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

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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

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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.

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But if you’ve been watching the technological trajectories, you know those days
are in the past. And we’re just as happy about that as you are.
1.2.2 A computational conundrum
Here’s an example of what must be taken into account while developing a
physical model. To recreate the sound of a drum, for instance, a formula must be
in place to represent all of the ways the collision between a drum stick and a drum
head sends shockwaves through a two-dimensional membrane. Among other
things, the formula must incorporate:
The properties of the striker: its rigidity, the velocity of the hit, the material,
and how/where the strike happens
The membrane: its mass density, elasticity, woven fabric vs. plastic vs. skin,
etc.
The sympathetic resonances of the membrane and the body of the drum
The conditions at the membrane boundaries: is there a rigid termination to
the drum´s body, or are there multiple, independently adjustable pressure
points?
The ancillary and perhaps lingering response of additional components,
such as the snares under a snare drum.
Similar complexities can be found in instruments such as an acoustic guitar. A few
years ago, a French scientist finally completed a comprehensive modeling of all
acoustic guitar parameters. The calculations to produce the sound took three
days!
The second-biggest challenge of physical modeling synthesis is to simplify the
algorithms wherever possible without sacrificing the essential nature of the
instrument being modeled. The goal is to achieve an efficient model which can be
used interactively, in real time, without limiting the spontaneous paths a musician
may take during a rush of creativity.
1.2.3 The endless revolution
There are several methods of physical modeling synthesis, including Karplus-Strong
algorithms, digital waveguide synthesis, and formant synthesis. Each one uses a
different paradigm to bring a modeled sound to its musical fruition.
The salient point here is that physical modeling synthesis is capable of recreating
the character of a “real” instrument during performance, including its subtle
nuances of expression, while using a thousand times less hard drive space than the
“sampling” method would take to produce an inferior result.
Not to rub it in, but we really should mention the ability of physical modeling
algorithms to combine parameters into instruments that have never existed. There
is no limit to the types of sounds physical modeling synthesis can produce!
And when you gather a bunch of music fanatics who also possess a knowledge of
the pertinent laws of physics and an in-depth understanding of the characteristics

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of electronic circuits, you wind up with Arturia. And Arturia now offers you our latest
brainchild, the Wurli V.
May it light the fires of creativity for you!

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2ACTIVATION AND FIRST START
2.1 Register and Activate
Wurli V works on computers equipped with Windows 7 or later and Mac OS X 10.7 or
later. You can use the stand-alone version or use Wurli V as an Audio Units, AAX, VST2
or VST3 instrument.
Once Wurli 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 email address during
the registration process.
Once you have acquired an Arturia account you will be able to register the product.
2.2 Initial setup
2.2.1 Audio and MIDI settings: Windows
At the top left of the Wurli V application is a pull-down menu. It contains various
setup options. Initially you will need to go to the menu and choose the Audio Settings
option to get sound and MIDI flowing in and out.

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Wurli V main menu
You will then see the Audio MIDI settings window. This works in the same way on both
Windows and Mac OS X, although the names of the devices available to you will
depend on the hardware you are using.
Audio and MIDI settings window

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Starting from the top you have the following options:
Device lets you choose which audio driver you want to use to route sound out
of the instrument. This might be your computer’s own driver like Windows
Audio, or an ASIO driver. The name of your hardware interface may appear
in this field.
Output Channels lets you select which of the available outputs will be used to
route audio out. If you only have two outputs, only two will appear as options.
If you have more than two you can select a specific pair of outputs.
The Buffer Size menu lets you select the size of the audio buffer your computer
uses to calculate sound. A smaller buffer means lower latency between
pressing a key and hearing the note. A larger buffer means a lower CPU load
as the computer has more time to think, but can result in a small latency. Find
the optimum buffer size for your system. A fast, modern computer should easily
be able to operate at 256 or 128 sample buffer size without creating pops or
clicks in the sound. If you are getting clicks, try raising the buffer a little. The
latency is displayed on the right hand side of this menu.
The Sample Rate menu lets you set the sample rate at which audio is sent out
of the instrument. The options here will depend on the capability of your audio
interface hardware though even most computers’ own hardware can
operate at up to 48kHz which is perfectly fine. Higher sample rates use more
CPU power so unless you have a good reason to go up to 96kHz, then 44.1k
or 48k is usually fine. The Show Control Panel button will jump to the system
control panel for whatever audio device is selected.
Play Test Tone helps you to troubleshoot audio issues by confirming whether
sound can be heard through the correct device.
Your connected MIDI devices will appear in the MIDI Devices area. Click the
check box to accept MIDI from the device you want to use to trigger the
instrument. In standalone mode, Wurli V listens for all MIDI channels so there’s
no need to specify a channel. You can specify more than one MIDI device at
once.
2.2.2 Audio and MIDI settings: Mac OS X
The process is very similar to initial setup for Windows and the menu is accessed in
the same way. The difference is that OS X uses CoreAudio to handle audio routing
and the audio device selection is made in the second dropdown menu. Apart from
that, the options work the same way as described in the Windows section.

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2.2.3 Using Wurli V in plug-in mode
Wurli V comes in VST, AU and AAX plug-in formats for use in all major DAW software
such as Cubase, Logic, Pro Tools and so on. You can load it as a plug-in instrument
and its interface and settings work the same way as in standalone mode, with a
couple of differences.
You can automate numerous parameters using your DAW’s automation
system.
You can use more than one instance of Wurli V in a DAW project. In
standalone mode you can only use one at once.
You can route Wurli V’s audio outputs more creatively inside your DAW using
the DAW’s own audio routing system.

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3USER INTERFACE
Wurli V is packed with great features, and in this chapter we’ll make sure you know
what each one does. We think you’ll be amazed by the huge range of sounds that
can be made with this instrument.
And while Wurli V is very flexible, there’s nothing complicated about it. That will
always be the main focus of every Arturia product: to unleash your creativity while
remaining easy to use.
3.1 The virtual keyboard
The virtual keyboards and pedal board in the main Wurli V window allow you to play
a sound without the need for an external MIDI device. Just click on a virtual key to
hear the corresponding sound. Drag the cursor across the keys to hear a glissando.
3.2 Toolbar
The toolbar that runs along the top edge of the instrument both in standalone and
plug-in mode provides access to many useful features. Let’s look at them in detail.
The first seven of these options can be found by clicking on the Wurli V section at
the very top left hand corner of the instrument window.
3.2.1 Save Preset
The first option lets you save a preset. If you select this, you are presented with a
window where you can enter information about the preset. In addition to naming it
you can enter the author name, select a bank and type and select some tags that
describe the sound. This information can be read by the preset browser and is useful
for searching the preset banks later. You can also enter freeform text comments in
the Comments field, which is handy for providing a more detailed description.

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The Save Preset window
3.2.2 Save Preset As…
This works in the same way as the Save command, but lets you save a copy of the
preset instead of saving over the original. It’s useful for creating variations on
patches but still keeping individual copies of each one.
3.2.3 Import preset
This command lets you import a preset file, which can be either a single preset or an
entire bank of presets. Both types are stored in the .wurx format.
After selecting this option, the default path to these files will appear in the window,
but you can navigate to whichever folder you are using.

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3.2.4 Export preset
You can export and share a single preset using this command. The default path to
these files will appear in the window, but you can create a folder at another location
if you like.
3.2.5 Resize window options
The Wurli V window can be resized from 60% to 200% of its original size without any
visual artifacts. On a smaller screen such as a laptop you might want to reduce the
interface size so it doesn’t dominate the display. On a larger screen or a second
monitor you can increase the size to get a better view of the controls. The controls
work the same at any zoom level but the smaller ones can be harder to see at the
smaller magnification values.

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The Resize Window menu
3.2.6 Audio settings
Here you manage the way the instrument transmits sound and receives MIDI. See
section 2.2 of the manual for full details on this.
3.2.7 Preset browser overview
The Preset browser is invoked by clicking the toolbar button that has four vertical
lines. See section 3.3 of the manual for full details on this. The Filter, name field and
left / right arrows in the toolbar all assist with preset selection.