Waves GTR Ground Control Unit User Manual

Read First!

Warning Safety First!
Please read and follow the instructions of the Registration Form entitling you to technical support and service-under-warranty.
Important Safety Considerations
1. Read all operating instructions. 2. In case of damage to the Waves GTR Ground due to spilled liquids or physical damage from knocks or dropping, repairs should be performed by qualified service personnel only. 3. Do not allow children to use the Waves GTR Ground without adult supervision. 4. Operating temperature: 10 50C.

Package Content

Your new Waves Guitar Bundle package contains: 1. The Waves GTR Ground foot controller 2. 1.5m USB cable 3. 1.5m CAT-5 (Ethernet) cable 4. 12V DC Universal Power Adapter
Waves GTR Ground User Manual
5. CD wallet 6. Registration Card 7. This User Manual

Introduction

Thank you for choosing the Waves GTR Ground. Waves GTR Ground is a dedicated USB MIDI foot controller for Waves Guitar Tool Rack systems, and can also be used with other MIDI controllable software. Waves GTR Ground is designed for guitar players and intended for use on stage, in the studio, or in the rehearsal room. The GTR Ground features 11 buttons and 2 dedicated expression pedals, providing convenient control over plug-in functionality and effect parameters. The buttons control preset selection, A/B setup switching, individual stomp effect active/bypass toggling, and other functions such as tempo tapping, tuning, and mode switching. The continuous expression pedals allow continuous control over effect parameters for real time adjustment of, for instance, volume or Wah. For specific information on how to use these features with Waves GTR, read the Controlling Waves GTR chapters of this manual.

System Requirements

Waves GTR Ground connects to the computer via a standard USB 1.1 connection. The device is strictly plug & play and doesnt require any additional software for its installation and operation.
Waves GTR Ground is designed and tested to work under Windows XP SP2 (Home and Pro) and MAC OS-X version 10.4 and higher. Any computer that has a USB 1.1 or USB 2 port and runs one of the aforementioned operating systems is compatible with Waves GTR Ground. Please note Waves GTR Ground was created especially for controlling Waves GTR Systems such as the Waves GTR software application. Waves GTR software has its own set of minimal system requirements, which are higher then those required for the basic operation of the Waves GTR Ground. To use Waves GTR Ground with Waves GTR software, check the specific software version for its minimal system requirements. Waves GTR Ground requires 12V DC to operate and cannot operate on USB bus power alone. It is recommended to use the included power supply.

Top View

Side Panel View

Getting Started

To start working with Waves GTR Ground, complete these steps: 1. Connect the included power supply to the electrical outlet. 2. Connect the round power jack to the GTR Ground power input (located on the right side of the GTR Ground, below the 2nd expression pedal). The GTR Ground displays will illuminate, and show GTR and Waves Ver 1.1 (or higher) across the top and bottom displays. After a few seconds, the word GROUND will be shown across the bottom displays. The GTR Ground is now ready for operation. 3. Connect the GTR Ground USB B type connector to your computers USB port using the included cable (or any USB cable). The computer will automatically detect the device and install the necessary drivers. 4. Once the USB connection has been made, the GTR Ground will show GTR in the top display, Waves Ver 1.1 (or higher) in the bottom left display, and USB in the bottom right display. At this point, GTR Ground has registered its MIDI port with the operating system and is ready to use. Depending on how you want to use the GTR Ground, the options are as follows: 1. Using GTR Ground to control GTR Standalone. This is the primary application of GTR Ground and utilizes its full features, including GTR Ground display updates with current preset information. 2. Using GTR Ground to control the Waves GTR plug-In. Waves GTR software launches within a host application, which requires the routing of GTR Ground messages to the plug-in through the host. Feedback of
display information from the plug-in to GTR Ground requires a MIDI path from the plug-in to a MIDI output. Since most host applications do not allow this functionality, GTR Ground does not display updated plug-in information. 3. Using GTR Ground to control another MIDI enabled software application or device.
Controlling Waves GTR Standalone
This section describes the direct control of the GTR Standalone application by the GTR Ground. For information on controlling the GTR plug-in through a host application, see the next chapter of this manual. After connecting GTR Ground as described in the previous chapter, launch the GTR Standalone application. Once GTR Standalone is launched, it will detect the GTR Ground, and update the GTR Ground displays to show the current status. In the top row preset display, GTR Ground will show the current preset number. This will be either the last preset that was launched and saved in GTR Standalone, or the GTR Factory Default Preset 000.

Individual Stomp Mode

GTR Ground defaults to Individual Stomp Mode. In this mode, you can use the foot controls to activate or bypass individual stomp effects. The bottom row displays along will show short names for the stomp effects in each of GTR Standalones stomp slots, and whether they are active or bypassed.
Activated stomps will glow brightly and show three dots between the stomp name digits. Bypassed stomps will appear dimmed, with no dots between the digits. Clicking the button under the display will toggle the status of the stomp effect currently assigned to that slot. For example, if the Gate_Comp stomp is assigned to button A and active, the display shows G._.C in glowing orange LED lights. Clicking the button under the display will bypass the stomp and show G _ C dimmed, without dots. To change presets in individual stomp mode scroll through the presets using the Up and Down buttons.

Preset Select Mode

The Preset button is the third button from the left in the top row, above the preset # display. It lets you toggle through GTR Ground's Preset Select Mode. In this mode, the bottom displays will show 6 preset numbers. Pressing the corresponding A F button will load the preset number shown above it. Instead of activating or bypassing a single stomp, Preset Selection Mode allows you to dial up a complete preset from the current preset file. It also lets you can also move up or down in steps of 6 presets using
the up down buttons in the top row. Tap Tempo / Tuner
In both Individual Stomp Mode and Preset Select Mode, use the Tap Tempo / Tuner button (fourth button from the left) to set your tempo by tapping on it several times in succession. A longer press on the button will call up the GTR Tuner.

A/B Switching

Located on the bend of the GTR Ground is the button for A/B preset switching. This allows you to toggle between two parallel settings within the same preset.

Expression Pedals

The expression pedals allow continuous control over two parameters in the current preset. The expression assignment is saved and loaded within the preset. Most GTR presets are pre-assigned to have the left expression pedal assigned to a creative expression control, such as WahWahs "Wah" parameter. The right expression pedal is usually assigned to the output volume, functioning as a volume pedal for the overall GTR sound. You can easily assign and de-assign parameters from the stomps and/or amps within a given preset. Just right-click or Alt-click over any parameter and choose Learn from the MIDI Assignment Menu. Once the parameter is "Learning," move the expression pedal with which you want to control the parameter and they will link automatically. Choosing Clear in the MIDI Assignment Menu will clear an existing assignment. Selecting Clear All will prompt you to clear all current expression assignments. Choose "OK" or "Cancel". To clear all current MIDI assignments, choose OK. Also, reloading the current preset without saving changes will return GTR Ground to its original MIDI assignments.

Controlling Waves GTR Plug-Ins
Waves GTR plug-ins can be controlled using GTR Ground, contingent upon your host applications MIDI support and
features. It is important that GTR plug-ins receive MIDI messages in real time. In certain host applications, the GTR plug-ins will automatically register a MIDI input node and allow you to route the output of a MIDI track to the plug-ins MIDI input node. The input of the MIDI track needs to be configured to receive MIDI from GTR Ground. Once the host application can receive MIDI from GTR Ground and relay it to the GTR plug-ins, you can control the Waves Amp or Waves Stomp plug-ins, as well as the complete GTR plug-in. The Waves GTR Plug-in will have the same functionality as in Standalone mode. However, most hosts do not allow the GTR plug-in to send messages to the GTR Ground, so the displays will not function as they do when using GTR Standalone. Using GTR Ground to control the GTR plug-in is especially convenient if you are recording live with effects, or if you recorded a direct guitar and you would like to add expression during the post-recording stage to the same take. It is important to record the MIDI information to a MIDI track so you can then refine it for the best results.
Controlling Other MIDI Applications
The Waves GTR Ground registers to the operating system as a standard USB MIDI device. This device can generate MIDI controller changes from all of its buttons and pedals. Messages are sent in a format compatible with other USB MIDI devices, sending discrete MIDI controller information from buttons and continuous controls. The controller ID for each control of the Waves GTR Ground control unit is fixed in its firmware. Thus, using it successfully
with non-GTR products depends on the flexibility of the software to assign specific controllers to its parameters. By default, the controls will send the following controller ID Pedal Left = 15 Pedal Right = 14 Control Control Control Control Control Control A = 16 B = 17 C = 18 D = 19 E = 20 F = 21
Control A/B = 22 Control Down = 23 Control Up = 24 Control Preset = 25 Control Tuner = 26

Technical Specifications

Size (L x W x H): 76.6 cm x 19.5 cm x 10 cm (30.16'' x 7.67'' x 3.93'') Weight: 4.2 Kg (9.26 lb)

USB 1.1 (type-B) port

RJ45 jack for future use
Power Supply: Input : 100Vac-240Vac Output: 12V+-10%, 5A
Warning: Use only the Waves recommended power supply PN WPS0008. The RJ45 jack in the side panel is not an Ethernet connection and should not be connected to any Ethernet hardware.
Note: Your Waves product has been tested to comply with FCC Standards FOR HOME OR OFFICE USE. Modifications not
authorized by the manufacturer may void the users authority to operate this device.
Contact Waves Sales and Technical Support
Before calling Waves for technical support, please first check the Waves website (http://www.waves.com) for technical support issues and the latest information. Contacting the technical support or the sales department via our website is preferred, and is more efficient in terms of being able to provide you with complete documentation and solutions.

North & South America Waves Inc. 306 West Depot Ave. Suite 100 Knoxville, TN 37917 Tel: 1-865-909-9200 Fax: 1-865-909-9245 Rest of the World Waves Audio Ltd. Azrieli Center 3 The Triangle Tower, 32nd Floor Tel Aviv 67023, Israel Tel: 972-3-608-4000 Fax: 972-3-608-4056 http://www.waves.com
2006, Waves. All rights reserved worldwide. All features and specifications subject to change without notice.

Warranty

One Year Limited Warranty
Waves Audio Ltd. ("Waves") warrants that the Product conforms substantially to the specifications contained in the Product Documentation for a period of one (1) year from the date of original purchase from Waves or its authorized resellers. In the case of a valid warranty claim, your sole and exclusive remedy and Waves entire liability under any theory of liability will be, at its option, to repair or replace the Product without charge or, if this is not possible, to refund the purchase price to you. For warranty service, please call one of Waves offices listed above, to obtain a Return Authorization (RA) number. After you obtain the RA number, ship the defective Product, transportation and insurance charges prepaid, to the Waves location listed above. Write the RA number in large letters on the outside of the shipping box. Enclose your name, address, telephone number, copy of original sales invoice, and a detailed description of the problem. Waves will not accept responsibility for loss or damage in transit. The Warranty is void if the Product serial numbers have been removed from the Product or if the Product has been damaged by misuse, modification or unauthorized repair, as determined at Waves discretion. The Product is designed and manufactured for use in professional and studio audio systems and is not intended for other usage. This limited warranty, with all terms, conditions and disclaimers set forth herein, shall extend to the original purchaser and anyone who purchases the Product within the specified warranty period. This limited warranty gives the
Buyer certain rights. You may have additional rights provided by applicable laws. Waves does not authorize any third party, including any dealer or sales representative, to assume any liability or make any additional warranties or representation regarding this Product information on behalf of Waves. THIS WARRANTY IS IN LIEU OF ALL WARRANTIES, WHETHER ORAL OR WRITTEN, EXPRESS, IMPLIED OR STATUTORY. WAVES MAKES NO OTHER WARRANTY, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT. PURCHASERS SOLE AND EXCLUSIVE REMEDY UNDER THIS WARRANTY SHALL BE REPAIR OR REPLACEMENT AS SPECIFIED HEREIN. IN NO EVENT WILL WAVES BE LIABLE FOR ANY DIRECT, INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY DEFECT IN THE PRODUCT, INCLUDING LOST PROFITS, DAMAGE TO PROPERTY AND, TO THE EXTENT PERMITTED BY LAW, DAMAGE FOR PERSONAL INJURY, EVEN IF WAVES HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. Some states do not allow the exclusion of implied warranties or limitations on the duration of an implied warranty, so the above limitations may not apply to you. This warranty gives you specific legal rights. You may have other rights, which vary, state to state. Governing Law and Severability This agreement will be governed by the laws of Israel. If a court finds any provision of this License unenforceable, that provision will be enforced to the maximum extent possible, and the remainder of the License shall continue in full force

and effect. In the event of a dispute arising under this Agreement, you consent to jurisdiction in the State of Israel.

21 st CENTURY GUITARIST

CHAPTER 2
Interfacing Guitar with Computers
A guitar doesnt just plug into a computer the way it plugs into an amp. The guitars audio must be converted into data before the computer can use it, then converted back into audio so we can hear it.
The Computerized Signal Chain
The computerized signal chain consists of the following stages: Guitar > Preamp > Analog to Digital Converter (translates analog in to digital out) > Computer > Digital to Analog converter (translates digital in to analog out) > Monitoring system
Lets explain each block in general terms.

Guitar:

If you dont know what this is, you should probably be reading a different book! But never forget that the guitar has a profound influence on the ultimate sound, no matter what follows it.

Preamp:

A guitar or bass puts out a delicate signal; the preamp beefs it up before it works its way down the signal chain.
Analog-to-Digital converter:
This is built within a device called an audio interface. The audio interface accepts an analog input, and converts it to a data format the computer can understand. Its input will be audio connectors, and its output will be a digital signal cable or other connection that hooks into the computer. See Appendix B: A Guitarists Guide to Audio Interfaces.
chapter 2 Interfacing Guitar with Computers

Computer:

This runs the software that processes the data. Think of the host software, such as Pro Tools, Sonar, Logic, Live, Digital Performer, etc. as a virtual rack into which you plug-in processorsexcept that these are virtual processors. Amp modeling software processes the guitar sound the same way that amps, cabinets, and effects would.
Digital-to-Analog converter:
This converts the processed data back to analog so we can feed it into a monitoring system and hear it. Its often built into the same audio interface that sends the signal into the computer. Note: Sometimes the audio interface is referred to as I/O because it provides the input to the computer and takes the computers output.

Monitoring system:

This could be a headphone jack in your audio interface, an amplifier with a set of speakers, a PA system, or anything that lets us hear the results of what the computer does.
The Guitars Special Requirements
Many computers include sound cards, or an onboard audio system. As a result, the computer has audio input and output jacks (typically line and mic in, and line and headphones or speaker outs), and handles all A/D and D/A conversion inside the computer. While onboard sound cards are acceptable for consumer applications, like playing games, they dont give studio quality. Furthermore, the sound cards typical audio inputs are not designed to be compatible with guitar (this can even be a problem with pro gear). Pro musicians use high-quality audio interfaces that perform the A/D and D/A conversion, and communicate with the computer via a digital signal. These interfaces will have various inputs, though not all are suited for guitar; a guitars signal is much higher level than a mics, yet not as strong as a line level signal. Theres also the potential for an impedance mismatch. A standard guitar with stock pickups has a relatively high output impedance, which tends to inhibit an efficient signal transfer to the next in a chain of electronic devices. This transfer is more efficient if the guitar feeds a high impedance input (e.g., more than 220k Ohms) to avoid being loaded down; its the electronic equivalent of having less friction. Any significant loading leads to reduced high frequency response, and lower levels. Single coil pickups tend to be more sensitive to loading than humbuckers. Note that active pickups (ones that include preamps) have low impedances and do not need to feed a high impedance input. However, the vast majority of guitars use standard, passive pickups.

There are several ways to avoid loading:
The Studio Guitar Interface conditions your guitar signal so that subsequent circuitry doesnt degrade its tone.
Use a buffer designed specifically for guitar, like the Studio Guitar Interface available from Waves. Designed in conjunction with Paul Reed Smith, its designed to provide the absolute minimum coloration to your guitar and match its impedance to any subsequent interface.
Use an active direct box, such as those made by Radial Engineering and others. Use an audio interface with an instrument input (e.g., from Edirol, MOTU, PreSonus, Yamaha, etc.). These inputs have a high impedance and are intended for guitar or bass.
About Latency (Computer-Based Delays)
Guitar players expect an instant response: Hit a string, hear a sound. Thats why its important to minimize latencythe delay your computer introduces between the time you hit a note on your guitar, and when you hear it come out of the speakers. Latency occurs in the conversion process from analog to digital and digital to analog, as well as in the computer itselfeven the most powerful processor can only do so many millions of calculations per second, and sometimes cant keep up. As a result, the computer sticks some of the incoming audio in a buffer, which is like a savings account for your guitar signal: When the computer is so busy elsewhere that it cant deal with audio, it makes a withdrawal from the buffer instead. The larger the buffer, the less likely the computer will run out of audio data when it needs it. But a larger buffer also means that the guitar signal is being diverted for a longer period of time before hitting the computer, which increases latency. As you want the best possible feel when playing guitar, lets investigate how to obtain the lowest possible latency.

Minimizing Latency

The first step in minimizing delay is the most expensive one: Upgrading your processor. With todays dual core processors, and a quality audio interface, its possible to obtain latencies of well under 5msessentially negligible.

The second step involves drivers, little pieces of code that provide communications between your computer and audio interface. They are the data gatekeepers, and how efficiently they do their task greatly affects latency. Steinberg devised the first universal low-latency protocol for audio interfaces, based on ASIO (Advanced Streaming Input Output) drivers. These tie in closely with the computers processor, bypassing various layers of both Mac and Windows operating systems. Since then, Microsoft has introduced the WDM protocol to replace their far slower DirectSound and MME protocols, and starting with OS X, Apple gave us Core Audio. Either of these protocols can perform as well as ASIO. However, ASIO remains extremely popular, particularly with Windows. Drivers are very important, and are frequently updated to improve performance, or insure compatibility with changes in operating systems. Its always a good idea to check a manufacturers web site for updates, even if you bought a product the day it hit the stores. Digidesign has its own audio engine, DAE (Digidesign Audio Engine). Pro Tools works only with Digidesign hardware, using their audio engine and driver protocol. However, a few years ago Digidesign opened up their audio interfaces so they could be used by other programs. For example, if youre running Sonar, you can choose to have it communicate with a Digidesign audio interface via ASIO. In any event, some latency is unavoidable. But to put matters in perspective, 3ms of delay is the same as moving 1 meter further away from your speakers. I think most guitarists would agree that latencies below 5ms are fine and between 5 to 10ms are acceptable, but anything much over 10ms is annoying. However, note that even if your computer can do low latencies in theory, in practice lower latencies stress out your computer more. So, most audio interfaces give you a choice of latency settings, allowing a tradeoff between lowest latency and computer performance. If all your computer has to do is run GTR in standalone mode, then you can probably adjust your system for really low latency. But if youre running a complex digital audio recording program and playing back lots of tracks, you may need to set the latency higher. The symptoms of overloading your system include pops and crackles in the audio, unintended distortion, and sometimes, a program freeze where it simply wont respond.