![图片[1]-[虚拟怀旧电子钢琴音源插件]Adam Monroe Music Wurlitzer v2.5 AAX/AU/VST [WiN, MacOSX]（10.26Gb） | 音色插件资源网-音色插件资源网](https://www.yinsebar.com/wp-content/uploads/2021/02/1569267927_am-wur.png)
Team DECiBEL | 23 Sep 2019 | VST AU AAX KONTAKT: 2.02-2.03GB each
Adam Monroe的Wurlitzer虚拟乐器插件是从1970年“早期模型”的Wurlitzer 200A电子钢琴中采样的。首先，使用Wurlitzer内置扬声器上的Beyerdynamic MC930电容麦克风和通过Fender Deluxe混响放大器在线路输出信号上使用AEA R84带状麦克风来近距离模仿钢琴。这些信号分别馈入Grace M101和AEA TRP前置放大器。
为了节省放大器，将了wurlitzer的放大器和前置放大器进行了重新封顶，但是在采样过程的大约一半时间内，放大器消失了，最终导致了电源变压器的死亡。前置放大器，放大器和电源变压器全部更换，并继续采样。很好地采样低音音符，显然Wurlitzer的内置扬声器也需要更换。
Wurlitzer上的大多数键都调好了，但是一些键需要微调，并且F2需要完全更换，因为我们为降低音高而“增加焊料”到铅齿的尝试完全失败了。 Wurlitzer样本使用EQ进行了处理，以切掉许多低频，以便更好地混音以作为中频乐器使用，因为近距离麦克风在低音频率中占主导地位。
这是迄今为止我们采样的最气质的乐器。可以预料的是，Wurlitzer 200A包含了许多从1970年代起就不能使用40年以上的电子元件，例如电解电容器。与Rhodes钢琴的被动设计相比，有很多地方可能出错，这就是为什么我们建议购买Wurlitzer样本库的原因！
该库具有内置的颤音和延迟功能，但是要进行更好的调音，请查看Adam Monroe的Tremolo和Adam Monroe的Delay，免费插件以进一步自定义您的声音，以及Adam Monroe的Mark 73，以获得略微不同的电子钢琴音色。
工程：
在VST，AU和AAX版本中添加了一些简单的线性失真，以及一些内置的混响，合唱，哇音，音调和衰减旋钮。 Kontakt版本已被淘汰，因为VST，音频单元和AAX版本需要的编程超出了简单的Kontakt播放器。也是VSTi（虚拟仪器），AU或AAX插件的任何示例库中的目标都是尝试匹配Kontakt Player的性能。有了这个库，我们觉得我们已经做到了。
VST，音频单元和AAX版本包括更新的高性能算法，随着Adam Monroe Music发布的每台新虚拟乐器都在不断改进。例如，缓冲算法是双缓冲和多线程的，这意味着即使在速度较慢的计算机上，甚至在较低的延迟下，缓冲性能也很快。声音以纯净的C样式阵列进行保留和迭代。内存使用约为390MB。由于VST-AU-AAX的代码基础牢固，因此您可以放心VST，AU和AAX版本将与Kontakt版本一样工作。
为什么要完全开发VST，音频单元或AAX版本？尽管功能强大，但Kontakt的完整版（运行第3方样本库必需）价格昂贵。开发任何人都可以使用的VST，音频单元或AAX插件不会为Wurlitzer样本库的开发增加大量时间-大部分时间都花在了采样和处理样本上-因此，这真是轻而易举。
音频工程是创建VST，音频单元或AAX插件的很大一部分，但是此Wurlitzer库的声音几乎未得到处理。低频泥被切掉了，通过在DI和放大器信号之间进行混合，可以显着塑造音调。即使很小的失真，也可以极大地驱动信号的增益和存在。
内置的Tremolo设置为与Wurlizter电子钢琴的经典“颤音”速度匹配，并且强度可变。 wah旋钮与颤音速度匹配，具有微妙的效果。在满水平时，失真旋钮可能会导致过载和削波，因此最好结合使用平滑旋钮。
主页：
adammonroemusic.com/wurlitzer-vst/am-wurlitzer-vst-plugin.html
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.
