ha, that's a question with as many answers as there are drops of water in the ocean... Almost every song by every band you listed would have a different "guitar sound". More time is spent in the studio 'getting the guitar sound', it almost rivals the amount of time spent "getting the drum sound"!

Again, one of my "go to" favorite libraries for guitar (and bass) sounds is Dave Polich's "Axxe". Just for the sheer variety of guitars and the useful programming approach that allows unique performing techniques (two-handed play on a split keyboard). And in a similar way to Tone Wheel Organ sounds, much of the 'guitar sound" is the stuff you program around it and then how you perform it.

Of interest in the Factory Set:
"8 Amps and TC" - which is 8 Amplifiers setups on a Telecaster... It is a "gallery".
Play the audition phrase and you'll get a little bit on each of eight different Tele sounds... one per SCENE.
Each PART is a different Telecaster treatment... with different assortment of parameters on the AssignKnob assignments when accessing a particular treatment.

Again, one of my "go to" favorite libraries for guitar (and bass) sounds is Dave Polich's "Axxe". Just for the sheer variety of guitars and the useful programming approach that allows unique performing techniques (two-handed play on a split keyboard). And in a similar way to Tone Wheel Organ sounds, much of the 'guitar sound" is the stuff you program around it and then how you perform it.

Thanks, I'll definitely check that one out starting with the Audition!

I will also check a variety of others out for ideas/options for programming the sound, or maybe just for tweaking the one that seems to fits best for a particular song.

Of interest in the Factory Set:
"8 Amps and TC" - which is 8 Amplifiers setups on a Telecaster... It is a "gallery".
Play the audition phrase and you'll get a little bit on each of eight different Tele sounds... one per SCENE.

I'll also check that out.

I went through some of the guitar Presets several weeks ago and marked some as Favorites, not necessarily for the guitar distortion/overdrive sound, but more for the programming, effects, elements that appealed to me, etc. I liked one in how it would squeal into feedback. Would be good for a solo guitar sound; however if I set that feature so that it is triggered via Aftertouch, then I could potentially use it as both crunch rhythm and solo, changing the effects via different scenes possibly or Assgn buttons!?

What I am really looking for is a distortion/overdrive effect & setting that is closest to some of the guitars in the 80's, especially when I set it with "no delay" or little reverb effect on for doing crunch rhythm! I've found it's easier to find a solo sound because with the right effects and programming, they can shine more easily. But getting a crunch rhythm sound that can also do muted chords, that sounds like an 80's crunch rhythm is much more difficult, because the distortion/overdrive has to be just right, and with no delay(in most cases)... I definitely don't want it sounding alternative or grungy!

I've gotten accustomed to the old set that was available in the Motif ES - so I'll usually gravitate towards those vs. the newer "TC" set. There were really always a ton of guitar options with Yamaha keyboards - so it takes a while to run through them. Many will end up sounding similar so it helps to have the auditory equivalent of smelling coffee beans between each.

We're focusing on different genres - so the ones I use don't really directly help you. Even though I dip into the 80s - the guitars from the 80s I try to mimic do have delay and reverb often as a component. Every single preset you can turn delay and reverb completely off (or down considerably) - if that's what you want. I don't have the axxe set and also generally do not do a lot of "tweaking" with the guitar sounds since there are so many presets that generally work.

Also, if you're going to be running mono at the gig - be sure to listen to the guitars with the gig-like setup in your studio. I have stereo in the studio and the guitars sound "wildly" different with stereo. Some guitars I pick and use in mono I would not use in stereo since the sound gets too "far out" of what I'm after in stereo. Vice-versa is the same too. If the gig you're using stereo - make sure you're listening to the guitars in stereo in your studio.

I have purchased the AXXE library for my MOX and loved it. where can I purchase libraries from Dave Polich for my MODX. in one of the youtube posts with Dave Polich, he states that he has been working with the Montage, which will be the same for the MODX.

I have purchased the AXXE library for my MOX and loved it. where can I purchase libraries from Dave Polich for my MODX. in one of the youtube posts with Dave Polich, he states that he has been working with the Montage, which will be the same for the MODX.

Yeah, Dave Polich was on the voicing team for the Montage, which means some of the presets are likely his programming. Also you might be able to obtain the Motif version of the AXXE library which will load into the Montage/MODX...can't hurt to ask them.

a couple of days ago I wrote to Dave Polich on his website DCP productions, no response yet. any other help from anyonbe would be greatly appreciated.

I have purchased the AXXE library for my MOX and loved it. where can I purchase libraries from Dave Polich for my MODX. in one of the youtube posts with Dave Polich, he states that he has been working with the Montage, which will be the same for the MODX.

One place is YamahaMusicSoft

I am familiar with yamahamusicsoft.com. I am still interested in purchasing libraries from playkez and DCP productions, Dave Polich. I have posted on Dave's website about a week ago but have not received a reply. I will post again today. I have read that you can transfer libraries from MOXF and not the MOX which I presently own. I think I have also read that you would have to get the Melas software to load the libraries from MOX. is there any simple way to load MOX libraries into the MODX as I am not very good at using the computer, to put it mildly. I,m guessing that Bad Mister would personally know Dave Polich and how to reach him......thanx...….Larry

So I think I've found a decent distortion/overdrive effect/setting for 80's hair band crunch rhythm; however I've noticed that no matter what clean 'electric guitar' waveform/elements I use, nor what distortion/overdrive effect/settings I set, when hitting simple 3 note rock/bar chords (i.e. C2-G2-C3) it is not always smooth and there are varying waves that can be heard, almost like the strings are not perfectly in tune. So I tried various clean electric guitars without any distortion and I can hear the same thing with varying waves, but sometimes none at all (but to a lesser degree, as distortion amplifies the issue).
Is there an EQ, compression or something I need to apply as an effect first to avoid this issue? Is it maybe because the clean electric guitar samples were not sampled directly from a guitar 1/4" output, but instead from mic'ing the amp..!? If this might be the issue, whereby the waveform sound samples are from an already mic'd amp, that we are then applying distortion affects & possibly amplification to an already mic'd amp sound, thereby causing random waves in guitar chords?
If yes, then it begs the question, are there any guitar elements/waveforms on the Montage/MODX that were sampled directly from the guitar's 1/4" output jack, as opposed to from a mic'd amp?

Is there an EQ, compression or something I need to apply as an effect first to avoid this issue? Is it maybe because the clean electric guitar samples were not sampled directly from a guitar 1/4" output, but instead from mic'ing the amp..!? If this might be the issue, whereby the waveform sound samples are from an already mic'd amp, that we are then applying distortion affects & possibly amplification to an already mic'd amp sound, thereby causing random waves in guitar chords?

You, fortunately, can determine whether or not you’re using a sample of a guitar recorded direct or a guitar sampled already through an amp mic’d, and whether the sample has distortion applied, or not, prior to your current processing.

Learn to isolate the components within your program with the Part Solo function and then with the Element Solo function. This way you can know exactly what you’re dealing with. Among the 6,347 Waveforms are all manner of sampled sound sources... and in this engine you can “look it up”. You will find guitar Waveforms already distorted before any effects, you will find clean direct guitar samples, that you can process completely and everything in between. The Waveform names are fairly descriptive and not too cryptic.... words like “Distortion”, “Clean”, “Amp”, etc., give decent clues... and using the solo buttons and the FX Bypass you can truly isolate the source Waveform (you’ll discover sometimes the guitar sound is mostly processing of a very small thin source, sometimes the Waveform is already dressed up quite a bit.
When editing, Select an Element, 1-8 and touch “Osc/Tune” to see the Waveform screen

Overdrive can be achieved within the signal path of each Element. You can follow it through the Routing and truly understand how it gets to the destination Output.

Hint: if you were programming “from scratch” you would have selected the Waveform based on your intended goal. If you start with someone else’s decision about the source wave, and you are inheriting their choice, you probably owe it to yourself to go and take a look/listen to their raw selection, then study “how they built the program” — then (and only then) can you make informed decisions that will potentially lead you to your goal.

Solo the Part in question
Once inside the Part, use the Solo function to review each individual Element’s contribution to the final results.
This will entail exploring when each is programmed to sound (often velocity and note ranges limits come into play, some times it’s this plus AsSwitches or the position of an AsgnKnob or the Super Knob). As you explore you will learn or at least begin to scratch your head about using alternate methods to accomplish the task as will best serve your own goal (versus whatever the original programmer’s goal).

At first it seems like too many places to look... but it is really not. You can view an AWM2 Parts Element Limits all together.
Press [EDIT] and *select* the Part in question
Along the bottom of the screen is access to Elem1-Elem8, and All. The “All” view can give you an idea about not only Note Range and Velocity Range of the Elements, but what the XA CONTROL status is... actually, to a great extent *when* an Element will sound can be determined here.

Another place to look is the Control Assign matrix for this Part... “Mod/Control” > “Control Assign”
Here physical controllers (Source) can be applied a parameter (Destination)... some of the parameter Destination include setting up conditions for an Element to have to satisfy in order to sound. For example, Filter Cutoff and Resonance is a per Element function as each Element has its own Filter, complete with an entire panel of controls. In extremely detailed programming, control of an individual Element’s filter can create a noise or feedback result. The engine allows creative, sonically invisible methods of morphing one sound condition to another.

Artful control over Guitar feedback would be considered in the “wheelhouse” of the Motion Control Synthesis Engine!
Getting a good chunky three note guitar chord C2-G2-C3, is easy enough, but where (which direction) do you want to take it from there... do you need to transition this into a singing lead with feedback, or do you need it to morph into a more rhythm guitar vibe?

Explore some of the programming in the factory (just as ideas about approach). “8 Amps and a TC” is a good study... it’s a “gallery” one instrument, multiple treatments of that one instrument... In this case, a Telecaster guitar with eight completely different amp setups and effects. Each selectable via a SCENE 1-8.

Use this as a “study”... simply for how different amps and effects take the sound in different directions. Borrow the stuff you like as you learn about it. I find I can learn from almost any programming, both those I like and even those that don’t. I may discover something I can use in another situation.

You, fortunately, can determine whether or not you’re using a sample of a guitar recorded direct or a guitar sampled already through an amp mic’d, and whether the sample has distortion applied or not prior to your selected processing.

Learn to isolate the components within your program with the Part Solo function and then with the Element Solo function. This way you can know what you’re dealing with. Among the 6,347 Waveforms are all manner of sampled sound sources... and in this engine you can “look it up”. You will find guitar Waveforms already distorted before any effects, you will find clean direct guitar samples, that you can process completely and everything in between. The Waveform names are fairly descriptive and not to cryptic.... words like “Distortion”, “Clean”, “Amp”, etc., give decent clues...

Ok, so I have been doing what you recommend above. I've basically stripped a Performance PART down to 1 element with no effects or anything else that might affect the waveform. Then I am applying distortion. I have been disabling all elements of that PART except for 1, and I have been doing searches for guitar sounds avoiding any that have "Distortion" in the name, and mostly ones that say "Clean" or "Cln"; however those ones sound like they may have still been sampled through an Amp. Are there any electric guitar waveforms that you know have been sampled directly from the guitar?

Hi --

I spent some time diving into MODX (and Genos) electric guitars when I was trying to emulate typical 80s Ian Bairnson tone. Here are some blog posts that might help:

http://sandsoftwaresound.net/single-coil-double-coil/
http://sandsoftwaresound.net/which-guitar-is-which/

For metal, I'd concentrate on dual coil first, not Tele. Since tone is in the ear of the beholder, it's difficult to point to a particular candidate.

Hope this helps -- pj

Music technology blog: http://sandsoftwaresound.net/

I spent some time diving into MODX (and Genos) electric guitars when I was trying to emulate typical 80s Ian Bairnson tone. Here are some blog posts that might help:

http://sandsoftwaresound.net/single-coil-double-coil/
http://sandsoftwaresound.net/which-guitar-is-which/

For metal, I'd concentrate on dual coil first, not Tele. Since tone is in the ear of the beholder, it's difficult to point to a particular candidate.

Thanks, very interesting.
The waveforms I was using mostly so far have been the 'TC Cln Pick *', so I'll definitely have to work with the '60s Clean *' more.

Like I mentioned, even when playing waveforms (1 element) with no effects/no control asssigns, hitting simple 3 note rock/bar chords (i.e. C2-G2-C3), it is not always smooth and there are varying waves that can be heard (at times), almost like the strings are not perfectly in tune. I can hear varying waves & sometimes none at all (although distortion effects brings the issue out more...easier to hear the waves). It's very inconsistent.

Maybe it's because I am using the single coil pickup guitars!? Are the single coil pickups known for not having consistently smooth bar chords without any waves & sounding a bit out of tune at times(waves), and maybe double coil pickups are not..?

And so I am wondering if all the waveform samples on the Montage/MODX were (or were not) sampled from either the output of a clean amp or a mic'd amp? None of them appear to be sampled directly from a guitars' 1/4 output jack itself..!? If my theory is correct about the waveforms, then when using then adding an effect amp & distortion would basically be like taking the output of 1 amp into the input of another (or having the mic cord off one amp plug into another amp)...

I'm just trying to find a way to make bar chords clean with no 'random' waves like you can hear in this song:

https://www.youtube.com/watch?v=oxSuL3APs4U

This is the rock guitar rhythm sound & quality I am looking to replicate. About every 3rd time I hit any particular bar chord on the Montage, it is clean & wave free like the recording in that video; however the rest of the time of hear varying degrees of waves and it's not perfectly clean or in-tune sounding...

*I'd also be curious if anyone has tried to get that same kind of 'rhythm' sound, what guitars & distortion/amp effects/settings did you use. Or if you are familiar with the Yamaha guitar waveforms & distortion/amp effects, what waveforms/distortion effects settings on the Montage/MODX do you hear in that sound or that you think might be good options to try in getting that sound?

So just a quick update. After comparing the 'TC Cln Pick *' single coil to '60s Clean *' double/dual coil, in the end the 'TC Cln Pick *' is the one that sounds right for the 80's rock/metal rhythm that I was looking for. I could definitely here that the '60s Clean *' will be better for certain guitars, like in Journey songs (Neal Schon), but for others the 'TC Cln Pick *' samples are definitely the closest...