If you’ve ever tried to “fake” guitars or bass with a keyboard and ended up with a plastic-sounding mess, you’re not alone – we’ve all been there.
Ample Sound feels like the fix. These instruments don’t just play notes; they breathe, squeak, slide, and bark in ways that make a producer grin. Below you’ll find the best Ample Sound plugins, including what they’re great at, and the tiny details that make them sit in a mix like real instruments.
Top 12 Ample Sound Plugins
Here’s a straight, no-frills overview. We tested each Ample Sound plugin for tone and realism (articulations, legato, string logic), writing speed, and range/flexibility (alternate tunings, capo logic, pickup positions).
Below is a quick comparison table so you can scan the field at a glance; then we’ll break down what using each plugin actually feels like in real projects.
| Plugin | Type | Score |
| Ample Guitar T | Acoustic steel (Taylor 714CE) | 5/5 ⭐ |
| Ample Guitar M | Acoustic steel (Martin D-41) | 4.6/5 ⭐ |
| Ample Guitar Twelve | Acoustic steel 12-string (Taylor 956 CE) | 5/5 ⭐ |
| Ample Guitar L | Nylon (Alhambra Luthier) | 4.8/5 ⭐ |
| Ample Guitar LP | Electric humbucker (Gibson ’58 LP) | 4.7/5 ⭐ |
| Ample Guitar VC | Electric humbucker (Gibson SG ’61) | 4.6/5 ⭐ |
| Ample Guitar SC | Electric single-coil (Fender Strat 50th) | 4.4/5 ⭐ |
| Ample Bass P | Electric bass (P-Bass) | 4.8/5 ⭐ |
| Ample Bass J | Electric bass (Jazz MB) | 5/5 ⭐ |
| Ample Bass TR6 | 6-string electric bass (TRBJP2) | 4.7/5 ⭐ |
| Ample Bass Upright | Acoustic upright | 4.6/5 ⭐ |
| Ample China Dadi | Traditional woodwind (Dadi flute) | 4.8/5 ⭐ |
Now let’s break down each Ample Sound plugin listed here.
Ample Guitar T
Ample Guitar T nails the Taylor 714CE feel: a clear top end that cuts through drums without turning brittle and a steady low-mid that keeps arpeggios grounded. The finger, pick, and strum libraries behave like distinct performers, which matters when you stack parts.
Riffer 4’s dual Piano Roll/Tab view speeds up pattern writing, while the Strum Note system lets you adjust velocity gradients and timing across full chords instead of chasing individual sub-notes.
Alternate tunings and flexible capo logic make double-tracked acoustics painless – especially if you’re layering Nashville-style parts. In practice, this one sits under vocals with minimal EQ, which is why it’s often the first acoustic I reach for on modern pop and acoustic-leaning tracks.
Ample Guitar M
The Martin D-41 character shows up immediately: bold projection, generous low-mid chest, and a sweet high end that flatters fingerpicking. The polyphonic legato and Slide Smoother keep melodic lines connected, and the String Visualization system helps you write MIDI that respects actual string behavior.
The strum library is weighty in a good way; choruses feel bigger even before you add compression. If your arrangement needs a grounded, grown-up acoustic that still sparkles, Guitar M covers the base. It’s also great for cinematic cues where you want movement without a brittle top.
Ample Guitar Twelve
Twelve-strings can be glorious or harsh. This one leans glorious. The Taylor 956 CE sampling delivers octave sheen that expands a chorus without stealing focus from the vocal. Strum legato is particularly helpful when you write brisk chord moves; transitions remain smooth instead of clicky.
The finger and thumb-pick libraries give you two different kinds of definition – one glassy and one percussive, so you can choose how loudly the shimmer speaks. Tuck it for width or push it for a jangly hook; both paths feel natural.
Ample Guitar L
Nylon libraries often sound polite but flat under the fingers. Here, legato slides, hammer-ons, and pops respond in a way that helps lines breathe. With Riffer 4 and Tab Reader 4, you can import a full Guitar Pro track – fingering, articulations, expression – and keep it intact, which is a lifesaver for classical or flamenco-leaning passages.
The tone is warm yet articulate; it takes light compression beautifully and doesn’t smear when layered with strings or piano. If you score, produce lo-fi, or need intimacy that still tracks clearly, Guitar L is a reliable choice.
Ample Guitar LP
When you hear “Les Paul,” you expect mass and bloom. Ample Guitar LP brings both, with neck/bridge/both pickup sets and a built-in amp/cab section that actually earns its keep. Crunch rhythms land with the right chew, while single-note leads carry that vocal midrange you can ride in a mix.
The added fingerstyle library is surprisingly useful for intros and ballads before you open the gain. It’s a flexible rock workhorse – heavy enough for riffs, refined enough for expressive bends, and fast to shape thanks to the onboard effects and mic options.
Ample Guitar Vintage Cherry
Vintage Cherry channels a ’61 SG: quicker attack, a touch leaner low end than the LP, and a snarly midrange that bites through dense drums. The amp section covers the familiar British and American flavors, and the room/ambience options make it easy to place the guitar without external verbs.
It’s excellent for punchy verse patterns, crunchy choruses that don’t turn boomy, and blues leads that benefit from slightly more edge. If your session wants grit and agility more than sheer weight, this is the move.
Ample Guitar SC
Clean chime, funky in-betweens, and melodic neck-pickup lines – SC delivers the Strat language with confidence. The four pickup positions, including the classic Neck+Middle and Middle+Bridge combos, track well from tight rhythms to expressive leads.
Slides and pinch harmonics feel believable, which helps when you need expressive detail without a real guitarist. It tucks into pop and R&B arrangements quickly, often needing just a touch of compression and a hint of room to feel like it was miked yesterday.
Ample Bass P
If you want the low end to hold the room together, P-Bass is still king. ABP brings that familiar thump and note identity with 13 articulations and a smooth slide engine.
It’s forgiving with EQ, supports B0 drops for modern tunings, and the amp/cab module supplies gentle growl without fizz. In practice, this is the bass that solves the mix faster: supportive under guitars, solid under keys, and friendly to the kick.
Ample Bass J
Jazz-style bass brings a touch more mid detail and agility, and ABJ leans into that feel. Ghost notes translate, slides glue phrases, and the DI+mic paths make re-amping straightforward if you have a favorite chain.
For funk, neo-soul, or anything that needs nuanced movement, it responds like a player – dynamic, clear, and cooperative with rhythmic guitars. It’s also an easy layer with synth bass when you want definition without losing the sub.
Ample Bass TR6
A six-string bass is about range and expression, and TR6 gives you both. The Yamaha TRBJP2 sampling delivers piano-like clarity on the low end and smooth mids for melodic work.
Poly legato and the slide system keep fast passages coherent, and A0 drop support means you can cover modern extended-range arrangements. If you arrange fusion, modern gospel, prog-leaning pop, or want chordal textures that still read as “bass,” TR6 earns its space.
Ample Bass Upright
ABU captures the things that make upright bass addictive: the little scrape before the note, the bloom after the attack, and slides that feel like a hand moving up the neck, not MIDI teleporting.
Multiple mic positions plus DI let you blend body resonance with clarity, and the fretless-aware legato system makes walking lines feel natural at a range of tempos. It’s perfect for jazz trios, smoky blues, or modern soul where you want organic warmth without giving up definition.
Ample China Dadi
China Dadi is a tone color with real range. The 30-plus articulations move from breathy and intimate to bright and cutting, and the adjustable wind layer is a clever way to match performance to context.
The engine’s intelligent legato and articulation switching keep lines expressive without wrestling with dozens of keyswitches. Whether you layer it an octave above a guitar melody or let it carry a motif on its own, it adds narrative weight without crowding the mix.
Ample Sound Plugins FAQs
Is the 12-string a niche tool or a daily driver?
It’s both. For everyday work, keep it tucked and EQ the very top; it adds width and movement without stealing focus. When a chorus needs a lift, push it forward and it becomes the “expensive” sparkle the hook was missing.
LP vs VC vs SC - how do I choose for rock rhythms?
LP for weight and sustain, VC for snarl and quick attack, SC for brighter, tighter rhythms and glassy cleans. If you stack two electrics, pairing LP with SC often covers the spectrum without fighting for the same space.
P-Bass or Jazz Bass for general use?
P-Bass fits almost anything. Jazz if your bass line needs to weave and talk a bit more - funk, neo-soul, R&B. Many producers keep both and choose based on the drummer’s feel and the vocal range.
When do I reach for TR6 instead of P or J?
When you need extended range, chordal writing, or soloistic parts that still read as bass. TR6 is great for fusion-leaning cues, modern worship/gospel, or pop arrangements that want melodic counterlines without switching to a guitar.
Can these handle alternate tunings and capo moves convincingly?
Yes. The acoustic line in particular (Guitar T/M/Twelve/L) has smart capo logic and alternate tuning support, which helps when you want that “double-tracked capo” effect producers lean on for contrast.
About the author:
Noah Murray
Noah is a talented music producer hailing from Canada. With a deep-rooted passion for music and attention to detail, Noah has made a name for himself as a versatile producer.
Specializing in electronic music, Noah’s work resonates with authenticity and emotion. When he’s not producing, Noah enjoys watching games of the maple leafs and experimenting with sound design.
