is Cinematique Instruments' Electric Piano v2, which runs
through Kontakt. It’s pretty easy to use and awesome for
those vintage sounds.”
When playing a gig that requires different sounds for
different songs, Diamond defaults to the Korg SV1 to only
carry one keyboard.
a Korg CX3, I was thrilled. The VK7 ultimately became my
go-to organ simulator, coupled with an original Nord Lead
that I bought virtually on sight. Currently, the main com-
ponents for my rig are a mix of old and new – a Roland
JV2080 and Fantom XR, Muse Receptor Trio, and Mac-
book Pro running Mainstage.
I’ll cover this one myself.
The Rudolph Wurlitzer Company began in Cincinnati
in 1853, importing band/orchestral instruments from Ger-
many. Wurlitzer went on to create and sell a variety of prod-
ucts, but my favourite is the 200A.
It’s the darker sound that sets the Wurly above the
Rhodes for me, and the deep green 200A I purchased
from a friend has the softest, darkest tone and gentlest
attack I’ve found on a Wurly.
In my experience, no two 200As sound alike. I recall
recording a track in the late ‘90s with my instrument. Even
though it had some tuning issues (20 cents plus out in the
bottom end), after bringing in three other “identical” 200As,
we still went with mine and pitched the band around it.
To be fair, there are a lot of other boards that bear men-
tion here – the Clavinet and Pianet, both Hohner offerings
that have been a major force over time. Think The Band’s
“Up on Cripple Creek” or Stevie Wonder’s “Superstition.”
I’ve used a variety of very cool boards in past years –
a Korg Poly 61M and Yamaha SK50D among them – but
the Wurly is still my prize. The first time I got my hands on
Wurlitzer
LINDSAY CLARK
In My Coma &
Classic Albums Live
C A N A D I A N M U S I C I A N • 53