Markyboard Posted June 7, 2019 Share Posted June 7, 2019 Well maybe not quite as exciting but anyway... I really like Scarbee Classic EP88s and even more so Canterbury Suitcase except for one glaring deficiency; the upper register notes abruptly lose their bite, snap, punch, whatever you want to call it. I have no doubt those higher note samples capture the authenticity of the piano used. But for me it just ruins what otherwise might be my favorite virtual Rhodes (and apologies for the repeated whining ). However, I have finally come up with a satisfactory work-around and thought Id share. If youre not interested in the technical details but have an interest in either product you might still enjoy hearing the samples in the link referenced below. In a nutshell it comes down to supplementing Canterburys high registers with Scarbee sounds taking advantage of its midi splitable EQ. Scarbees built in EQ is my first encounter with one that lets you define a lower and upper midi note and create 3 independent fully parametric EQs each operating only over its designated note range; 1 below and including the lower midi note, 1 in between and 1 above and including the upper midi note. Along with the EQ parameters you can also adjust the final output level independently for each and even make it completely silent which is very useful. Im curious if there are any hardware EQs that have this feature? Apparently, there are several stand-alone soft EQs that do one I may acquire in the near future. While similar results may be achieved using multiple instances of each VST operating over certain midi note ranges along with separate EQs applied to each this is not exactly efficient or convenient; This approach also makes modifications difficult to achieve. Sample crossfading also comes to mind here but Ive never achieved a satisfactory result with this approach- ymmv. Ive provided detailed descriptions with each example ( link below). Youll have to click on each sound clip (toward the bottom of the page) as the descriptions dont auto advance from sound clip to sound clip. Btw the difference between successive sound clips is not subtle and does not require golden ears or beaucoup expensive monitors to hear. The correction is a bit exaggerated and maybe even a bit squaunky at time. Like I said its pretty easy to adjust to taste but for now good enough. Quote Link to comment Share on other sites More sharing options...
stoken6 Posted June 7, 2019 Share Posted June 7, 2019 To properly Theoize, you mustn't provide comparative samples for A/B testing - only provide the B version. Joking aside, thanks for posting. Cheers, Mike. Quote Link to comment Share on other sites More sharing options...
The Real MC Posted June 7, 2019 Share Posted June 7, 2019 There are multiband compressors which use a crossover to splits the frequency bands then route them to compressors. You could use a 3-way crossover to split an audio signal then route those three outputs to EQs. Artists like George Duke had the pickups on his Rhodes split in three sections. That let him apply different processing to each section. I could easily do this on my MIDI controller which can have three splits across its 88 note range. Quote Link to comment Share on other sites More sharing options...
Delaware Dave Posted June 7, 2019 Share Posted June 7, 2019 To properly Theoize, you mustn't provide comparative samples for A/B testing - only provide the B version. THIS ^^ Quote 57 Hammond B3; 69 Hammond L100P; 68 Leslie 122; Kurzweil Forte7 & PC3; M-Audio Code 61; Voce V5+; Neo Vent; EV ELX112P; GSI Gemini & Burn Delaware Dave Exit93band Link to comment Share on other sites More sharing options...
Markyboard Posted June 7, 2019 Author Share Posted June 7, 2019 There are multiband compressors which use a crossover to splits the frequency bands then route them to compressors. You could use a 3-way crossover to split an audio signal then route those three outputs to EQs. Artists like George Duke had the pickups on his Rhodes split in three sections. That let him apply different processing to each section. I could easily do this on my MIDI controller which can have three splits across its 88 note range. Yeah, Im aware of those techniques through reading although Ive never had the opportunity/equipment or maybe just the motivation to explore this myself. I was really just wondering if a similar all in one hardware version existed. Thinking about it further multiple independent parametric EQs in the same box might be a pretty tall order, and expensive. Having midi notes bound the EQ sure makes dialing in the desired effect easy although I wouldnt be surprised to hear seasoned pros call this cheating. I highly recommend it. Quote Link to comment Share on other sites More sharing options...
EscapeRocks Posted June 7, 2019 Share Posted June 7, 2019 I hopeyou doin't mind, but I had to transfer your OP to Word, and parse out the paragraphs. My eyes couldn't handle the huge blob of text in that middle section Here's the reader friendly view Well maybe not quite as exciting but anyway... I really like Scarbee Classic EP88s and even more so Canterbury Suitcase except for one glaring deficiency; the upper register notes abruptly lose their bite, snap, punch, whatever you want to call it. I have no doubt those higher note samples capture the authenticity of the piano used. But for me it just ruins what otherwise might be my favorite virtual Rhodes (and apologies for the repeated whining. However, I have finally come up with a satisfactory work-around and thought Id share. If youre not interested in the technical details but have an interest in either product you might still enjoy hearing the samples in the link referenced below. In a nutshell it comes down to supplementing Canterburys high registers with Scarbee sounds taking advantage of its midi splitable EQ. Scarbees built in EQ is my first encounter with one that lets you define a lower and upper midi note and create 3 independent fully parametric EQs each operating only over its designated note range; 1 below and including the lower midi note, 1 in between and 1 above and including the upper midi note. Along with the EQ parameters you can also adjust the final output level independently for each and even make it completely silent which is very useful. Im curious if there are any hardware EQs that have this feature? Apparently, there are several stand-alone soft EQs that do one I may acquire in the near future. While similar results may be achieved using multiple instances of each VST operating over certain midi note ranges along with separate EQs applied to each this is not exactly efficient or convenient; This approach also makes modifications difficult to achieve. Sample crossfading also comes to mind here but Ive never achieved a satisfactory result with this approach- ymmv. Ive provided detailed descriptions with each example ( link below). Youll have to click on each sound clip (toward the bottom of the page) as the descriptions dont auto advance from sound clip to sound clip. Btw the difference between successive sound clips is not subtle and does not require golden ears or beaucoup expensive monitors to hear. The correction is a bit exaggerated and maybe even a bit squaunky at time. Like I said its pretty easy to adjust to taste but for now good enough. Quote David Gig Rig:Casio Privia PX-5S | Yamaha MODX+ 6 | MacBook Pro 14" M1| Mainstage Link to comment Share on other sites More sharing options...
timwat Posted June 7, 2019 Share Posted June 7, 2019 [video:youtube] I'm loving the real deal that Lynette Williams is playing (and her playing is stellar)...3:49 to 4:05, for example. Several slabs serve up Rhodes sims that die in the upper octaves. I find this with the CP4, for example. My go-to Kronos Rhodes is Busch's awesome 'Winter Rhodes', which if I understand it correctly is a Mk 1 in the LH and a Mk 2 in the RH. Warm, meaty, ample bell, and still speaks for single line work. Scarbee also provides a wonderful RH single line. Quote .. Link to comment Share on other sites More sharing options...
Markyboard Posted June 7, 2019 Author Share Posted June 7, 2019 I hopeyou doin't mind, but I had to transfer your OP to Word, and parse out the paragraphs. My eyes couldn't handle the huge blob of text in that middle section Here's the reader friendly view Wait, so you ran my text through what .....a multi band equalizer? Seriously though thank you David. I actually wrote this up in word earlier in the week and copied it here today. But still the original was not as pretty as your mastered version. Quote Link to comment Share on other sites More sharing options...
Markyboard Posted June 7, 2019 Author Share Posted June 7, 2019 Several slabs serve up Rhodes sims that die in the upper octaves. I find this with the CP4, for example. My go-to Kronos Rhodes is Busch's awesome 'Winter Rhodes', which if I understand it correctly is a Mk 1 in the LH and a Mk 2 in the RH. Warm, meaty, ample bell, and still speaks for single line work. Scarbee also provides a wonderful RH single line. Interesting (although Ill have to wait on the video clip until Im back home). From the EP-88s User Manual Im gathering that capturing the high end is no easy feat even if the tone is there to begin with. We spend enourmous amount of time cleaning the samples for noise each sample went through four rounds, where the last two was done in hand. The reason for this was the fact thatwe wanted to be able to offer presets with extreme treble EQ settings wihout having extra noise and without hurting any part of the recordings. Quote Link to comment Share on other sites More sharing options...
Theo Verelst Posted June 8, 2019 Share Posted June 8, 2019 Bit it sounds, euhm, only little short of bloody awful, at least on my system. Some fun basic funky jazz Dorians aside which I find fun, why do you consider the sound even usable, it's all over the place, no clarity, no nice distortion, I mean my RD300 sounded more musical to be fair. I understand perfectly they're looking for sample reconstruction tricks when trying the bit higher electric piano samples through an equalizer, but that's pro material and they clearly don't have a clue... T Quote Link to comment Share on other sites More sharing options...
drawback Posted June 8, 2019 Share Posted June 8, 2019 Not to derail... but I've just applied this method to Ravenscroft iOS using custom EQ's for above & below A3. Neo-Soul is next for upper 2 octaves. Works fantastic. Thanks for this!! Quote ____________________________________ Rod Here for the gear. Link to comment Share on other sites More sharing options...
Jazz+ Posted June 8, 2019 Share Posted June 8, 2019 . Scarbee has the better high notes. AcousticSamples vs Scarbee vs Canterbury [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Jazz+ Posted June 8, 2019 Share Posted June 8, 2019 This Fantasy Records live recording captures the classic Rhodes sound at 2:40. Notice it clacks and overdrives on strong accents but never really barks. The notes are full bodied sounding which is really great for soloing. [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Theo Verelst Posted June 8, 2019 Share Posted June 8, 2019 Well that Funky Quarter sounds alright, but the example above that makes my ears cry, that is some ugly... Quote Link to comment Share on other sites More sharing options...
David Emm Posted June 8, 2019 Share Posted June 8, 2019 I find this debate amusing, much like guitarists arguing over fuzz pedals. They get GAS, too! Frankly, having played a nice cross-section of real EPs, the biggest improvement I encountered was the built-in EQ on two Rhodes pianos. If the instrument is in good repair, that's the #1 "effect." I have several great EP samples that croon or bark well and I find Logic's EP to be gratifying overall. Markyboard's examples were illuminating, but not super-new; that's what I generally get after a bit of sculpting. You always end up building the EP you want for the job at hand. I have been eyeing Scarbee a bit, as EP is so intimate, I've begun to want a bit more smokiness and bite at times. Varied EQ at certain split points is a fine idea, but it would be rather octopus-like as hardware. Better to get the instrument's heart right. The best EP music I've heard has come from base instruments through a pedal or two. That's perhaps a wee bit harder when you have 15 pianos on tap in a menu. I wasn't drawn to EPs for a long time, but I've become a convert after seeing how many great hats they can wear. I love bells in particular and from some angles, an EP is like a full set of them in a box. Makes me all tingly and stuff, y'dig. Quote "I want to be an intellectual, but I don't have the brainpower. The absent-mindedness, I've got that licked." ~ John Cleese Link to comment Share on other sites More sharing options...
Jazz+ Posted June 8, 2019 Share Posted June 8, 2019 Look, a Fender Rhodes has a distinct sound. It didn't come with effect pedals. Of course any instrument can be processed. But Rhodes didn't come with an exagerated bell tone. It had Treble and Bass EQ. In it's natural state, the Fender Rhodes is clean and fat. They all sounded nearly the same with only slight differences in tine, pickup distances and hammer tips. A live Rhodes sounds exactly like in that video above of the Cal Tjader band at 2:40: Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Jazz+ Posted June 8, 2019 Share Posted June 8, 2019 It's like saying Fender Telecasters sound different from each other. They all sound nearly the same with only slight differences in pickup heights, strings and picks. Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Mark Schmieder Posted February 12, 2020 Share Posted February 12, 2020 Hmm, Scarbee better for the high notes -- I think this is why I found it became my choice for RTF type textures vs. Canterbury for more of the new agey type stuff. Quote Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1, Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager Link to comment Share on other sites More sharing options...
Tusker Posted February 12, 2020 Share Posted February 12, 2020 It's a really interesting observation Mark, I enjoyed the clips. I too have been frustrated that digital rhodes tend not to "speak". (to borrow Tim's terminology) If it's a rompler, I've used a peaking filter tuned to the midi note, to emphasize the fundamental frequency and called it a day. What you are proposing would be a considerable step up. Thanks to this thread I got to learn about Cal Tjader, so there's a lot to be grateful for. Here's my $0.02 Im curious if there are any hardware EQs that have this feature? It seems to me, the primary problem for hardware is that the sound generating mechanism has to make a decision and route a particular note down a particular audio path while not damaging the audio paths of other notes which may be sounding. Therefore the decision has to be made at the sound generating mechanism (the instrument) or before (the MIDI sent to the instrument). Does this reasoning sound ok to you? While similar results may be achieved using multiple instances of each VST operating over certain midi note ranges along with separate EQs applied to each this is not exactly efficient or convenient; This approach also makes modifications difficult to achieve. Despite it's inconvenience, this could be a useful idea for me. Thank you. Quote Link to comment Share on other sites More sharing options...
Markyboard Posted February 12, 2020 Author Share Posted February 12, 2020 Does this reasoning sound ok to you? Definitely. I have little real insight into what goes on in the sampling and processing of a complex instrument like this. But I have to believe the guys doing it are well aware of every imperfection and nuance. While similar results may be achieved using multiple instances of each VST operating over certain midi note ranges along with separate EQs applied to each this is not exactly efficient or convenient; This approach also makes modifications difficult to achieve. Despite it's inconvenience, this could be a useful idea for me. Thank you. You"re welcome Jerry. I appreciate the renewed interest in this thread. Quote Link to comment Share on other sites More sharing options...
Stefan011 Posted February 14, 2020 Share Posted February 14, 2020 Lynette Williams - wow, just wow. I can listen to this sound and playng all day. Quote Link to comment Share on other sites More sharing options...
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