Román Vega

The second version of the virtual guitar processor

Introduction
As more and more users turn their computers into ever more complete music-making tools, new applications keep appearing. Software developments of every kind, accompanied, as in today's case, by hardware made specifically to take full advantage of their resources.

Guitarists have been slower to move into these areas (MIDI and computer applications), although there is already a variety of brands and products made for this type of musician, offering resources based on new technologies.

The flexibility of DSP processing lets us configure our sound card in endless ways and thus offers us a multitude of services. Our computer becomes a powerful, chameleon-like tool able to adapt at every moment to whatever suits us best.
I believe this same issue includes some thoughts on the various options for recording guitars in small home studios: small amplifiers, simulators in multi-effects format (floor unit or rack) and, of course, software. We have the chance to put one of the most popular software developments designed for this purpose to the test, examining each of its sections and sounds: Guitar Rig 2.

Installing Guitar Rig
The program can be installed in stand-alone format so that it runs on its own. You can also use it as a plug-in within a host program. In this case we installed Guitar Rig as a VST plug-in under Cubase SX3.

Installation is quick and simple and doesn't require any fancy tricks. To apply the plug-in to the instrument, we create an audio track to record on. Then we open the mixer and insert "Guitar Rig" as an effect on the input channel.

One of the things we wanted to check was whether we could use the software's power on the input. That is, to hear the processed guitar directly before recording, so we can hear how any action of the program sounds on our guitar or bass.

Well, this is possible, and we confirmed it, as we were playing through the software's simulations and effects, which acted on the input channel and added their color to the sound of the instrument we had plugged in, in this case a guitar.

Recording with or without effects
When it comes to recording, you have two options. The first is to record the guitar clean and apply the appropriate effects afterward. The advantage is that we can manipulate the effects as the song demands during mixing. The drawback is that we'll lack feel in the performance, since recording, say, an overdriven solo with a clean guitar will feel more than a little odd when playing it.
The second alternative is to record the guitar already processed and "colored" (which is what's usually done). That way we get the full benefit of the effects while we play, and we can always add to or touch up the sound later.

The software's tools
The program opens with a clear, very intuitive window. It also comes with its own manual in Spanish. Basically, there are two ways of working: one using presets suggested by the manufacturer and another "à la carte."

Factory presets
You have to think of it as working with a virtual rack. In it we always have fixed modular components:

Input component: matches our instrument's volume levels to Guitar Rig 2.
Output component: matches G.R's levels to those of the next stage (mixer, amp, etc.) and lets you compensate for output level variations between different presets.
Tuner. A quick, visual tuning tool.
Metronome. Provides a reference beat and also serves as a master clock for synced effects.
Tapedeck. A versatile module that lets you play back files, record what you play, change tempo without changing pitch, change pitch without changing tempo, or both at once. Handy, for example, for slowing down solos so you can listen more carefully to how they're played.

In the presets section, you have an extensive collection of preprogrammed configurations. Each one tailors the sound to a type of style or approach for your guitar. It's convenient when you're not sure which sound you like best, or if you want to see many varied combinations of elements in the virtual rack. It's as simple as clicking the chosen preset and playing.

As you'd expect, the program is designed to let you edit, vary, label and save your variations on the presets, as well as create your own.

Available rack elements
Now for the most interesting part, in my view: a large number of elements you can include in your rack as you see fit. Starting from an empty rack (with only the fixed elements I mentioned a few lines ago), we add the different sections, which are structured as follows:

Amplifiers
We have various amp heads that aim to replicate some famous, effective amps from history.

Tweedman. A famous '60s bass amp that is now regarded as a great guitar amplifier.

AC BOX. A replica of the famous amplifier that powered the British Invasion of pop music.

Twang Reverb. Replicates the rich sound of classic amps from a few decades ago. Blues and crunchy sounds.

Plexi. A historic classic, used on countless "hits."
Jazz Amp. Suited to jazz sounds and appealing for these styles, especially when using the "ensemble," which adds chorus and vibrato.

Lead 800. A hard-hitting amp with bright, aggressive, defined sounds.

Gratifier solo head. Covers sounds from clean all the way to maximum saturation.

Bass VT. A bass amp that provides a gritty sound. It features a graphic equalizer.

Speaker simulation
This section is very comprehensive. From its window we can select the type of cabinet we want our sound to pass through, the cabinet size, number of speakers, enclosure type, etc. We also select the type of microphone we want to "virtually capture" the sound with, as well as the mic position. Obviously the guitar sound changes a lot depending on the exact distance and placement of the mic picking up the signal.

Distortion modules
Various overdrive and distortion blocks, such as Fuzz Ace, Big Fuzz, Cat, Skreamer, Distortion, Mezone, Demon Distortion, TransAmp, Treble Booster and Gain Booster.

To get the best out of the overdrives, it's a good idea to include an amp simulator in our rack and tweak the virtual cabinet to taste.

Modulation
This section is one of Guitar Rig's most convincing. We have all the modulation variety you can imagine: Tremolo, Ensemble, Chorus + Flanger, Phaser, Rotator, Oktaver and Pitch Pedal.

Filters
Powerful, effective EQ tools: EQ Shelving, EQ Parametric, EQ Graphic, etc. This section includes wah modules such as the "Wah-Wah Pedal" and the Talkwah.

Volume and dynamics sections
Units for controlling the signal levels entering or leaving a component, limiters, various compressors and noise gates.

Reverbs and delays
Few words are needed to describe these modules: Spring Reverb, Studio Reverb, Quad Delay, Psychedelay, etc.

Tools
This section includes various modules with a range of functions. For example, there's the Loop Machine, which lets you record and play back one layer of sound on top of another (overdubbing). The loops can be synced to the host or to the metronome tempo. The Split divides the signal in two directions, allowing you to create parallel effects. Other tools such as the Crossover Mix are also available to users in this section.

Modifiers
LFOs (low-frequency oscillators), envelopes, Step Sequencer, Analog Sequencer and other utilities are located in this section.

About the RIG CONTROL
Although we didn't receive this little device, we were able to test the software perfectly. In any case, we should point out that Guitar Rig 2 isn't sold without the Rig Control, a unit that adds a physical, hands-on feel to this virtual tool. Thanks to its various footswitches and expression pedal, we can expand its possibilities. It also has connections to the computer and enough options to get the most out of the software.

Our overall impressions
Having described it in basic terms, since the program and its possibilities are enormous, we now share our overall impressions of the product and its resources.
The progressive improvements this type of tool keeps showing us are worth highlighting. The number of components Guitar Rig offers is really extensive, so its flexibility in terms of types of sound is practically infinite.

It has practically every tool the guitar market offers: simulators of different types of amps and cabinets, a multitude of effects, dynamics, a noise gate (quite effective, by the way), a tuner, a metronome, etc.

As for quality, in our view some sections are stronger than others. On the plus side, I'd highlight how comfortable it is to edit and build presets, since we're working on a large visual surface (the computer screen) as opposed to the small displays on hardware multi-effects units.

The great freedom of configuration achieved simply by dragging any available module into our rack with the mouse makes this software a complete machine for guitarists. Being able to select the amp, cabinet, distortion module, effects, etc. with just a few mouse clicks is very "tempting." The modulation, reverb and dynamics sections are very well done. So much so that they could openly compete with hardware "boxes" of acceptable quality.

The most complex part, not just for this product but for all of them, is amplification and, of course, distortion. Achieving the warmth of tubes and faithful distortion sounds is the biggest challenge for any simulator. In this respect, after spending many hours going through the suggested combinations, we have to say that the flexibility is incredibly broad, but some of the distortions or warm sounds are somewhat artificial. You have to consider the price. Imagine buying all the physical components in rack format: you'd spend 40 times more (depending on what you bought, of course). What I mean is that this software's great weapon is the huge variety it offers us. It's also important to stress that, given the good layout of the controls and their effectiveness, we can keep tweaking the sound until we squeeze the most out of it. By spending a good while searching for the optimal configuration, we managed to improve the results.

All in all, I see this alternative (Guitar Rig) as a very good option for musicians who need a large collection of resources, hundreds of different sounds and enormous versatility. Very likely, exploring the variations offered by the compressors, limiters, chorus, flanger, wah, rotary speaker, amps of very different kinds, mic positions, etc. can help you define what you like most. In short, learn to get to know your personal sound. By being careful and perfectionist, you could make some pretty interesting recordings and immortalize your guitar parts in a dignified way.

As a final conclusion, Guitar Rig strikes us as complete, convenient for those trying to integrate everything into the computer, very flexible, cheap considering all the tools it has and, relative to its price, of acceptable quality. Depending on your needs, you'll have to decide whether you want a single box that sounds killer, or a hundred in one package that lets you make your guitar sound almost any way you can imagine.

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