Clone Hero is a classic instrument based rhythm game for Windows, Mac, Linux, and Android. It's playable with any 5 or 6 fret guitar controller, any midi drum kit, any game controller and even your keyboard!Jam out with Drums, 5-fret Guitar, or 6-fret Guitar online or local!
@scubastevespinc Go to a local Appliance store or Hardware Store that sells appliances and ask they have any Styrofoam you can have. I suggest taking a truck if you have one. Locally they stuff it in a refrigerator or other large appliance boxes after installations and "give" it to the local Styrofoam cup company instead of paying to have it taken away as trash. You can often get big sheets of it or long "L" shaped pieces. These can be cut easily with a small saw, its light weight and you can either cut it to fit around the guitars in a box or package the guitar with it then cut a box for the size you wind up with.
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Were you a Guitar Hero player before this?
Hammett: I have to say, I've only really played Guitar Hero once. I'm the kind of person who, if I start playing video games, I don't stop. So a few years back, I said to myself that I have to stop playing because I don't play guitar, I don't eat, I don't sleep. I had found out about Guitar Hero from seeing it in the media, seeing the poster on the wall in the studio where we were recording our album, hearing about it from friends. So I did actually play it once, I played against Lars and I beat him. He plays it all the time. But I had to tell him I had a fair advantage being a guitar player myself.
Do you find there's a split between musicians and non-musicians? I think a lot of musicians look at Guitar Hero and say "I'd rather be playing."
Hammett: I never feel like I'm playing my instrument enough. It leads back to what I was saying earlier about being totally obsessive. I've talked to other guitar players who've played this game, it's apples and oranges, it's a different thought process between this and actually playing an instrument.
Do you think kids growing up today are going to be drawn to games like Guitar Hero instead of learning how to play the guitar? Or do you think musicians will always be musicians?
Hammett: I think it's going to be responsible for creating a lot of musicians, for kids making the leap to playing a real instrument. I have a friend who works at a music instrument store, and he told me that because of Guitar Hero, guitar sales are up. For me, that's a great thing because these kids are being brought up on the music that's in Guitar Hero, it's great music, great classic rock, great classic metal that they wouldn't hear otherwise. It's all just about pop drivel on the radio. They're getting an education through Guitar Hero, and if some of these kids are truly inspired, they'll make the leap and grab a guitar and learn how to play the songs for real.
Do you have a recording rig that you use to get ideas down outside the studio?
Hammett: Traditionally, I'll use a small recording processor, which I'll eventually load into ProTools. A lot of the stuff written in the last four or five years, I used (Apple's) GarageBand. Then from GarageBand I put it on a CD and then dumped that into ProTools. GarageBand is really handy in that I can just have my laptop, have my guitar, have a guitar cord, and plug my guitar into the laptop. Once I've tweaked it and modified things, and built upon the ideas, I'll put the music into ProTools, which has become the industry standard. So for me, it's really about GarageBand and ProTools.
And almost all those people quit after a little while because they just don't have the time or talent or patience or perseverance to muscle through the very protracted, laborious process of developing enough facility on a musical instrument to actually have a joyful music-making experience with it. And so the world is full of all of these very passionate music lovers and passionate air guitarists who have this innate yearning to make music, but just really don't have an outlet to express themselves musically, so we founded the company in 1995 to try to solve that problem.
Dean Ku (vice president of business, RedOctane): And then that game was not very successful. And so we were thinking, "OK, we want to continue and look at other opportunities. So what would be another opportunity?" I think with dance pads, it never went completely mainstream in the U.S. Well, it did to some extent, but it was much more [popular with the] Japanese than for the American audience. So we thought, if you're going to develop an instrument-based game with a hardware peripheral, in the U.S., probably the guitar or the drum makes the most sense.
Charles Huang (co-founder and vice president of business, RedOctane): Even if you looked early on at say Guitar Freaks or Drum Mania, some of those games, you were holding a guitar and playing but sometimes you were playing to a jazz tune and you were playing to the drum track or you're playing to a pop tune to the vocal track. There was no real theme except for you were holding a [plastic] guitar.
Dean Ku (vice president of business, RedOctane): We had these regular meetings where we talked about the business. I do distinctly remember that we came to a point where we had to decide, you know, what's the next title. And I think for most of us, it made sense that we'd move into either a guitar or a drum-like peripheral.
Dean Ku (vice president of business, RedOctane): I wouldn't say it was one single person that said, "Hey, this is our next idea." It was just kind of a natural thought that, hey, if we're going to do it in the U.S., it only makes sense to do it with a guitar or drum. But it took a lot of conviction on the part of the co-founders to say, "Yes, we're going to bet the farm on this."
They approached us in fall of 2004 and said, "Hey guys, we've decided to become a game publisher, and you know, we're sure you guys have played Guitar Freaks," which of course we had and they had as well. And they said, "You know, if we make a guitar, would you guys make a guitar game for us?"
Alex Rigopulos (co-founder and CEO, Harmonix): After we had shipped Frequency and had been disappointed in the sales and were doing some of this dreaming about how to package that gameplay but in a form that would be easier to market, we actually started thinking about a guitar game. And in fact the name "Guitar Hero" and the concept of a guitar-based rhythm game was sort of born in that period shortly after we had shipped Frequency. I remember the meeting with Greg [LoPiccolo], actually, where he came up with that name "Guitar Hero" for the sort of Guitar-ified version of the Frequency experience that we had done.
Doug Glen (director, Harmonix): Alex, with his typical humility and his thoroughness made a presentation to the board, where after identifying an opportunity to work with RedOctane said, "OK, here are the reasons why we shouldn't do it: RedOctane has no money, they've got no track record as a game publisher. Frequency and Amplitude bit the dust in humiliating fashion. With the guitar peripheral, it's a huge box and retailers hate huge boxes. Neither RedOctane nor Harmonix has the capital to build much of an inventory, so we can only ship a few and probably only ship to one retailer, maybe a few specialty boutiques. And if history is our guide, it'll probably fail. Those are the cons."
Jason Kendall (artist and animator, Harmonix): You tell me if you heard this from other people, but if memory serves, he had said something like, "Hey, we got an opportunity. We can either do this [...] guitar-based rock game or we could do the Disney franchise Ducktales."
Daniel Sussman (producer, Harmonix): I love the culture and the presentation and soundtrack and all of it, but who on Earth is going to buy a game with a fucking guitar controller? This is so goofy.
Dan Schmidt (game systems programmer, Harmonix): Well, we had a fair amount of music game technology already because we had been making these other games. So I was the person who went and made this first prototype. I was just trying to remember when it was and I couldn't even tell you that. But basically I got handed a plastic guitar and some audio tracks, and you know, people said, "We want it to basically work this way. Go ahead and make it."
Rob Kay (lead game designer, Harmonix): It basically proved that having a guitar controller paired with beat-matching and being able to mute and unmute the guitar track was gonna connect the player to the guitar piece and make them feel like they're playing the guitar.
Chris Larkin (creative services specialist, RedOctane): It was definitely kind of a high-five moment at that time. Then it kicks in that it's real, and it's like, "Oh man, we have to get these guitars made, like, ASAP."
Greg LoPiccolo (project leader, Harmonix): Brosius went home and banged out, I think it was "Walk This Way." He just covered "Walk This Way," played all the parts, he programmed the drums, came back with a backing track and the guitar part for "Walk This Way."
Rob Kay (lead game designer, Harmonix): That's why the newspaper reviews came out. I remember being inspired by The Incredibles. They had a scene in The Incredibles where the hero's looking at his walls of all the newspaper cuttings of his life. It's like, "Oh, we could have newspapers!" That's a very cheap way to tell a story. You kind of show a newspaper cutting, and it could be the review of the show.
Kasson Crooker (audio director, Harmonix): If Guitar Hero was Harmonix's first video game, first music video game, it probably would not have been that good. [...] It wasn't until Karaoke Revolution where you put a mic in somebody's hand and you say "It's karaoke, just sing," they know what to do, and suddenly the barrier is broken and people get into it. That was a huge lesson learned for Guitar Hero, which is, if you're going to do a guitar game it has to be like karaoke. 589ccfa754
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