The wurlitzer's amplifier and preamp were re-capped in an attempt to save the amplifier, but about half way through the sampling process the amplifier died, which eventually killed the power transformer. The preamp, amp, and power transformer were all replaced and sampling continued. Well sampling the bass notes, it became apparent that the Wurlitzer's built in speakers also needed to be replaced. Most keys on the Wurlitzer were in tune, but a few keys needed fine adjustment, and F2 needed to be replaced completely, as our attempt to "add solder" to the lead tine, in order to lower the pitch, failed completely. The Wurlitzer samples were processed with EQ to cut a lot of the low frequencies out, in order to better sit in a mix as a more midrange instrument, as the bass frequencies were heavily dominant from close micing. This was the most temperamental instrument we have sampled thus far. This is to be somewhat expected, as a Wurlitzer 200A contains numerous electronic components from the 1970's that were not designed to last 40+years, such as electrolytic capacitors. Compared to the passive design of a Rhodes piano, there's simply a lot that can go wrong, which is why we recommend purchasing a Wurlitzer sample library! The library comes with built-in tremolo and delay, but for finer tuning please check out Adam Monroe's Tremolo and Adam Monroe's Delay, free plugins to further customize your sound, as well as Adam Monroe's Mark 73, for a slightly different electronic piano tone. Some simple linear distortion was added to the VST , AU, and AAX versions as well as some built-in reverb, chorus, wah, tone, and dampening knobs. Kontakt version has been depreciated, as the VST, Audio Unit, and AAX versions require programming beyond the simple Kontakt player. The goal in any sample library that is also a VSTi (virtual instrument), AU, or AAX plugin is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that. The VST, Audio Unit, and AAX versions include updated, high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even in lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is around 390MB . Because of the solid VST-AU-AAX code base, you can feel confident that the VST, AU, and AAX versions will work just as well as a Kontakt version. Why develop a VST, Audio Unit, or AAX version at all? Although a great piece of software, the Full version of Kontakt (required to run 3rd party sample libraries) is expensive. Developing a VST, Audio Unit, or AAX plugin that anyone can use does not add significant time to the development of a Wurlitzer sample library - most of the time is spent sampling and processing the samples - so it's a real no-brainer. Audio engineering is a large part of creating a VST, Audio Unit, or AAX plugin, but the sounds of this Wurlitzer library have barely been processed. Low Frequency mud was cut, and the tone can be shaped dramatically by blending between DI and amp signals. Adding distortion, even a small amount, can significantly drive the gain and presence of the signal. The built-in Tremolo is set to match the classic "vibrato" speed of a Wurlizter electric piano, with variable intensity. The wah knob is matched to the tremolo speed and is a subtle effect. At full level the distortion knob may cause overload and clipping, so it's best to use the smoothing knob in conjunction. 亚当·门罗的沃里策虚拟乐器插件是从1970年的"早期模型"的伍里策200A电子钢琴中取样的。这个过程开始于用Beyer动态MC930电容器在Wurlitzer的内置扬声器上近距离调谐钢琴，并通过Fender豪华混响放大器在线路出信号上安装AEA R84带状麦克风。这些信号分别被送入格雷斯M101和AEA TRP前置放大器。 为了挽救放大器，Wurlitzer 的放大器和前置放大器被重新封顶，但在采样过程大约一半时，放大器死亡，最终导致电力变压器死亡。前置放大器、放大器和电力变压器均已更换，并继续采样。采样低音音符，很明显，Wurlitzer 的内置扬声器也需要更换。 Wurlitzer 上的大多数键都调合，但几个键需要微调，F2 需要完全更换，因为我们尝试"添加焊料"到引线，以降低音高，完全失败。Wurlitzer 样品经过 EQ 处理，可切断大量低频，以更好地作为中端乐器混合使用，因为低音频率在近距离麦克风中占据主导地位。 这是我们迄今为止所取样的最具气质的仪器。这是意料之中的，因为Wurlitzer 200A包含许多20世纪70年代的电子元件，这些电子元件的设计不会持续40年以上，例如电解电容器。与罗兹钢琴的被动设计相比，有很多可能出错的地方，这就是为什么我们建议购买一个Wurlitzer样品库！ 图书馆配备了内置的颤音和延迟，但为了微调，请查看亚当·门罗的特雷莫洛和亚当·门罗的延迟，免费插件，以进一步定制你的声音，以及亚当·门罗的马克73，一个略有不同的电子钢琴音。 一些简单的线性失真被添加到VST，AU和AAX版本，以及一些内置的混响，合唱，哇，音调，和阻尼旋钮。Kontakt 版本已折旧，因为 VST、音频单元和 AAX 版本需要编程，超出了简单的 Kontakt 播放器。任何示例库中也是 VSTi（虚拟乐器）、AU 或 AAX 插件的目标是尝试匹配 Kontakt Player 的性能。有了这个库，我们觉得我们已经做到了这一点。 VST、音频单元和 AAX 版本包括更新的高性能算法，这些算法随着亚当·门罗音乐发布的每个新虚拟乐器而不断改进。例如，缓冲算法是双缓冲和多线程的，这意味着缓冲性能很快，即使在较慢的计算机上，甚至在较低延迟时也是如此。声音在纯 C 样式数组中保持并迭代。内存使用约为390MB。由于具有可靠的 VST-AU-AAX 代码库，您可以放心，VST、AU 和 AAX 版本将和 Kontakt 版本一样工作。 为什么要开发 VST、音频单元或 AAX 版本？虽然是一个伟大的软件，Kontakt 的完整版本（需要运行第三方示例库）是昂贵的。开发任何人都可以使用的 VST、音频单元或 AAX 插件不会为 Wurlitzer 示例库的开发增加大量时间 - 大部分时间都花在采样和处理样本上-因此，它确实没有头脑。 音频工程是创建 VST、音频单元或 AAX 插件的一大部分，但此 Wurlitzer 库的声音几乎没有被处理过。低频泥浆被切割，通过DI和放大器信号的混合，音调可以显著地形成。添加失真（即使是少量）可以显著驱动信号的增益和存在。 内置的Tremolo设置为匹配经典的"颤音"速度的沃利斯特电动钢琴，与可变强度。哇旋钮匹配的颤音速度，是一个微妙的效果。在全电平下，失真旋钮可能会导致过载和剪切，因此最好同时使用平滑旋钮。 |
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