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.
0 kommentar(er)
