Guitar Rig Appendix — Concepts & Knowledge

Why Plugin Order Matters

// Each plugin receives the output of the one before it

Every plugin in the chain receives whatever signal the previous plugin produced. This means the order is not arbitrary — each stage shapes the material the next stage has to work with. A noise gate must come before an amp model so it removes hum before the amp amplifies it. A compressor before reverb produces a different result than reverb before compression.

Electric chain order and why: Brusfri (gate) → TB Compressor (gain) → ToneX (amp) → Pro-C3 (compression) → Pro-Q4 (EQ) → Pro-R2 (reverb). Gate first removes noise before it enters the amp model. TB Comp sets the exact level hitting ToneX. ToneX shapes the fundamental amp tone. Pro-C3 tames dynamics after the amp. Pro-Q4 corrects frequency issues in the amp tone. Pro-R2 places the result in a space.

Acoustic chain order: Loopy HPF → IMPULSation (IR) → TB Compressor → Pro-C3 → Pro-Q4 → Pro-R2. The high-pass filter removes sub-bass before the IR processes it — this prevents the IR from capturing and resonating low-frequency content. IMPULSation transforms the raw piezo signal into acoustic body character before any dynamics or EQ processing occurs.

Complete Signal Path

// Guitar to headphones/speaker — every stage

Electric guitars (T5z, Tele, Strat, Les Paul):

Guitar→ Scarlett Solo Hi-Z→ Loopy Pro→ Brusfri→ TB Comp (gain)→ ToneX→ Pro-C3→ Pro-Q4→ Pro-R2→ Loudbox Effects Return

Acoustic guitars (316ce, GS Mini, T5z Position 1):

Guitar→ Scarlett Solo Hi-Z→ Loopy Pro→ Loopy HPF→ IMPULSation→ TB Comp (gain)→ Pro-C3→ Pro-Q4→ Pro-R2→ Loudbox Effects Return

T5z Dreamy (Position 4):

T5z Pos 4→ Scarlett Solo→ ToneX→ FAC Chorus→ Pro-R2 (long)→ Loudbox Effects Return

What dBFS Means and Why −12dBFS is the Target

// Understanding digital audio levels

dBFS = decibels relative to Full Scale. In digital audio, 0dBFS is the absolute maximum — any signal above 0dBFS clips (distorts digitally). Unlike analog gear where exceeding headroom produces subtle saturation, digital clipping is harsh and unpleasant.

Level	Meaning	Action
0dBFS	Maximum — absolute ceiling	Clipping — reduce gain immediately
−3 to −6dBFS	Very hot — too close to ceiling	Reduce gain
−12dBFS	Healthy signal — electrics target	Ideal for ToneX input
−16dBFS	Lower signal — acoustics target	Correct for piezo/acoustic chain
−20dBFS or lower	Too quiet	ToneX won't respond well — increase gain

Why −12dBFS specifically: ToneX amp models were captured at a specific input level. Feeding them at −12dBFS puts the signal in the optimal range for the model to respond the way the original amp did. Too hot and the model can start to feel compressed and harsh. Too quiet and the model sounds thin and lifeless.

0dB = Unity Gain — Not Silence

// The most common point of confusion

0dB in a gain control means the output level equals the input level — no boost, no cut, completely neutral. Think of it as the "flat" or "off" position for gain. It does NOT mean silence.

dB Scale

+6dBDouble the volume

+3dBNoticeably louder

0dBUnity — no change

−3dBNoticeably quieter

−6dBHalf the volume

−∞ (INF)Complete silence

Where You See 0dB

ToneX Input Gain0dB = neutral input

ToneX Output Level0dB = full signal out

TB Comp Makeup0dB = no boost/cut

Pro-Q4 bands0dB = flat/bypass

FAC Chorus Gain0dB = no level change

INF (Infinity) = complete silence. When Pro-C3 Dry Gain is set to INF, the dry (unprocessed) signal is completely muted — negative infinity dB. This is correct — you only want the compressed wet signal passing through, not a blend of compressed and uncompressed.

Two Separate Gain Controls — Not the Same Thing

// Amp gain vs ToneX input gain vs output level

ToneX has three distinct level controls that do completely different things. Confusing them is the most common ToneX setup mistake.

Control	What It Does	Correct Setting
Amp Gain knob (1–10)	How hard the amp model's preamp is driven. Higher = more distortion and breakup character. This is the amp's own gain control	3–4 for jazz, 5 for clean folk/country, 6–7 for light breakup
Amp Volume knob (1–10)	The output stage of the amp model. Controls how loud the signal leaves ToneX. Equivalent to the amp's master volume	8–10 for healthy output level
ToneX Input Gain (dB)	Pre-amp trim — how hot the signal is before it hits the amp model. TB Compressor handles this upstream	0dB unity — TB Comp does the work

Mix = 100% always. The Mix control blends dry guitar signal with the processed amp model signal. At 50% (the default) you hear half raw guitar and half amp model — this sounds wrong. Always set Mix to 100% so the signal passes entirely through the amp model. The only exception is experimental parallel processing.

Cab sim logic: Turn cab sim ON for all electric guitars — it completes the amp model with a speaker cabinet IR. Turn cab sim OFF for the T5z piezo mode and any acoustic chain — IMPULSation handles the IR for acoustic signals. Turn cab sim OFF for the Polytone Minibrute IV because the cab is already captured inside the model.

Using TB Compressor as a Gain Stage (Not a Compressor)

// Ratio 1:1 disables compression entirely

TB Compressor 4 is in your chain not for its compression but as a precise gain control between the Scarlett Solo and ToneX. At Ratio 1:1 the compressor does nothing — it becomes a transparent gain plugin.

Parameter	Setting	What It's Doing
Ratio	1:1	Compression completely inactive — input equals output regardless of level
Amount	100%	Wet/dry blend — 100% means full processed signal, no dry bypass blending
Makeup	Adjust per guitar	This is your actual gain control — the only parameter doing real work
Dry Gain	INF (muted)	Correct — no dry signal blending. Leave as is
Wet Gain	Auto	Correct — leave as is
Threshold / Attack / Release	Default	Irrelevant at 1:1 ratio — compression never triggers

Why not just use the Scarlett Solo gain knob? The Scarlett knob is a hardware control with limited precision and no visual metering inside Loopy Pro. TB Compressor's Makeup dial gives you fine, repeatable gain adjustment while watching the Loopy Pro channel meter in real time. It also lets you compensate for level differences between T5z pickup positions without touching the hardware.

One Band Per Frequency Adjustment

// Why you can't combine multiple adjustments into one band

Each EQ band applies one continuous curve across the spectrum. A single Bell band at 400Hz cannot simultaneously cut at 400Hz and boost at 900Hz — it can only do one thing at one frequency. Every adjustment in the rig reference requires its own dedicated band.

Filter Type	What It Does	When to Use
High-Pass (HP)	Removes all frequencies below the cutoff frequency. No gain control — just slope and frequency	Always first in chain — removes sub-bass rumble and low-frequency noise
Bell	Boost or cut at a specific frequency with adjustable width (Q). Most versatile filter type	Targeted boosts and cuts — boxiness, nasal resonance, presence, clarity
Low Shelf	Boosts or cuts all frequencies below the set frequency. Gentle slope affects a wide range	Adding warmth to the whole low end, or cutting bass broadly. Used as lo cut in Pro-R2
High Shelf	Boosts or cuts all frequencies above the set frequency	Adding air and sparkle, or rolling off harshness across the entire top end
Dynamic EQ	A Bell or Shelf that only activates when the signal exceeds a set threshold — like a frequency-specific compressor	Boxiness at 400Hz that only appears when playing hard. Harshness at 3kHz that only emerges when digging in

Q value guide: Q controls the width of a Bell filter. Low Q (0.5–1.0) = wide, musical, affects a broad range of frequencies. Medium Q (1.0–2.0) = standard — good starting point for most adjustments. High Q (4+) = narrow, surgical — use for specific problem resonances. On a High-Pass filter, Q of 0.7 gives the smoothest rolloff (Butterworth response). Q of 1.0 adds a small resonant bump at the cutoff frequency which can emphasize rather than cut the bass.

What Compression Actually Does

// Dynamics control — not just volume reduction

A compressor reduces the dynamic range of a signal — loud parts get quieter, bringing them closer in level to quiet parts. For guitar this means consistent output level and enhanced sustain. The Art is in how invisibly and musically it does this job.

Parameter	What It Controls	Folk/Country Approach
Style (Opto/Clean/Mastering)	The character of how compression engages. Opto = smooth vintage. Clean = transparent modern. Mastering = very gentle	Opto for T5z and acoustics. Clean for Tele (preserves twang). Mastering for Strat (near-invisible)
Threshold	The level at which compression begins. Signals above threshold get compressed	Set low enough that moderate picking engages compression. Watch GR meter
Ratio	How aggressively signals above threshold are reduced. 2:1 = gentle. 4:1 = moderate. 10:1 = limiting	1.5:1 to 3:1 for clean tones — subtle, musical
Attack	How quickly compression engages after the signal exceeds threshold. Slower attack lets the initial transient through	Tele: 8ms (lets twang snap through). T5z: 35ms. GS Mini: 60ms (barely there)
Dry Gain INF	INF = negative infinity = silence. The dry (uncompressed) signal is completely muted	Correct as-is — you only want the compressed signal, not a blend
Wet Gain Auto	Pro-C3 automatically adjusts output gain to compensate for volume reduction from compression	Correct as-is — leave on Auto
GR meter	Gain Reduction — shows how many dB the compressor is reducing the signal in real time	Target 1–4dB depending on guitar. This is what you watch, not a setting you set

The Telecaster 8ms attack: The Tele's distinctive click and snap — the sound of the pick striking the string — lives in the first few milliseconds of the attack. Setting Pro-C3 attack to 8ms means the compressor doesn't engage for 8ms after the signal exceeds threshold. That brief window is enough for the initial transient to pass through uncompressed, preserving the twang character. Longer attack = more click preserved. Shorter attack = smoother, more compressed onset.

Pro-R2 Parameter Guide — Your Specific Version

// Correct parameter names as they appear in your plugin

Parameter	What It Does	Starting Values
Space (ms/s)	Decay time — length of the reverb tail in seconds. This is your room size control	0.8–2.2s depending on guitar
Decay (%)	Reflection density — how quickly the room fills with reflections. Lower = sparse and airy. Higher = dense and lush	40–55% for most
Pre-delay (ms)	Time gap before reverb starts after a note. Creates the sensation of physical distance between you and the room walls	8–25ms depending on guitar
Mix (%)	Wet/dry blend — how much reverb versus dry signal. The most audible control	8–24% depending on guitar
Character (%)	Tonal color of the reverb tail. Low = dark and warm. High = bright and airy	25–55% depending on style
Thickness (%)	Density of reflections. Low = sparse, transparent. High = dense, enveloping	35–70% depending on style
Distance (%)	Near/far perspective. Low = close, intimate. High = distant, ethereal	30–70% depending on style
Ducking Amount (%)	Pulls reverb level back while playing, lets it bloom in gaps between phrases	5–30% depending on guitar

The two EQ lines inside Pro-R2:
100% Pre-EQ line — shapes the signal BEFORE it enters the reverb algorithm. Cuts made here prevent those frequencies from ever entering the reverb. This is where you set the lo cut (Low Shelf cut at 120–300Hz depending on guitar). Critical for preventing bass bloom and mud in the reverb tail.

50% Post-EQ line — shapes the reverb TAIL after it's been generated. Use for a gentle high shelf cut at 8–10kHz to warm the tail color.

Note: Your version of Pro-R2 does not have a High-Pass filter type in these EQ lines. Use Low Shelf with a deep cut (−8 to −12dB) as an equivalent. A Low Shelf cut at 200Hz achieving −12dB functions similarly to a high-pass filter for this purpose.

Ducking for folk and country: Ducking is one of the most important Pro-R2 settings for your style. Without ducking, reverb accumulates underneath everything you play — by the time you finish a phrase the reverb has built up significantly. With ducking, the reverb pulls back while you're playing and blooms naturally in the spaces between notes and phrases. This keeps chord changes and picking runs clear while the silence between phrases sounds lush and ambient.

What an Acoustic IR Does and Why Body Size Matters

// Transforming piezo signal into acoustic body character

An Impulse Response (IR) is a digital capture of how a physical space or object responds to sound. An acoustic guitar body IR captures the resonance, frequency response, and characteristic bloom of a specific guitar body. Loading it into IMPULSation and running a piezo signal through it transforms the thin, raw piezo character into something that sounds and feels like an acoustic instrument.

Parameter	Setting	Why
Wet	70–90%	How much of the IR body character is applied. Higher = more acoustic character
Dry	10–30%	How much raw piezo signal is kept. Some dry signal preserves the pick attack and string detail
Decay	1.5–2.0s minimum	Minimum setting prevents IMPULSation from adding its own reverb tail on top of Pro-R2. At high decay settings IMPULSation becomes a reverb — the opposite of what you want
Spread	100%	Natural captured stereo width. Above 100% artificially widens — sounds fake through headphones
Pre-delay	0ms	Body resonance must feel immediate and attached to the note. Any pre-delay makes it sound like a separate reverb rather than the guitar's own body

Match IR body size to guitar body size. Using a Dreadnought IR on a GS Mini makes the guitar sound like it's pretending to be a bigger instrument — the frequency profile doesn't match and it sounds wrong. Parlor and 00 body IRs match the GS Mini's compact character. Grand Symphony/Orchestra IRs match the 316ce's full-size body. OM/Parlor IRs suit the T5z's hybrid hollow body.

FAC Chorus Parameters and Two Distinct Voices

// Dreamy ambient vs JC-120 edgy

Parameter	What It Does	Dreamy	JC-120 Edgy
Delay (ms)	Base time offset between dry and modulated signals. Defines chorus width and character	18ms	10–12ms
Rate (Hz)	Speed of modulation. Slower = gentle shimmer. Faster = obvious wobble	0.3–0.4Hz	0.8–1.0Hz
Depth (%)	Amount of pitch modulation. Higher = more pronounced chorus effect	30–40%	20–25%
Character (%)	Complexity and warmth of chorus tail. Higher = lush vintage analog character	65–70%	50%
Waveform	Shape of modulation cycle. Sine = smooth and warm	Sine	Sine
Dry/Wet (%)	Blend of dry signal and chorus effect	25–30%	20%
Gain	Output level of plugin	0dB	0dB

How chorus interacts with Pro-R2 long reverb: The chorus creates slight pitch variations and stereo width. When this modulated signal enters Pro-R2's long reverb tail (3.5–5.0s Space, 70–80% Decay), the pitch shimmer gets caught in the reverb reflections and creates a shimmering, almost orchestral quality. This is the foundation of the dreamy tone. Reduce Pro-R2 Ducking to 5–10% in dreamy mode so the chorus shimmer sustains through the playing rather than getting pulled back.

Chain placement difference: Dreamy chain places FAC Chorus after ToneX with nothing after it except Pro-R2 — minimal by design. JC-120 edgy chain places FAC Chorus after ToneX but before Pro-C3 — the compression then catches the chorus-modulated signal giving it a punchier, more aggressive character suited to the distorted JC-120 tone.

Why Headphones and Speaker Sound Different

// And how to adjust settings for each

Headphones and speakers are fundamentally different monitoring environments. Settings calibrated for one will need adjustment for the other. This is normal — professional engineers have separate EQ settings for different monitoring situations.

Sennheiser HD 6XX (300Ω)

TypeOpen-back reference

CharacterFlat, honest, accurate

Low endControlled — no room interaction

ReverbSounds exactly as set

Best forTone dialing · mixing · jazz

HP filterLower — 60–100Hz

Fishman Loudbox 100

TypeAcoustic amplifier / FRFR

CharacterRoom interaction, physical bass

Low endPhysical — room loading adds bass

ReverbRoom adds natural reverb on top

Best forPlaying · performance · room feel

HP filterHigher — 100–130Hz

Effects Return vs Channel Input: Always use the Effects Return when Loopy Pro is in the chain — it bypasses the Loudbox's preamp, EQ, and reverb entirely. Your AUV3 chain does all the processing. Use Channel Input only for direct acoustic guitar (316ce or GS Mini) with no Loopy Pro involved. Electrics and the T5z should always go through the Effects Return with ToneX in the chain.

Bass boom through the Loudbox: If the low end sounds boomy through the Loudbox — first move the speaker away from walls and elevate it off the floor. Then raise the Pro-Q4 HP filter to 110–130Hz. Then deepen the Pro-R2 Pre-EQ Low Shelf cut. Room placement accounts for a large proportion of bass buildup — fix the physical setup before adjusting plugins.

T5z — 5-Way Selector Guide

// What each position actually is and does

Position	Pickups	Character	Chain
1	Neck HB + Body Sensor	Warm, open, acoustic-leaning hybrid	Acoustic chain — IMPULSation
2	Neck Humbucker only	Smooth, dark, warm sustain	Electric — Polytone/jazz
3	Bridge Humbucker only	Bright, biting, electric	Electric — Tweed bright
4	Neck + Bridge Parallel	Mid-scoop, hollow, open	Dreamy or folk strum
5	Neck + Bridge Series	Thick, powerful, full	Leads, breakup

Position 1 needs Loopy Pro — not direct. Position 1 is Neck Humbucker + Body Sensor blended together. Direct into the Loudbox it sounds like a warm electric guitar — not acoustic. The acoustic character only emerges when IMPULSation, Pro-Q4, and Pro-R2 process and transform the hybrid signal. The 316ce can go direct because its ES2 pickup is a dedicated acoustic system — the T5z Position 1 is a hybrid that requires processing.

Key Guitar-Specific Knowledge

// Critical insights per instrument

Les Paul volume vs tone knob: Keep the volume knob at 10 always. The tone knob at 7–8 provides jazz darkness. Rolling back the volume knob before the signal hits the Scarlett cascades through the entire chain causing low volume issues.
Polytone Minibrute IV on Tone.Net: Available as Warm Cut or Dry Boost flavors. Cab sim must be OFF — the speaker cabinet is already captured inside the model. Choosing Warm Cut + cab sim ON means running a second cab simulation on top of an already-captured speaker.
GS-Go passive piezo vs ES2: The GS Mini's GS-Go has no onboard preamp or body sensor — it's a straight passive undersaddle transducer. This means more EQ work is needed than the 316ce's ES2 which has an active onboard system. The −2dB cut at 2.5kHz is the single most important adjustment for the GS Mini — passive undersaddle piezos have a characteristic nasal honk at that frequency.
Strat positions 2 and 4: Output drops slightly due to pickup cancellation. Compensate with TB Compressor Makeup rather than adjusting the Scarlett gain knob.
Telecaster Brusfri gate: Single-coil pickups generate 60Hz hum. Brusfri gate must come before ToneX or the amp model amplifies the hum along with the guitar signal. Set threshold at −50 to −52dB.
316ce direct into Loudbox: The ES2 is a sophisticated multi-source pickup system — it sounds excellent direct into the Loudbox Channel Input without any Loopy Pro processing. Use direct for casual playing, Loopy Pro chain for looping and recording.

Folk / Country / Songwriter vs Jazz — Opposite EQ Directions

// The fundamental tonal difference between styles

Folk / Country / Songwriter

EQ directionBright, open, present

Presence4–6 in ToneX

Air shelf+0.5 to +1.5dB at 8–10kHz

ReverbPresent — 14–24% mix

Space0.8–2.2s

Ducking15–30% — essential

CompressionMusical — 2–5dB GR

Jazz

EQ directionDark, warm, low-mids

Presence2–3 in ToneX

Air cut−3dB at 8kHz high shelf

ReverbBarely there — 8–12% mix

Space0.8–1.0s very short

Ducking10% light

CompressionGentle — 1–3dB GR

The core principle: Folk and country tone lives in the presence and air frequencies (2–10kHz range) — bright, cutting, articulate. Jazz tone lives in the low-mids (200–800Hz range) — warm, round, dark. When moving between styles you're not just adjusting a few settings — you're fundamentally reversing the EQ direction. The Les Paul jazz settings pull the top end down by 3dB while the folk/country settings push presence and air up. Same guitar, completely opposite philosophy.

Why the Dreamy Chain is Intentionally Minimal

// ToneX → FAC Chorus → Pro-R2 only

The dreamy tone on T5z Position 4 uses only three plugins — no TB Compressor, no Pro-C3, no Pro-Q4. This is deliberate. Each additional plugin adds a layer of control and constraint on the signal. For a dreamy ambient sound you want the opposite — maximum freedom for the chorus shimmer and reverb tail to bloom and develop naturally.

No TB Compressor — compression would level out the dynamic variation that makes notes bloom differently into the reverb at different playing intensities. Soft notes fade gently, loud notes bloom dramatically — that contrast is part of the beauty.
No Pro-C3 — same reason. Compression after distortion or chorus reduces the dynamic peaks that make those effects feel alive.
No Pro-Q4 — EQ shaping would reduce the full-bandwidth character of Position 4's mid-scooped parallel pickup tone. The mid-scoop is a feature for dreamy tone — it creates openness and space. Don't correct it.
The rule: If the dreamy tone sounds good without a plugin, don't add it. Only add a plugin if something specific is bothering you.

JC-120 edgy is the opposite approach. It uses the full chain — TB Comp, FAC Chorus, Pro-C3, Pro-Q4, Pro-R2. The distortion character of the JC-120 needs EQ management (harshness control), compression (punchy dynamics), and carefully set reverb. More processing serves the edgy tone. Less processing serves the dreamy tone. Know which your goal requires.

Concepts & KnowledgeHow Everything Works Together

Concepts & Knowledge
How Everything Works Together