You can fully adjust all the parameters for dynamics, Velocity curve, a graphic EQ, hammer noise (grit upon impact), hammer hardness, note off noise (VERY realistic sound of the hammer coming back to rest), sustain pedal noise, even pickup distance and axis can be adjusted! All this is before the pedals and the output stage. Hitting the Open button pulls down the two sidespeakers and the front silver panel and gives you a slew of options for carving your sound. There are two very important buttons along the top menu that give you access to everything you might need to make the perfect sound. I just had to open up all the hidden settings to dial in what I was looking for. This preset had the killer grit on the hi-mids, that preset had the smooth wide stoner chorus, the funky talking basslines were all there. ![]() BUT as I started to play around with the presets, of which there are many, I began to see inside the entire device and could hear bits of what I wanted. The low end was awesome, and the mids were decent, but the high end didn’t sound as sparkling as I had hoped. When I first loaded it up on a basic setting it sounded good – not great, but good. The analog pedal was just the right kind of mushy grit and could feedback indefinitely, even while switched off. The vocal Filter is kind of like a Talkbox but it can be put on an LFO and rotated or manually rotated around all the vowels (A, E, I, O, and U). But I have to call out for special mention two: the Vocal Filter and the Analog Delay. These cover all the basics like compressor, phaser, flanger, etc. It also comes with 11 different effects pedals, which are placed before the output mode. ![]() Speaking of effects, although the Wurlitzer V has only one keyboard sound, it does come with a complete assortment of effects, both pedals and amps. It’s very responsive, to be sure, I never heard any lag, even with a lot of effects piled on. It also uses a lot less computer resources than most playback software, primarily because it doesn’t have to access the hard drive in order to make sound. It’s a very different approach than playing back prerecorded samples, and it goes along with Arturia’s synth roots. The physical modeling engine calculates the sound in real-time, using some kind of crazy algorithms to create all the hammers, reeds, and noises a Wurlitzer makes as you are playing it. It uses the eLicenser system for authorization, which I had never used before and was kind of a pain to setup (more on this later).īecause Arturia uses a physical modeling engine instead of a sample-based engine, the software package itself is pretty small – the entire download package clocks in at 247 megs on the Mac. ![]() Arturia’s Wurlitzer V ($99/$129) models the Wurlitzer 200A.Īrturia’s Wurlitzer V comes as a plugin for RTAS, VST (2 and 3), and AU, plus as a standalone version.
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