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1. Horus – more of a mix between a string machine and a poly synth, as opposed to a dedicated free strings VST plugin. It comes with 64 voices, 4 oscillators, chorus, phaser, and various filters. For the price of $0, it's a gem! DSK Strings – interesting and a lot more visual strings VST plugin that you can download for free. Once again, DSK.
2. Synthphonica Strings is a virtual ensemble of strings consisting of sections conformed by violin, viola, cello and double bass, which can also be played as as solo instruments. It includes sampled articulations like staccato, marcato, spiccato and legato as well as bowing techniques such as pizzicato and tremolo. Available in VST.
3. Best Free Amp Simulator VST Traditionally used to emulate that vintage guitar sound that is unique to some old school amps, amp simulators can also be used with other instruments to achieve a unique sound. Below are our favorite free amp sim vsts. Blue Cat’s and Voxengo’s free amp simulators are some of the highlights.

Chicago-based percussionist and composer Glenn Kotche has been called one of the most exciting, creative and promising composers and performers in modern music, having been singled out for attention by the Chicago Tribune for his “unfailing taste, technique and discipline”.

Alongside a busy schedule as drummer for the band Wilco, he has recently launched his second solo album Adventureland on Canteloupe Records, a collaboration with the award winning string ensemble Kronos Quartet. The Quartet has played with everyone from The National to Allen Ginsberg, and had many hundreds of compositions written for them by composers as luminary as Henryk Gorecki and Steve Reich. Kotche has made all seven channels of their collaborative piece “Anomaly” available in a ready-to-go Ableton Live Set, via blend.io, the online platform for sharing and collaborating on music projects.

Stems from “Anomaly” are adapted to a warped, synced and ready to play session by Ableton Certified Trainer Josh Hogan. Kotche caught up with Hogan recently to discuss the “Anomaly” project. Together they unpack the challenges of working with strings, lend tips on how to construct complex polyrhythms and raise the question: why would you give away immaculately recorded files from one of the world’s leading string quartets?

I've read that you took a very 'percussionist' approach to writing the string music in “Anomaly”, and percussion makes an obvious connection with rhythm and texture. I'm wondering what your approach to harmony and tonality was?

I do a lot of writing from behind the drumset so the form, rhythm and overall architecture of the piece are realized there. Then I need to fill that skeleton in with pitches and harmony and more traditional musical elements. This usually begins by chance; maybe I'll begin with the tuning of whatever kalimba I have plugged in at the kit, or perhaps I'll go through some of the rhythms on the vibraphone, celeste or piano to flush out the tonality that fits best via trial and error. I've rarely gone into writing a piece of music knowing that I want it in a certain key with the harmony unfolding in a specific way. For example, on “Anomaly Mvt. 2” I believe the pitches I began with were based on the tuning of the drums that I was writing on.

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Did the percussion-strings relationship work in reverse also? Did the musicality of the strings have an effect on your percussion playing?

Yes. The tuning of the drums, the implements I use and the sound choices are all influenced by the timbre of the strings. I used a lot of dampening on the drums so they wouldn’t be too ‘open’ with lots of overtones getting in the way of the string parts for instance and to better blend with the pizzicato parts. I used mallets as opposed to sticks in several sections - again to be more sympathetic to the acoustic volume limitations of the strings. I stayed away from using a lot of cymbals - again to retain some control of the sound. I left the snares off for much of the suite so the snare drum wouldn't pop out from the rest of the music too much. These are a few of the many considerations anyone would have to make when playing drums with a string quartet.

You've generously put “Anomaly” up on blend.io for Ableton Live users to work with creatively. What do you hope to see happen with your work?

Ideally something that I can't even think of! Something that catches me off guard and presents the music in a fresh light. All I can hope for is to say 'wow, I never thought of that!', and for new creative doors to open as a result.

There are some cool analog sounds in “Anomaly”. How did you make the electro glitch sounds which can be heard in the 1st and 3rd movements for example? And are you approaching these analog sounds like percussion instruments?

I am. I can't exactly remember how I got that specific sound in “Mvt. 3”, but I'll use sounds that I've recorded out in the world, or sounds that I've made by running acoustic material through effects pedals and processors, or even customized sounds that I've tweaked in the drum brain controllers that I have. Just by using a contact mic on an interesting quiet sound you can awaken it into this much bigger, almost electronic, sounding instrument. It's this small acoustic sound under a sort of sonic magnifying glass. “Mvt. 1’, for example, just sounded more compelling to me using stock sounds from my music composition software - Sibelius - than using drums or strings.

But regardless, I'm thinking in terms of having an array of sounds and timbres, be they acoustic, electro-acoustic or electronic, assembled into a kit or set. That's what the drumset is at it's core.

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Video tutorial from Josh Hogan on how to organise Kotche’s Live Set.

It seems that you've taken quite an orchestral approach to the percussion parts using different layers/parts played together to create a big 'macro' beat sound. What's your approach for producing these sounds?

Well, I do hear parts of “Anomaly” as being ‘big’, which is why I chose to add some layers of instrumental textures at some points for the recording, something that's not possible really for the live version. A good example is “Mvt. 2” where I layer in hand claps, piano, crotales, marimba and tambourine to make sections bigger. When it comes to the production of these sounds, it was Pat Burns who tracked and mixed the record. I work with Pat on almost everything I do and implicitly trust him to make sonic decisions since we have a history and similar sensibility. I know that if I choose the right instrument and mallets and if I can play it well then he'll make it sound great.

There are a lot of intricate crossing polyrhythms in “Anomaly”. These are really classic rhythms used in a range of percussion traditions around the globe, and they also have a strong place in the history of american minimalist music, like Steve Reich for instance. Can you talk a bit to how you used these rhythms?

Indeed. Reich studied both African and Balinese music which both heavily influenced his earlier work. I've studied percussion traditions from around the globe as well and I naturally like to keep things somewhat metrically ambiguous when I can. I like being able to feel a piece of music in different meters or pulses. Almost like an optical illusion or op art, where an image appears to be coming towards you or away from you depending on how your mind is interpreting it. I often try to write things that rhythmically or metrically lean in few directions at once.

Any advice to beatmakers out there who want to explore these crossing rhythms?

Just realize that there are many ways to divide up eight, twelve or sixteen, which are the most common number of subdivisions that we use in Western music. For example eight can be split into 4+4, or 2+2+2+2, or 3+3+2, or 2+3+3, or 3+2+3, or 4+3+1, and so on. I experiment with different combinations and orders of groupings, then I usually try one interpretation using my hands and another with my feet for example, pitting these cross rhythms against one another. I like the way this makes the music flow and the syncopation that results.

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Now’s your chance to bend Kotche’s recordings to your own vision. High quality libraries of string samples aren’t cheap so now’s a great chance to add some immaculately captured stems to your library. Make something new, impress Glenn Kotche and don’t forget to share your reworked tracks with us and tag #MadeWithLive

• Heavier7Strings

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  Patterns & Effects

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  Rhythm parts

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  Guitar tracks only

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  Legato Demo

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  Thanks for the precious gift from our user Tremendouz!!!

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  Famous composer Dirk Ehlert made a live demo of H7S!!!

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  Talented composer Vern Cantrell making this demo 'War Within '

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  Awesome metal track from our dedicated user Jaroslav Holub

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  How to Play the Guitar Without Owning One H7S Demo

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  By One Square Meter

FEATURES

Premium 7-string virtual instrument

• High-quality A/D conversion and ultra-low noise level.
• 4 Years of recording and engineering to bring you unrivaled samples.
• 10000+ samples, 24-bit 48khz, 10GB in total.
• Individual samples for infinite sustain to freely adjust decay rate.

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Fully equipped effects rack

• What is the first thing to do when one starts a virtual guitar? Usually it is to bypass all built-in effects, as they are mostly too primitive for any serious work. However, the effect rack we provide to you is complete and of production-level quality, not just a toy!
• Clean samples + Effect rack = Complete electric guitar solution
• Effect Rack can be used alone on an audio track, with third-party instruments or even with a real guitar!
• 31 effect modules including; Screamer, EQ12, AMP, Flanger, Wah, Ping-Pong delay, etc.
• 16 AMPs with styles from heavy metal to clean. 2x - 8x sample rate processing.
• 66 cabinet IRs, up to four at once with adjustable delay, volume and phasing.
• 200 factory presets, along with a preset manager to store your own presets.
  

Next-generation DSP for unmatched guitar realism

• Self-developed sampler with no compromise on sound quality.
• Direct-from-disk stream allows for more efficient resource usage.
• The THRASH (Tonal/Harmonic Reconstruction and Shaping) DSP engine.
• Dynamically adjustable sample harmonics.
• Dynamically reconstructed formants.
• Realistic pitch-bend and pitch-shift.
• PitchBend: instead of barely doing pitch shifting, real-world pitch-bend has changes on formant. With THRASH engine, Heavier7Strings dynamically recoups the formant and produces refined pitch-bend sound.
• (round robin) gives you different sound when notes are played repeatedly. The samples in Heavier7Strings have at most 16 RRs recorded, but with THRASH engine we are able to induce randomized tone changes in addition to actually recorded samples, thus produces more realistic repeated playing than just randomly repeats samples.
• Adjustable real-world sampled-LFO for authentic vibrato: many samplers simply use sine wave to modulate pitch to produce vibratos. However, real vibratos played from a guitar player are far from sinusoid-modulated pitches. To pursue realistic and adjustable vibrato sound, we recorded the pitch shift curve from real-world vibrato playing, and use it to modulate the normal playing samples.
• Each instance of Heavier7Strings shares the same memory, allowing for many instances without occupying additional resources.

Real-time virtual guitar performance

• Real-time playable.
• Real-time hammer on & pull off, legato slide in/out, pinch harmonics, tremolo, palm mute, picking noise, polyphonic legato and repeats.
• Automatic determination on fret board position, up/down picking and strumming.
• Automatic playing of power chords.
• Chord detect function.
• Chord Mapping allows you to easily play guitar chords from a keyboard.
  
• 24 hotkeys and a flexible key-mapping system allows for complex real-time performance styles, string and fret assignments, and adjustable humanization.
• True doubling: two guitars playing simultaneously on left and right channel, each has individual random note delay and RR selection.
• Flexible CC mappings instead of fixed key-switch assignments, allowing greater freedom when switching playing styles.
• Unison bend. Choose whether pitch-bend affects all notes in a chord, or only the lowest note.
• Adjustable tension and resonance.
• Adjustable level control per string.
• Adjustable palm muting level and attack.
• Adjustable Drop-A tuning.
• Pickup switch.
  

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Patterns

• 300 factory MIDI patterns together with effect rack presets.
• Various styles: metal, rock, pop, clean, along with non-rhythmic noise and ambient.
• Drag MIDI patterns into host DAW.
• User definable patterns.

Minimum system requirements:

List price: $249

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