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AAS Lounge Lizard EP1

Modelled Electric Piano Plug-in [PC/Mac] By Sam Inglis
Published October 2002


Applied Acoustic Systems, known best for their Tassman software synth, have now used their modelling technology to create an electric piano plug-in. But of course, theirs isn't the only one around...

At the height of the DX7's popularity in the '80s, you couldn't give away a Fender Rhodes or a Wurlitzer EP200. These days, the wheel has turned full circle, and even the tattiest examples fetch hundreds on the second-hand market. The factors that made them go out of fashion in the first place haven't gone away — they're still big and heavy, they still haven't got MIDI, and they still only have one patch — but it seems that players want the sound, and prefer not to make do with sampled substitutes.

Indeed, electromechanical pianos have always been difficult to reproduce using samples. As well as being fully polyphonic, a Rhodes or Wurli has a sound that varies considerably with keyboard velocity, from soft, rounded bell-like tones to clangorous 'thunks'. Some players of the real thing were also used to tweaking the sound of their instruments using laborious methods such as adjusting the position of the pickups, which nobody ever bothered to render in sampled renditions. When manufacturers did include a Rhodes patch in their electronic pianos, it often seemed like an afterthought.

The last year or so has seen a couple of more serious attempts to reproduce the electric piano sound in a form that's easier to integrate into a modern studio environment. Emagic's EVP88 virtual instrument has won a lot of praise from Logic users for its physically modelled Rhodes and Wurli emulations (see review in SOS July 2001, or at ), but the company's policy of not porting the full versions of their instruments to open standards such as VST means that users of other sequencers have to make do with the severely cutdown VST-compatible EVP73 (reviewed SOS December 2001, or at Meanwhile, in the hardware field, Clavia have launched the ambitious Nord Electro, a digital keyboard devoted to reproducing electromechanical pianos and tonewheel organs. It didn't sound too bad to me (although it found less favour with Gordon Reid — see SOS December 2001 or, but at its current UK price of around a thousand pounds, it's beyond the reach of many musicians.

Let's Get Physical

The latest attempt to bring the electric piano into the digital age comes from Canadian software house Applied Acoustic Systems. Their expertise in physical modelling has already given us the impressive Tassman synth, and it's now been used to create a dedicated virtual electromechanical piano called Lounge Lizard. It's available for PC and Mac, and can be run either as a stand-alone program or as a plug-in instrument in VST, MAS and DirectX formats. An RTAS version is in development, but Pro Tools can use the stand-alone version via the DirectConnect protocol. Lounge Lizard uses a proprietary challenge-and-response protection system, and if my experience is typical, it's best to email your challenge at least a day before you want to unlock the program!

AAS Lounge Lizard EP1 £100
  • Versatile enough to produce almost any electric piano sound.
  • Very responsive, with none of the audible sample-switching or looping that can plague sampled pianos.
  • Nice tremolo effect.
  • Well-chosen controls make programming straightforward.
  • Could be easier to set up as a stand-alone program on the Mac.
  • Some controls cause zipper noise or glitching when adjusted.
Lounge Lizard does for the electric piano what Native Instruments' B4 did for the Hammond. You may never want to use a sampled electric piano again!

Where Lounge Lizard scores compared to any instrument based on samples is in its remarkable versatility. It's often said that no two Rhodes pianos sounded quite the same, and while a sampled version may give you the option of shaping the sound using EQ and velocity switching, Lounge Lizard goes much, much further. Its controls are designed to correspond to the physical components of a real electric piano, allowing you to specify such factors as the stiffness of the modelled mallets and the force with which they strike the virtual tines, the tuning and decay time of the modelled fork and the tone bar, the virtual pickup position and the input and output levels to and from the modelled preamp. You can decide the relative levels of the fork, tone bar and mallet impact noise in the sound, and how the various parameters should vary with velocity or note position on the keyboard.

Unlike Emagic's EVP88, which uses different physical models for Wurlitzers, Stage and Suitcase Rhodes and the like, Lounge Lizard uses the same model for all of its sounds. However, it offers many more controls than EVP88, and the range of over 50 presets include not only various different Stages, Suitcases and Wurlis, but also RMIs and an organ. Should you wish to go beyond mere emulation, the folder of Experimental presets gives you some idea of the range of bizarre 'not piano' (and, in many cases, not very useful) sounds that can be created by pushing different controls to their extremes. All of Lounge Lizard's parameters can also be automated, either using MIDI Continuous Controllers or your sequencer's plug-in automation system. Oddly, polyphony defaults to a meagre four notes, but this is easily adjusted in the preferences.

Lizard King?

Although there are some excellent sample-based electric piano sounds around these days, it only takes a few minutes' experimentation with Lounge Lizard's presets to see what physical modelling brings to the party. They run the full gamut of recorded electric piano sounds from growling funk to drippy ballad, from mellow Wurlis to brittle Suitcases, and boast a depth and 'feel' that makes you want to play them. There are no sudden lurches into different sample layers when you hit the keys harder: instead, there's a smooth progression from soft to snarling. Similarly, there are no multisamples and hence no abrupt changes in timbre as you move up and down the keyboard, while sustained notes don't decay into a lifeless sample loop, but fade naturally to silence. The tremolo and output distortion sound like integral parts of the instrument, rather than effects tacked on at the end.

If you can't find exactly what you want in the preset list, it's relatively straightforward to create your own virtual piano. Lounge Lizard's controls are not the sort of parameters you get on a conventional synth, and it does take a bit of experimentation to get used to how they affect the sound. However, they are sensibly chosen and named, and there are enough to give you a fair degree of control without being so numerous as to make programming overwhelming or laborious. The range of presets is also broad enough that there's usually something close enough to what you have in mind, so that programming is more often a matter of tweaking than starting from scratch. For instance, there are numerous simple ways to dirty up a preset that's slightly too polite — you can increase the mallet force or add more impact noise, up the volume of the tone bar, adjust the preamp settings or increase the output level — all with different and very useable results. With most of the controls, the smallest movement makes a noticeable difference to the sound, and a large one alters it completely. I found that most of the presets benefited from a slight tweak to the velocity response when played from a non-weighted keyboard, and this is easily achieved. Editing is also aided by the E/C button, which allows you to compare your sound with the unedited version of the last preset you loaded.

When put up against Emagic's EVP73, Lounge Lizard tends towards a meatier and thicker sound, with a weightier bottom end. EVP73's own clean, bell-like Rhodes tone is still very impressive, but in terms of versatility and overall usefulness, there's no comparison. Given the similarity in pricing, I would choose Lounge Lizard every time.

Lounge Effects
As well as replicating the sound-generating mechanism of an electric piano, Lounge Lizard also incorporates a range of effects which were either built in to some of the original electromechanical instruments, or which were typically used with them. First in line in Lounge Lizard is a wah-wah, which is followed by a phaser, tremolo and stereo delay. Finally, the sound passes through simple bass and treble tone circuits and an output volume control, which introduces a rather good distortion effect when turned beyond the 12 o'clock position. The latter is always active, despite the confusingly named 'Tweaking Volume Makes Preset Dirty' tick box, which actually tells Lounge Lizard whether to treat volume changes as modifications to a patch or not. The beauty of running Lounge Lizard as a plug-in, of course, is that it's trivial to add further processing such as reverb and amp effects, or a rotary-speaker emulation. There's no way to vary the order of Lounge Lizard's own effects, however.

The wah-wah boasts Frequency and Resonance controls, but although it has its own LFO, it doesn't have an envelope follower, so you'll need to tweak the former manually to produce an actual wah-wah effect. Sensibly, Lounge Lizard assigns the mod wheel to this task by default, but I suspect that anyone seriously interested in using the wah will want to invest in a MIDI foot pedal. The default frequency range for the wah-wah is too broad to be easily useable, but this can be changed in the MIDI Links page.

The phaser also boasts its own LFO, as well as Frequency, Feedback and Mix Level controls. It's easily as good as most plug-ins and the emulation in the Nord Electro, but those used to classic stomp boxes may find it a little thin-sounding.

Undoubtedly the star of Lounge Lizard's effects is the tremolo. This offers wide-ranging Speed and Depth controls, a two-position switch that selects triangle or 'soft square' waves, and another to choose mono or stereo operation. In the latter case, the effect is more like an auto-pan than a conventional tremolo. Either way, it's capable of everything from subtle quivers to vicious, choppy rhythmic gating, but it always sounds warm and rounded. It's a rare Lounge Lizard patch that isn't improved by turning the tremolo on, and the different settings do an excellent job of mimicking actual Rhodes and Wurli tremolo sounds.

The Delay effect is rudimentary, offering separate Time (10ms to 1.5s) and Feedback controls for the left and right channels. The time controls are not calibrated, so you have to set them by ear, and there's no way of ganging the left and right delay times together when using them in stereo. Nevertheless, the delay is fine for adding a little depth, and there are plenty of delay plug-ins around if you want something more sophisticated.

On The Other Hand...

There are a few negative points to be made about Lounge Lizard, although only one of them presented a serious problem for me. While I found it very simple to set up and use Lounge Lizard as a VST Instrument within Cubase, the same could not be said of the stand-alone version. Although OMS drivers are in development, Lounge Lizard currently requires MOTU's FreeMIDI, which is not supplied, and those who have a working OMS system may not welcome the prospect of introducing FreeMIDI onto their machine, especially given the limited documentation available from AAS. When I did finally get it set up, moreover, all I got was deafening bursts of white noise in response to MIDI input. Eventually, AAS reported that this is a known 'issue' with one of the ASIO 2 drivers for M Audio's Delta 66 soundcard, so hopefully it won't affect users with other setups (or those using other versions of the drivers).

CPU Usage & Minimum Specs
I was expecting Lounge Lizard to be a CPU hog thanks to its sophisticated physical modelling technology, but its requirements are not excessive for a modern plug-in instrument. AAS specify a minimum of a G3 and OS 9.x for Mac users, while the PC version requires a 500MHz Pentium III or better and will run under Windows 98, 2000, ME and XP. On my ageing 300MHz G3 Mac, an eight-note chord only pushed Cubase's CPU meter to around 65 percent, even with all the effects on, and the instrument was perfectly playable. Obviously, users with old machines like mine will need to bounce its output to disk before embarking on a big mix, but the same goes for most virtual instruments these days. It may also be worth pointing out that because there are no sample libraries involved, Lounge Lizard takes up a negligible 5.4MB of hard drive space and will happily run on a computer with only 32MB of RAM fitted.

Other niggles are just that: niggly. The controls I can imagine wanting to automate or manipulate most often in the middle of a song are the switches that turn the various effects on and off; doing so while playing, however, produces a very audible glitch. Some of the rotary controls also suffer from zipper noise. Loading presets can also be a little bit fiddly, as clicking the Load button always takes you to the top level of the Presets folder, but the presets themselves are stored within subfolders within subfolders. However, Lounge Lizard does provide eight 'front-panel' switches (shown above) to which you can assign your favourite presets for quick selection. When run as a plug-in, Lounge Lizard uses its own patch storage system rather than the host sequencer's, which can be inconvenient if you want to select patches from within Cubase's Inspector, for instance.

I also encountered a strange bug when running Lounge Lizard as a VST plug-in in Cubase VST v5.0 on the Mac. Even if the plug-in itself was switched off, having its editing window open seemed to cause Cubase's tool palette to misbehave. Whenever I tried to select any tool other than the pointer, the mouse pointer would flicker uselessly between its pointer shape and whatever I'd selected, and I could only select other tools properly by closing Lounge Lizard's editing window. However, AAS say that no-one else has reported this bug, and that they can't reproduce it on a similar system.


Lounge Lizard is one of the most impressive virtual instruments I've seen to date. Every patch you create becomes an instrument in its own right rather than a minor variation on the same set of samples, and the response to keyboard velocity makes it a very organic instrument to play. The dirty and distorted timbres you can create using the mallet and tone-bar modelling are especially satisfying compared to the flat sound of a sampled piano fed through a distortion effect.

There are lots of instruments out there that give you one or two good electric pianos, but Lounge Lizard gives you hundreds. Logic/EVP88 users are already accustomed to this kind of luxury, but I can see a lot of musicians with other sequencers welcoming Lounge Lizard with open arms. Whether you're looking for something new to make your track stand out, or whether you want to copy your favourite recorded electric piano sound, it's a uniquely adaptable piece of virtual kit. It also represents excellent value for money.

Test Spec
  • 300MHz Beige Apple Mac G3 with 256Mb of RAM and an M Audio Delta 66 soundcard, running Mac OS v9.1.
  • Steinberg Cubase for Mac v5.0.
  • AAS Lounge Lizard version reviewed: v1.0.
£99.99 including VAT.
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+44 (0)20 8418 0624.