Arturia Wurlitzer V User Manual
USER’S MANUAL
Project management
Kevin Molcard Niccolò Comin
Product management
Glen Darcey Romain Dejoie Frédéric Brun
Programming
Niccolò Comin Kevin Molcard
Design
Shaun Ellwood (decoderdesign.com) Morgan Perrier
Sound design
Jean-Michel Blanchet
Charles Capsis IV
Richard Courtel
Jim Cowgill
Glen Darcey
Boeles Gerkes
Steve Ferlazzo
Kevin Lamb
Katsunori Ujiie
Paul Steinway
Manual
Sylvain Missemer
Niccolò Comin
Tomoya Fukuchi
Glen Darcey
Antoine Back
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 Chêne
38240 Meylan
FRANCE
http://www.arturia.com
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Table of contents
1 INTRODUCTION............................................................................................................. 5
1.1 The electric piano.......................................................................................................5
1.1.1 Terminology......................................................................................................................5
1.1.2 Origin.................................................................................................................................5
1.1.3 Technologies....................................................................................................................5
1.1.4 Popularity..........................................................................................................................5
1.2 The Wurlitzer EP 200-A.................................................................................................7
1.2.1 History................................................................................................................................7
1.2.2 Description........................................................................................................................8
1.2.3 Sound.................................................................................................................................9
1.2.4 Maintenance...................................................................................................................9
1.2.5 Discography.....................................................................................................................9
1.3 Physical modeling synthesis....................................................................................10
1.3.1 Music... and mathematics..........................................................................................10
1.3.2 The puzzle.......................................................................................................................10
1.3.3 The revolution................................................................................................................10
2 ACTIVATION & FIRST START......................................................................................... 12
2.1 Register & Activate...................................................................................................12
3 USER INTERFACE.......................................................................................................... 13
3.1 Menu bar....................................................................................................................13
3.1.1 Configuring audio and MIDI.......................................................................................13
3.1.2 Configuring knob mode..............................................................................................14
3.1.3 Configuring skin color...................................................................................................14
3.2 Use of Presets and tool bar.....................................................................................15
3.2.1 Select a bank, type, preset.........................................................................................15
3.2.2 Saving an user preset...................................................................................................16
3.2.3 Import / Export a bank of presets..............................................................................17
3.2.4 Open mode...................................................................................................................17
3.2.5 FX Panel..........................................................................................................................18
3.2.6 Output mode.................................................................................................................18
3.2.7 Variation option............................................................................................................20
3.2.8 Maximum Polyphony....................................................................................................20
3.2.9 Panic button..................................................................................................................21
3.2.10 CPU usage indicator....................................................................................................21
3.2.11 MIDI channel selection................................................................................................21
3.2.12 MIDI control....................................................................................................................21
MIDI menu..............................................................................................................................22
Assigning MIDI controls.........................................................................................................22
Manage configurations.......................................................................................................23
Minimum and maximum bounds........................................................................................23
3.2.13 Virtual keyboard............................................................................................................23
3.2.14 Use of controllers...........................................................................................................24
Potentiometers......................................................................................................................24
Switches..................................................................................................................................24
3.3 The real Wurlitzer EP 200-A interfaces....................................................................26
3.4 The basic mode........................................................................................................27
3.5 The effects..................................................................................................................27
3.5.1 SLOT 1: Wah-Wah/Auto-Wah/Volume pedal..........................................................30
Volume pedal........................................................................................................................30
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Wah-Wah................................................................................................................................30
3.5.2 Auto-Wah.......................................................................................................................31
3.5.3 Flanger............................................................................................................................32
3.5.4 Phaser..............................................................................................................................32
3.5.5 Chorus.............................................................................................................................33
3.5.6 Delay...............................................................................................................................34
3.5.7 Compressor....................................................................................................................34
3.5.8 Overdrive........................................................................................................................35
3.5.9 Vocal Filter......................................................................................................................35
3.5.10 Pitch Shift Chorus...........................................................................................................36
3.5.11 Reverb (Direct output).................................................................................................37
3.5.12 Leslie speaker simulator...............................................................................................38
3.5.13 Guitar amp simulator...................................................................................................39
4 MODES OF OPERATION............................................................................................... 40
4.1 Standalone................................................................................................................40
4.1.1 Launch the application...............................................................................................40
4.1.2 Configuration of the instrument.................................................................................40
4.2 VST 2............................................................................................................................41
4.3 VST 3............................................................................................................................41
4.4 RTAS.............................................................................................................................41
4.5 AU................................................................................................................................41
4.6 64-bit compatibility...................................................................................................42
4.7 Use in Cubase/Nuendo (VST).................................................................................42
4.7.1 Instrument use in VST mode........................................................................................42
4.7.2 Rescan the plug-in directory in Cubase...................................................................43
4.7.3 Saving of presets...........................................................................................................43
4.8 Using in Pro Tools (RTAS)...........................................................................................43
4.8.1 Opening of the plug-in................................................................................................43
4.8.2 Saving the presets.........................................................................................................44
4.8.3 Automation under Pro Tools.......................................................................................45
4.9 Using in Logic, Mac OS X only (AU).......................................................................45
4.10 Using in Ableton Live (AU and VST)........................................................................46
5 END USER LICENSE AGREEMENT.................................................................................47
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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.
1.1.4 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
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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 II 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. It 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 !
Rhodes Mark II Wurlitzer EP 200-A
These instruments were eventually replaced by synthesizers or electronic pianos capable of
piano-like sounds without the disadvantages of moving mechanical parts. 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.
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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 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 200A 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.
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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
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Keyboard Range
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,
not including music panel)
33”
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 II, 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 reed 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
It´s 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 & Sebastian – The boy with the Arab strap
Bob Dylan – Til I 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
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 I to you
Panic at the Disco – Mad as rabbits
Paul McCartney – Ram oh
Pink Floyd – Money
Queen – You´re my best friend
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Ray Charles – What´d I say
Stereolab – Infinity girl
Stevie Wonder – Love having you around
Supertramp – The logical song
Tori Amos – Pancake
Van Halen – And the cradle will rock...
Wilco – I am trying to break your heart
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 V 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 idea 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.
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The strong point is that physical modeling synthesis comes very close to the sound quality of real
instruments, using 1000 times less space than the “sampling” method. Imagine an electronic
instrument that is small and portable, and can faithfully reproduce the crisp 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.
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2 ACTIVATION & 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
VST3 instrument.
2.1 Register & Activate
Once the Wurlitzer V has been installed, the next step is to register the software.
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 help 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 > Audio MIDI Settings menu:
This is the same dialog box that appears when starting the software for the first time. Here you
can:
• Select the audio interface
• Set the audio output port
• Set the buffer size
• Set the sample rate
• Select one or several active MIDI input port(s)
3.1.2 Configuring knob mode
Menu Setup > 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).
3.1.3 Configuring skin color
Menu Setup > Wurlitzer color allows you to choose between two on-screen colors: black or white.
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 “factory”
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, preset
The bank, type and preset in use by the Wurlitzer V are permanently displayed in the plug-in tool
bar.
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.
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.
To choose a preset in another bank, click on the left most button. A drop-down menu appears
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