RigSuite 0.95 Release Notes

• NAM drive mode, a captured pedal as a fourth DRIVE voice: load a neural capture of a real boost, overdrive, or fuzz pedal in front of the amp, with the pedal-to-amp handoff calibrated from the two captures' measured levels.
• The MIDI preset bank: map a footswitch, or a plain Program Change number, to a specific preset across 32 slots, so a set list calls sounds up by name. MIDI-driven loads never pop a dialog.
• The Output EQ, rebuilt from the curve down: the eight bands solve for one smooth curve through your settings instead of stacking eight filters, with real before-and-after curve views, an optional loudness hold, and bands that re-center on the loaded amp.
• Five benches, and honest pedal and full-rig handling (Workshop): the Home screen splits into Amp, Pedal, Full Rig, Cab, and Reverb benches, each analyzing its own gear class, so a pedal is described as a pedal and ranked against other pedals.
• Cab LOW CUT and HIGH CUT: two mix-ready filters on the whole cab section trim rumble below their cutoff and fizz above it, at a musical 12 dB per octave. Fully down and fully up are true off.
• Six new "More like this, but…" directions: directional library search doubles to twelve chips (more scooped or more mids, more presence or a smoother top, more squash or more dynamic), steering by measured character while staying in the model's family.
• RigScope is now RigSculpt Workshop: the desktop analyzer is renamed on every surface. Your library, settings, and analysis carry over untouched, and updates install in place.
• Steadier live rig: level-matched delay and reverb bypass holds the dry level when an effect switches off, and "my pickup stays put" keeps your guitar's pickup set across preset loads.

The MIDI preset bank: one footswitch, one specific sound

RigSculpt's MIDI control could already step to the next or previous preset, but a gigging set does not work in next and previous. It works in "chorus sound, now." The preset bank is 32 numbered slots, and each slot holds one of your presets. Two ways to fire them:

• Program Change, no setup beyond assigning: once a preset is assigned to slot 3, Program Change 3 from your controller recalls it. Most floor controllers send a Program Change per patch, so a typical board just works. Program Change numbers you have not assigned keep the old behavior (recall by position in the preset list).
• Any mapped control: the MIDI CONTROL menu's action list gains a "GO TO PRESET" group, so a learned footswitch, button, or note can fire a specific slot, on boards that do not send Program Change. The same group is on a MIDI board pad's right-click, so pads in the board view bind to preset slots too, not just the list view.

Assigning is done where your presets already live: load a preset, open the preset menu, and pick "Assign to MIDI preset slot…". Choose a slot and the loaded preset is assigned; the list shows what every slot holds, and picking the slot that already holds the current preset clears it. Assignments are saved globally, so your pedalboard works in every project.

Two details for the stage. Slots remember presets by name, not by position, so adding or renaming other presets never silently remaps your board mid-tour. And MIDI preset changes are now always silent: the "keep a copy in your presets folder?" question that could previously appear for a preset stored outside the presets folder is skipped for any MIDI-driven load. A dialog box has no place in the middle of a song.

Cab LOW CUT and HIGH CUT

Two new knobs on the CABS page, next to Room: LOW CUT trims cab low end below its cutoff (up to 400 Hz), and HIGH CUT rolls off fizz above its cutoff (down to 3 kHz), both at a musical 12 dB per octave. They apply once across the whole cab section, both sides of a stereo rig at once, the same way Room does, and they run after Room so the ambience is trimmed along with the cab.

They are the "make it sit in a mix" move: palm mutes that stack up under a bass, and top-end hash on a bright cab, handled inside the plugin instead of on an EQ after it. Fully down and fully up read OFF, and off is genuinely off: the filter is skipped entirely, so at their resting positions these knobs change nothing about your existing presets or your tone.

The CABS control strip was also re-laid-out around them: six evenly spaced knobs (Blend, Pan A, Pan B, Low Cut, High Cut, Room), with the stereo-only controls hiding in mono and nothing shifting position when stereo toggles.

Six new directions for "More like this, but…"

The directional chips in the NAM Library Explorer steer a search along one measured trait while staying inside the selected model's family. 0.95 doubles the set from six to twelve, and lays the whole grid out as either/or pairs, one pair per row:

• More scooped / More mids: how deeply the mids are carved relative to the bass and treble around them, read from the EQ profile embedded in every analyzed model. This works on every file the Workshop has ever framed.
• More presence / Smoother top: the presence-region emphasis, the difference between a cutting top end and a rounded one.
• More squash / More dynamic: measured compression depth, the feel axis. More squash finds models that sit and sustain harder; more dynamic finds ones that breathe with your picking.

Every chip works the way the originals do: the results are models that measure genuinely further in the asked direction, ranked by how close they stay to the sound you started from, with the measured difference printed on each row. A model that does not carry the needed measurement simply never appears, and if nothing in your library measures further that way, the list says so honestly.

The squash pair reads the compression measurement that recent Workshop builds embed. Models framed by an older build grey those two chips until their analysis is refreshed; the Workshop's re-embed flow handles that in one click.

My pickup stays put

The PICKUP REVOICER has two sides: "your pickup," which is a fact about your guitar, and "voice as," which is a choice about the tone. Presets used to restore both, which meant switching presets with one guitar in your hands kept overwriting which pickup you told RigSculpt you play.

A new option under Settings ▸ Workflow, "My pickup stays put across presets" (on by default), separates the two. With it on, your pickup survives preset loads and app restarts: pick it once and switch presets freely, and each preset's "voice as" target still comes along as saved. The same treatment covers the custom pickup designer's source side. One honest edge: if a preset's target is the very pickup you play, there is nothing to revoice from your guitar's perspective, so that preset's saved pairing is left alone.

Level-matched delay and reverb bypass

Switching delay or reverb off has always stepped the volume up. That is a consequence of how the mix control works: while an effect is on, the dry signal runs at less than full level to make room for the wet (at the stock mixes, turning both effects off is about a 4 dB jump). On distorted rhythm tones the jump is especially plain, and if delay and reverb sit on MIDI switches for live use, it can push a carefully set level into clipping.

A new option under Settings ▸ Workflow, "Level-matched delay/reverb bypass" (on by default), holds the dry signal at the same level it had with the effect on whenever that effect is switched off, from the chain dots, a MIDI switch, or automation. The tail still stops immediately; only the level step goes away, and both edges of the toggle are seamless. The trade is stated plainly on the setting itself: with it on, bypass is no longer unity level, so leave it off when you are A/B-ing exactly what an effect adds. Nothing about the effects' engaged sound changes either way.

Set your level without leaving the library browser

The NAM Library Explorer's status strip showed the output meter, an OUTPUT label, and the auto-level TARGET readout, but adjusting any of it meant a trip back to the AMP page. Now the strip is live:

• OUTPUT is a real control bound to the same master Output as the AMP page's knob: drag it up or down, scroll over it, or click to type a value. Hold Shift while dragging for fine moves.
• TARGET, the level the auto-level and Match L/R features aim for, is adjustable the same way, both here and on the AMP page. Click to type still works as before.

So an auditioning session can live entirely in the browser: step through models with the arrow keys, watch the meter, and ride the output where you see it.

The Output EQ, rebuilt from the curve down

A graphic EQ is usually built forward: each slider owns a filter, and the curve you hear is whatever those filters happen to add up to. That adding-up is where the boxiness comes from. Set one band up 6 dB and the response only reaches about 4; set two neighbors together and they stack into a lump; the space between bands ripples like a staircase. The old hardware units that feel musical get around this by accident of their circuits, with bands that lean on each other.

The 0.95 Output EQ works backward instead. Your eight sliders now define the curve itself: RigSculpt draws one smooth line through all eight settings and then solves for the filter settings that actually produce that line. It is a small system of equations, solved instantly every time a slider moves.

• Sliders mean what they say: the rendered response passes through your settings to within a fraction of a dB, where the old law could miss by 2 dB or more.
• Bands cooperate: push Treble and Presence together and you get one wide lift, not two stacked humps. Cut Mids alone and the neighbors quietly reshape to keep the rest of the curve where you left it.
• Width follows intent: small moves paint with a broad brush; full-throw moves focus. Cuts run slightly wider than boosts, and the low bands run wider than the highs.
• SYNERGIZE inherits it: stereo amp matching writes through these same eight bands, so its EQ side now preserves each amp's overall contour instead of making narrow surgical cuts.

Nothing about your presets changes on disk; the same eight values simply render more faithfully. Sounds saved with heavy EQ settings will sound a little different, and closer to what the sliders always claimed.

Seeing the curve: the Measured and Changes views, upgraded

Because the EQ now solves its own response, the panel can finally draw it. Until now the Output EQ was a bank of faders and you imagined the curve between them; the curve on screen is now the real one.

• Changes view: a bright line traces the exact response the EQ renders, threading through your fader caps. What you see is what the audio passes through.
• Measured view: the model's Workshop-measured shape draws as a smooth dim ghost, and your result, measured plus EQ, draws bright on top. A true before and after, with the fader notches still marking each band's measured level.
• Everything else stays put: both views keep their meaning, the faders keep their gestures, and Flatten, Accentuate, and Neutral behave exactly as before. The legend labels which line is which.

Output EQ loudness hold

An EQ move is also a volume move: boost the lows 6 dB and the track gets louder, which makes every boost sound like an improvement. The new Output EQ holds your loudness option in Settings removes that trick. While the EQ is engaged, RigSculpt computes how much louder or quieter your curve makes the signal, weighted by where the signal actually carries energy, and rides a matching makeup gain.

• Weighted by your amp: when the loaded model carries Workshop analysis, the weighting uses that amp's own measured spectrum. The same V curve needs different makeup through a dark amp than a bright one, and the hold knows it.
• Per side: in stereo, each amp path gets its own hold from its own amp's spectrum.
• Step-free: the gain eases in and out over a fraction of a second. Turning the EQ off, flattening it, or loading a preset never clicks or jumps.

On by default, so EQ moves hold a steady level and you judge them by tone alone. Turn it off to let EQ changes move the level the way they always did.

Output EQ bands that follow your amp

Every graphic EQ puts "Mid" at one fixed frequency and hopes it lines up with your amp. It usually does not: one amp scoops at 400 Hz, another at 700, and the fixed band splits the difference for both. The new Output EQ bands follow your amp option in Settings ends the compromise. When the loaded model carries Workshop analysis, the inner bands re-center on that amp's own measured structure:

• Mid moves to the amp's measured scoop: where this amp's midrange actually dips, so the Mid band grabs the character frequency instead of a neighbor.
• Presence moves to the amp's measured peak: where its top end actually bites, between roughly 4.5 and 8 kHz.
• The neighbors follow: Low Mids, High Mids, and Treble re-space themselves smoothly between the moved bands. Sub, Bass, and Air stay anchored.
• You can see it working: every band label on the EQ now shows the frequency that band is working at, "Mid 440" instead of just "Mid", and a band that moved for this amp is tinted. The curves, the measured ghost, and every readout draw against the active layout.

Amps without analysis, and amps whose measured shape has no clear dip or peak, keep the standard 60 Hz to 12 kHz layout exactly. On by default; per amp path in stereo. With the loudness hold and the curve-first rendering, the whole EQ now reads the amp before it touches it.

NAM drive mode: a captured pedal as a fourth DRIVE voice

The DRIVE section has always been analog: three original overdrive voices modeled in code. In 0.95 it grows a fourth voice. NEURAL now sits at the front of the voice row, beside Gild, Bloom, and Storm, the same way CONV sits among the reverb types. Pick it and load a neural capture of a real drive, boost, or fuzz pedal in front of the amp, the same file format as your amp captures. The section takes on its own look in neural mode, down to the control color.

Two more controls come with it. An INPUT knob drives the pedal model harder or softer before its clipping, your creative control into the pedal, separate from the interface calibration. And a ROUTE selector (Both / A / B) chooses which amp hears the drive: Both is the whole rig; A or B sends only that amp the driven signal and the other amp your clean tone, for a wet/dry or two-flavor stereo rig. Routing works for the analog voices too, and only affects a stereo rig.

Running one neural model into another is not as simple as chaining two plugins, and this was built to get the details right:

• It runs at the model's own rate. The analog voices sit on a 4x oversampled island; a trained model must run at the rate it was trained for, so the pedal NAM does not go on that island. It uses the same neural engine and the same oversampling policy as the amp models, so it behaves exactly as captured.
• The CPU cost is named up front. Running a second neural model in your chain adds real CPU load, so the first time you load a pedal NAM a one-time notice explains the trade before you commit to it live.
• The handoff is calibrated from the captures, not guessed. With output calibration on (the default), RigSculpt drives the amp at the level the real pedal actually put out, reading the pedal capture's measured output level and the amp capture's measured input level. It is a capture-to-capture match, independent of your interface. A LEVEL trim is there when you want to push harder or back off.
• Your interface calibration follows the chain. The Settings input calibration now anchors to the first neural model your signal reaches, which is the pedal when NAM drive is engaged, so the whole chain stays calibrated to your rig.
• Missing data is named, never hidden. An amber note under the loader tells you if a pedal NAM lacks Workshop analysis, an input-calibration figure, or an output-calibration figure, and what to do about it. Without the calibration figures the pedal plays at its raw trained level rather than being leveled to a common loudness, so how hard it hits the amp stays its own character.
• Pedal captures keep their own home. Drive pedals get a folder list separate from your amp library, so the two never mix, and the Workshop's new "Pedal NAMs" library folder is sourced automatically.

Because output calibration now lives at the pedal-to-amp handoff where it belongs, the amp's OUTPUT setting is simplified to Raw and Normalized. Saved presets are unaffected; a preset that stored the old "Calibrated" output plays back as Normalized.