Strummed acoustic 2

To special effect, I prefer a rapid switching between High and Low modes, preferably with playing the D2 note pickup in the transition between the High and Low modes.Songwriting, tooBeing able to experiment with chords and Patterns can provide a different perspective, compared to what you tend to play when you pick up a guitar. Just like having a solid drum beat from a Kontakt drum instrument can jumpstart your creativity, so can the chord Patterns from Strummed Acoustic. Because you’re working with MIDI data, programs with chord tracks, like Cubase and Studio One, can take advantage of the structure you create with Strummed Acoustic to build a song further with other instruments.Programming the Light GuideKnowing where the different keyswitches fall on the keyboard is helpful, but since Strummed Acoustic isn’t NKS-compatible, Komplete Kontrol keyboards won’t show the light guides. Fortunately, there’s a simple workaround.Open Komplete Kontrol in stand-alone mode, then click on the MIDI connector symbol in the upper right. Create a new template and name it Session Guitarist – Strummed Acoustic. Click on the Keys tab, and click +Split five times to create six splits total. Click on a split to select it, then drag its split edge divider to narrow the split to the desired range: Red C1 – G1, Yellow G#1 – C2, Green C#2 – D#2, and Blue E2 – D#5. Outside of Strummed Acoustic’s range, choose a non-Strummed Acoustic color so you don’t hit those keys (Fig. 5). Figure 5: Light Guides have been programmed for Session Guitarist – Strummed Acoustic using the Controller Editor.Now you can close Komplete Kontrol. Insert Kontakt as an instrument, and load Strummed Acoustic. Of course, you can still load the Komplete Kontrol plug-in for use with other instruments—the keyboard will switch to the appropriate mode when you select the track with either Strummed Acoustic or the Komplete Kontrol plug-in.These tips are just some of the ways you can get more out of Session Guitarist – Strummed Acoustic. One of the problems when working as a solo artist is trying to get some of the same feel that happens when you collaborate with other artists. With Strummed Acoustic, you actually are collaborating with other artists: the person who played the guitar, and the programmers at Drumasonic and Native Instruments. Even better, these “session guitarists” always show up on time—and don’t charge time-and-a-half if the session runs long!

MacOS (Intel) Big Sur Logic ProSeeing / hearing strange behaviour with Strummed Acoustic 2.Normally you would hit a key on the piano and it starts playing the pattern. The problem is that sometimes it just plays nothing. Open the auto chords and it's not highlighting the key.Switch to different guitar sample within Strummed Acoustic 2 and it might work as I expect.Switched to Strummed Acoustic 1 and seeing the same issue. Also just tried Picked Acoustic and the same issue. A couple of times the first play of the sample after the switch of instruments seemed to play, but not reliably.During this the playing effects (in the yellow zone) are audible, the blue zone is silent. Switch to a different track / Instrument in Logic - works perfectly.Logic is showing receipt of the MIDI note - so there isn't a comms issue between the keyboard and the DAW.Waiting for the top progress to show that the sample is fully loaded.So I'm seeing something weird with all the strummed guitar Instruments that I've not seen in the past.Anybody experienced the same issue? Is it a new bug?

An advanced, playable engine with a huge library of strummed patterns, picked arpeggios, and riffs. Plus, get an extra melody instrument for your own solos.Ideal for rock, pop, funk, soundtracks, and film scores, Electric Vintage channels the sound of one of the world’s most adaptable electric guitars, captured from an original, late-50s model. Explore a wealth of creative combinations with this guitar VST instrument with a classic sound that’s equally suited to modern productions. Get Session Guitarist – Electric Vintage 10. Scarbee Rickenbacker® Bass Scarbee Rickenbacker® Bass brings the iconic sound of Rickenbacker® 4003 bass to a VST format for the first time. It delivers earth-shaking low frequencies and that clear, distinct midrange that have left an indelible mark on the history of rock and pop music. It was also the first guitar VST to receive official approval from Rickenbacker®. Carefully sampled by Thomas Skarbye, Rickenbacker® Bass is perfect for distortion and is also the first Scarbee bass instrument to be played with a pick. Rickenbacker® Bass offers all the character and versatility of the original in a flexible, completely authentic Kontakt instrument. Get Scarbee Rickenbacker® Bass 11. Session Guitarist – Strummed Acoustic 2 Add to your acoustic guitar VST collection with vintage 6 and 12-string guitars. The second addition of the popular Strummed Acoustic broadens your sonic possibilities even further with the introduction of two meticulously chosen vintage acoustic guitars, a comprehensive collection of patterns and chords, and intuitive real-time performance controls. Get over 160 patterns played by leading session musicians and customize performances with chord voicings, double-tracking, and effects.Perfect for rock, folk, country, bluegrass, Latin, pop, and more, this much-loved acoustic VST plugin lets you play patterns intuitively using countless chords in multiple positions up and down the neck. Get Session Guitarist – Strummed Acoustic 2 Interested in other instruments? It’s not just guitars; discover thousands more VST plugins on the Native Instruments site, covering all forms of music production, composition, and sound design. Plus, you get detailed product walkthroughs and tutorials on our blog and can connect with other users in our NI online community. Discover more VSTs Rickenbacker® and the "R" Design are among the trademarks and service marks in the United States and other countries of Rickenbacker International Corporation and used with kind permission. VST is a registered trademark of Steinberg Media Technologies GmbH.

Recommended Posts Share Hey Group I'm not sure if this has been started, but it would be cool if there was a forum/room/whatever where people can share articulation maps. I'll start by asking if anyone is creating a map for NI's Session Guitarist - Strummed Acoustic 2? Thanks!! Link to comment Share on other sites Share Based on info from another thread on this forum, I found a Cubase articulation map for Strummed Acoustic 2 at arpegiah.com. These can be imported into CbB, which would probably be a good start. I haven't actually tried it yet, so I can't give any further insight. 1 Link to comment Share on other sites Author Share 25 minutes ago, ptheisen said: Based on info from another thread on this forum, I found a Cubase articulation map for Strummed Acoustic 2 at arpegiah.com. These can be imported into CbB, which would probably be a good start. I haven't actually tried it yet, so I can't give any further insight. Really? That's awesome! I actually thought about that but thought I would sound dumb for asking. Edited November 12, 2020 by razor7music Link to comment Share on other sites Share I'm trying to keep this thread updated, lots of sources for Cubase expression maps for import. Link to comment Share on other sites 4 weeks later... Share On 11/12/2020 at 3:40 PM, razor7music said: Really? That's awesome! I actually thought about that but thought I would sound dumb for asking. Curious to know if you’ve

At first glance, it might seem the SESSION GUITARIST series is intended for non-guitarists, but even the most seasoned of players can find room for a virtual session player in their production workflow; as someone who’s spent several years as a studio musician, I see a great deal of value in working with another guitar player – even if it’s a virtual one! Sometimes STRUMMED ACOUSTIC 2 complements my own acoustic part, for example, sometimes it plays on its own, and of course sometimes it takes a break while I play a part in on the J-45.Whether or not you’re a guitarist, the key to making the most of the SESSION GUITARIST series – or any guitar library, for that matter – is knowing how to add nuance and a human-feel so the parts sound realistic—not just accurate. So here’s a run-down of some super-simple tips for doing exactly that in your next track. Cut and paste for easy pattern variationsThis is one of the simplest ways to add variety to Patterns. First, render or bounce the Kontakt track to convert it into audio. Next, make some slices at 8th notes—other values work too, but this is a good start—and treat these as building blocks you can move around. Even slight changes add useful variations (Fig. 1). Figure 1: In Audio Example 1, the only difference between the first group of two measures, and the second group of two measures, was switching the two eighth-note sections shown above. Interestingly, it seems that if you copy a couple sections and paste them somewhere else, you almost can’t go wrong—try it! You’ll generally want to introduce these variations toward the end of a Pattern, leading into the next Pattern. Occasionally muting sections to create more space in a part can add variety and drama. Combine chords with patternsPatterns are wonderful, but sometimes you just want to hit a strummed chord. Although the yellow keys are considered “endings,” A#1 rings out a big, full-sounding chord, while B1 plays a chord stab. Hitting a note associated with Patterns just before playing either A#1 or B1 specifies the chord’s root note. Unlike Patterns, these respond to velocity, so you can use dynamic chords to augment Patterns (Audio Example 2). Rhythmic fader automationBack when eight mixer channels were a luxury and I was doing sessions at Columbia Records’ studios, I was lucky to see an engineer mix a song that became a huge hit. As the song played, he closed his eyes and moved the faders subtly and rhythmically, in time with the music. I never forgot that lesson. Fig. 2 shows a fader automation curve added to Strummed Acoustic, using a hardware fader controller to emphasize the dynamics—I can only imagine how long it would take to draw that automation with a mouse. Figure 2: Rhythmic volume automation applied to Strummed Acoustic. In Audio Example 3, the first 4 measures have no automation, while the second 4 measures have rhythmic level changes, exaggerated slightly in

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