This is my U2 BD preset created in Guitar Rig 4. This is by no means a substitute for a real 12-string. I created this one out of jealousy for The Mission. This is for Guitar Rig 4.Įmulates the sound of a 12-string guitar. Giving back something to the people that make the sounds. Had a devil of a time doing this until I read the recent GP story and figured the harmonic synth -.Ī Flock of Seagulls 80's group. Muse - Hysteria bass sound Guitar Rig 5 preset.Īn approximation of Matt Bellamy's guitar tone on the first half of the "Knights Of Cydonia" solo. You look at it and it becomes an object of sort of visual kind of lust.Presets suitable for dreamy ambient shoegaze type music. Cars have it, art has it, certain Apple products, Leica cameras. It's not just six tuners and six machine heads and one nut and 21 frets. “There's a confluence of design that makes something when every detail is right, you look at it and it becomes one thing. Make it for me or I'll go somewhere else.’ It was so much discussion.” “I didn't just go to Paul and say, ‘I have this idea. So everything has to balance - this is all a game of balance. And you also want to respect the language of design that PRS guitars have. You want to innovate in a certain way so that you see something new. You want to remain classic to a design that's almost synonymous with electric guitar.
“So here's the three places that you have to stick in between. I think if people understood that I'm admitting that - yes, I have played a Strat for such a long time in my career that it didn't make sense to me personally to look down and see a different shape, and I don't think other people would want to see a different shape. “Again, this guitar is based off of the Strat. Well, it's a game of millimetres when you deal with making a guitar that is based off of the Strat. “Why did it take two years? It's striking a lot of people as sort of a farce that it took two years. One aspect of the guitar’s press release that particularly raised eyebrows is the two years it took to build the Silver Sky - something Mayer also set out to clarify. Paul is a scientist as much as he is an artist.” And I think to a certain extent that's really happened.
I just love the idea of bringing it down to a place of accessibility for people. Taking the overall sensibility and tone of that guitar and giving it to people so that it becomes not something that's impossible to get for most people. “This has a lot to do with taking what my favourite ’64 Strat is. Well, it's a game of millimetres when you deal with making a guitar that is based off of the Strat Why did it take two years? It's striking a lot of people as sort of a farce that it took two years. The question is, what makes those magic and how do you replicate that so you get 100 out of 100 guitars that are magic?’
“And this is a part of a larger conversation about going into a guitar that's been around for 60 years and going, ‘What’s still valid and what's still vital and what can you go in and modify?’ And Paul Reed Smith and I went in and our saying was sort of this: ‘You take 100 Strats and two or three of them are magic. They're not there now, they're just gone. I wanted to go in and take out a lot of those frequencies that you sort of have to work to roll off. “It's sort of a higher-definition Strat to me.