It too made a real difference in the playing experience!
The solution was to simply delay the note-off sent from the MIDI-keyboard or sequencer so that it would change in the same time as the original instrument. On the MIDI keyboard the release sound started a little to fast compared the the real instrument and repeated notes sounded too staccato like.
It wasn’t enough to add pedal FXs of all kinds … we also changed the way the sustain notes affect each other when playing the same key repeatedly. We created a new way to control the “box” resonance so it would completely mimic reality. We simply scanned all sustains from start to end and Nils Liberg and me (Thomas Hansen Skarbye) designed a system so that release the samples will always have the correct sound and energy- no matter the dynamics or the time sustain is held.
True Horizontal Release Sample Technologyįlexible on-board effects with alternate routings With our new electric keyboard library we also introduce several new systems that improve the playability and add further realism to virtual instrument keyboards. To make sure you guys will get the best out of SCARBEE CLASSIC EP-88s we made a smart Key Action Calibration utility that will reveal if you actually trigger all velocity zones with your current keyboard. As a tribute to George Duke we created a 3 zone split EQ and a stereo knob so you can carry on what this great man started. You can even select different routings and have some FX come before or after amp. We made it easy for you: There are 45 different snapshot presets ready for you – and if you want to make your own sounds? Get started with the 117 FX presets.
Try to select a Snapshot like ‘Bahian Love Affair’ – and turn the Instrument Noise totally down on the Settings page – and listen to the difference …Ĭep88s FXEvery musician tries to find his sound – and producers love to be able to get exactly what they are looking for. The reason for this was the fact that we wanted to be able to offer presets with extreme treble EQ settings without having extra noise – and without hurting any part of the recordings. We spend an enormous amount of time cleaning the samples for noise – each sample went through four stages, where the last two were done by hand.
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