Instruments and Effects
Table Of Contents
- Logic Studio Instruments and Effects
- Contents
- Introduction to the Logic Studio Plugins
- Amp Modeling
- Delay
- Distortion
- Dynamics
- EQ
- Filter
- Imaging
- Metering
- Modulation
- Pitch
- Reverb
- Convolution Reverb: Space Designer
- Specialized
- Utility
- EVOC 20 PolySynth
- EFM1
- ES E
- ES M
- ES P
- ES1
- ES2
- The ES2 Parameters
- Tutorials
- Sound Workshop
- Sound Design From Scratch, Filter Settings, Digiwaves
- Three Detuned Sawtooth Oscillators and Unison Mode
- Extremely Detuned Monophonic Analog Sounds, Effects
- Clean Bass Settings With One Oscillator Only
- Distorted Analog Basses
- FM Intensity and Frequency
- Controlling FM Intensity by an Envelope and FM Scaling
- FM With Drive and Filter-FM
- FM With Digiwaves
- FM With Wavetables
- Distorted FM in Monophonic Unison
- FM With Unusual Spectra
- Slow and Fast Pulse Width Modulations With Oscillator 2
- Pulse Width Modulation With Two Oscillators, PWM Strings
- Ring Modulation
- Oscillator Synchronization
- First Steps in Vector Synthesis
- Vector Synthesis—XY Pad
- Vector Synthesis Loops
- Bass Drum With Self-Oscillating Filter and Vector Envelope
- Percussive Synthesizers and Basses With Two Filter Decay Phases
- Templates for the ES2
- Sound Workshop
- EVB3
- EVD6
- EVP88
- EXS24 mkII
- Learning About Sampler Instruments
- Loading Sampler Instruments
- Working With Sampler Instrument Settings
- Managing Sampler Instruments
- Searching for Sampler Instruments
- Importing Sampler Instruments
- Parameters Window
- The Instrument Editor
- Setting Sampler Preferences
- Configuring Virtual Memory
- Using the VSL Performance Tool
- External Instrument
- Klopfgeist
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Programming: Quick Start Guide
- Programming: In Depth
- Ultrabeat
- GarageBand Instruments
- Synthesizer Basics
- Glossary
- Index
Chapter 24 EVP88 389
Wurlitzer Piano
This well-known manufacturer of music boxes and organs also built electric pianos
which helped write 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.
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
The model Funk Piano offers special synthetic piano engine sound with exaggerated
bass that was not part of any real Wurlitzers, but can be very useful and musical.
Hohner Electra Piano
Not to be confused with the all-electronic RMI Electrapiano, the extremely rare Hohner
Electra Piano offers striking hammers like those of the Rhodes, but a stiffer keyboard
action. It was designed to resemble the look of a conventional acoustic upright piano.
Led Zeppelin’s John Paul Jones played it on “Stairway to Heaven,” “Misty Mountain Hop”
and “No Quarter.”
Hohner Electra Model
 Electra Piano










