The library loads automatically when you open RealStrat (the library is 948MB in 48kHz). You can choose between 15 pick positions, that are a kind of compromise between the different sounds achieved by the mic selector and the place where you hit the strings. The result seems to be a blend of samples and Filtering/Eqing. More can’t be said since Sergey Egorov, “father” of RealStrat, has remained silent on his industrial secrets. The library is of good quality, since every note has been sampled from every fret of each string. You’ll hear all the sonic qualities of a real Stratocaster, such as the well-known “twang”, even if the library can’t compete with huge libraries such as SC Electric Guitar by Prominy, for instance (64GB, 123000 samples...). However, the concept isn’t the same.

In Direct mode, you can play all the sample sets, from Full Sound to Mutes, Bridge Mutes, Harmonics and Pinch Harmonics and various noises (Slap, Scrapes, Release and Fret), by just switching from one MIDI channel to another. If you can create and set a multi-instrument in your sequencer, you’ll be able to select the sounds much faster without the need to load the plug-in X times on different tracks, and recording them in successive passes using the different channels.

Each mode uses a keyboard that is divided into three zones, with chord recognition and access to the six strings, the alternate notes, strums, mutes, etc. Each mode offers a Main zone (between E1 and B4), which is dedicated to chord recognition and chromatic playing, and two command zones (from C0 to D#1 and from D#5 to G6 on the plug-in keyboard, but really from C-2 to D#1 and D#5 to C7 in reality). These allow you to play with various programmed techniques: once the chord is recognized, you can trigger up and down strokes, arpeggios, different strumming according to velocity and mutes. Generally, the white keys are Repeat keys (which trigger played notes or chords) and black keys are Mutes. To add even more realism, almost two octaves (from C-2 to A#-1, called Strokes) trigger extra playing techniques: various up and down-strokes, different mutes, chromaticism, etc. All you have to do is record the song harmonies and then after (or simultaneously) apply the various techniques.

On the right are the typical MIDI parameters: velocity curve, Pitch Bend, Mod Wheel and after-touch. These allocations vary according to the selected Mode. Among the most interesting, we can cite the Pitch or Mod Wheel MonoBend, where only the lower note (or the first bent and held note) of a chord will be modified and the Feedbacker, accessible via aftertouch, which adds the same note or its fifth on two octaves (three for the fifth). We don’t know if it’s sample or synthesis based, but it’s really impressive when used with an amp simulator. You can also allocate the wha-wha, the Open Strings triggering or the Chucka (muted chords, perfect for “ghost” rhythms) to an expression pedal.