Even today, the sound and feel of the EP200 has proved difficult to recreate and, in two recent reviews, I wrote that 'the EP200's barking sound is notoriously difficult to synthesize, model or sample. Except that the universe doesn't want to play fair. 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.

Wurli arturia