7
Table Of Contents
- Logic Pro 7
- Plug-In Reference
- Contents
- Introducing Logic’s Plug-ins
- Basics
- Instruments and Effects
- Equalizer
- Dynamic
- Distortion
- Filter
- Delay
- Modulation
- Reverb
- Convolution Reverb: SpaceDesigner
- Special
- Helper
- Vocoder—Basics
- The EVOC20PS
- Vocoder History
- Synthesizer Basics
- EFM 1
- ES M
- ES P
- ES E
- ES1
- ES2
- Concept and Function
- The ES2 Parameters
- Tutorials
- Sound Workshop: Logic ES2
- Tutorial Setting: Analog Saw Init
- Tutorial Setting: Analog Saw 3Osc
- Tutorial Setting: Analog Unison
- Tutorial Setting: Analog Bass clean
- Tutorial Setting: Analog Bass distorted
- Tutorial Setting: FM Start
- Tutorial Setting: FM Envelope
- Tutorial Setting: FM Drive
- Tutorial Setting: FM DigiWave
- Tutorial Setting: FM Wavetable
- Tutorial Setting: FM Megafat
- Tutorial Setting: FM Out of Tune and FM Tuned
- Tutorial Settings: PWM Start, PWM Slow, PWM Fast, and PWMScaled
- Tutorial Settings: PWM 2 Osc and PWM Soft Strings
- Tutorial Setting: Ringmod Start
- Tutorial Setting: Sync Start
- Tutorial Setting: Vector Start and Vector Envelope
- Tutorial Settings: Vector Envelope and Vector XY
- Tutorial Settings: Vector Loop
- Tutorial Setting: Vector Kick
- Tutorial Settings: Vector Perc Synth and Vector Punch Bass
- Templates for Logic’s ES2
- Sound Workshop: Logic ES2
- Ultrabeat
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Global Parameters
- String and Object Parameters
- Processing
- Post Processing
- Modulation Generators
- The Control Envelopes
- Morph
- MIDI Controller Assignments
- Programming: Quick Start Guide
- Programming: In Depth
- KlopfGeist
- EVB3
- EVD6
- The EVD6—Concept and Functions
- Parameters of the EVD6
- Controlling the EVD6 via MIDI
- A Brief History of the Clavinet
- EVP88
- EXS24 mkII
- Using Instruments
- File Organization
- Sample File Import
- EXS24 Key Commands
- A Brief History of Sampling
- MIDI Controller List
- GarageBand Instruments
- External Instrument
- Glossary
- Index
Chapter 28 EVP88 515
Rhodes Models:
• Suitcase MkI
• Suitcase V2
• Bright Suitcase
• Stage Piano MkI
• Stage Piano MkII
• Bright Stage MkII
• Hard Stage MkII
• MarkIV
• Metal Piano
• Attack Piano
The Metal Piano and Attack Piano models feature sound qualities that can be “aimed
at” with the original Rhodes instruments, but not to the extent of these models. They
do not sound realistic, but they are included as sound “ideals” that the Rhodes
technicians might have had in mind when preparing their keyboards.
Wurlitzer Piano
This well-known manufacturer of music boxes and organs also built electric pianos, the
portable versions of which have written pop and rock music history. The 200 series
Wurlitzer pianos are smaller and lighter than the Rhodes pianos, with a keyboard range
of 64 keys from A to C and an integrated amplifier and speakers.
The action resembles that of a conventional acoustic piano. It can be played with
velocity sensitivity, just like the Rhodes. Its sound generation system is based on spring
steel reeds which can be tuned with a solder weight. The Wurlitzer has electrostatic
pickups: The reeds are supplied with a 0 volt current and move between the teeth of a
“comb”, connected to a 150 volt current. The tone of the Wurlitzer, which was first
manufactured in the early sixties, features many odd harmonics. If you were to ever try
to emulate its sound with an analog synthesizer, you would start by switching the
oscillator to output a 60% rectangular (PWM) wave.
The Wurlitzer is best known as the signature piano sound of the band “Supertramp”. You
will know it from their “Crime of the Century” album. It can be heard on “Bloody Well
Right”, “Dreamer”, “Hide in Your Shell” and also in “The Logical Song”. You might also
recognize the Wurlitzer sound when listening to Pink Floyd’s “The Dark Side of the
Moon” or “Wish You Were Here” (“Have a Cigar”, “Money”, “Time”) and “I am the Walrus”
by the Beatles.
Wurlitzer Models:
• Wurlitzer 200 A
• Wurlitzer 240 V
• Soft Wurlitzer
• Funk Piano