i am talking of acoutic guitar and first of just strummin chords.
no tapping and artistic fingerbreaking play, just all the common chords plus special like added 9th on top etc, but just root chords played in the first three frets with upstroke, downstroke etc.
i didn\'t say that there would be no work, but as a studio guitarist or with a superperfect producer during sessions i know that i am used to the drama, how much hours i have to record and play [img]/ubbthreads/images/graemlins/smile.gif[/img])
I think there\'s room, especially if you do it well.
The problem with most of the strummed libraries to date is that they\'ve got the basics very well covered, but they tend to have \"too many notes\" per chord. Which is fine, except that precious few sus-type voicings, or two/three note chords are included.
So you end up programming chord-chord-chord-chord...for every key change, instead of being able to bridge over several changes with the same voicing (or minor variant thereof).
For instance, I still really like Acoustic Essentials best of all the \"strum libraries\" because it includes two sus voicings per key center. Just being able to bridge over a few changes makes all the difference in the final product. It takes the \"reek\" off the sampled part.
That would be my input. I\'d also suggest using a stand, so that you don\'t get any imaging shifts between chords. A bit more awkward, for sure, but it\'s nice for the guitar to sit still instead of moving around. Granted, most studio players don\'t use stands when they record, but then again, most recorded parts don\'t get chopped up in their component parts and triggered randomly either.
One other thing that i have found these libraries to lack (when i listen to demos, i\'ve never used one since i have the chops) -- there is no sympathetic ring -- this is so important to capturing that natural sound .... for instance going from a first position root C chord to a G, creates a much different \'ring\' than going from the same C to a root position A in second poisition ... the variable are limitless --- and of course , a majority of this is the intonation of the guitar, the accuracy of the top (which is tuned, as you may know) .... etc, etc ...
I have always thought that a good strummed library could be achieved by the use of performance elements (loops) and then chopped/morphed with software such as Intakt or Recycle. There is just too much chance involved in guitar performance, and all attempts at a library will sound artificial unless that \'chance\' is considered.
you helped me a lot here and i spent some time on the net to find libraries which have just shitloads of chords, so i will probably get my  up and record one of those, because i know there are so many songwriters, which are on the road and just want to listen to a song with just guitar to practice some vocals or listening to a basic structure of a song.
my goal is not to record licks or my feel of playing, i want to just record chords with different velocities and up and down strokes. also it would be necessary to record monofiles and have the same chordset again for doubling reason.
it is usual that the recorded guitar will be doubled during the session, but i am sure everybody knows that [img]/ubbthreads/images/graemlins/smile.gif[/img] so you get this very wide sound.
also i find that other libs just take care about, the more optional guitars they have, the better it is. of course it is nice to have several guitars, but wouldnt it be cooler to just have ONE really good sounding basic guitar and a really wide spectrum of chords and sounds ??
I\'ve been interested in this thread because I have been considering doing an acoustic strum library myself.
I haven\'t heard any really good sample sets out there. Acoustic Essentials is said to be good, but I\'ve only heard two demos.
Your idea of a double set is good; not only for the pan left and right usage, but also to help diminish the machine gun effect on quickly repeated staccato chords.
While it is of course it is great to have all the necessary chords, and variations, it seems to me most important to get the right articulations to be able to reproduce different strumming patterns. I\'m thinking of a medium speed strum, a quicker, more aggressive strum, a staccato damped strum, a full up strum, a last two string up strum, etc. Also maybe a set of solo wound string notes to form runs with.
Bruce\'s idea of triads and two-note chords is of course great, but for my purposes I\'d try to use the single notes (in combination) for that, especially for passing chords.
Gotta start with that great ringing acoustic sound! Anybody got a Brazilian Rosewood 50\'s Martin they want to lend???? [img]/ubbthreads/images/graemlins/laugh.gif[/img]
i am thinking about including the stops and aggressive stuff, but i just want to concentrate most on the different chord sounds.
everybody knows the typical porgression: Asus4, Amaj, Asus9 (or Asus2) and back to Amaj...
i want to get all the colours, also Amajadd9 and things like that.
and most important will be also bassnote variations, so to have an Asus9, with an F# as the root etc, which would be basically and F#min11 etc etc.
things like that, to integrate all the techniques but basically concentrated on the beautiful sounds and variations. because a strum can\'t be programmed by just 6 singlenotes. it just sounds different [img]/ubbthreads/images/graemlins/smile.gif[/img]