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.
If not you may as well leave the guitar output switched off. For live use, setups saved in the stand-alone version can be recalled over MIDI, and parameters within the program can also be assigned to MIDI controllers. Significant changes have been made to the user interface since version 1, and the current version is also different in layout from earlier versions of MIDI Guitar 2. There are more sections and greater use of colour, though mouse-over prompts and a built-in help file make operation very straightforward.
The active MIDI and guitar audio sections are depicted by vertical coloured bars in the lower half of the window.
Clicking on these will open them to show the controls and, where applicable, a range of presets. The same menu gives you a view of the output waveform and access to a guitar tuner. In version 1, the next step was to set the Sensitivity control; in v2, this has been replaced by a noise gate that basically does the same job, setting the threshold below which MIDI conversion is not triggered.
The optimum setting depends on how hard and how cleanly you play, and also on your interface gain setting. In practice, I found the best way to set the gate threshold was to keep it as low as possible but not so low as to allow notes to retrigger when I lifted my fingers from the strings. As previously mentioned, it can also host third-party AU and VST plug-in instruments from this menu once they have been scanned by the system.
New, too, are numerous MIDI Machines: in effect, MIDI plug-ins that process the data on its way into the DAW, allowing you to transpose, set up arpeggiators, add bass notes, add vibrato, add sustain, add an auto harmony in the key of your choice, change the playing dynamics and so on.
Many of these functions will have counterparts in mainstream DAWs, but having them on board makes it possible to use the stand-alone MIDI Guitar 2 for live performance without needing to run a DAW at all. For controlling playing dynamics, three rotary controls add MIDI Gain velocity , MIDI Tone tilts the high-to-low note sensitivity in either direction or Curve, which sets the MIDI dynamic range, with the note level becoming more constant as you turn the control clockwise.
You can also call up numerous Legato modes with various times of added sustain, plus an infinite sustain option. MIDI pitch-bend can be set to 1, 2, 4, 6 or 12 semitones to match your needs and those of the synth you are controlling, or switched off if you want authentic piano or organ sounds.
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