This unique dynamic range, mainly due to tighter reeds, was very appreciated by funk players who could express their nuances and rhythmic playing. Its sound was a little brighter than the Fender Rhodes when played softly and became more overdriven as the attack was more pronounced.
It was introduced in 1972 and produced until 1982. As shown in figure 4, the direct mode offers a digital reverb sitting alongside its DI box, but the real bonus is the Leslie in figure 6. The Wurlitzer V has two further tricks up its physically modelled sleeves because, in addition to the guitar amp, there are options for a direct signal path and a Leslie speaker.
Given that many players would walk into a session with a Wurli and a couple of guitar pedals, screw in the piano's legs, attach its sustain pedal, and plug it into a guitar amp, this is excellent stuff. Even the six knobs on the combo amp are 'real', allowing you to sculpt the sound still further using the three-band EQ, overdrive, spring reverb and volume controls. In this figure, the guitar amp has been selected, and there are options for four mic setups facing four different cabinets, for a total of 16 mic/cab combinations.
At the end of the signal chain lies the amplifier selected in the Output field. The graphics make it pretty clear which products provided the inspirations for these, but I don't think that the images are intended to imply that they are exact imitations, more as guidelines as to what to expect from them. As most producers are already aware, the beloved bright and overdriven 'Wurly' sound so musically ingrained in popular music culture -thanks to artists as diverse as The Beatles, Supertramp, and Marvin Gaye -is actually a clever combination of admirable amplification -Fender Bassman and Twin Reverb guitar tube amps, et al mic'ing par excellence and precision processing, with multiple analogue chorus, phasing, and tape echo units often being used to fashion a deeper, luscious tone.
#PIANO ARTURIA TORRENT SIMULATOR#
Indeed, Wurlitzer V lets users choose between three output modes: Studio (Wurlitzer V and associated effects are 'connected' to a virtual DI box with reverb thereafter) Stage (with guitar amp simulator, multiple mic and speaker options, and a satisfying-sounding spring reverb at the output stage) and Rotary (with a rotary speaker simulator to create musical movement).
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Unlike traditional sampling libraries, the Wurlitzer V's embedded physical modelling engine readily reproduces the agreeable acoustic properties of the Wurlitzer EP 200A's musically distinctive reeds, key action, and amplification combo by 'constructing' played notes in real time, creating cost-effective and reliable realism in a computer-based, truly portable package fit for a 21st Century performer moreover, maximising integral sonic flexibility to skilfully surpass its hardware namesake is also the virtual order of the day here, appealing to studio and stage users alike.