Arturia has released Oberheim SEM V 1.1.6 and Wurlitzer-V 1.0.5, the latest updates to its software recreations of the classic Oberheim Synthesizer Expander Module and Wurlitzer EP 200A electric piano.
These free updates bring performance, stability, and MIDI improvements to Oberheim SEM V and Wurlitzer-V.
Arturia has not been resting, lately, with recent introductions including the MiniBrute and the Oberheim SEM V virtual instrument.
Now they’ve introduced Wurlitzer V, described as ‘a high end software recreation of the classic Wurlitzer 200A electric piano.’
Unlike sample libraries, Wurlitzer V’s physical modeling engine reproduces the very acoustic properties of reeds, key action and amplification, delivering realism while offering maximum flexibility on sound. The Wurlitzer V goes further by giving you 70?s style stompboxes and tube amps.
Acoustic Samples has introduced Wurlie, a new virtual instrument, based on the Wurlitzer 206A piano.
Here’s what they have to say about Wurlie:
Wurlie is a 64 keys Wurlitzer 206A piano, and as the Wurlitzer company named it, a “Student Electronic Piano”, and it has a build in amp and cabinet.
The 206A is a student model, and is very similar to a 200A except for its beige color and build in amp/speaker (it also did not come with a tremolo). We recorded it both from the direct output using a state of the art DI (Universal Audio Solo 610) and also using a pair of microphones right above the keys next to where the head of a player would be.
We also included our common features like the multiple releases and also included our sympathetic resonance system (both pedal up and down).
You also have access to various commonly used effects and a full control over the midi parameters to make it fit to your keyboards response.
Hollow Sun has introduced Tubelitzer, a new Native Instruments Kontakt virtual instrument based on the valve/tube-based Wurlitzer 120 electric piano.
Here’s what they have to say about Tubelitzer:
The mechanical principles with Wurlitzer electric pianos are pretty much the same between models (and very similar to Rhodes pianos – a hammer striking a tuned ‘tine’ … and it is said that Harold Rhodes actually advised Wurlitzer’s deisgner/engineer, Ben Meissner, how to achieve stability with the tines) but the difference between the early models and the EP200A we are more familiar with is that up until the early 60s, the internal circuitry was tube/valve-based giving a mellower, warmer sound and doesn’t ‘bark’ as aggressively as the later models.
The 120 we have here is such a model. Each note has been painstakingly sampled chromatically by Hollow Sun friend, Christohopher Reis, who owns the orginal 120, with up to 27 velocity layers per note and release samples. A mammoth task on which Christopher has acquitted himself more than admirably. All samples are full length with no loops so you hear the actual sound of the original instrument ‘breathing’, warts, blemishes, grunts and all!
You can get details and an audio demo of Tubelitzer at the Hollow Sun site.