一些簡單的線性失真被添加到vst、au和aax版本，以及一些內置混響、合唱、wah、音調和阻尼旋鈕。Kontakt版本已經貶值，因為VST、音頻單元和AAX版本需要編程，而不是簡單的Kontakt播放器。任何示例庫中同時也是vsti（虛擬儀器）、au或aax插件的目標都是嘗試匹配kontakt播放器的性能。有了這個圖書館，我們覺得我們已經做到了。
vst、音頻單元和aax版本包括更新的高性能算法，這些算法隨著adam monroe music發布的每個新虛擬樂器而不斷改進。例如，緩沖算法是雙緩沖和多線程的，這意味著緩沖性能很快，即使在速度較慢的計算機上，甚至在較低的延遲下。聲音在一個純的，C風格的數組中被保持和疊代。內存使用大約為390MB。由於vst-au-aax的代碼基礎很好，您可以確信vst、au和aax版本的工作原理與kontakt版本一樣。
為什麼要開發vst、音頻單元或aax版本呢？盡管是一個很好的軟件，完整版本的kontakt（運行第三方示例庫所必需的）是昂貴的。開發任何人都可以使用的vst、音頻單元或aax插件都不會給wurlitzer示例庫的開發增加太多時間——大部分時間都花在采樣和處理示例上——所以這真的是一個很簡單的過程。
音頻工程是創建vst、音頻單元或aax插件的一個重要部分，但是這個wurlitzer庫的聲音幾乎沒有被處理過。低頻泥漿被切割，通過di和amp信號的混合，可以顯著地塑造音調。增加失真，即使是少量的失真，也能顯著地驅動信號的增益和存在。
內置的顫音被設定為與Wurlizter電鋼琴的經典“顫音”速度相匹配，強度可變。wah旋鈕與顫音速度相匹配，是一種微妙的效果。在全水平失真旋鈕可能導致超載和剪輯，所以最好使用平滑旋鈕結合。
Team DECiBEL | 23 Sep 2019 | VST AU AAX KONTAKT: 2.02-2.03GB each
Adam Monroe's Wurlitzer virtual instrument plugin was sampled from an "early model" 1970's Wurlitzer 200A electronic piano. The process began by close-miking the piano with Beyerdynamic MC930 condenser microphones on the Wurlitzer's built-in speakers, and an AEA R84 Ribbon Mic on the line-out signal through a Fender Deluxe Reverb Amp. These signals were fed into Grace M101 and AEA TRP Preamps respectively.
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.
ENGINEERING:
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.
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