Guitar Rawr is various guitar recordings using a Fender Jaguar Guitar, Fender Blender Fuzz, Earthquaker Tentacle Analog Octave, and Moog MF Drive pedals make up the core of the sound. These recordings were then edited and looped in certain ways before being inserted into Kontakt.

Once in Kontakt, the GUI slows down the samples (or speeds up) as the voice. There are 3 per “palette” or preset that you can combine to construct some pretty gnarly drones. All of these pallets pretty much start with the samples playing at the slowest speed and all of the effects are turned off. Dial in the amounts FX you see fit. After playing around with it for a bit, I felt that just giving you the palette’s in their simplest form was way more fun then me giving you tweaked patches. Really, just hit a few notes with a sustain pedal and just start turning controls, you’ll get something out there…

I think the most powerful page is the “Shaper” tab. This is where all the filters are located along with the 2nd stage of “Rawr” or distortion. Each filter is connected to its own LFO that is clocked at different timings. If you don’t what synced LFO’s, just turn Kontakt’s engine sync off in the top toolbar. Whats cool about the LFO’s are that they operate polyphonically. What this means is if you randomly trigger notes and then start applying the LFO modulation, you will start to get some pretty neat movement as the filter is being triggered per voice. What seemed like a bunch of static notes suddenly turn into a nice group of animated textures.

Don’t forget to route outputs to their own channel in your DAW for further processing and control. This is also great for implementing this instrument for Surround workflows.

Lastly, a note about the effects. These are routed through Kontakt’s Aux channel. I felt this was a better route so you could ditch these effects if wanted by leaving them out of the same path as the raw sources. See the README in the instrument download folder; there is a screen-cap of how to route this in Kontakt.