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Scarbee A-200 - User Manual – 6

During test recordings, we determined that the dynamic response of the A-200 was quite 
different to that of the MARK I, as it exhibits a high degree of characterful, timbral variation 
in the forte area of its dynamics. Unlike the MARK I, the A-200’s piano’s action is very light, 
making it easy for a keyboardist to play continuously in this range of the piano’s timbre. In 
order to capture such a defining element of the piano’s personality, we decided to increase 
the size of the the sampling project by 30%, with additional focus on the forte range of the 
instrument. Once this was accomplished, a proprietary system was employed to ensure that the 
sampler’s response to velocity variation was identical to the original piano’s keyboard action. 
In order to accurately reproduce the dynamics of the original keyboard, both the sustained 
and the released sounds of each of the 64 keys result in a total pool of over two thousand 24 
bit .wav files. All samples are full length (no loops) and we recorded release samples for each 
of the 16 velocities at the exact same level as the corresponding 16 sustain samples (except 
those for the top five keys, which have no damper, causing the keys to ring out to their end).

Why did we go through this much trouble?

Technology is moving at an increasing pace, with music companies releasing new (almost 
disposable) instruments every day, but still many of us find ourselves looking to the past for 
sounds which truly inspired us. Organic tones with inconsistencies and chameleon-like char-
acter flaws, which are very difficult to program into predictable digital instruments. However, 
the original electric piano from which the A-200 was sampled is electro-mechanical and infa-
mously difficult to maintain. The light action often results in the piano being played quite hard, 
which leads to cracked reeds, electrical short circuits and tuning problems. Finding a source 
of these reeds itself is a monumental task in some countries, and using a soldering iron to 
tune your piano isn’t anyone’s idea of a fun break before the gig. Due to being so unpractical, 
it won’t be long before such fragile instruments will disappear completely. To date, several 
products have included limited attempts to describe this electric piano in software, but only 
recently has the very technology supplied the tools required to capture the soul of the beast. 
With the Scarbee A-200, musicians will have access to the inspirational sounds of this great 
electric piano for generations to come—vintage sonic lightning preserved in a cutting-edge 
software bottle.

Summary of Contents for Scarbee A-200

Page 1: ...USER MANUAL...

Page 2: ...o part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by Native Instruments GmbH hereinafter referred to as Native I...

Page 3: ...rlin Germany info native instruments de www native instruments de USA Native Instruments North America Inc 5631 Hollywood Boulevard Los Angeles CA 90028 USA sales native instruments com www native ins...

Page 4: ...on 5 2 Restoration 7 3 The A 200 Feel 8 4 Controls 9 4 1 Original Noise Adjustment 9 4 2 Effects 10 4 3 Tremolo 10 4 4 Reverb 11 4 5 Delay 11 4 6 Pan 12 4 7 Auto Wah 12 4 8 Compressor 13 4 9 Chorus 13...

Page 5: ...f recording a painstaking process of restoration lasting six months was undertaken This involved a range of measures aimed at creating a super electric piano which has perhaps the highest signal to no...

Page 6: ...sing the keys to ring out to their end Why did we go through this much trouble Technology is moving at an increasing pace with music companies releasing new almost disposable instruments every day but...

Page 7: ...added extra metal screening folio in Europe we don t use ground ing on keyboards that often I also had to move the piano far away from any studio power cables when recording otherwise you could hear...

Page 8: ...was needed to be applied throughout the entire recording phase of the Scarbee A 200 s development Without this system it would simply not have been possible to recreate the experience of playing the...

Page 9: ...along with other samples when you hit a key and since the noise sample is mapped to 1 note polyphony you always get the same amount of noise whether you play one or thirty keys Feel the magic when tur...

Page 10: ...er FX Type switches between Send and Insert effect pages Effect Preset selects between 10 FX presets It is possible to save five user presets 4 3 Tremolo Amount We recreated the Vibrato amount and spe...

Page 11: ...terval in milliseconds between hearing the straight signal and the first delay of the delayed signal This Parameter can be synchronized to an external MIDI clock Click on arrow to select time value fr...

Page 12: ...arameter can be synchronized to an external MIDI clock Click on arrow to select the time value from the menu 4 7 Auto Wah Speed determines the speed of the modulation of the effect This parameter can...

Page 13: ...s Only signals above the threshold are affected by the compression ratio signals below are unaffected Output sets the output level of the module 4 9 Chorus Depth sets the amount of LFO modulation appl...

Page 14: ...stortion applied to the sound Higher values increase the distortion effect Output sets the output of the module 4 11 Phaser Depth sets the amount of LFO modulation applied to a signal Higher amounts r...

Page 15: ...Scarbee A 200 User Manual 15 4 12 Amp Bass boosts or cuts the level of the lower frequencies Treble boosts or cuts the level of the higher frequencies...

Page 16: ...g wow we did crazy stuff this time Stefan Kengen great work The whole Native Instruments crew Sascha Kubiak Tobias Menguser Gerald Zollner Alexander Stamm Marcus Rossknecht and Dinos Vallianatos Rick...

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