Cello sound

Using an eBow is a GREAT idea. (thanks for the compliment, too!)

In terms of a rig for a cello sound, try pitch shifting one of the Acoustic simulator rigs down low enough to sound like a cello. Add a reverb that gives you the right space for the type of cello sound you have in mind.

The eBow will make the attack right. Your finger vibrato will also have a lot to do with making it sound less like a baritone guitar.

They sound very good (especially in the sustain of the first sound).

The beginning of each note has a little bit of guitar brightness that you might be able to dial out. It may be as simple as using the guitar tone control.

If you have an extra guitar that you could put flat wound strings on, that might do nicely, too.

Yeah - keep working on it - you will be coming up with some great stuff, I think.

I liked the first sound better too.

I play in Sinfonity.
We are a sixteen piece electric guitars and basses classical orchestra.
I play cello and bassoon parts on a 30 inches baritone tuned in A.
For legato string sections we use a ebow and a volume pedal before the amp.
It´s really tricky to make it work, we still work hard at it.

Here's a link to our version of Intermezzo Sinfónico by Mascagni, fully played with ebows:

A lot of work on this manelarregla, congratulations And very musical as well

tntent: yeah, I preferred the first clip too.
Generally speaking, I still hear a too much bright sound: I have the perception that the string is too thin.

Of course I'd rather use an LP than a Strato

I also believe that you should avoid the frets to be heard: you'd need more technique here, avoiding any glissato.

On a different approach, try this: choose a dark and distorted rig and put a Muffin in front of it, with just a small amount of distortion and a dark tone.
Set the noise gate all its way up, and lower the guitar's volume so that you need a certain pick strength in order for the gate to open. Experiment from here, using a pick it sound more like a trumpet that a cello at extreme settings, but with the ebow you might come up to something.

Sounds great! Note to self: I want an e-bow.

Thank you very much.

The noises of the hammer-ons and pull-offs and when you jump to another position of the fretboard are really difficult to avoid.
The volume pedal is handy for minimizing noises when you jump or change to another string by rapidly fading in and out when the noise happens.
Hammer-ons and pull-offs have to be executed with minimal strength but if it's too little the sound is interrupted.
If the sound is bright the noises are apparently louder, if the sound is too dark it will sound very nice but it will resemble woodwinds more than strings.

A fretless guitar with flat wounds might be nice for this, I'd like to try one.
tntent, the first time I used an ebow I noodled with it on the baritone for a couple of weeks and began to enjoy it a lot.
Three years later I'm still trying to avoid those noises.

Quote from manelarregla

Thank you very much.

The noises of the hammer-ons and pull-offs and when you jump to another position of the fretboard are really difficult to avoid.
The volume pedal is handy for minimizing noises when you jump or change to another string by rapidly fading in and out when the noise happens.
Hammer-ons and pull-offs have to be executed with minimal strength but if it's too little the sound is interrupted.

The Profiler might give you some more tricks in your bag
For example, the noise gate at extreme settings tends to cut the attack of the note. You might also drastically reduce both the transients and the frequencies related to attack by putting the Pick parameter to -5.
Also, with the range of parametric and graphic EQs available you can be more accurate in eliminating unwanted freqs w/o affecting the most meaningful ones for the string tones you're after. And, of course, you can increase the right freqs as well.
Last, consider finding good settings for the compressor. I'd try both the stomp and the Amp parameter, they work quite differently.

I'd advise you to record a part and then reamp it, so you'll have your hands and your brain free while tweaking

Thank you Viabcroce.
Very good ideas. The pick parameter I've tried before and can help achieve a smoother legato sound when doing fast scales.
We have used transient design plugins for legatizing some parts.
We used a mixture of amp heads, a kemper, an axe effects and amp sims in the past but being sixteen people it was too cumbersome at the moment.
I am quite happy with the sounds I get with amp sims for this project.
It is not a good sound at all per se, and 30'' baritone guitars have a very different note envelope, the attack is way smoother.
When I play with a pick I wish the attack was sharper so it would sound more propulsive and articulate.
I've tried to get a similar sound with the profiler and have not succeded yet.
I could profile the overdrive pedal and amp sim I use.

Untill now the Profiler has succeded for me at excellent sounding amps. But this flabby dark middy sound that I would not use in any other situation I have not achieved it yet tweaking rigs. Maybe I should import all the profiles I disliked and erased, find the most unimpressive ones and go from there.

The effect in this rig (on the Rig Exchange) takes some of the attack off of notes. Listen to the second half of the clip for how it could be used for string parts - those notes are played two handed, without a pick. Add some lyrical finger vibrato, and an ebow for sustain, and you may be onto something.

Quote from manelarregla

I liked the first sound better too.

I play in Sinfonity.
We are a sixteen piece electric guitars and basses classical orchestra.
I play cello and bassoon parts on a 30 inches baritone tuned in A.
For legato string sections we use a ebow and a volume pedal before the amp.
It´s really tricky to make it work, we still work hard at it.

Here's a link to our version of Intermezzo Sinfónico by Mascagni, fully played with ebows:

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Very nice work here!

Regarding the OP, please keep working on this tone and keep us updated. Great stuff!

Another Kemper parameter to experiment with is Amp Section "Pick":

PICK
This works a bit like a transient designer. Positive values will increase the level of the transient in a note while negative values will smoothen the attack. Use it to bring out the attack in fast runs or to create a fluid legato style sound with negative values.

This might help with the sound of hammer ons.

... we already agreed on this