Lounge Lizard EP-4 Explained®
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4:04 Overview
Learn how Fender Rhodes and Wurlitzer electric pianos work, and see where all the main controls for their electro-mechanical elements are located on the Lounge Lizard interface.
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9:44 The Hammer Module
See how these controls are used to simulate the force of the impact of the piano’s hammer striking the fork, the stiffness of the hammer, and the noise generated during the impact.
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7:05 The Fork Module
Explore the Tine and Tone Bar controls, and hear how they influence the shape and colour of the sound once notes are struck by the hammer.
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4:15 The Pickup Module
See how these controls model the way a magnetic coil captures the sound of the fork in an electric piano, and hear how can produce everything from a clean to an overdriven distorted tone.
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3:19 The Damper Module
Hear how this module is used to simulate the production of noise when dampers are either raised from, or applied on, the fork; when a key is either depressed or released.
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3:48 The Tremolo Module
Discover how these controls are used to modulate either amplitude or panning, based on a repeating triangle or square shaped LFO.
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4:12 The Effects View
Hear Lounge Lizard’s various multi effects in action.
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4:22 The Play View
See how the Play View is used to access the main parameters from the edit and FX views.
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3:27 MIDI Assignment & File Management
Learn how to assign and save MIDI hardware control assignments, how to create, save, and manage presets and banks, and how to work with program and bank change messages.
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10:29 The Sounds
Explore ways of using a few simple parameter tweaks to expand the factory presets.
Product Overview
In this FREE series commissioned by Applied Acoustic Systems, Eli Krantzberg breaks down AAS’s wonderful Rhodes and Wurly virtual instrument, Lounge Lizard EP-4. Learn all there is to know about this authentic sounding keyboard and more!
Eli begins with an overview of the interface, and then goes deep into all the different modules that make up the instrument and how they all work independently, as well as how they affect each other.
Effects and MIDI assignments are next, where you’ll explore the different multi-effects available, and learn how to assign and save MIDI hardware control assignments, how to create, save, and manage presets and banks, and how to work with program and bank change messages and more.
See the individual tutorial descriptions below for more info. If you’re looking for a new keyboard instrument, or want to know everything about EP-4, checkout “Lounge Lizard EP-4 Explained” today!
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Reviews
Submitted 3 weeks ago
Very well presented - covered what I wanted to learn
Eli does a great job moving through the modules at a pace that keeps interest at the same time explaining all the control parameters available in Lounge Lizard. I especially like the final episode where he explains how you can use what you learned to be more creative with Lounge Lizard sound design.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 months ago
Very helpful!
I have owned Lounge Lizard EP-4 for awhile. The training revealed aspects that I had yet to discover.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Great Insight
As always, extremely useful tips and overview into all aspects of utilizing Lounge Lizard to the fullest.
I am a: Semi-Pro, Musician, Producer, Audio Engineer, Logic Pro, Reason
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 3 weeks ago
Very well presented - covered what I wanted to learn
Eli does a great job moving through the modules at a pace that keeps interest at the same time explaining all the control parameters available in Lounge Lizard. I especially like the final episode where he explains how you can use what you learned to be more creative with Lounge Lizard sound design.
Submitted 3 months ago
Very helpful!
I have owned Lounge Lizard EP-4 for awhile. The training revealed aspects that I had yet to discover.
Submitted 2 years ago
Great Insight
As always, extremely useful tips and overview into all aspects of utilizing Lounge Lizard to the fullest.
I am a: Semi-Pro, Musician, Producer, Audio Engineer, Logic Pro, Reason
1. When did you start dabbling in music?
I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.
These great players, along with drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me.
2. What training have you had?
I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music.
It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.
3. When did you get into recording?
It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior.
I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools.
4. People you have worked with/for?
Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!
As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer.
5. Why are you so good at training people?
I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.
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