I see that plenty of developers are working on World sounds and brass and orchestras and forte pianos and clazbats and shemigs and the like, but is anyone looking at producing a high-quality classical guitar?
It seems like a glaring ommission from the repertoire. I understand that Pure Guitars have a nylon guitar, and the Zimmer vol 2 has a nylon guitar (and a weak-sounding flamenco?).
There are \'nylon guitars\' floating around all over the place - and they\'re very good, I\'m not complaining at all; but they don\'t sound like a classical guitar to me. They sound like someone with either a pick or some scratchy fingernails (or no fingernails at all) has \'plucked\' the strings.
Classical guitar \'plucking\' is not really plucking; it\'s more of a stroke across the string.
I read someone mentioning a Ramirez but I used to own a Ramirez and then a Martin Fleeson that was in a different league, but I tried a Fleta once that was just beyond belief.
How about a Fleta played by a proper classical guitarist? (There\'s no point trying to imitate it; it just won\'t sound right.)
You\'d need someone who can really play classical; someone who obsessively uses micro-abrasives on their nails to hone that perfect tone. Also, classical guitarists are so poor that it probably wouldn\'t cost you much to hire a world-renowned player (I\'d go for David Russel myself - if I knew how to do it and had the equipment - because his tone is so even.
Anyway, just a suggestion. It would be a hell of a lot easier than trying to satisfy the clamor for electric guitars (and then being criticized for not covering everything).
You took the words right out of my mouth, Z6. What\'s needed is a classical guitar played on a good guitar by a good classical guitarist, not a fingerpicker.
I\'ve got a good Contreras double-top guitar and a pretty good tone and technique. I also have an idea of how I\'d want sample it. I\'d certainly want to sample it all the way up the fretboard for each string. I\'d want to sample strokes at at least three different pluck points on each string (normal, closer to the fretboard, closer to the bridge), and of course free and rest stroke, and maybe even \"sideways slice\" strokes. Plus buffed strokes. Plus open string resonance. Yadda, yadda.
What I don\'t have is a noise-free recording environment (which is the answer to anyone who\'s wondering why don\'t I just record my classical guitar tracks \"live\"?), much knowledge of mike placement, or anything more than basic GSEdit programming skills.
But if somebody else were to offer such a program, I\'d buy it in a heartbeat.
May I suggest you check the \"Bossa\" demos of the \"Vintage Archtop Guitars,\" which are featured on our MP3 page of www.bardstownaudio.com
Pay particular attention to the rhythm accompaniment. The guitar accompaniment on these \"Bossa\" demos is the acoustic archtop guitar with \"thumb\' plucking. It is certainly not a \"clone\" of a nylon string classical guitar, but it sounds extremely nice in this musical application of \"Bossa\" rhythm, \"Charlie Byrd\" style.
I have experimented with other classical guitar samples doing this same sort of rhythm, and none of the others sound nearly as nice on this traditional classic \"bossa\" rhythm, as our sampled acoustic archtop guitar with thumb plucking.
Every classical guitar sample I have ever tried to use in this particular application, I have had to drastically pull the low ends down with EQ in order to make them half way usable, but still falling short of what I wanted to achieve, in terms of quality of sound and sitting properly in the mix.
With the acoustic archtop guitar \"thumb\" plucked samples in the \"vintage Guitars and Tenor Banjos\" giga CD collection, they sound wonderful, and sit perfectly in the mix without any EQ or any other processing.
All of Bardstown Audio\'s sampled instruments on the demo page of our web site are totally unprocessed, with the exception of a little reverb. What you hear is what you get.