Chris Hein Guitars

Expect The Unexpected

Though it says “guitars” in the title, Chris Hein Guitars is actually a collection six different sampled instruments that include an e guitar (in three styles) a jazz guitar, a sampled acoustic, a nylon stringed guitar, a banjo, and a mandolin. The details are in the sampling of this great product that provides arguably the most detailed level of sampling available. The nearly 18-gigabyte library all comes together with Chris Hein’s ingenious scripting using the Kontakt 2 player.

For the most expressive performances, CHG includes an incredible array of over twenty keyswitched articulations including slides, pickups, bends, mutes, pull off and hammer on notes, as well as flageolet playing - just to list a few. Additionally, there is a full-range of articulations that control the strumming aspect of CHG as well (more below). There’s an impressive set of sonic tools for both shaping sound and controlling instrumental characteristics. The end result is a completely authentic performance where things like squeaks, strum variations, stop noises, and attack and release notes can all be controlled dynamically. Combined with chord modes and strumming capabilities, CHG’ instruments can handle almost any playing style.

The bottom line is an incredible degree of realism from CHG’s instruments, with no two performances (or notes!) ever sounding the same. As I explain, however, it does take a little effort to learn your way around, and real-time performances often need some MIDI editing later as well. So then, let’s take a closer look.

Guitar 101 For Keyboardists

As a keyboard player, the essential appeal of CHG for me is that I can create an incredibly expressive performance without it succumbing to the “keyboard player emulates a guitar” sound. This is perhaps most evident in the way that CHG handles chords, particularly in conjunction with its strumming capabilities.

Basically, one chord mode allows for playing (and strumming) user-defined chords in real time. Another mode allows chords to be automatically detected (and voiced) as they would on a guitar. To demystify how a “real guitarist” might voice a chord, for example, CHG can analyze any chord, triggering only those strings the guitar would actually play (sounding six strings or less). Too many lower notes in the left hand, for example, are ignored, and CHG reassigns these to the appropriate guitar strings to match the intended chord. It’s a strange feeling at first to hear a different voicing from that which your hands are playing, but it’s completely logical and convincing at the same time.

CHG can also be configured to detect chords by triggering a single note (minor chords being formed by adding the second note of the triad). This is particularly useful when assigning various strumming patterns with the right hand, hence allowing the left hand to alternate between strummed chords and articulated melodies fairly quickly. As I’ve discovered, these various combinations of chord modes and strumming capabilities provide the framework when very specific chord and strumming styles are needed, yet at the same time, CHG allows for a degree of experimentation for coming up with some really unique sounds as well. Sometimes the experimental results aren’t necessarily “natural,” but they are pretty cool, nevertheless.

Strumming

Strumming really completes the picture in terms of how a chord is handled, with each instrument containing its own unique articulations. These articulations are triggered in the upper octaves and include up and down strums (both sustained and short), up and down variations of dead notes, hammer-on, pull-off, and great sounding slides for those electric and jazz passes. At first I was skeptical about the use of anything that would reinterpret my own chords, let alone strum itself, but those doubts were quickly assuaged when put to practical use.

The relationship between the chord modes and how CHG handles strumming is essential. These are not “static” patches of sampled chords, but via scripting in Kontakt 2, single notes are “layered” in real time. Since the user’s own chords can also be triggered, it’s possible to strum ten-note chords, if so desired! For more authenticity, the string count for any given chord can also be randomized, resulting in a more natural fluctuation between strums. The showstopper for me was the ability to mix these chording and strumming techniques (via a keyswitch), and hence move in and out of these modes at will.

A Whole Lot Going On

It took me a little while to get used to these different “modes” of triggering chords, and I’m still working my way through the various articulated strums using the single key approach (a little disconcerting at first). With so many options, CHG poses a bit of a learning curve, though at the same time, I found that “dialing in” a few basic settings were often sufficient for adding just enough incidental characteristics (like the fall and/or rattle of an acoustic, or feedback to the e guitar). Randomization allows the instrument to be constantly effected by these changes, effectively eliminating any sample redundancy. I found these settings not only convincing, but also essential for achieving a higher level of natural playing.

While there are plenty of articulations and special effects I could describe (reverb, EQ, chorus, delay, and a flanger are all included), one performance feature worth mentioning is the to ability vary the sound between the center and the bridge of an instrument. Dialing in a degree of randomization causes the samples to “shift,” as it were, effectively producing an incidental and authentic sense of the right hand in constant motion between the center and bridge positions. Additionally, expression can be used (via a foot pedal or other controller) to shift the tone of the strings toward pinch harmonics, depending on the instrument. I found that even just a little expression, applied rhythmically, gave the instrument its edge. Variations like these - thought out ahead of time -reward the player with the most natural performance.

The Real Magic

I’m absolutely wild about the e guitars and jazz guitar in CHG, but for me, being able to coax more subtle passages from both the steel and nylon guitars was the real test. I focused primarily on a phrase where the nylon moved effortlessly between a melody of various articulations, and slowly strummed chords. While there are specific ways to get the results I was looking for (and Chris Hein recommended some of these to me), I also found that by manipulating MIDI notes in the editor (using chord mode one), I could create some subtle nuances with more “incidental” notes working in conjunction with the chord mode. Quite frankly, the learning curve is such that I often found it more satisfying to simply experiment between all these modes and articulations, referring to the manual when I just couldn’t figure something out. Video demos on the Chris Hein website (also included with the install disks) provide some excellent examples of his techniques in action.

Getting A Handle On It

Having just reviewed another product of wind instruments that utilizes a highly intuitive and expressive approach to triggering samples, I found CHG to be a bit more linear at times. But then again, we are talking an arguably more complex set of instruments. There is a distinct sense of “constructing” performances here, and the user has to decide which controls to apply - and to what playing styles - with the probability of editing in MIDI afterwards. This is not a bad thing, but I found that I just simply was not proficient enough to get all the desired nuances and changes in real-time, hence having to draw in some things later.

When you ponder that the left hand can trigger up to twenty-one different articulations and/or modes, and that additionally, the right hand (when playing chords with the left hand in chord mode) can trigger nearly nineteen different articulations, its easy to see how involved this can become. This doesn’t even include the effects. How do you drive this thing?

The most practical advice is to choose one of the many instrumental patches, already configured for limited articulations or smaller sample size (more on this below). I have no doubt that as I use CHG more, many of the articulations will become second nature, and I’ve already “settled in” to some preferred articulations that match my musical style. Incidentally, I found it helpful to photocopy the articulation chart from the manual - along with the MIDI controller overview - for reference purposes. I would also add that the included video tutorials are invaluable to the learning process.

When Less Is More

I’ve mostly described CHG in terms of loading up the full-range, full-velocity set of samples, whereby every possible articulation and strum is made available in one patch. Obviously, this is not warranted for every playing style, and hence the subset patches are really the way to go. These numerous banks include predefined functions, limited sample layers and articulations, fixed mic positions (you can choose either the center position or bridge, for example), as well as fingered and plectrum variations for the electric and jazz guitars. There are a wide range of choices for just about any need, and I found that many of these were great for laying down simple, yet very expressive melodies.

Of course some of these instrument sets are inherently easier on RAM as well, particularly as the load time for the full instrumental samples is quite considerable (using a G5 dual 2.3 with 2.5 gigs).

My copy of CHG also shipped with a fourth disk that included some “add-ons,” indicative of Chris Hein’s commitment to be constantly updating and improving his efforts – and hence avoiding creative downtime for the musician. Incidentally, these amended files showed up with certain instruments as a “separate” though linked bank in Kontakt 2 (release samples, etc). Chris Hein also sent me some beta files for the e guitars while writing this review. Clearly Chris is committed in making his Guitars “the best,” and is extremely responsive to inquiries and suggestions. It’s great to have an actual person so committed to their product.

It’s Acoustic

As for the sound quality, I found the steel guitar to be very expressive, with the character of the sampled Martin being apparent. It’s a bright, rich sound, but not overly bright. It’s perhaps my favorite of the four acoustic instruments in terms of tonality. It’s addicting to play while applying chords /strumming, and works well with just about every genre I tried it with. Moreover, I found the sustained notes to be so expressive, that I had to remind myself of the plethora of articulations still waiting to be used!

The nylon, which I am partial to in real-life, seemed a bit more generic to me at first, though still pleasant. Like many sampled instruments, a slight adjustment to the EQ gave me just the sound I wanted. Similarly, adjustments to the attack and release provided the control I was looking for as well. And this is one important point to make when using CHG: Anyone used to “out of the box” samples with more deliberate effects and/or EQ already applied, should also know that CHG is really designed for its instruments to be shaped by the user.

As for performance, this is the first nylon guitar I’ve used where velocity layering was suitable for very quiet passages. In fact, velocity impacts the overall expression, making this guitar well suited for transitioning from softer, lyrical passages, to more aggressive movements. The vibrato control is astounding when applied to legato playing, making this instrument total bliss.

The banjo is a lot of fun, though a bit perplexing as it seemed more sonically fixed for certain styles (CHG includes some great MIDI demos of this and the other instruments, by the way). For me, there was more of a sense of having to adapt to the instrument, particularly when finger picking slower passages. Some of the arching, slightly “off” lower notes (indicative of looser strings on some models), were meant to give this particular instrument it’s “flavor,” though I found this authenticity a little difficult to work with (go figure). The banjo seemed a little more stylized in this respect, though I have no doubt these same qualities will be appealing, if not endearing, for many users.

The mandolin is really good, though I preferred to add a little brightness with EQ. It’s a very pleasing instrument, void of that overly “plinky” sound on sustained notes. One outstanding feature that sets this mandolin apart from other libraries is the ability to move in and out of tremolo with an assigned knob. This feature “blends” beautifully, eliminating that abrupt quality while keyswitching from sustain to tremolo.

It’s Electric

The electric aspect of CHG is just simply outstanding. I am completely blown away with both of these guitars. The e guitar, which is actually comprised of three distinct genres – an unprocessed or “clean” version, a chorus, and a blues guitar - are each distinct (the electric pickups as well as the amplified qualities sound terrific). Moreover, the ability to quickly transition (and blend) between amplification and the pick-up is just brilliant. This instrument can be both subtle and brash, with a great, clean sound. The fingered e guitar, in particular, was just plain inspiring when working through the keyswitches. This instrument is at home for both rock and blues styles.

I was equally enamored with the Jazz Guitar (sampled Ibanez - George Benson model), which is incredibly rounded and silky, with a mellow tone. One really nice feature is the ability to blend between the electric and the acoustic signal. Moreover, “dialing in” a setting for the fall of the string release, as well as adjusting other characteristics, takes this instrument over the top. CHG provides both plectrum and fingered patches for this guitar (I’m partial to the fingered version), and like the e guitars, I found the articulations to be effortless and smooth while moving between keyswitches. Incidentally, these guitars (electric and acoustic) provide a setting for choosing either harmonic or strict bass settings.

All of these had me literally drooling when hooking up to Guitar Rig 2. Quite frankly, this is a marriage made in heaven, and CHG includes a demo version of Guitar Rig 2 just to prove it. Technically, I found the e guitars (and jazz) more “forgiving” when strumming, compared to the acoustic, particularly as they just come alive with very little effort. While I confess to being an acoustically centered musician, I have to say the electric and jazz guitars really wowed me in terms of their highly responsive nature when playing from a keyboard.

In Conclusion

Chris Hein Guitars is one of those products that just instantly became an essential part of my studio, pretty much like a row of stringed instruments just waiting to be played. This product is great not only for its range of instruments, but for its completely versatile way of playing. There’s not a whole lot more you could want - The sampling and ingenious scripting work together seamlessly so that nearly everything has been accounted for in achieving a dynamic and expressive virtual instrument performance - from the most subtle nuance to the most screaming lead - it’s all here. Yes, it’s a little bit tricky to master, but it’s worth the effort. This is not only an ultimate solution for keyboard players, I can easily imagine that many recording guitarists would could benefit from this as part of their collection as well.

Greg Paxton is director of the mixlab, a Bay Area media arts program for teens. www.mixlab.com

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