For guitarists who sing, an XLR input would have made GR3 a one-stop solution to their gigging needs.
While the Rig Kontrol is aimed at guitarists and space on the back of the unit is sparse, it's supposed to be the only interface anyone needs, so it could be a disappointment for those wanting to hook up a mic too. This means you have to set the volume level in software, which can be a pain.Īlso missing is an XLR input. There's still no output volume knob, only a pad switch.
Notably, there's much more consistency in the way the software functions are mapped to the individual switches of the Rig Kontrol, unlike previous versions where presets could differ a fair bit in the way they mapped the switches. There are now separate input and output LEDs that shine in glorious green, making them impossible to miss, even in the murkiest of live venues. Previously, the only indicator of the input level was a barely visible LED that indicated clipping. The Rig Kontrol 2 had a few minor functionality issues, but these have now been sorted. The sound quality has been improved (it's now 24-bit/192kHz) and the converters are now the same as those used in NI's Audio Kontrol 1. The Rig Kontrol foot pedal/audio interface has also been given an overhaul. It has two 'tape' heads and a reverb section, and a suitably warm, vintage sound. Native Instruments even mention on the unit's info panel how proud they are of this, and with good reason. Perhaps the most appealing new effect, though, is the tasty Tape Echo, which is a dead ringer for the classic Roland Space Echo. The new effects take the total up to a stunning 44! There's now a ring modulator, vintage-style EQ, delay with built-in chorus and vibrato, and the bone-crushing Sledgehammer distortion. The new feature automatically gives you a well-matched cab that suits the tone of the amp to which it is paired, although the old method is still available for those who like to tinker. While flexibility is desirable, GR2 was guilty of giving us too much to think about regarding things like mic placement and cabinet EQ. What helps make these new amp models such a success is the addition of a Matched Cabinets feature. The delightful Tweed is based on a classic Fender model and delivers a pure and full-bodied tone - a perfect base for the more blues-friendly distortion units.įinally, there's the Ultrasonic this is something that'll keep high-gain junkies happy, as it delivers thick, heavy sounds that make it easy to emulate modern metal tones.
There's also the Hi-White, which is great for aggressive yet clean tones, demonstrated by the 'Pete Can't Explain' preset. It does an excellent job of recreating the warm distortion found on vintage rock records, and, more recently, those of Noel Gallagher. The first addition is Citrus, which is modelled on the classic Orange amps.