Authentic Sounds Of The Big Band Era Guitar
Gro Bert
I am trying to learn jazz standarts from the real book and for example when I play "autumn leaves" or "black orhpeus" with guitar from the real book it sounds simpler than original recordings of Paul Desmond. What causes this and how can I practice in a way that is more similar to their music?
The most common way to reproduce a guitar sound with other technology is to use sample-based synthesis to replicate the guitar sound. Whether that counts as a "software reproduction" of a guitar by your criteria, you'll have to tell me :). It's very easy to get good representations of some instruments with this technique, but guitars are a little more challenging than you might think, due to a number of subtleties in, and combinations of, ways you can fret the strings and articulate notes. Modern sample libraries and sample-based instruments often deal with this simply by sampling many different instances of differently-struck notes, including samples that work well as part of a strum, and also fret noises and other playing sounds that make the part sound more authentic.
We've carefully and meticulously recorded high quality samples of each fret of all acoustic guitar strings. RealGuitar sample library includes not only sustain sounds, but also other guitar-specific sounds and noises with dynamics and nuances an experienced performer can get from his/her instrument.
Version 6 supports external guitar FX processors which are important to create a realistic guitar part. Our experts have thoroughly examined guitar tones used in most popular songs played by greatest guitarists and came up with more than two hundred authentic presets which sound similar to what they heard, ready to be used in your next song. We recommend to use open-source Guitarix.vst virtual guitar amp as a robust and versatile solution to use these presets. Combining a virtual guitar and an FX processor allows you to store a guitar sound and an FX processor preset at the same time, which a real time saver.
An authentic sounding guitar part cannot be recorded by using samples on their own, but requires a bunch of guitar-specific techniques, which are simulated in RealGuitar. Whether you are playing live or programing a DAW, these techniques are controllable by using special gestures, key switches, key velocity, modulation wheel, sustain pedal, key aftertouch, MIDI CC, DAW parameter automation, and any combinations of these.
Guitar chord voicing is very unique depending on guitar construction and is absolutely necessary to reproduce in order to achieve authentically sounding chordal parts. Our patented technology provides accurate reproduction of guitar chord voicing automatically for 30 chord types in all existing inversions, extensions and alterations.
In order to record an authentic accompaniment track, most session guitarists carefully study characteristic rhythm parts for the required style. We created a huge rhythm library consisting of 1250 patterns. It can be easily used for quickly creating guitar accompaniment parts in the DAW or in our internal Song sequencer.
Formed in 1978 in Long Beach, T.S.O.L. originated as a punk band.[2] While the band first used under the name Vicious Circle, the band eventually changed their name to T.S.O.L by September 1980.[3] The original lineup consisted of vocalist Jack Grisham (who has been credited as Jack Greggors, Alex Morgon, Jack Ladoga, Jack Delauge and Jack Loyd, among pseudonyms), guitarist Ron Emory, bassist Mike Roche and drummer Todd Barnes. According to legend, the band acquired their instruments by casing a local music shop, waiting until closing, and then performing a smash-and-grab robbery.
This late-'80s lineup was popular enough to garner bookings in Brazil and Argentina, where the Grisham-led band held no legal rights to prevent Wood from gigging as T.S.O.L. In 1996, Wood and Dean were joined by guitarists Mike Martt and Drac Conley, and bassist Dave Mello (from Uniform Choice), with Dean subsequently replaced by Steve "Sully" O'Sullivan. Also in 1996, Wood formed ongoing blues band Joe Wood & the Lonely Ones (also including O'Sullivan). Wood recorded as Orange Wedge in 1993 (with Dean Chamberlain of the Motels and Christopher "Wag" Wagner of Mary's Danish) and Cisco Poison in 1995 (issuing the It's a Long Way to Heaven... album); he later fronted Joe Wood and the Killing Floor (also including O'Sullivan, longtime T.S.O.L. roadie Eric VonArab on Lead Guitar and professional skateboarder Ray "Bones" Rodriguez on Bass).
In November 2006, the band announced they were breaking up, with final performances having taken place earlier in the month.[10] In September 2007, Cider City Records released the seemingly posthumous live album Live from Long Beach, recorded in November 2006 on the weekend of the band's two announced "farewell" performances. Their hiatus was short-lived, however, as they returned to perform local shows in late 2007. They also headlined the "Fuck the Whales, Save a Chckn" benefit in February 2008, held to help with cancer treatment bills for guitarist Craig "Chckn" Jewett of D.I.
The OMB Acoustic Pro guitar is perfect for advanced guitar players that want to Improve their playing techniques. OMB lets the player lead an entire band and control all the elements in the band. OMB is perfect for creating music, songwriters and musicians who love to play with a band.
The Ketron arranger with OMB technology is perfect for professional guitar players, One Man Band players and guitarists that do live performance in churches or other social events.
The Ketron arranger and OMB tech gives an entire band, with authentic sounds, tons of options and sound quality at the highest level in the world for virtual bands.
The SD90 is a dream machine for a musician. The live sounds are simply just amazing so realistic. The OMB technology is genius freeing me from foot pedals and works great for a one man band. The OMB guitar set up so simple. I went through every style and found the creative possibilities endless. The second voice is layered perfection a beautiful effect. The SD90 multitasks with modeling, midi creator, vocal harmony , sound control effects mixing control and recording just to name a few. This is the perfect tool to express my musical talents. My background with previous Ketron modules has helped me appreciate this module even more. This is a big step up in sound quality and technology. Larry thank you for talking me into purchasing this unit. I love it.
The OMB guitar is designed as an out of the box solution and it is easy to start enjoying the band accompaniments. When receiving it, you will need to go through a short learning curve, watch the tutorials, and mainly learn the basic options the app offers.
As any other musical instrument, the more you dive into it, learn and try, the more possibilities will open.
The Ketron arranger with OMB technology is perfect for professional guitar players, One Man Band players and guitarists that do live performance in churches or other social events. The Ketron arranger and OMB tech gives an entire band, with authentic sounds, tons of options and sound quality at the highest level in the world for virtual bands.
There's a good reason for this: You may find that at the mixing stage, the EQ'ing / compression / etc you apply to make your guitar fit in the mix, may make it sound completely awful if you solo it. This is perfectly normal - at this stage it only matters how it sounds in the mix. Most of the time you shouldn't need to go back to TH3 (i.e. try to avoid that). Just do what needs done to the track afterwards to get it to fit in the mix.
Wow this makes so much sense to me...... I often times make a guitar tone while my backing track is playing and when I return to cakewalk days later and try that same guitar tone, I always end up thinking "How the f*ck did I think this sounds good?" and then I start tediously editing it to sound good by it's lonesome and just end up being frustrated.
2. What are some of the reasons performers in the late 19th century and early 20th centurymight have wanted their guitars to make louder sounds? Musical performances in the 19thcentury were characterized by ever-larger concert settings and ensembles is why musiciansneeded louder and more powerful instruments.
4. How did the popularity of Big Band music in the 1920s impact the kinds of guitarsmusicians played? The quest for a louder guitar intensified during the 1920s with the advent ofbig band music, phonograph recordings, and commercial radio. The competition between thesenew markets led guitar makers to begin not only building larger flat top and archtop guitars, butincreasingly experimenting with different materials and designs.
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