Ample Sound Ample Guitar T v4 [WiN-MAC]

• Product: Ample Guitar T
• Developer: Ample Sound
• Version: 4.0.1
• Format: Standalone, VST2, VST3, AAX, AU
• Requirements: Windows 10 or later, macOS 10.15 or later
• Source: amplesound.net/en/pro-pd.asp?id=6

Ample Guitar T is a sampled acoustic guitar modeled on a Taylor 714CE, split into Finger, Pick, and Strum sample libraries across 9 articulations. Riffer 4, its built-in MIDI editor, treats a strummed chord’s sub-notes as one editable object and visualizes individual strings to stop same-string polyphony automatically. Strummer generates rhythm patterns from detected or custom chords, and Tab Reader imports Guitar Pro files (GP3-GP8) directly into Riffer with fingering intact. It answers the search for a sampled acoustic guitar with its own tab and strumming workflow built in.

Key Takeaway

Activates when a part needs realistic acoustic guitar programmed inside a DAW, from single-note fingerpicking to strummed chords, without recording a real player. It displaces manual note-by-note MIDI programming for guitar parts, not electric or nylon-string tone. The sample set is built around one instrument, the Taylor 714CE; players wanting a different guitar’s character use a different Ample Sound library.

Pick and Finger Are Different Samples

Nine articulations are sampled per source — sustain, palm mute, natural harmonic, hammer-on and pull-off, legato slide, slide in, slide out, pop, and slide guitar — split across three separate libraries, Finger, Pick, and Strum, rather than one library covering all three playing approaches with the same samples. Choosing Pick versus Finger for the same phrase changes the attack character at the source-sample level, not through a simulated pick/finger EQ difference layered on top.

Polyphonic Legato and Slide Smoother work together to keep legato transitions convincing across any interval and speed, rather than the legato behavior degrading on wide jumps the way sample-based legato often does once a recorded interval library runs out. Adjustable acoustic resonance reshapes the instrument’s body-resonance character independent of which articulation or library is active.

Drop tuning is supported down to a lowest note of D1, but the underlying samples are still captured from one physical Taylor 714CE in standard tuning — detuning that far shifts where on the guitar’s real resonant character a note technically sits, since the instrument itself wasn’t re-recorded at each drop tuning. Producers programming parts that live mostly below standard tuning’s usual range get more mileage from checking how a specific low note actually sounds than assuming uniform character all the way down.

One Object for the Whole Chord

Riffer 4 treats every sub-note inside a strummed chord as one editable object rather than a cluster of independent MIDI notes, so adjusting strum time, velocity gradient, or legato for the whole chord happens through a single edit instead of adjusting each note inside it separately. That single-object editing is new to version 4, replacing a note-by-note chord-editing approach.

Strings are visualized directly inside the piano roll, so the editor can see which string a note is assigned to and block MIDI from stacking two notes on the same string at once — a physical constraint on a real guitar that a generic piano-roll editor has no way to enforce on its own. Fingering gets assigned automatically as part of that same string-tracking system.

Technique — fingering, articulation, legato, expression — is programmed directly rather than through key switches or manual MIDI CC entry, removing a layer most sample-based guitar libraries still require. This convenience is specific to Riffer’s own editing surface: MIDI exported to a DAW and re-imported still plays back identically, but editing it inside a DAW’s native piano roll loses Riffer’s string-aware constraints, since a generic piano roll doesn’t track which string a note belongs to.

Twenty-Eight Ways to Strum One Chord

Strummer detects a chord from played or programmed notes using two separate detection modes, or accepts a fully custom chord defined by hand rather than pulled from either detector. Strum SEQ then applies strumming at any rhythm and speed on top of whatever chord is active, rather than locking strum timing to a small set of preset patterns.

Twenty-eight play styles are available per chord, and the included rhythm library supports dragging a pattern directly onto a track rather than programming a strum pattern from scratch each time. Producers building a quick rhythm-guitar bed pull from that library first and adjust from there; producers chasing one very specific strum feel build it manually through Strum SEQ instead.

Strummer generates the rhythmic and chordal structure of a strum, but the same 9 sampled articulations and Finger/Pick/Strum library split from the sampling engine still determine its actual tone — Strummer doesn’t add a separate sound source of its own. Changing how a chord strums doesn’t change which physical samples get triggered to produce it.

Only Real Guitar Pro Files Import Clean

Tab Reader imports Guitar Pro files from GP3 through GP8 directly, converting a tab into a Riffer-editable part rather than requiring the guitar line to be re-programmed by hand from the tab. A full track imported this way keeps its fingering, articulation, and performance data intact rather than importing bare note pitches and durations only.

Files created in third-party tab software that isn’t officially Guitar Pro aren’t supported, even if they claim GP-format compatibility, so a tab sourced from an unofficial editor may need to pass through actual Guitar Pro first before it imports cleanly. This is a format-compatibility boundary, not a missing feature inside Riffer itself.

Arrangers working from an existing tab archive get a real time savings converting parts this way instead of re-keying them into Riffer by hand; producers who write guitar parts from scratch inside Riffer never touch Tab Reader at all.

String Tracking Stops at Riffer’s Edge

Built-in processing runs an 8-band EQ, a two-mode compressor, a six-tap echo, and a 3D convolution-based reverb, all sitting after the sampled and strummed signal rather than requiring a separate host-track EQ or reverb to get a mix-ready acoustic tone directly out of the instrument. Every one of these FX parameters is automatable through CPC (Custom Parameter Control), exposing them to a DAW’s native automation lanes rather than confining them to the plugin’s own interface.

CPC’s exposure runs one direction: automation written in the DAW controls the plugin’s parameters, but the FX stage has no separate access to which specific string or articulation triggered a given note. It processes the combined signal that Riffer, Strummer, and the sampling engine have already produced.

Riffer’s string-visualization and automatic fingering assignment are part of its own editing surface specifically — MIDI exported to a DAW’s native piano roll and re-imported into Ample Guitar T still triggers the identical samples, but editing that MIDI inside the DAW’s own piano roll loses the string-tracking that stopped two notes from stacking on one string in the first place. Riffer remains the only place in the signal path that actually knows which string a note is assigned to.

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