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Smacked my Wurli out of tune mid-set last night...


scottasin
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now I'm considering that, although I love the thing, it might be a bit too much investment to use as a live item... that is unless I learn to tune the thing myself, which I'm honestly not that keen on. A Rhodes has a simple and elegant method for tuning, a Wurlitzer not so much... When I first got it I told myself I was only going to use it for 'big' shows and studio work, but I gotta say I totally fell in love with the thing, dropped the digital piano entirely from my rig and started using the Wurli as my only piano. Unfortunately, I think I have to be realistic and end the honeymoon with it and keep it at home unless I know I'm gonna be playing a room worth bringing it out for. That's kind of a sad prospect for me. I feel like it's a disservice not to use such a joyful thing to it's fullest potential. Clearly though, a lot of you have gone through this, and that's why digitals ARE so successful compared to the instruments they're mimicking. They're the most reliable instrument out there, not tuning or string changes required.

 

Do any of you still use a Wurlitzer live? Are there components I can replace that would help it hold a tune better? Or, should I start looking for the digital that can make me feel like I'm playing the real thing?

 

 

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Reeds can be very slightly tuned without the solder routine by loosening the machine screw and sliding them in or out slightly.

 

It goes without saying that if the screw is not tight, they can be easily knocked out of tune.

Moe

---

"I keep wanting to like it's sound, but every demo seems to demonstrate that it has the earth-shaking punch and peerless sonics of the Roland Gaia. " - Tusker

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Reeds can be very slightly tuned without the solder routine by loosening the machine screw and sliding them in or out slightly.

 

It goes without saying that if the screw is not tight, they can be easily knocked out of tune.

that's what I thought. however, if you adjust that screw for tuning purposes, doesn't that also affect the harmonic content of that reed? that was the impression I got from what I've seen about voicing a wurlitzer.
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Yeah it can but if you are out gigging and the Wurli is badly out of tune at the sound check then you adjust the reed length to get through the gig.

 

We used those old electro mechanical board because we had no choice. Wait til you get really crazy and start gigging with a D6. There will be some experiences. :D

 

Do I still use a Wurli .... No. They are heavy that is why we have DX7s. :laugh:

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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I think I have to be realistic and end the honeymoon with it and keep it at home unless I know I'm gonna be playing a room worth bringing it out for.

:cool:

 

welcome to grandpa's world :D

 

honestly, why do you think those red keyboards are so popular? Light as a feather, sound really close to the real thing, stay in tune, built in effects, no hum, rock solid reliability, and yes we also acknowledge that the real thing is cooler. Life is full of difficult decisions.

:nopity:
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honestly, why do you think those red keyboards are so popular? [...] Life is full of difficult decisions.

Ever since the ROMplers of the 1990s, the decision has become less difficult each year. Add modeling to sample-playing, and for a lot of us it's a slam-dunk, be the sound an EP, AP, or B3.

-Tom Williams

{First Name} {at} AirNetworking {dot} com

PC4-7, PX-5S, AX-Edge, PC361

 

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kenheeter - ooooh, I can't wait to see/hear that thing! :)

Hammond: L111, M100, M3, BC, CV, Franken CV, A100, D152, C3, B3

Leslie: 710, 760, 51C, 147, 145, 122, 22H, 31H

Yamaha: CP4, DGX-620, DX7II-FD-E!, PF85, DX9

Roland: VR-09, RD-800

 

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I've got a Wurlie that I've gigged with. I'll use it once it a while with the original band that I play with. I always love it when I use it, (as does everyone else in the band) but because of the high quality samples these days, schlep factor & not wanting to ruin an almost cherry condition instrument, it only goes out once or twice a year. It happily sits in my studio the rest of the time.

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I get the wurly love. its my favorite EP by a mile. never owned one, never suffered the maintenance. i wouldn't schlep any mechanical keyboard for gigs if i had one, i don't think the audience will notice enough and the predictability and transport ability of electronics is too favorable. but thats just me, i'm with the "no brainer" club but I get the feeling of purity OP has.

 

the drummer in one of my bands has one sitting in his rock room and for the last 6 months since I saw it there I've been trying to figure out how I can relieve him of his burden ... lol.

 

Good luck!

The baiting I do is purely for entertainment value. Please feel free to ignore it.
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After years of Nord and then Scarbee Wurly/Rhodes on stage, I have recommitted to bringing the real deal whenever practical. Either a Wurly or a (more robust) Vintage Vibe. When I don't, unless I have a pressing need to play faux acoustic piano, I play my Forte through a Twin, which gets me 75% of the way there. When I am forced to play electric piano on a Nord these days, be it backline or sitting in, I am overwhelmed with anti-nostalgia.

Can the audience hear the difference? Maybe not with the sound, but I think there is a noticeable difference in my performance, and an increased fluidity to the dynamics that is evident over even a many-layered sample set.

Were I not very happy with the Forte, I would absolutely look at the Crumar 7. The other day I did a rehearsal with my Mojo 61 midi'd to a Kurzweil Midiboard, and the Rhodes was very effective through a Fender amp. The Wurly did not fare nearly as well, but I did not have time to tweak it for that particular rig.

Moog The One, VV 64 EP, Wurlies 200A 140 7300, Forte 7, Mojo 61, OB-6, Prophet 6, Polaris, Hammond A100, Farfisa VIP, ,Young Chang 6', Voyager, E7 Clav, Midiboard, Linnstrument, Seaboard
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