USER`S MANUAL
Contents
1. d No Plug in EFM1 FM Synth ES E Ensemble Synth ESM Monophonic Synth ES P Polyphonic Synth ES1 Synthesizer 1 ES2 Synthesizer 2 EVES Tonewheel Organ EVD6 Electric Claw EWOC 20 PS Vocoder Synth EWPSS Electric Piano EX524 Sampler External Instrument Klopfgeist Sculpture Modeling Synth Test Oscillator Ultrabeat Drum Synth ARP2600 V2 CS 80v2 minimoog Y E Pe si laz Moog Modular W2 AU Generators K Apple gt Oberheim SEM V Y Y Y YT YT YT YT YT Y Y Y Y Y Y T T GarageBand Instruments K K K K K K K K AU Instruments Spark Se AU Instruments 32 bit Modartt Spark Vintage Drum Machines AU MIDI controlled Effects Native Instruments Wurlitzer Y 4 10 Using in Ableton Live AU and VST From the plug ins tab simply double click on the Wurlitzer V VST or AU icon or drag and drop the plug in into a MIDI track Live File Edit Create View Options Help Live File Edit Create View Options Help If necessary you can perform a rescan of the plug in directory in the Preferences File Folder tab press the Scan button or press Scan while holding the Alt key for a full rescan 5 END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right for the use2. instruments Using 1000 times less soace than the sampling method Imagine an electronic instrument that is small and portable and can faithfully reproduce the criso notes of a Steinway piano the sweet sound of a Stradivarius violin or the brilliant tone of a trumpet there is no limit with physical modeling synthesis A lot of universities and research centers understood the benefits of this technology and a revolutionary equation has been developed in the prestigious Institute of mathematics of Toulouse to recreate piano and electric piano s sound This brand new physical model has been implemented in this Wurlitzer V The result is just magic notes are really played constructed in real time like on a real Wurlitzer the sound is alive not static it is not a simple recording it is a genuine instrument that responds to the player s interpretation And it s really light on the computer it does not require huge data storage involving a whole collection of DVD s it loads easily into RAM and installation is very fast ARTURIA WURLITZER V User s Manual 11 1 INTRODUCTION 2 ACTIVATION amp FIRST START Wurlitzer V works on computers equipped with Windows 7 or 8 and Mac OS X 10 7 or later You can use the stand alone version or use Wurlitzer V as an Audio Units AAX VST2 or Nya 9 Audio Units VST3 instrument 2 1 Register amp Activate Once the Wurlitzer V has been installed the next step is to
3. v Empty Hanger Phaser DELAY Chorus i Delay AMC INT M X s Compressor A TONE Overdrive DRIVE OUTPUT Vocal filter CHORUS Piteh shift Chorus 2 d kd oa eu BR re TYPE K ST AATE ST WiDTH OVERMRIVE By choosing the Empty option on the drop down menu will close the effect pedal only the drop down menu remains visible Each effect also has a bypass button Bypassing the pedal will not remove the graphic and the parameters the signal will be 100 dry When the pedal is on the red LED of the effect turns on when you bypass the effect the LED will turn off All effects parameters are MIDI assignable and learnable You can easily assign a MIDI pedal controller to your Wurlitzer Y and control your effects with it As we saw in the Tool bar chapter 3 2 6 the Wurlitzer V has three output options e Direct to studio e Guitar amp e Leslie speaker 3 5 1 SLOT 1 Wah Wah Auto Wah Volume pedal This Slot provide 3 effects Wah Wah Auto Wah and Volume pedal Volume pedal This works as a volume pedal that is assigned to MIDI CC 7 You can also click and drag on the pedal to change the volume amount Wah Wah This works as a standard wah wah pedal It defaults to being assigned to being assigned to MIDI CC 11 Expression You can also click and drag on the pedal to change the wah wah frequency 3 5 2 Auto Wah Freq Control the resonance frequency of the Wah wah effec
4. 15 3 2 1 Selecta bank type POSO E 15 32 2 SINO AN OS Sie EE 16 3237 IMPOR EON O DARRO i Sai AA AA 17 SA O 91 EOS A ME E COn o aaa aes ese 17 A FORON EE 18 3220 VOTO TO E rr al 18 D2 NVAO OO e aaa 20 320 GEET 20 ILF PONC e EE 21 SO CPUV GGE ae e E 21 SA NB ie Le alas R ajo AA A O A A 21 AA SAB o ee 21 A II A 22 Seel elle te IR TR ean re ii 22 Manage conga oN Sez iii ble 23 Minimum and maximum Ree EE 23 K Vra ke YBO EE 23 S2 14 UGO eege 24 POTENTMO MESA N N N 24 INMENSA a 24 3 3 The real Wurlitzer EP 200 A mtertocCes eee 26 OA MeDase MOS adds 27 SN ne EE 2 3 5 1 SLOT 1 Wah Wah Auto Wah Volume Deco 30 a nee e EE 30 ARTURIA WURLITZER V User s Manual 3 MACHA Ol EE 30 2 AUO N EE 31 353 ICING E 32 SO PIO EE 32 E EE 33 O EE ee 34 K SOO Nes SO Irs ee 34 K gel 35 A VOC Pi EE 35 As RE 36 Sn Lee DIRECT a 11 eE da ADA EA EA AAA 37 K Less SOCOKE Sil ICT O lectus AAA A Satan 38 SO os GUN GINO SIMU OT EE EE 39 4 MODES OF OPERATION sois di iii 40 Ak SA An 40 All Ee ste alk ar AOS ION A 40 4 1 2 Configuration of the IMS Il e Miss 40 Ee 4 ZG Wa E EE 4 AAE RTA N 4 ADs IP NEE 4 AO GA ONS Ould CM Isi TA 42 Ar Use INECUDBASse NUEnNCIO VS ria 42 APM ANIMEN USC IRIN Sb MOQO EE 42 4 7 2 ReSCAN the plug in directory IN CUDASEC REENEN 43 APS AS o OO E OOREEN 43 A TOOS RTAS SS A 43 NEE et ele te K e Me PIO liada 43 HOZ SONIDO TIME pS Sinai 44 Aoo AUTO MAanon Und PIO TOO Sila aa 45 Ae USERS MOC O
5. 4 Popularity The goal at the beginning was to provide a piano which did not detune and could be easier to transport than a real piano The electric piano started as a product to be more convenient but ARTURIA WURLITZER V User s Manual 5 1 INTRODUCTION then acquired a musical identity of its own Musicians developed playing techniques with their instruments and created their own sounds using a variety of effects like phase shifters delays and tremolos to enhance the possibilities of the sound The popularity of the electric piano reached its height during the 70s many legendary bands have used these instruments like The Beatles the Doors Herbie Hancock Chick Corea Pink Floyd Led Zeppelin Ray Charles Queen Supertramp Elton John etc The band SUPERTRAMP playing the Wurlitzer Most electric piano players seem to be divided into two camps Rhodes Mark Il or Wurlitzer EP 200 A Tonally and attack wise the Wurlitzer seems to sit more comfortably with an amplified guitar based rock band a than does the Rhodes lt can even replace a rhythm guitar quite successfully whereas the Rhodes is more of a solo instrument suited to fusion acid jazz other jazz styles the truth is that both of them are real jewels MARK 112 5 STAGE PIANO Rhodes Mark IT Wurlitzer EP 200 A These instuments were eventually replaced by synthesizers or electronic pianos capable of piano like sounds without the disadvantages of moving mechanical pa
6. High Depth controls the Doppler effect of the Leslie soeaker Level sets the output audio gain 3 5 13 Guitar amp simulator Vol Sets the volume level Drive Sets the drive level Reverb Sets the reverb level Lo Sets low frequencies equalization Mid Sets medium frequencies equalization Hi Sets high frequencies equalization Microphone Select between 4 types of microphones Cabinet Select between 4 types of cabinet This module digitally emulates a physical guitar amplifier For many users the original band experience with a Wurlitzer piano was taking the Wurlie and plugging it into a guitar amp It gives the Wurlie a sound that many of us remember well Lo Hi and Mid knobs allow you to sculpt the tone These potentiometers boost or cut the energy of specific frequency bands The Drive knob sets the gain of saturation the Reverb knob sets the reverb level Microphone option allows you to select between 4 types of microphones and positions Dyna57 on Axis Dynas7 Off Axis SH421 Front or YOU87 Front This is a simulation of the most common ways TO mic up a guitar amplifier You can select the type of microphone by clicking the drop down meu at the top left of the cabinet Cabinet option allows you to select between 4 types of guitar amp cabinet 1x12 Blackface 2x12 Blackface 4x10 Tweed or 4x12 HalfStack Each of these classic cabinets have different tonal characteristics You can
7. a sound library is part of the purchased Product the following shall apply in addition to the EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a sound library or as a sound library for any kind of synthesizer virtual instrument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s invoice shall be evidence of the date of purchase Any implied warranties on the software a
8. allows you to adjust the dynamics without any distortion Octave Stretch Octave stretch allows you to simulate a stretch tuning If can go from subtle to extreme Hammer You can choose the hammer hardness The harder the felt the more Hardness brilliant the sound becomes Hammer Noise You can adjust the hammer noise that is the weight of the hammer percussion sound With a loud hammer noise you will feel as though you are standing close to the piano Note Off Noise Sets the level of key release noise Sustain Pedal On a Wurlitzer you can hear the mechanical action of the sustain Noise pedal You can set how loud or soft you want this mechanical noise Velocity Curve Allows you to adjust the response to your keyboard 3 2 5 FX Panel When you activate this button the effects panel will automatically slide open below the Wurlitzer V keyboard This will also allow access to the guitar amp Leslie and direct reverb settings For further information please refer to chapter 3 5 The effects 3 2 6 Output mode Output Direct You can choose between 3 output signal path options they simulate three different devices connected at the output after the effects unit e Direct The Wurlitzer V and the effects are connected to a direct box that will allow you to listen the pure sound on the output There is a reverb that follows the direct box just as it would be in a studio e Guitar amp The co
9. and extreme effects depending on the Rate and Depth of the modulation With high setting of Depth you will hear pitch changes to the sound This is due to the fact that we are modeling how the circuits in an analog flanger works When the delay time is modulated it changes the pitch in analog bucket brigade devices 3 5 4 Phaser Rate Sets the soeed of the phaser Depth Sets the depth of the phaser action Feedback Set the phaser resonance Stereo Sets the stereo width PHASER ex The phase shifter was one of the most popular effects used with electric pianos in the 70 s lt works by splitting the incoming signal and changing the phase of it in reference to the dry signal Doing this creates a filfer that combs with notches the frequency spectrum You can then change this phase to the rhythm of an oscillator which follows the frequency set with the Rate button The Depth button sets the amplitude for the action of the filtering while Feedback amplifies certain harmonics Sonically phasing is used to create whoosing sweeping sounds that wander through the frequency spectrum 3 5 5 Chorus RATE DELAY AMOUNT E Ea STRATE ST WiDTH CAEL Ss L dy a H mes E TYPE Type Sets the 3 chorus types Rate Sets the speed of the chorus Delay Sets the delay applied to the input signal Amount Sets the depth of the chorus action Mix Sets the ratio between the input signal gain a
10. be displayed All these operations deal with a single plug in parameter In order to setup a complete configuration a set of parameters should be configured To close the learn mode just click the MIDI button again Manage configurations You have the possibility TO maintain multiple configurations e Default configuration by default Wurlitzer V loads a configuration for the Arturia Analog Experience Keyboards Select one configuration a configuration is loaded by clicking the entry in the MIDI drop down menu e Create a new configuration a new configuration can be created by clicking the Create a new config entry on the MIDI drop down menu You also can create a new configuration including your own assignment operations described in the previous section This configuration has to then be saved by clicking on the MIDI drop down menu Save current config as entry In both cases a popup opens enter the name of your config A new entry for your configuration now exists in the list of available configurations e Remove a configuration it is possible to remove a configuration by loading it and then clicking on Delete current config on the MIDI drop down menu Minimum and maximum bounds For each assignment a minimum range value MIN and a maximum range value MAX can be set The assigned parameter will have the configured minimum value when the controller will be at its lowest position e The assigned parameter will hav
11. ANIC button to shut off all notes that might be stuck on PANIC 3 2 10 CPU usage indicator The processor usage gauge lets you see how much processing power is being used by Wurlitzer V S sound synthesis in real time This gauge is directly visible in the instruments tool bar Attention This information only corresponds to the processor rate dedicated to sound synthesis in Wurlitzer V it will not show the global system load of other programs that may running at the same time 3 2 11 MIDI channel selection It can be useful to select the MIDI channel s the Wurlitzer V will receive on You can choose between the 16 MIDI channels For example If you choose channel 1 the MIDI data via others MIDI channels will not affect the Wurlitzer V If you select ALL the Wurlitzer V will be able to receive all data from all MIDI channel 48 PANIC 20 Al MIDI Channel vw Al b Fe Pa E d 5 6 3 2 12 MIDI control All the knobs faders and switches on the Wurlitzer V can be manipulated with external MIDI controllers Before anything else make sure that the MIDI device that you wish to use is correctly connected to your computer and that the sequencer and the Wurlitzer V application is correctly configured to receive MIDI events coming from the device MIDI menu The menu MIDI drop down menu provides access to MIDI assignment functionalities This MIDI menu is composed of 2 sections 48 PANIC 20 All MIDI co
12. FR Products are exempt from update upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusive right to use the Product in perpetuity The Product Shall only be used by students or those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of an educational Product you are not entit
13. S XA ONV AU aras dada Da 45 A POUSING MADISON We AUN Vo sais 46 5 END USER LICENSE AGREEMENT eege ege 47 ARTURIA WURLITZER V User s Manual 4 1 INTRODUCTION 1 1 The electric piano 1 1 1 Terminology An electric piano is an electromechanical musical instrument Sounds are produced mechanically and then turned into electrical signals by using electronic pickups This is quite different from an electronic piano which simulates the timbre of a piano or others instruments using analog or digital circuitry 1 1 2 Origin The earliest electric pianos were invented in the late 1920s the 1929 German Neo Bechstein electric grand piano was among the first Probably the earliest model of electric piano was the Vivi Tone Clavier created by the Gibson sound engineer and master luthier Lloyd Loar When the instrument was discovered in 1994 amazingly the instrument was still in perfect tune Neo Bechstein Electric Grand Piano ViViTone Clavier 1 1 3 Technologies Different method of tone production exist among electric pianos They vary from one model to another the most common are struck strings Yamaha Baldwin Helpinstill Kawai tuning forks Fender Rhodes Hohner s Electra piano plucked reeds Hohner s Pianet and Cembalet Weltmeister claviset and struck reeds Wurlitzer Denon Elepian We cannot say that one method is better than another each of these technologies have their own tone and character 1 1
14. USER S MANUAL WURLIIZER V Project management Kevin Molcard Niccolo Comin Product management Glen Darcey Romain Dejoie Fr d ric Brun Programming Niccolo Comin Kevin Molcard Design Shaun Ellwood decoderdesign com Morgan Perrier Sound design Jean Michel Blanchet Glen Darcey Katsunori Ujiie Charles Capsis IV Boeles Gerkes Paul Steinway Richard Courtel Steve Ferlazzo Jim Cowgill Kevin Lamb Manual Sylvain Missemer Tomoya Fukuchi Antoine Back Niccolo Comin Glen Darcey Valentin Fesigny Special thanks to Kosh Dukai Douglas Kraul Sean Weitzmann Hernan Velasco Jacobo Abreo Alexandre Schmitz Noritaka Ubukata 2nd edition November 2014 ARTURIA S A 1999 2014 All rights reserved 30 Chemin du Vieux Ch ne 38240 Meylan FRANCE htto www arturia com ARTURIA WURLITZER V User s Manual 2 Table of contents T INTRODUCTION BEE 5 IP e et echte e Le DEE 3 telak eos A E ET OE ENOO EA 5 bE AA T T N NT 5 des MECANO O rotas 5 Ee PODIA I EE 5 12 Ts Vi Ae EE I ION Di 7 I R lt enie ie a EE 8 II Tr te EE 9 LZ e Mentee eer 9 F2 EECHER 9 ko PNY SIC Ol HAC GIS INA SY ne 10 LSD MUSICA e la re Winner ue Re ge 10 E Ce EE 10 koo ege E te EE 10 2 ACTIVATION amp FIRST STAR EE 12 Dil el Ee Ee EE 12 EIERE e 13 SL MENU O EE 13 Sele COMMOUR ME avdio and TEE 13 Sez CONCING HMO DMO anar 14 Slo COMMOURING SKI CO as E A IT TA 14 32 e PrE ee ana TOO DURA
15. VST Instrument PA Add Track Applied Acoustics Systems gt Arturia K Keyboard gt Wurlitzer V Modartt gt Analog Factory emm mme mel Native Instruments GmbH gt Analog Laboratory Steinberg gt ARP2600 V2 CS 80V2 CS 80V2 10 voices Jupiter 8V2 minimoog V Moog Modular V 2 Spark Spark Vintage Drum Machines hmmm gg ee mg 4 7 2 Rescan the plug in directory in Cubase If the Wurlitzer V does not appear in the list of VST plug ins you can perform a rescan of the plug in directory 4 7 3 Saving of presets When the session project is saved Wurlitzer V is saved in its last mode of operation with alll modifications intact For instance if you were working on a PI preset in which you had modified parameters without saving them as a separate preset within the plug in itself the next time you open the project Wurlitzer V will load the P1 preset plus the modifications you made previously The drop down menu in which the VST sequencer allows you to save a new preset is of course usable with Wurlitzer V However it is highly advised to use the Wurlitzer V internal menu the presets saved in this way are usable in any other mode standalone or with other sequencers they can be exported and exchanged more easily and they will remain compatible with the Wurlitzer V future versions 4 8 Using in Pro Tools RTAS 4 8 1 Opening of the plug in Access to the Wurlitzer V plug in is like all other plug in
16. d in each type You cans thus freely choose a preset by clicking on its name All Banks All Types KU RealWurlie All Banks b All Types K Factory Banks EX Chil Classic Boeles Gerkes Glen Darcey Jim Cowgill JM Blancnet r K Ujie Paul Steinway Richard Courtel Rock R Ga L Dry GTD Brite 1 Distorted GTD DarkBallad li a GTD_Dry Biter d GTD Midrange steve Ferlazzo GTD_OldDirt 0 E J E E E d User Banks GTD Standard 1 User Bank 1 E GTD_Vibro Wuniel GTD Vibro Wunlie2 Delete Bank All Banks A Ll GTD_WarmWurlie A a AS r mg JAC_Gray Manhattan ae oe KU 90sWz KU ChorusWz RU DxWZ KU RealWurlie KU Rhodes mkVIII KU Rosey PS Buzzy PS Chime In the bank drop down menu the All Banks option allows you to open a sub list with all of the types available in all of the banks This gives you access directly to all of the presets of a given type for example all of the basses no matter which bank they are in This function is particularly useful to quickly see all of the presets of the same type When a preset has been modified an asterisk appears next to its name in the tool bar 3 2 2 Saving an user preset To save your setting modifications in the current preset click on the Save button in the tool bar of the Wurlitzer V If you want to save your settings under another preset name click on the Save as button in the tool bar A drop down menu appears and lets you choose an existing preset i
17. dea is very old in the history of sound synthesis but has been limited to recent development due to the computational complexity and speed of computers 1 3 2 The puzzle To model the sound of a drum there would be a formula for how striking the drumhead injects energy into a two dimensional membrane The properties of the striker stiffness the velocity of the hit the material and how the strike happens the membrane mass density stiffness etc its coupling with the resonance of the cylindrical body of the drum and the conditions at its boundaries a rigid termination to the drum s body would all have to be described in the formula to work out the generation of sound Similar stages to be modeled can be found in instruments such as an acoustic guitar A few years ago a French scientist had made a complete modeling of all acoustic guitar parameters The calculations lasted three days to produce the sound The challenge in physical modeling synthesis is to simplify the algorithms and the computations to get a model which can be used in real time 1 3 3 The revolution There are several methods of Physical modeling synthesis Karplus Strong algorithms digital waveguide synthesis formant synthesis each one using a different paradigm to describe a sound to musical destination ARTURIA WURLITZER V User s Manual 10 1 INTRODUCTION The strong point is that physical modeling synthesis comes very close to the sound quality of real
18. e 64 notes A 13 thru C 76 Height from floor to keys with legs 28 5 8 Height of case less legs 7 1 8 Height from floor to top of case 33 not including music panel Overall width 40 Overall Depth 18 9 16 Weight less legs and pedal 56 lbs Legs Removable chrome plated steel legs two of which have leveling glides Wurlitzer EP 200 A SPECIFICATIONS from the original manual 1 2 3 Sound Compared with its rival the Fender Rhodes Mark Il the Wurlitzer EP 200 A has a brighter more hollow sound When played gently the sound can be quite sweet and vibraphone like sounding very similar to the Rhodes while becoming more aggressive with harder playing producing a characteristic slightly overdriven tone usually described as a bark In a pop or rock band setting with guitar bass and drums the Wurlitzer has a distinctive and clear sound where a Rhodes tend to blend in However it has also been used successfully in MOR ballads and even country music 1 2 4 Maintenance The Wurlitzer is an absolute nightmare to tune On the end of each reed is a lump of solder removing some makes the note sharper in pitch while conversely adding more solder flattens the pitch Just loosening the reed and re tightening it is enough to change the tuning Should you dare try removing some of the solder whilst the reed is still in the pickup assembly microscopic lead filing can cause havoc shorting out between re
19. e knob controls the distortion filtering You can adjust the output level by setting the Output knob 3 5 9 Vocal Filter a LN LEG E RES RATE VOCAL FILTER Ma Rate Sets the rate of the vocal filter LFO LFO On Off Starts or stop the LFO activity Res Sets the band width of the 5 band pass filters of the vocal filter Mix Sets the balance between the input level and the treated level The Vocal filter is a formant filter The LFO Rate knob and LFO On Off selector set the LFO parameters The Resonance knob sets the band width of the filter when set all the way to the right it results in a very thin audio signal close to a ringing sound The Dry Wet potentiometer sets the ratio between the input signal and the treated signal The main interface of the Vocal filter located on the central TV style screen shows a series of five vowels A E 1 O and U The Vocal filter frequency can be set in real time e Manually by moving the red ball cursor between five vowels or moving the vowel letters by dragging them on the screen surface of the Vocal filter e AnLFO is also available to modulate the cursor movements e You can set the radius amplitude of the LFO by clicking on the red ball cursor and moving it out of its initial central place This action will set width of the circular ball movements e Its also possible to re arrange the order of the five vowels on the screen space To do this simply click on one
20. e the configured maximum value when the controller will be at its highest position e You can invert Negative Slope Min and Max so that parameter will have minimum value when control has the highest value and parameter will have maximum value when control has the lowest value MIDI Control Setup Learning Vibrato MIN MAX ASSIGNED TO CC 18 UNASSIGN IT EEE EAS wat i Lee eee 3 2 13 Virtual keyboard The virtual keyboard which appears below the main panel can allow the user of Wurlitzer V to play a sound without an external master MIDI keyboard and without programming MIDI notes in a sequencer Just click and drag on a virtual key to hear the corresponding sound You can play the notes with different velocities The more you click down the key the higher the velocity will be tibedhondbadhondhedbonduadunndnntvenid 3 2 14 Use of controllers The Wurlitzer V uses two different types of controllers potentiometers and switches Let s take a look at those 2 types of controllers Potentiometers A potentiometer determines the value of the various parameters There are two different types of potentiometers fader and rotary The faders place the mouse pointer over the fader click on it and move your mouse up and down by dragging This will increment or decrement the fader in the GUI and display the new parameter value in a dialog box that appears next to the knob VIBRATO RATE VOLUME VIBRATO
21. eart Supertramp The logical song Today it is quite hard to get a hold of a Wurlitzer in good condition They are sadly not the most frequently used keyboard instrument in the music industry and are quite rare these days Fortunately the Wurlitzer Y is here to give it a second life and allowing us the relief of tuning troubles 1 3 Physical modeling synthesis There are various methods to create a sound in the world of sound synthesis Additive synthesis creates timbre by adding sine waves together Subtractive synthesis in which partials of an audio signal are attenuated by a filter to alter the timbre of the sound Sample Playback where recordings of the original sound played back Granular synthesis a basic sound synthesis method that operates on the microsound time scale based on the same principle as sampling and Physical modeling synthesis This is a method in which the waveform of the sound to be generated is computed by using a mathematical model being a set of equations and algorithms to simulate a physical source of sound 1 3 1 Music and mathematics A physical model consists of the laws of physics that govern the sound production and will typically have several parameters some of which are constants that describe the physical materials and dimensions of the instrument while others are time dependent sections that describe the player s interaction with it such as plucking a string or covering tone holes This i
22. ed and pickup and nasty sounds result when played Also if the actual overall shape of the lump of solder is altered too radically the timbre of the note may start to change Each note has its own exact reed size although it is possible to tune Up or down 2 semitones without adversely affecting timbre or pitch 1 2 5 Discography Its impossible to list all the records using the EP 200 A but here is a suggested list of famous recording using this fantastic Wurlitzer The Archies Sugar sugar Beck Where its At Belle amp Sebastian The boy with the Arab strap Bob Dylan Til fell in love with you Chicago Feelin stronger every day Daft Punk Digital love The Doors Queen on the highway Eels Agony Elton John Lady Samantha George Harrisson All those years ago Jet Bring it on back ARTURIA WURLITZER V User s Manual John Lennon How do you sleep Justice Valentine The Mars Volta Inertiatic ESP Marvin Gaye I heard it through the grave pine Muse Hate this and I ll love you Neil young The old laughing baby Norah Jones What am to you Panic at the Disco Mad as rabbits Paul McCartney Ram oh Pink Floyd Money Queen You re my best friend 1 INTRODUCTION Ray Charles What d say Tori Amos Pancake Stereolab Infinity girl Van Halen And the cradle will rock Stevie Wonder Love having you around Wilco am trying to break your h
23. effective amplified piano by striking a metal reed with a hammer and thus the Wurlitzer Electric Piano was born The instrument entered production in 1954 as the EP 110 followed by the 111 and 112 of 1955 and continued to be produced in various forms until about 1982 when production of the EP 200 A ceased The EP 200 A established itself as the most popular model among collectors and players alike It s the latest of the reed based pianos the lightest in weight and probably has the best action and sound amplification of all the models ARTURIA WURLITZER V User s Manual 7 1 INTRODUCTION Para baam PH H e bal e SS Wurlitzer EP 200A 1 2 2 Description The EP 200 A used a bag of shot genuine piano action with the hammers striking the flat reeds at around middle point causing the reed to vibrate which was then in turn converted to electric energy by electrostatic pickups It s a 64 note instrument whose keyboard range was from A an octave above the lowest note of a standard 88 note piano to the C an octave below the top note of an 88 note piano The plastic body was only available in black and avocado green It had an internal amplifier and two loudspeakers facing the player A tremolo effect was incorporated and the audio output allowed to connect the Wurlitzer to a Guitar amp or a PA The production started in 1972 Inside the Wurlitzer EP 200A ARTURIA WURLITZER V User s Manual 8 1 INTRODUCTION Keyboard Rang
24. gz 16 kHz high shelf gain 0 16 dB DYNAMICS A K E Arrturia The rotary potentiometers place the mouse pointer over the knob click on it and move your mouse up and down by dragging This will rotate the knob in the GUI and display the new value in a dialog box that appears next to the knob VIBRATO wu BS Vibrato 32 00 It normally works as a Coarse adjustment However potentiometers can also work as Fine adjustments for more precision when you drag your mouse with the control key pressed or by using the right click on your mouse To reset the parameter value to its default setting double click on the knob This will set it to the center position immediately works only on some parameters Switches Wurlitzer V has two types of switches Simply click on these switches to change their state Some are of the on off style E Compressor ON Others allow a selection of one out of several options 3 3 The real Wurlitzer EP 200 A interfaces The classic EP 200 A embeds two front mounted speakers A mechanical sustain pedal similar fo a conventional piano one is fitted This version also contains two knobs one to control the Tremolo circuit intensity VIBRATO and another one to control the volume VOLUME an orange LED lit when the unit is on 3 4 The basic mode The basic operating mode of Wurlitzer V is to show the tool bar at top and the simple Volu
25. he Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client Support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed N
26. he audio output port e Set the buffer size e Set the sample rate e Select one or several active MIDI input port s Audio MIDI Settings Device ASIO S ASIO4ALL v2 Buffer size 512 samples 11 6 ms Sample rate 44100 Hz Show Control Panel Play Test Tone MIDI Devices No MIDI devices detected 3 1 2 Configuring knob mode Menu Setup gt Knobs mode sets how knobs operate either in circular mode you have to turn around them with the mouse or in easier Linear mode moving the mouse vertically turns the knobs About Audio MIDI Settings All Types Knobs mode Circular Wurlitzer color 3 1 3 Configuring skin color Menu Setup gt Wurlitzer color allows you to choose between two on screen colors black or white Audio MIDI Settings Knobs mode i i ui irlit Sr or NM K T LA IK Ra KK KP 3 2 Use of Presets and tool bar Presets let you memorize the sounds of the Wurlitzer V A preset contains all of the information pertaining to the reproduction of a sound In the program the presets are organized in banks and types Each bank contains a certain number of types which generally determine a type of sound for example FX Each type contains within itself a certain number of presets The Wurlitzer V is shipped with several factory banks but it is possible to create new user banks of sounds each containing a number of types and presets For security the fact
27. le name for the bank that you are exporting 3 2 4 Open mode In open mode you will have access to a number of parameters that allow for many more sound design capabilities You will be able to tailor the sound you are looking for in unique ways E Wurlitzer V ell S Ein All Banks All Types JAC Brite Dirty P 4 FX Output Direct 48 PANIC 5 All MIDI Y The OPEN mode features Equalizer The 10 band graphic Equalizer provides control over the sound spectrum for the Wurlitzer V Vibrato Rate Sets the speed of the vibrato Pickup Distance Sets the distance between the tone source and the pickup When the pickup is moved closer to the tone source the sound becomes more distorted and the timbre between soft and loud increases Pickup Axis In the real Wurlitzer the pickup is not exactly in front of the tone source at rest When it is exactly in front due to the symmetry of the device the note jumps one octave higher than the normal tone Turning the pickup Axis knob clockwise makes the pickup move from an unsymmetrical position to a symmetric position providing a wide range of timbres Impedance Sets the mechanical impedance of the tines the greater the impedance the longer the sound becomes Dynamics Controls the loudness level between pianissimo and fortissimo Thanks to the fact that the effect is applied during calculating each note dynamics feature can be seen as the perfect compressor as it
28. led to any vouchers that ship with the standard version of the Product 2 5 Any Products labelled or otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or crossgrade offers and cannot be exchanged for vouchers or coupons 3 No Unbundling Bundles product bundles are an association of software and hardware or software only products can only be resold transferred as a whole The individual components of a bundle must not be resold transferred separately 4 Resell 4 1 Renting or lending the licensed Software to a third party is expressly forbidden Apart from that and if not provided otherwise within this EULA 4 2 Except if otherwise stated within this EULA Licensee may resell the software to a third party or transfer the software permanently free of charge provided the third party agrees in writing with this EULA and Licensee ceases all use of the software completely removes all installed copies of the software from his computers and if the software was not purchased via download deletes or transfers the original media delivered with the software to the third party In addition Licensee is required to de register the purchased software with Arturia more information available on www arturia com 5 In case
29. me and Vibrato knobs These were the only controls on a true Wurlitzer D n All Banks All Types No Preset Loaded TS ae FX Output Direct 48 PANIC 15 All Arruria idhedrradiadicadiadunadiadar adan end e Volume the volume is at O when the knob is facing the 9 o clock position like the real Wurlitzer e Vibrato the vibrato controls the tremolo effect intensity It s off at the 9 o clock position and is fully on when turned 270 degrees The real Wurlitzer has a fixed rate of approximately 6 34Hz It s a mono tremolo volume modulation 3 5 The effects The effects section will open when the FX button in the toolbar is active When you activate the FX button the effects panel will automatically slide open below the Wurlitzer V keyboard Lem ge Srel ven ze a ul dead Atten mm dell vd Abee leche vd A ar On each effect slot you have a drop down menu at the top that have a list of the available effects or Empty When you click on a drop down menu and select an effect it will appear on the pedal board below They are 5 slots on the effects pedal board that allow for a wide variety of sound On the Slot 1 you can select between 3 pedal effects the Wah Wah Auto Wah and Volume pedal FX in slot 1 Empty P Volume pedal Wah wah Auto wah The others 4 slots provide various effects though different from the Slot 1 Below is a list of the available effects on each effect drop down menu ee ee FX in slot 2
30. n this case the contents of the existing preset will be replaced with the current setting or lets you save your settings as a new preset in this case click on New preset in the type of your choice When you are working from a factory preset which cannot be deleted clicking on the Save button will not replace the current factory preset but will instead automatically open the Save as menu to save the current settings as a user preset 3 2 3 Import Export a bank of presets It is possible to import or export new banks of presets created in Wurlitzer V To import a new bank of presets click on the preset bank import button on the tool bar When you click on this button a window will appear allowing you to choose the preset bank file for the Wurlitzer V wurx extension Choose the file that you want to import and click Open The new bank of presets will automatically appear among the available banks The Wurlitzer V equally offers the possibility to export your own sounds to save them to use them on another machine or to make them available to other users It is possible to export a preset a type or a complete bank To export the current bank type or preset click on the preset bank export button in the tool bar of the program Select the type of export that you want to perform bank type or preset and a window will appear giving you access to a choice of destination folder and fi
31. ncept is to recreate the sound of the Wurlitzer used in the typical garage band situation We added a guitar amp simulator with multiple mic and speaker options The reverb is a simple spring reverb in the output selection e Leslie The Leslie speaker is normally associated with the organ but we think it works great with Wurlitzer You get that movement in the sound plus a bit of gain crunch there L In this menu you will find different harmonic structures of the Wurlitzer tone generator These different variations can be subtle harmonic changes to radical changes meant to create a totally new crazy Wurlitzer 3 2 8 Maximum Polyphony By clicking this button you will be able to adjust the upper limit for the number of voices played the Wurlitzer V It can be set from 1 to 256 Having lower setting will result in less CPU being used Setting the number too low can create situation where the voices cut off and create unnatural sustains The key is to find a balance that you and your computer can both live with 48 PANIC 5 All MIDI Y Maximum polyphony 1 3 2 9 Panic button If something happens where there is an interruption in your MIDI data to your computer you can end up with notes that never receive a NOTE OFF message This will create a situation where the note will always be on It is possible to send a message within Wurlitzer V software that will cut of the notes that havent stopped To do this click on the P
32. nd processed signal gain Stereo Rate Set the speed of the stereophonic evolution Stereo Width Sets the width of the stereophonic space The chorus module makes it sound like there are multiple people playing the same instrument at about the same time When two people play there is always a slight tuning difference that results in a sound that is described as beating The speed of this beating is set by the Rate knob the amplitude by the Amount and the width with the Delay The resulting frequency blurring is different for the left and right tracks This allows us to get a stereophonic signal from a monophonic signal The difference between the 2 tracks can be set with the Stereo width and the soeed of the left right rotation with the Stereo rate knob A selector Type offers three different chorus engines simple medium complex The Mix potentiometer sets the ratio between the input signal and the treated signal 3 5 6 Delay HAIE LPs OEF 1H analog do Delay Delay Sets delay time delay is mono for authenticity LFO rate Sets modulation rate Feedback Sets Feedback FB Tone Sets feedback filtering Mix Sets wet dry mix LFO Depth Sets the amount of delay time modulation sine wave A delay repeats a sound like an echo giving it more soace and depth This analog delay reproduces the sound of the old solid state units that used analog bucket brigade circuits The Delay knob allows you to selec
33. ntroller configs Create a new config Save current config as Delete current config Default killa set First section MIDI controller configs provides e Create a new config new map configuration e Save current config as save current map configuration to a new one e Delete current config delete current map configuration from list Second section contains the list of existing configurations the checked one is the current one Click on a configuration to load it Assigning MIDI controls In order to start assigning MIDI controls click the MIDI button The MIDI button remains highlighted to indicated that the learn mode is ON All the assignable controls will be highlighted in purple The control you are assigning will be black framed The controls which are assigned will be highlighted in red FX Output Guitar amp 48 PANIC 20 MIDI Control Setup x Learning A A Click a knob on Wurlitzer V to open the MIDI assignment pop up called MIDI Control Setup e Automatic learning the fastest and easiest way to assign a control is to move the slider or knob on your controller keyboard that you want assigned to Wurlitzer V e Manual assignment it is also possible to change the assigned MIDI control number by clicking on this control then by selecting another value e Remove assignment assignments can be removed by clicking the UNASSIGN button The message UNASSIGNED will then
34. of software including related media documentation for example program descriptions manuals and other documents and materials manufactured by Arturia SA Product s All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Product and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was originally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants t
35. of the 5 letters and drag it to the place you wish on the screen Those changes will introduce some interesting variations when you modulate your five filters manually or with the LFO 3 5 10 Pitch Shift Chorus EI Dei ay DE i WHE LE WEL Pell i Delay Sets a trade off between latency and low frequency response Mix Sets the ratio between the input signal gain and treated signal gain Detune Sets Detune amount in cents Level Sets the trim level The pitch shift chorus is a pitch shifter that allows you to create nice thick Unison detune sounds It is a different sound than you get from a standard chorus You can set the detune amount left channel is lowered in pitch right channel is raised setting the Detune knob The Delay knob sets the delay time of the input signal to offset the latency and low frequency response The Mix potentiometer sets the ratio between the input signal and the treated signal and the Level knob sets the trim level of the mixed signal 3 5 11 Reverb Direct output REVERB DAM BRIGHT DIFF GEC eee Input Sets input gain Mix Sets the ratio between the input signal gain and treated signal gain Time Sets pre delay time Fbk Sets pre delay feedback Damp Sets high frequency damping Bright Sets the brightness Diff Sets the amount of diffusion Dec Sets the decay time A reverb emulates the reflections of a sound in a different soace ro
36. om hall etc The material section Damp and Brightness sets the timber for the reverb dark or bright sounding The shape section Diffusion and Decay sets the size and duration of the reverb The pre delay section Feedback and Time adds a small delay to the reverb to emulate early reflections The Mix potentiometer sets the ratio between the input signal and the treated signal 3 5 12 Leslie speaker simulator Speed Sets rotor soeed stop slow fast High Depth Sets high rotor frequency modulation doppler High Width Sets high rotor pan modulation High Shape Sets high rotor amplitude modulation Low Width Sets low rotor pan modulation Low Shape Sets low rotor amplitude modulation Rate Fine control for rotor soeed Level The Leslie soeaker normally associated with the B3 organ takes advantage of the Doppler Effect by using an electric motor to rotate an acoustic horn around a loudspeaker sending its sound in a 360 degree circle This results at the listener s ear in rapidly fluctuating frequencies of a keyboard note Using a Leslie with a Wurlitzer allows for a unique sound not typically heard The High Shape and High Width set the parameters of the high rotor amplitude and pan of the treble sounds The Low Shape and Low Width set the parameters of the low rotor amplitude and pan of the bass sounds Sets output level Speed and Rate sets the rotor soeed
37. ory banks cannot be directly modified To create a new preset you must open an existing preset use the SAVE AS feature and save it as a new personalized preset 3 2 1 Select a bank type presel The bank type and preset in use by the Wurlitzer V are permanently displayed in the plug in tool bar All Banks All Types Mo Preset Loaded w To choose a preset in the current type click on the right most button and a drop down menu appears with a list of the presets of the same type You can choose another preset by selecting the corresponding line in the drop down menu As soon as the preset has been chosen you can play the new sound on your MIDI keyboard or from your sequencer K Ujiie j KU_Re lWurli Factory Presets KU 90sWz KU ChorusWz KU DxWz KU RealWurlie KU Rhodes mkw KU Rosey To choose a preset in the same main bank but a different type click on the type button and a drop down menu appears with a list of the types contained in the same main bank Each type listed in the menu allows you to open a sub menu containing its presets A click on a preset allows you to directly choose a preset in the new type K Ujiie Dry KU_RealW All Types D D ry Rock FX Distorted Classic To choose a preset in another bank click on the left most button A drop down menu appears with a list of the main banks available with the types corresponding to the types defined in each main bank and to the presets containe
38. ould use 64 bit version of the plug in for Windows Usually on 32 bit Windows all 32 bit programs are installed in C Program Files However on 64 bit Windows you can find the 64 bit programs in c Program Files and the 32 bit programs in C Program Files x86 Mac users don T have to bother with this because the same plug in file contains both the 32 bit and the 64 bit versions and the host automatically chooses the better one 4 7 Use in Cubase Nuendo VST 4 7 1 Instrument use in VST mode The opening of a Wurlitzer V VST plug in is the same as opening all other VST plug ins Please consult the instruction manual of your host sequencer for more specific information Under Cubase Nuendo create a new Instrument track and choose Wurlitzer V in the rack Cubase i File Edit Project Audio MIDI Scores Media Transport Devices Window 1 Help Cubase 6 Project Untitled1 K Add Audio Track Add MIDI Track B Add Track Using Track Preset a Add Arranger Track Add FX Channel Track E Add Folder Track Y Add Group Channel Track 11 Add Marker Track DT Add Ruler Track Add Signature Track K Add Tempo Track JL Add Transpose Track LI Add Video Track Show All Used Automation Hide All Automation Cubase File Edit Project Audio MIDI Scores Media Transport Devices Window 1 Help gt hr Cubase 6 Projec Untitled Add Instrument Track UN Y No
39. re limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this Product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this Product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state
40. register the software in order to obtain the activation code that will enable you to use it The registration process will require you to enter the serial number and the unlock code you received with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have an Arturia account yet you will need to create one The process is quick but it does require that you can access your e mail address during the registration process Once you have acquired an Arturia account you will be able to register the product 3 USER INTERFACE In this chapter we will talk about all the tools which will helo you to interact with the Wurlitzer V We tried to make the use of the Wurlitzer V as simple and fun as possible 3 1 Menu bar The instrument has a menu bar allowing the setting of MIDI event input routing and the output of the sound You will also find a setting for how the knobs respond and the options for the skin color This menu is available in Standalone mode but your computer will keep your settings when using the Wurlitzer V with a host DAW 3 1 1 Configuring audio and MIDI Click on the Setup gt Audio MIDI Settings menu Wurlitzer Y coup EA Audio MIDI Settings All Types Knobs mode Wurlitzer color This is the same dialog box that appears when starting the software for the first time Here you can e Select the audio interface e Set t
41. rg It allows you to integrate software audio synthesizers and effect plug ins with audio DAWs and host software VST is supported by a large number of audio applications like Cubase Nuendo Wavelab FL Studio Audacity Samplitude Sonar Audition Live etc The VST interface was updated to version 2 in 1999 One of the additions was the ability for plug ins to receive MIDI data This allowed for the introduction of VSTi Virtual Studio Technology Instrument format plug ins 4 3 VST 3 VST3 is a new update of VST audio plugins protocol lt was updated in 2008 This has improved performance over previous versions of VST and has many new features as well Cubase 6 and Nuendo 3 are using this new protocol With VST3 on Windows users do not have to choose a folder path to install the plug in The installer will put VST3 files automatically into the appropriate directory on your hard drive 4 4 RTAS RTAS short for Real Time AudioSuite is an audio plug in developed by Digidesign AVID technology for their Pro Tools systems 4 5 AU AU for Audio Units is a plug in protocol developed by Apple Computer lt used by Apple applications such as GarageBand Soundtrack Pro Logic Express Logic Audio Final Cut Pro Mainstage Ardour Ableton Live REAPER and Digital Performer 4 6 64 bit compatibility Wurlitzer V is optimized for both 32 bit and 64 bit modes If you have a 64 bit operating system and a 64 bit digital audio workstation you sh
42. rts These were also lighter and smaller However to our delight electric pianos are coming back into fashion Companies who went out of business years ago are back making new models again and the prices of vintage used instruments has climbed so that these are now out of reach of most people ARTURIA WURLITZER V User s Manual 6 1 INTRODUCTION 1 2 The Wurlitzer EP 200 A 1 2 1 History For many years the Wurlitzer EP 200 A was a staple of the rock n rollers keyboard players arsenal The Wurlitzer electric piano was first manufactured in the very early 60 s for domestic usage in the home environment The Wurlitzer electric piano was the first electric piano to be manufactured and sold The sound and portability soon led to professional stage use as the piano proved a useful tool for musicians Originally conceived decades earlier by one B F Meissner whose idea of removing the sound board of an ordinary acoustic piano and placing electromagnetic pickups on each string like an electric guitar met with some success He sold this concept to the Everett piano company who then produced the Orgatron This utilized Meissner s individual pickup arrangement but instead of striking a string for a percussive attack Everett s system incorporated air blowing over flat reeds for an electric organ harmonium effect Orgatron Wurlitzer the giant American Jukebox Theatre Organ company realized that this concept could be made into an
43. s in Pro Tools via a new Instrument Track creation Group Duplicate Split into Mono Make Inactive Delete Write MIDI Real Time Properties Input Only Monitoring AWK Scroll to Track XSF Clear All Clip Indicators NE Create Click Track Y INSERTS AE GROUPS Mew Tracks Create ll new Stereo Instrument Track gt in Ticks Cancel ProTools File Edit View Track Clip Event AudioSuite Options Setup Window Marketplace Help 9 E eco S Edit fwfewfew ptx A Y INSERTS A E no insert multichannel plug in gt Instrument gt Wurlitzer V stereo i o gt Avid Marketplace GROUPS s lt ALL gt Wurlitzer V must be loaded on an instrument stereo track We can now make Wurlitzer V sound by playing with the mouse on the virtual keyboard 4 8 2 Saving the presets When the session is saved the status of Wurlitzer V is saved as if is even if its programming does not correspond to the preset For example if you are working on a preset P1 in which you have modified the parameters without saving them in the plug in itself the next time you open the session Wurlitzer V will load the P1 preset plus the modifications you made to it The Librarian Menu of Pro Tools can be used with Wurlitzer V like with all other plug ins Nevertheless it is highly recommended to use the internal Wurlitzer Y menu with the presets saved like this they are usable no ma
44. select the type of cabinet by clicking the drop down menu at the bottom left of the cabinet 4 MODES OF OPERATION 4 1 Standalone Wurlitzer V can be used as an instrument independently from a sequencer software Standalone mode This allows you launch the application as a single instrument and to play it using an external MIDI keyboard 4 1 1 Launch the application To launch the Wurlitzer V application e on Windows go to the menu Start gt Programs gt Arturia gt Wurlitzer V and choose Wurlitzer v e on Macintosh open the finder gt Applications gt Arturia and double click on the Wurlitzer V application icon 4 1 2 Configuration of the instrument Click on the Settings Windows on the application menu bar or Preferences Mac It will show the following Audio MIDI Settings dialog box Audio MIDI Settings Device ASIO ASIO4ALL v2 Buffer size 256 samples 5 8 ms Sample rate 44100 Hz Show Control Panel Play Test Tone MIDI Devices MPU 401 WW P riph rique audio USB In this option menu you can e Set the audio output port e Choose the audio interface e Choose memory buffer size smaller size will increase the load on the CPU but will reduce latency and reciprocally e Choose sample rate between 44100 Hz and 96000 Hz e Choose one or several active MIDI input port s 4 2 VST 2 VST Virtual Studio Technology is a plug in standard created by Steinbe
45. t Thresh Sets the sensitivity of the Auto wah ModDepth Sets the depth of the Auto wah effect AutoRate Sets the soeed of the Auto wah In Auto Wah mode the wah wah effect is triggered by the amplitude of the incoming sound Thresh sets the level at which the Auto Wah is triggered If the threshold is set to the extreme left the effect will be disabled The more you push it to the right the lower the amplitude that starts triggering the wah wah effect The ModDepth controls the amount of frequency shift of the wah wah filter Turn this up to get more of a filter sweep sound The Freq control will set the center frequency of the filter effect The AutoRate will automatically control the filter frequency This control when set to O has no effect When it is turned up it will control the speed of the Auto Wah effect 3 5 3 Flanger FLANGER bk Delay Sets the delay time which changes the harmonic content Depth Sets modulation depth set to less than 100 to limit build Up of low frequencies with resonance Rate Sets modulation rate sine wave set fo minimum for static comb filtering Res Add positive or negative feedback for harsher or ringing sound The Flanging effect is created by mixing two identical signals together with one signal delayed by a small and gradually changing period Varying the Delay amount causes these to sweep up and down the frequency spectrum Flanging can create both subtle
46. t a time between 12ms and 1000ms for the delay The Feedback knob sets the feedback level The FB Tone knob controls a feedback filtering effect low pass to left high pass to right You can set the delay modulation by changing the LFO rate and LFO depth values The Mix potentiometer sets the ratio between the original and modified signals 3 5 7 Compressor MP WT THH SH l ig AT anA e HELL a SE M r Ue Input Sets input gain level Threshold Sets threshold level Ratio Sets the amount of gain reduction Attack Sets the attack time Release Sets the release time Makeup Sets the output gain level A compressor evens out differences in gain reducing dynamics difference in volume between quiet sounds and loud sounds This effect is offen used to fatten a sound by making every individual element of the sound closer to the same volume Every time a sound goes over a certain volume Threshold if is reduced by a specified amount Ratio Attack and Release determine how quickly the reduction is added and how quickly it disappears Makeup boosts the compressed signals output level 3 5 8 Overdrive OVERDRIVE _ Drive Sets the amount of distortion Output Sets output trim level Tone Sets the low pass filter An overdrive effect saturates and distorts a sound by increasing the volume of a signal then Clipping the excess The Drive knob sets the amount of saturated sound The Ton
47. tter which mode is chosen standalone or other sequencer and they can be exported exchanged more easily and will stay compatible with future versions of Wurlitzer V 4 8 3 Automation under Pro Tools The automation function with Wurlitzer Y functions like with all RTAS HTDM plug ins check the Pro Tools documentation for more details on plug in automations 4 9 Using in Logic Mac OS X only AU Make sure the plug in has been tested OK in the Logic Audio Units Manager To launch it click on the menu Preferences gt Start Logic AU Manager Create a new Software Instrument track Grab File Edit Capture Window Help e mra 3 E L 000 Untitled Arrange w 1 08 ES a E New Tracks Inspector Preferences Settings Auto Zoom Automation Flex Set Locators Repeat Secti Number 1 Multi timbral Y MIDI Thru tLe Ce Cu er Edit_v Track v Region Type C Audio Quantize off 3840 Z Software Instrument Q Swing S External MIDI Loop CH gt Global Tracks Transposition Output Ascending Delay EE Mrz Z Y Open Library Dynamics Gate Time gt Clip Length Score i K Advanced Quantization K No Output On the channel of the mixer corresponding to the selected track click on the button I O to list the available plug ins then select AU Instruments gt Arturia gt Wurlitzer V gt Stereo Cenina EQ EQ inserts inserts Ig Sends
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