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WurliTzer Electronic Piano
The Legendary
WurliTzer Electronic Piano
The very Best of...
Sound Library over 1.63GB!!!
The legendary WurliTzer Electronic Piano perfect original multi-layer samples on DVD.
Top-studio recorded and mastered, mapped, ready for download and work.
$25.00
The Wurlitzer electric piano was one of a series of electromechanical stringless pianos manufactured and marketed by the Rudolph Wurlitzer Company, Corinth, Mississippi, U.S. and Tonawanda, New York. The Wurlitzer company itself never called the instrument an "electric piano", instead inventing the phrase "Electronic Piano" and using this as a trademark throughout the production of the instrument. See however electronic piano, the generally accepted term for a completely different type of keyboard instrument today. Wurlitzer did manufacture a type of orchestrion which it called an "electric piano" during the early 1900s, but it was unrelated to this instrument.
Inventor Benjamin Miessner had designed an amplified conventional upright piano in the 1930s, and Wurlitzer used his electrostatic pickup design, but replaced the strings with struck steel reeds. The instrument entered production in 1955 as the EP-110, followed by the 111 and 112 of the same year, and continued to be produced in various forms until about 1982 when production of the EP-200A ceased.
There is evidence of a piano designated as the model 100, but whether or not it was produced or only a prototype is up for debate. Pictures of a model 100 do exist, and the Wurlitzer EP Service manuals do state that the Wurlitzer was introduced in 1954, not 1955. The model 106 was a later model, not an early model.
The Wurlitzer piano is usually a 64-note instrument whose keyboard range is from A an octave above the lowest note of a standard 88-note piano to the C an octave below the top note of an 88-note piano. Tone production in all models comprises a single steel reed for each key, activated by a miniature version of a conventional grand piano action and forming part of an electrostatic pickup system using a DC voltage of 170v. A mechanical sustain pedal similar to that of a conventional piano is fitted.
Compared with its erstwhile rival, the (Fender) Rhodes electric piano, the Wurlitzer has a brighter, more hollow sound. When played gently the sound can be quite sweet and vibraphone-like, sounding very similar to the Rhodes; while becoming more aggressive with harder playing, producing a characteristic slightly overdriven tone usually described as a "bark". In a pop or rock band setting with guitar(s), bass and drums the Wurlitzer has a distinctive and clear sound where a Rhodes would tend to blend in. However it has also been used successfully in MOR ballads and even country music.
Wurlitzer users include:
WurliTzer Electronic Piano
The very Best of...
Sound Library over 1.63GB!!!
The legendary WurliTzer Electronic Piano perfect original multi-layer samples on DVD.
Top-studio recorded and mastered, mapped, ready for download and work.
$25.00
The Wurlitzer electric piano was one of a series of electromechanical stringless pianos manufactured and marketed by the Rudolph Wurlitzer Company, Corinth, Mississippi, U.S. and Tonawanda, New York. The Wurlitzer company itself never called the instrument an "electric piano", instead inventing the phrase "Electronic Piano" and using this as a trademark throughout the production of the instrument. See however electronic piano, the generally accepted term for a completely different type of keyboard instrument today. Wurlitzer did manufacture a type of orchestrion which it called an "electric piano" during the early 1900s, but it was unrelated to this instrument.
Inventor Benjamin Miessner had designed an amplified conventional upright piano in the 1930s, and Wurlitzer used his electrostatic pickup design, but replaced the strings with struck steel reeds. The instrument entered production in 1955 as the EP-110, followed by the 111 and 112 of the same year, and continued to be produced in various forms until about 1982 when production of the EP-200A ceased.
There is evidence of a piano designated as the model 100, but whether or not it was produced or only a prototype is up for debate. Pictures of a model 100 do exist, and the Wurlitzer EP Service manuals do state that the Wurlitzer was introduced in 1954, not 1955. The model 106 was a later model, not an early model.
The Wurlitzer piano is usually a 64-note instrument whose keyboard range is from A an octave above the lowest note of a standard 88-note piano to the C an octave below the top note of an 88-note piano. Tone production in all models comprises a single steel reed for each key, activated by a miniature version of a conventional grand piano action and forming part of an electrostatic pickup system using a DC voltage of 170v. A mechanical sustain pedal similar to that of a conventional piano is fitted.
Compared with its erstwhile rival, the (Fender) Rhodes electric piano, the Wurlitzer has a brighter, more hollow sound. When played gently the sound can be quite sweet and vibraphone-like, sounding very similar to the Rhodes; while becoming more aggressive with harder playing, producing a characteristic slightly overdriven tone usually described as a "bark". In a pop or rock band setting with guitar(s), bass and drums the Wurlitzer has a distinctive and clear sound where a Rhodes would tend to blend in. However it has also been used successfully in MOR ballads and even country music.
Wurlitzer users include:
Belle & Sebastian,
Clutch,
Juston Stens & the Get Real Gang,
Passion Pit,
The Hush Sound,
Stereophonics,
Kaiser Chiefs,
Bright Eyes,
Panic at the Disco,
The Good Life,
Jenny Lewis,
Elvis Costello & the Imposters,
The Blood Brothers,
Norah Jones,
Grace Potter,
John Medeski of Medeski Martin & Wood,
Winter Palace,
Gnarls Barkley,
Ben Folds,
Tori Amos,
Sheryl Crow,
Spooner Oldham,
Vanessa Paradis,
Chester French,
The Dead Weather,
The Brackish Water Band,
Black Whales and Westfall.
The Alan Parsons Project
Andre Morgunoff
Al Stewart
American Football
The Animals
The Archies
Beck
Blood Brothers
Bob Dylan
Boston
Michiel Braam
Dan Bryk
Carl Weathersby
Chicago
Company of Thieves
The Crusaders
D'Angelo
Daft Punk
Dave Barnes
Death Cab for Cutie
David Gray
Dhani Harrison
Donny Hathaway
Elton John
Joanna Newsom
John Lennon
John Scofield
Joni Mitchell
Justice
Neil Young
Paul McCartney
Pink Floyd
Quarterflash
Queen
Ray Charles
The Sun Society
The Rolling Stones
The Small Faces
Rick Springfield
Steely Dan
Stereolab
Stevie Wonder
Styx
Tony Toni Tone
Tori Amos
Under Byen
Usher
Van Halen
Wilco
Joe Zawinul
The Doors
Clutch,
Juston Stens & the Get Real Gang,
Passion Pit,
The Hush Sound,
Stereophonics,
Kaiser Chiefs,
Bright Eyes,
Panic at the Disco,
The Good Life,
Jenny Lewis,
Elvis Costello & the Imposters,
The Blood Brothers,
Norah Jones,
Grace Potter,
John Medeski of Medeski Martin & Wood,
Winter Palace,
Gnarls Barkley,
Ben Folds,
Tori Amos,
Sheryl Crow,
Spooner Oldham,
Vanessa Paradis,
Chester French,
The Dead Weather,
The Brackish Water Band,
Black Whales and Westfall.
The Alan Parsons Project
Andre Morgunoff
Al Stewart
American Football
The Animals
The Archies
Beck
Blood Brothers
Bob Dylan
Boston
Michiel Braam
Dan Bryk
Carl Weathersby
Chicago
Company of Thieves
The Crusaders
D'Angelo
Daft Punk
Dave Barnes
Death Cab for Cutie
David Gray
Dhani Harrison
Donny Hathaway
Elton John
Joanna Newsom
John Lennon
John Scofield
Joni Mitchell
Justice
Neil Young
Paul McCartney
Pink Floyd
Quarterflash
Queen
Ray Charles
The Sun Society
The Rolling Stones
The Small Faces
Rick Springfield
Steely Dan
Stereolab
Stevie Wonder
Styx
Tony Toni Tone
Tori Amos
Under Byen
Usher
Van Halen
Wilco
Joe Zawinul
The Doors