Guitar Rig is an amp and effects modeling software package developed by Native Instrumts. The software can function either as a standalone application, or as a plug-in for other software. It was originally released in 2004.
The Guitar Rig vironmt is a modular system, providing capabilities for multiple amplifiers, effects pedals and rack mounted hardware. Primarily designed for electric guitar and bass, the software uses amplifier modeling to allow real-time digital signal processing in both standalone and DAW vironmts via plug-in (VST/DXi/RTAS/AU).
The software simulates a number of devices such as preamplifiers, cabinets and microphones under pseudonyms (such as raming the Shure SM57 as the Dynamic 57).
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The system allows customisation of module parameters – either through manipulation of the graphical interface, use of a MIDI controller or employmt of the RigKontrol foot control pedal. Settings can be saved as presets and exported and shared with other users. Version 3 included a redesigned interface to allow improved preset categorisation and customised interfaces for live use.
The device can operate Guitar Rig using eight switches and an expression pedal. Earlier versions of the device contained only six switches and an expression pedal, and did not support interfacing functionality.
Guitar Rig was first released on both macOS & Windows in September 2004. At this time, it was a hardware/software hybrid system, with the Rig Kontrol hardware preamp and foot controller feeding into the software. The software featured a drag-and-drop interface and a selection of 3 tube amplifier emulations (some with multiple preamp variations).
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Version 2 of the software, released in February 2006, added a number of additional amp options (including the software's first bass amps), added a new looping feature, and expanded the Rig Kontrol hardware.
Guitar Rig 3, released in December 2007, included the option to purchase the software indepdtly of the hardware. The updated software also featured a streamlined view dedicated to live performances.
Before version 3 was released, the graphical user interface simulated amplifier logos and design construction; however, with version 3 this was replaced with a geric name.
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Released in October 2009, Guitar Rig version 4 introduced improved cabinet and microphone modeling software, alongside the Control Room feature, which allowed for greater customisation of preamp, cabinet and microphone combinations.
Announced in August 2011 and released in September 2011, version 5 of the software included an expanded version of the Control Room feature, and introduced the ability to perform sidechaining within the software.
Version 6 of Guitar Rig, announced in September 2020 and released on October 1, 2020, was the first major update for the software since 2011. This new version included a redesigned user interface, Intelligt Circuit Modelling (an amp reproduction system based on machine learning), 3 new amp options (including 1 new bass amp), and additional effects.In case the title wasn’t a dead giveaway, an amp simulator is exactly what it sounds like – a program that simulates an amp (or more often, amps). Spanning a range of iconic tones to amps that have no real reason to exist, amp sims are extremely popular among guitarists, engineers – amateur and professional alike.
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As you would know if you’ve been following my VST effects series (if you haven’t that’s okay, but just know that I’m very disappointed in your lack of commitment to me) there is an easy way to define the difference between a virtual instrument and a virtual effect:
Guitar amp simulators fall under the latter category, in that they do not create the sound of a guitar but instead manipulate the output of another recording/track to resemble it being ran through an amp.
There’s really not much more to it — though many of these guitar simulator VSTs are extremely malleable and are capable of unrecognizably mangling and transforming various sounds through a suite of options, stomp-boxes and cabinets — they are ultimately still just amp simulators.
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The other way around) look around right now. Unless you’re rich, professional or just a better planner than I am, I doubt you have more than 2-3 amps and certainly not enough space to comfortably fit and eventually record more than 5.
And with that, you have it — the easiest justification for simulating an amp. Most hobbyists can’t afford to shell out thousands of dollars per classic amp to create an army of amplifiers to do their creative bidding, yet this is something that many amp libraries offer at a fraction of the price and space.
Amps, especially if you are using a cabinet and head instead of a combo amp (where the speaker and amplifier are contained within the one box) can take up a whole lot of room.
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Once you factor in mic stands, cables — did you just shudder? — it can become a minefield for tangling, tripping or just generally getting frustrated and breaking things of your own accord.
If you start buying amp libraries like an absolute maniac it can begin to slow down your computer and become deceptively detrimental to your music-making process — but if you have a powerful PC and plenty of room on your hard drive this is unlikely to exacerbate into a major issue.
Additionally, there is no need to concern yourself with room acoustics, microphone placement (or just owning a microphone) with amp simulation — all of that is done, and is quite often easily adjustable, within the program itself.
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You don’t need to fiddle around with your amp’s knobs, shifting your microphone stand 2 inches to the left in order to drastically change the tone that fits this
The benefit of simulated amps goes beyond convenience though. Many program libraries contain such a diverse collection of modeled sounds and pedals, mic positionings and amps that you can cook up effects and unique sonic scapes otherwise unachievable with an actual amplifier.
Yeah, me neither, but it’s still something you can (though not necessarily want) do using an amp simulator. The possibilities aren’t quite endless, but they’re certainly vast.
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Amp simulations are exactly that: simulations. The quality with which they emulate true guitar amplifiers is frighteningly good, but it is still a far cry from the real thing — as with every other VST, modeling and replacing the real instrument is an almost impossible feat.
This does not have any significant impact on how you should go about your creative process though. Just because something doesn’t sound exactly like the real thing doesn’t mean it won’t sound good, or complement your recordings.
Most pro guitarists will still lean toward using real amps to track their initial recordings, however come mixing time this dynamic may not remain as simple.
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Using the recording of the mic’d up amplifier, it is then possible to add a guitar amp VST either as an auxiliary track (so you can control the proportion of ‘dry’ and ‘wet’ signals) or as a direct in, allowing a complete alteration in tone using pedals or even another amp without having to re-record anything.
Another potential use for guitar sims that avoids the ‘gap’ that exists between the emulation technology and the real thing, is using them as a form of saturation.
On vocals, drums, synths or any other instrument you can think of, guitar amp simulators actually offer a huge range of exciting sounds that can give your tracks a level of ‘oomph’ that you can’t get from your DAW’s native saturator plugin.
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This is super useful as it really adds to the value of purchasing a guitar amp simulator — even if you hate some of the modeling for guitars recorded D.I into your DAW program — the plugin can still be used for a multitude of other purposes.
I know when most people hear the word ‘guitar’ they think of Eddie Van Halen shredding out some ludicrous solo on a decked out Kramer guitar, generally forgetting the second, too-oft bypassed word that goes with ‘bass’. It’s not just a bass ladies and gentlemen. It’s a bass
Thus, there are similarly numerous great bass amps that will be available in some of the larger amp simulator bundles, as well as some plugins that are dedicated to modeling a specific set of bass amplifiers.
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Additionally, as you would know if you bothered to read my past articles (sorry, just ignore my passive aggressiveness) amp simulators are a pretty vital addition when using any virtual instrument in the guitar field — be it a bass or electric — to really add an extra layer of dynamics to some dry MIDI recordings that may need a little bit of magic to slide seamlessly into a mix.
A feature that a few virtual amplifier libraries come with is the ability to download and add new packs, or community presets. Some of these will set you back a bit of money as they involve new content — perhaps a new amp, set of pedals or something similar, and are created by the original or an independent developer.
However, community-based presets and packs, often made by amateur enthusiasts, can be had for free and are really helpful. While most of these user-made sounds and setups can be done yourself by using the desired combination of amp and effects, for the uninitiated and inexperienced (or just lazy)
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