Sketch of Rickenbacker 'frying pan' lap steel guitar from 1934 patent applicationand founded the company in 1931 as the Ro-Pat-In Corporation (Elect Ro-Patent- Instruments) to sell electric. Beauchamp had designed these instruments, assisted by Paul Barth and Harry Watson, at. They chose the brand name Rickenbacher (later changing the spelling to Rickenbacker).
Early examples bear the brand name Electro.The early instruments were nicknamed because of their long necks and circular bodies. They are the first known, though they were a type. They had a single pickup with a steel cover that arched over the strings.
By the time they ceased producing the 'fry pan' model in 1939, they had made several thousand.Electro String also sold to go with their guitars. A Los Angeles radio manufacturer named Van Nest designed the first Electro String production-model amplifier. Shortly thereafter, design engineer Ralph Robertson further developed the amplifiers, and by the 1940s at least four different Rickenbacker models were available. Of the Lansing Manufacturing Company designed the speaker in the Rickenbacker professional model. During the early 1940s, Rickenbacker amps were sometimes repaired by, whose repair shop evolved into the.Early history George Beauchamp was a performer, violinist, and steel guitarist who, like many acoustic guitarists in the pre-electric-guitar 1920s, was looking for some way to make his instrument cut through an orchestra. He first conceived of a guitar fitted with a phonograph-like amplifying horn. He approached inventor and violin-maker, who made a prototype that was, by all accounts, a failure.
SCARBEE RICKENBACKER BASS runs in KONTAKT and the free KONTAKT 5. Native Instruments' Scarbee Bass for Kontakt is, by far, one of the most realistic bass sample instruments ever created. Scarbee's Rickenbacker Bass (SRB) expands on their existing virtual basses with a posh new GUI, built-in effects, and some welcome improvements to the KSP scripting. It's the first Scarbee bass to have been played with a pick rather than fingers, so it's tonally very different to their previous bass products.
Their next collaboration involved experiments with mounting three conical aluminum into the body of the guitar beneath the bridge. These efforts produced an instrument that so pleased Beauchamp that he told Dopyera that they should go into business to manufacture them. After further refinements, Dopyera applied for a patent on the so-called tri-cone guitar on April 9, 1927. Thereafter, Dopyera and his brothers made the tri-cone guitars in their Los Angeles shop, under the brand name National.
On January 26, 1928, the opened, with a new factory located near a metal-stamping shop owned by Adolph Rickenbacher and staffed by experienced and competent craftsmen. The company made Spanish and Hawaiian style tri-cone guitars as well as four-string, and.Adolph Rickenbacher was born in Basel, Switzerland in 1887 and emigrated to the United States to live with relatives after the death of his parents. Sometime after moving to Los Angeles in 1918, he changed his surname to 'Rickenbacker'. In 1925, Rickenbacker and two partners formed the Rickenbacker Manufacturing Company and incorporated it in 1927. By the time he met George Beauchamp and began manufacturing metal bodies for the 'Nationals' being produced by the National String Instruments Corporation, Rickenbacker was a highly skilled production engineer and machinist. Adolph Rickenbacher became a shareholder in National and, with the assistance of his Rickenbacker Manufacturing Company, National boosted production to fifty guitars a day.Unfortunately, National's line of instruments was not well diversified and, as demand for the expensive and hard-to-manufacture tri-cone guitars began to slip, the company realized that it would need to produce instruments with a lower production cost to remain competitive.
![Bass Bass](/uploads/1/2/5/6/125618090/898617619.png)
Dissatisfaction with what John Dopyera felt was mismanagement led him to resign from National in January 1929. He subsequently formed the Dobro Manufacturing Corporation, later called Dobro Corporation, Ltd, and began to manufacture his own line of resonator-equipped instruments. Patent infringement disagreements between National and Dobro led to a lawsuit in 1929, with Dobro suing National for $2 million in damages. Problems within National's management as well as pressure from the deepening led to a production slowdown at National. This ultimately resulted in part of the company's fractured management structure organizing support for George Beauchamp's newest project: development of a fully electric guitar.By the late twenties, the idea for electrified string instruments had been around for some time, and experimental banjo, violin, and guitar pickups had been developed. George Beauchamp had experimented with electric amplification as early as 1925, but his early efforts, which used microphones, did not produce the effect he desired. Beauchamp also pursued the idea, building a one-string test guitar out of a 2X4 piece of lumber and an electric phonograph pickup.
As problems at National became more apparent, Beauchamp's home experiments became more rigorous, and he began to attend night classes in electronics and collaborate with fellow National employee Paul Barth. When they finally developed a prototype electric pickup that met their satisfaction, Beauchamp asked former National shop craftsman Harry Watson to make a wooden neck and body to hold the pickup. Somebody nicknamed it the 'fry-pan' because of its shape, though Rickenbacker liked to call it the pancake.
The final design Beauchamp and Barth developed was an electric pickup consisting of a pair of horseshoe-shaped magnets that enclosed the pickup coil and completely surrounded the strings. Fry-pan & Electro-Spanish At the end of 1931, Beauchamp, Barth, Rickenbacher and several other individuals banded together and formed the Ro-Pat-In Corporation (elekt RO- PATent- INstruments) to manufacture and distribute electrically amplified musical instruments, with an emphasis on their newly developed A-25 Hawaiian Guitar, often referred to as the 'fry-pan' lap-steel electric guitar as well as an Electric Spanish (standard) model and companion amplifiers. In the summer of 1932, Ro-Pat-In began to manufacture cast aluminum production versions of the Fry-Pan as well as a lesser number of standard Spanish Electrics also known as 'Electro-Spanish' models, built from wooden bodies similar to those made in Chicago for the National Company. These instruments constitute the origin of the electric guitar by virtue of their string-driven electro-magnetic pick-ups. In 1933 the Ro-Pat-In company's name was changed to Electro String Instrument Corporation and its instruments labeled simply as 'Electro'.
In 1934 the name of Rickenbacher' was added in honor of the company's principal partner, Adolph Rickenbacker.During the early production of the A-22 Fry-Pan, Beauchamp and Rickenbacher would experiment with wooden-bodied Spanish guitars and solid body prototypes; ultimately giving birth to the and the. Both models had been experimental, produced as early as 1931, and officially released in 1935. The Electro-Spanish Ken Roberts model was subject to a limited production of forty-six. There were several new design elements found on the Electro-Spanish Ken Roberts. The instrument was the first of its kind to be named for an endorser. While most arch-top guitars had 14- neck joints, the Electro-Spanish Ken Roberts fingerboard joined the body at the 17th fret allowing much greater access to the higher frets, creating a full 25-1/2' inch scale. This addition made the Electro-Spanish Ken Roberts the first production full scale (25-1/2') electrified guitar.Another new feature on the Electro-Spanish Ken Roberts is the stock Kauffman Vib-rola tailpiece, the world's first patented (US Patent: US2241911A).
The Ken Roberts is the first instrument of any type to feature a hand-operated as standard equipment. It also marks Rickenbacker's first link to the unit's originator, Clayton, who would become a design collaborator for the company a couple of years later. Model B Electric In 1935, the company introduced several new models including the Model 'B' Electric Spanish guitar, which is the first known solid body electric guitar. Because the original aluminum Fry-Pans were susceptible to tuning problems from expansion of the metal under hot performing lights, they made many of the new models from cast, an early synthetic plastic used in.Rickenbacker continued to specialize in steel guitars well into the 1950s, but with the advent of, F.C. Hall, owner of Radio & Television Equipment Co. (Radio-Tel), purchased the Electro String Company from Adolph Rickenbacker in 1953.
Hall overhauled the business and began focusing on standard electric and acoustic guitars rather than the steel guitars the company pioneered. In 1956, Rickenbacker introduced two instruments with the ' construction that became a standard feature of many of the company's products, including the Combo 400 guitar, the model 4000 bass, and, later, the 600 series. Neck Thru consists of a single wooden piece from the neck through the central body section.In 1958, Hall introduced prototype called 'capris' (the same name of Hall family’s cat from the pronunciation of the french noun for whim).In 1963, Rickenbacker developed an electric twelve-string guitar with an innovative design that fit all twelve onto a standard-length headstock by mounting alternate pairs of machine heads at right-angles to each other. After including the twelve-string guitar in the.Rickenbacker guitars and 1960s rock and roll. Body of a 370/12, with the distinctive R-tailpiece, sharkfin inlays and stereo jacks.In the 1960s, Rickenbacker benefited tremendously when a couple of Rickenbacker guitar models became permanently intertwined with the sound and look of.In Hamburg in 1960, Beatles guitarist bought a, which he used throughout the early days of The Beatles. He eventually had the guitar's natural alder body refinished in black, and made other modifications, including adding a and regularly changing the control knobs.
Lennon played this guitar for the Beatles' 1964 debut on (as well as for their third Sullivan appearance, pre-taped the same day but broadcast two weeks later). During Lennon's post-Beatles years in New York, he had this guitar restored to its original natural wood finish and the cracked gold replaced with a white one.Rickenbacker made two new 325s for Lennon and shipped them to him while the Beatles were in Miami Beach, Florida, on the same 1964 visit to the United States: a one-off custom 12-string 325 model and an updated six-string model with modified electronics and vibrato. He used this newer six-string model on the Beatles' sequentially 'second' appearance on The Ed Sullivan Show.Lennon accidentally dropped the second 325 model during a 1964 Christmas show, breaking the headstock. While it was being repaired, Rickenbacker's UK distributor Rose Morris gave Lennon a model 1996 (the export version of a 325, available exclusively in a red finish and with an ). Lennon later gave the 1996 to fellow Beatle. The typical 12-string headstock, with the slotted tuners for the octave strings.Beatles guitarist bought a during a brief visit to the United States in 1963.
In February 1964, while in New York City, F.C. Hall of Rickenbacker met with the band and their manager, and gave Harrison a (the second electric twelve-string built by Rickenbacker). This instrument became a key part of the Beatles' sound on their and other Beatles songs through late 1964.
Harrison played this guitar sporadically throughout the remainder of his life.On August 21, 1965, during a Beatles concert tour, Randy Resnick of B-Sharp, a Minnesota music store, presented Harrison with a second model 360/12 FG 'New Style' 12-string electric guitar, distinguishable from Harrison's first 12-string by its rounded cutaways and edges. A television documentary produced by in Minneapolis documents the event. Harrison used this guitar on the song ' and during the Beatles' 1966 tours. This 12-string's whereabouts are unknown, as it was stolen at some point after the band ceased touring.After the Beatles 1965 summer tour, frequently used a left-handed 1964 4001S FG Rickenbacker bass rather than the lightweight basses he had used previously. The instrument became popular with other bassists influenced by McCartney's highly melodic style.In 1967, McCartney gave his 4001 a paint job, as seen in the promo film for, and in the film.
A year or so later, someone sanded off the finish. A second, over-zealous sanding in the early 1970s removed the 'points' of the bass' cutaways. McCartney used the Rickenbacker bass during his time with, until the late 1970s.Partly because of the Beatles' popularity and their consistent use of the Rickenbacker brand, many sixties guitarists adopted them, including , , and John Entwistle and Pete Townshend of. As both the and the 1960s wound down, Rickenbacker guitars fell out of fashion for a time. Rickenbacker basses, however, remained popular through the 1970s and beyond. In the late 1970s and early 1980s, Rickenbacker guitars experienced a renaissance as and groups turned to them for their distinctive chime.
Demand is particularly high among retro groups influenced by the sound and look of the 1960s.Hallmarks of Rickenbackers. Double truss rod neckSome Rickenbacker models feature a 'Rick-O-Sound' output socket, allowing each pickup to be routed to different amplifiers or effects chains. Another feature is the use of two truss rods to correct twists and curvature in the neck. Rickenbacker guitars typically have a set neck made of multiple pieces of wood laminated together lengthwise, while their basses have a one-piece neck that. Rickenbacker instruments are known for narrower necks (41.4 mm versus 43 mm at the nut for most competitors) and lacquered rosewood fingerboards, giving them a different feel.Known for their bright jangle and chime, Rickenbacker guitars are often favoured by, and bands such as,. The early models were equipped with low-output toaster pickups. With the late-1960s advent of heavy rock, these were phased out circa 1969–70, and replaced by hi-gain pickups with twice the output.
Still, the early models were viewed by as pivotal in his refinement of feedback techniques and the eventual development of the Marshall sound.In recent years, a diverse cross-section of artists have played Rickenbacker guitars. In 1979, Tom Petty and of used vintage 1960s models to attain that toaster-pickup jangle. The hi-gain pickup sound is associated with acts such as andIn 2014, Rickenbacker introduced the Walnut series: the 330W, 330W/12, 360W, 360W/12, and 4003W.
These models have walnut bodies with a hand-rubbed oil finish, and unfinished maple fingerboards. Rickenbacker 4001JGThe 4000 series were the first Rickenbacker. The company began making them in 1957. They followed the 4000 with the (in 1961), 4002 (limited edition bass introduced in 1977), 4008 (an eight-string model introduced in the mid-1970s), 4003 (in 1979, replacing the 4001 entirely in 1986 and still in production in 2017), and most recently the 4004 series.
They also made the 4005, a hollow-bodied bass guitar (discontinued in 1984)—which did not resemble other 4000 series basses, but rather the new style. The 4001S (introduced 1964) was basically a 4001 but with no binding and dot fingerboard inlays.
It was exported to England as the RM1999. However, Paul McCartney received one of the early 4001S instruments (his unit was left-handed, and later modified to include a '). Along with McCartney, other early adopters of the 4001 were , (The Who), , of and of.Standard and collectible versions of the 4003 include the 4003S (Special), which was discontinued in 1995 but relaunched in 2015. This was similar to the 4001S with its dot neck markers, no body binding based loosely upon the original Rickenbacker basses, and 4001 pickups. From 1985 to 2002, the 4003 and 4003S had black hardware and black binding options available.
Later special editions included the 4003 Blue Boy, 4003 CS (Chris Squire), Blackstar, Shadow Bass, Tuxedo and 4003 Redneck.Rickenbacker basses have a distinctive tone. The 4001 and 4003 basses have neck-through construction. The 3000 series, made from the mid-1970s to mid-1980s, were cheaper instruments with bolt-on 21-fret necks. There was also a glued-in set neck 4000 version in 1975-76 (neck set like a ), which featured a 20-fret neck, dot inlays, no binding (similar to the 4001S) and only a single bridge-position mono pickup. Of used the 4000 extensively on the album, as seen in a promotional clip for '.' This bass also appears on the gatefold sleeve of.
Playing his signature 4004LKIn the 1970s, the Rickenbacker bass became a staple of, as exemplified by British bassists and Chris Squire. Squire was one of the first to supercharge the 4001 by splitting the signal, sending the neck pickup output to a bass amp and the bridge pickup output to a lead guitar amp. Combined with his aggressive picking technique on Rotosound roundwound strings, the effect was a growling, grinding, 'concrete mixer' tone that remains admired and emulated to this day.In the vein, 's was a prominent Rickenbacker aficionado. Of used a Rickenbacker on the band's earlier material. Another enthusiast was bassist, whose heavily modified 4001, red with white hardware and trim, debuted during the group's era. Also noteworthy was vocalist/bassist, for whom Rickenbacker produced a 60-bass run of 'Lemmy Kilmister' signature basses: the 4004LK, fitted with three pickups, gold hardware, and elaborate wood carving in the shape of oak leaves.
In 2019, the company produced a 420-bass run of signature basses honoring the prominent and bassist, a long-time Rickenbacker proponent. Cisneros's 4003AC model features a signature pickguard, green inlays on the fingerboard, and a removable thumb rest.The sound of Rickenbacker basses featured early on in the UK punk/new wave explosion of the late 1970s and early 80s and were used by: and (although both soon switched to Fender Precision basses), (The Jam), (, ), , , and in the US.Rickenbacker acoustic guitars Rickenbacker has produced a number of uniquely designed and distinctively trimmed. Although a small number of Rickenbacker acoustics were sold in the 1950s and were seen in the hands of stars like and, the company concentrated on their electric guitar and western steel guitar business from the early 1960s onward. From about 1959 through 1994, very few Rickenbacker acoustic guitars were made.In 1995, an effort was made to re-introduce Rickenbacker acoustics, with factory production beginning in their Santa Ana manufacturing facility in 1996. Four models of flat top acoustic Rickenbackers were depicted in factory literature (maple or rosewood back and sides, jumbo or dreadnaught shape).
Each of these four models was also available in both six- and twelve-string configurations, yielding a range of eight distinct instruments. (The 760J 'Jazzbo,' an archtop model, was only built as a prototype, with three examples known to exist.) It is estimated that fewer than 500 Rickenbacker acoustic guitars were built before the factory shut down the acoustic department in mid-2006.In late 2006, Rickenbacker gave a license to build Rickenbacker-branded acoustics to Paul Wilczynski, a with a workshop in San Francisco, California. He continued to offer all eight models of the Rickenbacker flat top guitar line, building each instrument to order, until his license expired in February 1, 2013.Pickups Rickenbacker manufactures three for their current standard models: hi-gain single coil, Vintage single coil,. All three pickup designs share the same footprint, so they can retrofit into most current or vintage models. The tone varies from one style to the next, partially because of the types of used but also due to the amount of wire wound around the pickup's bobbin.Most contemporary models come with single-coil hi-gain pickups as standard equipment.
Many post-British-Invasion players such as, and have used instruments with these pickups. Rickenbacker's HB1 /dual coil pickup has a similar tone to a pickup, and comes standard on the Rickenbacker 650C and 4004 basses.Vintage reissue models, and some signature models, come with Toaster™ Top pickups, which resemble a classic two-slotted chrome toaster. Despite their slightly lower output, Toasters produce a brighter, cleaner sound, and are generally seen as key to obtaining the true British Invasion guitar tone, as they were original equipment of the era.In addition to the standard pickups, vintage reissue bass models are equipped with Horseshoe wrap-around style pickups, very similar to the pickups on the earliest Rickenbacker Frying Pan models.
Copyright enforcement Rickenbacker are known for their pro-active approach to preventing the sale of copies or 'clones' of their instruments. The company has issued legal threats to websites where individuals might offer secondhand instruments for sale. Doing so has harmed the reputation of the company and polarised opinion of the brand among enthusiasts, many of whom aspire to own the ‘real thing’.Product list. ^ Tony Bacon; Paul Day (1994), The Rickenbacker Book, Miller Freeman Books, p. 9,. ^ Bacon, Tony; Day, Paul (1994), The Rickenbacker Book, San Francisco, California, USA:, p. 12,. Smith, Richard R.
(1987), The History Of Rickenbacker Guitars, Fullerton, California, USA: Centerstream Publishing, pp. 2–5,. Smith, Richard R. (1987), The History Of Rickenbacker Guitars, Fullerton, California, USA: Centerstream Publishing, pp. 5–6,.
Smith, Richard R. (1987), The History Of Rickenbacker Guitars, Fullerton, California, USA: Centerstream Publishing, pp. 8–9,. Smith, Richard R. (1987), The History Of Rickenbacker Guitars, Fullerton, California, USA: Centerstream Publishing, pp. 9–10,. ^ Editorial, Retrofret. Retrofret Vintage Guitars.
Retrieved 7 October 2015. ^ Corporation, Richenbacker International. Retrieved 8 August 2015. Retrieved March 12, 2019.
![Rickenbacker Bass Kontakt Rickenbacker Bass Kontakt](http://www.gitarrentotal.ch/sites/default/files/rickenbacker4001cherry.jpg)
^ Babuik, Andy, Beatles gear: all the Fab Four's instruments, from stage to studio,. Guitar Aficionado. It's interesting to think that the Marshall sound I helped Jim and his guys develop was built around the very low output and thin, surfy sound of the Rick. The sound I wanted was Steve Cropper, but very loud.
The early Marshall with a Rick gave me that. The semi-acoustic body and a speaker stack feeding right into the guitar was what allowed me to refine tuneful feedback. Retrieved 2 April 2018. Retrieved 2019-08-09. Retrieved 2014-06-13. Cite web requires website=.
Retrieved 2014-06-13. Cite web requires website=. Retrieved 2014-06-13. Cite web requires website=. Retrieved 2014-06-13.
Cite web requires website=. Retrieved 2014-06-13. Cite web requires website=.External links Wikimedia Commons has media related to., website. (An article about a guitar exhibition, includes details on the Rickenbacker Frying pan.). NAMM Oral History Library (2003). NAMM Oral History Library (2017).
Together with pianos and drums, bass guitars ought to be counted among the instruments whose virtual versions can be considered credible today. Here's a selection of the best exponents in the genre.Do note that most of the virtual bass guitars below include the software that allows you to use it with your sequencer. $299Trilian is unquestionably the most exhaustive virtual bass on the market. Besides basses (fretless and fretted, fingered, with pick and slapped) and double-basses, it provides an impressing collection of synth basses, and everything with multiple editing and processing options organized in levels.
In terms of sound, it is as splendid as generous, as always at Spectrasonics (too much for the taste of some because it is sometimes necessary to fiddle with the EQ to make it fit a mix). Add to that the possibility to create interesting interactions with or and you'll agree that, for $299, it offers an excellent price/quality ratio, even if not without defects. Trilian is relatively RAM hungry and programming is not as intuitive as with other products. Nevertheless, it remains the most comprehensive of all instruments dedicated to bass guitar. $65Being the most old-fashioned selection, this doesn't provide a very detailed sampling nor such a realistic sound as the rest, but it still remains very interesting due to its rather different approach. Conceived by the creators of Virtual Guitarist and Groove Agent, it has the Patterns approach of the latter, which will thrill fans of ready-to-use options, considering that Steinberg's Virtual Bassist, based on the same principle, isn't available anymore. It comes with a lot of combinable grooves with all kinds of bass sounds (electric, acoustic, double bass, synth bass, etc.), plus it has a very attractive price tag ($65) and is uber-easy to use.
$140Another rather old product, ManyBass is one of those old pots that can still make a good soup. We must admit that, despite their age and even if they aren't among the best, the electric basses offered by this virtual instrument do hit a high mark in terms of realism and the instrument has a relatively versatile sound, thanks to its effective amp/cab section. However, with a price tag of $140 for the basic instrument and $180 with supplementary libraries, it might seem a bit expensive in comparison with competing products. Refill for Reason$99Available only to users, this electric cannot compete in terms of scripting with what or have to offer. But that doesn't make it any less interesting in more than one way, starting with the choice of sampled instruments: besides the indispensable Jazz Bass, Precision Bass, Rickenbacker or Stingray, this Refill also offers a Les Paul (yes, a Les Paul bass guitar), a Gibson EB-0 and a Kay Hollowbody. If we add to that the fact that it is all served with a pile of Combinators that make very good use of Reason's effects, it's hard to disagree that $99 aren't unreasonable. Yet, we have a question: what happened to slap bass?
$200If Trilian has a competitor in the Kontakt galaxy, this is it without a doubt. In the same manner as Spectrasonics, Vir2 has put a lot of effort into developing the most comprehensive library around: modern or vintage, fretted or fretless, the bass guitars presented here with different playing techniques are complemented with a nice double bass and a fine collection of synht basses. While it does not offer the same richness in terms of editing as Trilian, we must also admit that the instrument is much more accessible: the interface and programming are very simple thanks to some very good scripts. And with a price that has gone down to around $200, it is obvious that BASiS is a good option to consider for fans of Native Instruments' sampler. AcousticSamples / / / /$49 / $59 / $89 depending on the library or $199 in bundleNo iLok, no luckAs usual, the Frenchmen at AcousticSamples offer well-conceived instruments both in terms of sound and scripting.
The electric basses are no exception to the rule and make very good use of the UVI Engine, which allows us to get very realistic-sounding bass lines without breaking our heads. Three models were used to create five libraries: a Fender Jazz Bass (fingered, with pick, both techniques with or without palm mute), a 5-string fretless Ibanez and a Music Man Stingray with three different libraries (Muted/Slap/Fingered). The good news, apart from the quality of the instruments, is their price, because except for the Jazz Bass ($89), the Stingray libraries are sold for $49 each, and the Fretless for $59. And best of all is that there is a that includes all this models plus and excellent double bass for $199. If you already have an iLok, this is an option that ought to be considered very seriously. Libraries for SFZ or and higher$60Don't let yourself be deceived by the 'Shreddage' and 'Picked Edition' tags, this Music Man Sterling played with a pick can be spectacular for metal but it has proven to be much more versatile than one might think at first sight.
It offers several advantages: it is available in two formats, Kontakt or SFZ (a format used by several free samplers) and costs only $59, which — given its quality and ease-of-use — is a great deal if you are ready to settle for one and only one bass sound. Ilya Efimov / /Library for and higher$133 eachIlya Efimov has made itself a name in the small sampling world in a very short time.
It must be said that his acoustic guitars for Kontakt are nothing less than the current reference in the field. And these three basses (two Precision for the Retro Bass and Classic Bass, and a 5-string F-Bass for the Modern Bass), will not tarnish the Russian musician's reputation, quite the contrary. Their sound is undoubtedly real.
Making use of advanced scripts he was able to reduce the use of Keyswitches and patches. The only drawback? That, for the time being, there is no bundle that allows us to buy all three at a special rate, while separately each one costs $133. We also regret the lack of a fretless model. But it is in the making!
And even if double basses are not the main topic here, the is well worth looking at. Library for and higher$70This library revolves around a 5-string. Recorded through a DI box with the intention of being able to use it with simulators, this DirectBass plays the modern card in terms of sound while keeping it simple in terms of playing. It is hard to believe it, but this is the only instrument in our selection that includes ready-to-use MIDI files, something that will please those who curse programming. For $70, it is an excellent option, as is usually the case with Pettinhouse. $269Before Trilian, there was the, a 12+ GB library structured around a Music Man Stingray played with a pick and slapped, a LeFay, and a magnificently recorded double bass with three different string sets: steel, nylon and catgut.
It all comes spiced with plenty of articulations and 112 MIDI-controllable parameters to obtain realistic-sounding parts. Still, there are other options that are easier to program, richer in terms of sounds and especially less expensive than this instrument for that goes for $269. Let's just say that a price review or an update wouldn't hurt. Orange Tree Samples / /Library in format and higher$100 to $130 depending on the bassWhen talking Orange Tree Samples, we're talking serious things. Sampled with love and scripted with talent, this three basses cover a wide sound range without neglecting the subtleties of bass playing. The Jaco is certainly one of the most beautiful renditions of a fretless bass on the market.
And the developer also offers a double bass with an excellent simplicity/sound ratio. The only drawback is that there is no bundle in the horizon, which means that if you want to get all of them you must fork out $360. But we bet that the Cherry Electric Bass, for $129, covers all needs of the average user. While waiting to be able to afford the rest. $1508GB of a single Stingray played with a pick: needless to say that the Japanese at Prominy do not waste their time when it comes to sampling.
In fact, the only reproach we can make to this SR5 is its character, which is rather inclined towards rock and metal rather than soul or jazz. Otherwise, we must admit that it is very well conceived, in terms of sampling, mapping and scripting (excellent pick handling, among other niceties). An instrument with a huge sound that is easy to play and that, within its genre, is unmatched. It is $150 very well spent.