Native Instruments have repackaged their powerhouse amp-modelling package with a new, stage-friendly interface, not to mention four new amps and a pile of vintage effects.
Guitar Rig 3’s new streamlined interface incorporates a redesigned preset browser with Kore compatibility. This shot also shows off the new Space Echo and Orange amp emulations. What makes a good software amp simulator? For some guitarists, there’s only one answer: a good amp simulator is one that sounds, and responds, exactly like the amps it simulates. To others, the real joy of a software amp is that it allows them to do things that are impossible with hardware, whether that means automating knob movements in real time, routing three different amps in series, or putting a glockenspiel through a Marshall stack.
Native Instruments’ Guitar Rig is an obvious choice for anyone in the second camp. Its unique modular design makes it easy to construct bizarre and electrically unsound combinations of virtual gear from the safety of your laptop. Version 2, reviewed in February 2006 (/sos/feb06/articles/niguitarrig2.htm), upped the ante with the rather wonderful Modifiers, which brought the concept of synth-style modulation to bear on amp and effect parameters, with unparalleled scope for weirdness.
Stream Guitar Rig 5
Time moves on, and NI have now brought out Guitar Rig 3. This brings with it a welcome crop of new amp and effect modules, but in contrast to the previous upgrade, most of the other improvements are directed at making Guitar Rig more friendly to use, rather than opening up new possibilities for experimentation. There’s a particular focus on making the system more useable on stage as well as in the studio.
Central to both applications is the Rig Kontrol hardware unit, which combines the roles of DI box, audio interface and foot controller, and has also been improved in version 3. The most obvious changes are that it is now a rather stylish black instead of silver, and that it sports eight buttons instead of six. The floorboard itself hasn’t grown, so you’ll need to be a little more delicate with your size nines, but it shouldn’t cause problems except for the most cack-footed. The top row of buttons are now clearly labelled according to their default functions, so you’ll never have those moments on stage where you forget which button brings up the tuner. Other welcome additions include LED input and output level meters.
A more subtle but potentially life-saving improvement is the relocation of the USB port to the rear left, where it has been augmented by a chunky hook to secure the cable. It’s still, probably, better to not get your foot caught up in it, but this might just be enough to stop you having to reboot the computer on stage.
Native Instruments Guitar Rig Pro 6.1 Includes New Effects And Presets
Internally, the Rig Kontrol seems little changed. NI say that the converters have been improved, and it certainly sounds very clean, but then so did its predecessor, to my ears. The Rig Kontrol still connects to your computer via a USB2 port, and the driver has been tweaked to provide more informative options for buffer sizes. It seemed happier to run at low latencies in my system than the Rig Kontrol 2, and I experienced none of the occasional clicking that I found with the previous version. In general, I imagine most Rig Kontrol 2 owners will be content to stick with their existing hardware, though.
The Guitar Rig 3 software is available independently of the Rig Kontrol, and will still work with previous hardware versions. Like all NI software, it needs to be authorised on-line, but the process is painless. Unless you don’t have an Internet connection on your studio computer, that is, in which case it could cause a mild twinge. As before, Guitar Rig 3 works both as a stand-alone application and as a plug-in in VST, Audio Units and RTAS formats. The first thing you notice on loading the new version is the new look, which struck me as an obvious improvement: the interface is now much cleaner and easier to navigate, and it features a greatly improved preset–handling system (see the ‘Preset Paradise’ box).
Live View presents all the parameters that are accessible from the Rig Kontrol in such a way as to make them easily visible at a glance. This is the same preset as shown in the header screen, with the pedal and switch assignments clearly displayed. The biggest development to the Guitar Rig interface is probably the new Live View. NI have recognised that when you’re on stage, there’s not much point in being able to view hundreds of knobs and sliders, because you’re in no position to mouse around and select them. Live View thus presents only the parameters you can access via the Rig Kontrol floorboard, and puts them on screen in high-visibility, easy-to-read orange and white. The lower half of the window shows you what all the switches do in the selected preset, while the area at the upper right can display either the metronome, tuner or Loop Machine loop recorder. The remaining space at the top left shows the patches in the selected bank, in nice large type, with a bold orange bar across the one that’s currently active.
Guitar Rig 7 + Ozone 11 Advanced + Nectar 4 Vst Plugins Full
Unfortunately, I didn’t get a chance to try the new system out on stage, but it’s clearly a good idea, and I’m sure I would use Live View rather than the conventional interface in any kind of live context. I have only a couple of reservations. One is that although you can use Live View with other controllers, it only ever displays a virtual Rig Kontrol 3. If you use an earlier Rig Kontrol, or a third-party controller, the mental gymnastics involved in relating what you see on screen to what’s at your feet will tend to negate the simplicity that Live View is supposed to bring. The other concerns the scrolling in the preset list. As you use the Next button to cycle through the presets in a bank, the orange bar moves down to the bottom of the window and the list scrolls up. So once you get beyond the sixth preset in the bank, you can’t see which one is coming next. Surely it would have been more sensible to keep the selected preset at the centre of the window and have the list scroll around it? NI are aware of this issue and say they’re working on it.
Ultrasonic is a versatile high-gain amp for metal and modern rock sounds. Another cool live-oriented feature is Snapshots. Hit the miniature Rig Kontrol icon above the gear rack and a virtual floorboard appears at the bottom of the rack, as before. In Guitar Rig 3, however, the options that appear when you right-click on an unused button include Snapshot. Choose this option and name the result, and hitting that button thereafter will recall all the parameter settings for all the components in the current preset. The idea is that if, say, you want to tweak a preset in various ways for the different sections of a song, you can simply store and recall a couple of Snapshots. This is infinitely easier and neater than trying to shuffle between three or four variations on a preset using the Next and Previous buttons. You do have to remember to re-save your preset after setting up Snapshot assignments, though.
Finally, it seems to me that preset switching is more seamless than in GR2, which is obviously a good thing for the live player. It sometimes takes half a second or so to respond, but there are no glitches or pops when you switch sounds or add a new component to your current preset.
Native Instruments Guitar Rig 7 Pro Ist Da!
The Fender Tweed amp emulation, with its tasteful Matched Cabinet. A Guitar Rig upgrade wouldn’t be a Guitar Rig upgrade if it didn’t include tasty new amps and effects, and this one is no exception. NI say they are particularly proud of the new amps, and feel that they have taken their modelling technology to new heights.
Four new amps are included, and between them they have something to offer every guitarist. Traditionalists will be taken with the new Tweed Delight, which models a vintage Fender Tweed Deluxe combo. At the other end of the spectrum, Ultrasonic emulates the ultra-modern high-gain tones of the Bogner Uberschall. In between, there are tributes to two neglected classics from the ’70s, the Hi-Watt Custom 100 and Orange Overdrive heads. There are new cabinet models to match, and the emphasis on ease of use is reinforced by the new Matched Cabinet model. This is now the default choice when you drag a new amp module into the rack, and provides a sensible set-and-forget cabinet choice with relatively few controls. You can, of course, substitute the more complex Cabinets & Mics module if you want to vary the sound.
Heavy metal isn’t my thing at all, so I was surprised by how much I liked NI’s Bogner emulation. It’s often said that software amp modellers don’t capture this sort of high–gain sound very well, but the NI Bogner might give nay-sayers
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Unfortunately, I didn’t get a chance to try the new system out on stage, but it’s clearly a good idea, and I’m sure I would use Live View rather than the conventional interface in any kind of live context. I have only a couple of reservations. One is that although you can use Live View with other controllers, it only ever displays a virtual Rig Kontrol 3. If you use an earlier Rig Kontrol, or a third-party controller, the mental gymnastics involved in relating what you see on screen to what’s at your feet will tend to negate the simplicity that Live View is supposed to bring. The other concerns the scrolling in the preset list. As you use the Next button to cycle through the presets in a bank, the orange bar moves down to the bottom of the window and the list scrolls up. So once you get beyond the sixth preset in the bank, you can’t see which one is coming next. Surely it would have been more sensible to keep the selected preset at the centre of the window and have the list scroll around it? NI are aware of this issue and say they’re working on it.
Ultrasonic is a versatile high-gain amp for metal and modern rock sounds. Another cool live-oriented feature is Snapshots. Hit the miniature Rig Kontrol icon above the gear rack and a virtual floorboard appears at the bottom of the rack, as before. In Guitar Rig 3, however, the options that appear when you right-click on an unused button include Snapshot. Choose this option and name the result, and hitting that button thereafter will recall all the parameter settings for all the components in the current preset. The idea is that if, say, you want to tweak a preset in various ways for the different sections of a song, you can simply store and recall a couple of Snapshots. This is infinitely easier and neater than trying to shuffle between three or four variations on a preset using the Next and Previous buttons. You do have to remember to re-save your preset after setting up Snapshot assignments, though.
Finally, it seems to me that preset switching is more seamless than in GR2, which is obviously a good thing for the live player. It sometimes takes half a second or so to respond, but there are no glitches or pops when you switch sounds or add a new component to your current preset.
Native Instruments Guitar Rig 7 Pro Ist Da!
The Fender Tweed amp emulation, with its tasteful Matched Cabinet. A Guitar Rig upgrade wouldn’t be a Guitar Rig upgrade if it didn’t include tasty new amps and effects, and this one is no exception. NI say they are particularly proud of the new amps, and feel that they have taken their modelling technology to new heights.
Four new amps are included, and between them they have something to offer every guitarist. Traditionalists will be taken with the new Tweed Delight, which models a vintage Fender Tweed Deluxe combo. At the other end of the spectrum, Ultrasonic emulates the ultra-modern high-gain tones of the Bogner Uberschall. In between, there are tributes to two neglected classics from the ’70s, the Hi-Watt Custom 100 and Orange Overdrive heads. There are new cabinet models to match, and the emphasis on ease of use is reinforced by the new Matched Cabinet model. This is now the default choice when you drag a new amp module into the rack, and provides a sensible set-and-forget cabinet choice with relatively few controls. You can, of course, substitute the more complex Cabinets & Mics module if you want to vary the sound.
Heavy metal isn’t my thing at all, so I was surprised by how much I liked NI’s Bogner emulation. It’s often said that software amp modellers don’t capture this sort of high–gain sound very well, but the NI Bogner might give nay-sayers
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