The same can be said of the much more straightforward Session Guitar series from Native Instruments. The aforementioned Opacity II is exemplary in this regard, with its pre-prepared (and pre-mixed) textured pads able to be scaled seamlessly, while the sequence loops, swells and pads can yield stunning guitar atmospheres it would take days to carve. Sound aside, many of these types of virtual guitar plugin will contain pre-played phrases, riffs and licks that are triggered like any other sample, but if you were wanting to create your own, note-by-note, you’d be advised to take a look at the individual expressive capabilities of the suite. While both are technically guitar packs, they cater for very different audiences.

Impact Soundworks’ Shreddage for example, is aimed at those wanting a pounding metal thrash, while the affecting, delayed licks found in Audiomodern’s Opacity II heavily vie to be used in a Nordic murder mystery soundtrack. You’ll find that, as a general rule, they’ve all been tailored for a specific sonic purpose. While it’s definitely the case that you now don’t actually need a real guitar in order to work the instrument in your mix, you really do need to make sure that you listen carefully to the sound of the legion of virtual guitar VSTs for sale before you part with your cash.

Well, that idea should be put to bed right now, because, in reality, guitar sampling has been a perfectly elegant solution for those less able to weave dazzling solos with their fingers for years, or for those looking to apply guitar characteristics that are simply outside of their sphere to muster. From the comfort of your home, music makers across genres can easily conjure lush orchestration, realistic-sounding drum-kits and authentic analogue synth tones with the right applications of professionally curated sample collections, in conjunction with natural-sounding legatos and humanisation abilities.įor some however, guitar sampling remains something to be treated with a degree of scepticism, as those stubborn real-world players remain dubious of the idea that software can reproduce guitar parts as realistic as those performed by a human being when performed via a MIDI keyboard, or programmed via software. It’s now a nearly universally recognised fact that the pro-level sample library has largely negated the necessity of investing in bank-breaking instruments, or studio recording time.

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