Vir2 Instruments Acou6tics Manual User Manual

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SETUP

Simulation | Bad Strum Noises:
Bad strum notes are sustain notes which have been recorded with more

string buzz. They happen on a real guitar if a string isn’t fully pressed down,

which often occurs when fingering chords.

• Off: no bad strum notes.

• Lower | only on chord changes: lower amount of bad strum notes and they

occur only on chord changes.

• Low | only on chord changes: low amount of bad strum notes and they

occur only on chord changes

• High: high amount of bad strum notes.

• Higher: higher amount of bad strum notes.

Simulation | Double tracking:
If you want to do double tracking, load two instances of the same guitar,

then set one guitar to ‘

first Guitar’ and the other one to ‘Second Guitar’.

This helps to eliminate phasing between two instances of the same guitar.

Simulation | Sympathetic Resonance:
String instruments have a characteristic behavior called “Sympathetic

Resonance”. The string you plucked last will sound and its vibration will

make the other strings resonate as well. This results in an fuller tone and

sometimes adds a little disharmony, which is very characteristic for chord

playing on a guitar. You can set up the strength of the sympathetic

resonance between 0 and 100% here.

PLAYBAcK SEtUP | tIME
time | tremolo Speed:
You can set up the tremolo speed anywhere between quarter notes and

1/64 triplet notes.

time | Delay | Remove (pre-attack portion):
On a real guitar a lot of noise happens between hitting the string and

plucking it with the finger or the plectrum (for example a bit of scratching).

This noise hasn’t been trimmed from the samples because it adds a lot of

realism, however, it will add a bit of delay to the samples (maximum of

15ms). For real-time playing we suggest removing the pre-attack portion,

and for bouncing a track we suggest adding the maximum amount for more

realism.

time | Delay | Add | Pick (between noise and note):
On a real guitar a short ‘ping noise’ may occur when the plectrum is hitting

the string, for example, and there is a short delay between this ‘ping noise’

and the attack of the sample. You can set up this delay time here. For real-

time playing we suggest removing the delay completely, and for bouncing a

track we suggest adding the maximum amount of delay for more realism.

Note: also string slide noises occur in this time window, so they are much

more audible when you add more delay and they will sound much more

realistic.

time | Delay | Max | Strum (between note and noise):
On a real guitar the strum noises occur slightly after you picked a string,

because they happen when you move up or down from string to string with

your fingers or with your plectrum. This setting is the maximum amount of

delay time between the attack of the samples and the strum noise.

time | Release Note| fade out:
Set up the release note fade out time here. The longer the fade out time the

more the release sample will overlap with the next note. If you are playing a

very fast guitar part, you can try reducing it to about 50 or 60ms. If you are

playing a very slow part, you can try raising the delay time to 200ms or

more. The differences are very subtle, but for maximum realism it’s worth

experimenting with this setting.

time | Release Note | Delay compensation:
This is a very important setting since it affects the way the engine works

quite a bit. If you take a look at all the ‘time’ settings described above, you’ll

see that a lot of them add pre-delay to the engine. Per default, Acou6tics

compensates for this delay at the release of a note. So if you release a note,

the same amount delay is added before the release happens as it was

added before the note has been played back. That allows you to easily

adjust for the added delay in your sequencer (by adding a negative delay to

your track). The ‘

Delay compensation’ setting allows you do adjust the

engine to your needs. If you don’t like the way the delay feels at release you

can simply remove it. This however, makes it necessary to use the sustain

pedal much more often since the engine can’t detect overlapping notes

anymore.
• Off | Repetitions won’t connect automatically, need sustain pedal.
• Full | Compensate for pre-attack portion and delay between pick noise

and note.
• Pre-Attack | Compensate for pre-attack portion.
• Add Delay | Compensate for delay between pick noise and note.

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AcoU6tIcS PLAYBAcK SEtUP coNt’D

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