The App also inherit most features of the desktop/plugin version. Most notably it has pitch bends, better velocity handling and a full stack of guitar effects and an amp sim with more Amp Cabinet responses than any other amp-sim app we know of. There is even a polyphonic tuner and an interactive chord wheel to assist with chord progressions, both free of charge.
You can, of course, also use the plug-in to process any previously recorded clean guitar parts into MIDI, though any recorded reverb, delay, modulation or distortion is likely to compromise the translation process. This seems to be the cleanest approach for working with synth sounds with a fast attack: record your guitar part as normal, insert MIDI Guitar 2, then create a new instrument track to record the MIDI data. For sounds with slower attacks you might prefer to hear the synth sounds as you play, in which case you can have the synth track active and recording as you play the guitar.
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MIDI Bass, which comes as a separate application and plug-in, is monophonic but has a very fast response. In essence it has the same feature set as the guitar version, except where that relates to polyphony. You could get the same results using a standard guitar and MIDI Guitar 2, but if you prefer to play bass parts from a bass guitar, this does a very tidy job.
Using your guitar as a midi controller is still not a mainstream idea amongst the guitar players, but guitar-to-MIDI software is becoming more popular and new technology is making them into powerful virtual instruments.
With Jam Origin MIDI Guitar 2, the time from when a note is played on the guitar to when a MIDI note is triggered is almost instant, you can even play fast lines with a good amount of accuracy.
You can simply think of controls inside a MIDI virtual instrument. But one of the modules that sets this apart is the MIDI Machines option, where you can control the modulators of the MIDI data that is being created with your guitar.
Another simple alternative is to record the MIDI data first by playing your guitar, then modify and replace it with any of your favorite virtual instrument software.
Another popular choice for guitar MIDI controller is Jammy (check out our full review here). The Jammy Guitar is much like the controller for Guitar Hero, except it is almost like the real guitar with up to 15 frets.
They are both amazing in what they do, but Jam Origin MIDI Guitar 2 is much more affordable, and you can use your own guitars which will usually result in a better performance from you, the player.
Therefore, Jam Origin MIDI Guitar 2 is great for guitarists who want to use their guitars to access MIDI from time to time, while the Jammy is a great investment for guitar players who frequently use MIDI for all their writing, recording, and practicing.
Today's guitar synths are direct descendants of 1970s devices from manufacturers (often in partnership) such as Hammond Innovex and Ovation, Ludwig, EMS, 360 Systems, Norlin Music and Maestro, Ampeg and Hagström, Arp, Roland Corporation and FujiGen (GR-500[6] and GR-300), New England Digital, Electro-Harmonix, Casio,[6] Terratec/Axon, Starr Labs, Ibanez, Holt Electro Acoustic Research, Zeta Systems, and Yamaha.
Though the term "MIDI guitar" is sometimes used as a synonym, MIDI is not the indispensable feature of guitar synthesizers, especially after advances in DSP technology. Software-based guitar synthesizers without any special pickups have appeared, featuring polyphonic audio recognition (recognizing polyphonic pitches of each string, and possibly able to distinguish combination of fret positions and strings).[7][8]
These components may be integrated into the instrument body or modularized in different ways. The hexaphonic pickup may be a separate component added to the guitar, or it may be built-in. Earlier guitar-synths required the musician to use a proprietary guitar with an integrated hexaphonic pickup.
Roland developed its GK series of hexaphonic drivers, consisting of a divided pickup and associated electronics (essentially a buffer preamp for each string signal). These were used in two ways, either with pickup and buffer module mountable to the guitar, or as a "GK-KIT" intended to be fitted into a guitar body by a luthier or manufacturer.
Godin and a few other guitar manufacturers have offered guitar models with an integrated "RMC hexaphonic pickup and preamp system" that is compatible with Roland devices. The RMC system uses piezo-crystal pickups built into the saddles of the guitar bridge, which conduct the vibrations of the strings as a signal that can be converted into a (13-pin) hexaphonic synth signal. This setup can be found in the xtSA and the LGX models.[9]
Usually, a cable connects the hexaphonic pickup to the converter. This allows the guitarist to be unencumbered by an on-board converter. However, several Casio models in the PG and MG product lines integrated the guitar, the hex pickup, and the converter as a single unit. Casio remains the only manufacturer to try this approach. The advantage of this arrangement is that a MIDI cable can be plugged directly into the guitar. Disadvantages include weight and the need for an external power supply.
In addition to these configurations, the converter may also be combined with a synthesizer. The earliest models[citation needed] were combination converter/synthesizers, and this type is still produced.[citation needed] As the early integrated models predated the MIDI standard, their components were not interchangeable; the guitarist's only option was to use whatever synthesizer came with the converter, and vice versa. By the 2000s (decade), however, all converter/synthesizers were MIDI-compatible, so any synthesizer with MIDI-input capability (the vast majority since the 1990s) can be used. Stand-alone converter units also drive synthesizers via MIDI.
Some systems consist of two separated parts, the guitar controller and the interface and sound module, where the former controls the latter (as in Roland instruments). One of the challenges of guitar synths is that not all performance techniques can be smoothly translated into MIDI and resulting sound. Harmonics, palm mutes, hammer-ons and pull-offs, and pick slides are not easily picked up by guitar synths, largely due to imperfect fretting technique; with the exception of harmonics and palm mutes, these techniques can be achieved with a concentrated effort to maintain good fretting. Similarly, the synthesizer portion of a system often lacks the variety of controls (sliders, faders, knobs) for synthesis parameters that are normally available on a standard keyboard synthesizer.
Nevertheless, controlling a synthesizer with a guitar has some advantages over a keyboard. More expansive chords are possible, and some intervals are easier to reach. As well, guitar synths provide access to sounds normally available only to keyboard players and percussionists. A guitar player could play a flute part using a sampled flute patch, or play percussion by triggering synth drum voices. By blending the regular electric guitar tone with synthesized sounds, a guitarist can create a hybrid timbre. The guitar synth also enables a guitarist with limited or no keyboard-playing skills to provide MIDI input into digital notation programs such as Sibelius, Finale or MuseScore.
Some manufacturers of guitar-synthesizers wanted to eliminate the tracking and latency problems associated with guitar-based systems, while retaining the expressiveness of the guitar. They achieved this, to some degree, by redesigning the instrument part of the human-machine interface so that it was better suited to driving a synthesizer.
The 1980s-era SynthAxe was a futuristic controller consisting of a fretboard attached to the body at an obtuse angle.[10] The fretboard strings were used to indicate pitch and sensed string bends. A separate, shorter set of strings were used for picking and strumming. These triggered the notes fretted on the fretboard's strings. It also featured trigger keys that could be used instead of the trigger strings. A whammy bar was assignable to any MIDI parameter. The SynthAxe was prohibitively expensive and therefore not widely used. Two of the most famous SynthAxe users are guitarist Allan Holdsworth and percussionist Roy "Futureman" Wooten of the jazz quartet Béla Fleck and the Flecktones. Wooten programmed his modified SynthAxe controller with a variety of drum kit and percussion sounds. The instrument was previously owned by jazz guitarist Lee Ritenour.
Yamaha originally entered the market with a guitar-like MIDI controller called the "G-10," considerably less expensive than the SynthAxe. The G-10 had two assignable knobs and an assignable whammy bar and it used six strings, all the same gauge (thickness), which sensed both right- and left-hand input. The fact that the strings were all of the same thickness made the instrument feel substantially different for a player, in contrast to the typical guitar, and may have hindered the instrument's acceptance.
Starr Labs' Ztar is one of the few remaining guitar-like controller product lines still in production. A Ztar differs significantly from the SynthAxe and Yamaha G-10 in that the "fretboard" is covered with keys, not strings. Keys in the same row can trigger notes at the same time. This has no analog on a real guitar. It would be as if a single string were polyphonic. A number of variations are available, including an instrument that uses strings for strumming or picking, to trigger notes, whereas the pitch of the notes is determined by the keys that cover what would be a "fretboard" in an ordinary, stringed guitar. Starr labs recently introduced the Z5S, a simpler and less expensive version of the Z6S. MIDI guitar controllers have regained popularity due to the Z6 model, possibly because of its usage by Rob Swire of Pendulum, who uses it on songs where he is required to perform vocals. 2ff7e9595c
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