User`s Manual
Contents
1. Table Of Contents Lg PIMP ee e o E o Er 1 MONU deee E OG A 1 Tane OF COMEN eaa EAE E EEE ANNETA 2 l Introduction o occccccccnncncn cnn rr rr 4 2 Register Scarbee Slap n Fingered cece cece cece eee eeeeeeeeeeeaeneees 6 3 User Licence Agreement cccecceeeeeteeeeseeeeeeneeteuueetegeeneaeegs 7 da es ree 8 4 1 Optimizing System PerfOrmance cccecccceeeeeseeeeeeeeeeaees 8 4 2 COPYING of files cece eee cece ete e eee eee kk ket rr rr 9 5 Thomas Hansen Skarbye The Bassist And Producer 10 6 The Recording PrOCESS ccceecc cece eeeeeeeeeeeeeteneeteeueeseuertagees 12 7 The Bass Celinder J Update 4 ccc ccc eee e eee eee e kreere renen 14 8 Overview Of The Library c cc ccece cesses eee eeeeeeeeeeeeeeeeseneetaees 16 9 Key Mapping wt sicqesatcraessosetnetnedeus oneueeetet taa 17 09 1 Session Da Sia de cone aecdecdraceuensethacanadanaeabsasecedeteadecusares 17 9 2 POW CP denen be aceened anaes A 20 OFS POR CP SEE AO E ETE 21 09 4 Fingered HarMoniCS cccceeee eee eeee eee eeeeeeeeeeeeeteeneetegs 22 19 41 g fe 81 gt 18 07 a Co espions rran E an 23 10 1 Fingered Bass ccoccccccnncccnnornnnn kk ERE rr rr 23 A A o E A E T 28 10 3 Fingered Harmonics ccccccccccnccnnonannncn na rnnn rr 33 LOA atrape 34 12 CONDI DASS seems rte 36 5 GEN Sta ted cursores 37 13 1 Preparing The track cccccceceseeeeeseeeeeeneeeeeueeseueeeeags 38 13 2 F2. 12 Frets 21 jumbo frets Dunlop 6110 Nut Brass Truss rod Single adjustable at body Tuning gears Hipshot HB 1s Finish Matt satin acrylic clear 14 Copyright 2004 SCARBEE Denmark Body Wood Pickups Controls Preamp Bridge Straplocks Pickguard Finish Colour Strings Finest select Danish White Ash Lindy Fralin Jazz Bass vintage edition 2 X volume 1 X active bass 1 passive treble Aguilar OBP 1 passive active Badass Bass ll Schaller Black 3 ply High gloss polyester Steinway Black DR MR 45 Hi Beam Copyright 2004 SCARBEE Denmark 15 8 Overview Of The Library The Scarbee J Slap n Fingered bass library is based on two playing styles Slap and Fingered each style recorded with three different pick up settings J Slap Fingered 1 Recorded with bridge pick up on Thumbed and plucked just behind the neck Played fingered just over the Bridge p u J Slap Fingered 2 Recorded with both pick ups on Thumbed and plucked just behind the neck Played fingered between the Bridge and Neck p u s J Slap Fingered 3 Recorded with neck pick up on Thumbed and plucked just behind the neck Played fingered just over the Neck p u Programs JF E string JF A string JF D string JF G string JF Poly CP 1 JF Poly CP 2 JF Session Bass JS E string JS A string JS D string JS G string JS Poly CP 1 JS Poly CP 2 JS
3. Session Bass J Fingered Harmonics Combi programs only Kontakt 1 5 2 Halion 2 J Combi E string J Combi A string J Combi D string J Combi G string J Combi Poly CP 1 J Combi Poly CP 2 J Combi Session Bass 16 Copyright 2004 SCARBEE Denmark 9 Key Mapping 09 1 Session Bass The main bass program with full E A D and G string The G String has also notes from E A D strings and can be used as a composer bass Each string is mono phonic This is the ultimate bass for those who don t know the word compromise Virtually anything possible on a bass can be done using the Session Bass E string Modulation Wheel A i 54 95 MAL im A String ES D String E G String E Fretnoise E Pick up Clap MM E String String Clap The bass notes on the E string The purple colored strings represent the notes that are covered by the program ti AAA REE iim L Ao ej fej jej del PP TT E ey I I 17 Copyright 2004 SCARBEE Denmark A string Modulation Wheel Mos 96 127 aeriana 64 95 CO O e T hl The bass notes on the A string D string Modulation Wheel 06 127 64 95 WI Wi 18 Copyright 2004 SCARBEE Denmark G string Modulation Wheel Bal Mull ca A O SS Fr i oe AA A ee ae ee E E me et a SP K O i PH AAA Copyright 2004 SCARBEE Denmar
4. Trill 1 is created by sliding a halftone fast forth and back over the fret whereas Trill 2 only G string is made by altering between a half tone hammer on and a pull off perfect for artistic bass lines Articulation group C1 and C 1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger C1 plucked and thumbed release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The CF 1 articulation group is identical to the C1 group but will trigger NO release samples Quite often you want to mute notes instantly with the palm of your right hand or your left hand fingers Copyright 2004 SCARBEE Denmark Keyboard trigger D1 D 1 TEO E E LL Sus thumb 2 s J Z aa J This articulation group contains Sustained Half muted and Muted samples Fast grace note up and Trill 1 On E and A string we have plucked and on D G string thumbed samples reversed to C1 C F1 At the softest velocities 0 49 we have the Mutes When slappin and poppin you just can t live without the mutes Each note has it s own mutes The Mute pluck is only available on A string in this articulation group The medium hard velocities 50
5. Legato soft t Slow grace ha up t Slide up slow t Slide up medium t Slide up fast t When you play bass you constantly use hammer on and pull off You can also use the legato tails to make funky disco octave by using cross hammering Play sustained G2 hammer the octave G3 pluck G3 and play muted G2 all 1 16 notes Slow grace notes and Slides can be created by combining Sustained notes or any tail with these trigger tails This programming technique allows you to choose where the attack note ex a sustained index middle finger note will end and the tail begin giving you perfect control over the feel of the Slide or grace note It is even possible to create Slide Grace note harmonies or chords by using two or more tracks All samples in this articulation group go up grace note up etc Articulation group El and F1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger El fingered release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The Fl articulation group is identical to the El group but will trigger more tight release samples faster damping Copyright 2004 SCARBEE Denmark 26 Keyboard trigger F
6. 1 Gl A A bl Velocity Key trigger F 1 G1 Velocity Key trigger F 1 G1 When you play bass you constantly use hammer on and pull off You can also use the legato tails to make funky disco octave by using cross hammering Play sustained G2 hammer the octave G3 pluck G3 and play muted G2 all 1 16 notes Slow grace notes and Slides can be created by combining Sustained notes or any tail with these trigger tails This programming technique allows you to choose where the attack note ex a sustained index middle finger note will end and the tail begin giving you perfect control over the feel of the slide or grace note It is even possible to create Slide Grace note harmonies or chords by using two or more tracks All samples in this articulation group go down grace note down etc Articulation group F 1 and Gl are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger F 1 fingered release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The G1 articulation group is identical to the F 1 group but will trigger more tight release samples faster damping 27 Copyright 2004 SCARBEE Denmark 10 2 Slap bass
7. 1 blue and are 1 32 note long This makes them easy to find copy or move around They should always come 1 32 or 1 64 before the actual note 41 Copyright 2004 SCARBEE Denmark 13 5 Hammer on And Pull off When making Hammer ons or Pull offs you first play an attack note like a Sustained note Then insert trigger EO to turn the next note velocity 99 into a Hammer on When going back to a sustained note insert key trigger C1 as in the example above You can easily have several articulations folowing each other Copyright 2004 SCARBEE Denmark 42 13 6 Slow Grace Notes When making Slow grace notes you first play an attack note like a Sustained note then insert trigger F 0 to turn the next note velocity 59 into a slow grace note whole down Note that the grace note comes before the beat you must adjust the grace notes and slides to the tempo of your song When going back to a sustained note insert key trigger C1 as in the example above You can easily have several articulations folowing each other 43 Copyright 2004 SCARBEE Denmark 13 7 Slides When making Slides you first play an attack note like a Sustained note then insert trigger EO to turn the next note velocity 29 into a fast slide up Note that the slide tails can start anytime you slide but you must adjust the grace notes and slides to the tempo of your song After the slide up we have inserted key trigger F 1
8. Gl CA A Key trigger Key trigger F 1 G1 Legato hard E A STRING Slow grace wh dw t Slow grace ha dw t Slide dw slow t ak 50 5 Slow grace wh dw t Slide dw fast t 4E Slide dw slow t When you slap you constantly use hammer on and pull off You can also use the legato tails to make funky disco octave by using cross hammering Play sustained G2 hammer the octave G3 pluck G3 and play muted G2 all 1 16 notes Slow grace notes and Slides can be created by combining Sustained notes or any tail with these trigger tails By using this programming technique you can vary between a thumbed or plucked attack and adjust the length of the attack note It is even possible to create Slide Grace note harmonies or chords by using two or more tracks All samples in this articulation group go down grace note down etc Articulation group F 1 and G1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger F 1 plucked and thumbed release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The G1 articulation group is identical to the F 1 group but will trigger NO release samples Quite often you want to mute notes inst
9. to record every possible articulation with all fingers and dynamics in any tempo This would simply be impossible One of the most common playing techniques on a bass is hammer on legato style To simulate this we first record a full legato phrase sustained note hammer on A and then cut the sample just before the hammer on B We throw away the first part sustained note and the remaining section hammer on is now a legato tail C A B C In the sequencer you can then Glue the tail the back of any sustained note or other tails as well giving you endless combinations Since the sustained samples are very long the tempo is no limit for your creativity We have used this technique on all legato techniques hammer on pull off slow grace notes half whole up down staccato releases and all slides fast medium slow up down Copyright 2004 SCARBEE Denmark 13 7 The Bass Celinder J Update 4 The Celinder Update 4 has the features of a funky late 70s Fender Jazz Bass The same shape and dimensions of the back of the neck the same pick up placement the same wood body made of ash neck and fingerboard made of hardrock maple Dunlop 6110 jumbo frets and bone nut Neck Wood 1 piece hard rock maple reinforced with graphite bars Attachment Bolt on with threaded steel bolts amp inserts Fingerboard Hard rock maple black dot position markers Scale 34 863 6mm Radius Compound 7
10. 99 hold the sustained samples thumbed or plucked depending on string see above The Sus thumb 2 s is very short works for repeated notes only At the hardest velocities 120 125 we have placed the fast grace note great for a groovy bass line or a funky lick Trill 1 can be found at velocities 126 127 and is created by sliding a halftone fast forth and back over the fret perfect for artistic bass lines In this group played by thumb D G string Articulation group D1 and D 1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger D1 plucked and thumbed release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The DF 1 articulation group is identical to the D1 group but will trigger NO release samples Quite often you want to mute notes instantly with the palm of your right hand or your left hand fingers Copyright 2004 SCARBEE Denmark Keyboard trigger El Fl UTE E OE AN E INE OE AY Key trigger E1 F1 Velocity Key trigger E1 F1 ato hard t z iS Legato soft t Legato soft t Slow grace wh up t Slow grace ha up pl t Slide up slow t Slide up medium t 50 5 Slow grace wh up th t Slide up fast t IA Sl
11. Free updates Free upgrades for other native sampler formats Extra documentation and files Groove Factory midi files Special offers for upgrades Free info service that keeps you up to date Also on our site www scarbee com you will be able to listen to and download some amazing demo songs check out the other libraries from us and access the Scarbee Web Shop to immediately acquire them from everywhere on Earth Copyright 2004 SCARBEE Denmark 3 User Licence Agreement License Agreement Copyright O 2004 SCARBEE All rights reserved All sounds created by and property of SCARBEE The enclosed digitally recorded sounds are licensed not sold to users by SCARBEE All samples are the property of SCARBEE and are licensed to you only for use as part of a musical performance live or recorded or for use in audio postproduction This license expressly forbids resale or other distribution of these sounds either as they exist on this disc reformatted or mixed filtered resynthesized or otherwise edited for use as sounds multi sounds Samples multisamples programs or patches in a sampler or a sample playback unit You cannot sell them or give them away for use by others in their sampling or sample playback units or computers These sounds cannot be posted electronically without written permission from SCARBEE These sounds cannot be used in any library encyclopaedia DVD CD Audio or DVD CD ROM type products wi
12. HAS to come first All controller data should also come 1 32 or 1 64 before the actual notes 38 Copyright 2004 SCARBEE Denmark 13 2 Foot Controller Swich Playing Style i H E ad tt caca PERA UPA E ERE EC _ e A 4 Here you see the Foot controller used to switch between Slap 0 and Fingered 127 Note that the controller data is inserted 1 32 note before the actual notes is played Remember to set controller data to chase in Preferences in Cubase SX 39 Copyright 2004 SCARBEE Denmark 13 3 Modulation Wheel Switch Strings ALA ary si A Here you see the Modulation Wheel used to switch between the strings In the key mapping pages we have used the same colours as the default Cubase SX velocity colours for easy learning so the red block 127 is G string the almost flat blue block 0 is the E string etc Graphically you can see the movement from high string to low string following the notes It feels very natural when editing Note that the controller data is inserted 1 32 note before the actual notes is played Remember to set controller data to chase in Preferences in Cubase SX Copyright 2004 SCARBEE Denmark 13 4 Playing Octaves In the beginning of the bar you can easily spot the octave playing between E 0 and D string 80 The colored blocks makes it easy to find the strings used to play your notes Note that the key triggers are set to velocity
13. The Session Bass E G string and the Poly CP 1 2 all uses the keyboard trigger function to switch between the 4 main articulation groups Some notes do no have all of the articulations shown here and will sound silent when hitting the keys If there is a t after the sample name it means that this is a Trigger talil and NOT a stand alone sample Trigger tails are meant to be used together with sustained notes fast grace notes or other trigger tails However interesting effects can be obtained by using trigger tails as a Sustained note like cross hammering and tapping Copyright 2004 SCARBEE Denmark 28 Keyboard trigger Cl C 1 EP A Fast grace up thumb Sus hard 2 thumb U p q W D G STRING This articulation group contains Sustained Half muted and Muted samples Fast grace note up Trill 1 and Trill 2 On E and A string we have thumbed and on D G string plucked samples At the softest velocities 0 49 we have the Mutes and Half mutes When slappin and poppin you just can t live without the mutes Each note has it s own mutes The half mutes have more tone than the mutes and add a nice human feel to the groove The medium hard velocities 50 99 hold the sustained samples thumbed or plucked depending on string see above At the hardest velocities 120 125 we have placed the fast grace note great for a groovy bass line or a funky lick Trills can be found at velocities 126 127
14. antly with the palm of your right hand or your left hand fingers Copyright 2004 SCARBEE Denmark 10 3 Fingered Harmonics The Fingered Harmonics program uses the keyboard trigger function to switch between the different harmonics played with Index finger or Middle finger dla stand trigger C1 EANAN MO OAE O E bl Velocity Finger 0 127 Played with Index finger liao trigger D1 EEANN O ANETE UL E TOE VEA E OAT Velocity Finger 0 127 Played with Middle finger Copyright 2004 SCARBEE Denmark 10 4 FX To give your bass lines the final touch of realism you can add Pick up Clap String Clap and Fretnoise J Fingered Pick up Clap CE LA LL AL LL LLR Velocity Pick up Clap 100 127 Pick up Clap 4 When you play a simple bass line like those you might find in some country style songs you often clap the bass strings with your right hand typically on beat 2 or 4 to keep the groove steady J Slap String Clap E Clap CE LL AL LL LLR When you play a heavy funk with a lot of 16th notes in the style of Mark King from Level 42 you often clap the bass strings with your left hand like a percussion player in between the sustained notes 34 Copyright 2004 SCARBEE Denmark Fretnoise 2 Up QUITA AA AL LL LL Fretnolse 2 half notes up 1 Fretnoise 2 half notes up 2 Fretnolse 4 half notes up 059 Fretnoise 9 half notes up Fretnoise 2 half notes up Fr
15. d Trill 2 At the softest velocities 0 49 we have the Mutes When you re creating a bass groove the tasteful use of mutes can make even the simplest line really cook Each note has it s own mutes some with light harmonics The medium hard velocities 50 99 hold the sustained samples in this articulation group played with right hand middle finger At the hardest velocities 120 125 we have placed the fast grace note great for a groovy bass line or a funky lick The G string has both a hard and a soft version this group holds the soft one Trill 1 can be found at velocities 126 127 and is created by sliding a halftone fast forth and back over the fret whereas Trill 2 only G string is made by altering between a half tone hammer on and a pull off perfect for artistic bass lines Articulation group D1 and D 1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger D1 fingered release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The D 1 articulation group is identical to the D1 group but will trigger more tight release samples faster damping Copyright 2004 SCARBEE Denmark Keyboard trigger El Fl Legato hard t
16. d he wants for that part The Scarbee Bass Libraries take advantage of Articulation Switching facilities using key triggers the ability to switch between different strings by using modwheel and using Foot controller to switch between a fingered and a slapped playing style In this way the keyboard player can play a realistic bass part staying on the same string as long as he likes or switching to a different string at any point just as a bass player chooses when playing a stringed bass This technique is a true breakthrough when compared to most previous sampled basses which use samples from one string until they reached the range of the next string and then switch to samples from the next string This limited approach makes it nearly impossible for the keyboard player to faithfully emulate a true bass tone over a wide range because of the abrupt tonal changes which occur from string to string Thankfully Scarbee Bass Library owners can put the old days of sampling behind them SCARBEE J Slap n Fingered ships in a multi format version containing native Halion and Kontakt 1 5 2 versions on 4 CDs or 1 DVD for 199 Copyright 2004 SCARBEE Denmark 2 Register Scarbee Slap n Fingered Enclosed with this product you ll find a J Slap n Fingered Serial Number please take time to register on our site www scarbee com to gain full access many extra features By registering you ll be able to get Free technical support
17. e harmonics such as the notes e3 a3 and d4 can be played on different strings or positions which can be changed by using different velocities At this velocity the notes 9 3 c 4 f 4 and b4 are played at Ath fret Strings re e Le bib hd ae ddd E G String E E String fae A String E D String Velocity 2 Position 100 127 Next string or highest numbered fret At this velocity the notes 9 3 c 4 f 4 and b4 are played on the same strings as 1st position but at 9th fret Copyright 2004 SCARBEE Denmark 10 Articulations 10 1 Fingered Bass The Session Bass E G string and the Poly CP 1 2 all uses the keyboard trigger function to switch between the 4 main articulation groups Some notes do no have all of the articulations shown here and will sound silent when hitting the keys If there is a t after the sample name it means that this is a Trigger tail and NOT a stand alone sample Trigger tails are meant to be used together with sustained notes fast grace notes or other trigger tails However interesting effects can be obtained by using trigger tails as a Sustained note like cross hammering and tapping Copyright 2004 SCARBEE Denmark 23 Keyboard trigger Cl C 1 ULLA i in 1 This articulation group contains Sustained Muted samples Fast grace note up and Trill 1 At the softest velocities 0 49 we have the Mutes When you re creating a bass groove the tasteful
18. edly the future The Tricks had to use all kinds of tricks during the recordings played on the bass for 2 3 days before sampling to make the Strings less new and metallic sounding As sampled notes from one string at a time and therefore wanted to avoid noise and resonance from the remaining strings used a piece of cloth which folded around these three strings To make sure that the bass maintained a consistent sound for the five weeks it took to complete any 1 of the 3 sounds 8 10 hours a day 7 days a week taped the volume bass and treble buttons in place also had to turn off the computer screen every time was in record mode even turned my back to the speakers and other gear to avoid any unwanted frequencies For every sample that ended up in the final version have recorded at least five that didn t make it was a hard judge when evaluating the quality and evenness of the samples Sometimes spent an hour or more on just one single sample Copyright 2004 SCARBEE Denmark 12 had all sorts of test sequences running to make sure that all notes sounded good and especially that the tails worked with the sustained notes Trigger tails To simulate an advanced bass line you need a lot of different articulations and since you use both your right hand index and middle finger some even play with 3 fingers pluck and thumb had to discover a way to create tails instead of having
19. er on pull off grace note staccato release or slide with any sustained note combination reproducible in every authentic context fingered thumbed and plucked The new Halion and Kontakt 1 5 2 version is based on the samples from the award winning Giga format Libraries Scarbee J Slap and Scarbee J Fingered but features a heavily improved programming created from scratch The E G String can now be selected by Mod wheel and you can switch between Slap and Fingered Style with Foot controller Halion 2 Release samples are automated and can be altered bypassed with key triggers More articulations are now avallable in each dimension see cardboard schemes for easier and logical programming Emulating a bass instrument There is a fundamental technique which needs to be addressed when emulating a bass with a keyboard instrument It is one common to many stringed instruments On a keyboard any particular pitch normally occurs once across the whole 88 note range On a bass this is not the case The pitch ranges of bass strings overlap This means that a bass player has choices when he decides to play a particular pitch Copyright 2004 SCARBEE Denmark He can choose to play any note on any one of several strings The important thing to be aware of here is that the same note produces a different timbre on different strings A bass player chooses strings depending on the complexity of the part he plays and the type of soun
20. etnoise 2 half notes up Fretnoise 4 half notes up Fretnoise amp half notes up Insert Fretnoise between notes to give the feeling of changing position on a real instrument In general the Fretnoise sample should start a bit before the first note ends as the attack of the Fretnoise is quite slow and last to the beginning of the second note You can also place several Fretnoises from different strings at the same position as you often touch more than one string when moving around placing these samples Fretnoise 2 Down Fretnoise 2 half notes down 1 Fretnoise 2 half notes down 2 Fretnoise 4 half notes down Foss Fretnoise 6 half notes down Fretnoise 1 Velocity Key Fo Copyright 2004 SCARBEE Denmark the bass Remember to use your ears when Fretnolse 2 half notes down Fretnoise 2 half notes down Fretnoise 4 half notes down Fretnoise amp half notes down Key G 6 Deep down fast 2 High down fast 1 High down slow 12 J Combi Bass The J Combi Poly Only Halion 2 and Kontakt 1 5 2 uses the Foot controller to swich between Fingered and Slap bass For those who do not own a Foot pedal is is possible to make a script in the Input Transformer in Cubase SX to route Sustain pedal to Foot pedal It only takes 2 minutes to do and it will only work on the tracks where you load the script not on all your other tracks where you might want to use the Sustain pedal for sustain Fo
21. from CD 2 3 and 4 into the Scarbee J Slap n Fingered Samples folder Installing J Slap n Fingered Kontakt Halion from DVD Insert DVD Copy the Scarbee Slap n Fingered folder to the destination Hard Disk Now you re done installing J Slap n Fingered Copyright 2004 SCARBEE Denmark 5 Thomas Hansen Skarbye The Bassist And Producer T m When was a boy wanted to be a great Magician wanted to amaze the audience and leave them wondering how did he do that Years later am still very fond of illusions in any media watch almost every movie that raises the bar of Special Effects and share true interest in computer and console games with my three boys for the same reason These days my magic wand and top hat are the Scarbee Sample Libraries was born in 1964 Copenhagen Denmark and grew up to the sound of The Beatles My father had played jazz guitar back in the fifties so it was obvious for me that should pick up that instrument At the age of 16 had to stop playing due to weak wrists one day my left hand suddenly became almost paralyzed couldn t even press down the strings with my fingers This situation lasted for more than a month After that couldn t practice for extended periods of time as was needed to develop my technique so sold my beautiful Gibson guitar Still enamoured with jazz and the growing jazz fusion scene Dave Grusin David Sanborn Mile
22. ice buffer In options adjust the preload time to suit your RAM If you have plenty try load 2 seconds or more for better performance Adjust Voice Buffer until you don t lose any notes 16 voices should be cool even with demanding stuff Copyright 2004 SCARBEE Denmark Load Program s E Scarbee J Slap n Fa JF1 Harmonics All ep JF1 Harmonics fxp me IF1 Poly CP bs 3 Loading the instrument Choose between J1 J2 or J3 Pick up settings and select a program HALion Some Audio File s could not be found To restore lost Audio Files use Locate or Search in Directories for one of the missing Samples 4 Missing samples Right click mac cntri click on a sample and enter Halion 2 users can also right click on Halion Logo In the menu select Search directory Choose the Scarbee J Slap n Fingered folder and hit OK oo 5 Locate or search directory Right click mac cntri click on a sample and enter In the menu select Search in Directory Choose the Scarbee J Slap n Fingered folder and hit OK 50 Copyright 2004 SCARBEE Denmark Search No sound wav No sound in E E Rhodes 45 Rhodes demoes B Sample Libraries Searbee J Slap n Fingered E Halion 2 programs S E Halion programs ai y 12 BE E Mid 1 Samples AA Grao Y EW 6 Locate or search directory Choose the Scarbee J Slap n Fingered folder and hit OK Whe
23. ide up slow t Slow grace ha up t Slow grace ha up th t E A STRING D G STRING When you slap you constantly use hammer on and pull off You can also use the legato tails to make funky disco octave by using cross hammering Play Sustained G2 hammer the octave G3 pluck G3 and play muted G2 all 1 16 notes Slow grace notes and Slides can be created by combining Sustained notes or any tail with these trigger tails By using this programming technique you can vary between a thumbed or plucked attack and adjust the length of the attack note It is even possible to create Slide Grace note harmonies or chords by using two or more tracks All samples in this articulation group go up grace note up etc Articulation group El and F1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger El plucked and thumbed release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The Fl articulation group is identical to the El group but will trigger NO release samples Quite often you want to mute notes instantly with the palm of your right hand or your left hand fingers Copyright 2004 SCARBEE Denmark Keyboard trigger F 1
24. k 19 09 2 Poly CP 1 The perfect bass for composing or auditioning your bass line The Poly CP 1 is identical to the G String from Session Bass but poly phonic and less memory hungry Strings A e r r E A String E D String E Pick up Clap W E String E G string E Fretnoise String Clap The bass notes on the strings The purple colored strings represent the notes that are covered by the program c4 AR ae ee EE Se ps Sa A E SS Se dl KURL FRE E ee E A E Bl A E REM I t I O O aca 20 Copyright 2004 SCARBEE Denmark 09 3 Poly CP 2 The perfect bass for composing or auditioning your bass line The Poly CP 2 has an alternative sweetnote mapping for a more natural feel Strings ME UMS E A String E D String HH Pick up Clap W E String E G string HH Fretnoise String Clap The bass notes on the strings The purple colored strings represent the notes that are covered by the program C4 SS Ltt BP e fF JJ Ja i TT i I i jet tel fel a FER I EE LEA E A E E A E E EL Y E 21 Copyright 2004 SCARBEE Denmark 09 4 Fingered Harmonics We have included the Fingered Harmonics program so that you can make the sweet bended harmonics made famous by the fantastic bass players Stanley Clarke and Mark King Stri ngs l _ Wi E String HH A String HH D String HH G String Velocity 1 Position Deepest string or lowest numbered fret Som
25. keyboard player to faithfully emulate a true bass tone over a wide range because of the abrupt tonal changes which occur from string to string Thankfully Scarbee Bass Library owners can put the old days of Sampling behind them More detailed tutorials will soon be available to registered users Remember to study the midi files of the demo songs you can Surely pick up a trick or two Copyright 2004 SCARBEE Denmark 37 13 1 Preparing The track In the beginning of the track insert Modulation value 127 this way you can compose hearing all notes If the Modwheel is at 0 you will only hear the notes from the E string Note If you want to use the J Combi Session Bass and J Combi Poly CP remember that these programs uses the Foot controller to swich between Fingered and Slap bass For those who do not own a Foot pedal is is possible to make a Input Transformer script in Cubase SX to route Sustain pedal to Foot pedal It only takes 2 minutes to do and it will only work on the tracks where you load the script not on all your other tracks where you might want to use the Sustain pedal for sustain When you insert controller data Foot or Modulation it is best to use snap on so you only get ONE message At default set it to 1 32 notes and 1 64 note if have very fast notes It is also recommended to use the 1 32 snap for inserting key triggers so that they are played 1 32 before the actual note The Key triggers
26. ks Heath Weber Mat Wright Hamid Hagh Musikhuset Aage Jensen thanks for fast and great support Stefan Kengen Mzone for the good vibes and friendship Rick Chadwick for his incredible help J ules Bromley now you finally get your Combi Bass Thomas Serafini and Alfonso De Prisco Shiori Y and Hiroyuki Itoh from Crypton Adrian Lee Carlos Eduardo Arellano man you rock Scarbee Artist Lounge members George Duke Philippe Saisse Al Turner and Chris Beck Martin Walker Sound On Sound Zack Price Home Recording Magazine Rob Shrock Electronic Musician Ryan Miglierina www soniccontrol com Roman Beilharz PC amp Musik for great press and reviews Mark Simon Northernsounds Andre Stornes for making our new Web Shop and finally a very special thanks to my wonderful children Nikolaj Oscar amp Victor and my beloved wife Anne Copyright 2004 SCARBEE Denmark 48 17 Loading For The First Time Before you load the Scarbee J Slap n Fingered for the first time you may want to read this 17 1 Halion Global Commands Clear All h Help cn Versi n History Halion Website Steinberg on the Web About HALion 1 Clearing the memory Right click mac cntri click on bottom of sampler and select clear all OPTIONS Preload into RAM q Preload Memory Used Voice Butter Es Voice Mornsry Used MEMORY USED 2 Setting up the preload time and Vo
27. monstrated the GigaSampler for me was amazed After some hours of thinking knew that had to create a bass library from scratch The Celinder J Update 4 bass was built for me and began to sample and program directly to GigaSampler later GigaStudio The speed was amazing was able to work much faster than before and didn t have to worry about loops at all The new possibilities available with the dimensions technology inspired me to make the instrument even more complex until felt that could simulate just about any bass line With this new Halion Kontakt version have been able to go even further concerning playability especially Halion 2 and Kontakt 1 5 2 owners will feel the power 11 Copyright 2004 SCARBEE Denmark 6 The Recording Process often produce retro sound alikes when write music for commercials film or produce pop r amp b rock or whatever Sometimes the bass must sound like 1971 and other times perhaps 1981 Therefore wanted to record the bass as clean as possible by going line in and only adding a small amount of bass from the built in preamp to suit my own taste If you want to color the bass sound yourself you can send the entire bass track through an amplifier and record the output from the speaker with a microphone apply some compression to the final track or just use plug ins amp simulators tube simulators EQ chorus reverb or any effect you want this is undoubt
28. n _Scarbee Bass 1 Open the Input Transformer in the Inspector on the Track where you have the Halion Program Instument with the J Combi Session Bass or J Combi Poly CP lt i i ransformer a ER itt ore SERBERE Tipe E A ER TEN el SKER SR C WWE a y E Value 1 Equal 2 Then Add Line in the top FilterTarget Type Is Condition Equal Parameter 1 Controller 46 Copyright 2004 SCARBEE Denmark 3 Add new Line FilterTarget Value 1 Condition Equal Parameter 1 64 4 Then Add Line in the bottom Action Target Value 1 Operation Set to fixed value Parameter 1 64 5 Then Activate Module 1 And store the Preset as Scarbee Bass Scarbee Bass 6 Then set Mode to Transform Remember to load and activate the Scarbee Bass preset for all tracks that uses the J Combi bass programs 47 Copyright 2004 SCARBEE Denmark 16 Production Credits and Thank You s 16 1 Production Credits Recording Editing Programming and Production by Thomas Hansen Skarbye Cover Art and Design by Anne Skarbye 16 2 Thank You s The Christian Stefan Celinder for building my bass and giving me endless support Halfdan E and Lars Daniel Terkelsen for playing on some of the demosongs Northern Sound Source and Cubase forums for the many positive posts about the Scarbee Bass Libraries Kotzenschmarrn Pinkcanary Bo Clausen and Suntower Cubase forum for their clever tric
29. n done remember to save the program F pey RELEE ue f f A 7 Jaky Graphics If you view Halion like this Keyzone you may experience jerky graphics So when sequencing set view to Chan Prog 51 Copyright 2004 SCARBEE Denmark 17 2 Kontakt 1 5 2 PRELOAD BUFFER SIZE PER SAMPLE VOICE EOFFER SIZE 132 00 KE RESERVED VOICES MEM TOTAL Ed 24 00 ME MIN FASS os DISK CACHE DON T USE FOR SMALL BUFFER SIZES RAUTO LOARD FATCHES IN DFO FORMAT A FOSSIELE 1 The direct from disc DFD setup Download the 1 5 2 update the 1 5 2 DFD patch from Native Instrument website Open Kontakt select options and DFD Direct From Disc Set options to match your system 2 Loading J Combi s Remember that the J Combi basses are MULTI s not single programs Copyright 2004 SCARBEE Denmark 32 18 Copyright Disclaimer All product and company names brands and logos mentioned in this document are exclusive property of the respective owners Some product names descriptions and images are cited for the sole purpose of identifying the Specific products that we used to develop this SCARBEE Sample Library SCARBEE is in no way related to or affiliated to any of the mentioned companies Copyright 2004 SCARBEE Denmark 53
30. oot Controller Swich Playing Style ooccooccccococo oo 39 13 3 Modulation Wheel Switch Strings oocccccocccccnnnnnnnnn os 40 13 4 Playing OCTAVES ccc ccc cece cece ee eeeeeeeeeeeteeeeeeeneetenentnegs 13 5 Hammer on And Pull Off ccc ec cce cece ee eee eee eeeeeeeeeees 13 6 Slow Grace Notes cccccccseeeeseeeeseeeeeeeueeeseueeteuueteags 1S ay fee 0 Sic eo as 14 The MIDI Demo SONGGS cc cece ce eect carr 15 Cubase SX Input Transformer cceeeceeeee eee eeeeeeeeeeeeeeees 16 Production Credits and Thank YOU S ccccceeceeeee rer eee nere 16 1 Production Credits c cece cc ccee ee ee eee eeeeeeeeeeeeeueeeenuneeees Ao o EET LES ENE i 17 Loading For The First TiM cccccccseeeeeeeeeeeeeeeeeeueeseuenegs Copyright 2004 SCARBEE Denmark UF od OA A e o o e lie A 49 UF eZ ROMEO Le Dolores E EEEE Aie 52 18 Copyright Disclaimer 0occcccccccccncnccnnncn cnn rr 53 Copyright 2004 SCARBEE Denmark 1 Introduction The Scarbee J Slap n Fingered has the classic funky 77 Jazz Bass sound The handmade Celinder Update 4 has been recorded without the use of compression tubes or advanced EQ to ensure you maximum flexibility in the sound production 2039 samples are dedicated to each of the 3 pick up settings Bridge Both and Neck giving you the total of 6117 samples about 2 GB sound The musicality of the bass is expressed in every possible hamm
31. ot Control Foot Control J Fingered Copyright 2004 SCARBEE Denmark 13 Getting Started There is a fundamental technique which needs to be addressed when emulating a bass with a keyboard instrument It is one common to many stringed instruments On a keyboard any particular pitch normally occurs once across the whole 88 note range On a bass this is not the case The pitch ranges of bass strings overlap This means that a bass player has choices when he decides to play a particular pitch He can choose to play any note on any one of several strings The important thing to be aware of here is that the same note produces a different timbre on different strings A bass player chooses strings depending on the complexity of the part he plays and the type of sound he wants for that part The Scarbee bass libraries take advantage of Articulation Switching facilities as well as the ability to switch between the four strings by using the mod wheel In this way the keyboard player can play a realistic bass part staying on the same string as long as he likes or switching to a different string at any point just as a bass player chooses when playing a stringed bass This technique is a true breakthrough when compared to most previous sampled basses which use samples from one string until they reached the range of the next string and then switch to samples from the next string This limited approach makes it nearly impossible for the
32. s Davis and Kazumi Watanabe just to mention a few it was the groovy funk music of bassist Copyright 2004 SCARBEE Denmark Marcus Miller that tempted me to try the bass two years later learned quickly and studied with the finest bassists while also playing funk jazz fusion in different bands Unfortunately at the age of 22 began having troubles again with my wrists and quit playing for the second time In the meantime had become an experienced composer and learned how to score for classical as well as contemporary instruments This experience in composition eased my transition into creating music for film and television have since created and produced music for documentaries and TV Cinema jingles for hundreds of commercials in Denmark Sweden Norway Germany England Russsia even South Africa The Scarbee Bass Libraries So how did get into sampling basses for the TASCAM GigaStudio and now Steinbergs Halion and Native nstrument s Kontakt 1 5 2 In 1997 10 years after was forced to quit playing my wonderful wife Anne gave me a Yamaha bass as a present was so happy and began practicing at once but soon began to have the same problems as before Determined to not just simply quit this time decided to find a way to replace my weak hands began analyzing great bass lines and developed a system in which could simulate a string performance with great detail In January 2000 a friend of mine de
33. so that the next note an octave higher velocity 49 becomes a Slide down slow tail So this way we can create a Slide up down Copyright 2004 SCARBEE Denmark 44 14 The MIDI Demo Songs To help you get started making your own bass lines we have included all the soloed bass tracks of the J Fingered and J Slap Demo Songs in MIDI files The MIDI files are licens free you can use them as you like Take out small riffs or take bigger parts whatever that suits you Importing the MIDI files MIDI Tracks 130 JF Demo 1 mid JF1 Session Bass fxp 065 JF Demo 2 mid 085 JF Demo 3 mid 125 JS Demo 1 mid 092 JS Demo 2 mid 108 JS Demo 3 mid 090 JS Demo 4 mid 098 J Combi Demo 1 mid 098 J Combi Demo 1b mid J52 Session Bass fxp JF2 Harmonics fxp JF1 Session Bass fp J51 Session Bass fsp Ji Combi Session Bass fxp MIDI Tracks Registered users can download new MIDI grooves from the ever growing Groove Factory at www scarbee com Copyright 2004 SCARBEE Denmark 45 15 Cubase SX Input Transformer The J Combi Basses uses the Foot controller to swich between Fingered and Slap bass For those who do not own a Foot pedal is is possible to make a script in Cubase SX to route Sustain pedal to Foot pedal It only takes 2 minutes to do and it will only work on the tracks where you load the script not on all your other tracks where you might want to use the Sustain pedal for sustai
34. thout written permission from SCARBEE Information about licensing can be obtained by contacting SCARBEE Any use of SCARBEE samples on commercially released audio products must contain credit for the samples used This credit must include SCARBEE amp name of title used We would also appreciate being notified of such use Copyright 2004 SCARBEE Denmark 4 Install 4 1 Optimizing System Performance In order to get the best out of J Slap n Fingered some additional care must be taken in order to get the best out of it Itis best to do a Defrag or Speed Disk pass on destination Hard Drive prior to installation On PCs check if your System has DMA access enabled for all of the attached mass storage peripherals If you have more than one Volume or Partition on destination Hard Drive please use the highest one if possible this choice makes sure that you will be using the fastest part of the physical Hard Disk Make sure you have all Virus checkers and background tasks disabled both during install and when using J Slap n Fingered Be careful to disable Fast Find background task usually installed by Microsoft Office on some machines Copyright 2004 SCARBEE Denmark 4 2 Copying of files Installing J Slap n Fingered Kontakt Halion from CD Insert CD 1 Copy the Scarbee J Slap n Fingered folder to the destination Hard Disk Drag amp Drop all the files and folders
35. use of mutes can make even the simplest line really cook Each note has it s own mutes some with light harmonics The medium hard velocities 50 99 hold the sustained samples in this articulation group played with right hand index finger At the hardest velocities 120 125 we have placed the fast grace note great for a groovy bass line or a funky lick Trills can be found at velocities 126 127 Trill 1 is created by sliding a halftone fast forth and back over the fret perfect for artistic bass lines Articulation group C1 and C 1 are identical except for the release samples when the finger leaves the string a noise is created When you have pressed key trigger C1 fingered release samples will automatically be triggered by a MIDI note off and since we have made each string mono phonic the release samples will be instantly muted when another note is played just like a real bass This means that there will be no release sound hanging over a new note The CF 1 articulation group is identical to the C1 group but will trigger more tight release samples faster damping 24 Copyright 2004 SCARBEE Denmark Keyboard trigger D1 D 1 LEAN VN W O ON TAN OA NE OR HAT Velocity Key trigger D1 D 1 Velocity Key trigger D1 D 1 Sus hard mi Sus hard mi Sus med 2 mi Sus med 1 mi Sus soft mi This articulation group contains Sustained Muted samples Fast grace note up soft Trill 1 an
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