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Freestyle Games' Jamie Jackson hands me an odd, beige coloured slab of plastic, a shrunken facsimile of semi-hollow Gibson 335 guitar. It's non-functional, but it's easy to see where the six buttons spread over two rows at the bottom of the fret board are meant to be. On the body there are several knobs, along with the familiar strum bar of the Guitar Hero series. Made during rapid prototyping on a 3D printer, the brittle guitar (I'm warned not to drop it several times) never made its way into full production. With plans for pearl inlays, multiple non-functional knobs, and gold-coloured detailing resulting in the guitar costing over £60 ($100) just to manufacture, it was deemed too expensive by the powers that be at Activision.

This virtual acoustic guitar simulator plays the sounds of a real acoustic guitar with each single note recorded individually in a professional studio. Use an amplifier with good loudspeakers for a real-life acoustic guitar sound.

At one stage, Guitar Hero Live—the first new Guitar Hero game since 2010's Warriors of Rock—didn't even have a guitar controller. Early prototypes used console camera systems in an attempt to turn drunken air guitar (admit it, we've all done it) into a game. Unsurprisingly, it didn't work. But this was all part of the process, a 'washing off of what Guitar Hero was,' as Jackson tells it. Other prototypes would follow, including the first iteration of what would become the Guitar Hero Live guitar, which was made out of the plastic trunking that lines the walls of Freestyle Games' Leamington Spa studio, and some buttons ripped out of an old controller.

This wasn't an entirely foreign process to Freestyle Games. As the studio behind the cult classic DJ Hero, it had been down a path of rapid prototyping before. Many of the original prototypes for DJ Hero were built inside Jackson's garage, the product of smashed up Guitar Hero controllers and some shoddy soldering. By building a guitar out of trunking—something that would later become known as the 'Frankentar'—the team could easily toy with different configurations, moving the buttons around to mess with the fundamental mechanics of the series. By switching to two rows of three buttons, the awkward pinkie presses of old—something even real guitar players have a hard time with—were removed, making gameplay more accessible, but also allowing for the introduction of new, complex chord shapes.

The software will allow you to mix multiple audio file formats at different bit depths in the same session. This latest version is well-optimized, so it will start quick and provide the best performance you can possibly get out of your PC.

This was the breakthrough moment. Paired with some basic graphics—a '1980s Atari type thing' I'm told—the basic gameplay of Guitar Hero Live was born. Oddly enough, Jackson didn't see the magic at first. 'I'll be totally honest with you: when the team presented it to me and Dave Osborne the design director, we looked at it and were like 'what the fuck are you doing? You can't change the buttons!' explained Jackson. 'But then we sat down and played it, and thought 'that was really cool, we take it back.' The end result is a game and a guitar that's comfortingly familiar, yet very different to the Guitar Hero games of old.

While notes still stream in from the top of the screen to the bottom along a note highway, now there are two different colours for notes: black for the top row of buttons and white for the bottom. Even for those that were Guitar Hero pros, this presents quite the challenge, particularly as chord shapes are introduced. Pushing down across a single row represents most power chords, with extensions on the bottom row adding in higher notes. Songs with open chords ape classic fingerings like the three-finger spread of an open C, or the claw-like grip of a G.

Despite this added complexity, the game remains true to its Guitar Hero roots. You still activate star power by tilting the guitar (or hitting a button by your palm), while jiggling on the whammy bar to add vibrato to those extended notes for extra points. The retail design of the guitar—the final product from all of Freestyle's prototyping—also maintains the same distance between the buttons as in Guitar Hero guitars of old, while also sporting a similar profile and body shape. It was very nearly bigger, though, like that earlier beige prototype. But Freestyle got its way with at least one love-it-or-hate-it aesthetic decision: the flashy gold highlights remain.

A game of two halves

It's the sole addition of bling to a game, and a studio, that prides itself on being—for want of a better word—real. It's hard to imagine a game on the scale of Guitar Hero Live, which is attached to one of the biggest games publishers on the planet, being made in such humble surroundings by a team of such personable human beings. But there's evidence of Live's impending release scattered around the studio: meeting rooms filled with computers and TVs for last-minute play testing, and computer screens in the kitchen that stream debugging information for Guitar Hero TV, the game's ambitious always-on music TV service.

In another room a team of musicians—most without any games industry experience—create note highways in MIDI software. They show me how, for each of the six buttons on the guitar and the open strum bar, there's a line of MIDI information for the note highway. Programming the timeline is as simple as clicking to input a block of MIDI information. The musicians start with the expert level—a note-for-note transcription to Live's six buttons—before stripping out notes to accommodate less skilled players. A peer review process ensures that, despite the missing notes, the song's basic rhythmical structure remains. When the song needs to be play-tested, potential note highways can be exported to a PC version of the game in seconds.

Elsewhere there are sound designers bashing out some Judas Priest on expert, testing the game's 70/30 (front/rear) 5.1 surround mix, while upstairs there's a newly formed analytics team amassing gigabytes of data on what songs people are playing, and how often they're being played. With a team of 180 people behind the scenes, it's a complex operation for a complex game. Divided into two parts—the online music video channel Guitar Hero TV (more on that later), and the offline campaign Guitar Hero Live—development at the studio is split down the middle: the former got a crash course in running a TV station, while the latter became film directors.

Live's high-concept aesthetic, that of 'stage fright,' has resulted in a look that's quite unlike the Guitar Hero games of old. Instead of staring at an oddly animated 3D band, you get a full, live-action sequence of walking through Spinal Tap-like winding corridors of the backstage area, past the stage hands, and the groupies, and your fellow bandmates, before leaping up onto the stage in front thousands of adoring fans. Eventually, when the song gets underway, you're provided with an an eerily accurate first-person representation of playing the guitar in front of a live audience.

The live-action footage looks modern in a way that even the most well-animated of 3D models never could, but for a studio used to pixels and polygons, it presented a huge technical challenge.

Real Guitar Download App

Don Steele (born Donald Steele Revert; April 1, 1936 – August 5, 1997) was one of the most popular disc jockeys in the United States from the middle of the 1960s until his retirement (for health reasons) in May 1997. He was better known as 'The Real Don Steele,' a name suggested by his program director, Steve Brown, at KOIL-AM in Omaha, Nebraska. Brown hoped the moniker would click with listeners and make him stand out from other radio personalities.

Early career[edit]

Born in Hollywood, California, Steele graduated from Hollywood High School, served in the United States Air Force and then studied at a local radio school, the Don Martin School of Broadcasting, where he also taught for a short time. Shortly thereafter, Steele began his radio career working outside of L.A. at a small station, KBUC in Corona, CA then moving on to KEPR Kennewick, KIMA Yakima and KXLY Spokane, all in Washington; KOIL Omaha, Nebraska; KISN Portland, Oregon, and KEWB San Francisco before returning to Los Angeles to help kick off what would become one of the most influential radio stations in the country, 93/KHJ, Boss Radio, in April 1965.

National prominence[edit]

Steele became nationally-known as a DJ on radio station KHJ in Los Angeles, where he helped to promote the 'ultrahip' top-40Boss Radio format which began at 3pm on April 27, 1965. He also appeared on TV as host of Boss City and The Real Don Steele TV Show, a show which ran from 1965 to 1975 on KHJ-TV channel 9 in Los Angeles. When the popularity of AM radio gave way to FM stereo in the 1970s, Steele continued to remain a popular personality at the station. Following the years at 93/KHJ, The Real Don Steele continued to be heard on Los Angeles radio stations, including KIQQ (K-100), KTNQ (Ten-Q), KRLA, KCBS-FM and KRTH-FM (K-Earth 101), until his death in August 1997.

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In the book Los Angeles Radio People, Steele recalled the beginnings of Boss Radio in 1965: 'We were standing literally at ground zero, then (the radio format) became a huge giant. It was like a mushroom cloud that went up -- heavy on the mushroom.'

Steele also gained additional notoriety due to an ill-fated promotion which KHJ undertook on behalf of his show during the summer of 1970. The promotion was dubbed a “Super Summer Spectacular” and involved Steele driving around the Los Angeles-area in a flashy red car. Throughout the day, KHJ would broadcast clues about Steele’s location, and listeners who successfully tracked him down would receive cash prizes of about $25. On July 16, 1970, two teenagers attempting to track Steele by car at speeds of roughly 80 miles per hour forced another car into a highway center divider, causing the death of Ronald Weirum. Weirum's family sued various parties, including KHJ, asserting that the tragedy was a foreseeable consequence of the recklessness inherent to the nature of the 'Super Summer Spectacular' promotion. The family's lawsuit eventually reached the Supreme Court of California, which held for the plaintiffs. The Court's opinion in the case, Weirum v. RKO General, Inc., 15 Cal.3d 40 (1975) has since become a well-known holding on the subject of foreseeability in torts law, and is often studied in American law schools.^[1]

Steele was never one to analyze the evolution of rock radio. In a 1995 interview, he insisted, 'Look, you take the Motown sound and the British Invasion and you throw in Elvis and Roy Orbison, and you have a music mix that's hard to beat at any time or any place.'

'Robert W. Morgan was the first one hired for Boss Radio,' RKO program consultant Bill Drake said. 'He recommended Steele. He flew down from San Francisco. I was a little leery because I had heard he was kind of a crazy man, but it turned out he was very dedicated to his work.' One of Steele's ongoing on-air bits was the refrain, 'Tina Delgado is alive, alive!' Legends grew as to the meaning of the phrase, but Steele never did reveal what it really meant, or who the girl was who uttered the words.^[2]

The Real Don Steele stayed at KHJ until June 1973, then moved on to L.A. radio stations KIQQ, KTNQ, KRLA, KODJ / KCBS and arrived at KRTH in July 1992. He recorded commercials and at one time had a successful, nationally syndicated radio show.

That show, 'Live From the 60's', was created by Steele along with friend and contemporary M.G.'Machine Gun' Kelly, who followed Steele at KHJ-AM, then DJ'd with him in the '70s at 10Q. 'Live From the 60's' was a three-hour program that featured oldies exclusively from the 1960s. Each hour of the show profiled a certain year from that decade. It was written and performed in present tense, and peppered with audio clips of news events, presidential speeches and TV shows that correlated with that particular year. The show ran in syndication, and was marketed and picked up by over 200 radio stations with an 'Oldies' format from 1988 until 1993. Repeats of earlier shows aired in some markets as late as 1996. In July 2015, 'Live From the 60's with The Real Don Steele' was placed back into three hour re-run syndication for AM/FM and Podcasting radio stations.^[3]

Steele died of lung cancer on August 5, 1997, at the age of 61.^[4]

Recognitions[edit]

A poll seeking the top 10 disc jockeys in Los Angeles from 1957 to 1997 rated Steele second (behind Gary Owens) among the 232 personalities nominated. The ballot was printed by Don Barrett in his 1994 book, and results are published in the second volume of his book. Rick Dees said of Steele in Barrett's book, 'Pure, raw energy and focus. And he still has it every day. That's amazing!'^[5]

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Boyd R. Britton, who worked with Steele in the late 1970s at KTNQ said, 'He educated me in star quality, in energy and focus. He epitomized energy on the air.' Reflecting on Steele's habit of using very high headphone levels, Britton said, 'Very early on he was extremely hearing damaged. It was very difficult for him to hear in a group. That made his natural speaking voice almost as loud as his on-air voice.'^[4]

In 1993, from KRTH, Steele told the Los Angeles Times: 'I don't think I'm any different now. I've never stopped. I've never changed. I never did anything else. This is the music of my life.'^[4]

He received a star on the Hollywood Walk of Fame on May 3, 1995.^[6] The star is located at 7080 Hollywood Boulevard near La Brea Avenue.

Film and TV appearances[edit]

For a decade, Steele hosted a weekly dance-party show on KHJ-TV. Starting as Boss City in 1965, the Saturday 6 p.m. program became The Real Don Steele Show in 1970 and continued until 1975. He appeared in several films, many times playing a disc jockey, in films such as Death Race 2000 (1975), Grand Theft Auto (1977), Rock 'n' Roll High School (1979), Eating Raoul (1982), and Gremlins (1984). He also appeared as himself in KISS Meets the Phantom of the Park (1978). On prime-time TV, Steele had appearances in a 1966 episode of Bewitched, and in an episode of Here Come the Brides in 1970.

The Real Don Steele sound clips from KHJ airchecks are prominently featured in Quentin Tarantino's Once Upon a Time in Hollywood (2019) and on its accompanying soundtrack album.^[7]

Films[edit]

References[edit]

1. ^'The tragic death of Jacintha Saldanha, and the long, slow demise of individual responsibility'. The National Post. December 10, 2012. Archived from the original on November 21, 2014. Retrieved November 21, 2014.
2. ^'Tina Delgado is Alive!'. 93KHJ Boss Radio. April 28, 2013. Retrieved September 10, 2016.
3. ^'Live From the '60s with The Real Don Steele'. M.G. Kelly website. Retrieved August 12, 2019.
4. ^ ^abcMyrna Oliver, 'Real' Don Steele, Style-Setting L.A. Deejay, Dies at 61, Los Angeles Times (August 7, 1997). Retrieved on August 3, 2012.
5. ^Barrett, Don A. (1997). Los Angeles Radio People: Vol. 2, 1957-1997. DB Marketing Co. ISBN978-0965890700.
6. ^'The Real Don Steele'. Hollywood Walk of Fame. Retrieved July 31, 2019.
7. ^'KHJ, L.A.'s Coolest AM Radio Station, Is Basically a Background Actor in 'Once Upon a Time in Hollywood''. Los Angeles Magazine. Retrieved August 9, 2019.

External sources[edit]

• The Real Don Steele collection of audio airchecks
• Don Steele on IMDb