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steinberg virtual guitarist 2 download
No comments yet. No trackbacks yet. Leave a Reply Cancel reply Enter your comment here There have been some famous twin-guitar line-ups in rock history and, even if you can't strum a note, you can now have the virtual equivalent - both of these software instruments will play on time and in tune, and won't want a solo in every song! But are they both equally good? When it comes to guitar virtual instruments, Steinberg's cunningly named Virtual Guitarist would probably be the first product to spring into the minds of most SOS readers.
However, Steinberg are not without competition and, for acoustic guitar sounds at least, the recently released Real Guitar 2L — a collaboration between Music Lab and Best Service — provides a competitively priced alternative. At first sight, these two products would seem to be direct competitors. However, a brief comparison of the respective feature sets reveals some obvious differences.
For example, Real Guitar 2L only provides acoustic guitar samples, while Virtual Guitarist 2 combining what was in the original Virtual Guitarist and Virtual Guitarist Electric Edition provides both acoustic and electric guitar options. The other major difference is in the 'engines' of the two products. Virtual Guitarist 2 is very much based around Parts, essentially a set of pre-recorded phrases in a wide range of styles, which are pitch- and tempo-shifted to fit the chord and tempo needs of the project.
In contrast, Real Guitar 2L provides a series of multisampled guitar instruments and, while it includes preset playing patterns, these are MIDI-based and can be edited as such. Via keyswitching options, Real Guitar 2L is a 'playable' instrument. Of course, the aim of both products is to achieve credible guitar parts within a musical project, so we figured that a comparative review might be in order, to find out which virtual guitarist is best at this in practice? This technology eventually evolved into Real Guitar, the original version of which was released in early This new version adds a number of new features and comes in two flavours: a basic version and the top-of-the-range 2L version reviewed here.
The sample library is based entirely around acoustic guitars, and its primary aim is to provide a sample-based acoustic guitar instrument that can be played via a MIDI keyboard. The sampled guitars include two different steel-strung guitars, a nylon-strung instrument, a string, and a stereo steel-string. Picked, fingered, and 'doubling' options are provided amongst these. Some of these are described a little more fully below, but their names clearly indicate their functions. For each guitar type, the different performance modes result in a different set of sample keyswitch options appropriate to that style of playing.
Note ranges C1 to D 1 and C5 to C6 form two Repeat Key zones, while all the keys in between form the Melody zone, where notes or chords are played. The exact function of the Repeat Key zones changes in the various performance modes. For example, in Chord mode the white keys simply play a strum of whatever chord is being held in the Melody Zone, allowing complex strumming patterns to be played with ease. The black keys generate a muted version of the same chord, allowing more percussive elements to be added to the strumming pattern.
The end result of these various control options is that each mode provides a 'playable' sampled guitar instrument which, with appropriate practice with the keyswitches, can be used to create credible real-time performances directly from a MIDI keyboard. Real Guitar 2L recognises some 26 different chord types, including seventh and ninth chords and inversions, so even jazz fans ought to be reasonably well catered for.
Perhaps the key new feature in the 2L version is the Pattern Manager. This provides over preset MIDI patterns for use with Real Guitar 2L , and these cover a wide range of musical styles including simple strumming, picking, blues, jazz, Latin, pop, reggae, rock, and a number of others.
While Real Guitar 2L is not compatible with styles from Rhythm'n'Chords , this feature is not dissimilar in function. The individual MIDI performance patterns can simply be dragged and dropped into your sequencer to an appropriate MIDI track to build a complete performance. Of course, because the performance is controlled entirely from MIDI, the parts created are fully editable.
I'd hesitate to say that the documentation was the best I'd ever read — it explains the basics of the control set and not much else — but for a real insight into what Real Guitar 2L can do, Music Lab's video tutorial is excellent. This is included on the installation CD, and there are further video and audio examples on the company's web site. These are well worth looking at for new users and potential purchasers alike.
The main window of Real Guitar 2L is perhaps not the slickest looking of software interfaces, but it does manage to cram a lot of features into a relatively small amount of screen real estate. The display is split into three main areas.
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The upper half of the window provides controls for the selection of the guitar and various options for modifying the sound. For example, under the Noises tab the user can adjust the simulation of the noises generated by the handling of the guitar in various ways, while the Tremolo and Chorus provide the expected effects, although the options are fairly limited. The centre panel of this upper section also displays the current chord arriving via the MIDI input. The centre section features a guitar neck display which shows the fingering being simulated by Real Guitar 2L during playback.
Real Guitar 2L features samples from every fret of every string, and it is therefore possible to simulate the differences created by playing particular chords or notes in different neck positions. One way of controlling this is to change the virtual Capo position on the neck, although an Auto mode also tries to simulate this variability depending upon the part being played. Real Guitar 2L's Pattern Manager window. The graphical area at the bottom of the window depicts the contents of the pattern.
In the upper window you can see a two-bar strummed pattern displayed -- the green bars produce full strums, while the red bars create muted strums. The lower window shows a picked pattern.
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The exact controls featured here vary depending upon the performance mode selected. For example, in Chord mode the user can control the neck position in which chords are voiced. In Solo mode, the user can specify four performance articulations such as harmonics, muted, palm muted, smacks, velo mute, slide, and tremolo to be controlled by keyswitches via C1 to D 1.
Combined with the various other real-time control options available using the pitch-bend, modulation, sustain pedal, and velocity control, it makes for a very expressive solo instrument. The only additional window is for the Pattern Manager, opened by pressing the PM button. The upper portion of this window provides a browser to search through the preset patterns provided, while the lower window provides a visual impression of the MIDI data within the currently selected pattern.
It might have been nice if this window could have been resized for easier browsing, but, this minor gripe apart, auditioning patterns is simply a matter of activating the Pattern button in the main window, selecting a pattern in the Pattern Manager window, and playing a chord via your MIDI keyboard. Reverberate seeks to provide a richer and more dynamic sounding reverb from impulse responses by optionally modulating an amalgamation of two, separately controllable IRs using an LFO. Further modulation is possible using the post-processing effects; an all-pass interpolator chorus provides a fuller sound and an over-sampled analogue prototype paragraphic equaliser is provided with dual LFOs.
These features make for a livelier sound than typically associated with some convolution reverbs, at a very competitive price. Inside the. Tags : LiquidSonics Reverberate v1. Are you the publisher? Claim or contact us about this channel. Embed this content in your HTML.
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