Fernando Girón

Introduction
Last month we covered everything related to the new Pro Tools virtual instruments. We focused on Xpand, Hybrid and Strike Velvet, and mentioned Structure, which is still to come. That is, everything from keyboard and synth sounds to drums and, well, the all-around option of Xpand, which gives us a quick solution so we can get to work immediately. So if we stop to think about what's missing, we obviously come to the string side of things, that is, guitars, a very important element in any conventional (and not so conventional) recording. Which brings us to the reason for this review: G-Rack is Digidesign's new bundle, offering a software solution for the guitarist in the studio, in plugin format for Pro Tools.

If we focus on the problems involved in sounding good, we face a clear dilemma: sounding incredible means hauling gear, maintenance, the gear responding differently to the same stimulus (which can also be an advantage), space for setting up, and cost. On the other hand, we have the option of minimal gear-hauling effort by jumping on the bandwagon of amp emulators, effects, etc., which are, after all, simulations of what we would really need to have.

Digidesign offers a very competent, effective solution for guitarists. It provides a set of plugins that simulate a number of effects pedals, distortion, etc. And this, I believe, is where the success of this tool lies. It's very common to find amp emulators that also provide effects. Emulating a complete amplifier is very complex: there are many factors to simulate, namely all the parameters of the amp's preamp and power amp, and if on top of that it lets us simulate a particular speaker, the angle of the mic, etc., it becomes difficult for the end result to come very close to what you hear in the analog world. The plugins that make up G-Rack don't attempt to simulate an amplifier, far from it; they emulate analog distortion, delay and filter pedals... which are much more feasible to implement than an amplifier.

G-Rack's analog pedals
G-Rack is made up of a series of analog pedals, ranging from all kinds of overdrives and distortions to filters and chorus, plus a delay or two. So we have:

1. SansAmp PS1: A legendary pedal that emulated different types of saturation, giving them its own analog character. It was very popular in the early nineties, and there are two versions, one in pedal form and another in a MIDI-switchable rack format. In this case, the plugin is based on the pedal format.
2. Tel-Ray variable delay: Every guitarist, regardless of the style they play, will sooner or later need a delay. That's where the Tel-Ray variable delay comes in.
3. Moogerfooger Bundle: This is, in my opinion, one of the crown jewels. Moogerfooger pedals are known for their “boutique” character and prestige. Here we get to use the Phaser, Modulator, Filter and even an analog delay.
4. Voce Spin Chorus/Vibrato: Finally, we add a chorus and a vibrato to the list, as typical effects in any song.

1.- SANSAMP PS1
As mentioned above, this plugin represents an analog pedal that became legendary for its great usefulness and sound. What exactly is the SansAmp? It's an analog pedal that emulates preamps of all kinds. You can get anything from a Fender Bassman to a Marshall Plexi, by way of a Boogie. In my view, I draw two clear conclusions from this plugin/pedal:

1. It isn't really a 100% impersonal emulation, like other fully digital simulation options that copy the sound of any amplifier exactly; rather, it gives the sound its own character, which personally I feel stamps it with a distinctive signature that is far more real and believable than the other options. It makes sense, really: we're talking about an analog pedal that gives us true dynamic range, as opposed to a digital amp simulator, run through ones and zeros, where tone and dynamics are reduced.

2. Although it is described as a preamp, and it is one and can be used as such, I must say that in my experience it's always good to use the SansAmp to drive your own amplifier, that is, to use it as one more pedal in your effects chain before going into your real amplifier.

The SansAmp is adjusted using a series of controls:

· PRE-AMP: With this pot we can set how much of your signal reaches the amp's preamp. In other words, how hard you want to drive the preamp.
· BUZZ: A kind of bass boost, ranging from powerful mids to very defined lows.
· PUNCH: Lets us control how much attack we want to emphasize in our sound. Highly recommended for set-neck guitars, where we sometimes need more peak in our waveform.
· CRUNCH: With this control we can set how much semi-saturation we want. It's a very important factor in getting a round saturated sound that blends with the rest of the band.
· DRIVE: Distortion, that is, how much full saturation you want. It's one step beyond crunch, with more sustain and longer notes.
· LOW–HIGH: Bass and treble filters. As with any amplifier, we need to control our EQ, and here we get these two controls.
· LEVEL: The preamp's output volume. Bear in mind that we're talking about analog pedals, which are very sensitive and dynamic. So don't forget that a small movement of any pot will produce an immediate and noticeable response.

As a bonus, this plugin lets us enjoy a series of factory presets that are quite realistic and competent. Highlights include Bassman (simulating the legendary Fender Bassman), Plexi and Bluesbreaker. It also lets us get close to the sound of guitarists such as B.B. King, Hendrix, SRV, etc., using presets named after them.

2.- TEL-RAY VARIABLE DELAY
With this plugin we can use a delay on our sounds; personally, I think it's very useful for the typical lead sound or for melodic lines within a song. You can hear how very clean its sound is, which is much appreciated in a delay for guitarists, as well as its great sense of dynamics. Personally, I see it as a delay to use between the amp's preamp and power amp. The various controls it offers are:

· INPUT: The signal's input volume. Very useful for controlling how much saturation we end up generating at the output.
· TONE: Tone control, mainly based on mids and lows.
· MIX: The typical delay mix control, setting how much of the original signal and how much repeat we want.
· OUTPUT: Output volume. It's simply the overall volume.
· VARIABLE DELAY: With this pot we can control how many repeats we want and at what speed.
· VARIATION: A kind of vibrato on the repeat; curious, and it can even prove very useful on certain special occasions.
· SUSTAIN: How long we want the repeat to last.
· ECHO-DOUBLER: In the echo position it's a simple delay, but if we choose the DOUBLER option, it generates a double repeat, giving us an interesting long-reverb effect.

3.- MOOGERFOOGER BUNDLE
As I mentioned earlier, Moogerfooger pedals have great prestige for their vintage sound and, above all, they're high-quality and effective. G-Rack comes with quite a few of them, which is a great idea. We have filters, delay, phaser and modulator.

· MOOGERFOOGER LOWPASS FILTER
Let's say we can divide the pedal into two clear sections, ENVELOPE and FILTER. The first deals with how to blend the processed sound with the guitar's original sound, with controls such as Mix, Amount, etc. The second is the filter itself, which we can control with the cutoff frequency parameters as well as resonance, that is, how percussive the effect is. All of this is topped off with a drive control, with which we choose how much saturation we want in our effect.

This plugin is highly recommended for funkier sounds, or eccentric sounds with a certain vintage touch.

· MOOGERFOOGER PHASER
Like the whole Moogerfooger family, the pedal is divided into two sections, in this case the LFO side and the phaser side proper. In the middle there is a drive control, likewise common to most of these pedals/plugins. The effect itself is very dynamic and you get a fairly round sound that blends perfectly with the band. The LFO's Lo-Hi control is quite sensitive: for the typical phaser sounds we've all heard, we should set it to Lo, and for oddities and the like, to Hi.

The “Purple Haze” preset that comes with the plugin is highly recommended; although it more or less recalls Hendrix's sound on that song, what matters more is how easily the guitar finds its place in the final mix.

· MOOGERFOOGER MODULATOR
A great pedal that is very useful for many effects, from the strangest sounds, simulating synths and so on, to gentle tremolos. Once again the pedal is divided into LFO and MODULATOR, with a drive control in between that works the same as in the previous cases. With this plugin we can get very Hendrix-like sounds, à la 'Bold as Love', as well as tremolos perfect for soundtracks “made in Tarantino.” The two most important controls are Rate and Frequency, which let us adjust the waveform modulations. The importance of the LO-HI control on the modulator also deserves a mention: in Hi, all the other controls become extremely sensitive.

· MOOGERFOOGER DELAY
An analog delay, very dynamic and effective. Personally, I see it as a perfect candidate for placing in the pedal chain before going into the amp's preamp.

4.-Voce Spin Chorus/Vibrato
Voce Spin Chorus/Vibrato is a plugin that gives us two effects, a chorus and a vibrato, with which we can above all greatly smooth out the guitar's sound. For me, this effect fits perfectly with the clear idea of sounding good and blending with the rest of the band. In my opinion, we often work with numerous tools (plugins, amplifiers, pedals, etc.), and to get a good sound we need to spend quite a while wrestling with their thousand parameters. Here it's the complete opposite: Voce Spin Chorus/Vibrato has three types of chorus and three types of vibrato, with no way of modifying any of their parameters. In return, the resulting sound is frankly good and, above all, it isn't confusing to figure out which parameter to tweak so that everything fits and blends. This plugin does it for you; you just have to choose which of the six choruses or vibratos it offers you like.

To see the spec sheet and rating table, download the magazine in PDF