Arturia wurli V User manual

ARTURIA –Wurli V –USER MANUAL 1
USER MANUAL

ARTURIA –Wurli V –USER MANUAL 2
Direction
Frédéric Brun Kevin Molcard
Programming
Stefano D'Angelo
Baptiste Aubry
Niccolo Comin,
Corentin Comte
Baptiste Le Goff
Pierre-Lin Laneyrie
Valentin Lepetit
Samuel Limier
Germain Marzin
Mathieu Nocenti
Pierre Pfister
Benjamin Renard
Design
Glen Darcey
Romain Dejoie
Shaun Ellwood
Morgan Perrier
Sebastien Rochard
Greg Vezon
Sound Design
Jean-Baptiste Arthus
Jean-Michel Blanchet
Chuck Capsis
Richard Courtel
Jim Cowgill
Marion Demeulemeester
Steve Ferlazzo
Boele Gerkes
Kevin Lamb
Victor Morello
Paul Steinway
Katsunori Ujiie
Manual
Antoine Back
Valentin Fesigny
Tomoya Fukuchi
Sylvain Missemer
Jason Valax
Special Thanks
Alejandro Cajica
Chuck Capsis
Koshdukai
Douglas Kraul
Sergio Martinez
Shaba Martinez,
Miguel Moreno
Pierre-Henri Parneix
Alexandre Schmitz
Carlos Tejeda
© ARTURIA S.A. –1999-2016 –All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
http://www.arturia.com

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Table of Contents
1INTRODUCTION ...................................................................................................................5
1.1 History of the original instrument............................................................................................................ 5
1.1.1 The electric piano............................................................................................................................... 5
1.1.1.1 Terminology..................................................................................................................................................................5
1.1.1.2 At the beginning .........................................................................................................................................................5
1.1.1.3 Technologies................................................................................................................................................................5
1.1.1.4 Popularity......................................................................................................................................................................6
1.1.2 The original reed-based electric piano from 1972 ............................................................................ 7
1.1.2.1 History............................................................................................................................................................................7
1.1.2.2 Description ...................................................................................................................................................................8
1.1.2.3 Sound ............................................................................................................................................................................9
1.1.2.4 Maintenance...............................................................................................................................................................9
1.1.2.5 Discography.................................................................................................................................................................9
1.2 Physical modeling synthesis.................................................................................................................. 10
1.2.1 Music and math: yet another link .....................................................................................................10
1.2.2 A computational conundrum ...........................................................................................................11
1.2.3 The endless revolution .......................................................................................................................11
2ACTIVATION AND FIRST START ........................................................................................13
2.1 Register and Activate............................................................................................................................ 13
2.2Initial setup............................................................................................................................................... 13
2.2.1 Audio and MIDI settings: Windows....................................................................................................13
2.2.2 Audio and MIDI settings: Mac OS X ..................................................................................................15
2.2.3 Using Wurli V in plug-in mode............................................................................................................16
3USER INTERFACE ................................................................................................................17
3.1 The virtual keyboard .............................................................................................................................. 17
3.2 Toolbar...................................................................................................................................................... 17
3.2.1 Save Preset ........................................................................................................................................17
3.2.2 Save Preset As… ................................................................................................................................18
3.2.3 Import preset .....................................................................................................................................18
3.2.4 Export preset......................................................................................................................................19
3.2.5 Resize window options.......................................................................................................................19
3.2.6 Audio settings ....................................................................................................................................20
3.2.7 Preset browser overview....................................................................................................................20
3.2.8 Open and Close Advanced section ................................................................................................21
3.2.9 MIDI Learn assignment ......................................................................................................................21
3.2.9.1 Assigning / unassigning controls .............................................................................................................................22
3.2.9.2 Min / Max value sliders .............................................................................................................................................23
3.2.9.3 Relative control option.............................................................................................................................................23
3.2.9.4 Reserved MIDI CC numbers ....................................................................................................................................23
3.2.10 MIDI controller configuration.............................................................................................................24
3.2.11 The lower toolbar...............................................................................................................................24
3.2.11.1 Current control value ...............................................................................................................................................24
3.2.11.2 MIDI Channel setting ................................................................................................................................................25
3.2.11.1 Output mode.............................................................................................................................................................25

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3.2.11.2 Panic button and CPU meter..................................................................................................................................25
3.2.11.3 Skin color.....................................................................................................................................................................26
3.2.11.4 Maximum Polyphony........................................................................................................Erreur ! Signet non défini.
3.3 The Preset Browser.................................................................................................................................. 26
3.3.1 Searching presets ..............................................................................................................................26
3.3.2 Using tags as a filter ...........................................................................................................................27
3.3.3 The Preset Info section.......................................................................................................................28
3.3.4 Preset selection: other methods........................................................................................................29
3.3.4.1 Selecting a preset by its Type..................................................................................................................................30
3.3.5 Playlists ...............................................................................................................................................30
3.3.5.1 Add a playlist .............................................................................................................................................................30
3.3.5.2 Add a preset..............................................................................................................................................................31
3.3.5.3 Re-order the presets .................................................................................................................................................31
3.3.5.4 Remove a preset.......................................................................................................................................................31
3.3.5.5 Delete a playlist.........................................................................................................................................................31
3.4 Main controls........................................................................................................................................... 31
3.5 Open mode............................................................................................................................................. 32
3.6 The effects................................................................................................................................................ 33
3.6.1 Slot 1: Wah-Wah/Auto-Wah/Volume pedal .....................................................................................35
3.6.1.1 Volume pedal............................................................................................................................................................35
3.6.1.2 Wah-Wah ...................................................................................................................................................................35
3.6.2 Slots 2/3/4/5 .......................................................................................................................................36
3.6.2.1 Auto-Wah ...................................................................................................................................................................36
3.6.2.2 Flanger ........................................................................................................................................................................36
3.6.2.3 Phaser .........................................................................................................................................................................37
3.6.2.4 Chorus .........................................................................................................................................................................38
3.6.2.5 Delay...........................................................................................................................................................................39
3.6.2.6 Compressor ................................................................................................................................................................40
3.6.2.7 Overdrive....................................................................................................................................................................41
3.6.2.8 Vocal Filter..................................................................................................................................................................41
3.6.2.9 Pitch Shift Chorus.......................................................................................................................................................42
3.7 Output mode .......................................................................................................................................... 43
3.7.1 Reverb (Direct output) ......................................................................................................................43
3.7.2 Leslie speaker simulator.....................................................................................................................44
3.7.3 Guitar amp simulator.........................................................................................................................45
4END USER LICENSE AGREEMENT.....................................................................................47

ARTURIA –Wurli V –USER MANUAL 5
1INTRODUCTION
Arturia would like to thank you for purchasing our latest modeling electric piano,
Wurli V. We are confident it will become a valuable addition to your music
production studio.
If you’ve purchased our products before, you know we take great pride in
recreating the sound and feel of the original instruments. And then we top it off with
21st century features the products might have had if the technology had been
available at the time!
1.1 History of the original instrument
1.1.1 The electric piano
1.1.1.1 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.
1.1.1.2 At the beginning
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
1.1.1.3 Technologies
Different methods 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

ARTURIA –Wurli V –USER MANUAL 6
reeds (Hohner´s “Pianet” and “Cembalet”, Weltmeister claviset) and struck reeds
(original electric piano that inspired the Wurli V and Denon Elepian). We cannot say
that one method is better than another; each of these technologies have their own
tone and character.
1.1.1.4 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 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 original reed electric piano from 1972
Most electric piano players seem to be divided into two camps: Rod electric pianos
or reed electric pianos. Tonally and attack-wise the ones with reeds seem to sit more
comfortably with an amplified guitar-based rock band a than does the others. They
could even replace a rhythm guitar quite successfully, whereas the rods-based ones
were more of solo instruments, suited to fusion, acid jazz, other jazz styles, the truth is
that both of them are real jewels!
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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1.1.2 The original reed-based electric piano from 1972
1.1.2.1 History
For many years this legendary electric piano was a staple of the rock´n rollers
keyboard players’arsenal. The previous models of the brand were first
manufactured in the very early 60´s for domestic usage in the home environment.
They were 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
The manufacturer at the origin of the instrument that inspired the Wurli V, realized
that this concept could be made into an effective amplified piano by striking a
metal reed with a hammer, and thus the reed electric pianos were born.
The first version of the instrument entered production in 1954 and continued to be
produced in various forms until about 1982.
The inescapable reed electric piano that inspired the Wurli V 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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The original reed-based electric piano from 1972
1.1.2.2 Description
The original electric piano that inspired the Wurli V 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 electric piano to a Guitar amp or a PA. The production
started in 1972.
Inside the reed-based electric piano from 1972

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1.1.2.3 Sound
Compared with its rival, the rod-based electric piano, this model has a brighter,
more hollow sound. When played gently the sound can be quite sweet and
vibraphone-like sounding very similar to the one of its former competitor; 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 reed-based one has a distinctive and clear sound
where electric pianos using rods tend to blend in. However, it has also been used
successfully in MOR ballads and even country music.
1.1.2.4 Maintenance
The reed-based electric piano 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.
1.1.2.5 Discography
It´s impossible to list all the records using the electric piano that inspired the Wurli V,
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
grapevine
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
Ray Charles –What´d I say
Stereolab –Infinity girl
Stevie Wonder –Love having you
around

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Supertramp –The logical song
Tori Amos –Pancake
Van Halen –And the cradle will rock...
Wilco –I am trying to break your hear
Today it is quite hard to get a hold of this memorable electric piano 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 Wurli V is here to give
it a second life, and allowing us the relief of tuning troubles!
1.2 Physical modeling synthesis
When you want to create a sound, there are many methods of synthesis from which
to choose:
Additive, which creates a timbre by adding various waveforms together
Subtractive, in which partials of an audio signal are attenuated by a filter to
reduce the original harmonic content of the sound
Frequency Modulation (FM), where waveforms are used in
carrier/modulator relationships and tuned according to the harmonic series
to produce overtones in the carrier waves
Wavetable, which offers a wide selection of digital waveforms and then
allows them to be layered, filtered, and/or used as the crossfade targets of
an X/Y controller or a looping envelope
Sample Playback, where recordings of a sound are triggered by a playback
device, and can be transposed by increasing the playback speed when
different pitches are required
Granular, which splits samples into very short “grains” and allows them to be
manipulated through a myriad of playback options, and
Physical modeling. In this method the output waveform is calculated
according to a set of equations and algorithms derived through extensive
analysis of a physical sound source.
1.2.1 Music and math: yet another link
A physical model attempts to codify the laws of physics that govern a particular
form of sound generation. A model typically will have multiple parameters, some
of which are constants that describe the physical materials and dimensions of the
instrument, while others are time-dependent components representing the
player´s interaction with the instrument, such as plucking a string, pressing a valve,
or reducing the pressure of his embouchure, etc.
This idea has been around for a long time, but development has been hindered
until recently because processors that were powerful enough to handle the
computational complexity of the physical models either didn’t exist or were too
expensive.