After using shreddage for a few years I’d like to add some additional tips! The true vibrato inside shreddage (so the one with the mod wheel) is a bit dirtier and less surgical than doing it with the pitch wheel. You can automate it in low quantities to dirty up or modulate something in those long sustains, which tends to make the performance sound a lot less plasticy and static. I also like to automate a highpass filter before the amp, even if I don’t do it for the effect that you’d get from a filter pedal; it gives me yet another thing to control to make sustains more dynamic and interesting. In this case, I would slightly wiggle the filter around the control the volume of the lowest harmonic before going into the amp, which changes the tone of the note slightly- kind of like the variation you’d get from picking it differently. This gets you more expression out of the same samples. Quick runs in melodies are always a bit tricky. Like mentioned in the video, I use a mixture of mutes but also hammer ons to get the sound that I want from the performance, but it usually takes a bit of fiddling around
Great video and (since I play guitar) really great point about bends. You only bend down if you have a tremolo bar on a guitar. Even if you physically bend the string up and down, sound and frequency wise you are always bending up. That is a great point to share with virtual guitar users.
Yep, because anytime you bend an exact note, string get shorter, not longer 🙂 which results only in pitchbending note only up. Gosh, till I haven't the real guitar, I wish, somebody told me that earlier 🤣🤣🤣
@@sleepyxboy to be honest, even being a guitar player didn't help in the beginning of my midi programming. Only bending up in the pitch wheel is counter intuitive because the movement I do as a guitar player is not that. It took me a couple of tries until it made sense, so I can only imagine how illogical it can feel to non-players. I had similar struggles when I started this project because I knew nothing about orchestral instruments. I took courses and bought orchestration books to understand how the orchestra interacts. Translating real instruments to midi is easy to do but hard to sound right mostly because of these small details. This video is full of these little nuggets of wisdom that make virtual instruments sound good.
I don't know if it's possible in this, but it's most definitely possible to simulate a bend down by bending the string before you hit it and then letting it fall back down to pitch. Billy Corgan and David Gilmour both do this quite a bit. I know it's not technically a "bend down" but unless you're looking directly at the guitar and player, it has the same effect.
@@zachiswayposi1 that's a very good point. I was referring to the act of bending the string in the fretboard after picking the string which is a very common articulation, but obviously you are 100% correct, the effect of bending and then picking will produce a audible bend down. Thanks for pointing it out since it is possible to do this in this instrument and can be useful for whoever uses it and reads this.
When I create a lead, I usually play by what notes I hear in my head, so i tend to play a lot of runs, riffs, and beds with vibrato. In fact, I tend to always use vibrato during a note more than 1/4 note long. I get some pretty convincing parts.
Please impact soundworks do more metal guitars with neck pickups as these are used in many solos. I must say your guitar sounds exactly like a real guitar.
I’d love to have a detailed overview of how to make / master all the various articulations. i’m not a guitarist… i’m kind of a drummer… you touched on bends on the video here, but would be great to have all the a comprehensive overview … how much to overlap notes for various legato, how long to make the notes for various effects, etc. etc. not sure all what it should cover, but i don’t yet ‘get it’ .. mostly because i keep running into questions that seems to be lack of resources for answers. a ‘technique course for Shreddage 3’ i guess is what i’m after.
That's the thing about being a guitarist, you aren't limited in your playing. If you want to bend a note 3/4 of a whole step, (A La Tony Iommi) you can. Your only limitation is your skill with the instrument. So, my advice is to just experiment until you find what sounds authentic and what sounds fake. Just listen to some solos from famous guitarists and try to emulate that with the library.
It's really valuable to see your process - "dirtying up" the guitar is a useful technique to make it sound more authentic! You started very far ahead for a "from scratch" video, though - how's all of this set up, what ISW instruments/plugins are you using to get as good a sound out of it as possible? :)
There's not really any setup in Hydra itself - my one tweak was to the Slide articulation which I show at 4:52. Otherwise, it's default settings. For the amp, you can see I'm using our Shreddage Amp XTC plugin with some tweaks to the "Prince Plexi" preset. And as far as the guitar goes... that's it!
@@ImpactSoundworksLLC Spectacular :D Thank you for that extra information and these tutorial videos - it's amazing what you've been able to do with electronic instruments!
Hello, could you please direct me to the address of the instrument on which you do left-handed vibrato and treble. Video 4:30. I think it's better than using the wheel.
As FL Studio power users, I think you should help us, the normal "ordinary" users, to ask and insist to IMAGE-LINE to incorporate finally the possibility of marking, renaming, coloring the keys of the piano roll to indicate the keyswitches/articulations... I do not understand why something so simple (compared to other things), so useful, so necessary (how many use Kontakt or other articulation system) to guide us, to have a clearer visualization and a more comfortable compositional programming. Please IS, help us with this suggestion for FL STUDIO. Who's with me???
Big fan of Chrono Trigger myself! I'm not familiar with Hydra, how easily would the effect portions of these techniques be transferrable to other flavors of Shreddage 3?
These techniques will work for any guitar. I use Electric Mint as I find it much easier to use than Shreddage, and it's part of Komplete, and these techniques all apply.
@@richardjecooke8036 I have regular Shreddage 3 but not S3 Hydra, I was more wondering if there's some fundamental differences between, for example, making palm mutes happen using Hydra's interface vs S3 regular's interface or a different virtual guitar's interface like your Electric Mint, or if the primary difference between the different flavors of Shreddage 3 is mostly timbre/guitar sourcing and the interface is nearly identical otherwise. It's admittedly been a while since I even touched guitar music, and I haven't freed up enough disk space to download Shreddage 3 from my account to confirm what it looks like in Cakewalk.
@@apollolux So I've used only free Shreddage, but afaik from their manual for all their instruments the UI is identical - you can trigger palm mutes with your choice of velocity, keyswitches, or CC. Just not MIDI channel unfortunately.
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Shreddage 3 is amaising guitar library, nailed almost every aspect of the real deal. Rhythm guitars sounds perfect but lead melodies to this day have a synthetic giveaway vibrato. Not just Shreddage, every single vst have a same problem. It just sounds like modwheel, nowhere close to real vibrato. And as pro guitarists say "vibrato gives balls to the melody".
