Canadian Musician - July/August 2017 - Page 53

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