![]() ![]() So, I'm looking for an electric guitar VSTi you will still use for remixes and own compositions after you learned to play a real electric guitar in a professional way. Reducing the preamp gain is all that’s needed to take the instrument from metal to general rock territory, for example.įor me, playing a real guitar feels a lot easier than flicking from page to page, tweaking parameters one by one and trying to achieve a realistic performance using a controller keyboard, but it’s perhaps better to think of IBZ as being a very flexible sound-design tool rather than a substitute for a guitar rig.Although I'm planning to buy a real electric guitar in the near future (I guess it will be one of those really lovely Yamaha Pacifica models), I think it has to wait some more time 'cause I don't want to buy any new hardware stuff until my forthcoming relocation (in around a year or so) has been successfully done (just to avoid breaking new stuff at the transport - I'm pretty sure I will carry my previous studio equipment on my very own and won't let anybody lay a finger on my gear :DD).īut in the meantime, I'm still looking for a very good electric guitar VSTi that provides a very realistic raw electric guitar sound, all the necessary articulations sampled with different MIDI velocity layers and especially one with which you can emulate all the crazy guitar playing techniques of a professional guitar player in a useful way without a too complex use of programming and editing features and without bending your fingers on the MIDI keykoard much more than a real guitar player would bend a string with ease. Soundwise, IBZ succeeds in delivering a tight, bright and aggressive sound that’s suitable for metal, but rock musicians and sound designers shouldn’t disregard it. Further intensity is to be had by switching in a compressor and there are chorus and delay effects to play with too. Here there is an amplifier/cabinet simulator with plenty of EQ options and loads of level, plus a processor called Scream, which offers a slightly different kind of overdriven sound. Quite sensibly, the Impact Soundworks team recorded the guitar without amps or pedals, so it is left to the user to make things heavy by engaging the processing options on the interface’s Effects page. And then there is the Advanced tab, where all sorts of tweaks can be made to things like portamento, note fade time, palm muting layers/weighting and stroke offset. Yet more parameters live on a page called Engine, which focuses on things like the pitch of release notes, pick noise and various other characteristics that affect the realism of the sound patches. The next page, called Articulations, is where the settings are made for things like sustain, staccato, hammer on/pull-off, pinch, tremolo, harmonics and string muting. Unfortunately the Perform page has more parameters than the page can handle, so it’s necessary to toggle between Advanced and Main views to access them all. Played notes are represented by red circles that appear on the strings, and if the user chooses to limit the playing range, the specified playable area is highlighted on the fretboard too. The page the user first sees is called Perform, which features a virtual fretboard with six strings and 24 frets, plus controls for affecting the way notes are distributed across those strings and frets. IBZ is remarkable for having a huge number of controls which are spread over several menu pages. ![]() Relative to that product, the IBZ version offers a thinner, brighter and more aggressive sound, and also benefits from a redesigned interface. The products predecessor, called simply Shreddage 2, is described as having a full and dark tone and was created using an unspecified American guitar. So far, there are versions of Shreddage for drums, bass and guitar, but this review is of the latest incarnation, which has been built using the sound of a classic Ibanez guitar and is aimed at hard rock and heavy-metal exponents. Shreddage might sound like a Heston Blumenthal recipe involving Shredded Wheat and cabbage, but it’s actually a Kontakt-based sample engine from Impact Soundworks. ![]()
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