high/low switch to –14db.

GUITAR RIG 3 – 27
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 degree 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
will be fairly strong, the input gain control(s) will most likely need a minimal
amount of gain. Adjust GUITAR RIG 3’s output so that the power amp that
follows the loop return jacks is not overloaded. You may need to set the
rear panel high/low switch to low (‑14dB).

GUITAR RIG 3 – 28
Keyboard Amp
These are actually ideal for use with GUITAR RIG 3, as they are designed
to give an uncolored, high-fidelity 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
accept fairly high-level signals, so you will probably need to set the output
level fairly high, and the high/low switch to high (0).

Headphones
Simply plug headphones into the RIG KONTROL 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
volume at conservative levels. Plug the RIG KONTROL outputs into line
level inputs like those for a CD or DVD player, tuner, tape deck, etc. (not the
phono input, if present). You may need special cables or adaptors which
provide a 1/4” plug on one end and RCA phono plug on the other.

3.5.1 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 haven’t
previously selected it as your audio interface.

GUITAR RIG 3 – 29
3.5.2 Installing GUITAR RIG as an Effect
Although some programs will allow you to install GUITAR RIG 3 as an
instrument (this is because your program works with both audio and MIDI)
you will definitely want to install it as a signal processing plug-in. Insert
! The latency in a host pro-
gram is designated by
the host program, so make sure to
Guitar Rig 3 on audio tracks using VST, AU or RTAS plug-ins. access the audio settings in your
host of choice to control your la-
3.5.3 Avoid Zero-Latency Options! tency/buffer size.
As mentioned earlier, remember to avoid zero-latency (“direct monitoring”)
options, or you won’t hear your guitar being processed by GUITAR RIG
3.

3.5.4 Total Recall

When using GUITAR RIG 3 within a host program, it is important to keep
in mind that when you save a host’s project, it will capture whatever is in
GUITAR RIG 3’s buffer. So, if you have modified a Preset as compared to
how it is stored in the Bank, don’t worry – when you recall the project, the
Preset will be recalled exactly as you left it.

3.6 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 first instance of
guitar rig. It has no way of automatically switching its control from
one plug-in instance to another automatically. To switch rig kontrol‘s Rig Kontrol Active Status
focus to another instance of guitar rig, bring up its plug-in interface

GUITAR RIG 3 – 30
and make sure that the Virtual Rig Kontrol is shown. On the Virtual Rig
Kontrol, 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.

3.7 Automating Plug-In Parameters

Automating plug-in parameters is super easy in guitar rig! Each
Component has been previously configured 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
current 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 benefit of this is most obvious when you change Presets
containing 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.
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:

GUITAR RIG 3 – 31
Apple Logic’s Default Track View

To this:

Apple Logic Displaying Track Automation

To add automation, select where it says volume and navigate to the Guitar
Rig menu. You will see the full list of Components – find 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

GUITAR RIG 3 – 32
the control with either your rig kontrol 3 or your mouse. Automation
will be recorded automatically as you play the track back. To add multiple
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 you’d like to automate and keep going. You can automate, as many
things as you wish. After some automation, your tracks will resemble the
following:

Multiple Automated Controls in Apple Logic Pro

GUITAR RIG 3 – 33
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 specifics of your host
% You can now even auto-
mate the action of the
eight Rig Kontrol buttons (they
automation. 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 fine
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

ToolBar

SideKick Rack

The Interface Exposed!

GUITAR RIG 3 – 35
Each area is responsible for a specific task in guitar rig. Some areas, like
the SideKick can change between views based on what tab the user selects.
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. It’s unique in that no matter what mode you’re in (Rig View or Live
View) the Header is always visible.
Live Mode Output Section NI Logo

Input Section CPU Control

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 Control displays the amount of CPU utlization
(from 0 to 100 percent) in a dynamic window that changes according to
current CPU use.
To the left of the CPU utilization display is a convenient Power Button,
which disables Guitar Rig's audio engine. Finally, a toggle for High
Quality Mode can be found to the right of the CPU utilization display. High

GUITAR RIG 3 – 36
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 C ompany L ogo 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 find 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.

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 you’ve currently loaded.
The Save Button allows you to save a Preset once it’s been modified from
its original state. Once you engage this Button, it will write over the Preset
at the current location.

GUITAR RIG 3 – 37
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
permanently. 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 fixed
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 flexible section allows you to
select how guitar rig synchronizes with the outside (or inside) world.
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.

GUITAR RIG 3 – 38
► 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 field 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 configured 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

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.

GUITAR RIG 3 – 39
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…

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.

GUITAR RIG 3 – 40
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 you’ll head after you’ve made your search. Here
you will find 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.
% Since sound management
is such an important fea-
tures in guitar rig 3, we have
The Options Tab houses the various options and settings within guitar devoted a more detailed section to
rig, and is separated into two sub-views: it: section 4.2 in this reference.
The C ontroller Assignments Pane is where you can setup and manage Section 4.5 will detail all of the
assignments to your Rig Kontrol and external MIDI devices, set choices in the COMPONENTS tab
parameters as global or per-Preset, save controller Templates and import along with detailed descriptions of
and export saved controller assignments. the individual COMPONENT mod-
The Preferences window is where you can set some global preferences ules.
for the guitar rig application and plug-in. Elements like window height
adjustment, Preset Banks directory and rig kontrol calibration can
be found here.

GUITAR RIG 3 – 41
4.1.4 The Rack
The rack houses all of the Components for guitar rig. It’s your “drop
and rock” section of the guitar rig interface. The rack, at its minimum
will house the input and output fixed Components. These modules cannot
% Section 4.3 provides a
fully detailed look at all
the functions of the controller as-
be removed from the rack. signments and preferences tab.
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 influence the signal flow of your rack.
When you drag an amplifier Component into the rack, guitar rig will
create the Matching Cabinet for the amplifier automatically. You can always
remove the cabinet, or change it to the Cabinet & Mics by dragging that
Component after the amplifier.
Rack Components have the following controls for altering their appearance
when inside the rack:
► X: This button will remove the Component from the rack permanent-
ly.
► -: 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 Rack

the only limitation is the power of your CPU.

GUITAR RIG 3 – 42
4.2 Sound Management
The Sidekick browser pane is where you’ll find GUITAR RIG’s 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 filter your Banks based on the
following Bank categories:
► All
► Guitar Amps
► Bass Amps
► Artist Sounds
► Signature Sounds
► Styles
► FX
► Live
► My Sounds

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 filter. If a Bank is created with a filter engaged,
then it will automatically be tagged with the current filter. 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.

GUITAR RIG 3 – 44
The following contextual menu is available to any Bank using a right-click
or (command-click on Mac):

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
currently 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

GUITAR RIG 3 – 45
► Save As: Saves the currently selected sound to the end of the list.
► Cut: Cut the currently selected Preset or Preset text.
► Copy: Copy the currently selected Preset or Preset text.
► Paste: Paste the currently copied or cut Preset to the current loca-
tion.
► 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-
% Owners of previous ver-
sions: This is a new op-
eration in guitar rig 3.
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 you’ve changed a sound in any way, the Save Button will be-
come illuminated, this way you know it’s 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 let’s 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 first place
► Modified: The date the Preset was last modified 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.
Clean…Country…Single Coils???
Never!

GUITAR RIG 3 – 47
► Style, Tone and Instrument: Classify your sounds according to the style,
tone and instrument the Preset is intended for.

4.2.5 Search and Results

The Search and Results are two separate panes that react to one
another.
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 Modified
► Style
► Tone
► Instrument
► Favorite

Once you’ve entered the elements you want to search, press the Find
Button and you’ll 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
selected 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 Search. Find. Finders Keepers,
Losers Weepers.
Page back to the default, blank page.

GUITAR RIG 3 – 48
4.2.6 Resizing the Bank and sound lists
You can resize the Bank, sound, and search results list by using the
moveable Resize Handle between the Bank and sound list. To change the
window size, hover your mouse over the handle until the cursor changes
its shape from the arrow cursor to the resize handle. Then, click and drag
to the appropriate height.
You can also use the Resize Handle to completely maximize either the Preset
List or Search Results List by clicking once on the handle to maximize its
view and clicking again to restore split-window functionality.

4.3 Options
The Options Tab provides access to two screens: controller assignments
and general preferences for the plug-in/application.

The Options Tab

4.3.1 Controller assignments

By clicking on the controller assignments tab, you are brought to the
following screen:
From this screen, you can manage all of your assignments to your rig
kontrol and even map your external controllers to the hard wired rig
kontrol. Under Your Total Control!

GUITAR RIG 3 – 49
Each assignment has the same strip which can be configured several
ways:

The Simple Assignment Strip

Let’s look at what each section of the above graphic corresponds to:
► RK3 Pedal: This indicates that all of the options in the strip will refer
to the RK3 Pedal
► Sound: This can be toggled by clicking on the Sound Button to switch
between Sound which are per-sound assignments and Global which
are global controller assignments.
► Learn: This allows you to “learn” an external hardware control to this
function. This Button links external controllers to the Virtual Rig
Kontrol. Press Learn, and then press the appropriate button on your
external device. (Careful: your controller has now been assimilated!)
► Volume Pedal /pedal: This shows what the current control is actually
mapped to. In this case, the RK pedal is mapped to the volume pedal
Component.
► To change the currently mapped parameter, click and hold down on
the drop down text menu to select from all of the available Components
for mapping. If you are in Sound Mode, you will see the Components
in your current rig. If you are in Global Mode, you will see a fixed menu
of global functions. From this menu, or the menu you see when select-
ing per-sound assignments, you always have the option to Clear the
assignment and start over.

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 C ontroller A ssignments Window, you can set up a few special
assignments that will make your life easier. We think you will find the new
snapshot feature is especially useful. When a controller is set to Sound, you Per-Sound Parameters!
then have the option to set a snapshot to that controller in the drop down
menu. Simply configure your rig as you want it and select Set Snapshot
to configure that controller to a snapshot recall. You can either name the
snapshot from the Virtual Rig Kontrol 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 specific Preset at any
point. To configure 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 you’re going to jump
to in the currently selected Bank. This is great when your sounds aren’t
Global Parameters!
always in a line!

GUITAR RIG 3 – 51
You can also choose Jump To in the Bank Selection section and choose to
jump to a particular Bank with the rig kontrol switches.

4.3.3 Virtual RIG KONTROL Operations

On the Virtual Rig Kontrol, you can easily map per-sound operations
by simply right clicking (or Ctrl-clicking on Mac) to bring up the same
parameter list, as you will find in the full controllers window. This function
allows you to set Snapshots and other assignments without even leaving
the rack. Any switch that is configured for a Global operation must be Map parameters to the Virtual Rig
Kontrol
controlled through the Controller Assignments Pane.

4.3.4 RIG KONTROL Templates

A Rig Kontrol Template is a predefined Template for how the rig kontrol
will act within the program. This is an advanced feature that not everyone
Rig Kontrol Template Selection
will require or use, but it is powerful if you decide to switch the RIG Menu
KONTROL quickly to a specific task (such as extended Loop Machine
controls, or Tapedeck controls, without changing Presets). The default
Template is initially activated but can be changed easily with the following
drop down menu:
Clicking on it will bring up a list of Templates that you can then select.
Next in the Template Control is the Setup Menu which when depressed
brings up the following menu:
This menu allows you to set the following controls:
► New: Allows you to set up a new rig kontrol Template.
► Save: Save the currently edited Template.
► Save As: Save the currently edited Template with a new name. Template Setup Menu

GUITAR RIG 3 – 52
► Import: Import a saved rig kontrol Template to disk.
► Export: Export the currently selected Template to disk.
► Delete: Delete the currently selected Template.

4.3.5 Mapping External Controllers

The lower half of the Controller Assignments Pane deals with mapping your
external MIDI controllers into Guitar Rig.
The concept to understand is that the RIG KONTROL is now hard-wired
into the application and its entire range of Presets. The purpose of mapping
external controls is not explicitly to ‘learn’ new controls in an individual
Preset as this would require a great deal of time. Instead, the goal is to
map your external MIDI controllers to the Rig Kontrol functions. You
only need to do this once and afterwards your controller will mimic the Rig
Kontrol mappings. Linking an external controller to the eight buttons
on the rig kontrol 3 is done through the Learn process as described
in section 4.3.1.
The External Controller Assignments Window is for adding any controllers
in excess of the eight main controllers and single pedal on the Virtual Rig
Kontrol. Simply put, this section is for users who have a lot of buttons,
switches and knobs they’d like to configure!
To start assigning, you just click the Add Assignment Button, which produces
the following entry:

GUITAR RIG 3 – 53
External Control in Action!

Simply press the L earn Button on each assignment and learn your
additional external MIDI controllers. You can assign similar types of
commands this way as you have done before with the Virtual Rig Kontrol.
The main difference is that these external controllers will have no graphical
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.

4.3.6 Preferences
The Preferences Window allows you to set a limited number of controls that
affect the operation of guitar rig as either a standalone application, or
as a plug in. Here is the window:

GUITAR RIG 3 – 54
Choices, Choices, and more choices…

This window gives you access to the following controls:

► Window Height: This control allows you to set the size of the guitar rig
window. It can either be small, medium or large. The medium and large
sizes are dependent on the physical display resolution of your moni-
tor.
► Midi Learn Popup Window: Toggles whether or not the MIDI learn window
will pop-up after you successfully make an assignment.
► Show Help Hints: Allow or disallow mouse-over hints.
► Rig Kontrol 1: To use GUITAR RIG 3 with a Rig kontrol 1, select
On from this drop-down list.
► Rig Kontrol Pedal Calibration: If your RIG KONTROL pedal is acting
funny, press this to recalibrate the movement of the pedal.
► Choose Sound Banks Directory: You can select (if needed) a new direc-
tory to save and access your Banks and sounds.

GUITAR RIG 3 – 55
4.3.7 Calibrating the RIG KONTROL
If you find that the rig kontrols expression pedal is no longer calibrated
properly, click the Reset Button, on the Options – Preferences screen.

Calibration of the RIG KONTROLs Pedal

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.

4.4 Live View

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:

GUITAR RIG 3 – 56
The Live View

The interface has three main Components:

1. A listing of the currently selected Bank and its available Sounds (upper
left).
2. The multi-function display shows you the currently selected Sound. It
also displays any additional information about the active Sound, or one
of the following three screens (Metronome, Tuner or Loop Machine):
3. The supersized Virtual Rig Kontrol and it's mapped parameters.

GUITAR RIG 3 – 57
 % If you set the window size
to a larger view, you can
also display the info text about the
Preset along with the metronome,
Showing 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.

Showing the Tuner

Showing the Loop Machine

You can change the view between Metronome, Tuner and Loop Machine
simply by clicking on the buttons in the interface. Bring the sound info
back by pressing its supersized name in the sounds window.
% The Loop Machine is
only available if it has
been inserted into your currently
When your trigger functions from the Rig Kontrol (like the Tuner, selected rig.
Metronome or Loop Machine functions) the display will automatically switch
to the correct window. If you have multiple Loop Machines in your rig, then

GUITAR RIG 3 – 58
you can select between them using the right and left arrows in The Loop
Machine view.
The final 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
% To toggle in and out of
Live Mode, press F1.

assignments are clearly visible.

4.5 Components and Parameters

To customize GUITAR RIG 3 for your own unique sound, you need to
understand how the available effects parameters influence what you hear.
Here’s the easy way: Drag in an effect, select a parameter, change it, and
listen to what happens. After a 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 section
describes each effect, its parameters, and where appropriate, tips on
getting the most out of the particular effect.

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 3’s Components add stereo

GUITAR RIG 3 – 59
imaging, or preserve existing stereo imaging, to create a bigger soundstage.
These effects add stereo to a mono input:
► Cabinets (when using Pan and Air)
► Tremolo (in Stereo Pan mode)
► Stoned Phaser (with Rotate turned up)
► Chorus/ Flanger (in Stereo mode)
► Ensemble
► Rotator
► Quad Delay
► Psychedelay
► Spring Reverb
► Studio Reverb

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

of these Components process a stereo input, it will first be converted to
mono.
► Cabinets
► All amp head Components
► All distortion Components
► Ensemble
► WahWah Pedal
► TalkWah
► Chorus/ Flanger

Note that some effects are in both lists because they may convert stereo
to mono, then create a stereo field at the output. Other Components

GUITAR RIG 3 – 60
simply leave the signal alone – mono in gives mono out, stereo in gives
stereo out.
Most of the stereo Components include the types of effects (reverb,
delay, etc.) that would normally go after an amplifier (see Appendix C for
information on effects placement). Therefore, you’ll end up with a stereo
signal if you place a stereo Component after a mono one.
However, be aware that if you follow stereo effects with a mono one,
the sound will no longer be stereo. Furthermore, when Chorus/ Flanger
is in stereo mode, or Tremolo is in stereo pan mode, the effect will
disappear when played through a mono device, or played back over a
mono system.

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 (don’t you wish
hardware rack gear could do this?)
+: Expands the Component to a larger size, and reveals more parameters
(expert or extended mode).

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 – 61
4.5.4 Saving and Loading Templates
All Components also have a common way of saving, selecting, and renaming
Templates (control settings for the Component) that can be saved 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 field, and select the Template.
► To save a Template, first name it by dragging over the existing name
in the name field (or double-clicking on it). Type in the new name.
Next, click on the drop-down menu to the right of the name field and
select Save.
► To overwrite a Template, rename the Template if necessary, then click
on the drop-down menu to the right of the name field and select
Overwrite.
► To delete a Template entirely, select the Template to be deleted, then
click on the drop-down menu and select Delete.

4.6 Fixed Rack Components

There are six fixed rack Components:
► Input
► Tapedeck One
► Tapedeck Two

GUITAR RIG 3 – 62
► 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 instrument’s levels to GUITAR RIG 3. Hint: Always

feed in the highest possible levels (short of distortion) as indicated by
the signal level meters getting as close as possible to the ‘red’ (overload)
without actually hitting it.
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.

GUITAR RIG 3 – 63
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

(button “out”). The Threshold control sets a level; signals above this level
will pass through the gate (the Gate LED is off). If the signal dips below the
threshold, then the gate closes (the Gate LED glows red). This is helpful
if your pickups are picking up any kind of low-level hum or buzz; set the
gate Threshold just above this noise, and when you aren’t playing, the gate
will not let the hum or buzz through. As soon as you start playing and the
signal exceeds the threshold, the gate will open; hopefully the signal will
be loud enough to “mask” the buzz.
The Gate’s Learn function automatically sets an optimum threshold.
Without playing your guitar, click on Learn. GUITAR RIG 3 analyzes your
signal, and sets the threshold just above any residual noise. Now when
you play, the Gate should open.

GUITAR RIG 3 – 64
4.6.2 Input Component with RIG KONTROL 1

This works the same way as if you’re 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 you’ll also hear the control signals
coming out of the footswitches and pedal.
► On: Turns the RIG KONTROL Detection on/off (button pressed is on).
% Note that mono modules
will mix these two signals
together.
► 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.

GUITAR RIG 3 – 65
4.6.3 Output Component

This matches GUITAR RIG 3’s levels to the next stage (mixer, amplifier,
PA system, etc.), and also lets you compensate for level variations among
different Presets.
Preset Volume is saved with a Preset. Thus, if a Preset is louder than
most, you can trim down its volume or if it’s softer, then you can turn it
up to match the other Presets. NATIVE INSTRUMENTS recommends you
leave this at the mid-position unless you need to compensate for Preset
level variations.
To set the Preset volume automatically, turn on the accompanying Learn
Button (������������������������������������������������������������������
b�����������������������������������������������������������������
utton “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 rig’s 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 meter’s LEDs glow red, this
indicates 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
condition, as indicated by the red output light glowing red. Without limiting

GUITAR RIG 3 – 66
selected, overloads will exceed GUITAR RIG 3’s headroom, resulting in
distortion. With Limiter selected, if an overload condition occurs, the limiter
turns the volume down automatically to prevent distortion. When the light
goes out, the volume returns to normal. If limiting occurs often, turn down
the Master Volume or, with an excessively loud Preset, the Preset Volume.

4.6.4 Tuner

% This limiter acts more

like a “fail safe”, but it’s
sonic effects may not be desirable
to you. If you want to use limiting as
an ef fect, inser t the Limiter
For quick, accurate tuning, this is the module for you. You know what a Component into the rigs signal
tuner is; here’s how this one works. chain.
The Instrument Drop-Down Menu defaults to Guitar, but you can also choose
Chromatic, Bass, four open tunings (D, E, G, A), and DADGAD tuning.
Mute Sound turns off the audio output, so you can tune without the
audience listening in. 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 floats to the right of the meter’s center “0” point) or flat
(indicator floats to the left of the meter’s center “0” point). The num-
ber toward the left of the display indicates the number of the string

GUITAR RIG 3 – 67
 being tuned. When a string is at proper pitch, the indicator should sit
in the middle of the meter at the “0” point.
► In Strobe mode, a series of lights moves to the right when the string
is sharp, and moves to the left when the string is flat. The faster they
move, the more out of tune the string. When the lights stop moving,
the string is in tune.
To access the Extended View functions, click on the (+) Symbol to “fold
down” the bottom of the tuner.
► Reference Pitch adjusts the tuning reference, from A=425Hz to
A=455Hz. The hint text for this control shows the exact pitch.
► Cents shows the deviation from ideal tuning in cents.
► Drop Tune transposes the tuning range. Example: If you tune all your
strings a semitone lower, set drop tune to -1.
► Tune Fork produces a reference tone. To select the pitch, click on the
note field to the right of the Tune Fork Button, and drag up to raise
pitch and down to lower pitch. 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 – 68
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 modifiers).

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 file that is played by clicking
the arrow and selecting a different file.
#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 – 69
Tap allows you to tap tempo either with your foot or with an assigned
external 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 fixed 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 doesn’t use actual tape, but it’s much cooler than a conventional
tape deck in a digital way. To start, this handy module will play your
audio files as well as record while play. It’s 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 and
similar parts.

GUITAR RIG 3 – 70
 Transpose
(semitones)
Play/Record Tempo
Mode (percent)
Play Tune
Start (cents) Hide

Load Play Loop Loop Level Meter Minimize

in
New Save Stop Record Loop Volume Control
out
Instead of describing each control of Tapedeck One individually, we’ll cover
the function you want to accomplish with the Tapedeck, and describe how
to go about doing it.
% Tapedeck One will only
record the clean (unaf-
fected) guitar tone coming into gui-
tar rig. If you want to use the
4.6.7 Standard playback Tapedeck as a recording device (like
To play back a file, like a backing track or drum loop: a mini DAW) for your processed,
► Click on the Load Button, navigate to the file you want to load, and ultra-cool guitar rig creation, you’ll
click on Open. Tapedeck accepts WAV, AIF, AIFF, and MP3 format files need to use Tapedeck two!
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).

GUITAR RIG 3 – 71
► Click on the Transport Play Button to start playback. Click on the Stop
Button to stop. To loop the selection so that it plays repeatedly, click
on the Loop Button (the Button to the right of the Stop Button). To start
at a specific point in the file, drag the Play Start Slider to the desired
start point.
► Adjust Volume to set the desired level. If the Output Meter’s red (distor-
tion) “LEDs” light up, reduce the Volume to prevent overload condi-
tions.

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 L oop 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 fine-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.

GUITAR RIG 3 – 72
► 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 fine 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.

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 file, 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 that’s set up in the rig).

GUITAR RIG 3 – 73
► Record mode is already enabled, so click on the Play Button to initiate
recording.
► After recording, click on the Save Button, navigate to the folder where
you want to save the file. Name the file, and click on Save.

4.6.11 Tapedeck Two

%Note that loop mode is

not available while re-
cording.

Tapedeck Two is optimized for overdubbing and creating backing tracks or

riffs over which you can play. It’s located just before the Output Component,
and therefore records whatever you’re hearing from the rig. It’s also very
handy if you just want to create a simple guitar track to share with others,
and you don’t 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.

GUITAR RIG 3 – 74
Loop functions are the same as for Tapedeck One. Like Tapedeck One, only
16-bit files can be used, and looping does not work while recording.
To record an overdub:
► Click on the Tapedeck One and Two Buttons in the Kontrol Center if
needed so that both Tapedecks are visible.
► Load a file in Tapedeck One over which you want to overdub, and select
Play at Output if you don’t want to process this file through the rig.
► To sync the recording of Tapedeck Two to Tapedeck One, turn on Sync
on Tapedeck Two.
► Go to Tapedeck Two and click on its New Button (lower left). This au-
tomatically enables record by pushing in the Record Button. If you have
already created a new file, just click on the Record Button.
► As Record Mode is already enabled, click the Play Button to initiate
recording.
► After recording, click on the Save Button, navigate to the folder where
you want to save the file, name it, and click on Save.
► If you want to overdub this file again, click on Transfer File to Tapedeck
One and repeat the recording procedure.

4.7 Amps
The virtual amps behave so much like real tube amps that the cabinet
and the amp’s power output stage interact in a complex way. As a result,
the amps’ tone and distortion characteristics change subtly depending on
which cabinet you connect. When more than one cabinet connects to an

GUITAR RIG 3 – 75
amp, the cabinet at the top of the list determines the amp’s behavior, even
if this cabinet is not turned on.
Also, amps should be followed by the cabinet(s) of your choice. An amp’s
straight output is buzzy and can be shrill; with all guitar amps (even virtual
ones!), the cabinet is a vitally important sound-shaping element.
Each amplifier has the following expert controls:
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Power Supply chooses between 50 and 60Hz. This represents the frequency
of the virtual mains AC voltage going into the virtual amp power supply. The
DC power voltage inside the modeled amp has a ripple at this frequency,
which imparts a very subtle modulation on the sound.
Variac emulates the effect of inserting a Variac in the AC line, thus
reducing the supply voltage (“brown sound”) or increasing it above normal
(“bold”).
Sag simulates what happens to the power supply when you hit it with a
loud signal, and the supply voltage sags for a fraction of a second because
it can’t deliver the necessary power. Increasing Sag results in the power
supply becoming more “spongy”, as would occur in a tube-based rectifier
circuit. Tuning down Sag makes the power supply harder, like a silicon
diode-based rectifier circuit.
Response changes the power storing capacity of the power supply capacitors.
Turning down Response increases their capacity, so that the supply voltage
reacts more slowly to playing dynamics. Turning up the Response will result
in the amp’s power supply reacting more rapidly.

GUITAR RIG 3 – 76
Bias adjusts the virtual tube’s grid bias which, in turn, influences crossover
distortion. Although it’s 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, it’s
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”.

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.

GUITAR RIG 3 – 77
Turning Bass clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
Turning Mid clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning Treble clockwise from the center boosts the high frequency
response; counterclockwise reduces high frequency response.
The Presence control adds a frequency response “lift” in the upper
midrange.

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 flavor. We chose a particular model that
stands out and not only because of its unique flavor but add to that some
circuit wizardry, perhaps a little bit Top Boost modification! 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.

GUITAR RIG 3 – 78
Parameters
Normal Volume sets the Normal channel’s overall level. The Treble and Bass
controls have no effect in the Normal channel.
Brilliant Volume sets the Brilliant channel’s overall level. The Treble and
Bass controls have no effect when Brilliant Volume is turned down.
Turning Treble clockwise boosts the high frequency response in the Brilliant
channel; counterclockwise reduces high frequency response.
Turning Bass clockwise boosts the low frequency response in the Brilliant
channel; counterclockwise reduces low frequency response.
Tone-Cut is a control unique to this type of amp. Basically, it reduces the
output’s 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.

GUITAR RIG 3 – 79
Parameters
Volume sets the amp’s overall level.
Turning Treble clockwise from the center boosts the high frequency
response; counterclockwise reduces high frequency response.
% Note that this is like a
master volume control; if
you want to overdrive this amp, pre-
Turning Mid clockwise from the center boosts the midrange frequencies; cede it with a module that provides
counterclockwise reduces midrange frequencies. gain (e.g., volume pedal turned up
Turning Bass clockwise from the center boosts the low frequency response; full).
counterclockwise reduces low frequency response.
The Bright switch is another tonal option that accentuates the high
frequencies.
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 you’re not using it.
Speed controls the tremolo speed (but it’s 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 amplifiers).
Reverb Time allows you to set the duration of the reverb decay tail.

GUITAR RIG 3 – 80
Reverb Size changes the apparent size of the “room” being emulated by
the reverb. While this interacts with Reverb Time to some extent in that a
larger size leads to a longer decay, Size has more to do with the sound’s
character.

4.7.4 Plex

The classic Plex sound probably needs no introduction – it’s the vintage
amp sound that has powered too many hit records to mention.

Parameters
Volume I sets the preamp gain for the bright channel.
Volume II sets the preamp gain for the warm channel. By combining Volume
I and Volume II you can set the mix between bright and warm tone.
Turning Treble clockwise from the center boosts the high frequency
response; counterclockwise reduces high frequency response.
Turning Mid clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.

GUITAR RIG 3 – 81
Turning Bass clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
The Presence control adds a frequency response “lift” in the upper
midrange.

4.7.5 Jazz Amp

Modeled after an amp produced by a highly-respected synthesizer

manufacturer, the Jazz Amp produces a warm, clean tone. An essential
part of its sound is the Ensemble effect, which adds chorusing or vibrato.
As a result, the Ensemble is built into the Jazz Amp.
If you want to hear the Vibrato/Chorus effect in true stereo, then it’s
best to turn off the effect built into the Jazz Amp and instead insert the
Ensemble Component (which provides true stereo) after any Cabinets&Mics
Component.

Parameters
Volume sets the amp’s overall level.
Turning Bass clockwise boosts the low frequency response for a bassier
sound; counterclockwise reduces low frequency response for a “thinner”
% There are no expert mode
settings for this amp.

sound.

GUITAR RIG 3 – 82
Turning Mid clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning Treble clockwise boosts the high frequency response, while turning
counterclockwise reduces high frequency response.
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.

4.7.6 Lead 800

This smooth, intense lead sound cuts like a knife and offers plenty of
flexibility. While the Plex works very well for both chunky rhythm sounds
and leads, the Lead 800 gives a brighter, more edgy sound.

GUITAR RIG 3 – 83
Parameters
Master adjusts the amp’s overall volume.
Pre-Amp sets the preamp gain. Turning it more clockwise adds drive,
distortion, and an “edge” to the sound.
Turning Bass clockwise from the center boosts the low frequency response;
counterclockwise reduces low frequency response.
Turning Mid clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning Treble clockwise from the center boosts the high frequency
response; counterclockwise reduces high frequency response.
The Presence control adds a frequency response “lift” in the upper
midrange.

4.7.7 Instant Gratifier Solo Head

Of course you need an amp to put before your cabinet, and the Gratifier
emulates a smokin’ solo head sound with a tube power amp. Its tonal
spectrum spans the range from clean to over-the-top distortion. Think of
it as a four-channel amp (click on the associated “channel” to select it):

GUITAR RIG 3 – 84
► 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.
Turning Mid clockwise from the center boosts the midrange frequencies;
counterclockwise reduces midrange frequencies.
Turning Treble clockwise from the center boosts the high frequency
response; counterclockwise reduces high frequency response.
Turning Presence clockwise from the center boosts the upper midrange
frequencies; counterclockwise reduces the upper midrange frequencies.

GUITAR RIG 3 – 85
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, there’s
also a graphic equalizer to allow tailoring the sound more precisely.

Parameters
Volume sets the amp’s overall level.
The Gain control increases the amount of distortion as you turn it more
clockwise.
Drive “pushes” gain in the midrange region; it’s sort of like a gain control,
but affects the sound’s overall “character”.
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.

GUITAR RIG 3 – 86
Turning Treble clockwise from the center boosts the high frequency
response; counterclockwise reduces high frequency response.
Turning the Bright switch on accentuates the very high frequencies.
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, there’s unity gain through the EQ. Pushing the slider up
from the center increases gain (which will likely be necessary if you cut the
response at various frequencies using the band level sliders), while moving
the slider downward decreases gain. You will probably need to decrease
the gain if you boost several frequency bands.
The Graphic EQ Band Level controls boost or cut response at nine specific
frequency bands: 40Hz, 90Hz, 180Hz, 300Hz, 500Hz, 1kHz, 2kHz, 4kHz,
and 10kHz. When a slider is centered, there is neither a boost nor cut
at that slider’s frequency band. Moving the slider up increases gain up
to +12dB, while moving the slider down decreases gain by as much as
‑12dB.

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4.7.9 Citrus

If you’re yearning for that 70’s British sound with a bunch of flavor, 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
Knob more clockwise will allow less bass into your sound and allow more
of the highs to pass.
The B ass K nob adjusts the low frequency response. Adjust it
counterclockwise to attenuate bass response and clockwise to boost bass
response in your signal.

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The Treble K nob adjusts the high frequency response. Adjust it
counterclockwise to attenuate treble response and clockwise to boost
treble response in your signal.
The Presence Knob adjusts the upper midrange frequencies. Turning
clockwise from the center boosts the upper midrange frequencies;
counterclockwise reduces the upper midrange frequencies.

4.7.10 Ultrasonic

You asked for an ultra-modern, ultra-high-gain, über-cool amp? We present

the Ultrasonic! A two-channel amp with all the modern tones you could
even want.

Parameters
An Override /clean toggle switches the amp between the clean and overdrive
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.

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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. 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
response; counterclockwise reduces high frequency response.
Turning Presence clockwise from the center boosts the upper midrange
frequencies; counterclockwise reduces the upper midrange frequencies.

4.7.11 High White

Are you seeking the signature British sound of David Gilmour and Pete
Townsend? If so, then we think you’ll want to spend some time with the
High White model – we’re talking 100 virtual watts of pure tone! This
amp features two different input paths, a normal input and a brilliant

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input, 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 B ass K nob adjusts the low frequency response. Adjust it
counterclockwise to attenuate bass response and clockwise to boost bass
response in your signal.
The Middle K nob adjusts the mid frequency response. Adjust it
counterclockwise to attenuate mid response and clockwise to boost mid
response in your signal.
The Treble K nob adjusts the high frequency response. Adjust it
counterclockwise to attenuate treble response and clockwise to boost
treble response 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.

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4.7.12 Tweed Delight

There’s nothing like the spank of an amp covered in tweed! This amp, based
on an American legend, has greatly simplified controls and is designed 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.

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 defined
distorted sound.

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4.8 Cabinets
What amp would be complete without a matching cabinet? Here we give
you two choices. The first is the Matched Cabinet, where we provide you
with what we feel, is the best choice for the amp you choose. This cabinet
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?

4.8.1 Matched Cabinet

When you add any amplifier 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.

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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.
► 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 reflections in the room response.
This simulates the distance of the microphone to the farthest wall.

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4.8.2 Cabinets & Mics

This Component models the standard guitar and bass amp recording chain:
Cabinet, mic, and mic position. But it doesn’t 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):

Nr. Name Nr. Name

1 1 x 12 Tweed Alnico 11 4 x 12 UK 60s Tall

2 1 x 12 Custom 12 4 x 12 UK 60s

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3 2 x 12 Tweed Blue 13 4x12 UK 80’s

4 2 x 12 Tweed Green 14 4 x 12 UK 70s

5 2 x 12 Tweed Ceram 15 4 x 12 High White

6 2 x 12 Brit 60s 16 4x12 Gratifier

7 2 x 12 Chief V-30 17 4x12 Ultrasonic

8 2 x 12 Custom 18 1 x 15 Bass-PRO

9 2 x 12 Jazz 19 1 x 15 Bass-WR

10 4 x 10 Tweed Alnico 20 4 x 10 Bass-PRO

21 4 x 10 Bass-WR 25 Rotator Horn Open

22 8 x 10 Bass-PRO 26 Rotator Bass Close

23 8 x 10 Bass-WR 27 Rotator Bass Open

24 Rotator Horn Closed 28 DI Box

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Cabs 1-7, 9, 10, and 22-25:
► 1/5 On Axis
► 2/5 Off Axis
% 24 & 26 use a closed
cabinet, with sound re-
corded through slots.
► 3/5 Edge 25 & 27 use an open cabinet, with
► 4/5 Far sound recorded direct.
► 5/5 Back (This applies to open back cabs only, i.e. it’s not available Mic positions and the position
on the 4x12s or the Bass cabinets, which are all closed-back. However, names depend on the selected
many of the Bass cabinets have a Horn Tweeter, so they include the cabinet (of course, the Direct Box
5/5 Horn Microphone Position.) doesn’t offer a mic option).

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

Guitar Cabs 1-17:

► 1/5 Dynamic 57
► 2/5 Dynamic 421

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► 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

Parameters
Size (the slider below the cabinet graphic) provides the equivalent of
“growing” or “shrinking” the cabinet and speaker. For example, with a
1x12 cabinet, set Size to -20% and it becomes a 1x10. Increasing Size to
+25% turns it into a 1x15, and +43% creates a 1x17 speaker/cabinet.
Volume sets the microphone’s output level.

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Pan places the microphone signal anywhere in the stereo panorama, from
far left to far right.
Air controls the level of early reflections in the room response.
Distance appears if more than one SubCabinet/Mic is active. This feature
controls the delay due to the distance between the microphone and
cabinet. Mixing together the signals from multiple microphones can result
in cancellations and emphasis of certain frequencies, depending on the
relative distances.
Bass boosts or cuts the level of the lower frequencies.
Treble boosts or cuts the level of the higher frequencies.
Phase flips the microphone polarity.
Master Volume sets the entire Component’s level. This is necessary because
if you have used the Add Button to create multiple cabinets, they may use
different output levels. The Master Volume control allows bringing the
levels of all the cabinets up or down as a group. Set this control carefully
– if previous stages have added a lot of gain, it will be necessary to lower
this control if you want to avoid triggering the output limiter or clipping
(depending on the setting of the Output Component’s Clipping/Limiter
switch).
Learn is a Button that optimizes the Master Volume setting automatically.
As with the other Learn Buttons, push it in, then play at the loudest level
you’ll be using. GUITAR RIG 3 will analyze your playing, and adjust the
Master volume for the optimum level. After analysis is complete, the Learn
Button “pops out” again.

GUITAR RIG 3 – 99
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 artificial by themselves –
especially when driven hard. For the best tone, feed them into an amp/
cabinet combination to create a beefier, more realistic sound.

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.
► Brighter sound: Some guitars (particularly Fender solid body types)
have a feature where turning down the volume control attenuates the
low frequencies at a faster rate than the high frequencies. Thus, if you
turn the control down about 3/4 of the way, the upper strings will
distort more than the lower ones. This gives a bright, lively type of
distortion.
► Balancing the sound: With guitar, pickup height adjustments are crucial
to getting a consistent distortion sound. If the sound is too boomy,

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 angle the pickups slightly so that the bottom three strings are further
away from the pickup than the top three strings. Also, note that newer
strings will sustain longer than older strings.

4.9.1 Fuzz

Looking for that special 60’s fuzz sound? The Fuzz’s rather thin and sharp
tone will make your leads cut through a mix like a chain saw. As a bonus,
you can create buzzing vintage rhythm guitar sounds, too.

Parameters
Volume sets the Fuzz’s output level. It acts like a master volume control.
Turn the Fuzz control clockwise to increase the distortion’s “fuzzy”
quality.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Bass provides control over the lower frequency tone.
Turning Treble clockwise accents the high frequencies.

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4.9.2 Big Fuzz

Stretch sustain to the max, like a 1970s guitar hero…or add some serious
grunge to your tone. This is the distortion of choice for some serious rock
and roll sounds.

Parameters
Volume sets the Big Fuzz’s output level. It acts like a master volume
control.
Sustain affects the sound’s sustain by increasing the amount of gain going
to the distortion circuitry as you turn it further clockwise.
Turn Tone clockwise to emphasize low frequencies and reduce higher
frequencies, or counter-clockwise to dampen the bass range and enhance
the high frequency tone.
Click on the (+) Symbol to reveal expert mode, which offers the following
parameters.
Bass provides control over the lower frequency tone.
Turning Treble clockwise accents the high frequencies.

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4.9.3 Cat

If you want a responsive overdrive for blues and rock (rhythm or lead), the
Cat is the one to use. But beware: Kick the Cat hard, and its inner angry
punk appears!

Parameters
Volume sets the Cat’s output level. It acts like a master volume control.
Filter affects the sound’s color, For a darker sound, turn clockwise to
enhance the low frequency range; turn counter-clockwise to for a brighter,
sharper sound.
Turn Distortion clockwise for a more distorted sound.
Click on the (+) Symbol to reveal expert mode, which offers the following
parameters.
Turn the Balls control clockwise to add low-end punch. Turning it counter-
clockwise delivers a flatter, more biting sound.
Bass provides control over the lower frequency tone.
Turning Treble clockwise accents the high frequencies, while moving in
the counter-clockwise end of the range (say, from 0.00 to 3.00) can add
an almost wah-wah like effect.
Tone adjusts the frequency range influenced by the built-in pre-distortion
midrange booster.

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4.9.4 Skreamer

This warm, smooth-sounding overdrive works great for rhythm guitar and
smooth leads.

Parameters
Volume sets the Skreamer’s output level. It acts like a master volume
control.
Turning Tone clockwise gives bright, screaming leads and biting rhythms.
Counterclockwise gives a mellower, darker sound.
Drive determines the “crunch factor”. Turn clockwise for more distortion.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Bass provides control over the lower frequency tone.
Bright determines the high frequency response.
Clean adds some of the unprocessed sound in with the distortion, from
none to maximum.

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4.9.5 Distortion

When you want distortion that will scare small animals or clear a room of
unwanted house guests, insert this baby and turn it up to 11.

Parameters
Volume sets the Distortion’s output level. It acts like a master volume
control.
Turning Tone clockwise accents the midrange while dropping the bass.
Counterclockwise takes off the highs and boosts the bass for a warmer
sound.
Distortion is the main grunge control. Turn it clockwise to dirty up the
sound.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Bass provides control over the lower frequency tone.
Mid affects the level of the midrange frequencies.
Treble determines the high frequency response.

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4.9.6 Mezone

When you want metal…here you go. Pre- and post-distortion tone controls
let you tailor the sound just about any way you want.

Parameters
Volume sets the Mezone’s output level. It acts like a master volume
control.
Bass provides control over the lower frequency tone. Warning to Californians:
Turn up Bass all the way, and there may be enough low frequencies to
trigger an earthquake.
Mid sets the amount of midrange frequency boost; turn clockwise for
more boost.
Mid Freq adjusts the frequency where the Mid control’s boosting occurs.
Turning Treble clockwise accents the high frequencies.
Turn Distortion clockwise for a more distorted sound.
Click on the (+) Symbol to reveal expert mode, which offers the following
parameters. Note that all these filters are before the distortion, and are
therefore designed to affect the distortion’s character more than its
tonality.

GUITAR RIG 3 – 106

Bass adjusts how much bass is allowed to be distorted. Turn clockwise
for more bass.
Mid -Q sets the amount of midrange boost that makes its way to the
distortion section; turn clockwise for more boost.
Mid Freq adjusts the frequency where the Mid-Q control’s boosting
occurs.
Turning Treble clockwise lets through high frequencies to the distortion
section.

4.9.7 Demon Distortion

Definitely a piece of hard rocker’s gear, the Demon Distortion provides

you with razor-sharp, long-sustaining leads and speaker-blasting rhythm
sounds.

Parameters
Volume sets the Demon Distortion’s output level. It acts like a master
volume control.
Bass provides control over the lower frequency tone.
Mid enhances or attenuates the midrange frequencies.
Turning Treble clockwise accents the high frequencies.

GUITAR RIG 3 – 107

The Gain control lets you adjust the input sensitivity. The more you turn the
Gain control clockwise, the more the incoming signal will be distorted.
The Scoop switch drastically attenuates the midrange frequencies, which
produces a typical modern metal sound. With Scoop on, the Mid control
has no effect.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
The Bottom control sets how much bass passes through to the distortion
section. If the sound “rumbles” or sounds “blurry”, turn this control
counter-clockwise to tighten the sound.
Boost sets the frequency range influenced by the built-in pre-distortion
midrange booster.
Bass determines the center frequency of the equalizer’s Bass control.
Mid determines the center frequency of the equalizer’s Mid control.
Treble determines the center frequency of the equalizer’s Treble control.
Bright fine-tunes the signal’s presence by attenuating or enhancing the
highest frequencies.

4.9.8 TransAmp

This versatile, analog distortion box set the stage for the later generation of
digital wonderboxes. When you need a “one-size-fits-all” fuzz, TransAmp

GUITAR RIG 3 – 108

delivers a wide variety of tones – from cool, “on the verge” distortion to
biting, raging heat.

Parameters
Volume sets the TransAmp’s output level. It acts like a master volume
control.
Bass provides control over the lower frequency tone.
Turning Treble clockwise accents the high frequencies.
The Drive control has a wide range, from just a hint of crunch (counter-
clockwise) to hardcore (clockwise).
The Amp Control “morphs” among three different amp characters: Tweed,
British, and California.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Click on Clean to produce a cleaner, less distorted sound.
The Cab&Mic switch, when pushed in, simulates the effect of adding a
speaker cabinet and miking it.
MicPos has an effect only if the Cab&Mic function is enabled. This control
places the mic at various degrees of off-axis position, or at a distance
from the speaker.
Hot has an effect only if the Cab&Mic function is enabled. Turning the
control more clockwise produces a brighter, hotter sound.

GUITAR RIG 3 – 109

4.9.9 Treble Booster

Treble boosters were used by Brian May of the group Queen, as well as
Eric Clapton on the “Beano” album (when he was with John Mayall and the
Bluesbreakers) to push their tube amps into crispy, creamy distortion. Tony
Iommi, Rory Gallagher, Ritchie Blackmore, and David Gilmour are other
guitarists who used this technique. Also, many Fender Telecaster players
would turn down the volume control slightly, which reduced the bass and
created a similar effect when feeding high-gain amps.

Parameters
Bright, when turned down, reduces the boosting somewhat at the highest
frequencies.
Boost sets the degree of boost.

4.9.10 Gain Booster

If you’ve ever seen the movie “This is Spinal Tap”, you know that amps
that go up to 11 are much better than ones that go up to 10. Well, this
Component can add gain where you need it – for insane amounts of

GUITAR RIG 3 – 110

overdrive, to compensate for settings that reduce level, or simply to see if
you really can get your amp to go up to 11 instead of 10.

Parameters
It doesn’t get much simpler than this: turn Boost clockwise to boost the
signal level.

4.9.11 Sledgehammer

If you want your guitar to clear it’s way through a mix like a sledgehammer,
than you’ll appropriately want to make use of the new Sledgehammer
module. This effect is downright brutal and will make walls come down.

Parameters
Volume controls the overall volume coming out of the Component.
Bass controls the low frequency response. Turn it counterclockwise to
attenuate bass, and clockwise to increase bass and low frequency response
in your sound.
Treble controls the treble response. Turn it counterclockwise to attenuate
treble and clockwise to increase treble and high frequency response in
your sound.
The C ontour Knob scoops out certain frequencies from your sound
depending on the Freq settings. Turning the control clockwise will scoop

GUITAR RIG 3 – 111

through the frequencies selected by the Freq Knob. Fully clockwise is full
scoop, and fully counterclockwise applies no Countour on the sound.
The Freq Knob sets which frequencies are affected when using the Contour
Knob. Counterclockwise rotation will affect the midrange, while turning
the control clockwise will begin to affect the upper mids and treble
frequencies.
Gain adjusts the amount over saturation fed into the distortion circuit
The Distortion/drive switch changes the Component from softer overdrive-
type sounds into harder, more edgy distortion tones.

4.10 Modulation
A modulator introduces motion into formerly static sounds. Common
modulation devices in your hardware rigs are: Chorus, Tremolo and Flange.
Guitar rig provides you with a vast list of modulators than can be
inserted anywhere in your rig! The majority of modulation Components
have the ability to sync. With the new sync possibilities in Guitar Rig
3, you can now sync to either host clock, metronome clock, or per-Preset
clock (free sync)

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4.10.1 Tremolo

This Component provides a periodic amplitude change so that the sound

seems to “pulsate”. A modulation source controls the rate of these
amplitude changes.

Parameters
Intensity controls the tremolo effect depth by adding in some dry signal
to the processed signal.
R ate sets the modulation frequency. Faster settings add a type of
“shimmering” effect to the sound.
Tempo Sync will synchronize the tremolo rate to the host tempo so that it
follows the song’s rhythm. In standalone mode, the tremolo rate syncs to
the Metronome tempo.
Stereo Pan, when enabled, provides a stereo tremolo effect: When the
level increases in one channel, it decreases in the opposite channel, and
vice-versa. Note that the effect pretty much disappears when Tremolo is
followed by a mono Component like an Amp.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.

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Width, in mono mode, controls the ratio between when the LFO cycle is
positive (higher volume) and negative (lower volume). In stereo mode, this
control sets the ratio between the time spent to the right or to the left
side of the stereo field.
Down requires some explanation. Think of the tremolo modulation not
as a waveform, but rather an attack and decay from an envelope. Down
changes the decay time.
Up changes the apparent “attack time” in a similar manner. Turning both
Down and Up to minimum creates more of a hard gate effect.

4.10.2 Ensemble

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

chorusing, in the sense that it creates “bigger” sounds; but also provides
vibrato (pitch modulation) effects.

Parameters
Volume sets the overall output level.
Chorus Intensity is active only in Chorus mode. It sets the depth of the
chorusing effect.

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Mode chooses between the chorus and vibrato functions.
D epth is active only in Vibrato mode and sets the amount of pitch
deviation.
Rate is active only in Vibrato mode and sets the vibrato speed.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Temp Sync synchronizes the LFO speed to the metronome tempo, which is
derived from the SYNC setting in the Toolbar.
D ry/Wet sets the ratio of dry to processed sound, from dry only
(counterclockwise) to 50-50 (mid position) to processed sound only (fully
clockwise).
Bass provides control over the lower frequency tone (turn clockwise to
boost, counterclockwise to cut).
Mid similarly affects the level of the midrange frequencies.
Treble similarly determines the high frequency response.
Delay sets the chorus circuit’s delay time (the time around which modulation
occurs).
Stereo changes the imaging from mono (fully counterclockwise) to stereo
(fully clockwise).

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4.10.3 Chorus/ Flanger

This delay-based unit can create chorusing, flanging, and pitch modulation
effects.
► Chorusing essentially turns one guitar into a chorus of guitars, provid-
ing a more diffused and complex sound.
► Flanging produces a whooshing sound, similar to the effect you hear
from a jet airplane when it passes overhead but more intense and
metallic.
► Pitch Modulation is the same thing as vibrato – a cyclic pitch change.

Parameters
Speed varies the modulation rate. With Chorus, faster speeds provide a
more shimmering sound, while slower speeds create more of a rolling,
much smoother chorus effect. With Flanger, Speed determines how long it
takes to complete one “cycle” of flanging (i.e., minimum delay to maximum
delay, or the “high” and “low” timbres). With Pitch Modulation, this control
sets the vibrato rate.
Intensity, in Chorus mode, adds in more of the delayed, processed sound.
When flanging, it increases the flanger resonance to create a sharper, more

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intense effect. With Pitch Modulation, the vibrato is more pronounced and
less like chorusing as you turn Intensity clockwise.
Width determines the range of the flanging effects (i.e., the difference
between the highest and lowest points); with Chorus, the amount of
“animation;” and with Pitch Modulation, the amount of pitch deviation.
Mode chooses among the Chorus, Flanger, and Pitch Modulation modes.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
Stereo creates a super-wide stereo effect, but is recommended only for
live use – playing the signal back in mono causes the effect to disappear,
leaving only the straight sound.

4.10.4 Stoned Phaser

The Stoned Phraser adds a swirling, animated effect to the sound. This
model is modeled after a popular phaser from the 1970s.

Parameters
Rate controls the speed of the phaser effect.

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Sync synchronizes the phaser rate to the host tempo so that it follows
the song’s rhythm. In standalone mode, the phaser rate syncs to the
Metronome tempo.
Color creates a timbral change that’s a variation on the standard phaser
sound.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Invert changes the phase of the shifted signal, producing a different
timbre.
Notches determines the number of stages in the phase shifter. Click on the
associated numerical and drag to select from 1 to 5 notches.
C olor Strength sets how much the Color On /O ff Button affects the
sound.
Sweep Min sets the sweep’s lower frequency limit.
Sweep Max sets the sweep’s upper frequency limit.
Rotate alters the phase difference between the LFOs feeding the left and
right channels for a stereo effect.
Dry Wet adjusts the mix of the dry and processed (phase shifted) sound.

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4.10.5 Rotator

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

“virtual organ”, simulates the effect of miking a rotating speaker. A true
rotating speaker has two separate elements – the lower rotor and upper
rotor – and this module faithfully emulates both elements, as well as
provides separate controls for each one

Parameters
Rotator switches the speed of the rotating speaker – slow or fast.
Balance sets the ratio of the sound produced by the rotating speaker’s high
frequency horn compared to the low frequency woofer. Turning clockwise
gives more highs, while turning counterclockwise gives a bassier sound.
Pan changes the treble and bass rotors’ location in the stereo field. Turning
clockwise moves treble right while bass moves left.
Distance edits the distance between the virtual microphones and the
rotating speaker.
Dry/wet controls the effect’s strength; turn fully clockwise to hear the
rotating speakers only.
Click on the (+) Symbol to reveal expert mode. Each rotor (treble and bass)
has a set of identical controls.

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Cab Tone activates the Rotator’s own cabinet simulation effect. You can
turn this off if you want to use the Cabinets & Mics Component instead.
For example, you could set up the Rotator Bass Cabinet and pan it fully
left, then add the Rotator Horn Cabinet and pan it fully right. Connect the
Rotator after Cabinets & Mics, and switch Cab Tone off. The Cabinets’ left
and right channels will now feed the Rotator’s Bass and Horn rotors.
Slow sets the rotor speed in slow mode. When set to minimum, the rotor
comes to a stop.
Fast sets the rotor speed in fast mode.

4.10.6 Oktaver

This generates two signals – one octave below, and another signal two
octaves below, the original pitch. There are two important cautions:
► Oktaver works only with single notes, not chords.
► Place Oktaver toward the beginning of the chain. Do not add reverb,
delay, or other modulation effects before it, as that will confuse the
pitch tracking circuitry. However, you can usually put the Tube
Compressor, Stomp Compressor, and sometimes EQ, before it with no
problems.

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Parameters
Direct sets the dry signal level.
Oct 1 determines the level of the octave below signal.
O ct 2 changes the level of the signal two octaves below the original
pitch.
Click on the (+) Symbol to reveal expert mode. Each octave (1 and 2) has
a set of identical controls.
Cutoff changes the timbre of the octave sound. Turn clockwise to increase
brightness.
Reso sets the filter resonance.
Accel sets how long it takes for the speed to change when you change the
Rotator Speed Switch. When counterclockwise, it accelerates or decelerates
over time; clockwise produces a near instantaneous change.
Spread widens the stereo image when turned clockwise, and narrows the
image when turned counterclockwise. It controls the distance between the
left and right virtual microphones.

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4.10.7 Pitch Pedal

GUITAR RIG fans from around the world begged us to include a “pedal-
controlled vibrato tailpiece” effect, so how could we resist? So, instead
of a standard vibrato tailpiece, we created a unit where all the strings
stay in tune as you bend up and down. Controlling the Drag (pitch shift)
parameter from the RIG KONTROL pedal is highly recommended, as this
gives hands-free control over pitch changes.
The expert mode parameters are crucial in creating useable bending. Those
% Note that unlike the
Oktaver, the pitch shift-
ing works polyphonically; further-
who don’t want to get involved with programming can simply choose some more, with small shift amounts, the
of the Presets for common string-bending effects. Pitch Pedal can provide some su-
perb chorus and ensemble effects.
Parameters
Drag changes pitch, based on limits set by the expert mode knobs.
Generally you drag the slider to the right to bend pitch up, and to the left
to bend pitch down; but the reverse is also possible – as is having one
extreme with no pitch change, and the other with an upward or downward
pitch slide.
D ry / we t adjusts the proportion of dry and processed sounds.
Counterclockwise is fully dry, clockwise is processed (wet) sound only.

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Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Min Shift sets the pitch shift amount when the pedal is at minimum (up
position). The range is ±24 semitones.
Min Detune sets “fine tuning” for the amount of detuning when the pedal
is at minimum (up position). The range is ±100 cents.
Max Shift sets the pitch shift amount when the pedal is at maximum (down
position). The range is ±24 semitones.
Max Detune sets “fine tuning” for the amount of detuning when the pedal
is at maximum (down position). The range is ±100 cents.
Feedback determines how much of the output signal returns to the input.
For example, if you have set the pitch to transpose up 1 semitone, that
signal will return to the input and be transposed up another semitone, then
that signal will return to the input and be transposed up another semitone,
and so on. This produces an ascending series of notes.
Delay affects the smoothness of the pitch shifted sound. It also introduces
a delay in the feedback path, from 10 to 50 ms. The longer the delay,
the greater the sense of a series of notes; with shorter delays, you’ll hear
more of a texture.

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4.10.8 Electric Lady

The Electric Lady adds a very versatile stereo Flanger to your effects rack.
Modeled after an all-time classic, the Electric Lady produces sounds that
range from subtle flanging and chorusing to weird metallic timbres and
extreme flanger swooshes. The static mode adds to this wide palette of
sounds. It switches the unit into filter mode acting as a Bank of notch
filters.

Parameters
Rate controls the speed of the Flanger effect. For a slow effect, turn the
Knob counter-clockwise. For a fast effect turn it clockwise.
Static toggles the effect into static filter-Bank mode and disables the
modulating LFO.
Depth controls the intensity of the modulation. With higher values a broader
frequency range is affected.
Color varies the general timbre of the effect. In static mode (see above)
this Knob controls the frequency of the filters.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.

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Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
Invert shifts the phase of the effect signal leading to a different timbre.
Rotate alters the phase difference between the LFOs feeding the left and
right channels for a stereo effect.
Dry Wet adjusts the mix of the dry and processed (flanged) sound.

4.10.9 Phaser Nine

This Phaser is based on another well-known effect design, it is a sure-fire

way to add all kinds of animated shimmering to your guitar sounds.

Parameters
Rate controls the speed of the Phaser modulation. Turn the rotary Knob
counter-clockwise for slow and clockwise for fast swirls.
Depth sets the intensity of the phasing.
Color controls the basic timbre of the phasing by changing the feedback
of the effect. Higher values lead to greater emphasis on the frequency
peaks in the signal.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.

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Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
Invert shifts the phase of the effect signal leading to a different timbre.
Frequency controls the center frequency around which the LFO modulation
will take place.
Notches dials in the number of notches the effect introduces into the
frequency range.
Rotate alters the phase difference between the LFOs feeding the left and
right channels for a stereo effect.
Dry Wet adjusts the mix of the dry and processed (phased) sound.

4.10.10 Harmonic Synthesizer

The Harmonic Synthesizer opens up a whole world of synthesizer sounds

simply by playing your guitar. It can produce faithful re-creations of classic
sounds but is also well-suited for generating wild effects never heard
before. Additionally, you can switch it to bass-mode for use with your
bass guitar.
The effect contains four voices – sub-octave, dry, octave and square wave
– that can be freely mixed for envelope shaping as well as for coloring
using a flexible filter.

GUITAR RIG 3 – 126

Parameters
Guitar/Bass is used for switching the filter sweep range to be fed by a guitar
or a bass, respectively.
Threshold acts as a noise gate for the input signal. Only signals above the
threshold will get through and trigger the volume envelope and the filter
sweep. Dial in a setting that cleanly triggers the effect.
Trigger controls the signal volume needed to activate the filter. If you set
this too high it may result in a stuttering filter due to multiple triggering.
Experiment a bit to find the exact setting you need for your style of
playing.
Sub controls the volume of the sub-octave. Be aware that only single-notes
are tracked.
Dry dials in the volume of the dry, unprocessed guitar signal.
Oct is for mixing the signal shifted up one octave from the original and
only tracks single notes.
Sqr mixes in a square wave signal that can be controlled by dynamic
playing.
Att has a similar effect to the Attack controls of a synthesizer envelope.
The higher the value the slower the signal will be faded in. High settings
can completely remove the initial attack sound of the instrument.
Res controls resonance and width of the filter. With higher values you get
a broader frequency range and a more pronounced peak around the cutoff
frequency.
Strt sets the frequency at which the filter sweep starts.

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Stop determines the end-frequency of the filter sweep. If Start and Stop
are set to the same value, the filter will emphasize that particular frequency
without sweeping.
Rate determines the speed of the filter sweep from the start frequency to
the end frequency.

4.10.11 Ring Modulator

Ring modulation is an unusual effect, one that you don’t hear everyday. If
you like Black Sabbath’s “Paranoid” solo, then you’ve heard one in action.
A ring modulator takes two signals, and mixes the sum and difference
between the two, resulting in some very unique sounds. It’s a throwback
to the glory days of analog noisemaking.
The Component has two sections: Mod and LFO.
The mod section comprises of the following controls:
The ring control acts as a balance between the dry and the ring-modulated
sound.
The FM Control is an additional FM modulator.
The HI/LO switch selects the frequency range of the oscillator used by the
ring and FM modulation.

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The Freq Knob sets the frequency of the oscillator. Start with the control
fully counterclockwise for low frequencies, and turning the control clockwise
selects higher frequencies.
The LFO Section (Low Frequency Oscillator Section) consists of the
following controls:
The Amount Knob controls the modulation strength of the LFO on the
oscillator. Clockwise rotation of this Knob will add more movement to the
sound.
The Sine /Square switch selects between a sine wave, or square wave shaped
LFO signal.
The Rate Knob controls the rate of periodic modulation through the LFO.
The glowing LED to the right of the Rate Knob shows the visual rate of the
LFO applied to the signal.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
Edge modifies the waveform of the oscillator. You can add overtones to the
oscillator resulting in a more aggressive sound.

4.11 Filter
Filtering (e.g. equalizing) is the process of boosting or cutting frequencies
present in any sound. Filtering is one of the most common ways to shape
your sound, and guitar rig gives you several ways to affect your sound

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through filtering. Filtering also includes Wah pedals, and custom filters
borrowed from other native instruments products.

4.11.1 EQ Shelving

A shelving equalizer is a type of tone control that boosts or cuts starting

at a specific frequency. Upon attaining the specified amount of boost or
cut, the response turns into a “shelf” and provides a constant amount of
boost or cut from that point on.
This type of EQ provides general tone shaping to correct broad issues, like
lack of high frequency “sparkle” or excessive “boominess” in the bass end.
The graph in EQ Shelving illustrates the response created by the controls,
while the Tooltips for each dot show the exact frequency in Hz and amount
of boost/cut in dB.

Parameters
There are two ways to adjust parameters:
► Click on the graphic display’s dots and drag (up to increase gain, down
to decrease gain, sideways to change frequency)

GUITAR RIG 3 – 130

► Adjust these same parameters by clicking on the (+) sign to reveal
expert mode.
These parameters are:
Freq1 sets the frequency for the low shelf where boosting or cutting
begins.
In Gain1’s center position, there is no boosting or cutting. Turning it
clockwise boosts the response, while turning it counterclockwise cuts the
response.
Freq2 sets the frequency for the high shelf where boosting or cutting
begins.
In Gain2’s center position, there is no boosting or cutting. Turning it
clockwise boosts the response, while turning it counterclockwise cuts the
response.

4.11.2 EQ Parametric

A parametric equalizer is a highly sophisticated form of tone control. Unlike

the graphic equalizer (described next) which can boost/cut only at specific
fixed frequencies, a parametric can boost or cut over a continuously
variable range of frequencies. In addition, the bandwidth (the range of

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frequencies affected by the boosting or cutting) is variable, from broad to
sharp. The graph in EQ Parametric illustrates the response created by the
controls, while the Tooltips for each dot show the exact frequency in Hz
and amount of boost/cut in dB.
EQ Parametric includes two complete parametric EQ stages. For example,
the first stage could boost the bass frequencies around 100 Hz, while the
second stage adds a midrange notch.

Parameters
As with EQ Shelving, there are two ways to adjust parameters: Either click
on the graphic display’s dots (up to increase gain, down to decrease gain,
sideways to change frequency), or adjust these same parameters by clicking
on the (+) sign to reveal expert mode. These parameters are:

Freq1 and Freq2 set the specific part of the audio spectrum where the
boosting or cutting occurs.
Gain1 and Gain2 determine whether the frequency dialed in by Freq1 and
Freq2 respectively will be boosted (emphasized) or cut (de-emphasized).
Q1 and Q2 edit the sharpness of the boosting or cutting action at
frequencies Freq1 and Freq2 respectively. Narrow bandwidth settings
(turning clockwise from the centre position) affect a very small part of the
audio spectrum, while broad bandwidth settings (turning counterclockwise
from the center position) affect a broader range.

GUITAR RIG 3 – 132

4.11.3 EQ Graphic

This module uses multiple bandpass filters to split the audio spectrum
up into eight bands, with an individual boost/cut control for each band.
The term graphic equalizer refers to the fact that hardware graphic EQs
use linear slide pots for the boost/cut controls, so looking at the position
of the knobs gives a “graphic” indication of frequency response. With EQ
Graphic, the display shows the response curve.

Parameters
Graphic interface dots (handles) set gain. Drag the dot up to increase gain,
down to decrease gain. Double-clicking on a handle restores it to zero gain.
The Tooltip for a handle shows the amount of boost or cut as an amount
from 0 to 10.
% Note that all bands are
equally spaced (using
logarithmic ratios) between the
Click on the (+) Symbol to reveal expert mode, with the following highest and lowest bands. Example:
parameters. If Min is set to 50 Hz and Max to
Range sets the maximum amount of boost and cut, from ±1dB (very fine 6400 Hz, the other bands are at
adjustment) to ±30dB (very wide-range adjustment). 100, 200, 400, 800, 1600, and
Min sets the lowest band’s frequency. 3200 Hz.
Max sets the highest band’s frequency.

GUITAR RIG 3 – 133

4.11.4 Custom EQ

The Custom EQ is modeled after the “boutique” highly colored EQ’s that
are all the rage in the studio these days. This particular EQ has a warm
“synth” style EQ sound.

Parameters
The tone Knob controls the balance between treble and bass sound. At fully
counterclockwise position, the low frequencies are boosted and the high
frequencies are suppressed. As you rotate the knob clockwise, the treble
comes up and the bass is suppressed.
The Freq Knob selects the mid frequency, between bass and treble, where
the scoop happens.
The Scoop Knob controls the depth of the dip in the EQ response in the
midrange. Turn clockwise to increase the amount of scoop.
The volume Knob sets the overall gain of the custom EQ.

GUITAR RIG 3 – 134

4.11.5 Pro-Filter

The Pro-Filter is a synthesizer-type filter based on the filter included in

NATIVE INSTRUMENTS’ popular Pro-53 virtual instrument. The Pro-Filter
has a fat, rich sound that works very well as a tone control, but tying the
Cutoff control to the RIG KONTROL pedal also produces a great wah-wah
sound.
But why stop there? The various Modifiers are perfect for modulating cutoff.
In particular, the Step Sequencer can give novel filtered effects that sync
to the music. This is ideal for hip hop, dance, techno, and other forms of
highly rhythmic music.

Parameters
Cutoff sets the frequency at which any filtering occurs.
Reso edits the sharpness (“Q”) of the filter response.
Slope morphs between two rates at which frequencies are attenuated
past the cutoff frequency. When fully counter-clockwise, frequencies are
attenuated at a rate of 12dB per octave. This produces a “softer” filtering
sound. When fully clockwise, frequencies are attenuated at a rate of 24dB
per octave. This produces a fatter, more intense filtering sound. In between
settings include elements of both responses.
LFP/BPF/HPF morphs among three filter responses:

GUITAR RIG 3 – 135

► Lowpass (LFP) – the filter passes low frequencies and attenuates high
frequencies
► Bandpass (BPF) – the filter passes a band of frequencies, and attenu-
ates frequencies that fall higher or lower outside that band
► Highpass (HPF) – the filter passes high frequencies and attenuates low
frequencies

4.11.6 AutoFilter

%

Please note that there is
no expert mode for this
module.

The AutoFilter is basically a wahwah that responds to the dynamics of your

playing. The AutoFilter sound is very popular in funk music, particularly
from the 1970s.

Parameters
Sens matches your guitar’s level to the AutoFilter. If the filter doesn’t
sweep over a wide enough range (and the Range control, described later,
is set properly), increase the Sensitivity. If on the other hand you hardly
have to touch the strings to kick the filter wide open, then turn the Sens
control down.
With the Up/Down switch set to the Down mode, playing harder drives the
filter down to a lower frequency; as the string decays, the filter returns to

GUITAR RIG 3 – 136

a higher frequency. With the Up mode, playing harder drives the filter up
to a higher frequency. As the string decays, the filter returns to a lower
frequency.
Range sets the width of the filter sweep. Turn it clockwise to sweep over
a wider range.
Reso edits the sharpness (“Q”) of the filter response.
LFP/BPF/HPF morphs among three filter responses:
► Lowpass (LFP) – the filter passes low frequencies and attenuates high
frequencies
► Bandpass (BPF) – the filter passes a band of frequencies, and attenu-
ates frequencies that fall higher or lower outside that band
► Highpass (HPF) – the filter passes high frequencies and attenuates low
frequencies
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Attack adds a “glide” time (from 5 to 80ms) between when the filter senses
an input change, and when the filter reaches its highest frequency (in Up
mode) or lowest frequency (in Down mode).
Release causes the filter to take anywhere from 50 to 800ms to decay back
to its initial setting in the absence of an input signal. With short release
times, the AutoFilter tracks even slight level changes. This can produce a
“choppy” sound; turn up the release for a smoother decay.
Offset adjusts the filter’s center frequency. In other words, the frequency
goes up or down from this frequency.
The Wet control sets the balance of dry to filtered signal as you turn the
control from fully counter-clockwise to fully clockwise. This is particularly

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useful with bass, as the filter might otherwise “thin out” the sound. By
adding more dry signal, you’ll hear the full bass sound along with the
filtered sound.

4.11.7 Wah-Wah Pedal

The Wah-Wah Pedal is a filter that sweeps a response peak over a frequency
range; the wah-wah in GUITAR RIG 3 is perhaps Earth’s most versatile
Independent settings for filter frequency, resonance, and level at the high,
mid, and low points of the pedal travel allow for serious customization
of the response for any type of wah-wah application or desired pedal
“feel”.

Parameters
The Slider controls the wahwah frequency. Moving the slider toward the left
lowers the frequency, and moving it toward the right raises the frequency.
The RIG KONTROL expression pedal is ideal for controlling this.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Lp-Bp-Hp controls the mix of filter characteristics (lowpass, bandpass,
and highpass). Lowpass has the response of a typical synthesizer filter,

GUITAR RIG 3 – 138

Bandpass is more like a traditional wahwah, and Highpass attenuates low
frequencies as you move the pedal toward the down position.
Freq Min sets the filter frequency with the pedal all the way up (back).
% Examples: A low mid set-
ting gives little change
when moving the pedal from its
Freq Mid sets the filter frequency with the pedal at its mid-position. minimum position to the middle,
and a much greater change when
Freq Max adjusts the filter frequency with the pedal all the way down progressing to the maximum posi-
(forward). tion. When Mid is set high, the
Res Min determines the amount of filter resonance with the pedal all the pedal’s mid-position sounds much
way up (back). like the maximum position.
Res Mid sets the amount of filter resonance with the pedal at its mid-
position.
Res Max edits the amount of filter resonance with the pedal all the way
down (forward).
Volume Min alters the filter level with the pedal all the way up (back).
Volume Mid sets the filter level at the pedal midpoint.
Volume Max tweaks the filter level with the pedal all the way down
(forward).

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4.11.8 Talkwah

This is similar to a wah-wah, but utilizes a different filter type. The

Talkwah’s filter emulates the sound shaping that your mouth creates when
enunciating vowels. The result is similar to the “talk box” effect that was
very popular in the 70s (Joe Walsh, Peter Frampton, Joe Perry amd Ritchie
Sambora).

Parameters
The Slider controls the Talkwah frequency. Moving the slider toward the
left gives an “oooo” sound; moving it toward center morphs into more of an
“aah” sound, while going further to the right morphs into more of an “eee”
sound. Control this from the NATIVE INSTRUMENTS RIG KONTROL’s
footpedal and you’ll be amazed at the sounds you’ll be able to coax out
of your guitar.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Bright is a switch that makes the overall sound more trebly.
Volume adjusts the overall level.

GUITAR RIG 3 – 140

Size adjusts the size of the “virtual mouth”. When counterclockwise, the
mouth is small, like that of a midget. When clockwise, it’s like a giant’s
mouth.

4.11.9 Cry Wah

The Cry Wah is a faithful recreation of the wah-wah that we’ve all been
stepping on for years. This pedal has been modeled faithfully and provides
no expert controls; it’s a one trick pony, and oh what a trick it is!

Parameters
The Slider is used to control the wah-wah frequency. Moving the slider
toward the left lowers the frequency, and moving it toward the right raises
the frequency. The RIG KONTROL expression pedal is ideal for controlling
this.

4.11.10 Real Wah

The Real Wah is the answer to those hip custom wah pedals that started
to appear in the mid-90’s. These wahs simply had “that sound”…

GUITAR RIG 3 – 141

Parameters
The Slider is used to control the wah-wah frequency. Moving the slider
toward the left lowers the frequency, and moving it toward the right raises
the frequency. The RIG KONTROL expression pedal is ideal for controlling
this.

4.11.11 Equalizer Tips

Most of these tips apply to the shelving, parameteric, and graphic EQ
types; however, they also work with some of the more esoteric EQ types
as well. Experiment to see what produces the results you want. Note that
unlike hardware, the EQs and most other Components in GUITAR RIG 3
will never overload internally and cause distortion. Because of floating-point
signal processing, the headroom is well over 700dB – so, feel free to boost
away! Of course, GUITAR RIG 3 can overload in subsequent stages.

Creating new sonic personalities.

EQ can change a sound’s character – for example, it can turn a brash
guitar sound into something significantly more even or mellow. This type
of application requires relatively gentle EQ, possibly at several different
frequencies; a graphic equalizer works well.

Making comparisons.
Use the Bypass Switch to constantly compare the equalized and non-
equalized sounds. You don’t want to get into a situation where you boost
the treble a lot, which makes the bass seem thin so you boost that, which
then makes the midrange seem weak so you boost that, and so on until

GUITAR RIG 3 – 142

everything is turned up to 11 (good for Spinal Tap; bad for more successful
musicians). Always use the minimum amount of equalization necessary.
Just a few dB of change can make a big difference to the sound.

Better lead guitar tone for a better mix.

Adding a bit of a peak around 3 to 4 kHz using EQ Parametric or EQ
Graphic has the ability to really make a guitar solo stand out. Since that’s
above the range of the toms, bass, and most rhythm-oriented keyboard
parts, there’s little interference with these instruments. So, the guitar
comes through loud and clear, but doesn’t step on anything else.

Equalizing rhythm guitar for better vocal support.

Suppose you’re playing a rhythmic guitar part behind a vocalist, but as
the guitar and voice occupy a similar frequency range, they conflict. The
solution: Pull back on the guitar’s midrange somewhat to make room for
the vocal frequencies. You can then mix the guitar higher in level, while
not getting in the way of the vocals.

Eliminating hum.
A parametric equalizer is an excellent way to reduce hum. Simply set the
equalizer for maximum cut and narrowest bandwidth, then dial in 60Hz
(50Hz in Europe; you’ll know you’re at the right frequency because the
hum will disappear). However, if the hum generates harmonics, you’ll need
additional stages to notch those out as well.

GUITAR RIG 3 – 143

Making distortion more responsive.
Putting EQ before distortion can make an instrument seem more “touch-
sensitive”. This is because distortion usually affects all frequencies
more or less equally. By gently boosting the midrange over a fairly broad
range (e.g., 200Hz to 1kHz) prior to distortion, the notes you play in this
range will distort at lower levels, which makes the distortion seem more
responsive.

Fixing dead spots on bass.

Basses (and guitars) sometimes have “dead spots” on the neck that don’t
quite seem to have the same power as the other notes; this is a job for
parametric equalization. Turn the volume down on your amp, turn the boost
and bandwidth controls up full, and play the dead note repeatedly while
sweeping the parametric’s frequency control. When the parametric hits the
right frequency, the note will jump out (usually in an obnoxious fashion,
which is why you should turn down the amp first). Once the frequency
control is set properly, reduce the amount of boost until the dead note is
the same level as the other notes. If the note sounds too “peaky”, reduce
the bandwidth control as well.
Emphasizing and/or differentiating instruments.
Finding and cutting specific frequencies can eliminate “fighting” between
competing instruments. For example: suppose you’re mixing two rhythm
guitar parts with resonant peaks around the same frequency. When playing
together they really emphasize that part of the frequency spectrum, which
makes them difficult to differentiate. Here’s a way to work around this:

GUITAR RIG 3 – 144

► Find, then reduce, the peak on one of the instruments. To do this, set
a parametric EQ for lots of boost (10-12 dB) and fairly narrow band-
width (around a quarter-octave or so). As the instrument plays, slowly
sweep the frequency control. Any peaks will jump out due to the boost-
ing and narrow bandwidth; some peaks may even distort. Find the
loudest peak, and cut at that frequency until the peak falls into balance
with the rest of the instrument sound. You may need to widen the
bandwidth a bit if the peak is broad.
► Note the amount of cut and bandwidth that was applied to reduce the
peak.
► Using the second stage of EQ Parametric, apply a roughly equal and
opposite boost at either a slightly higher or slightly lower frequency
than the natural peak.
Both instruments will now sound more articulated, and because each
peaks in a different part of the spectrum, they will tend not to interfere
with each other.

4.12 Volume
Sure, it goes up (to eleven?)... and it goes down... but volume effects are
capable of so much more than just simple loudness control! In Guitar Rig
3, you’ll find a range of tools to dynamically or interactively adjust levels
to create an incredible range of sounds with really cool practical, musical,
and even psychoacoustic properties.

GUITAR RIG 3 – 145

4.12.1 Volume Pedal

This simple volume control can cut or boost level going into, or coming
out of, a Component.

Parameters
The Slider changes volume from all the way down (extreme left) to all the
way up (extreme right). This is an ideal Component for the RIG KONTROL
footpedal, or other MIDI controllers.
Volume acts as a master volume control. It sets the maximum attainable
level when the slider is full up.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Min Volume sets the lowest volume when the slider is full left, as you may
not want the volume to be all the way down but at a soft level.
Half Volume sets the volume at the slider’s halfway point. Editing this can
help give pedals a more comfortable “feel”.

GUITAR RIG 3 – 146

4.12.2 Limiter

A limiter is similar to a compressor, as it changes dynamic range. However,

while a compressor makes soft parts louder and loud parts softer to even
out the dynamics, a limiter acts like a governor on a motor: It won’t let
audio exceed a certain limit, but also doesn’t affect signals below that limit.
A limiter is ideal for cutting down on peaks to create a “hotter” sound, but
without losing softer dynamics.

Parameters
Volume sets the output level.
Limit sets the level input signals cannot exceed. Counterclockwise lowers
this level.
Hold sets a minimum time that limiting will be applied when the signal
exceeds the Limit threshold.
Release determines how long it takes for the limiter to return to its normal
state after the signal is no longer being limited. Longer release times
usually sound somewhat smoother, but if there are noticeable volume
fluctuations, try shortening it (lower release value).

Limiter Tips
► Taming filters. If a filter setting is very resonant and produces peaks
that distort subsequent stages, tame those peaks with limiting. This

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 also works with modulation effects that use high amounts of feed-
back.
► Increasing average level. Add this at the very beginning of the chain,
right after the input, and clamp strong peaks with the limiter. This will
let you send more signal through the various Components and obtain a
higher average level.
► Using with vocals. Limiters are used a lot with vocals to prevent over-
loading if the singer gets too close to the mic.

4.12.3 Noise Gate

A noise gate helps remove noise and hiss, but can also be used as a special
effect. Although there is a simple gate built into the Input module, the Noise
Gate Component is more sophisticated and offers more parameters.
To understand the principle of operation, suppose your guitar is picking up
an electrical buzz. As long as you’re playing, the signal will generally be
higher than the buzz and “mask” it. However, when the audio goes away,
the noise is no longer masked and can be audible.
A noise gate does the equivalent of turning down the volume when there’s
only noise present, then turning the volume back up when you’re playing.
Its Threshold control sets the “dividing line” between what’s considered
noise and what is considered signal. Setting the threshold just above
the noise level insures that the noise will be muted when no signal is
present.

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Parameters
Threshold determines the reference level above which the gate opens, and
below which the gate closes. Setting Threshold very low (counterclockwise)
accommodates signals with little noise; higher threshold levels are useful
for special effects, such as removing substantial amounts of a string’s
decay to make a more percussive or gated sound.
Hold sets a minimum amount of time that the gate stays open. With high
threshold, this prevents the gating effect from being too percussive.
Attack works in reverse. When a signal exceeds the threshold, the noise
gate fades in over a specified period of time. With long attack times, it’s
possible to simulate “backwards tape” effects.

Release prevents the gate from closing down abruptly. Instead, when the
signal goes under the threshold, the noise gate fades out according to the
release time.
Learn automatically sets an optimum threshold. Without playing your guitar,
click on Learn. GUITAR RIG 3 analyzes your signal, and sets the threshold
just above any residual noise. Now when you play, the Gate should open.

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4.12.4 Noise Reduction

The Noise Reduction Component affects the signal similarly to a noise

gate, but has a less abrupt action because it filters out noise below a
certain threshold rather than relying solely on amplitude. It is very simple
to adjust.

Parameters
Start with Threshold fully counter-clockwise (no reduction). Turn it clockwise
until when the input signal has faded out, any noise fades out as well.
For automated threshold settings, without playing your guitar, click on
Learn. The Noise Reduction Component analyzes your signal, and sets
the threshold just above any residual noise. Now when you play, the noise
reduction filter will open up and allow you to hear your playing.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Release determines how long it takes for the filter to close down after the
input signal goes away.
De-Hiss, when turned clockwise, accentuates the effect of the filtering to
reduce more treble frequencies.

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4.12.5 Stomp Compressor

The Stomp Compressor provides a different type of compression action

compared to the Tube Compressor, but follows the same basic principle
of operation: It evens out dynamic range variations by amplifying soft
signals to make them louder, and attenuating loud signals to make them
softer. Most would characterize the sound as being “tighter” and perhaps
somewhat cleaner than the Tube Compressor.

Parameters
The Stomp Compressor has several parameters that interact (i.e., after
adjusting one parameter you may need to go back and tweak a different
parameter).
Volume sets the overall output level. Think of it as a master volume
control.
Sustain determines how much the compressor level will be boosted as the
string decays. Turning the sustain clockwise will increase the apparent
sustain, but note that this can also amplify other low-level signals, like
noise and hum coming into the pickups.
The Meter between the two controls mentioned above shows how much
the gain is being reduced by the compression action.

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Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Attack sets the time it takes for the compressor to react to input level
changes. A longer attack time “lets through” more of a signal’s original
dynamics before the compression begins. For example, to retain the pick
noise in a compressed guitar sound, add a bit of attack time.
Release determines how long it takes for the compressor to return to its
normal state after the input goes under the threshold. With short release
times, the compressor tracks even very slight level changes. This can
produce a “choppy” sound; turn up the release time to smooth things
out.
Threshold sets the level above which signals will be compressed. A lower
threshold = more compression = greater sustain. If the signal drops below
the threshold, the compressor leaves the signal alone until it exceeds the
threshold again.

4.12.6 Tube Compressor

A compressor evens out dynamic range variations by amplifying soft signals

to make them louder, and attenuating loud signals to make them softer.
It’s as if an invisible hand was turning up the volume during soft passages,

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then turning it down during the peaks. This gives a more controlled sound
with narrower dynamic range, a higher average level, and more sustain.

Parameters
The Tube Compressor has several parameters that interact (i.e., after
adjusting one parameter you may need to go back and tweak a different
parameter).
Input sets the level going to the compressor. Increasing the input causes
a signal to be more likely to exceed the threshold, and therefore be
compressed. However, turning this up too high can lead to distortion.
Threshold sets the level above which signals will be compressed. A lower
threshold = more compression = greater sustain. If the signal drops below
the threshold, the compressor leaves the signal alone until it exceeds the
threshold again.
Ratio selects how the output signal changes in relation to the input
signal once the input signal exceeds the threshold. The higher the ratio,
the greater the amount of compression, and the more “squeezed” the
sound.
Attack sets the time it takes for the compressor to react to input level
changes. A longer attack time “lets through” more of a signal’s original
dynamics before the compression begins. For example, to retain the pick
noise in a compressed guitar sound, add a bit of attack time.
Release determines how long it takes for the compressor to return to its
normal state after the input goes under the threshold. With short release
times, the compressor tracks even very slight level changes. This can
produce a “choppy” sound; turn up the release time to smooth things
out.

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G ain allows compensating for output level changes caused by the
compression process. Set this so that the peaks of your playing are the
same when the compressor is bypassed or active. Note that the compressed
sound will appear louder, even if the peaks are the same – that’s what
compression is all about, bringing up the signal’s average level.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Saturation adds an element of distortion to the tube characteristics.
Knee changes the compressor response from soft knee (gentler compression
effect) to hard knee (more squeezed, harder-sounding compression)
D ynamic determines the dynamic response of the “tube”. Turning this
clockwise flattens dynamics a bit.

Compressor Tips
► Minimizing noise. Do not overcompress, as this makes for a thin, un-
natural sound. Use the bypass switch to compare the compressed and
non-compressed sounds; you may find that even a little bit of compres-
sion gives the desired effect.
► Optimum signal chain placement. Place the compressor toward the
beginning so that it doesn’t bring up the noise from previous stages.
Although the effects in GUITAR RIG 3 don’t create noise themselves,
ones with high gain (such as distortion) can amplify noise already pres-
ent in your guitar.
► Using compression to increase sustain. Remember that compressors
are not miracle workers. They cannot make your guitar’s strings vibrate
any longer, but can only increase the apparent sustain. A compressor

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 cannot compensate for dead strings or for guitars with poor sustain
characteristics.
► Smoother distortion sound. Add compression before distortion for a
smoother sound with more sustain.
► “Mystery” compression increases. If it seems like there’s been a sud-
den increase in compression but you didn’t increase the compression
amount, then the input signal going to the compressor may have in-
creased.
► Compressing lead guitar but not compressing rhythm. You can take
advantage of the fact that increasing the input level increases compres-
sion when you want a sustaining lead but an uncompressed rhythm
sound. Turn up your guitar’s volume control for leads, and turn back
down for rhythm. As the guitar signal drops below the threshold, the
compression will either go away, or have much less of an effect.

4.13 Reverbs and Delays

Time-based effects such as reverb and delay are staples in the guitar
community. Whether you’re trying to warm up your sound with some spring
reverb, or use complex tempo-synced delays for that “Edge” sound, you’ll
find your sounds in the Reverb and Delay Bank.

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4.13.1 Spring Reverb

This is the classic reverb effect found in older amps, before the advent of
solid-state reverb units. But this time, there’s no noise or hum.

Parameters
Reverb adds the reverb effect into the mix, from full dry (counterclockwise)
to 50-50 (middle) to all reverb (clockwise).
Time determines the reverb decay time. Turn clockwise to increase decay.
Bass sets the low-frequency response characteristics. Turn clockwise for
a bassier sound, counterclockwise for less bass.
Input Mute shuts off the signal going to the Spring Reverb’s reverb section,
but lets any dry signal pass through. This is great for creating reverb
“splash”: Control input mute with a footswitch, and leave the input muted.
When you want to splash a note with reverb, disable the input mute while
you play the note, then mute the input again. The note you played while
input mute was disabled will continue to reverberate – but no subsequent
notes you play will be reverberated.
% Note that because no
signal is allowed into the
reverb section when Input Mute is
Click on the (+) Symbol to reveal expert mode, with the following on, you will hear nothing if the
parameters. Reverb control is set fully clockwise
(“wet”).

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Spring Length adjusts the length of the virtual spring. Spring reverbs varied
in length, with the shorter versions producing a tighter, more metallic
effect, and longer springs giving a more diffused sound with a longer
decay.
High Damp, when turned clockwise, reduces highs as the reverb decays.
Turning it counterclockwise leaves the highs intact during the decay.
Low Damp, when turned clockwise, reduces lows as the reverb decays. A
counterclockwise setting leaves the lows intact during the decay.

4.13.2 Studio Reverb

The Studio
Reverb provides a natural-sounding emulation of halls and rooms.

Parameters
Mix determines the balance of dry and reverberated sound, from full dry
(counterclockwise) to 50-50 (middle) to all reverb (clockwise).
Time sets the reverb decay time. Turn clockwise to increase decay.
Room Size determines the cubic volume of the virtual room. Turn clockwise
for a large concert hall, counterclockwise for a small auditorium or room.
Input Mute shuts off the signal going to the Studio Reverb’s reverb section,
but lets any dry signal pass through. This is great for creating reverb
“splash”: Control input mute with a footswitch, and leave the input muted.

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When you want to splash a note with reverb, disable the input mute while
you play the note, then mute the input again. The note you played while
input mute was disabled will continue to reverberate – but no subsequent
! Note that because no sig-
nal is allowed into the
reverb section when Input Mute is
notes you play will be reverberated. on, you will hear nothing if the Mix
Click on the (+) Symbol to reveal expert mode, with the following control is set fully clockwise
parameters. (“wet”).
Stereo adjusts the stereo width of the reverberated signal.
Treble, when turned counterclockwise, reduces highs as the reverb decays.
Turning Treble clockwise leaves the highs untouched.
Pre Delay determines the delay time before the reverberated signal becomes
audible.

4.13.3 Quad Delay

The Delay module takes the input signal and plays it back through four
taps, each delayed by a certain amount of time. The output can be fed
back to the input, thus producing a series of echoes, and mixed with the
straight signal

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Parameters
Dry/Wet determines the balance of the delayed (wet) and straight (dry)
signals; you rarely want to hear the sound of the delayed signal by itself.
With longer echoes, the amount of delayed sound will depend on how
“murky” a sound you want: increasing the amount of delayed sound gives
a swimming-in-echo effect, while adding in only a little delayed sound
provides more of an ambience effect.
Time sets the amount of delay time (i.e., the time interval between the
straight sound and the appearance of the echo).
Feedback determines how much of the output feeds back into the input.
Minimum feedback gives a single echo; increasing this makes the echoes
repeat.
Rate sets the modulation frequency. A slower rate produces a slow, gradual
detuning that gives a majestic, rolling chorusing or pseudo-flanging sound.
Faster rates produce a more “bubbly” effect.
Depth determines how much the modulation section varies the delay time.
With longer delays, adding a little bit of modulation can give chorus-like
sounds, but too much modulation will cause detuning effects. Note that
the rate parameter interacts with the depth parameter because the total
amount of pitch change depends not just on the amount of pitch change,
but also on the rate. For example, combining full depth with a fast rate
setting can sound out of tune, whereas the same amount of depth coupled
with a slow rate sounds just fine.
Tap Time allows setting the delay rhythm by clicking on the Tap Time Button.
The Quad Delay measures the time between clicks, and uses this to derive
the tempo; it will also average the time between multiple “taps”.

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Input Mute shuts off the signal going to the Quad Delay’s delay section,
but lets any dry signal pass through. One application would be to control
this function with a footswitch; when you hit the footswitch, any existing
echoes would continue until they faded out, but no new signals would be
fed into the Psychedelay, so there would be no new echoes.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
Invert changes the phase of the delayed signal, so that different frequencies
% Note that because no
signal is allowed into the
delay section when Input Mute is
cancel when mixing the delayed signal in with the dry signal. The result is on, you will hear nothing if the Dry/
particularly noticeable in Flanger-like effects involving short delays. Wet control is set fully clockwise
Sync Delays when on, insures that the delay tap times have a regular (“wet”).
pattern (for rhythmic delays), and the modulation LFOs are in phase for a
“hard” sound. When off, the delay tap times are irregular (for reverb-like
delay) and the LFOs are free-running, which produces a “lusher” sound.
Diffusion spreads out the delay tap times for the four delay lines that make
up the effect.
Bass adjusts a high pass filter; turn coungterclockwise to reduce low
frequencies.
Treble adjusts a low pass filter; Turn counterclockwise to reduce high
frequencies.

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4.13.4 Psychedelay

This true stereo delay (both ins and outs are stereo) creates sounds that
range from standard echo/ambient sounds, to reverse-based effects that
recall the “backwards tape” sounds of the 1960s.

Parameters
Dry/wet sets the balance of straight and delay sounds. Counterclockwise
is dry sound only; turning clockwise adds more delay effect.
Time adjust the initial delay time, from 10 ms to 2000 ms. This parameter
is also influenced by the Stereo: Time control in expert mode. Note that
very short delay times give complex, ring modulation-type tones.
Reverse plays back subsequent echoes in reverse, like the reverse tape
sounds commonly heard on many albums from 60s (especially Jimi
Hendrix).
Detune detunes echoes up to ±50 cents. Combining this with feedback
causes successive echoes to have ever-increasing amounts of detuning.
Feedback determines how much of the output feeds back into the input.
Minimum feedback gives a single echo; increasing this parameter produces
repeating echoes. As noted above under “Detune”, Feedback interacts with
the Detune parameter.

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Tap sets the delay rhythm as you click on the Tap Time Button. This function
measures the time between clicks, and uses this value to derive the tempo;
it will also average the time between multiple “taps”.
Input Mute shuts off the signal going to the Psychedelay’s delay section,
but lets any dry signal pass through. One application would be to control
this function with a footswitch; when you hit the footswitch, any existing
echoes would continue until they faded out, but no new signals would be
fed into the Psychedelay, so there would be no new echoes.
Click on the (+) Symbol to reveal expert mode, which has parameters that
turn the Psychedelay into a stereo effects box. You’ll find the following
options.
% Note that because no
signal is allowed into the
delay section when Input Mute is
Pitch adds a more extreme amount of detuning by transposing the echo on, you will hear nothing if the Dry/
in semitones, from –12 to +12. It interacts with the feedback control in Wet control is set fully clockwise
the same way as Detune (i.e, each successive echo will be transposed an (“wet”).
additional amount upward or downward, as set by the Pitch value).
Stereo: Time, when turned clockwise, creates stereo echo effects. At 1.00,
the delay time is set solely by the main Time parameter. Settings of less
than 1.00 place echoes in the stereo field, with the number indicating
division (e.g., a setting of 0.50 means that the extra echoes will happen
at half the time of the main delay setting).
Reverse causes these additional delays to play back in reverse, like the
main delays when the Main Reverse Button is enabled.
Detune allows the main Detune parameter to affect the added stereo echoes
as well.

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Cross creates feedback paths that cross between the two channels – right
feeds back into the left channel, and left feeds back into the right channel.
This creates a more complex, polyrhythmic type of echo effect.
Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
For some amazing effects, on the main panel set a fairly short Delay Time
(e.g., 200 ms), Detune to +50 cents, and Feedback to maximum. In the
expert section, set Stereo Time fully clockwise (0.50), detune to On, and
Cross up full. Hit a note, and it will stretch upward and then decay…very
cool.

4.13.5 Delay Man

The Delay Man is an extremely warm and flexible delay unit with built-in
chorus and vibrato. It faithfully recreates the sound of the esteemed classic
hardware modules everyone had in their rigs.

Parameters
The Mute Button shuts off the signal going to the Delay Man’s delay
section, but lets any dry signal pass through. One application would be to
control this function with a footswitch; when you hit the footswitch, any

GUITAR RIG 3 – 163

existing echoes would continue until they faded out, but no new signals
would be fed into the Delay Man, so there would be no new echoes.
The Input Knob sets the level of the incoming audio into the delay module.
Set this so that the loudest peaks do not engage the overload LED next
to the Knob.
The Dry/wet Knob controls the balance between the dry (unaffected) signal
and the wet (delayed) signal. The 12 o’clock position is an equal 50/50
blend of wet and dry signals.
The Time Knob sets the length of the delay. Counterclockwise begins with
short delays, while turning the control clockwise increases the length of
the delay.
The Feedback Knob brings in repeats of the delayed signal. Turning the
knob fully clockwise will overload the delay and produce an interesting,
distorted, oscillated sound.
The Chor /vib switch switches the Component from having an additional
chorus modulator, to having a vibrato modulation.
The Depth Knob increases the intensity of either the chorus or vibrato
(depending on which module is turned on) into the delay mix.
The Tap Button allows you to tap with your mouse or external controller
the delay time.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
The Sync Delays Button syncs the internal delay time to reflect the current
state of the sync module.
The Sync Mod Button syncs the internal modulation (chorus or vibrato) to
reflect the current state of the sync module.

GUITAR RIG 3 – 164

The Chorus Rate Knob varies the frequency of modulation applied to the
chorus module (when engaged.)
The Vibrato Rate Knob varies the frequency of modulation applied to the
vibrato module (when engaged.)
The Acceleration Knob controls how fast the delay algorithm reacts to
changes made to the Time parameter.
Bass when adjusted counterclockwise attenuates bass frequencies. Turn
the control clockwise to boost the bass frequencies. This control acts as
a low shelf.
Treble when adjusted counterclockwise attenuates treble frequencies. Turn
the control clockwise to boost the treble frequencies. This control acts as
a high shelf.

4.13.6 Tape Echo

The Tape Echo module recreates the sought-after sound of tape based
delay modules. This module has two tape heads and also includes a spring

GUITAR RIG 3 – 165

reverb module. We are proud to say this is one of the coolest sound shaping
modules with guitar rig 3.

Parameters
The Input Mute Button will mute the incoming audio, effectively bypassing
the module. If the level is too great, the Peak LED will light up.
The Dry Mute Button will completely mute the dry sound, leaving only the
effected sound.
The Tap Button allows you to tap your own tempo.
The Head A Knob has five selections for delay time. Position 0 has no delay.
The subsequent head positions (one through four) are each as many times
longer than position one as their value states. The exact amount of delay
depends on the tempo (either taped or set with the Speed Control.
The Head B Knob has five selections for delay time. Position 0 has no delay.
The subsequent head positions (one through four) are each as many times
longer than position one as their value states. The exact amount of delay
depends on the tempo (either taped or set with the Speed Control.
The Bass Knob when adjusted counterclockwise attenuates bass frequencies
of the delay. Turn the control clockwise to boost the bass frequencies.
The Treble Knob when adjusted counterclockwise attenuates treble
frequencies of the delay. Turn the control clockwise to boost the treble
frequencies.
The Speed Knob varies the speed of the virtual tape loop and changes the
delay times of Head B and Head B.

GUITAR RIG 3 – 166

The Feedb Knob controls the amount of feedback regeneration in the delay.
The higher the level of feedback, the more cross modulation and possible
distortion you can impart to the signal.
The Rev Vol Knob controls the amount of reverb added to the dry signal in
parallel to any delay effects.
The Echo Vol controls the volume of the delay output. When rotated fully
counterclockwise, the delay will have no audible effect.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
The Sync Button syncs the internal delay(s) time(s) to reflect the current
state of the sync module.
The Tape Bass Knob controls the amount of bass response on the virtual
tape.
The Tape Treble Knob controls the amount of treble on the virtual tape.
The Dropouts Knob simulates dropouts in the tape from long periods of
use.
The Noise Knob adds that familiar “tape” noise to the delayed signal.
The Warble Knob simulates how mechanical problems caused delay tapes to
slip and start, causing causing variations in pitch also known as “flutter”
The Headroom Knob increased the amount of saturation the tape can take
before distorting.
The Head Mix Knob controls the balance of the outputs of tape playback
heads A and B, allowing for interesting variations of sound where one or
the other is louder by comparison.
The Revtime Knob adjusts the decay time of the reverb heard on the dry
signal.

GUITAR RIG 3 – 167

The Motor Accel Knob recreates slight acceleration of the tape motor over
time.
The Spring Length controls the length of the spring reverb element. A
shorter spring produces a more “metallic” sound, while a longer spring
produces a more traditional reverb sound.

4.14 Tools
The Tools Components are at the heart of guitar rigs extreme flexibility.
From split modules that allow parallel signal processing with different
effect chains, to the ultra-hip loop machine. The tools are the key to create
fresh extraordinary sounds.

4.14.1 Loop Machine

The Loop Machine allows recording, playing back, and overdubbing multiple
layers of sound. The loops can be synchronized with the host, or to the
metronome tempo in stand-alone mode. Furthermore, individual layers,
or the mix of all layers, can be exported as WAV files.

GUITAR RIG 3 – 168

As a practical example, you could record four measures of rhythm guitar,
then overdub a lead, then a harmony, some rhythmic slides, etc.

Parameters
When nothing has been recorded into the Loop Machine, the Play Button
(arrow symbol) has a red outline. Pressing the Play Button has different
functions depending on the Loop Machine status.
► Press once to start the recording. The Button glows red.
► Press again to stop recording and begin loop playback. The Button
glows green.
► Press again to enter overdub mode (the Button glows yellow). Existing
material plays back, but you can record over this. When the loop re-
peats, you can continue overdubbing.

From this point on, pressing the Play Button toggles between Play and
Overdub modes. Each time you do this creates another layer (the Layers
indicator shows how many layers have been recorded). It’s convenient to
be able to go into Play mode to practice your part for the next loop, then
return to Overdub mode.
Press the S top B ut ton (X symbol) once to stop the loop from
playing. The Button will have a red outline for a few seconds; if
you click again while the red is showing, all layers will be erased.
The Beat Button enables a flashing indicator on the beat.
% While the Loop Machine
is stopped, you can dou-
ble-click on the Stop Button to
The Progress Meter shows the current time within the loop. Loop Time erase the various layers.
shows the total loop time, while Rec Time shows the current time within
the loop.

GUITAR RIG 3 – 169

Rec Vol adjusts the level feeding the Loop Machine.
Play Vol adjusts the Loop Machine playback level.
Undo deletes the current layer. You can press Undo repeatedly to delete
layers, starting from the most recent.
Redo restores the most recently-deleted layer.
The Load Button (folder icon) calls up Loop Machine files, which have a
.ls suffix. These consist of the audio files and all settings for a particular
loop.
% Although you can Undo
multiple layers, you can
Redo only to the most recently un-
The Save Button (floppy disk icon) saves Loop Machine files, which have done layer.
a .ls suffix and consist of the audio files and all settings for a particular
loop.
Exp Mix exports the entire collection of loops as a single mixed WAV file.
Exp L ay exports the current loop as a WAV file.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Autostart causes recording to begin when the Loop Machine detects that
you have started playing.
Overdub Multiply allows recording a longer loop over a shorter loop.
Reverse plays back the layers in reverse mode, like 60s-type “backwards
tape” effects.
Rec Pan places the recorded signal in the stereo field. Thus, one overdub
could go in the right channel, and another overdub in the left channel.
Sync synchronizes the LFO speed to the metronome tempo, which is derived
from the SYNC setting in the Toolbar.
Synching to host: The Loop Machine transport starts, stops, and rewinds,
in synchronization with the host.

GUITAR RIG 3 – 170

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.

4.14.2 Split

This device splits the signal path in two directions, thus allowing parallel
effects. For more information on series and parallel effects (as well as
optimal placement of effects), see Appendix C, “Tips on Creating Your
Own Rig”.

Creating a Split
To create one split (Split A), drag the desired Component(s) in between
the Split A and Split B sections.
To create the second split (Split B), drag the desired Component(s) in
between the Split B and Split Mix sections.

GUITAR RIG 3 – 171

Here’s 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 split’s actual signal flow.

GUITAR RIG 3 – 172

Parameters
Crossfade determines the mix between the A and B split. When fully left,
you’ll hear only the A split. When fully right, you’ll hear only the B split.
Pan is separate for each split, and determines where the split will appear
in the stereo field. Example: If A is panned left, B is panned right, and
Crossfade is set to the center, you’ll hear only the A split from the left
channel and only the B split from the right channel. If you now pan A to
the right, you’ll hear both splits out of the right channel, and nothing from
the left channel.
Stereo Input L/R Split allows processing each stereo channel separately.
This is particularly useful if you play with two guitars through GUITAR RIG
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, it’s possible
to have parallel strings of series effects.
► You can use more than one Split Component in a rig, and place
Components inbetween them. Therefore, you can split a signal into two
paths and use 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.

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► You can even put a split inside another split to get more than two
parallel signal chains.

4.14.3 Crossover Mix

This device is similar to the Split Mix, in that it splits the signal path in
two directions, thus allowing parallel effects. However, in this case, you
can set a dividing line (“crossover point”) in the frequency response, and
send lower frequencies to one split and higher frequencies to the other
split. (For more information on series and parallel effects, see Appendix
C, “Tips on Creating Your Own Rig”.)

Creating the Low and High Frequency Splits

Drag Components that will process the low frequencies between the
Low and High sections, and drag Components that will process the high
frequencies between the High and Crossover Mix sections.
Note that you can even put a Crossover Mix inside another Crossover Mix.
Thus, you can split the signal into two frequency bands, then split those
frequency bands into two more frequency bands (e.g., split the low ito low
and lower mid, and the high into upper mid and highs).

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The following example shows a setup that splits the guitar’s low frequencies
into an equalizer, and the highs through the Ensemble and Quad Delay
effects. This gives a shimmering, echoey effect on higher notes, but the
lower notes have a more solid, direct sound.

The following diagram shows the equivalent signal flow.

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Parameters
Frequency sets the crossover point frequency, where signals are divided
between the Low and High splits.
Crossfade determines the mix between the Low and High splits. When
fully left, you’ll hear only the Low split. When fully right, you’ll hear only
the High split.
Pan is separate for each split, and determines where the split will appear
in the stereo field.
Example: If Low is panned left, High is panned right, and Crossfade is
set to the center, you’ll hear only the Low split from the left channel and
only the High split from the right channel. If you now pan the Low split
to the right, you’ll hear both splits out of the right channel, and nothing
from the left channel.
The +/- Switch varies the polarity (also called phase) of the High split.

4.15 Modifiers
Modifiers aren’t something you typically find in a guitar setup. If you’ve
ever programmed a synthesizer (virtual or real), you’ve used modifiers like
LFO’s and step sequencers, as these elements are typical for synthetic
sound design. Place these same modifiers in the hands of a guitarist, and
the doors to creativity fly wide open. If you’re into cutting-edge sound
design, this is the section for you.

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4.15.1 About Modifiers
You already know about the concept of a modifier (also called a modulator);
for example, you can modify a Component’s parameter with the Guitar
Rig foot pedal, or modify amplitude with the tremolo’s periodic waveform.
In both cases, there is a modulation source that generates a control signal;
this affects a particular parameter, called the modulation target.
The modifier modules included with Guitar Rig take the concept of real-
time parameter value modification to another level, as they can modify
multiple parameters simultaneously, and tailor the amount of modulation
to each parameter.
Once you insert a Modifier into the rack, you can assign its control signal
to almost any Component parameter to it. There are two ways to do this.
The simplest is to simply click on the Modifier’s Assign Button and drag
it on top of the parameter you want to modify. A hand cursor will confirm
the parameter is eligible for modifier control.
The second method is ideal if you have a lot of Components inserted in
the rack, and the parameter you want to control is located far from the
Modifier Component.
1. Right-click on the parameter you want to assign.
2. Place the cursor over Modifiers.
3. Move the desired Modifier slider to either add the modulation signal to
the parameter value (positive percentage) or subtract the modulation
from the parameter value (negative percentage).
Several modulation sources are available even with no Modifier modules
inserted into the rack. These are:

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► Input Trigger: This generates a constant-level modulation signal based
on a note’s initial input transient. When you play a note, the level goes
to full on. Stop the note, and the level returns to full off.
► RIG KONTROL Pedal: The pedal generates a signal whose level de-
pends on the pedal position.
► RIG KONTROL Switches (1-4): Each of these produces a signal that
alternates between full off an full on.
In the following screen shot, the Wah-Wah pedal parameter has been
right-clicked to reveal the available modifiers. The amount of Amp Follower
modulation is being adjusted to 38.8%.
An additional consideration is that each Modifier lists the targets that the
Modifier signal feeds (the drop-down “targets” menu). These also have level
controls that duplicate the level controls at the parameters themselves. If
you change the parameter slider value, the level shown in the modifier’s
target list will reflect those changes, and vice-versa.
In this example, the LFO signal is being sent to the Parametric EQ: Volume,
Distortion: Tone, and Wahwah Pedal: Pedal parameters.
Why is it necessary to adjust the amount of modulation in two separate
places? It actually isn’t necessary, but it can be convenient. Sometimes
you want to check out the parameters in a Component to see how they’re
assigned; sometimes it’s more convenient to see all the targets being fed
from a particular modifier.
Finally, note the blue meter above the Targets drop-down menu. This gives
a visual representation of the modulation signal.

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4.15.2 LFO

LFO stands for Low Frequency Oscillator – a periodic waveform that occurs
at a subsonic rate. An LFO is at the heart of tremolo circuits; the low
frequency varies amplitude to create a pulsing effect.

Parameters
Rate sets the LFO frequency, from 0.01Hz to 10.24Hz. The frequency can
also sync to tempo, as described next.
Tempo Sync, when enabled (“pushed in”), synchronizes the LFO rate to a
rhythmic value. Moving the Rate Control displays the rhythm. The slowest
rhythm is 48 beats per cycle (32 dotted measures), while the fastest is
a dotted 32nd note. This is chosen by the two arrows to the right of the
main display.
Waveform provides a graphic display of the LFO’s shape. Options are Sine,
Triangle, Square, Sawtooth, and Random.
Polarity inverts the waveform’s polarity.
Play restarts the LFO from a specific point, as determined by the Start
Phase control (described next). To “auto trigger” the LFO so that it restarts
when you hit a note, click on the small Auto Button above the Play Button
so that it turns blue. This enables auto-trigger.

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Start Phase sets the restart point. At 0 degrees (center position), clicking
on Trigger causes the LFO waveform to start from a 0 (neither positive nor
negative) value and go positive. Turning clockwise to 90 degrees causes
the waveform to start from its peak (full positive value) and go negative.
With the control set to 180 degrees (fully clockwise), the waveform starts
at 0 and goes negative.
Turning counterclockwise to –90 degrees causes the waveform to start
from the full negative value and go positive, while turning counterclockwise
all the way to –180 degrees causes the waveform to start from 0 and go
negative.

LFO Tips
► Input Trigger is a useful modulation source for the Trigger parameter;
or use one of the RIG KONTROL footswitches.
► A Random LFO waveform, applied to a Speed or Rate control (e.g.,
Chorus/Flanger Speed, Stoned Phaser Rate) can add a more human-
ized, less periodic effect.
► If you want to modulate two targets in opposite directions, using the
same waveform at the same rate, you don’t need to use two LFOs. Just
set a positive modulation amount on one target and a negative amount
on the other target.

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4.15.3 Envelope

The envelope generates an arbitrary control shape over time. This is a

Rate/Level type of envelope, where you specify levels, and the times
that it takes to get from one level to the next. Levels are specified by
inserting breakpoints [also called nodes] along a line, then moving the
breakpoints up or down to change levels, and left or right to change times.
This Component has an extremely useful graphic display, where you make
most of the envelope adjustments.

Editing the Envelope Shape

A default envelope includes four breakpoints. To add a breakpoint, right-
click (Mac: ctrl-click) anywhere along the envelope curve where you want
a breakpoint to appear. To remove a breakpoint, right-click (Mac: ctrl-click)
on it. Note that the first and last breakpoints move up and down together,
because the envelope always starts from where it ended.
Again referring to the default envelope, the left-most breakpoint is where
the envelope starts. The next two breakpoints fall on two vertical lines.
These indicate the segment where the envelope reaches the “sustain”
level, marked by the horizontal blue line; however, note that if the Loop

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option is enabled, this segment will repeat for as long as a Trigger signal
is present.
If there are three or more breakpoints (other than the start and end), the
sustain/loop segment can be shifted by clicking on a vertical blue line and
dragging it to the next breakpoint.
When the trigger returns to zero, the envelope continues with the segment
after the second vertical line.
Dragging the small circle between breakpoints can change the line’s shape
between the breakpoints from concave, to straight, to convex.

The Envelope Parameter Strip

The envelope parameter strip above the envelope provides a variety of
useful data. Except as noted, clicking on a numerical and dragging up
or down edits the value; the numericals also update automatically if you
move the breakpoint.
At the left of the strip, # shows two numbers. The first field is the index
number of the breakpoint or stage being edited. You can change this
by clicking on the numerical and dragging. The second field is the total
number of envelope breakpoints. This is for display only and cannot be
edited.
Mode has two options, SLIDE and FIXED. In Slide Mode, if you move a
breakpoint left or right, the envelope to the right of the breakpoint moves
as well to maintain the same times and levels past the breakpoint being
edited. In Fixed Mode, the total envelope time doesn’t change. Moving a
breakpoint to the right not only lengthens its distance compared to the

GUITAR RIG 3 – 182

breakpoint to its left, but shortens the distance compared to the breakpoint
at its right.
Abs. Time shows the amount of time in seconds from the start of the
envelope to the breakpoint being edited.
Delta Time shows the amount of time in seconds from the breakpoint being
edited to the breakpoint at its immediate left.
Level shows the breakpoint level referenced to the center line.
Slope shows the state of the line between breakpoints. 0.5 indicates a
straight line. 0.999 indicates a maximally convex curve. 0.001 indicates a
maximally concave curve. The numericals for Delta time, Level and Slope
can be edited by using the mouse (click and move up or down).

Envelope Ruler and Zoom

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

Other Envelope Parameters

Play starts the envelope from its beginning. To “auto trigger” the envelope
so that it starts when you hit a note, click on the small Auto Button above
the Play Button so that it turns blue. This enables auto-trigger.

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

GUITAR RIG 3 – 184

4.15.4 Step Sequencer

The Step Sequencer generates up to 16 sequential trigger signals, which

can have rhythmic values of quarter notes to 1/32nd notes. Note that you
cannot vary the level of these steps; they are triggers that are intended to
! Not all VST host software
supplies tempo informa-
tion to plug-in instruments, so this
create chopping/rhythmic effects that sync to the rhythm. feature may not work with your host
software. In standalone mode,
Activating a Step GUITAR RIG 3 does respond to
To turn on a step so that it provides a trigger, click on the desired step (1- MIDI clock signals.
16). It turns from gray to blue to indicate that it’s producing a trigger.

Assigning the Step Sequencer to a Parameter

1. Click on the Assign Button, and drag it to the target parameter (e.g.,
Pro Filter cutoff).
2. Click on the Targets downward-pointing arrow to reveal a drop-down
menu.A slider will appear for the Step Sequencer and for the target
parameter.
3. Adjust the Step Sequencer slider for the desired step level.
4. Adjust the target parameter slider for the desired effect on the target.

GUITAR RIG 3 – 185

It may seem that having two sliders is redundant. However, if you are
feeding multiple parameters from the step sequencer, you will almost
certainly want to be able to adjust each target parameter independently.
Furthermore, the Step Sequencer provides a sort of “master control” if you
want to vary the step level going to all targets simultaneously.

Parameters
Resolution sets the rhythmic value of each of the 16 steps. Available
options are 1/4, 1/8, 1/16, and 1/32 notes.
Enable Legato to tie adjacent steps to each other, thus creating longer
steps.
Click on the (+) Symbol to reveal expert mode, with the following
parameters.
Width sets the amount of time the step reaches its assigned value. When
fully clockwise, the width equals the resolution (e.g., if Resolution is set
to 1/8, then the step stays at its assigned value for an eighth note). When
set to its midpoint (50%), the width equals half the resolution (e.g., if
Resolution is set to 1/8, then the step stays at its assigned value for a
sixteenth note).
Attack adds a “glide” time (from 4 to 1233ms) from the start of a step up
to the step’s maximum value. See the diagram below.
Decay causes the control signal to fade out after the step ends over a range
of 4 to 2197ms. See the diagram below.

GUITAR RIG 3 – 186


Without attack and decay With attack and decay

Offset increases all control signal values as the control is turned more
clockwise.

4.15.5 Analog Sequencer

The Analog Sequencer generates 16 sequential control signals, which can

have rhythmic values of quarter notes to 1/32nd notes. You can change
the value of each “step” to create a complex, rhythmically-related control
signal.

Setting Step Levels

To set a step’s level:
1. Move one of the 16 faders up- or downwards from its initial position.

GUITAR RIG 3 – 187

2. A step is turned on if its position differs from the initial zero position
in the middle.
3. A fader turned upwards will apply a positive value to the assigned
target.
4. A fader turned downwards will apply a negative value to the assigned
target.

Parameters
Resolution sets the rhythmic value of each of the 16 steps. Available
options are 1/4, 1/8, 1/16, and 1/32 notes.
With the Slide parameter you adjust the Glissando, the continuous sliding
from one value of a step to the next.

4.15.6 Input Level Modifier

The Input Level Modifier generates a control signal based on the input level
at GUITAR RIG 3. This is commonly called an “envelope follower” as the
signal tracks changes in the guitar or bass amplitude envelope.

Parameters
Volume adjusts the overall control signal output. This affects the level of
the signal feeding all assigned parameters.

GUITAR RIG 3 – 188

Offset varies the control signal’s “baseline”. For example, normally the
control signal covers a range from –1 to +1, with 0 as the midpoint. When
Offset is at minimum, the baseline is -1. When Offset is at maximum, the
baseline is 0. No higher baseline than 0 is possible.
Attack adds a “glide” time (from 1 to 978ms) between when the control
signal receives an input change, and when the control signal reaches that
actual value. Sometimes, too abrupt an attack can create a “pop” when
the control signal first kicks in; increasing Attack can soften this effect.
Decay causes the control signal to take anywhere from 10 to 9863ms to
fall back to its initial setting in the absence of an input signal.

Input Level Tips

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

GUITAR RIG 3 – 189

 tive modulation amount, stronger input signals decrease the attack
time.
► If you really want to drive your audience crazy, apply the Input Level
signal to the Pitch Pedal’s Pedal parameter.

GUITAR RIG 3 – 190

5. Appendix A: Optimizing system re-
sponse
Your guitar will be playing through a computer, and any computer-based
audio system has some delay between the audio input and output. Even
the most powerful computer can only do a certain number of calculations
per second; signal processing demands a lot from a processor, so it’s
important to minimize any computer-based delays.
Fortunately, three main factors make delays virtually insignificant, assuming
you have a suitable computer setup (see System Requirements).
► Today’s multi-GigaHertz, multi-core computers are so fast they dra-
matically reduce latency.
► Many sound cards and audio interfaces include drivers optimized for
low latency.
► GUITAR RIG 3’s software, despite its superb sound quality, is written
very efficiently.

5.1 Use low-latency drivers

Drivers are pieces of code that handle communication between your
computer and audio interface. The audio interface is either built into a

GUITAR RIG 3 – 191

computer or attached via USB or FireWire. The more efficiently data is
transferred between audio interface and computer, the lower the latency.
GUITAR RIG 3 works with two low-latency driver types:
► ASIO (Audio Streaming Input Output). This cross-platform protocol was
originally developed by Steinberg.
► Core Audio (Mac only). This low-latency protocol was created by Apple
for the Macintosh, starting with OS X.
If your audio interface does not support one of these protocols, you will
likely hear an audible delay if you play through GUITAR RIG 3. Although
GUITAR RIG 3 can work with the DirectSound and MME drivers used with
Windows machines, it will not make for a satisfying playing experience.

5.2 What about Direct Monitoring?

You may have heard about a sound card feature called “direct monitoring”,
which reduces latency by sending the sound card’s audio input signal
directly to its audio output. However, this bypasses the computer, which
means it also bypasses GUITAR RIG 3’s processing. Make sure direct
monitoring is turned off in your sound card’s control panel software.

5.3 How low can you go?

1.5 ms of latency approaches the theoretical minimum, because it will
always take some time to convert analog to digital, then back to analog

GUITAR RIG 3 – 192

again at the output. However, note that ultra-low latency settings (or higher
sampling rates) make your computer work harder, which may limit the
number of Components you can add to GUITAR RIG 3 and still obtain
audio that’s free of clicks, pops, or dropouts. So, here are some tips on
living with latency.

5.4 About samples and buffers

Audio cannot be handled continuously by a computer, but has to wait its
turn while other operations are being carried out. As a result, sound cards
create a “buffer”, which can hold a certain number of samples, where data
can be stored and released as needed to create a smooth flow of data. If
there’s an interruption in the data flow for a little bit, no problem: There’s
some reserve in the buffer. An analogy would be if you had a hose that
didn’t deliver water continuously, but in bursts. So, you use a bucket to
store the water from the hose, and release the water from the bucket as
a smooth, continuous flow.
If the bucket (buffer) is large, then you can store more water in case the
hose goes dry for a bit. But it will take longer to fill the bucket, which is
equivalent to latency. A smaller bucket takes less time to fill, but the hose
had better deliver water on a pretty continuous basis.
All ASIO audio interfaces and sound cards include a control panel where
you can adjust latency. This may be given as the number of samples per
buffer, or simply as different latency Presets.

GUITAR RIG 3 – 193

Some ASIO control panels let you choose a particular number of samples/
buffer. The display then shows the resulting latency. A 256 samples/buffer
is giving a latency of just under 6 ms at 44.1kHz. Setting this to 128
samples/buffer will reduce the latency, but may stress out your computer
more.
Some control panels simply show the latency that results from choosing
a particular setting in milliseconds rather than showing samples/buffer as
shown in the Audio Kontrol 1 panel.

GUITAR RIG 3 – 194

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

GUITAR RIG 3 – 195

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:
1. From the Utilities Folder, launch the Audio MIDI Setup.
2. From the drop-down list labeled Audio, choose Create Aggregate
Device
3. Press + in the dialog that comes up to create a new entry.
4. Rename the new entry to Guitar Rig by double clicking in the text field
for Aggregate Device
5. In the Use column, check Built in Inputs and Built in Outputs. The
panel should look like this:

GUITAR RIG 3 – 196



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 can’t 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 – 197

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-
effects, and in the process, sculpt a unique and fresh sound.
The complete MIDI spec is fairly “deep” and complex. Fortunately
for MIDIphobes, there are only a few parts of the spec that relate to
multieffects control, so there’s not really that much to learn. Let’s start
with MIDI basics.

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 sequencers
also use MIDI data to provide automation for GUITAR RIG 3 when it’s
serving as a plug-in.

GUITAR RIG 3 – 198

There are many different kinds of MIDI messages, most of which relate to
keyboards, sequencers, drum machines, lighting controllers, tape recorders,
and other gear we can ignore. With GUITAR RIG 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 messages (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 described earlier. MIDI is applicable only if you want to use MIDI
controllers made by other companies.

6.2 MIDI Connections

Your computer’s sound card probably has a MIDI in jack (receives MIDI
message) and MIDI out jack that transmits MIDI messages. There may
also be a MIDI thru jack, which provides a duplicate of the signal at the
MIDI in jack.

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

GUITAR RIG 3 – 199

hippest control on any signal processor was the in/out footswitch because
it allowed you to bring an effect in as needed (distortion is wonderful, but
not all the time).
As more boxes were introduced – compressors, phase shifters, echo units,
wah-wahs, etc. – musicians started connecting all these boxes together with
patch cords. And that’s where the trouble began: if you wanted to bring in
multiple effects simultaneously, you had to hit a bunch of footswitches at
once. Fancy tap dancing became the order of the day.
When the MIDI spec was drawn up, provisions were made for 128 MIDI
program change messages. This is why many signal processors offer 128
programs, and why each GUITAR RIG 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
you’d like to vary a particular parameter within an individual program
(delay feedback, filter frequency, distortion drive, etc.). A wah-wah sound
is a good example of changing a particular parameter (filter frequency) in
real time.
When you call up a program’s parameter, you usually change its value by
turning a Knob. The idea of continuous controllers came about because

GUITAR RIG 3 – 200

synthesizers and effects have pedals, Knobs, levers, and other physical
“controllers” that alter some aspect of the sound over a continuous range
of values (this is why they’re called continuous controllers, as opposed
to a controller such as an on-off switch, which only selects between two
possible values).
Unlike a program change, which is a single event, continuous controllers
generate a series of events, such as a volume fade-in (each event raises
the volume a bit more than the previous event), or change in some other
parameter (e.g., increasing chorus depth, or altering the wah-wah filter
frequency).
Like program changes, continuous controller messages are transmitted
over a MIDI output and received by a MIDI input. The transmitter usually
digitizes the physical controller motion into 128 discrete values (0-127).
% Note that continuous
controller transmitters
only send messages reflecting a
For example, pulling the controller’s pedal all the way back generates change; for example, leaving a
a value of 0. Pushing down on the pedal increases the value until at pedal in one position doesn’t trans-
midpoint, the pedal generates a value of 64. Continuing to push on the mit any messages until you change
pedal until it’s all the way down generates a value of 127. the pedal’s physical position.

Continous Controller Numbers

MIDI “tags” each continuous controller message with an ID from 0 to 127.
Therefore, you can control up to 127 GUITAR RIG 3 parameters, although
in practice, it’s unlikely you could keep track of that many parameter
assignments, let alone use them constructively.
When controlling a signal processor via continuous controllers, the basic
idea is to assign a particular signal processor parameter (delay, modulation

GUITAR RIG 3 – 201

rate, distortion drive, etc.) to a particular continuous controller number. 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 you’re controlling Delay Feedback
and it receives a value of 0, feedback is at minimum. When it receives a
value of 64, the feedback is halfway up and upon receiving a value of 127,
the feedback is up all the way.

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7. Appendix C: Tips on creating your own RIG
One of the best aspects of GUITAR RIG 3 is you have the freedom to
rearrange the various Components in any way you like. This section gives
some guidelines on which effects should follow or precede other effects
in the signal chain.

7.1 Series and Parallel Effects

There are two main ways of hooking effects together. With a series
connection of effects, the effects string together serially, one after another.
Effect 1’s output plugs into effect 2’s input, effect 2’s output plugs into
effect 3’s input, and so on.
A parallel effects combination uses the Split Component to split the
signal into the inputs of effects 1 and 2. Mixing the outputs of the two
effects gives the combined (paralleled) sound of these effects; the Split
Component’s 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 illustrates
this well.

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7.2 Placing Components in the right order
Series, parallel, and series/parallel configurations represent an almost
unlimited way of connecting effects together for a customized sound. In
fact, maybe the possibilities are just too great, because people are often
confused about topics such as whether compression should go before or
after distortion, which effects work best in parallel, whether a noise gate
should go earlier or later in the signal chain, and so on.
Actually, there is no one “right” routing, although there are certainly
common ones. Different combinations of different effects make different
sounds, so experiment! That’s why GUITAR RIG 3 gives you all these cool
toys.
Nonetheless, it’s a good idea to at least establish a recommended
point of departure. We’ll start off with some general rules, then discuss
series combinations of effects, and finally investigate parallel effects
combinations.

7.3 The all-important first effect

For many instruments, compression or distortion are generally good
choices for the first effect. A compressor increases sustain, which gives a
“punchier” signal for subsequent stages. Also, a compressor is a unique
kind of effect since if it’s not over compressed, the effect is fairly subtle
and can be left in the signal chain at all times.

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However, note that if you’re using Oktaver, it wants to be the first effect.
This is because it needs a clean, single-note line, and adding effects prior
to Oktaver can work against this.

7.4 Series Effects Combinations

When determining an order for effects, start off by considering a series
effects chain as consisting of three subsections that occur in this order:
► Modules that alter dynamic range (compression, limiting) and/or 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 equalization
to give an overall tonal tweaking, a noise gate to cut out noise, a speaker
cabinet if one was not already included in the chain, and/or a limiter to
reduce peaks.
The order in which effects occur can make a huge difference to the
overall sound. For example, distortion before equalization sounds very
different compared to equalization before distortion. Here are some specific
examples of what to expect when you connect two effects in series.
► Compressor before distortion. With guitar, this increases sustain and
gives a more consistent distortion timbre.

GUITAR RIG 3 – 205

► Distortion before compressor tends to be a bit noisy but provides a
somewhat “gentler” sound compared to compressor before distor-
tion.
► Equalization before distortion. This can make distortion seem more
“touch-sensitive” by causing boosted frequencies to distort more read-
ily than non-boosted ones. Also, as distortion synthesizes harmonics,
the overall sound may be too bright. Pulling back on the highs before
feeding the distortion can help control this.
► Distortion before equalization. In this combination, the equalization
tailors the timbre of the distorted sound. In general, placing equaliza-
tion both before and after distortion gives the most flexibility.
► Distortion before delay gives a clear echo sound.
► Delay before distortion gives a dirty echo sound since the echoes
“melt” together when distorted.
► Echo before noise gate. The noise-gating action will also cut out some
of the low-level echoes, which may not be desirable. Patching the noise
gate before echo gives a more natural echo sound.
► Distortion before flanger or chorus. Flangers and choruses give the
most intense effect when they’re fed a signal with lots of harmonics
(overtones). Distortion delivers a harmonically rich sound that accents
the flanging or chorusing effect.
► Flanger or chorus before distortion. Lots of distortion may mask the
subtlety of the flanger or chorus effect. In fact, with extreme amounts
of distortion, it may seem as if there is little, if any, flanger or chorus
effect.

GUITAR RIG 3 – 206

► Reverb before equalization. Boosting lower frequencies gives a larger,
more “distant” reverb sound. Boosting higher frequencies gives more
presence, resulting in a subjectively closer reverb sound.
► Reverb before chorus unit. Following reverb with light chorusing can
impart a shimmering, full sound.

As an example of how to apply this, suppose you want a flexible, general

purpose effects algorithm for power-chord rhythm guitar. Here’s one
possibility:
Tube Compressor » EQ Parametric » Plex » Cabinet & Mic » Chorus/
Flanger » Noise Gate » Studio Reverb
The compressor adds sustain, and the EQ/distortion/amp+cabinet
combination allows for a very precise tailoring of the distorted sound. The
chorus helps diffuse the overall sound somewhat; the noise gate cuts out
any low level noise, and the reverb “smoothes over” choppiness contributed
by the noise gate as well as provides ambience.

7.5 Parallel Effects

Parallel effects combinations can provide a greater degree of subtlety than
series combinations. As one example, putting bass through a chorus and
then a wahwah will give a thin sound because the wahwah removes the
bass “bottom”. Placing the wahwah in parallel with the chorused signal
adds the filtered effect to the chorused bass sound (which doesn’t remove
the low end).

GUITAR RIG 3 – 207

Parallel effects chains are also a good way to create a stereo image, as
one leg of the chain can provide one channel and the other leg, the other
channel. For example, suppose you feed a guitar into two graphic equalizer
Components connected in parallel. If you set bands 1, 3, 5, and 7 to
maximum and bands 2, 4, 6, and 8 to minimum in one channel, and do
the reverse for the other channel (bands 1, 3, 5, and 7 to minimum with
bands 2, 4, 6, and 8 to maximum), you’ll create an interesting type of
stereo spread.

GUITAR RIG 3 – 208

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

GUITAR RIG 3 – 209

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

8.2 Solution #1: The single plug theory

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

8.3 Solution #2: The broken shield effect

A solution for some stubborn ground loop problems is to isolate the piece
of gear causing the problem, and disconnect the ground lead (shield)
at one end only of one or more of the audio patch cords between it and
other devices. The inner conductor is still protected from hum by a shield
connected to ground, yet there’s no completed ground path between the
two devices except for AC ground.

GUITAR RIG 3 – 210

If you make your own cables, it’s worth wiring up a few special ground loop-
buster cords with a disconnected shield at one end. Mark them plainly; if
used as conventional cords, you’ll encounter hum, loss of level, and other
problems.

8.4 Solution #3: Audio isolation transformer

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

8.5 Solution #4: AC isolation transformer

Many times, you can also break a loop by removing the direct connection
from a piece of gear to AC ground. This doesn’t always work because the
ground loop may not involve the AC line but various ground-to-ground
connections; however, loops involving the AC line generally seem to be
more problematic and common. Breaking audio is a simpler, lower power
solution (that can also minimize computer-generated “hash”), but an AC

GUITAR RIG 3 – 211

isolation transformer provides ancillary benefits. In short, an AC isolation
transformer can clean up the AC line, reduce spikes and transients, and
provide performance almost equal to that of a separate AC line.
So which is better, breaking the audio connection or the AC connection?
It depends. If you have a lot of microprocessor-controlled gear and less
than ideal AC, adding isolation transformers can solve various AC-related
problems and get rid of ground loops. If you just have a simple ground
loop problem, then patching in audio isolation transformers may be all
you need.

GUITAR RIG 3 – 212

9. Appendix E: Keyboard Shortcuts

Type Command Windows Mac

File New Preset Ctrl+N Cmd+N

File Save Preset + Bank Ctrl+S Cmd+S

File Save Preset + Bank As Ctrl+Shift+S Cmd+Shift+S

File Quit Alt+F4 Cmd+Q

Edit Undo Ctrl+Z Cmd+Z

Edit Redo Ctrl+Y Cmd+Y

Edit Cut Ctrl+X Cmd+X

Edit Copy Ctrl+C Cmd+C

Edit Paste Ctrl+V Cmd+V

Edit Delete Del Delete

Edit Select All Ctrl+A Cmd+A

View Hide Hints Ctrl+I Cmd+I

GUITAR RIG 3 – 213

View Full Screen F4 F4

View Hide/Show RigKontrol F3 F3

View Hide/Show SideKick F2 F2

View Hide/Show Live View F1 F1

GUITAR RIG 3 – 214

10. Index

A
Activating a Step............................... 185 Cross............................................... 163
Amp................................................ 109 Cutoff.............................................. 135
Assign............................................. 185
Assigning the Step D
Sequencer to a Parameter................. 185 De-Hiss........................................... 150
Attack...............137, 149, 152, 186, 189 Decay...................................... 186, 189
Delay............................................... 115
B Depth........................................ 83, 115
Balls................................................ 103 Detune............................................ 162
Bass...... 78, 80, 82, 84, 85, 86, 90, 101, Distortion.................. 100, 103, 105, 106
...................... 102, 103, 104, 105, 106, Down............................................... 114
....................... 107, 108, 109, 115, 165 Drive................................. 86, 104, 109
Bias.................................................. 77 Dry/Wet........................................... 115
Boost.......................................108, 111
Bottom............................................ 108 E
Bright............. 80, 83, 87, 104, 108, 140 Ensemble......................................... 114

C F
Cab&Mic.......................................... 109 Filter............................................... 103
Chorus Intensity................................ 114 Flanger............................................ 116
Clean....................................... 104, 109 FP/BPF/HPF..................................... 137
Continuous Controllers....................... 201 Freq Max......................................... 139

GUITAR RIG 3 – 215

Freq Mid.......................................... 139 LP-BP-HP........................................ 138
Freq Min.......................................... 139
Fuzz................................................ 101 M
Master............................................... 84
G Max................................................. 133
Gain.......................................... 86, 108 Metronome......................................... 13
Graphic EQ........................................ 87 MicPos............................................ 109
Graphic EQ Band Level........................ 87 Mid.......................... 78, 80, 83, 84, 85,
Graphic EQ Volume............................. 87 ......................... 86, 90, 105, 106, 107,
.............................................. 108, 115
H Mid-Freq............................................ 86
Half Volume..................................... 146 Mid-Q.............................................. 107
Hold......................................... 147, 149 Mid Freq.................................. 106, 107
Hot................................................. 109 MIDI................................................ 198
Hum.................................................. 12 Min Volume...................................... 146
Mode............................................... 115
I
Input............................................... 153 O
Input Level Tips................................ 189 Offset............................... 137, 187, 189
Intensity.................................... 80, 113 overdrive.......................................... 100
Interference....................................... 12
P
L Parameters............................... 186, 188
Learn........................................149, 150 pickups.............................................. 12
Legato............................................. 186 Pitch............................................... 162
LFP/BPF/HPF................................... 135 Play Button...................................... 169
Limit............................................... 147 Plug-in............................................... 11

GUITAR RIG 3 – 216

Power................................................ 61 Slider............................... 138, 141, 142
Power Supply..................................... 76 Slope............................................... 135
Pre-Amp............................................ 84 Speed................................................ 80
Presence.......................... 78, 84, 85, 90 Standalone........................................... 9
Step Sequencer................................ 185
R Stereo.............................................. 115
Range.............................................. 136 Stereo\
Rate...................................83, 113, 115 Time............................................ 162
Release.............. 137, 147, 149, 150, 152 Stereo Pan....................................... 113
Res Max.......................................... 139 Sustain.....................................102, 151
Res Mid........................................... 139 Sync................................................ 163
Res Min........................................... 139
Reso........................................ 135, 137 T
Resolution................................ 186, 188 Tapedeck........................................... 13
Response........................................... 76 Tempo Sync..................................... 113
Reverb............................................... 80 Temp Sync.........................115, 117, 163
Reverb On.......................................... 80 Threshold.................. 149, 150, 152, 153
Reverb Time....................................... 80 Tone......................... 102, 103, 104, 105
Reverse........................................... 162 Treble....................... 78, 80, 83, 84, 85,
................... 87, 90, 101, 102, 103, 105,
S ............... 106, 107, 108, 109, 115, 165
Sag................................................... 76 Tremolo........................................... 113
Scoop.............................................. 108 Tuner................................................. 13
Sens................................................ 136
Signal Flow........................................ 59 U
Size................................................. 141 Ultra Hi............................................. 87
Slide............................................... 188 Ultra Lo............................................. 87

GUITAR RIG 3 – 217

Up.................................................. 114
Up/Down.......................................... 136

V
Variac................................................ 76
Vibrato/Off/Chorus............................... 83
Vibrato On.......................................... 80
Volume............ 77, 80, 82, 86, 101, 102,
103, 104, 105, 106, 107, 109, 114, 146,
147, 151, 188
Volume Max..................................... 139
Volume Mid...................................... 139
Volume Min...................................... 139

W
Wahwah........................................... 140
Wet................................................. 137
Width.......................................114, 186

GUITAR RIG 3 – 218