Toontrack Upright EBX v1.0.0 (SOUNDBANK) [WiN]

 
The iconic upright bass.
标志性的直立低音。

Welcome to the definition of a timeless tone.
欢迎来到永恒音调的定义。

Double-bass, standup bass, contrabass, bass fiddle, violone or, as in our case, upright bass.
低音提琴，站立低音提琴，低音提琴，小提琴，或者，就像我们的例子，直立低音提琴。

Although it goes by many names, it’s one of those instruments that hardly needs one – you can distinguish it just at the strike of a note.
虽然它有很多名字，但它是那种几乎不需要名字的乐器——你只要敲一下音符就能分辨出来。

The slightly muffled but still vibrantly resonant, earthy and dark timbre of the upright bass has seeped through every tier in our music history, from its first iteration several hundred years ago until today.
从几百年前的第一次迭代到今天，直立低音的略带低沉但仍然充满活力的共鸣，朴实和黑暗的音色渗透到我们音乐史的每一层。

Honestly, only one word carries enough weight to describe its incontestable role in music as we know it: timelessness.
老实说，只有一个词足以形容它在音乐中无可争议的地位:永恒。

The Upright EBX comes with a handpicked, acoustic upright bass, sampled to capture the complex and unique hallmarks of this classic instrument.
直立EBX带有一个精心挑选的，声学直立低音，采样捕捉这一经典乐器的复杂和独特的特征。

In addition to the sounds, it also includes a broad selection of presets as well as a custom content of MIDI basslines.
除了声音，它还包括广泛的预设选择以及MIDI低音的自定义内容。

Measuring six feet from scroll to endpin, but with a tone like a ten-story building, this is the embodiment of an ideal instrument for use in any jazz, rock, pop or general acoustic music composition where the bass is “plucked” and needs to cut through.
从卷轴到尾针有六英尺长，但音色却像十层楼高，这是一种理想乐器的体现，适用于任何爵士、摇滚、流行音乐或一般的原声音乐作品，其中低音被“拨动”，需要穿越。

Welcome to the mother of all basses – twice the size, double the action and, if you ask us, a downright upright delight.
欢迎来到贝斯之母——两倍的体型，两倍的动作，如果你问我们，还有一种彻头彻尾的快乐。

FEATURE SPOTLIGHT
功能的关注

A meticulously captured acoustic upright bass
精心捕捉的原声直立低音

Recorded using an onboard piezo pickup as well as five different microphone configurations
使用机载压电拾音器以及五种不同的麦克风配置录制

Includes a collection of presets covering a broad range of tones for various genres, styles and microphone blends
包括一系列的预设涵盖各种类型，风格和麦克风混音广泛的音调

Comes with a custom MIDI library tailored for the instrument and fretless/upright playing styles
附带一个定制的MIDI库，为乐器和无扰/直立的演奏风格量身定制

THE INSTRUMENT.
仪器。

Perfection in projection.
完美的投影。

For any acoustic instrument, and particularly so for a one that has its predominant range in the lower frequency, projection is key.
对于任何一种声学乐器，特别是对于一种以低频为主要音域的乐器来说，投影是关键。

Frankly, a good instrument needs a voice that sings and cuts through.
坦率地说，一件好的乐器需要一个能唱能穿的声音。

A Corsini Elite* by renowned Romanian instrument luthier Calin Wultur* proved to have exactly all those qualities and be the perfect match for the Upright EBX.
一个科西尼精英*由著名的罗马尼亚乐器琴师Calin Wultur*证明了所有这些品质，是直立EBX的完美匹配。

“Since we were after a plucked tone and a bass for a modern and ‘acoustic’ approach rather than a classical, a flatback seemed like the first logical step.
“由于我们追求的是一种现代的、‘原声’的音色和低音，而不是古典的音色，所以平板音色似乎是合乎逻辑的第一步。

However, the quality of an upright’s tone is a product of all of its parts combined – from the machine heads down to the tailgut – and the Corsini just sounded and felt right through and through,” comments Magnus Melkersson, EZbass lead R&D technician.
然而，一个直立的音色质量是其所有部件组合的产物——从机头到尾肠——而科西尼的声音和感觉是彻头彻尾的，”EZbass首席研发技术人员Magnus Melkersson评论道。

THE BASS WITH MANY NAMES.
贝斯有很多名字。

A brief history of the double-bass.
低音提琴的简史。

Although its origins are debated, most hold to belief that the upright bass stems from the viola de gamba – a 15th century family of bowed string instruments not to be confused with the much younger viola.
尽管它的起源存在争议，但大多数人都认为直立低音提琴起源于15世纪的弦乐器中提琴，不要把它与更年轻的中提琴混淆。

The name literally means “viol for the leg” in Italian, so one can assume that the intent was a viol-like instrument to be played on the leg as opposed to under the chin.
在意大利语中，这个名字的字面意思是“腿上的小提琴”，所以你可以假设他的意图是在腿上演奏一种类似小提琴的乐器，而不是在下巴下演奏。

The earliest illustration dates back to 1516, but written accounts suggest even earlier instances.
最早的插图可以追溯到1516年，但书面记录显示更早的例子。

While the modern-day iteration of the instrument almost exclusively features four strings, the early instruments could have as much as up to six.
虽然现代的这种乐器几乎只有四根弦，但早期的乐器可能有多达六根弦。

Records also suggest that there were as many as up to 50 different tunings in use before the classic E-A-D-G method was adapted, which wasn’t until the early 20th century.
记录还表明，在经典的E-A-D-G方法被采用之前，使用的不同调律多达50种，直到20世纪初才被采用。

To sum up: Logically, a double-bass should have its counterpart in a single-bass – but it doesn’t.
综上所述:从逻辑上讲，低音提琴应该有与之对应的单低音提琴——但事实并非如此。

The name rather underlines the fact that its tone sounds two octaves below the middle C. But even that is up for debate.
它的名字更强调了这样一个事实，即它的音调听起来比中c低两个八度。但即便如此，这也是有争议的。

Some claim that the ‘double’ simply solidifies the fact that it was meant to double the violoncello in an orchestra.
一些人声称，“double”只是巩固了这样一个事实，即它是为了在管弦乐队中演奏大提琴。

That too is up for debate, though.
不过，这一点也有待商榷。

Regardless of what we call it, where it originally comes from or whatever else that may be up for debate, any music lover would likely attest to the fact that this iconic bass with many names has etched its undeniable imprint in music as we
不管我们怎么称呼它，它最初来自哪里，或者其他任何可能存在争议的东西，任何音乐爱好者都可能证明这样一个事实，即这种具有许多名字的标志性低音已经在音乐中留下了不可否认的印记

THE SOUNDS & ARTICULATIONS.
声音和发音。

Seeing as this bass mainly is intended for use in jazz, rock, pop or general acoustic music compositions, it was sampled solely using the plucking (pizzicato) technique.
由于此低音主要用于爵士、摇滚、流行音乐或一般的原声音乐作品，因此仅使用拨弦(拨奏)技术进行采样。

To offer the broadest possible tonal options, both an onboard piezo pickup as well as five high-end microphones in different positions were used to capture the scope of the instrument’s monumental tone.
为了提供尽可能广泛的音调选择，使用了机载压电拾音器以及位于不同位置的五个高端麦克风来捕捉仪器的巨大音调范围。

“To record an acoustic instrument of this stature and with this amount of body and natural low end, we experimented with numerous microphone types, positions and techniques to finally land on the perfect combination,” comments Ulf Edlund, EZbass lead sound designer.
EZbass首席声音设计师Ulf Edlund评论道:“为了录制这样一款具有如此高的身材和自然低端的声学乐器，我们尝试了多种麦克风类型、位置和技术，最终实现了完美的组合。”

To ensure maximum transparency and minimum ambient saturation, the bass was recorded in a relatively small room.
为了确保最大的透明度和最小的环境饱和度，低音是在一个相对较小的房间里录制的。

This, combined with the elaborate microphone positioning scheme, makes for a genuinely organic, warm and tangibly vivid sampled instrument.
这与精心设计的麦克风定位方案相结合，使一个真正有机，温暖和有形生动的采样仪器。

THE PRESETS.
预设。

The end goal with the presets was to offer a library of tones as broad but still as natural and true to the instrument as possible.
预设的最终目标是提供一个尽可能广泛的音调库，但仍然尽可能自然和真实的乐器。

In addition to saturation in the form of effects like compression, reverb and EQ, the presets also include mixes of microphones that blend the different natural tonal flavors they offer.
除了饱和效果，如压缩，混响和EQ，预设还包括混合麦克风，混合他们提供不同的自然色调口味。

Expect an array of options for anything from mellow jazz trio-type of tracks to any Americana, bluegrass, folk, indie, pop, rock or acoustic scenario.
从成熟的爵士三重奏类型的曲目到任何美国音乐、蓝草音乐、民谣、独立音乐、流行音乐、摇滚或原声场景，都有一系列的选择。

SYSTEM REQUIREMENTS.
系统需求。

600 MB free disk space, 4 GB RAM (8 GB or more recommended).
600mb可用磁盘空间，4gb内存(推荐8gb或更多)。

A working EZbass 1.1.0 (or above) installation.
一个工作EZbass 1.1.0(或更高)安装。