To the left, there's a 10-band graphic equaliser, and to the right you can change the velocity curve using five anchor points to create non-linear or even inverted responses if desired. But if you then click on either speaker grill, two further panels reveal themselves, and a whole bunch more knobs appear in the centre of the instrument. When you launch Wurlitzer V (which is also nice and quick, because it doesn't need to load gigabytes of sample data) it presents you with a simple but attractive representation of the original piano, with just the volume and vibrato knobs visible. I specified the MIDI input and the audio output (I didn't need to adjust the buffer size or sample rate) and I was ready to go. Because there are no samples, installation takes much less space than you might imagine (31.3MB for the stand-alone version), so I installed and authorised all four. Wurlitzer V is an RTAS, VST and AU plug-in that also runs as a stand-alone application. Let's get the techie stuff out of the way first. Could they succeed where others have failed? Overview The company have built their reputation on developing accurate recreations of synthesizers, often extending their capabilities by a significant degree while attempting to retain the essential character of the original, so the EP200 seems to be perfect fodder for its developers. But now it's Arturia's turn to throw their hat into the ring. Clearly, the EP200 has proved to be the Achilles Heel of many an otherwise excellent vintage keyboard emulator. Consequently, I wasn't surprised when I caught a whiff of splits and velocity zones” and "it's not bad, but it lacks a little punch and its velocity zones are too noticeable”. Even today, the sound and feel of the EP200 has proved difficult to recreate and, in two recent reviews, I wrote that "the EP200's barking sound is notoriously difficult to synthesize, model or sample.
Except that the universe doesn't want to play fair. What's more, there are numerous other ways of obtaining the same sound on stage, from wavetable synthesis to sample-based synthesis and, most recently, physical modelling. Of course, I was never going to subject it to the indignities of gigging, not least because, despite its diminutive size, it's a weighty beast, and awkward to move with its legs screwed in. So, many years ago, I bought a lovely Wurli from a ballet studio that was upgrading to one of the earliest digital pianos, and it proved to be everything that I hoped. With Dark Side Of The Moon, Crime Of The Century, and Houses Of The Holy providing the soundtrack to my discovery of synthesizers, the open road, and young ladies whom I still remember with great affection, it was inevitable that a certain fondness for the music and the sounds within would result. The Wurlitzer electric piano has proved a tough nut to crack in software.
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