, software amp modelling has come a long way in both quality and diversity. Among the many high-quality packages now available, Native Instruments'
Stands out as the only truly modular system there is. Its free-form interface allows the user to choose any number of elements from a list that includes amps, speakers, stompbox and studio effects, and arrange them in any order to create their own guitar sound.
Came with Rig Kontrol, a floor unit that didn't act as an audio interface, but served both as an impedance-optimised DI box and a foot controller for the software.
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And Rig Kontrol. The software now includes numerous new amps — including, for the first time, bass amps as well as guitar amps — new cabinets and new effects, as well as an entire new category of module called Modifiers. The hardware is now not only a controller and DI box, but also a USB 2.0 audio and MIDI interface, meaning that you no longer need a third-party soundcard to use
With so many new features to talk about, I won't go into detail here about the modules that were already included in version 1, and I suggest that anyone unfamiliar with
The new Rig Kontrol is a smart-looking beast with a reassuringly thick metal skin. It could probably survive being run over by a car, and should certainly be robust enough to stand up to stage use. It terms of the control it offers, it's similar to version 1 except that there are now six rather than four independent footswitches (plus the switch built into the rocker pedal). Like the original, Rig Kontrol 2 transmits its control messages to the computer not as MIDI, but embedded inaudibly in the audio signal from your guitar. The difference is that this signal is converted to digital within the Rig Kontrol 2 and sent to the computer over a USB cable with no need for a separate soundcard. This will be a boon for many people, but particularly for those using
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Live. The new Rig Kontrol handles all audio inputs and outputs and puts them at your feet just like a conventional multi-effects board, cutting down clutter and reducing the number of ways for things to go wrong.
Guitar Rig 2 in action, showing the versatile new Tweedman amp, the modelled Sansamp distortion box and the noise filter. As an audio interface, the Rig Kontrol 2 is pretty well specified. There are two high-impedance inputs, each with its own gain control, so you can connect two guitars at the same time, with their input levels matched; again, this will be handy for live players who switch guitars for different songs. There are left and right stereo outputs on balanced quarter-inch jacks, with an associated button that switches the output level between high (for connection to keyboard amps, mixers or powered monitors) and low (for output to guitar amps). There's also a headphone output, with a level control that I found to be a little on the sensitive side, plus inputs for two expression pedals, and MIDI In and Out. A large two-digit LCD shows you the current patch number, and four LEDs show the presence of signal at the input and output, MIDI data activity, and the on/off status of the foot pedal's switch. What's more, the Rig Kontrol 2 is powered over USB, so there's no need for a separate power supply (and, in fact, no input for one). Live players rejoice!
USB 2.0 has been standard on new computers for the last few years, but as yet, most audio interface designers have chosen to support Firewire or stick with the low-bandwidth USB 1.1. I've talked to several manufacturers about this, and have heard some tales of woe about how hard it is to write a good low-latency USB 2 driver. I guess Native Instruments haven't listened to these tales, because the Rig Kontrol 2 connects via USB 2 and offers buffer sizes down to 1ms (which equates to a 2ms round-trip latency). The Rig Kontrol 2 has the simplest installation procedure I've ever seen, and its ASIO Configuration page offers just a few simple controls. You can set the buffer size and sample rate, from a choice of 44.1, 48 or 96 kHz.
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I started with a 4ms buffer size, giving a round-trip latency of 8ms which I found comfortable for playing. Initially this seemed to work, but after a while, I began to notice the odd click and splat — often, but not always, when the cooling fan in my laptop started or stopped. Unfortunately, the next lowest buffer size is 8ms, with a round-trip latency of 16ms, which was high enough to put me off when playing. After hours of testing and many emails to NI, we couldn't detect any CPU spiking or throttling going on, and were forced to conclude that this was just the best setting that could be achieved on my computer. In fact, Native Instruments told me that only the fastest computers will be able to handle the 4ms buffer size, and that most guitarists are happy with a 12ms round-trip latency.
This raises a couple of questions. If a newish 2GHz Centrino laptop isn't fast enough to run the Rig Kontrol with 4ms buffers, then what is? And if NI believe 12ms is acceptable, why isn't it possible to set the latency to 12ms? In the end, I chose to keep the buffers set at 4ms and put up with the clicks, which were not very frequent. My machine doesn't perform any better with other USB interfaces, so I don't want to be too gloomy about this — there are plenty of people running USB devices at lower latencies in other systems, so I'm sure this will be the case for the Rig Kontrol too.
It's probably worth pointing out a couple of consequences of the fact that Rig Kontrol 2 is a USB 2 audio interface as well as a controller. The first is that you'll need a recent operating system: on the PC, Windows XP Service Pack 2 is required, while Mac users need OS 10.3 or better. The second is that you can't just use the analogue circuitry of Rig Kontrol 2 as a DI box for another interface, as you would with RK1. The third is that its qualities as an interface are not a lot of use to
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As an RTAS plug-in, but you'll need to input your guitar via some Digidesign hardware. There are, however, Direct X and MME drivers for those running non-ASIO programs, and Core Audio support for the Mac fraternity.
Finally, I came across a couple of minor problems with the Rig Kontrol 2. There were times when I started my computer up to use it and the pedal completely failed to work.
's Pedal Calibration function always got it working perfectly, so in practice it's only a problem if you forget to do this. I also found that the stand-alone version of
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Always crashed if I switched to a different program when its ASIO Configuration page was open, not that this is something you'd often want to do.
The new Loop Machine module is a sampling delay along the lines of the Lexicon Jam Man and Akai Headrush, designed to allow the guitarist to build up a layered texture by repeatedly overdubbing loops. As you'd expect, it offers buckets of recording time, and there are some nice additional touches such as the ability to A/B two separate loops, reverse the loop, overdub a longer part onto a shorter loop, and vary the recording level and pan position at each pass. However, what's really impressive about the Loop Machine is the way Native Instruments have integrated it into the
It appears as just another module in the Tools section, and it can be installed as either the first or the last module in the rack, enabling you to loop either 'dry' or 'wet' sounds. The really neat thing about it, though, is that once you've dragged it into the rack, it sticks around when you switch between different
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Sounds.You could, for instance, begin by laying down a rhythmic bed in one of the step sequencer-based patches, before using an octaver patch to add a bass part and others for more conventional lead and rhythm guitars.
Will remember these assignments when you change patch, even if that means over-riding the control assignment that's built into the new patch. This is exactly how it should work, since the Loop Machine is only really useful with a foot controller attached.
Another really cool feature is the ability to export the resulting loops as audio files. Not only can you export the bounced loop that you hear from Loop Machine, but you can also export every layer as an individual file. If you export the bounce, you get to name the file and choose WAV or AIFF format; layers are automatically saved as WAVs called 'Layer 1', 'Layer 2', and so on. It's also possible to save an entire Loop Machine setup as a single '.LS' file. You can't import other
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