Guide to Tone Pt 3 "The Cat"

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Guide to Tone Pt 3 "The Cat"

Postby EasySleazy » Tue Oct 02, 2007 10:21 pm

So, until now you've learned how to "shape" the clean signal that is going through Guitar Rig 2 and hopefully you have learned to load and use an impulse with Guitar Rig 2. Here I'm gonna try to give a few pointers about shaping a decent (probably) metal sound.

One thing I forgot to say in Pt 2 is that, you must always pay attention to the volume of guitar rig. It's for the best to make sure that the output signal stays in the green area, it doesn't matter if it is low, but it shouldn't reach the orange or red area of the output volume meter!

Now, load the gratifier with neutral settings (that means everything at 12 o'clock, even the advanced controls that can be visible by pressing the "+" button on the gratifier), switch to "Modern" and load the "between0" impulse in Voxengo Boogex. Also do the adjustments in Boogex that we said in Pt2. Put the Noise Reduction stompbox above the Gratifier with the threshold at 11 o'clock and the "Release" around 350 ms.

We'll try a few overdrive/distortion stomps (that means stompboxes).

First: The Cat

Load the Cat stomp in front (that means above) of the Gratifier (we'll call it Grat in short). Set all of it's knobs at 12 o'clock. It should sound close to this

http://www.esnips.com/doc/dd342ec2-0b15 ... 3e0b/CAT-1


Now remember, different quality of the clean signal feeded into guitar rig, means different tone coming out of guitar rig, so to you it will sound different. Also make sure that there are no cabs after guitar rig (not even visible in the preset)

The knobs that make a big difference when using the Cat are: Volume, Filter, Distortion, and Balls. If you wanna see the differences that each knob does crank them up and then turn them back to 12 o'clock. But don't raise them all simultaneously. For example, turn the volume knob all the way up and listen to the tone. Then turn it back to 12 o'clock and turn the Filter knob all the way up etc.....This is a method that applies to all the stompboxes, and it is a good way of learning which knob affects the tone in a good way or a bad way.

Whenever I use the Cat, I usually turn the balls knob up to 3 o'clock (around 8.00), the volume around 2 o'clock (6.50 to 7.00) and I leave all the others at 12 o'clock. Here is how it sounds (remember that all the Gratifier's knobs are at 12 o'clock).

http://www.esnips.com/doc/ff7cc249-78b7 ... bc63/CAT-2


If you want a "creamier" sound you can leave the Cat as it is and tweak the Grat a little. For this clip I turned the Master Knob up to 6.00, gain at 4.00, bass at 4.00, all the other knobs at 12 o'clock.


http://www.esnips.com/doc/2a14ce0e-4c7c ... 0f39/CAT-3


Try some combinations yourself to see how it works! Feeling that the tone has a little more bass than it should? Lower the bass of the gratifier and check it out, or perhaps lower the Balls or the volume knob of the Cat (this may alter the distortion tone a little bit more than it should).
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Postby buttercam » Tue Oct 02, 2007 10:34 pm

The cat is definately my favorite pedals in GR2. I never have been able to recreate the same sound on the actual pedals that I get with the GR2 pedal.

I'm digging these tips. thanks!
2000's Kramer Voyager
Eagle Les Paul
Harmony Strat
Epiphone Les Paul
SX Acoustic strung with ball end classical strings
Created for VMI "Cruiser" bass
Modded Peavey Valveking 212
Modded Boss SD-1
Digitech Bad Monkey Overdrive
Behringer EQ pedal

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Postby EasySleazy » Tue Oct 02, 2007 10:45 pm

The cat is definately my favorite pedals in GR2. I never have been able to recreate the same sound on the actual pedals that I get with the GR2 pedal.


lol if I ever manage to get my hands on the real gear that is simulated in guitar rig 2, then it will be the exact opposite for me! But I'll probably not be thinking about guitar rig if this happens 8)
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Postby Sickan » Thu Oct 04, 2007 6:12 pm

Not to be pushy or anything EZ, but is a Pt 4 with compressing and EQing (pre amp,pre cab,post cab) and advise on what compressors and equalizers to use coming soon? :oops:

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Postby EasySleazy » Thu Oct 04, 2007 6:45 pm

The truth is that I can't tell much about compressors, I'm learning that myself, but for equalizer sure! These days I'm a little busy with some other stuff, next week there will be a small Pt. 4 about the Treble Booster (the most useful stomp imho) and a Pt.5 about equalizers.
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Postby Sickan » Thu Oct 04, 2007 7:10 pm

Great! Looking forward to the upcoming parts!
Maybe someone else got some knowledge about compressors to share? Brohymn haven't you explained things about compressors? :)

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Postby Brohymn » Thu Oct 04, 2007 7:25 pm

I already explain this once: Here it again :D

All you need to know about compressors:

The audio compressor, is a pretty useful item, and one which you need to add to your system at some point if you are recording any type of audio, especially vocals. The audio compressor automatically adjusts and maintains the signal levels as they go to H/Disk or Tape to be recorded. This compression evens out the distance between loud & quiet parts, by crushing the audio if it gets too loud, and raising the audio in the quiet sections. Compressors also can radically beef up a synth bass sound for example, making it sound tight 'n' punchy. So all in all it's something to get although you should probably get a Delay & Reverb unit first.

There are different types of compressor, but these are some of the basic controls you'll find on a unit....

INPUT........To set the level in.

THRESHOLD........This sets how high the signal must reach before the compressor kicks in.

RATIO.......This sets how much compression is applied in ratio to the Db rise in signal level above the Threshold.

ATTACK.......This sets how fast the compressor kicks in once the Threshold has been breached.

DECAY........This sets how fast the compressor lets go, once the input signal has dropped back below the threshold.

LINK ......Links the two sides for stereo operation.

OUTPUT......Sets the output signal level.

Ok.... Lets take a look at the different types of compressor & stuff relating to compression.....


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HARD KNEE / SOFT KNEE

HARD KNEE
If you use a normal compressor, nothing occurs until the threshold is breached...But when that happens, the compression cuts in......

Lets say you have set a RATIO of 4:1......Once the threshold is passed, the compressor allows only 1db of signal level increase at the output, for every 4 db in input signal level rise above the threshold setting......

On a Hard Knee compressor, this full amount of compression (as set by the Ratio) is applied in full, as soon as the input level rises above the threshold.....This is a standard type of compressor.



SOFT KNEE
Soft Knee compressors work differently......they apply compression gradually as the signal approaches the threshold level....

As the input signal gets within about 10db of the threshold level, the Soft Knee compressor starts to gently apply compression, but with a very low Ratio, which increases proportionately as the Input level gets nearer to the Threshold setting...... so that by the time the Input level actually reaches the Threshold level, the compressor is applying its gain reduction at the full level as set by the Ratio Control......

Soft Knee compressors are thus more subtle, as they don't wait, & then suddenly apply the full level of compression at the Threshold breach point .....because they apply the compression gradually, they are more subtle in use, and thus more suitable for compressing whole mixes, or gentler sounds that hover around the threshold point.

Some units such as the Alesis compressor, allow you to switch between a Hard & Soft Knee function.....




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PEAK & RMS

Some compressors, such as the Alesis 3060, allow you to switch between PEAK...and RMS operation. Basically, a compressor listens to the input signal through the "SIDE-CHAIN" circuit, and then tells the VCA (voltage control amplifier) to apply compression when needed according to the settings made....The compressor will respond differently depending on whether it is monitoring the input signal in either Peak or RMS mode...

PEAK
The PEAK setting makes the compressor crush any signal rising above the threshold, no matter how fast the transient.....This is an ideal mode to use for something like digital recording, where you need to absolutely stop any signals from overloading the input, because digital cannot be "saturated" in the way tape can, and you get terrible digital distortion......Peak compression however is not very smooth or natural sounding, & can produce very un-natural noticeable results unless you use a low compression ratio .....However, it can work well on fast attacking sounds like drums, working fast to maintain a more even level for each drum hit.

RMS
The RMS mode setting is a more natural sounding mode, and responds similarly to the human ear...(Oh yes...ears do have compression !!)....... RMS mode doesn't bother too much about quick short peaks that might cut through above the average signal level....even if you set a fast attack time.....RMS mode works on a wider average than PEAK mode, thus allowing some fast transients through, but closing down more when continuous loud peaks appear.




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SIDE-CHAIN SOCKET

As mentioned above, the compressor monitors the MAIN incoming signal through a side chain curcuit......The Side-Chain Socket provides an alternative input for a different control signal than that which is going into the main input....or provides the ability to patch into the side-chain something like an Eq unit so as the compressor responds only to frequencies boosted by the Eq.......This Eq does not effect the actual input signal...only the controls of the unit.....the controls then adjust the actual Main Input Signal.





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STEREO LINK

The "Stereo Link" switch on a compressor allows the two sides of the unit to be linked together for processing stereo signals .....Imagine trying it without this function .....A loud signal occurs at the left input, and suddenly the volume of the left side signal is reduced....this will really screw up a stereo sound...

Basically the Link control forces both sides of the unit to work together, based on the average of the two input signals, or whichever is the loudest at any time......Also the control of both sides is placed with ONE of the two sets of controls .....different manufacturers use different methods to do this....some use just a straight "One side controls both".....others also average the two sides settings, or hand control to whichever of the two sides has the highest settings.




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AUTO-MODE...(auto attack/release)
Some units include an "AUTO" mode switch....This switch adjusts the Attack & Release during use to automatically suit the dynamics of the audio that is being processed.....This is a good mode to use if you're doing stereo compression on a mix, where there are constantly changing dynamics.....In these cases it will probably be more effective to use this mode than trying to set the unit up manually.....Auto mode is also useful for things like acoustic guitars, or bass, which is often difficult to compress without getting pumping effects.

COMPRESSOR FX & TIPZ



COMPRESSOR FX & TIPS
GETTING MORE ATTACK FROM YOUR SOUNDS
Fairly common one this, you probably know it, but if you don't it's pretty simple ......Getting a snappy emphasis in this way works with most sounds, but obviously has greater effect the more hard the attack of the sound is....


Set-up your compressor on a sound like a snare drum for example .......Simply set a slower attack ...somewhere in the region of 1-5 ms.......This allows the initial fast attack of the snare to bust through before the compressor kicks in to crush the sound...

This little technique also works great on bass synth sounds with a fast attack...



AUDIO "DUCKING"
Ok....This is a cool one for all you Pirate radio owners or Bedroom DJ's.......You know when your listening to the radio, and the music's pumping' away....Then the DJ says something over the music,and as soon as he does, the backing drops in volume a little to make way for the voice......Then when they stop chatting, the music just comes up again to it's normal level.......Well this is known as ducking....and it works like this....

As I mentioned in the Compressor section, the unit listens to the incoming signal through a "Side chain" curcuit......The Side chain gives instructions to the actual compressor by the settings you make in the front panel controls......as soon as the Side chain hears the signal go over the Threshold level, it tells the Amplifier (VCA) at the input to turn down the level....

OK......lets suppose that the music backing is coming through the compressor, but.....the DJ's voice is being fed into the Sidechain........Ah...yes indeed, as soon as the compressor "hears" the DJ's/presenters voice, it turns down the incoming signal .......which is the music backing.......Here's how:

YOUR COMPRESSOR MUST HAVE SIDE-CHAIN SOCKETS ON THE BACK PANEL.....
The side chain socket allows an alternative input signal to override the main input signal for controlling the compressor...NOT....as the signal to be processed.

OK ......first with a mono music signal.....


Bring the backing music into the Main Input...
Bring a send from the DJ's voice into the Side-chain Socket.....
Set the compressor to fast attack, short/auto release, & ratio about 3 or 4 to 1...in soft knee mode (if you have option)...
Set the music running, and get the DJ to chat ...repeating phrases of a few seconds, & leaving spaces of a few seconds..
Adjust the compression ratio ...until you get a low music level you like that lets the DJ be easily heard when he speaks...
Adjust the attack & release, so as the music reduces fast enough, & returns to level at a speed you like (usually quite fast)...
Run some tests with the DJ chatting fast & furious ...leaving quick gaps here & there .....tweak the settings until it sounds just right..
Run your set !!.......
For a stereo backing signal, just do as above, but put the music thru the Left & Right channels of the compressor, and set it to "Stereo Link" mode....Then adjust the settings on the control side .......Check out which side takes control in Stereo mode, & patch the DJ's voice in to that sides Side-chain input.




AUDIO DE-ESSING
Argggh..!!... sibilance....all that "SSSS-ing" overload coming off the mic' when the singer pronounces "S" sounds..........Well, you just need to do some De-essing....again by utilizing the Side-chain....


Set up exactly as above in the "Ducking" section.......but send the Vocal you are processing, through into the Main Input on the compressor........
Check the Side chain socket which will be a stereo 1/4 inch jack socket......find out which is the send & return (tip or ring).....make up a stereo 1/4 inch to 2 X mono 1/4 inch lead....
Patch a Parametric equalizer or Graphic eq into the side-chain.....just take a line FROM the Side-chain socket to the EQ INPUT....then return the signal FROM the EQ, back to the side-chain socket via the tip or ring....
Now the Equalizer is patched into the Side-chain ....remember, the side chain controls the Amp on the compressor........
Now setup the EQ to TUNE INTO the problem high frequency ....USUALLY IN THE 5 - 10K REGION.....& give about 10 db of Boost...
OK....now the compressor, is tuned via the Side-chain to compress MORE heavily signals of the range that the EQ is tuned to...
Set the ratio etc to crush the Sibilant phrases without sounding unatural...and off you go......
Ah.....set up this one, & you'll be in heaven as you get crisp vocals, with no SSS-ing...If you don't have an outboard eq...you can use even a little graphic guitar footpedal...or even a spare mixer channel to patch into the side-chain....remember...the Eq is only to CONTROL the frequencies that the compressor will crush.....The actual vocal does not pass through the Eq.....so don't worry about noise problems from the Eq unit....!!

AUDIO LIMITING
You often hear compressors referred to as "Limiters".......Well limiting, is basically where the unit has a fixed as opposed to ratio based compression, above which no signal can pass ....period !

In order to get this effect ....simply set the compression ratio to Infinity..(all the way clockwise)...This now tells the compressor........"Look ...above the db level set by the threshold, let nothing pass.".......and there you have it ....Limiting !!


Other explanation: http://en.wikipedia.org/wiki/Audio_level_compression

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Postby Sickan » Thu Oct 04, 2007 7:46 pm

Thanks, that explained alot!
What about examples you use in your chains, and what compressor to use?

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Postby seyd » Thu Oct 04, 2007 8:03 pm

I never compress ze guitarz
voxx likes tits and ass, he told me!!!11
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http://www.myspace.com/vildhjarta - my band.
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Postby Flaming » Tue Oct 23, 2007 12:46 am

Thank You Sleazy about the "Cat" revision!
And Thank You Brohymn about the compressor tips!!!

Cheers!!!

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Re: Guide to Tone Pt 3 "The Cat"

Postby Volumatic » Thu Oct 02, 2008 7:08 pm

Thank you so much for these tutorials. I've been reading these forums for a while, and just got around to testing out some impulses in conjunction with my POD X3 last night. The initial impression was quite shocking. I have a question concerning this comment:

"One thing I forgot to say in Pt 2 is that, you must always pay attention to the volume of guitar rig. It's for the best to make sure that the output signal stays in the green area, it doesn't matter if it is low, but it shouldn't reach the orange or red area of the output volume meter! "

In using the POD with the Cab turned off -or more excitingly using my Mesa Boogie DC-5's recording line out, does the same hold true for the input volume meter? The preamp only sound is brittle and distorted anyways, but should it stick in the same levels area?

Much thanks to this site. I will stick around and gain as much knowledge as I can
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Re: Guide to Tone Pt 3 "The Cat"

Postby chrisbeno6 » Sun Nov 30, 2008 7:30 am

ahh thanks so much thats amazing!

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Re: Guide to Tone Pt 3 "The Cat"

Postby marduk111 » Wed Oct 20, 2010 7:51 am

thanks, thats very helpful information

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Re: Guide to Tone Pt 3 "The Cat"

Postby markolakicevic » Wed Aug 10, 2011 8:53 pm

THANK YOU

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Re: Guide to Tone Pt 3 "The Cat"

Postby tom789 » Mon Apr 24, 2017 9:33 am


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Re: Guide to Tone Pt 3 "The Cat"

Postby wanda » Tue Apr 25, 2017 9:36 am

Thanks for the info.









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Re: Guide to Tone Pt 3 "The Cat"

Postby wanda » Tue Apr 25, 2017 9:41 am

Thanks for the info.









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