Date: 2025-08-13
Name: Benjamin Dehli
Profile: store.dehlimusikk.no
- Decent Sampler
| Sample rate | Bit depth | Channels | Number of files | File size | |
|---|---|---|---|---|---|
| Samples | 48 kHz | 24 bit | 1 (mono) | 2332 | 1.20 GB |
| Impulse responses (Amplifiers) | 48 kHz | 24 bit | 1 (mono) | 4 | 356.00 KB |
| Impulse responses (Effects) | 48 kHz | 24 bit | 2 (stereo) | 2 | 481.00 KB |
Midnight Wurli is a sampled Wurlitzer 200A electric piano instrument that focuses on capturing the character of the instrument played softly at low volume. It uses two signal sources: the direct line out from the Wurlitzer and a contact microphone attached to the instrument. The contact microphone captures the mechanical noises, such as key clicks, release sounds, and pedal movements which results in a more intimate, close-up sound.
The instrument includes both tonal samples and mechanical noise samples. It also features built-in effects including tremolo, tape echo, room reverb, and multiple amplifier impulse responses. Each key includes velocity-based round robins to enhance realism.
 |
|---|
| Midnight Wurli |
- Full version of the instrument with 36 samples per key.
- 18 note-on samples and 18 release samples per key.
- Round robin samples per velocity group to avoid repetition.
- Includes mechanical noises (release and damper).
- Includes all six impulse responses: four amplifiers, one echo, and one room reverb.
- 28 damper pedal samples.
 |
|---|
| Midnight Wurli (Lite) |
- A lightweight version of the instrument designed for lower CPU and RAM usage.
- Contains a single sample per velocity group for each key (no round robin).
- Impulse responses (amplifiers, echo, room) are disabled.
- Still includes basic mechanical sounds but with simplified behavior.
 |
|---|
| Mix controls for proximity |
- Crossfades between the direct line out and contact microphone audio.
- Turning the knob toward "Close" emphasizes the contact mic (mechanical sounds).
- Turning toward "Distant" emphasizes the clean line out signal.
- Affects the balance of both tonal and mechanical elements.
 |
|---|
| Volume controls for the mechanical noise |
- Controls the volume of the key release noise.
- The audio is affected by the current setting of the Proximity knob.
- Represents the subtle mechanical sound of a key returning after being released.
- Controls the volume of the damper (sustain pedal) noise.
- Includes pedal down and pedal up samples.
- Also influenced by the Proximity setting.
 |
|---|
| Controls for the tremolo depth |
- Controls the depth of the built-in tremolo effect, which is named vibrato on the original Wurlitzer 200A.
- Tremolo is applied after sample playback and before amplifier, tape echo and room reverb, emulating the original instrument’s modulation circuit.
 |
|---|
| Amplifier select list |
- Selects one of five amplifier settings:
- Direct (bypasses all amp simulation)
- American (Fender Twin Reverb)
- British (Vox AC15H1TV)
- Japanese (Roland JC-120 Jazz Chorus)
- Norwegian (Tandberg Model 2 T)
- All amplifier impulse responses were recorded with a Shure SM57 and a Royer R-121 microphone.
 |
|---|
| Mix controls for tape echo |
- Blends in a tape echo impulse response with a slapback delay characteristic.
- Positioned before the amplifier in the signal chain.
 |
|---|
| Mix controls for room reverb |
- Adds stereo room reverb via an impulse response.
- Positioned after the amplifier in the signal chain.
 |
|---|
| Controls for master volume |
- Master volume control for the entire instrument.
- Applied after all effects in the signal path.
