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Loc: Helsingborg, Sweden
Some say the Casio PX-5S has some nice Wurlitzer and EP sounds, I don't know for sure, I haven't tried them. I have a PX-5S, but I'm not so interested in EP voices.
You can browse through the audio demos by clicking the link below, just scroll down you'll find some Wurlys. Beware that you have to have a decent PA system for the EP voices, as probably piano voices as well.
PX-5S seems like such a great go-to DP. Not sure what it cant do. On paper you would think someone was joking for everything you get starting with jam-packed features, tons of sounds, great action, 24lbs, can run on batteries, and UNDER $1000. Then throw in Mike Martin's personal support and tutorials....
Loc: Sydney, Australia
I think there's a fair bit of choice now - that PX-5S demo does sound very good. (better than the sound Roger Hodgson uses live these days, that's for sure) I liked the demo recordings of the Kawai MP11 too.
The Korg SV1 is highly regarded for its Rhodes and Wurlitzer samples, and I found it a joy to play. Plus, it looks cool and retro, and has an actual tube amp built right in for very nice amp simulation.
Loc: Glendale, Ca.
I'm not a huge EP aficionado these days , but when I do use them, I want them to sound good.
I had always thought the Nord had the best Wurli & Rhodes (they still are excellent and work fine for the majority of applications) - that is until I started using the CP4 out live.
All the EPs, especially the Wurlis, are thicker , sustain more, and have a smoother top end. Basically I feel everything sounds more realistic & full playing (and sitting in the stage mix) with bass , drums and guitars.
I played the CP4 for over a month until I first gigged out with it. All the time in my studio I didn't think the EPs were that big a deal, and I still preferred the basic tone of the Nord.
Moral of story--things dramatically change when moving from your studio/home to the gig.
The CP4 has the best Wurlis I've heard (and I've owned 2 SV1s in addition to the S90 Classic) . I'd have to have it next to a Kronos to compare the Rhodes. (which is the Korg's strongest appeal, at least to me) Just guessing, but I think the Kronos might have the edge there.
It's funny how this sounds so much better than the earlier post of a real Wurlizer.
Yes it is! Casio sounds (considerably) more like a Wurlitzer electric piano than a real Wurlitzer electric piano. Though it has something to do with the playing, which on the real Wurlitzer is a bit Sunday-lunchtimish for an EP demo (IMHO).
Roland HP 302, Yamaha SY85
No one has mentioned Kurzweil yet, so I'll toss that in, I think they have some of the best EPs. And you can get them in models as cheap as the SP4-7. If you get the SP4, be sure to download the additional free EP sounds from their web site.
I made a few Supertramp Wurly presets for Kurzweil, some a while back (PC2, K26, PC3) and one quite recently (Forte). The one in the PC3/Artis has an audio demo. They don't have an audio demo up for the specific Tramp sound in the Forte, but there are other Wurly demos posted.
Ah yes I've bounced back and forth on this one over the years. Years ago when I created Pianet presets for Kurz (with Pianet samples) we had a few pretty solid keys reference books that listed it as Pianet. But I've also seen the Greenspoon quotes about it being a Wurly. I'm inclined to say that settles it.
Yet there are still a few things that give me at least a hint of a grey area. I'm pretty sure that there's no sustain pedal used on the Three Dog Night recordings. The Pianet had no sustain, the Wurly did. But of course some players used their Wurly without the sus pedal. On Mamma Told me not to Come, the pitchy warble effect sure sounds an awful lot like the Pianet's vibrato setting. Wurly didn't have one of those. Greenspoon mentioned playing the Wurly through a Leslie... yet it still sounds really like the Pianet vibrato. When creating presets to match the recordings, I tried using both Wurly and Pianet samples - I always got better results with Pianet samples. On the PX5S (that has no Pianet samples) I timbre-shifted (transposed the root sample) the Wurly many steps up to get a sound that matched.
All of these factors seem to be at odds with what Greenspoon himself had to say.
The quote I saw from him was quite recent. I've worked with several high profile guys that 30-40 years after the fact have actually gotten some facts wrong about their own recordings. The best example was hanging out with Bernie Worrell from P-Funk and gently reminding him "No dude I'm pretty sure *you* wrote this song". After a minute of memory-jogging he came around saying, "Oh yeah thanks man, I remember now! I love that song!" One hypothesis of mine is that a Pianet could have been used on the studio recordings, but on all live renditions he did in fact use the Wurly. In this scenario, he would have hundreds (or even thousands) of memories of having played the Wurly rig vs the one single memory of the Pianet in the studio. Throw in an adult dose of partying in the 70s and I know my memories of such things might get a little fuzzy.
I'm still 95% on side of thinking it was probably a Wurly. But the nerdly minutiae mentioned above does drive me a little nutty. This is why when I'm not programming keyboards for work I try to keep my head occupied with things like Weird Al, art, old books, history and bad sci-fi/horror movies. Otherwise all of my waking moments would be dominated by keyboard-geek conundrums!
this pretty much settles it for me - that's a Wurly sounding about the same as the studio recording, IMHO. Moreover, there are sections in the studio recording that really do sound more like a Wurly than a Pianet - the tone sounds more like hammers hitting reeds than the reeds being "plucked".
I'll still download your patch, though, even if you don't rename it. ;^) (if I ever get a PX5S)