A little bit of history...
The legendary Wurlitzer EP 200A was the high-end model of the Wurlitzer reed-based piano line. It was introduced in 1972 and produced until 1982.
Its sound was a little brighter than the Fender Rhodes when played softly and became more overdriven as the attack was more pronounced. This unique dynamic range, mainly due to tighter reeds, was very appreciated by funk players who could express their nuances and rhythmic playing.
The Wurlitzer quickly reached immense success among pop and rock bands, where its thicker and rougher tone easily fit in the mix.
Favored by Supertramp ("The Logical Song"), the Beatles ("I am the Walrus"), Ray Charles ("What’d I Say"), Marvin Gaye ("I Heard It Through The Grapevine"), the Rolling Stones ("Miss You"), the Wurlitzer 200A was also reputed to make a great combination with tube amps, such as the Fender Bassman and Twin Reverb, because their nice overdrive and spring reverb contributed to opening the sound even more.
The 200A also accepted different effect units very well, such as analog chorus, phaser and tape echo, which were nice tricks to bring additional lushness and depth to the sound.
A soulful reproduction
It is increasingly rare to find a Wurlitzer electric piano in good shape these days, Arturia is proud to revive this classic by introducing a high-end physical modeling reproduction. While sample libraries can only focus on recording several aspects of the instrument, Wurli V brings you every nuance, along with a complete studio environment for recreating the full experience of this marvelous electric piano.
Physical modeling engine
Physical modeling is a synthesis method in which the waveforms are calculated by a set of equations that were developed by careful analysis of a physical sound source. We modeled all components of the Wurlitzer piano in great detail, analyzing not only the reeds and hammers but also the mechanism and action, including the internal amplification system and acoustic properties of the plastic body.
Wurli V carefully emulates the physics of the “bag of shot” piano action in the 200A as pictured below, with the hammers striking the flat reeds at around their center point, causing the reed to vibrate and be converted into electric energy by electrostatic pickups.
The result of physical modeling allows notes to actually be played (“constructed” in real-time, like on a real Wurlitzer). The sound is alive, not static: it’s not simply a recording, but a genuine instrument that responds to the player´s interpretation. Moreover, it is easy on the computer’s CPU, it does not require storing a huge collection of samples, and it avoids the nightmare of tuning each reed.
Maximum sonic flexibility
Wurli V allows the musician to interact with the sound by placing the main sound-shaping controls right on the front panel.
These parameters are capable of in-depth sonic alterations, so you can tailor-make the exact sound you want. These same controls were used in constructing the presets, and they allow Wurli V to do far more than recreate the legendary Wurlitzer sound; they also pave the way for very creative sound design experiments.
A complete studio environment
Boutique effects and guitar tube amps were the key to the alchemy of the Wurlitzer sound back in the ‘70s. Wurli V reintroduces a modeled studio environment for the modern era that includes the very same amps, microphones and effects.
Wurli V lets you choose between 3 output modes: Studio, Stage and Rotary.
Wurli V and its effects are connected to a direct box that will allow you to listen to the pure sound directly from the output. There is a reverb that follows the direct box, just as it would be in a studio.
The idea with this setting was to recreate the sound of the Wurlitzer in a typical “garage band” situation. So we added a guitar amp simulator with multiple mic and speaker options. A nice spring reverb is featured in the output section.
The Rotary speaker is normally associated with organs but it works great with the Wurlitzer. You’ll get that circularity in the sound plus a bit of gain crunch.
Boutique FX galore
Wurli V integrates a collection of 11 vintage stompboxes modeled after the most sought-after effects: overdrive, analog phaser, wah-wah pedal, auto-wah, analog flanger, compressor, chorus, vocal filter, analog delay, pitch shift-chorus and reverb.
If you are looking for an authentic electric piano, able to take you anywhere from classic mellow sounds to psychedelic heights, Wurli V is the perfect instrument.
Here are a few examples of the broad range of sounds you can generate with the effects:
Reaching new sonic heights
Wurli V not only excels at reproducing the tones of its grand ancestor, but it also paves the way for hundreds of amazing contemporary sounds. Thanks to the physical modeling engine, it lets you generate complex harmonics and textures like you have never heard before:
More than 200 presets
Wurli V comes loaded with more than 200 presets made by a group of world-renowned sound designers.
Presets range from classic Wurlie sounds to more contemporary sonic experiments: leads, effects, other-worldly ambiences, distant memories, and more.
Easy MIDI mapping
Wurli V also provides a very intuitive way to map its parameters to your favorite MIDI controller.
Thanks to automatic learning, assigning a control is a breeze. Simply click on a control while in MIDI mode, then move the slider or knob on the controller you want assigned to Wurli V.
- : Win 7+ (64bit) PC: 4 GB RAM; 2.5 GHz CPU.
1GB free hard disk space
OpenGL 2.0 compatible GPU
- : 10.10+: 4 GB RAM; 2.5 GHz CPU.
1GB free hard disk space
OpenGL 2.0 compatible GPU
Works in Standalone, VST 2.4, VST 3, AAX, Audio Unit, NKS (64-bit DAWs only).
The software is protected by the Arturia Software Center. You can learn more about it here.
- Physical Modeling of the classic Wurlitzer 200A Electric Piano
- Advanced parameters to allow in-depth control over your sound design
- Includes 11 classic stompbox-type modeled effects*
- 4 Guitar Tube Amps and 1 Rotary Speaker modeling for vintage live sound **
- Extensive MIDI mapping of pedals, effects and sound engine parameters
- Modeled amplifiers
- Fender Deluxe Reverb Blackface, Fender Twin Reverb Blackface, Fender Bassman, Marshall Plexi, Leslie Speaker.
- *Modeled microphones
- Shure SM57, Sennheiser MD 421, Neumann U 87.
- **Modeled effects
- Wah wah pedal, Autowah, Overdrive, Flanger, Compressor, Phaser, Chorus, Delay, Pitch Shifter / Chorus, Vocal Filter, Reverb.
The use of trademarks is only meant as a reference to clarify the instruments whose sound was modeled after and doesn’t imply any endorsement.