#SCARBEE CLASSIC ELECTRIC PIANO SOFTWARE#

This naming scheme would of course significantly help to define the art direction of the GUIs.Р В РІР‚СњР В РІР‚С›s it stands now, MANY of NI's GUIs could stand a makeover and a liberal amount of functionality tweaks/fixes. So the Fender Jazz bass library might possibly go from being called 'Verdine's Jazz Dream Bass' in the 60's, to taking on the new moniker 'The Marcus Miller 'J' Bass' in the 80's. However, changing the name for each new generation can better CONNECT with and APPEAL to the current PURCHASING generation.

Assumptions like, 'If this company was founded back in 1889, then they must build quality products with quality parts/components. Keeping the same name builds credibility and opens the door for your media-programmed assumptions. BOTH marketing strategies have their pros and cons of course. If I were them, I'd start by making decisions on whether they're going to keep the same names on various products as time progresses OR change the names.

#SCARBEE CLASSIC ELECTRIC PIANO SOFTWARE#

Now to be fair, they don't necessarily need to re-record all of the instruments, but they need to do SOMETHING to remain 'vital' and 'relevant' in an extremely competitive, flakey, and neurotic society and therefore software market. In computer software 'years', MOST of NI's software that came with Komplete 8 is so old that it's about to DIE, like we ALL will sooner or later. Ha ha!! And when I say 'old', I'm referring to when these instruments were written as SOFTWARE and NOT the age of the original instruments. And we'd SURELY know if that happened because the hype would be HUGE like their hype ALWAYS is. They(Native Instruments and Tom Skarbye) might have cleaned and/or dirtied something up a bit, but I can't imagine them spending a lot of time on these unless they do a complete overhaul or rewrite of these 'old' instruments. I'd guess that it's just NKS compatibility for the most part. The effects include the classic reverb, chorus, phaser, amp simulation, distortion auto-wah, pan, compression, delay, bass and treble. This incredible attention to detail has produced KONTAKT instrument of great depth and realism, augmented by the adjustable original noise feature and a built in FX section. In addition, to really capture the instrument's feel, release tones - the sound created when a damper bounces against the tine as a key is released - were recorded for each of the 12 velocities at the exact same level as the corresponding 12 sustain samples. Each of the 73 keys was sampled at 12 different velocities. The Mark I is coveted for its expression and dynamics which is why the Scarbee team went to such great lengths in capturing the genuine feel of the original.

The SCARBEE MARK I was derived from Scarbee's legendary 'Classic Electric Piano'. Through careful study and thorough restoration/setup he aims to capture the 'soul' of the instrument and try to balance sound, playability and post-editing for a perfect match at the forefront of sampling technology. Instead of offering a 'grab bag' of many instruments which have been sampled to an 'acceptable' level, Thomas Skarbye focuses on a single instrument rendered to a level of detail previously unavailable to sample users. While it is of course the perfect choice for jazz, funk, fusion and R&B, this KONTAKT instrument is also versatile enough for any production where authentic electric piano sound is essential. The classic sound provided by the SCARBEE MARK I ranges from warm and mellow to bright and 'barking' and can also produce chiming bell-like tones. At last, the legendary electric piano of the 1970s has been sampled to perfection in all of its analog brilliance.

Scarbee classic electric piano