I’ve been very vocal about this in the past and my opinion remains the same — making faithful VSTis of guitars is bloody difficult.
You can certainly find functional virtual emulations of various guitars that can serve all sorts of creative purposes, but finding anything that makes you sit back and go ‘wow’ (although, has any software
And absurdly obscure instruments nobody in their right mind has ever heard of make for insanely realistic VSTis, yet guitars — one of the most popular instruments in modern music — remain a far cry from these benchmarks.
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I suspect it has something to do with the unique playing style of guitars — the way they are plucked, strummed or fingerpicked is unique to that class of instruments and seems yet to be consistently replicated in the virtual sphere.
This is a lot of anti-guitar VST sentiment for an article about guitar VSTis. Are you just going to spend the whole time complaining?
Well, if you’d just LET ME FINISH, you would know the answer is no. While I do appreciate the difficulties in simulating the intricacies of guitar playing, it’s not like other instruments with superior VST emulations don’t have similar nuances in playstyle. That, coupled with the fact that the overall quality of guitar VSTis has been steadily improving, means that there is actually plenty to praise and discuss in a positive light.
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You may run into some sonic issues if you attempt to build an entire song using sample libraries in place of real guitars, especially when it comes to strumming chords or particular dynamics on an emotional solo.
However, if you choose to work hard to make the MIDI notation and articulation complex, with a specific purpose in mind, there’s no reason that a VSTi for any type of guitar (electric, acoustic, or bass) can’t be a valuable tool in your — I tried to think of another word and failed — toolbox.
While this seems like a relatively obvious answer (one’s a guitar and one’s an amp!), after a quick google search you will find that not to be the case.
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It is extremely easy to stumble across bundles of expensive software after scouring through the results of ‘best guitar vsts‘ without realizing that you aren’t in Kansas anymore.
As I mentioned earlier (you may have missed it, I only spent the entire introduction talking about it) the nuances of guitars are traditionally difficult to perfect for digital playing, so most producers tend to avoid virtual guitars and supplement a lack of equipment/space with a virtual amp.
The difference between an amp simulator and a virtual guitar lies in the type of VST they are — guitar VSTis are virtual instruments used for
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Sound based on MIDI data provided by your DAW’s software which can be drawn manually, or played with a compatible MIDI keyboard.
Sound and can only be applied to a MIDI track plugin effects chain after a virtual instrument is applied (however on audio tracks, virtual amps can be placed anywhere on the signal chain to affect recordings from guitars, keyboards and even vocals).
Amp modeling is extremely popular, notoriously diverse — think any amp and pedal in existence at the behest of your mouse — and consistently delivers top-notch audio results.
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Good virtual guitar that’s going to shake-up your audio recordings, be prepared to wade through a haystack of amp simulators and pedal libraries.
The previous paragraph’s topic is a great segue into one of the best ways to maximize the potential from your virtual guitar — combining it with an amp.
Even if you’re just using an acoustic guitar, adding a certain model of amplification, perhaps as a Send/Return can push its sonic qualities just that bit closer to being realistic.
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While painstakingly modeled VSTis will offer some flexibility with altering tonal characteristics, they are still ultimately restricted by which amp the samples were recorded with.
Pairing a guitar with an amp (who would guess that this is a match made in heaven!) allows for a greater level of malleability with the tone of the guitar you wish to employ for your recordings — it probably goes without saying that near limitless amp simulators = near limitless guitar sounds.
Blending the original amp sound (or lack thereof in the case of most acoustic VSTis) with another is a viable way to improve the viability of most guitar software in your songs.
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Typically the best guitar VSTis for cinematic/symphonic composition are, you guessed it, orchestral guitars. These are often acoustic and come in a larger library or bundle with strings, horns, woodwinds and so on.
Part of the enhanced application value in orchestral guitars is that there are generally a lot of other textures and harmonies thickening the sonic sphere of the song, meaning that the guitar won’t be in the forefront of the mix and can play more of a complementary role.
Due to the fact that this software usually comes as part of a greater set of virtual instruments, the guitar tone will distinctly fit the rest of the composition.
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This means even if on a solo track the guitar VST sounds a bit artificial and lifeless, when used in conjunction with a full ‘orchestra’ (yeah don’t worry, I won’t tell anyone you didn’t play and record all 40 instruments in your song) it’ll be a match made in heaven.
Full-bar chords in the background of a pop, rock or indie song present a unique tone to your track that is differentiated to a pad which would typically be used.
Heavily effected (DELAYS! TAPES! YES!) single, lengthily held notes can be a breathtaking addition to your ambient, metal or post-rock works, bringing a fresh element to the song’s atmosphere that would otherwise be lost if you don’t have a guitar (or the means to play it).
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It stands to reason that those virtual instruments designed for a certain purpose are going to perform it better than an ‘all-rounder’ when it comes to sound design and the samples each product uses.
For example, you wouldn’t use an acoustic ‘strummer’ guitar for a classical, fingerpicking folk piece, but it might work perfectly as a backing instrument in an alt rock song.
A death metal song probably won’t find much use out of a laidback, jazzy sunburst, but a dream pop outfit might. And, it should go without saying. Use a bass VSTi to best replicate the sound of a …
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On a midi keyboard, spout some onomatopoeia like ‘blergh’ or ‘eugh’ in disgust, close it and complain about how crap the program sounded, you’re really not giving yourself or the software a fighting chance.
I’ve harped on about how difficult it is to truly replicate the intrinsic ways a session, professional and even amateur guitarist would play the guitar, so it makes sense that if you don’t try to address this while experimenting with a plugin, it’s going to sound as realistic a parrot doing voiceovers for the next blockbuster movie — nothing but a cheap imitation of the smooth, deep voice of Trailer Guy.
However, once you put the effort into learning keyswitches, different articulations, rhythms and programming settings on any given sample library, you will notice that many of the more developed virtual guitars begin to resemble something not too dissimilar from the real thing.
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That slight scraping sound as you switch chord fingering, that slide from fret-to-fret, the accidental ring and bleed of a note into the next — these are the kinds of important details you’re missing out on by not dedicating yourself to learning the intricacies of many guitar-modeled VSTis.
Ultimately, you will be hard-pressed to find software that emulates the expression and playing method of a real guitar as well as recording an actual guitarist.
While this is a concept that indeed applies to pretty much every instrument in existence, it’s a common for producers to opine that VST guitars
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Struggle in this area of realism. This is true to an extent, but some new sampling software and plugins are edging ever closer to hitting the sweet spot.
My recommendation is: find a creative use for them. Spruce them up using additional virtual amps and saturators, use them in situations that will complement their unique sound, not accentuate the brittleness and artificialness.
If you had an indie/alternative song comprising a real drumkit, bass, vocals and acoustic guitars, it would be blaringly obvious if you just added a virtual electric guitar to the mix willy-nilly.
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But perhaps a lo-fi song with a bitcrusher applied to each track, or a solo piece with nothing but acoustic guitar software, or a club banger that deliberately brings out the unnatural makeup of many virtual guitars might work perfectly.
For those that are lazy or bad at guitar (I unabashedly raise my hand at both suggestions) it can just be easier to record demos or guitar riffs to test how they sound via a MIDI keyboard than having to setup, practice and play with a mic, amp and guitar.
While their sound may not be as faithful to the real deal as other VSTis, the use of virtual guitars is only limited by your creativity and imagination. In the wild, wild world of music composition,
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