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Messages - fromthepuggle

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Ok, thanks again. Been trying to get the person with the 140b to respond, no luck yet, but there's quite a few tube one's around for reasonable prices, I guess for the reasons you're saying.

I don't know much about the reed change, tbh. I read somewhere it started late 70's.

So what's the difference in sound between the earlier tube wurli and later solid state? I know the early ones lack vibrato and often aux out, and often have less than quick action. But vibrato can be done with an external pedal, and aux out is easy for a tech to wire up. Are there sonic benefits to the earlier wurlis? What about the 'bark' issue? 

What's the best that's out there these days? I'm not talking about for live use/gigging, I'm talking about studio recording.

I had a real Rhodes in HS, and I remember nothing sounding anything like it, especially when it wasn't buried in a mix. Each note slightly different, super dynamic and sensitive, chunky and meaty sound, like a living organism. Lately my ear's been craving wurli sounds, tho. Is there anything that can touch the sort of warm aliveness of a real EP today in vst/au form? Or something like a Crumar Seven?

What about Hammond?

I've got a Nord Electro 5D that I use for the occasional live gig, and I've gotta say, while nice, it doesn't sound like its even in the same ballpark as the new Crumars, or the better vst/au. But for studio, I need something INDISTINGUISHABLE from the real thing.

Fwiw, I'm not convinced that vst/au replace analog synths, or even that modern analog 'quite' gets there (though the newest stuff, like the Behringer Moog seem almost indistinguishably close, if lacking a bit in dynamic range, and missing a tiny bit of richness in the oscillator, but this stuff's getting a lot better, tho I still wouldn't sell my original model D!). I've done a lot of a/b comparisons with this sort of stuff, I still think vintage analog synths have a small edge, but one that's worth it for me.

Basically, I'm a real purist for tone in general, so I'd rather get the real thing, even if cost and maintenance are much higher for the real thing.

But have we gotten so good with these yet that experts can't tell the difference with a blind a/b sort of test? What's the 'best' of the EP/Hammond reproductions in 2020, so I can make some comparisons myself?

Wow, that was a great reply, thank you so much!!!!!!!!!! Spoken like a true lover of the instrument who knows its peculiarities and variations in many situations. Thank you!!

interesting. so what about earlier wurlis? listening to more videos, I'm realizing they all sound damn good! I think my initial thought that some of the earlier ones were too soft was just the playing on the videos I heard, but I found some other ones that sound damn barky. There's a 112 and 140b right by me as well. How do those compare?

The Wurlitzer Electric Piano / Re: 145 and 140B vs 200A decision
« on: June 12, 2020, 04:28:29 PM »
So I'm comparing wurli models to make a purchase, and trying to figure out which is best for me. There's a 140b near me, and it's a good price. Seems a lot of folks on this forum think the 140b is one of the best Wurlis made. I'd be using it for studio purposes, so I'm not concerned with weight. This one has an aux out. I'm not terribly concerned with action either, I grew up playing a very spongy Rhodes, but I'm very much interested in the best possible sound, particularly looking for a nice 'bark'.

How does the 140b compare to others in terms of sound? Why do people say it could be 'the best'? It's not a tube model, if I'm correct. Thoughts?

Thank you so much, that's super helpful!

That's kinda what I figured, though I've heard some stuff I very much like come out of older tube wurlis on youtube videos too. Tell me if I'm wrong, but it's not all earlier wurlies that lack vibrato, are there?

Regarding 200 series, which do I likely want to get from that group? I hear 200a has better amp and aux out, and a slightly more intense feel to the vibrato (that some prefer and some don't). What about the shift in tines between early and later 70's models of the 200a? Is there much a diff in tone?

First post ! I'm thinking of purchasing a Wurli. I already have a late 70's Rhodes Mk 1 Stage 73 I'm fixing up, similar to the one I had in HS years ago.

My primary use is recording (I'm not planning on taking it out to play live at all, though I do enjoy playing for my own enjoyment of course), and I plan to record using the aux out jack if possible, to avoiding issues with mic-ing, especially as I'm in a small apartment and making 'too' much noise isn't great (but medium to semi-loud levels are ok at right time of day).

Because I already have the Rhodes to complement it, I'm looking for the Wurli to provide as much bark, bite, and harmonic character as possible. I feel like I've got the Rhodes already for warmth, though I do tend to adjust my Rhodes away from bell-like tones that I'm not a fan of.

After reading a bunch of posts here, I'm trying to figure out the best model for my needs.

I've read up a lot on the diffs, between tubes and solid state, class-A amplifier and not, hum issues, maintenance issues, and shifts in reed thickness. I know action is often quite different, but I'm used to slow action from playing my older Rhodes years ago, and while I know there's now mods, the action isn't a huge concern to me. More than anything else, I'm interested in tone.
I could be wrong, but I think a late 70's 200a with class-A amplifier and thinner reeds will give me the most 'bark', but I don't want to lose harmonic complexity along the way (does that happen with the thinner reeds)?

I've heard great stuff about earlier 100 series tube models, but these often sound more pianet like to my ears, with less harmonic complexity from the reeds themselves if more from tube distortion (which is always nice), just want to make sure that's really the case, or perhaps its just the videos I'm watching.

I'd prefer not to pay crazy prices either, the 100 series seem much cheaper, but I'm open to suggestions.

Thoughts? Which would give me the most bark and harmonic complexity for studio recording?

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